DOCSLIB.ORG

Miranda, 19 | 2019, « Rethinking Laughter in Contemporary Anglophone Theatre » [En Ligne], Mis En Ligne Le 07 Octobre 2019, Consulté Le 08 Mars 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Miranda, 19 | 2019, « Rethinking Laughter in Contemporary Anglophone Theatre » [En Ligne], Mis En Ligne Le 07 Octobre 2019, Consulté Le 08 Mars 2021 Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 19 | 2019 Rethinking Laughter in Contemporary Anglophone Theatre Édition électronique URL : http://journals.openedition.org/miranda/19821 DOI : 10.4000/miranda.19821 ISSN : 2108-6559 Éditeur Université Toulouse - Jean Jaurès Édition imprimée Date de publication : 7 octobre 2019 Référence électronique Miranda, 19 | 2019, « Rethinking Laughter in Contemporary Anglophone Theatre » [En ligne], mis en ligne le 07 octobre 2019, consulté le 08 mars 2021. URL : http://journals.openedition.org/miranda/ 19821 ; DOI : https://doi.org/10.4000/miranda.19821 Ce document a été généré automatiquement le 8 mars 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 1 SOMMAIRE Rethinking Laughter in Contemporary Anglophone Theater Rethinking Laughter in Contemporary Anglophone Theatre Sophie Maruejouls “'In the heart of each joke hides a little holocaust' (George Tabori): Horrendhilarious Wit on the British Contemporary Stage" Elisabeth Angel-Perez Hand to God: The Irreverent Laughter of Robert Askins - “Laugh, motherfuckers, that shit’s funny” (Askins 31) Marianne Drugeon Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016) Claire Hélie « Naissance des comiques gays et lesbiens américains : le rire queer comme performance esthético-politique » Xavier Lemoine Anasyrma et la hantise du rire dans le théâtre de Tennessee Williams Emmanuel Vernadakis Prospero's Island Pushing for Efficiency: Gifford Pinchot and the First National Parks Jean-Daniel Collomb The Confidence-Man: His Masquerade, or the promise of “something further” Thomas Velasquez Humanités numériques et études anglophones : Comprendre et explorer Géraldine Castel The Shulamite of Sodom: Wilde’s Subversion of the Song of Songs and the Birth of the Monstrous-Feminine Gerrard Carter Miranda, 19 | 2019 2 Ariel's Corner Theater The Snapper by Roddy Doyle and Alys, Always by Lucinda Coxon Performance Review William C. Boles Textures and Layers of Sound: An Interview with Marcus Fischer Interview Alice Clapie The Scarlet Letter : A comme adaptation Critique Aliette Ventéjoux Tennessee Williams in translation : retour sur la première traduction en français de Camino Real Retours d’expérience Bertrand Augier Willkommen, Bienvenue, Welcome: The Emcee and the Master of Metaphors in Bob Fosse’s Cabaret Essay Gerrard Carter Music, dance Regard sur Holy de la compagnie Affari Esteri Festival Le Temps d’Aimer la Danse, Biarritz, Le Colisée, 7 septembre 2019 Nathalie Vincent-Arnaud Singing to the Most High for those below: the construction of gay male identity and the motifs in Josiah Wise’s “cherubim” Alejandro Gouin Three Ballerinas: A Moving Sketch (Jellybean Dance Collective, 2019) An interview with dancer and choreographer Victoria Niblett Nathalie Vincent-Arnaud Breaking Virginia’s Waves (1931): from page to stage Jean-Rémi Lapaire Film, TV, Video Interview with Maria Giese, April 16, 2019 Cristelle Maury et David Roche Conference Report: 25th SERCIA Conference: “Trouble on Screen” Université de Bretagne Occidentale, Brest, France, September 4-6 2019 - Conference organized by Elizabeth Mullen and Nicole Cloarec Sophie Chadelle et Mikaël Toulza Miranda, 19 | 2019 3 British visual arts Elizabethan Treasures, Miniatures by Hilliard and Oliver Exhibition review - National Portrait Gallery, London, 21 February - 19 May 2019 Alice Leroy Recensions François-René de Chateaubriand, Voyage en Amérique. Édition de Sébastien Baudoin. Christine Dualé Julien Nègre. L’Arpenteur vagabond. Cartes et cartographies dans l’œuvre de Henry David Thoreau. Mathieu Duplay Édouard Marsoin, Melville et l’usage des plaisirs. Mark Niemeyer Rick Darke and Piet Oudolf, Gardens of the High Line: Elevating the Nature of Modern Landscapes. Claire Cazajous-Augé Roy McFarlane. The Healing Next Time. Eric Doumerc Jean-Pierre Richard, Shakespeare Pornographe. Un théâtre à double fond Armelle Sabatier Julie Neveux. John Donne. Le Sentiment dans la langue. Claire Guéron Carine Lounissi, Thomas Paine and the French Revolution. Rachel Rogers Ophélie Siméon, Robert Owen’s Experiment at New Lanark; From Paternalism to Socialism. Alexandra Sippel Xavier Kalck,“We said Objectivist”. Lire les poètes Lorine Niedecker, George Oppen, Carl Rakosi, Charles Reznikoff, Louis Zukofsky. Fiona McMahon James Gifford. A Modernist Fantasy: Modernism, Anarchism, and the Radical Fantastic. Béatrice Duchateau Silvia Pellicer-Ortín, Julia Tofantšuk (eds.), Women on the Move. Body, Memory and Femininity in Present-Day Transnational Diasporic Writing. Sara Strauss Rachel Bouvet et Rita Olivieri-Godet, Géopoétique des confins Françoise Besson Miranda, 19 | 2019 4 Sophie Maruejouls-Koch and Emeline Jouve (dir.) Rethinking Laughter in Contemporary Anglophone Theater Le Théâtre anglophone contemporain et les nouveaux enjeux du rire Miranda, 19 | 2019 5 Rethinking Laughter in Contemporary Anglophone Theatre Sophie Maruejouls 1 The revival on the contemporary stage of long-established aesthetic categories inherited from the comic tradition and comprising a wide variety of styles, ranging from the burlesque, the slapstick or the farcical to satirical and black comedies, calls for a re-examination of the role and function of laughter in anglophone theatre since the second half of the twentieth century. In a post-Auschwitz world where, according to Theodor Adorno’s much-quoted dictum, it has become impossible to write poetry, the diversity of comic forms seems to have provided playwrights with the means of filling the void of the unspeakable. As early as 1958, Ionesco felt the need for a theatrical medium that had to be violently comical, that had “to push everything to paroxysm, to the point where the sources of the tragic lie” (Ionesco quoted in Esslin 142). In this light, the comic voice, as it manifests itself on stage today, could prove to be the catalyst for a new understanding of the tragic. This idea was suggested by Mireille Losco-Lena in 2005, when she wrote that the use of comic forms could breathe new life into theatre and help redefine the tragic (249). So, if it is still possible for spectators to laugh today, what makes them laugh? What is the meaning of the bursting, inarticulate voice that shakes them? Is it simply the only possible answer to the strangeness of the world, to its radical inhumanity? Or, in that shared space created by laughter, couldn’t there be a desire to go beyond nihilism and an affirmation of humanity? The Rabelaisian experience of laughter as pure outburst or Baudelaire’s description of the intoxicating power of laughter seem indeed to hint at something absolute, “something terrible and irresistible” (Baudelaire 156) that unsettles the relation of the public to the spectacle and renews the comic tradition to expand the potentialities of laughter, making it not just “the only imaginable and definitively terminal result” (Bataille 99), but also a means of setting thought in motion and continuing to be human in a world that no longer seems to be so. 2 The use of the term “contemporary” has to be understood as covering the period from the Second World War to today, a period marked by the horrors of two world wars, by the widening of the gap between the rich and the poor, by climate change, by the Miranda, 19 | 2019 6 gradual extinction of animal species, by terrorism… the list is long and could be even longer. Yet, through these troubled times, the comic form has developed into a highly reflective mode of understanding and representing the real. It has become a means of making sense of a multi-faceted, complex and ever-changing world whose propensity for not making sense, whose absurdity, resists our interpretative power, our need for coherence and order, a world that leaves us at times with only two options: laughing or crying. In its multiplicity of forms, motives and effects, laughter remains a highly enigmatic, highly theatrical externalization of something that cannot be named, which is why plays that make us laugh cannot simply be categorized as light-hearted art that refuses to take part in the violence of the world. After all, it is that violence that prompted such art, and it is because artists refused that violence that they chose to laugh at it. 3 Each contribution examines laughter from a specific angle, providing new insights on the political, cultural, ethical and mythical implications of laughter on contemporary British and American stages. Each offers us a glimpse of our times through the lens of humour, revealing the endless potentialities of the comic voice, its capacity for renewal and for addressing a wide range of audiences. 4 Elisabeth Angel-Perez demonstrates how post-Beckettian playwrights use wit as a new locus for tragedy to relocate, stretching the limits of language to produce a new form of laughter. Described as “horrendhilarious,” it is a laughter that bursts in the midst of horror, a laughter characteristic of a neo-satiricist tendency inherited from the theatrical and verbal experimentations of Samuel Beckett and Harold Pinter. Her exploration of the way the innovative, politically committed playwrights of the last two decades have dealt with language, pushing its metaphorizing process to its limits while liberating it from the constraints of visual representation, sheds light on the infinite potentialities of wit as a political tool and as a central device in
Load more

Recommended publications
  • LGBTQ America: a Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History Is a Publication of the National Park Foundation and the National Park Service
    Published online 2016 www.nps.gov/subjects/tellingallamericansstories/lgbtqthemestudy.htm LGBTQ America: A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History is a publication of the National Park Foundation and the National Park Service. We are very grateful for the generous support of the Gill Foundation, which has made this publication possible. The views and conclusions contained in the essays are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. Government. Mention of trade names or commercial products does not constitute their endorsement by the U.S. Government. © 2016 National Park Foundation Washington, DC All rights reserved. No part of this publication may be reprinted or reproduced without permission from the publishers. Links (URLs) to websites referenced in this document were accurate at the time of publication. THEMES The chapters in this section take themes as their starting points. They explore different aspects of LGBTQ history and heritage, tying them to specific places across the country. They include examinations of LGBTQ community, civil rights, the law, health, art and artists, commerce, the military, sports and leisure, and sex, love, and relationships. MAKING COMMUNITY: THE PLACES AND15 SPACES OF LGBTQ COLLECTIVE IDENTITY FORMATION Christina B. Hanhardt Introduction In the summer of 2012, posters reading "MORE GRINDR=FEWER GAY BARS” appeared taped to signposts in numerous gay neighborhoods in North America—from Greenwich Village in New York City to Davie Village in Vancouver, Canada.1 The signs expressed a brewing fear: that the popularity of online lesbian, gay, bisexual, transgender, and queer (LGBTQ) social media—like Grindr, which connects gay men based on proximate location—would soon replace the bricks-and-mortar institutions that had long facilitated LGBTQ community building.
    [Show full text]
  • The Influence of Kitchen Sink Drama in John Osborne's
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk.
    [Show full text]
  • Cause Célèbre by Terence Rattigan
    Cause Célèbre by Terence Rattigan Teachers’ Resource Pack Researched & written by Ellen Groves & Anne Langford 1 Cause CélèBRE – Teaching Resources Cause Célèbre SUBTITLE Cause Célèbre at The Old Vic 3 Sir Terence Rattigan : His Story 4 Chronology: Rattigan’s Career 5 Synopsis 6 What does cause célèbre mean? 8 Character breakdown 8 Theatrical context of the play 10 Historical context of the play 11 The ‘True’ story 12 Crimes of passion: Case Studies 13 Modern parallel case: OJ Simpson 15 Women and the Criminal Justice system 16 Death penalty in the UK / Around the world 17 In Conversation with... Niamh Cusack 19 Freddie Fox 21 Richard Teverson 23 Rehearsal Notes from the Assistant Director Eleanor While 24 Bibliography 26 2 cause célèbre by terence rattigan Lucy Black Timothy Carlton Simon Chandler Richard Clifford Oliver Coopersmith Niamh Cusack Anne‐Marie Duff Rory Fleck‐Byrne Joan Webster EranFis RaGenbury John Davenport Croom ‐ Johnson Christopher Edith Davenport Klma RaGenbury Montague & Randolph Browne Freddie Fox Jenny Galloway Patrick Godfrey Nicholas Jones Tommy McDonnell Lucy Robinson Tristan Shepherd Richard Teverson Tony Davenport Irene Riggs Judge O'Connor George Wood Stella Morrison Clerk of Court Casswell @nderstudy responsibiliAes Lucy Black: Edith Davenport & Klma RaGenbury Rory Fleck Byrne: George Wood & Casswell Tristan Shepherd:Tony Davenport & Randolph Browen & Montague Richard Teverson: O’Connor & Croom Johnson Sarah Waddell: Stella Morrison & Irene Riggs & Joan Webster & Clerk of Court Michael Webber: EranFis RaGenbury & Porter Sarah Waddell Michael Webber Tristram Wymark Tristram Wymark: John Davenport & Judge & Sergeant Bagwell Warder Sergeant Bagwell Porter 3 Cause CélèBRE – Teaching Resources Sir Terence Rattigan His Story Sir Terence Mervyn Rattigan was born in Kensington, London on 10 June 1911 and died of cancer on 30 November 1977.
    [Show full text]
  • Rita Nowak Homo Kallipygos 03.10.19
    Rita Nowak Homo Kallipygos 03.10.19 - 26.10.19 Mittwoch-Samstag, 12.00-18.00 Matthew Bown Gallery Pohlstrasse 48 10785 Berlin Rita Nowak's exhibition Homo Kallipygos is a series of photographs, of artists and not- artists, shot in Vienna, London and elsewhere. Fraternity, sorority; physical intimacy made compatible with the formality of spectacle; and the allure of the nude body are explored via the motif of the buttocks: the preferred, gender-neutral, erogenous zone of our age. The title of the show derives from the Aphrodite Kallipygos (aka Callipygian Venus), literally, Venus of the Beautiful Buttocks, a Roman copy in marble of an original Greek bronze [1]. Aphrodite's pose is an example of anasyrma: the act of lifting one's skirt to expose the nether parts for the pleasure of spectators [2]. Nowak's student diploma work, Ultravox (2004), referred to Henry Wallis's Death of Chatterton (1856), since when Nowak has regularly evoked the heritage of figurative painting. Centrefold cites an earlier pin-up, Boucher's Blonde Odalisque (1751-2), the image of a fourteen-year-old model, Marie-Louise O'Murphy [3]. Tobias Urban, a member of the Vienna-based artists' group Gelitin, sprawls not on a velvet divan in the boudoir but on that icon of contemporary consumerism, an abandoned faux-leather sofa, installed in a sea of mud. The title suggests that Urban, like O'Murphy, is intended as an object of our erotic fantasy; the pose is subtly altered from Boucher's original, the point- of-view is shifted a few degrees: we see a little less of the face, more of the buttocks and genitals [4].
    [Show full text]
  • Gary Shteyngart Succession
    Gary Shteyngart Succession Author Gary Shteyngart is to have a pig named in his honour after becoming the first American to win the Wodehouse Prize for comic fiction. Product type: Taschenbuch. Los Angeles and New York – Writers Guild of America West (WGAW) and Writers Guild of America, East (WGAE) tonight announced the winners of the 2020 Writers Guild Awards for outstanding achievement in writing for film, television, new media, news, radio/audio, and promotional categories at concurrent ceremonies at The Beverly Hilton in Los Angeles and the Edison Ballroom in New York City. By Gary Shteyngart. Gary Shteyngart: 'Super Sad True Love Story' TV series is coming to HBO Max Gary Shteyngart is known for his biting satire and smart dialogue, especially in his semi-dystopian novel Super Sad True. [SEZON NAGRÓD 2019/2020] Gildia Scenarzystów Amerykańskich przyznała swoje doroczne nagrody. Furthermore, LVs long-awaited entry into the Hangzhou market opened the premium floodgates, with Celine, Burberry and Ferragamoopening boutiques at Hangzhou Tower in rapid succession. Gary Shteyngart Photos Photos - Gary Shteyngart and the staff of Succession appear onstage during the 72nd Writers Guild Awards at Edison Ballroom on February 01, 2020 in New York City. ”—Gary Shteyngart “Gibney is as skilled with words as he is with his 11-inch Sujihiki knife. Serial jest emitowany od 3 czerwca 2018 roku przez HBO, natomiast w Polsce dzień później na HBO Polska. See details and exclusions - Gary Shteyngart - Lake Success. Gary Shteyngart: 'Super Sad True Love Story' TV series is coming to HBO Max Gary Shteyngart is known for his biting satire and smart dialogue, especially in his semi-dystopian novel Super Sad True.
    [Show full text]
  • Breaking Away: a Study of First Generation College Students and Their Af Milies Howard London Bridgewater State University, [email protected]
    Bridgewater State University Virtual Commons - Bridgewater State University Sociology Faculty Publications Sociology Department 1989 Breaking Away: A Study of First Generation College Students and Their aF milies Howard London Bridgewater State University, [email protected] Follow this and additional works at: http://vc.bridgew.edu/sociology_fac Part of the Higher Education Commons, and the Sociology Commons Virtual Commons Citation London, Howard (1989). Breaking Away: A Study of First Generation College Students and Their aF milies. In Sociology Faculty Publications. Paper 39. Available at: http://vc.bridgew.edu/sociology_fac/39 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. -r* - _P_ I --J.., II L I __ ? II __. _ Breaking Away: A Study of First- Generation College Students and Their Famiilies HOWARD B. LONDON Bridge-water State College Detailed family histories were taken of students who were the first in their families to go to college. This paper utilizes the psychoanalytic and family systems theory of Helm Stierlin and others to explore (1) how college matriculation for first-generation students is linked to multi- generational family dynamics, and (2) how these students reconcile (or do not reconcile) the often conflicting requirements of family membership and educational mobility. The same modernity that creates the possibility of opportunity for these students is seen also to create the potential for biographical and social dislocation. Introduction Several years ago the film Breaking Away was a box office success across America. On the surface it was the story of "town-gown" frictions between the "cuttters" of Bloomington, Indiana-so called because they were the children of the men who mined the local limestone qtuarries-atid the ostensibly more sophisticated but condescending students of Indiana University.
    [Show full text]
  • Heb 2016 31 1 30-46
    Human Ethology Bulletin – Proc. of the V. ISHE Summer Institute (2016): 30-46 Theoretical Review UNIVERSALS IN RITUALIZED GENITAL DISPLAY OF APOTROPAIC FEMALE FIGURES Christa Sütterlin Human Ethology Group, Max-Planck Institute for Ornithology, Seewiesen, Germany. [email protected] ABSTRACT Human genital display as part of the sculptural repertoire was presented and discussed within a wider ethological framework in the sixties of the last century. Male phallic display is widely referred to as a rank demonstration and ritualized threat rooted in male sexual behavior, and it is discussed as a symbolic dominance display and defense in the artistic context as well. Female sexual display in sculptures, however, is prevalently interpreted in terms of erotic and fertility aspects in art literature. Ethologically it is described as a gesture with at least ambivalent meaning. A recent analysis of its artistic presentation in the nineties of the last century has given rise to a new discussion of its function and meaning, on the behavioral as well as on the sculptural level. Cross- cultural consistency, functional context and expressive cues thereby play a primary role in this regard. In addition, a new consideration of behavioral relicts contributes to reinterpreting the gesture, both ethologically and artistically. The concept of ritualization may be of particular help for a better understanding of its archaic behavioral background and its special relevance for the arts. The sculptural motive is in the meantime partially accepted as an “apotropaic” (aversive) motive even in archaeological circles, but any derivation from behavioral origins is still far away from being integrated. Keywords: Female genital display, ethology, ritualization, art, and cultural comparison.
    [Show full text]
  • Love's Labour's Lost
    CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo.
    [Show full text]
  • Rock Has Risen
    FINAL-1 Sat, Mar 24, 2018 5:28:59 PM tvupdateYour Weekly Guide to TV Entertainment For the week of April 1 - 7, 2018 Rock has risen John Legend as seen in “Jesus Christ Superstar Live in Concert” INSIDE •Sports highlights Page 2 •TV Word Search Page 2 •Family Favorites Page 4 •Hollywood Q&A Page14 The last days of Christ get rock star treatment in an all-new, live televised musical production. With John Legend (“La La Land,” 2016) as Jesus, Sara Bareilles as Mary Magdalene and hard rock legend Alice Cooper as King Herod, Easter Sunday has never been so loud. Enjoy a fresh take on a tale of biblical proportions when “Jesus Christ Superstar Live in Concert” airs Sunday, April 1, on NBC. WANTED WANTED MOTORCYCLES, SNOWMOBILES, OR ATVS GOLD/DIAMONDS BUY SELL Salem, NH • Derry, NH • Hampstead, NH • Hooksett, NH ✦ 37 years in business; A+ rating with the BBB. TRADE Newburyport, MA • North Andover, MA • Lowell, MA ✦ For the record, there is only one authentic CASH FOR GOLD, Bay 4 YOUR MEDICAL HOME FOR CHRONIC ASTHMA Group Page Shell PARTS & ACCESSORIES We Need: SALESMotorsports & SERVICE SPRING ALLERGIES ARE HERE! 5 x 3” Gold • Silver • Coins • Diamonds MASS. MOTORCYCLE 1 x 3” DON’T LET IT GET YOU DOWN INSPECTIONS Alleviate your mold allergy this season! We are the ORIGINAL and only AUTHENTIC Appointments Available Now CASH FOR GOLD on the Methuen line, above Enterprise Rent-A-Car 978-683-4299 1615 SHAWSHEEN ST., TEWKSBURY, MA www.newenglandallergy.com at 527 So. Broadway, Rte. 28, Salem, NH • 603-898-2580 978-851-3777 Thomas F.
    [Show full text]
  • THE EFFECT by Lucy Prebble Directed by Anthony Neilson
    PRESS RELEASE – 13 February 2020 Twitter / Facebook / Instagram / Website IMAGES CAN BE DOWNLOADED HERE THE BOULEVARD THEATRE PRESENTS THE EFFECT By Lucy Prebble Directed by Anthony Neilson • CASTING IS TODAY ANNOUNCED FOR THE FIRST LONDON REVIVAL OF LUCY PREBBLE’S THE EFFECT, DIRECTED BY ANTHONY NEILSON • THE CAST WILL BE ERIC KOFI ABREFA, CHRISTINE ENTWISLE, TIM MCMULLAN AND KATE O’FLYNN • THE PLAY RUNS AT THE BOULEVARD THEATRE FROM 19 MARCH UNTIL 30 MAY, WITH PRESS NIGHT ON 25 MARCH • NEW IMAGES CAN BE DOWNLOADED HERE The Boulevard Theatre today announces casting for the first London revival of The Effect, written by award-winning writer Lucy Prebble (A Very Expensive Poison, ENRON, The Sugar Syndrome, Succession and Secret Diary of a Call Girl) and directed by Anthony Neilson (The Tell-Tale Heart, The Prudes and Unreachable). Eric Kofi Abrefa plays Tristan Frey, Christine Entwisle will play Lorna James, Tim McMullan will play Toby and Kate O’Flynn will play Connie Hall. Winner of the Critics’ Circle Award for Best New Play when it opened at the National Theatre in 2012, The Effect places modern medicine under the microscope, examining the fallout from a collision between love and science. Connie and Tristan meet; symptoms develop. Racing hearts. Lost appetites. Erratic emotions. Is this the frenzy of falling in love, or simply side effects from the new anti- depressant drug they're testing? Addiction comes hard and fast. But have the clinicians running the trial lost control? Eric Kofi Abrefa most recently starred in the film Blue Story, directed by Rapman. Other films include Jurassic World and Fury alongside Brad Pitt.
    [Show full text]
  • KILLING BONO a Nick Hamm Film
    KILLING BONO A Nick Hamm Film Production Notes Due for Release in UK: 1st April 2011 Running Time: 114 mins Killing Bono | Production Notes Press Quotes: Short Synopsis: KILLING BONO is a rock n’ roll comedy about two Irish brothers struggling to forge their path through the 1980’s music scene… whilst the meteoric rise to fame of their old school pals U2 only serves to cast them deeper into the shadows. Long Synopsis: Neil McCormick (Ben Barnes) always knew he’d be famous. A young Irish songwriter and budding genius, nothing less than a life of rock n’ roll stardom will do. But there’s only room for one singer in school band The Hype and his friend Paul’s already bagged the job. So Neil forms his own band with his brother Ivan (Robert Sheehan), determined to leave The Hype in his wake. There’s only one problem: The Hype have changed their name. To ‘U2’. And Paul (Martin McCann) has turned into ‘Bono’. Naturally there’s only one option for Neil: become bigger than U2. The brothers head to London in their quest for fame, but they are blighted by the injustices of the music industry, and their every action is dwarfed by the soaring success of their old school rivals. Then, just as they land some success of their own, Ivan discovers the shocking truth behind Neil’s rivalry with U2, and it threatens to destroy everything. As his rock n’ roll dream crashes and burns, Neil feels like his failure is directly linked to Bono’s success.
    [Show full text]
  • Read the 2015/2016 Financial Statement
    ANNUAL REPORT 2015-16 National Theatre Page 1 of 87 PUBLIC BENEFIT STATEMENT In developing the objectives for the year, and in planning activities, the Trustees have considered the Charity Commission’s guidance on public benefit and fee charging. The repertoire is planned so that across a full year it will cover the widest range of world class theatre that entertains, inspires and challenges the broadest possible audience. Particular regard is given to ticket-pricing, affordability, access and audience development, both through the Travelex season and more generally in the provision of lower price tickets for all performances. Geographical reach is achieved through touring and NT Live broadcasts to cinemas in the UK and overseas. The NT’s Learning programme seeks to introduce children and young people to theatre and offers participation opportunities both on-site and across the country. Through a programme of talks, exhibitions, publishing and digital content the NT inspires and challenges audiences of all ages. The Annual Report is available to download at www.nationaltheatre.org.uk/annualreport If you would like to receive it in large print, or you are visually impaired and would like a member of staff to talk through the publication with you, please contact the Board Secretary at the National Theatre. Registered Office & Principal Place of Business: The Royal National Theatre, Upper Ground, London. SE1 9PX +44 (0)20 7452 3333 Company registration number 749504. Registered charity number 224223. Registered in England. Page 2 of 87 CONTENTS Public Benefit Statement 2 Current Board Members 4 Structure, Governance and Management 5 Strategic Report 8 Trustees and Directors Report 36 Independent Auditors’ Report 45 Financial Statements 48 Notes to the Financial Statements 52 Reference and Administrative Details of the Charity, Trustees and Advisors 86 In this document The Royal National Theatre is referred to as “the NT”, “the National”, and “the National Theatre”.
    [Show full text]