Analyse the Extent to Which Controversial Theatre Can Be Accommodated on a West End Stage
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“Everybody Wants Johnny!” West Coast Premiere JERUSALEM
Press Release For immediate release November 2013 Publicist: Anne Abrams [email protected] “Everybody Wants Johnny!” West Coast Premiere JERUSALEM By Jez Butterworth Directed by Bill English January 21 to March 8, 2014 Previews January 21-24 8pm Tuesday through Thursday at 7pm, Friday and Saturday at 8pm Saturday at 3pm and (new this season) select Sundays at 2pm PRESS OPENING: Saturday, January 25th at 8pm San Francisco, CA (November 2013) – San Francisco Playhouse (Artistic Director Bill English and Producing Director Susi Damilano) launches the New Year with the West Coast’s first production of Jerusalem, Jez Butterworth’s epic Tony and Olivier award-winning play. Bill English directs and Brian Dykstra* stars in the role of Johnny “Rooster” Byron. Quickly gaining recognition as a seminal play of the 21st Century, Jerusalem is about our relationship with sacred land and the balance we strike when confronted with its economic development. The state of Jerusalem is invoked as a metaphor, placed in the West of England where ancient Druid ruins are quickly becoming swept away by the sprawl of suburban industry. Johnny "Rooster" Byron squats on a precious piece of “holy land,” a final holdout against urban growth. A former motorcycle daredevil claiming to have been conceived on the tip of a speeding bullet, he has for 27 years held court as a drug dealer and pied-piper-like wise man to generations of impoverished suburban teens. Part Falstaff, part Evil Knevil, and part Henry V, Rooster stubbornly guards his land from real estate developers and enables rites of passage for kids whose parents have nothing to give them. -
And See Jerry Springer Host the Price Is Right Live!™ in Worcester
FOR IMMEDIATE RELEASE “Come On Down” and see Jerry Springer host The Price is Right Live!™ in Worcester WORCESTER, Mass. - (UPDATED September 28, 2017) The Price is Right Live!™ recently announced that TV favorite Jerry Springer will host its interactive stage show when it comes to The Hanover Theatre for the Performing Arts on Friday, October 20 at 8 p.m. Tickets are on sale now. Throughout an illustrious career, Jerry Springer has become a cultural and civic icon. In addition to hosting “The Jerry Springer Show,” he has acted as the mayor of Cincinnati and has been a political pundit, lawyer, award-winning newscaster, country recording artist, international emcee and TV personality. He has been in movies and on Broadway, is a progressive talk-radio broadcaster and won America's heart with his ballroom dancing on “Dancing With The Stars.” As host of The Price is Right Live!™, Springer will give eligible individuals the chance to "Come On Down" to win. Prizes may include appliances, vacations and possibly a new car! Contestants play classic games from television's longest running and most popular game show, including Plinko™, Cliffhangers™, The Big Wheel™ and even the fabulous Showcase. Playing to near sold out audiences for nearly nine years, The Price Is Right Live! ™ has given away more than 10 million dollars in cash and prizes and sold more than 1.2 million tickets. The game show is produced by FremantleMedia North America and licensed by FremantleMedia. Tickets to The Price is Right Live!™ start at $35. and are available online at TheHanoverTheatre.org, by phone at 877.571.SHOW (7469) or at The Hanover Theatre box office located at 2 Southbridge Street in downtown Worcester. -
Richard Bean's the Big Fellah (2010) and Jez Butterworth's the Ferryman
DOI: http://dx.doi.org/10.5007/2175-8026.2020v73n2p115 RICHARD BEAN’S THE BIG FELLAH (2010) AND JEZ BUTTERWORTH’S THE FERRYMAN (2017): TWO PLAYS ABOUT THE NORTHERN TROUBLES FROM OUTSIDE OF NORTHERN IRELAND Hiroko Mikami1* 1Waseda University, Tokyo, Japan Abstract During the three decades of the Troubles of Northern Ireland (1969– 1998), a remarkable amount of plays about the conflict was written, most by (Northern) Irish playwrights. Recently, however, alongside growing concerns about violence worldwide since 9/11, authors who are not of Irish descent have begun to choose the Northern Troubles as their theme. This article deals with two plays, Richard Bean’s The Big Fellahand Jez Butterworth’s The Ferryman, neither of which was written by an Irish playwright, and examines whether and to what extent it is possible to say that they can transcend regional boundaries and become part of global memories in the context of the post-Good Friday Agreement and 9/11. Keywords: Richard Bean; The Big Fellah; Jez Butterworth; The Ferryman; the Troubles of Northern Ireland * Professor of Irish Studies at Waseda University, Tokyo, where she also serves as director of the Institute for Irish Studies. She authored Frank McGuinness and his Theatre of Paradox (Colin Smythe, 2002) and co-edited/ authored Ireland on Stage: Beckett and After(Carysfort, 2007) and Irish Theatre and Its Soundscapes(2015). She translated many contemporary Irish plays into Japanese, including Tom Murphy’s Bailegangaire and A Thief of a Christmas, and Frank McGuinnes’s Innocence and Mutabilitie. E-mail address: [email protected]. ORCID: https://orcid.org/0000-0003-0731-454X. -
Jerry Springer Keynote Speaker Announcement
ADVANTAGE’S 2018 CONFERENCE KEYNOTE SPEAKER IS… JERRY SPRINGER London, January 2018 – Advantage Travel Partnership, the UK’s largest independent travel agent consortium, unveils Jerry Springer as the keynote speaker for the 2018 conference, being held in Miami, between 10 and 13 May 2018. Throughout an illustrious career, Jerry Springer has become a cultural and civic icon. Springer’s notoriety is due in large to the hosting of his eponymous show, The Jerry Springer Show, for 27 seasons. Springer’s career also includes time as a lawyer, the mayor of Cincinnati, an award-winning newscaster, author, Broadway actor, executive producer, ballroom dancer, and much more. “We are utterly thrilled that Jerry Springer will be our keynote speaker at our 2018 conference in Miami. Our conference theme focuses on building a story and how to effectively communicate this narrative with audiences, and Jerry’s career and experience is a perfect example of how best to achieve this. His exuberant personality adds an exciting dimension to the conference and will give our members a new perspective;” commented Julia Lo Bue-Said, Managing Director, Advantage Travel Partnership. Born in London, Springer’s family immigrated to New York when he was five years old. It was during a dinner meeting with New York Senator, Robert Kennedy, in 1968 that changed Springer’s life. He signed on with the Kennedy campaign and shortly thereafter felt the horror of Kennedy’s assassination along with the rest of the world. It was this catalyst that sprung Springer into the political world, 1 spearheading the movement in Ohio to lower the voting age from 21 to 18 which led to the ratification of the 26th Amendment to the Constitution that lowered the voting age for all Americans. -
A Conversation About King Rocker Between the Quietus, Stewart Lee, Michael Cumming and Robert Lloyd
No Image: A conversation about King Rocker between the Quietus, Stewart Lee, Michael Cumming and Robert Lloyd. It looks like a music documentary. Look, there’s a famous person [Stewart Lee] walking out of a train station telling viewers where they are and why it’s important. Now they’re telling us what is going on and why we’re here. It feels like a music documentary. And King Rocker, Michael Cumming and Stewart Lee’s film about Robert Lloyd and The Nightingales is one. It’s also not. You’d expect a film by the director of Brass Eye and Toast of London, and the comedian behind some of the most brilliant stand-up ever to come from these shores to be funny and smart but the experience of King Rocker explodes those expectations. It’s not hyperbole to say this is one of the best music documentaries of all time. Hilarious and brilliantly knowing about the form of music documentaries and caustic about the music industry and fame, at its moving heart it’s a wonderful homage to and portrait of a true outsider artist and inspiring comeback story that in the already boiling maelstrom of 2021 feels profoundly necessary. The film follows Stewart Lee and Robert Lloyd as they talk about Lloyd’s life as front-man and creative driver of post-punk favourites The Prefects and latterly The Nightingales. Through a series of funny and insightful conversations as they hunt down a famous 1970s public art sculpture of King Kong that is central to both men’s stories, the pair and assorted friends, acolytes and naysayers including the rest of the band and family members plus Frank Skinner, John Taylor (yep, of Duran Duran), Nigel Slater (!) and Robin Askwith (!!) discuss the past, the ups, the downs and the hazy memories of it all. -
Fist of Fun Press Release
Fist of Fun Press Release Fist of Fun was on TV in 1995. And since then, despite the popularity and artistic credibility of its writers and stars Stewart Lee and Richard Herring, it has never been repeated, never been released, and never been included as part of those 100 best sketch programs that turn up from time to time. So finally, on 6th December 2011, Go Faster Stripe will be gambling its economic future by putting that right, and releasing a four disc set of the first series. Late last year GFS heard that the BBC’s DVD making department had a meeting where they decided “neither Sales nor Marketing believed that Lee & Herring had much sales potential in the current market” leaving the door open for an idiotic independent producer to licence the material. So Stew and Rich clubbed together with Go Faster Stripe and stumped up the money and bought the rights. And they have made a beautiful thing. The set contains all the episodes, each with commentary tracks from Rich and Stew. And there’s a couple of commentaries from Kevin Eldon and Ben Moor too. There’s the unbroadcast pilot episode, a modern day interview with the pair as they go though a box of 90s memorabilia, and there’s even the disappointing live show recorded at the height of their TV fame. On discs 3 and 4 – in what they think is a first – they have included all the surviving studio tapes from the show recordings. That’s all the retakes, all the between take banter as well as a load of deleted scenes. -
Media Release
MEDIA RELEASE Heineken® reveals Spectre TV ad starring Daniel Craig as James Bond, plus world’s first ever selfie from space Amsterdam, 21 September 2015 - As part of its integrated global Spectre campaign, Heineken® has unveiled a new TV ad featuring Daniel Craig as James Bond, in a high speed boat chase. In addition, it also announced an exciting digital campaign featuring the world’s first ever selfie from space, dubbed the ‘Spyfie’. Heineken®’s Spectre campaign is the brand’s largest global marketing platform of 2015. Spectre, the 24th James Bond adventure, from Albert R. Broccoli’s EON Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment, will be released in the UK on October 26 and in the US on November 6. The Heineken® TVC will be launched mobile-first via Facebook, and will be shown on TV and cinema screens worldwide 24 hours later. Heineken® is the only Spectre partner who has created a TVC starring Daniel Craig. Heineken®’s TVC uses Spectre cinematographers and stuntmen to ensure the action sequences are authentically Bond. The added twist involves a young woman, Zara, who accidentally becomes involved in a high-speed boat chase where she helps the world’s favourite spy to save the day. Heineken®’s Spectre TVC: http://youtu.be/vuMvhJaWIUg For its digital Spectre campaign, Heineken® will once again be pushing the boundaries of modern technology, and will be taking the world’s first ever selfie from space. For the ‘Spyfie’, Heineken® has partnered with Urthecast to take ultra HD imagery using its camera on the Deimos satellite, currently in orbit 600km above the Earth’s surface. -
Engl3063-Marguerite-Carter.Pdf
Volume 12: 2019-20 ISSN: 2041-6776 ‘It is important to stress that the meanings associated with national iconography do not stand still. There are frequent struggles over meaning and demands to rethink the status acquired or transmitted by national icons.’ To what extent do your chosen plays and performances rework and rethink national iconographies and to what effect? Marguerite Carter It is arguable that the term ‘nation’ is one without a concrete definition, given Nadine Holdsworth’s assertion that ‘summoning the nation as a known, unchanging entity […] suggests harking back to some misplaced notion of national purity, when, in fact, the reality of the nation is reliant on its impurity’.1 Roy Williams’ Sing Yer Heart Out for the Lads and Jez Butterworth’s Jerusalem dramatize this sentiment, exploring the ‘impurity’ of England’s urban and rural communities respectively. They look past what David Ian Rabey suggests one might think of ‘if pushed to suggest some positive images of Englishness’, such as London’s liberal modernity or Wiltshire’s peaceful countryside.2 Rather, their dramas focus on the spaces – and people – these idealised perceptions of England eclipse, thereby reshaping the national iconographies of its bustling capital and idyllic countryside to better reflect the lived reality of this nation’s inhabitants. In this way, both Sing Yer Heart Out for the Lads and Jerusalem can be thought of as state of the nation plays. These are works which interrogate the notion of national identity, often products of what Holdsworth terms ‘moments of social breakdown and urban unrest that unsettle any idea of the homogenous nation’.3 Williams and Butterworth suggest that, in such moments, traditional symbols of Englishness assume greater significance. -
“Radical Optimism” in the Theatre of Anders Lustgarten
JCDE 2018; 6(1): 40–54 Chris Megson* “Can I Tell You about It?”: England, Austerity and “Radical Optimism” in the Theatre of Anders Lustgarten https://doi.org/10.1515/jcde-2018-0010 Abstract: Over the past decade, the plays of Anders Lustgarten have taken a prominent place in the English theatre repertoire. Performed by companies in- cluding Red Ladder, Cardboard Citizens, and the Royal Shakespeare Company, Lustgarten’s dramatic writing places social and political issues centrestage, ran- ging from the housing crisis and the electoral ascendancy of far-right parties to the alienation of the urban working class and the racist scapegoating of immi- grants. This article focuses on Lustgarten’s landmark play inspired by the Occupy movement, If You Don’t Let Us Dream, We Won’t Let You Sleep (Royal Court Theatre, 2013). I explore how the play engages with, and reflects on, economic austerity, forms of contemporary mass protest, and, indirectly, evolving concep- tions of English nationhood. I also examine Lustgarten’s notion of “Radical Optimism”–a term he identifies with the global anti-austerity protests following the 2007-8 financial crisis – and consider its importance to what he calls “anti- prop” political theatre. The first part of the article probes the relationship between If You Don’t Let Us Dream and the established “tradition” of state-of-the-nation playwriting; the second part identifies the play’s challenge to this “tradition,” which is informed by its proximity to the Occupy protests. Keywords: Anders Lustgarten, austerity, England, nation, Occupy, playwriting, political theatre, Radical Optimism “Activist first” Over the past decade, the plays of Anders Lustgarten have taken a prominent place in the English theatre repertoire. -
Spectre Review
Review: In ‘Spectre,’ Daniel Craig Is Back as James Bond, No Surprise By MANOHLA DARGISNOV. 5, 2015 Does it mean something that James Bond drinks a dirty martini in “Spectre,” the latest in the seemingly unkillable franchise? As more of an amateur in all-things Bond, I had hoped a dirty bomb would go boom or that the actress Léa Seydoux would do something unspeakable to Daniel Craig. Part of the bankable pleasure of the series, after all, is that every so often, among the usual guns and girls, the unexpected happens — a bikini stops the film, a villain revs it up , Bond surprises. There’s nothing surprising in “Spectre,” the 24th “official” title in the series, which is presumably as planned. Much as the perfect is the enemy of good, originality is often the enemy of the global box office. And so, for the fourth time, Mr. Craig has suited up to play the British spy who’s saving the world one kill at a time, with Sam Mendes occupying the director’s chair for a second turn. They’re a reasonable fit, although their joint seriousness has started to feel more reflexive than honest, especially because every Bond movie inevitably shakes off ambition to get down to the blockbuster business of hurling everything — bodies, bullets, fireballs, debris, money — at the screen. Before that happens here, there’s the usual narrative busywork that plays as if it were written by committee, which it was (John Logan, Neal Purvis, Robert Wade and Jez Butterworth). If you have watched one Bond movie, you know the score. -
University of Cincinnati News Record. Friday, October 29, 1971. Vol. 59
-' - LHJlIfI)1 y, S E:fN:-NL:S" 1HHJ'l:! 3:C{11ft:r:s tJ_~ C,. - -(,,is RA,'lY !JS'!tl/:E:R Sn>fQF ~Ct.:f!jen~'tfi\tf INSIDE STORY OF C1:NCINN.A.TI· Registration for. Winter Quarter begins next Week. The schedule appears on page 2 of NE"WS this issue. Volume 59 Number 9 Published Tuesdays and Fridays during the academic year, except as scheduled. Friday; October 29, 1971 --'--------------,,.----'""""--------:..._'""""---"""--...,-,,"""'= Senate Votes Fa'cully Rock Concerts To Reverse May Cease Earlier Decision Exam In Coming Years by Philip Sicker by Bob Behlen Investigative Editor Staff Reporter I University of Cincinnati sponsore.. The Student Senate Wednesday rock concerts are in danger of being night passed a resolution urging silenced in coming years, according faculty members to postpone to Cultural Events Co-ordinator, Joan examinations on election day and the Cochran, and program consultant, day after. A similar resolution failed Tom Brown. 'to pass at last week's meeting. Senator Marty Horwitz (A&S The concert program has lost junior) felt that the _ new bill money in the past two seasons and so eliminated the hint of any coercion far 1971 has afforded little hope for redemption. in the defeated resolution, as had been suggested by some Senate Miss Cochran and Brown explained members. He asked for approval so that the entire rock music business that the request of the Senate could has simply gotten out of control. The be made ata Thursday faculty market has been inundated with meeting. promoters and mushrooming Senator Larry Bonhaus (DAA .agencies in so short a time that many pre-senior) objected to consideration universities simply cannot compete . -
British Comedy, Global Resistance: Russell Brand, Charlie Brooker
British Comedy, Global Resistance: Russell Brand, Charlie Brooker, and Stewart Lee (Forthcoming European Journal of International Relations) Dr James Brassett Introduction: Satirical Market Subjects? An interesting facet of the austerity period in mainstream British politics has been the rise (or return) to prominence of an apparently radical set of satirists.1 Comedians like Russell Brand, Charlie Brooker and Stewart Lee have consolidated already strong careers with a new tranche of material that meets a widespread public mood of disdain for the failure and excess of ‘global capitalism’. This can be seen through Brand’s use of tropes of revolution in his Messiah Complex and Paxman Interview, Brooker’s various subversions of the media-commodity nexus in Screenwipe, and Lee’s regular Guardian commentaries on the instrumentalisation of the arts and social critique. While radical comedy is by no means new, it has previously been associated with a punk/socialist fringe, whereas the current batch seems to occupy a place within the acceptable mainstream of British society: BBC programs, Guardian columns, sell out tours, etc. Perhaps a telling indication of the ascendancy of these ‘radical’ comedians has been the growing incidence of broadsheet articles and academic blogs designed to ‘clip their wings’. For example, Matt Flinders has argued that Russell Brand’s move to ‘serious politics’ is undermined by a general decline in the moral power of satire: 1 Numerous people have read and commented on this paper. In particular, I thank Erzsebet Strausz, Lisa Tilley, Madeleine Fagan, Kyle Grayson, Roland Bleiker and Nick Vaughan-Williams. The idea for the paper arose in a series of enjoyable discussions with Alex Sutton and Juanita Elias and I am grateful for their encouragement to develop these ideas.