DOCSLIB.ORG

Late Company

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Late Company STAGE TRAFFIC PRODUCTIONS PRESENT THE EUROPEAN PREMIERE OF LATE COMPANY BY AWARD-WINNING CANADIAN PLAYWRIGHT JORDAN TANNAHILL STARRING TODD BOYCE, DAVID LEOPOLD, ALEX LOWE, LUCY ROBINSON AND LISA STEVENSON AND DIRECTED BY MICHAEL YALE AT FINBOROUGH THEATRE FROM 25 APRIL – 20 MAY 2017 As part of the Finborough Theatre’s celebrations of Canada’s 150th birthday, Canadian playwright Jordan Tannahill, “the hottest name in Canadian theatre”, will debut his play, Late Company, at the Finborough Theatre, for a strictly limited season from 25 April – 20 May 2017, with press nights on 27 April/28 April. The full cast for Late Company are: Todd Boyce (Michael), David Leopold (Curtis), AlEx LowE (Bill), Lucy Robinson (Debora) and Lisa Stevenson (Tamara). This production will be directed by MichaEl YalE, with set and costumes by Zahra Mansouri, lighting by Nic Farman and sound by Chris Prosho. One year after a terrible tragedy; 2 sets of parents, one dead son, one living son. Who is to blame? A suburban dinner party for closure after 17 year-old Joel commits suicide. The guests; his heartbroken mother and father, his so-called tormentor Curtis, and his parents. Far from finding the peace they seek, the dinner strips bare their good intentions to reveal layers of parental, sexual, and political hypocrisy. Written with sensitivity and humour, Late Company explores restorative justice, cyber bullying, and the ever-changing complexities of parenthood in the 21st century. Todd Boyce’s (MichaEl Shaun-Hastings) theatre credits includes The Exorcist (Birmingham Rep), The Last of the Boys (Southwark Playhouse), Hamlet (The Young Vic), The Women of Lockerbie (Orange Tree Theatre, Richmond), Glyn and It (Yvonne Arnaud Theatre, Guildford), Whose Afraid of Virginia Woolf (South Australian Theatre Company), The Normal Heart (Sydney Theatre Company), Limited Edition (Sydney Dance Company), Lovers from Hell (Ovalhouse), Dr Faustus (Sydney Theatre Company) and The Exonerated (Riverside Studios). His TV credits include Mr Selfridge, Sherlock, The Crown, In Clear Sight, Coronation Street, Spooks, Beaver Falls, Hollyoaks, Adventures Inc, Broken News, Comfort Zone and The Restless Years. His film work includes Fantastic Beasts and Where to Find Them, In Clear Sight, Kick Ass 2, The Gatekeeper, Charlie and the Chocolate Factory, Everest, The Life and Death of Peter Sellers, Spygame, Jefferson in Paris, The Punisher, Blue Ice, Penelope and The Delinquents. David Leopold’s (Curtis Dermot) theatre credits include Muted (Bunker Theatre), Burnt Part Boys (Park Theatre), Soho Young Playwrights (Soho Theatre), Little Sure Shot (Theatre Royal Bath), Uncle Vanya (West Yorkshire Playhouse), Polar Bears (West Yorkshire Playhouse) and The Crucible (West Yorkshire Playhouse). AlEx LowE’s (Bill Dermot) theatre work includes Fatal Attraction (Theatre Royal Haymarket), The Changeling (Young Vic), The Girlfriend Experience (Royal Court Theatre/Young Vic), Blue Orange (Watford Palace Theatre), The Missing Hancocks (The Assembly Rooms Edinburgh), The New Power Generation (Live Nation), The Trial of Dennis the Menace (Purcell Rooms), The Barry from Watford Show (Watford Palace Theatre), The Tempest (Stafford Castle) and Uncle Vanya (Renaissance Theatre Company). His TV work includes Open All Hours, Unforgotten, Cheap Cheap Cheap, The Job Lot, Pompidou, Barry’s Bucket List, Secret Diary of a Call Girl, The IT Crowd, Casualty, Peep Show, Peter Kay Project, Lead Balloon, French and Saunders, Bremner Bird and Fortune, Saxondale, The Thick of It, Documental, New Tricks. His film work includes The Devil Outside, Grimsby, My Week with Marilyn, Haunted, Much Ado About Nothing and Peter’s Friends. Alex’s radio work includes Barry’s Lunch Club, Before They Were Famous, Clare in the Community, Trapped and The Brothers. Lucy Robinson’s (DEbora Shaun-Hastings) theatre work includes Waste (National Theatre), The Hard Problem (National Theatre), Handbagged (Vaudeville Theatre), Sweet Bird of Youth (The Old Vic), In the Next Room (Theatre Royal Bath), Cause Celebre (The Old Vic), Blithe Spirit (Nottingham Playhouse), Happy Now? (Gate Theatre), Macbeth (Octagon Theatre, Bolton), An Ideal Husband (Royal Exchange Theatre, Manchester), Top Girls (Octagon Theatre, Bolton), The Hypochondriac (West Yorkshire Playhouse) and The Miser (Chichester Festival Theatre). Her film credits include Highway to Dhampus, The Best Exotic Marigold Hotel, Bridget Jones, The Edge of Reason and The Biographer. Her television work includes Cold Feet, The Hollow Crown, Call the Midwife, Being Human, Missing, Doctor Who, New Tricks, The IT Crowd, Holby City, Coronation Street, Doc Martin. Rosemary and Thyme, Casualty, The Royal and Lewis. Lisa Stevenson’s (Tamara Dermot) theatre includes Warhorse (National Theatre), Measure for Measure (Royal Shakespeare Company), Richard III (Royal Shakespeare Company), A Streetcar Named Desire (The Young Vic), Romeo and Juliet (Globe Theatre), Henry V (Globe Theatre), Autumn and Winter (Globe Theatre), The Mikado (Stephen Joseph Theatre, Scarborough), Boston Marriage (Stephen Joseph Theatre, Scarborough), Comfort Me With Apples (Hampstead Theatre), Hayfever (Oxford Stage Company), Factors Unforeseen (Orange tree Theatre, Richmond), Comedy of Errors (West Yorkshire Playhouse), Rita Sue and Bob Too (Out of Joint), Explicit Polaroids (Out of Joint) and King Lear (Bristol Old Vic). Her television work includes Dixi, Obsession: Dark Desire, EastEnders, Doctors, Holby City, Murder in Mind, The Message, Casualty, The Bill, The Inspector Lynley Mysteries, John Judge Deed, Keen Eddie and Heartbeat. Her film credits include Dead House Six and The Football Factory and radio work includes Listening to the Dead: Ruby’s Shoes/Tuesday’s Child, Being Brave and Listen to the Words. Jordan Tannahill (writer) is a Canadian playwright and filmmaker and has been described as “the future of Canadian theatre” by NOW Magazine. His work has been presented in theatres, festivals, and galleries across Canada and internationally. Jordan’s plays have been honoured with various prizes including the 2014 Governor Generals Award for Drama for his book Age of Minority: Three Solo Plays, the 2014 John Hirsch Prize for directing, and Dora Awards for ‘Outstanding New Play’ for rihannaboi95 in 2013 and Concord Floral in 2015. Concord Floral also received the 2015 Carol Bolt Award and was shortlisted for the 2016 Governor General’s Award for Drama. In 2016 Botticelli in the Fire & Sunday in Sodom won the Toronto Theatre Critics Award for ‘Best New Play’ and it’s production at Canadian Stage received the Dora Award for ‘Outstanding Production’. Jordan is currently working on new projects with the National Theatre (UK), the National Film Board of Canada, and the Stratford Festival. From 2012 – 2016, in collaboration with William Ellis, Jordan ran the alternative art space Videofag out of their home in Toronto’s Kensington Market neighbourhood. Over the four years of its operation, Videofag became an influential hub for queer and avant-garde work in Canada. Jordan’s production of Sheila Heti’s All Our Happy Days Are Stupid, produced and directed with Erin Brubacher, premiered at Videofag in 2013 and went on to sold-out productions at Toronto’s Harbourfront Centre’s World Stage and New York City’s The Kitchen in 2015. From 2008 – 2016, Jordan wrote and directed plays through Suburban Beast a Toronto-based theatre company he founded with Rae Powell and later ran with Erin Brubacher. The company’s work was staged in theatres, art galleries, a car garage, Honest Ed’s discount emporium, a frat house, and YouTube, and frequently involved performances by non-traditional performers. His book Theatre of the Unimpressed: In Search of Vital Drama published by Coach House Press in 2015, was called “essential reading for anyone interested in the state of contemporary theatre and performance” by The Globe and Mail. It is currently on the curriculum of several North American universities. As a filmmaker, Jordan’s work has been presented in festivals and galleries the world over including the Toronto Int. Film Festival, the Art Gallery of Ontario, and the Tribeca Film Festival. He is currently working with filmmaker Stephen Dunn on adapting his play Botticelli in the Fire for the screen. Jordan has also worked in dance, choreographing and performing with Christopher House in Marienbad for the Toronto Dance Theatre in 2016 and choreographing House in the 2014 solo Rough House, also for the Toronto Dance Theatre. In 2015 he wrote the text for The Dietrich Group’s This Is a Costume Drama, which premiered at Harbourfront Centre’s World Stage. NOTES TO EDITORS Late Company is produced by Stage Traffic Productions. Stage Traffic is a dynamic new UK/US theatre production company. Based in London, but looking at inspiration from around the globe, it is committed to creating productions with a strong emphasis on contemporary storytelling that truly resonate with modern audiences. Their inaugural production was the musical This Little Life of Mine, which ran at the Park Theatre in 2016. Eilene and Michael first met as actors 17 years ago and since then both have worked additionally in the role of writer, director and producer both in the States and the UK. MichaEl YalE (DirEctor) Recent production of This Little Life of Mine at Park Theatre was multi-award-nominated at this year’s Broadway World and OffWestEnd Awards, including for Best Direction and Best New Musical. Recent and notable work: Henry IV: Part One (The Rose and St. James Theatre), Thrice Ninth Kingdom (Soho and Tristan Bates), Maternity (Riverside Studios), The Disappeared (Theatre 503), Wicked Will (BAC and tour), and Hell’s Kitchen (Midlands Art Centre). Late Company is the fourth Canadian play that Michael has given the European premiere. He previously directed the award winning Monsieur D’Eon (Union Theatre) and produced A Woman’s Comedy (Wimbledon Theatre) and Mrs Ruskin (Warehouse Theatre). Michael trained at LAMDA and continues to act and write for theatre and television. Eilene Davidson (ProducEr) trained at Guildford School of Acting and worked as an actress in London performing on stage and screen in her twenties.
Load more

Recommended publications
  • LATE COMPANY by Jordan Tannahill
    Press Information ! ! VIBRANT NEW WRITING | UNIQUE REDISCOVERIES Spring-Summer Season 2017 | April–July 2017 The European premiere LATE COMPANY by Jordan Tannahill. Directed by Michael Yale. Designed by Zahra Mansouri. Lighting by Nic Farman. Sound by Christopher Prosho. Presented by Stage Traffic Productions in association with Neil McPherson for the Finborough Theatre. Cast: Todd Boyce. David Leopold. Alex Lowe. Lucy Robinson. Lisa Stevenson. “When you wake up in a cold sweat at night and you think someone is watching you, well it’s me. I’m watching you. And that cold sweat on your body, those are my tears…“ As part of the Finborough Theatre’s celebrations of Canada’s 150th birthday, the European debut of “the hottest name in Canadian theatre”, Jordan Tannahill, with the European premiere of Late Company playing at the Finborough Theatre for a four week limited season on Tuesday, 25 May 2017 (Press Nights: Thursday, 27 April 2017 and Friday, 28 April 2017 at 7.30pm). One year after the suicide of their teenage son, Debora and Michael sit down to dinner with their son’s bully and his parents. Closure is on the menu, but accusations are the main course as good intentions are gradually stripped away to reveal layers of parental, sexual, and political hypocrisy – at a dinner party where grief is the loudest guest. Written with sensitivity and humour, Late Company explores restorative justice, cyber bullying, and is both a timely and timeless meditation on a parent’s struggle to comprehend the monstrous and unknown in their child. Playwright Jordan Tannahill has been described as “the future of Canadian theatre” by NOW Magazine.
    [Show full text]
  • Issue # 157 28 June 2019 Cold Feet to Return to ITV for a Ninth Series
    04/08/2020 Media Weekly Broadcast Issue # 157 28 June 2019 Cold Feet to return to ITV for a ninth series ITV confirmed that BAFTA winning comedy drama, Cold Feet, has been recommissioned for a ninth series from acclaimed creator and writer Mike Bullen and award-winning producers Big Talk Productions. Six further episodes of the Manchester-based series will begin shooting later this year. The Association of Commercial Read more Television in Europe (ACT) is a trade body for the commercial broadcasting sector in Europe. Formed in 1989, the ACT has 27 member companies active in 37 Mediaset’s online channel TgCom24 is the European countries, operating and distributing several most followed online newsroom in Italy thousand free-to-air and pay-tv channels and new media services. With 13% of Italian viewers accessing it at least three times a week and 24% visiting it in the last week, Mediaset’s channel TgCom24 ranks number one online newsroom in Italy in 2019. Looking at the Groups’s news channels as a whole, Mediaset is the favoured choice for 74% of Italians viewers. As trust in online news is undermined by the disinformation phenomenon, Mediaset proves to be a reliable source of information for its viewers. Read more RTL Group: My Brilliant Achievement On 18 June 2019, My Brilliant Friend, a production from Fremantle label Wildside, won the outstanding Drama TV Series award at the 2019 Golden Nymph awards in Monte Carlo. oy99madskp.preview.infomaniak.website/oldsite/acte.be/_old/newsletters/164/50/Issue-157bf6b.html?cntnt01template=webversion-newsletter 1/3 04/08/2020 Media Weekly Broadcast Read more Sky awards £125,000 to five new Women in Technology Scholars Sky has announced its second cohort of Women in Technology Scholars, awarding five talented women a total of £125,000 to accelerate a business idea which harnesses technology innovation.
    [Show full text]
  • Sundowning by Nessah Muthy
    Sundowning by Nessah Muthy Betty . .Hazel Maycock Intrepid plays by fearless women since 1991 Teresa . Nadia Nadif Alyssa . Aasiya Shah Kali Theatre develops and tours ground breaking, Director . .Helena Bell thought provoking, contemporary theatre by women Writer . Nessah Muthy writers of South Asian descent. Designer . .Rajha Shakiry Lighting Designer . Pablo Fernandez Baz We seek out and nurture talented writers, bringing their experience and stories to audiences from all backgrounds to transform the theatre Sound Designer . .Dinah Mullen landscape and better reflect modern Britain. Video Designer . .Daniel Denton Sundowning Choreographer . Yarit Dor We have been championing women writers from a South Asian background for over twenty five years. We actively encourage our Production Manager . .Kate Jones by Nessah Muthy writers to reinvent the theatrical agenda and have gained a reputation Company Stage Manager . Charlotte R L Cooper for staging inspiring and provocative new theatre. Wardrobe Support . Alex Horner Our new Discovery and Festival Writer Development Programmes Kali Theatre encourage and support the creation of new work through writing Artistic Director . Helena Bell workshops, dramaturgical support and public readings. Executive Director . .Christopher Corner Administrator. Samia Djilli Publicist . Nancy Poole Find our more and join our mailing list at kalitheatre.co.uk Marketing . Reshmi Mayer Email us [email protected] Thanks to the staff of Plymouth Theatre Royal for all their support in creating this Like us facebook.com/kalitheatureUK production of Sundowning. Follow us @KaliTheatreUK Thanks to Pursued by a Bear who first commissioned Sundowning when under previous AD Helena Bell and in particular Julia Tymukas, Thomas Kell, Katharine Ives and Cathy Westbrooke who helped support early sharings.
    [Show full text]
  • THE TRACKERS of OXYRHYNCHUS by Tony Harrison
    Press Information ! ! VIBRANT NEW WRITING | UNIQUE REDISCOVERIES Winter Season 2016-17 | October 2016 – January 2017 at the Finborough Theatre The first London production in nearly 30 years THE TRACKERS OF OXYRHYNCHUS by Tony Harrison. Directed by Jimmy Walters. Designed by Philip Lindley. Lighting by Rob Mills. Music by Piers Sherwood Roberts. Choreography by Amy Lawrence. Presented by Proud Haddock in association with Neil McPherson for the Finborough Theatre. Cast: Peta Cornish. Nik Drake. Richard Glaves. Sacha Mandel. Dylan Mason. Tom Purbeck. Dannie Pye. James Rigby. Adam Small. “I'm a God, Apollo, but I was tipped On a rubbish tip inside this manuscript. I’ve spent two thousand years asleep On an Oxyrhynchus rubbish heap." In a new production commissioned by the Finborough Theatre, the rediscovery of Tony Harrison’s The Trackers of Oxyrhynchus in its first London production for nearly 30 years opens at the Finborough Theatre for a four week limited season on Tuesday, 3 January 2017 (Press Nights: Thursday, 5 January and Friday, 6 January 2017 at 7.30pm). Egypt, 1907. Two archaeologists, Bernard Grenfell and Arthur Hunt, are searching for ancient fragments of poetry and plays, next to an old rubbish heap. Until the Greek God, Apollo, descends from the skies... Apollo is furious that they have failed to unearth the fragmentary text of a lost Satyr play by Sophocles. As he forces the two papyrologists to find the lost play, Grenfell and Hunt become part of the story they have discovered. Multi-award-winning poet and playwright Tony Harrison remakes the ancient Greek original into a play for our times – and rediscovers the satyr play.
    [Show full text]
  • Croydon Borouigh of Culture 2023 Discussion Paper
    CROYDON BOROUGH OF CULTURE 2023 Discussion paper following up Croydon Culture Network meeting 25 February 2020 Contents: Parts 1 Introduction 2 Croydon Council and Culture 3 The Importance of Croydon’s Cultural Activists 4 Culture and Class 5 Croydon’s Economic and Social Realities and Community 6 The Focus on Neighbourhoods 7 Audiences and Participants for 2023 8 The Relevance of Local History 9 Croydon’s Musical Heritage 10 Croydon Writers and Artists 11 Environment and Green History 12 The Use of Different Forms of Cultural Output 13 Engaging Schools 14 The Problem of Communication and the role of venues 15 System Change and Other Issues Appendices 1 An approach to activity about the environment and nature 2 Books relevant to Croydon 3 Footnotes Part 1. Introduction 1. The Culture Network meeting raised a number important issues and concerns that need to be addressed about the implementation of the award of Borough of Culture 2023 status. This is difficult as the two planning meetings that were announced would take place in March and April are not going ahead because of the coronavirus emergency. That does not mean that debate should stop. Many people involved in the Network will have more time to think about it as their events have been cancelled. Debate can take place by email, telephone, Skype, Zoom, etc. Several of the issues and concerns relate to overall aims of being Borough of Culture, as well as practical considerations. 2. There are several tensions and contradictions within the proposals that clearly could not be ironed out at the time the bid was submitted to the Mayor of London.
    [Show full text]
  • Isla Shaw Stage Designer
    Isla Shaw Stage Designer WhatsOnStage article, Dec 2015: Let's Talk About Sets: Isla Shaw on The Witches WhatsOnStage article, September 2017: Let’s Talk About Sets: Isla Shaw on Pink Sari Revolution Agents Alice Dunne Assistant +44 (0) 20 3214 0949 Flora Line [email protected] Credits Theatre Production Company Notes MAGIC BEACH CDP Theatre Dir: Liesel Badorrek THE MIDNIGHT GANG CDP Theatre Dir: Susanna Dowling Wri: Maryam Master FULLY SIKH Barking Gecko Theatre Dir:Matt Edgerton Nominated for PAWA award for Best Mainstage Production THE CAT IN THE HAT Leicester Curve UK Dir: Suba Das MY ROBOT Barking Gecko Theatre Dir: Matt Edgerton PINK SARI REVOLUTION Leicester Curve & UK tour Dir: Suba Das THE IMPORTANCE OF BEING Leicester Curve & Birmingham Director: Nikolai Foster EARNEST Rep United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes WIPERS Leicester Curve Dir: Suba Das Winner of the Asian Media Award for Best Stage Production THE WITCHES Leicester Curve / Hong Kong tour Dir: Nikolai Foster WHAT FALLS APART LIVE Theatre (Newcastle) Dir: Max Roberts ALIENS LOVE UNDERPANTS Nick Brooke Dir: Adam Bampton Smith EMILY BROWN AND THE THING Tall Stories / Sydney Opera House Dir: Olivia Jacobs ANGELINA BALLERINA Nick Brooke & Bos Productions Dir: Miranda Larson A MIDSUMMER NIGHT'S DREAM Shakespeare's Globe, UAE tour Dir: Bill Buckhurst THE SNAIL & THE WHALE Tall Stories, Broadway, Sydney Dir: Olivia Jacobs & Toby Mitchell THE GRUFFALO
    [Show full text]
  • The Future of Fairfield Halls
    THE FUTURE OF FAIRFIELD HALLS Sean Creighton, Norbury resident, historian, and Co-ordinator of the Samuel Coleridge-Taylor Network A discussion contribution by Sean FRED SCOTT, CROYDON PIANIST, ON WORKING WITH FH FH has always been co-operative in allowing me to book events there focused on performances involving local young artists across genres of music. ‘Soundpractice has staged events including lunchtime concerts, pre-concert foyer performances and events for last year's Coleridge-Taylor Festival. This last especially was a great forum for young people to perform; some students of mine were able to have premiered a piece they had written around SCT, also involving LMP in the performance. Last November saw local Youth Theatre Company Studio 74 give the first performance in Ashcroft Theatre of a new musical by Stella Coussell (South London composer) called 'Song for the World', based around the life of SCT, a further performance for BHM 2013 is currently being arranged. in addition, Soundpractice has been able to put on concerts as fund-raisers for Skeletal Cancer Action Trust, some of these have featured people affected by that disease. More of these concerts are planned for 2014. There will be a series of concerts in Spring 2014 which will raise funds for SCAT, involving a celebration of the 80th birthday of eminent British composer, and South London resident, Justin Connolly, who will also be performing himself. Future concerts in 2014 will also include prominent international artists in recital who bring their considerable following to Croydon. Included in current planning is to stage a major international-reach multi-genre music festival culminating in a collaboration to find instrumentalists, composers and conductors of excellence.
    [Show full text]
  • Council Leader Jack Hopkins Has Written To
    From: The Leader of Lambeth Council Our Ref: Leader 2020 03 20 Your Ref: Rt Hon Rishi Sunak Chancellor of the Exchequer House of Commons London SW1A 0AA Sent by email: [email protected] CC: [email protected] Tuesday, 24 March 2020 RESILIENCE OF LAMBETH’S CULTURAL SECTOR AND ITS SELF-EMPLOYED WORKERS Dear Chancellor We write with concern about the impact Covid-19 will have on our borough’s cultural sector and its self-employed workers. Lambeth is rich with culture and the borough’s creative and digital industries provide 22,000 jobs, generating £1.8bn GVA to the economy. The borough is home to 20 Arts Council England National Portfolio Organisations, including the National Theatre, BFI, Rambert and the Southbank Centre. Organisations that play a key part in ensuring the diversity and accessibility of London’s cultural sector are located throughout our borough, including the Black Cultural Archives, The Old Vic, Young Vic, Extant, Corali, Ovalhouse Theatre and Streatham Space Project. VCS organisations such as Iconic Steps, Creative Sparkworks and Spiral Skills join the afore mentioned organisations, and many more, in partnership led initiatives spearheaded by the council and backed by the GLA. Designed to strengthen the sector and achieve inclusive growth, these initiatives and the very viability of organisations are now under threat. In order to protect the resilience of the sector, Lambeth Council is calling for further mitigating measures from government. While measures such as the job retention scheme are welcomed, urgent clarification is needed over the groups of workers covered (e.g.
    [Show full text]
  • Hermione Norris Talks About the Long-Awaited Return of ‘Cold Feet’ and How Her Children Now Take Centre Stage
    ENJOYING FAMILY TIME IN SUNNY SARDINIA HERMIONE NORRIS TALKS ABOUT THE LONG-AWAITED RETURN OF ‘COLD FEET’ AND HOW HER CHILDREN NOW TAKE CENTRE STAGE Hermione, her husband Simon Wheeler and their children Wilf and Hero enjoy a scenic stroll while on holiday in Sardinia (above), a time to regroup after the actress spent six months away on projects, including the long-awaited return series of Cold Feet. “It’s lovely not to have to think about anything apart from, ‘Which pool shall we go to?’” she says of their sunshine break ermione Norris says she’s one of those people Cold Feet established Hermione’s career and put back projects in Leeds and Manchester – first on Hwho doesn’t like to look back. Yet that’s exactly her firmly on the map. But her husband, TV writer In the Club, the Kay Mellor drama about parents-to- what she found herself doing recently on the set of and producer Simon Wheeler, and their children be, then on Cold Feet. Away for months from their Cold Feet, the hit ITV series that last appeared on Wilf, 12, and Hero, eight, now take centre stage. Somerset home, this is the first decent stretch of our screens in 2003 and is due to return this autumn. “It’s all about them,” she says. “They are the most time they’ve spent together for a while. “It felt like only yesterday, but it first started 20 important people in my life.” “It’s lovely not to have to think about anything years ago, so you keep remembering where you We’re chatting in a shady spot of Forte Village, apart from, ‘Which pool shall we go to?’” Hermione were at that time,” she says of being back on set.
    [Show full text]
  • Spectral Latinidad: the Work of Latinx Migrants and Small Charities in London
    The London School of Economics and Political Science Spectral Latinidad: the work of Latinx migrants and small charities in London Ulises Moreno-Tabarez A thesis submitted to the Department of Geography and Environment of the London School of Economics for the degree of Doctor of Philosophy, London, December 2018 Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 93,762 words. Page 2 of 255 Abstract This thesis asks: what is the relationship between Latina/o/xs and small-scale charities in London? I find that their relationship is intersectional and performative in the sense that political action is induced through their interactions. This enquiry is theoretically guided by Derrida's metaphor of spectrality and Massey's understanding of space. Derrida’s spectres allow for an understanding of space as spectral, and Massey’s space allows for spectres to be understood in the context of spatial politics.
    [Show full text]
  • Idioms-And-Expressions.Pdf
    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.
    [Show full text]
  • Read Ebook {PDF EPUB} Liminal by Jordan Tannahill Jordan Tannahill's Liminal Plays Truth for Dramatic Effect
    Read Ebook {PDF EPUB} Liminal by Jordan Tannahill Jordan Tannahill's Liminal plays truth for dramatic effect. In 2014 playwright Jordan Tannahill became the youngest-ever winner of the Governor General’s Award for Drama. Now, still not 30, he has published a semi-fictional memoir. This is what’s known as a fast start for a literary career. The genre Tannahill is working is a hot one, sometimes referred to as the autobiographical novel or autofiction. Think names like Karl Ove Knausgard. The reader is given to understand that the people and events being described are, broadly speaking, real, but they are being presented and arranged in such a way as to heighten their dramatic effect. As Tannahill puts, describing his Toronto theatre project Videofag in terms that could just as easily be applied to Liminal , “it is both art and life . a sort of hyper-real portrait of a slightly more mundane reality.” This is having one’s cake and eating it, since we have a tendency to accept that what we’re getting in Liminal is a true story, even if we have no idea how much of it really is. That’s a big part of what makes these books so popular. An enhanced reality may be even better than the real thing. Read more: Tannahill begins with the moment that gives the novel its title and theme. On the morning of Sat. Jan. 21, 2017 he stands in the doorway, on the threshold, of his mother’s bedroom, not sure if she is alive or dead.
    [Show full text]