Lloyd grew up in Bristol. After graduating from Birmingham University in 1979, she spent five years working in BBC Television Drama. In 1985 she was awarded an Arts Council of Great Britain bursary to be Trainee Director at the Wolsey Theatre, Ipswich. The following year she was appointed Associate Director at the Everyman Theatre, Cheltenham, then in 1989 Associate Director of the Bristol Old Vic, where her production of The Comedy of Errors was a success.
She moved on to the Royal Exchange Theatre, Manchester where she directed The Winter's Tale, The School for Scandal, Medea, and an acclaimed production of Death and the King's Horseman by Wole Soyinka. In 1991 she made her debut at the Royal Shakespeare Company with a well-received production of a little-known play by Thomas Shadwell, The Virtuoso. Although she followed this in 1992 with a successful production of the rarely-seen Artists and Admirers by Alexander Ostrovsky, she has, as of 2007, never returned to the RSC.
Phyllida Lloyd and Sarah Cooke attend the UK premiere of the movie "The Iron Lady" in London.
Director Phyllida Lloyd with her partner Sarah The New York Premiere of Mamma Mia, at the Ziegfeld Theatre. July 16, 2008. John Spellman / Retna Ltd
Also in 1992 came her first commercial success: her Royal Court Theatre production of John Guare's Six Degrees of Separation transferred to the West End. In 1994 she made her debut at Royal National Theatre with a production of Pericles which divided the critics [see Pericles at the Royal National Theatre by Melissa Gibson, in Pericles: Critical Essays (Shakespeare Criticism, Volume 23)]. There was general praise, however, for her productions of Hysteria by Terry Johnson at the Royal Court and Bertolt Brecht/Kurt Weill's The Threepenny Opera at the Donmar Warehouse.
By this time, Lloyd's work had come to the attention of Nicholas Paine, then running Opera North. For her debut as an opera director he steered her to what was, at least in the UK, an obscurity - L'Etoile by Chabrier. The production was a great success, setting Lloyd on a significant and award-winning career as an opera director. Productions since then include La Boheme, Gloriana, Cherubini's Medea, Albert Herring and Peter Grimes for Opera North; Dialogues of the Carmelites for English National Opera/Welsh National Opera; Verdi's Macbeth (for the Bastille Opera and the Royal Opera House Covent Garden); the premiere of Poul Ruders' opera The Handmaid's Tale (from the novel by Margaret Atwood); and a controversial Ring cycle for ENO. She also directed a film version of Gloriana for which she received an International Emmy, a FIPA d’Or and the Royal Philharmonic Society Award.
In spite of the mixed reception accorded to her first production at the National Theatre, Lloyd nonetheless returned to direct productions of The Way of the World, Pericles, What the Butler Saw, The Prime of Miss Jean Brodie and The Duchess of Malfi, which were well-received. She directed an award-winning production of Boston Marriage at London's Donmar Warehouse in 2001. Other recent work includes Friedrich Schiller's Mary Stuart newly adapted by poet Peter Oswald, which ran at the Donmar Warehouse, London, and was transferred to the Apollo Theatre, London, and then to the Broadway in spring 2009.
In 1999 Lloyd was offered the chance to direct the ABBA musical Mamma Mia!, which became a hit, not only in the West End and on Broadway, but worldwide. She directed the 2008 cinematic adaptation, which marked her feature debut. By the end of 2008, the film had been certified as the biggest grossing film at the UK box office ever. It was also certified as the UK's biggest-selling DVD. She was nominated as Best Director of a Play in the 2009 Tony Awards for her production of Mary Stuart.
Lloyd directed The Iron Lady, a biopic of former British Prime Minister Margaret Thatcher, with Meryl Streep as Thatcher. The film entered production in January 2011 and was released in December of that year.
Rewriting the Victorians: Modes of Literary Engagement with the 19th Century by Andrea Kirchknopf
Paperback: 236 pages
Publisher: McFarland (May 14, 2013)
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The 19th century has become especially relevant for the present--as one can see from, for example, large-scale adaptations of written works, as well as the explosion of commodities and even interactive theme parks. This book is an introduction to the novelistic refashionings that have come after the Victorian age with a special focus on revisions of Charlotte Bronte's Jane Eyre and Charles Dickens's Great Expectations. As post-Victorian research is still in the making, the first part is devoted to clarifying terminology and interpretive contexts. Two major frameworks for reading post-Victorian fiction are developed: the literary scene (authors, readers, critics) and the national-identity, political and social aspects. Among the works examined are Caryl Phillips's Cambridge, Matthew Kneale's English Passengers, Peter Carey's Oscar and Lucinda and Jack Maggs, Lloyd Jones's Mister Pip, Jean Rhys's Wide Sargasso Sea, D.M. Thomas's Charlotte, and Jasper Fforde's The Eyre Affair.
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