ANDREW COTTER BILL PATERSON Andrew MARR Lee Lawrence
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Scotland: BBC Weeks 51 and 52
BBC WEEKS 51 & 52, 18 - 31 December 2010 Programme Information, Television & Radio BBC Scotland Press Office bbc.co.uk/pressoffice bbc.co.uk/iplayer THIS WEEK’S HIGHLIGHTS TELEVISION & RADIO / BBC WEEKS 51 & 52 _____________________________________________________________________________________________________ MONDAY 20 DECEMBER The Crash, Prog 1/1 NEW BBC Radio Scotland TUESDAY 21 DECEMBER River City TV HIGHLIGHT BBC One Scotland WEDNESDAY 22 DECEMBER How to Make the Perfect Cake, Prog 1/1 NEW BBC Radio Scotland THURSDAY 23 DECEMBER Pioneers, Prog 1/5 NEW BBC Radio Scotland Scotland on Song …with Barbara Dickson and Billy Connolly, NEW BBC Radio Scotland FRIDAY 24 DECEMBER Christmas Celebration, Prog 1/1 NEW BBC One Scotland Brian Taylor’s Christmas Lunch, Prog 1/1 NEW BBC Radio Scotland Watchnight Service, Prog 1/1 NEW BBC Radio Scotland A Christmas of Hope, Prog 1/1 NEW BBC Radio Scotland SATURDAY 25 DECEMBER Stark Talk Christmas Special with Fran Healy, Prog 1/1 NEW BBC Radio Scotland On the Road with Amy MacDonald, Prog 1/1 NEW BBC Radio Scotland Stan Laurel’s Glasgow, Prog 1/1 NEW BBC Radio Scotland Christmas Classics, Prog 1/1 NEW BBC Radio Scotland SUNDAY 26 DECEMBER The Pope in Scotland, Prog 1/1 NEW BBC One Scotland MONDAY 27 DECEMBER Best of Gary:Tank Commander TV HIGHLIGHT BBC One Scotland The Hebridean Trail, Prog 1/1 NEW BBC Two Scotland When Standing Stones, Prog 1/1 NEW BBC Radio Scotland Another Country Legends with Ricky Ross, Prog 1/1 NEW BBC Radio Scotland TUESDAY 28 DECEMBER River City TV HIGHLIGHT -
Lindsay Posner
Lindsay Posner Agent Katie Haines ([email protected] Director: Theatre, Television, Radio and Opera Theatre COMMUNICATING DOORS (Menier Chocolate Factory) 2015 By Alan Ayckbourne HAYFEVER (Theatre Royal Bath/West End) 2015 By Noël Coward Starring Felicity Kendal & Simon Shepherd SPEED THE PLOW (Theatre Royal Bath, West End) By David Mamet Starring Lindsay Lohan OTHER DESERT CITIES (Old Vic Theatre) By Jon Robin Baitz THE WINSLOW BOY (Roundabout Theatre, New York; Old Vic Theatre) By Terrence Rattigan A LITTLE HOTEL ON THE SIDE (Theatre Royal Bath) By Georges Feydeau, adapted by John Mortimer THE TURN OF THE SCREW (ACT Productions & Hammer Theatre of Horror; Almeida Theatre) By Henry James, Adapted by Rebecca Lenkiewicz UNCLE VANYA (Vaudeville Theatre; Stanhope Productions) By Anton Chekov, a version by Christopher Hampton Starring Ken Stott, Anna Friel and Samuel West RELATIVELY SPEAKING (Bath Theatre Royal) By Alan Aykbourn With Felicity Kendall RICHARD III (The Old Globe Theatre, San Diego) By William Shakespeare ABIGAIL'S PARTY (Menier Chocolate Factory / Bath Theatre Royal & West End) By Mike Leigh NOISES OFF (The Old Vic Theatre & West End) By Michael Frayn With Celia Imrie & Janie Dee BUTLEY (The Duchess Theatre; Mark Rubinstein Ltd) By Simon Gray With Dominic West & Paul McGann AN IDEAL HUSBAND (The Vaudeville Theatre; Stanhope Productions Ltd) by Oscar Wilde HOUSE OF GAMES (Almeida Theatre) Adapted by Richard Bean from the screenplay by David Mamet A VIEW FROM THE BRIDGE (Duke of York’s Theatre) By Arthur Miller With Ken -
ANDREW COTTER BILL PATERSON Andrew MARR Lee Lawrence
FEATURING: ANDREW COTTER WITH OLIVE & MABEL BILL PATERSON ANDREw MARR lee lawrence AMANDA OWEN ANNE GLENCONNER JANEY GODLEY CHRIS BRYANT MP MELANIE REID rory stewart the guilty feminist all events ARE free! browse the programme and register to view www.boswellbookfestival.co.uk BOSWELL BOOK FESTIVAL 2021 ONLINE Cover painting: Girl Reading by George Henry © Fleming Collection How to register and watch an event 1. Choose an event - all events are FREE to watch! 2. Press the ‘CLICK HERE TO REGISTER’ button attached to each event 3. Add your details on our online box office when prompted Appropriately we will open with a live stream from 4. You will be sent an email to confirm what event you have chosen to watch Welcome Edinburgh Old Town with appearances from Andrew Marr on ‘Boswell the Man’, Bill Paterson, Robert Burns 5. You will receive an email on the day of the event to remind you I have never been more and Ludwig van Beethoven and then will roll on into grateful for our unique theme a wonderful weekend programme that will culminate 6. Watch the event on your computer, tablet or mobile phone - and even of biography and memoir than on the Monday with masterclasses in biography, ask questions on the chat facility in planning this exciting first memoir and the new platforms for life stories. online Festival, which we are Some events will be BSL Interpreted and captioned We are also offering an inspirational and entertaining • offering free of charge thanks Most events will be available to watch again on Catch-Up until 30 June 2021 to the generous support of Family and Schools programme under the new • loyal sponsors and with the help of your much needed Curatorship of Janet Smyth. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
The Cheviot, the Stag and the Black, Black Oil: Political Theatre and the Case Against Television Naturalism
The Cheviot, the Stag and the Black, Black Oil: Political Theatre and the Case Against Television Naturalism Robin Nelson Introduction: Texts and Issues The Cheviot, the Stag and the Black, Black Oil (hereafter The Cheviot) was the first production of 7:84 (Scotland) when in 1973 the new company spun away from the original 7:84 Theatre Company.1 The Cheviot was not only the first but the most well- known and arguably the best, in all senses, of 7:84 (Scotland)’s Highland touring productions. As DiCenzo notes, ‘[c]ommentators almost unanimously agree that the productions after The Cheviot achieved nowhere near its success’.2 On his recent death, obituaries of John McGrath invariably cited The Cheviot as a landmark achievement.3 In what became a fifteen-year commitment to making theatre for, and taking it to, the rural Highlands of Scotland, John McGrath’s 7:84 (Scotland) project is, perhaps ironically, logged in history primarily for the quality of its first production. And there are reasons both for the initial success and for the duration of The Cheviot in memories: In her cultural materialist account of the theatre production and 7:84 (Scotland)’s first Highland tour, DiCenzo (1996) documents the happy conjunction of a range of factors contributing to The Cheviot’s success as: an artistic venture, an alternative theatre company operation, a political strategy, a celebration with popular audiences and a critical success. The circumstances which gave rise to this initial achievement were gradually eroded on a number of fronts which accounts for the difficulties in sustaining subsequently the first impact. -
Earthquakes in London by Mike Bartlett
Earthquakes in London was first performed in the Cottesloe Theatre at the National Theatre on 4 August 2010, in a co-productionMarina with Headlong Theatre. The cast was as follows: Earthquakes in London Tom Young Robert Lucy May Barker By Mike Bartlett Grace I Receptionist I Jogger Gary Carr Simon/ Roy Brian Ferguson Colin Polly Frame Carter To m Godwin Peter To m Goodman-Hill Businessman I Daniel I Student I Michael Gould Doctor Harris I Barman Bryony Hannah Mrs Andrews Supermarket Worker I Clive Hayward Young Man I Tim Anne Lacey Freya Robert Syrus Lowe Jasmine Anna Madeley Casey I Old Woman I Sally I Bill Paterson Liberty Jessica Raine Steve Sarah Maggie Service Geoffrey Streatfeild Lia Williams All other parts playedEarthquakes by members in London of the Company. This version of was first performed at Theatre Royal Plymouth on 22 September 2011, in a Headlong Theatre and National Theatre co-production. TheSimon cast I Roy was Ias WWII follows: Officer I Polar Bear I Passer by 1 Understudy I Dance Captain Peter I Mother Ben Addis Tom Sam Archer Colin Helen Cripps Kurt Egyiawan Sean Gleeson Marina I Mother I Understudy Act One Steve Mrs Andrews Siubhan Harrison Sarah John Hollingworth ProperAct TwoCoffee Jasmine Maggie McCourt Supermarket Worker I Casey I Tracy-Ann Oberman Old Woman I Liberty I Mother Lucy Phelps All ActThe Three Mothers Carter I Daniel I Police OfficerI Dr Harris Nicola Sangster Robert MadAct FourBitch Grace I Receptionist I Mother I Gyuri Sarossy Jogger Paul Shelley Young Robert I Business Man I ThomasAct Five Hood Scammer I Bar Man I Dr Tim I Natalie Thomas Passer by 2 Freya Certain Destruction Joseph Thompson The play is presented using as much set, props and costume as Leah Whitaker possible. -
Shoebox Productions Inc Co-Production CBBC Scotland, Blueprint Entertainment and Alberta Filmworks
A BBC Scotland / Shoebox Productions Inc Co-Production CBBC Scotland, Blueprint Entertainment and Alberta Filmworks Present Starring Jason Connery Peter Mullan David McKay Anthony Donaldson Introducing Vivien Endicott Douglas as Marnie And The Voices Of Simon Callow, Alan Cumming Rik Mayall, Siobhan Redmond & Bill Paterson as The Storyteller Series Created By CBBC Scotland, Brian Ward, Claire Mundell and Justin Molotnikov Written By Brian Ward Series Director Justin Molotnikov Executive Producer and Showrunner for BBC Scotland Claire Mundell Executive Producers for Blueprint Entertainment Noreen Halpern and John Morayniss Executive Producer for Alberta Filmworks Tom Cox Animation By Calibre Digital Pictures bbc.co.uk/cbbc/shoeboxzoo A warning to the over adventurous... This weighty tome contains deep and powerful magic. It should on no account be read in anything but the strictest chronological order. I pray indulgence for any numerical inconsistencies. yours, in haste, The Great Wizard Michael Scot 11~11~2002 (11pm) The magic that is Shoebox Zoo Take a dash of Toy Story, a pinch of the magic and mystery But it’s on her 11th birthday that her life takes a dramatic of the Lord of the Rings, and mix with the wonder turn of events and she is led into an old junk shop and handed of The Lion, the Witch and Wardrobe and you are some a dusty, dog-eared shoebox. Within the shoebox lie the four way to understanding the ingredients which make up the beautifully carved animals who spring to life at her command. new family drama Shoebox Zoo. The disguised owner of the shop who presents Marnie with The CBBC Scotland, Blueprint Entertainment and Alberta this birthday gift is The Great Michael Scot, a Wizard who Filmworks co-production hits British television screens this lived in the Borders of Scotland nearly 11 centuries ago. -
Annual Report 2010–2011 Annual Report 2010–2011 ‘…The National Theatre Must… Bulk Large in the Social and Intellectual Life of London
National Theatre Theatre National Annual Report 2010–2011 Report Annual Annual Report 2010–2011 ‘…theNationalTheatremust…bulklargeinthesocial andintellectuallifeofLondon...Itmustnotevenhave theairofappealingtoaspeciallyliteraryandculturedclass. Itmustbevisiblyandunmistakablyapopularinstitution, makingalargeappealtothewholecommunity. ItwillbeseenthattheTheatreweproposewouldbe aNationalTheatreinthissense,thatitwouldbefrom thefirstconditionally–and,intheeventofsuccess, wouldbecomeabsolutely–thepropertyofthenation.’ Preface(1904)to A National Theatre: Scheme and Estimates byWilliamArcherandHarleyGranvilleBarker,London1907 ‘It’sagreattimetobeanationaltheatre,andtorisetothe challengeoflivinguptoourname.Wewanttotellthestories thatchartthewaythenationischanging.Wewanttobring front-linereportsfromnewcommunitiesandgenerations, andwewanttoseethepresentredefinedinthecontext ofthepast.’ NicholasHytner,DirectoroftheNationalTheatre,2010 Annual Report For the 52 weeks ended 27 March 2011 03 Board and Advisers 05 Purpose, Vision and Objectives 06 John Makinson, Chairman 09 Nicholas Hytner, Director 10 Introduction 12 National Theatre Future 16 Artistic Review 19 National Theatre Productions 2010–11 23 Awards 24 NT Studio 26 Audiences 29 National Theatre Live 30 Public Engagement 34 NT Learning 38 Digital Innovation 41 Leadership 42 Sustainability 44 Development and Fundraising 46 Supporters 2010-11 56 Performers 2010-11 59 NT Associates and Committee Membership 60 NT Heads of Department; photograph captions In this document, The Royal National Theatre -
Brown, I., and Innes, S. (2015) Parody, Satire and Intertextuality in the Songs of the Cheviot, the Stag and the Black Black Oil
Brown, I., and Innes, S. (2015) Parody, satire and intertextuality in the songs of The Cheviot, the Stag and the Black Black Oil. Studies in Theatre and Performance, 35(3), pp. 204-220. (doi:10.1080/14682761.2015.1069946) This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/107740/ Deposited on: 2 July 2015 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Parody, satire and intertextuality in the songs of The Cheviot, the Stag and the Black Black Oil Ian Brown and Sìm Innes Introduction This article considers a key text, John McGrath's The Cheviot, the Stag and the Black Black Oil (1973), the first production of 7:84 (Scotland) Theatre Company. The Cheviot is surely the most influential Scottish radical play of the 1970s – and, arguably, since – and songs fulfil a key role in its dramatic form and impact. Other Scottish playwrights like Hector MacMillan, Ian Brown and Stewart Conn did use satirical songs in plays in the 1970s, but their use was intermittent, examples including MacMillan’s The Rising (1973), Brown’s Carnegie (1973) or Conn’s Thistlewood (1975), while the plays presented by 7:84 (Scotland) and its later offshoot Wildcat Theatre Company followed very much the example of The Cheviot in embedding songs in the dramatic text. Given the impact of McGrath’s play it has been possible, of course, from time to time to find an arguably overstated role for it in Scottish theatre. -
Hit and Run Mark Bonnar and Jamie Sives Star As Two
Hit and run Guilt Mark Bonnar and Jamie Sives star as two brothers caught in an insane cover-up on MASTERPIECE Sundays, September 5 & 12, 2021 on PBS “It’s not the crime, it’s the cover-up” goes the old saying. But that didn’t stop brothers Max and Jake from hiding their guilt after running into an elderly pedestrian during an inebriated drive home from a wedding. Mark Bonnar (Unforgotten) and Jamie Sives (To the Ends of the Earth) star as Max and Jake in a darkly absorbing tale of rascality and deceit, on Guilt, airing in four parts with back-to-back episodes on MASTERPIECE, Sundays, September 5 & 12 at 9/8c on PBS. TV critics were hooked during Guilt’s recent UK run, calling the miniseries “entertainingly outlandish“ (The Telegraph); “a pin-sharp black comedy” (Evening Standard); and “an utter triumph, a word-of-mouth dazzler. I loved it” (The Guardian). Guilt costars Ruth Bradley (Pursuit) as Angie, the niece and closest relative of the hit-and-run victim, named Walter. Arriving in Edinburgh from her home in Chicago, Angie meets Max and Jake at Walter’s wake, where they have come to retrieve incriminating evidence. Angie and Jake hit it off, which complicates Max’s plan to escape justice. Also appearing are Emun Elliott (The Paradise) as Kenny, Max’s alcoholic private detective; Sian Brooke (Sherlock) as Claire, Max’s suspicious wife; Moyo Akandé (The Hurricane Heist) as Claire’s more-than-gym buddy, Tina; Ellie Haddington (Foyle’s War) as Walter’s pathologically vigilant neighbor, Sheila; and Bill Paterson (Wives and Daughters) as Roy, a sinister mob boss in Edinburgh. -
The Man Who Invented Christmas Pk
THE MAN WHO INVENTED CHRISTMAS Directed by Bharat Nalluri Starring Dan Stevens, Christopher Plummer and Jonathan Pryce UK release date | 1st December 2017 Running time | 104 minutes Certificate | PG Press information | Saffeya Shebli | [email protected] | 020 7377 1407 1 OFFICIAL SYNOPSIS The Man Who Invented Christmas tells of the magical journey that led to the creation of Ebenezer Scrooge (Christopher Plummer), Tiny Tim and other classic characters from A Christmas Carol. Directed by Bharat Nalluri (Miss Pettigrew Lives for a Day), the film shows how Charles Dickens (Dan Stevens) mixed real life inspirations with his vivid imagination to conjure up unforgettable characters and a timeless tale, forever changing the holiday season into the celebration we know today. LONG SYNOPSIS The bestselling writer in Victorian London sets out to revive his flagging career and reimagines Yuletide celebrations in The Man Who Invented Christmas, an entertaining and enchanting glimpse into the life and mind of master storyteller Charles Dickens as he creates the quintessential holiday tale, A Christmas Carol. After a string of successful novels, world-renowned writer Dickens (Dan Stevens) has had three flops in a row. With the needs of his burgeoning family and his own extravagance rapidly emptying his pockets, Dickens grows desperate for another bestseller. Tormented by writer’s block and at odds with his publishers, he grasps at an idea for a surefire hit, a Christmas story he hopes will capture the imagination of his fans and solve his financial problems. But with only six weeks to write and publish the book before the holiday, and without the support of his publishers – who question why anyone would ever read a book about Christmas – he will have to work feverishly to meet his deadline. -
Queen of the World Robert Hardman
2019 VI Queen of the World Robert Hardman London: Century, 2018 Review by: Carolyn Harris Review: Queen of the World Queen of the World. By Robert Hardman. London: Century, 2018. ISBN 978-1- 780-89819-3. xiv + 578 pp. £14.99. ueen of the World accompanied an ITV documentary of the same name and was one of the most informative and interesting popular royal biographies of 2018—a year that saw the Q publication of a variety of fresh perspectives on the royal family including Ma’am Darling: 99 Glimpses of Princess Margaret by Craig Brown, and The Quest for Queen Mary by James Pope-Hennessey and Hugo Vickers. Robert Hardman is an experienced journalist and royal correspondent whose 2012 book, Our Queen, examined both Queen Elizabeth II’s life and her work as sovereign at the time of her Diamond Jubilee. Queen of the World examines events in the six years following the jubilee and places the Queen’s role in a global context, examining her overseas tours and interactions with world leaders. Queen Elizabeth II has travelled more extensively than any other monarch in history—making “more than 260 visits to more than 125 nations and territories” (424)—but most books about her reign focus on events within the United Kingdom. The popular perception of the Queen also focuses on her residences and public engagements in a British context. In recent years, there has been scholarly analysis of the Queen’s role as Head of the Commonwealth over the course of her long reign, most notably Monarchy and the End of Empire: The House of Windsor, the British Government, and the Postwar Commonwealth by Philip Murphy (2013).