DOCSLIB.ORG

Press Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Press Release PRESS RELEASE Hir Written by Taylor Mac Directed by Nadia Fall Designed by Ben Stones CASTING IS ANNOUNCED FOR THE UK PREMIERE OF TAYLOR MAC’S ‘HIR’ AT THE BUSH THEATRE ARTHUR DARVILL, GRIFFYN GILLIGAN, ASHLEY MCGUIRE AND ANDY WILLIAMS WILL PERFORM IN THIS NEW PRODUCTION DIRECTED BY NADIA FALL Bush Theatre 15 June – 22 July Press Night on 20 June Casting is announced today for the UK premiere of Hir, written by Taylor Mac (24-Decade History of Popular Music) and directed by Nadia Fall (Disgraced). Arthur Darvill (Doctor Who, Broadchurch, Once) will play Isaac, Griffyn Gilligan (Teddy Ferrara) plays younger sibling Max, Ashley McGuire (Shopping and F***ing, The Suicide) will play their mom Paige and Andy Williams (The 39 Steps, War Horse) plays her husband Arnold. After winning acclaim in New York, this play from one of America’s most dynamic and distinctive voices comes to London in a new production. Pulitzer Prize finalist Taylor Mac is a multi-award-winning writer and performance artist at the forefront of alternative responses to American culture. Author of seventeen full-length plays, Mac won rave reviews for the extraordinary 24 hour durational concert, A 24-Decade History of Popular Music, which reframed and re-enacted 240 years of US history (an extract was performed at LIFT Festival 2016). In Hir, Mac tears apart the kitchen sink genre by challenging gender expectations and subverting all notions of the typical American family. “Stop behaving like a man!” “We are men Isaac gets home from serving in the marines to find war has broken out back home. Fed up with her broken American Dream, mom Paige has stopped washing, cleaning and caring for their ailing father. Once the breadwinner, dad Arnold has suffered a stroke and toppled from the head of the household to a mere puppet in the new regime. Ally to their mother is Isaac’s sibling Max. Only last time Isaac checked, Max was Maxine. In Central Valley, in a cheap house made of plywood and glue, notions of masculinity and femininity become weapons with which to defeat the old order. But in Taylor Mac’s sly, subversive comedy, annihilating the past doesn’t always free you from it. Hir is written by Taylor Mac, directed by Nadia Fall and designed by Ben Stones. Lighting design is by Eliott Griggs with sound design by Elena Peña. Fight direction is by Rachel Bown-Williams and Ruth Cooper-Brown of RC-Annie Ltd. Arthur Darvill (Isaac) is best known for his roles in the television series Doctor Who and Broadchurch. On stage his credits include Treasure Island (National Theatre), Once (West End/ Broadway), Our Boys and Swimming With Sharks (West End), Softcops (Royal Shakespeare Company), Doctor Faustus (Shakespeare’s Globe), Terre Haute (Edinburgh Festival Fringe/ West End/ National Tour) and Stacy (Arcola Theatre). Other television includes Legends of Tomorrow, Danny and The Human Zoo, The White Queen, The Paradise, Little Dorrit, He Kills Coppers and The Verdict. His film credits include Robin Hood, Sex & Drugs & Rock & Roll and Pelican Blood. He composed the music for Artefacts and several further productions at the Bush Theatre as an associate artist, along with productions elsewhere including Fantastic Mr Fox (Nuffield Theatre /Lyric Hammersmith/ Leicester Curve), I Want My Hat Back (National Theatre), Lightning Child and The Frontline (Shakespeare’s Globe), Stoopud Fucken Animals (Edinburgh Festival Fringe), Crazy Love (Paines Plough) and Is Everyone Ok? (Nabokov). His musical Been So Long (Young Vic Theatre/ English Touring Theatre), written with Che Walker, has been adapted for the screen and is currently in production. Griffyn Gilligan (Max) performed in Teddy Ferrara at the Donmar Warehouse. He is a founding member of the ensemble Ponyboy Curtis (The Yard/ New Diorama, Camden People’s Theatre). Griffyn has worked on various workshops and developments, including BULLISH (Milk Presents/ Lyric Hammersmith/ Camden People’s Theatre), Antigonna (Young Vic), Weaklings (Chris Goode & Company/ Warwick Arts Centre) and an upcoming project with The Royal Exchange/ Chris Goode & Company. Ashley McGuire (Paige) has previously worked with director Nadia Fall on several productions including The Suicide, Our Country's Good and Home (National Theatre). Further National Theatre credits include Light Shining in Buckinghamshire and An Oak Tree. Elsewhere, stage work includes the role of Falstaff in Henry IV (Donmar Warehouse), Shopping and F***ing (Lyric Hammersmith), Re-Charged - Fatal Light (Clean Break/ Soho Theatre) and Housekeeping (Theatre Uncut). For television, she has appeared in This Country, Decline and Fall, In the Club, The IT Crowd Special: The Internet is Coming, The Job Lot, Derek, Miranda and has played recurring roles in Man Down (Series 1-3), Dead Boss and Coronation Street. Film credits include David Brent: Life on the Road and Bridget Jones' Baby. Andy Williams’ (Arnold) work in the West End includes The 39 Steps and War Horse. More recently he appeared in Kneehigh’s Rebecca (Theatre Royal, Plymouth & Tour) and previously performed in the company’s production of Nights at the Circus. Further theatre credits include Grand Guignol (Theatre Royal, Plymouth/Southwark Playhouse), A Christmas Carol (Royal Theatre, Northampton), Ben Hur (Watermill Theatre), Judgement Day (Almeida Theatre), Noel Coward’s Brief Encounter and The Play What I Wrote (David Pugh Productions), Russian Roulette (The Featherstonhaughs & the Cholmondeleys), A Matter of Life and Death, Peer Gynt and Romeo and Juliet (National Theatre), The Hobbit (Vanessa Ford Productions), More Grimm Tales (Young Vic/ New Victory Theatre, New York/ Sydney Festival), As I Lay Dying, Twelfth Night and The Jungle Book (Young Vic), A Comedy of Errors (RSC/ UK Tour/ International Tour) and Bouncers (Hull Truck). On television he has appeared in Agatha Raisin: The Walkers of Dembley, Waking the Dead, Wire in the Blood, The Ghost Squad and Grown Ups. Taylor Mac (playwright) - who uses “judy” (lowercase, sic) not as a name but as a gender pronoun - is an actor, singer-songwriter, performance artist, director and producer. Judy’s work has been performed at New York City’s Lincoln Center, The Public Theatre and Playwrights Horizons, Los Angeles’s Royce Hall, Minneapolis’s Guthrie Theater, Chicago’s Steppenwolf Theatre, the Sydney Opera House, Boston’s American Repertory Theatre, Stockholm’s Sodra Theatern, the Spoleto Festival, San Francisco’s Curran Theater and MOMA, amongst others. Judy is the author of seventeen full-length plays and performance pieces including A 24-Decade History of Popular Music, Hir (placed on the top ten theatre of 2015 lists of The New York Times, New York Magazine, and Time Out NY), The Lily’s Revenge, The Walk Across America for Mother Earth, The Young Ladies Of, Red Tide Blooming, The Be(a)st of Taylor Mac, and in collaboration with Mandy Patinkin, Susan Stroman and Paul Ford The Last Two People On Earth: An Apocalyptic Vaudeville. Mac is a Pulitzer Prize finalist for Drama and the recipient of multiple awards including the Kennedy Prize, a NY Drama Critics Circle Award, a Doris Duke Performing Artist Award, a Guggenheim, the Herb Alpert in Theater, the Peter Zeisler Memorial Award, the Helen Merrill Playwriting Award, an Obie, and the Ethyl Eichelberger Award. Nadia Fall (director) returns to the Bush Theatre following Disgraced. She has directed numerous productions at the National Theatre including The Suicide, Our Country’s Good, Dara, Chewing Gum Dreams, Home, Hymn and The Doctor’s Dilemma. Further directing credits include R&D (Hampstead Theatre), Way Upstream (Chichester Festival Theatre), Hobson’s Choice (Regent’s Park Open Air Theatre), How Was it for You? (Unicorn Theatre) and The Maids (Lyric Hammersmith). She has led participation initiatives with partners such as the Young Vic, Clean Break, Soho Theatre and the Royal Court. She is also an acting coach, supporting professional actors for film and stage. Ben Stones (designer) has designed extensively for theatre and dance and returns to the Bush Theatre following The Kitchen Sink. Previous work with Nadia Fall includes The Suicide (National Theatre), Way Upstream (Chichester Festival Theatre) and Hobson’s Choice (Regent’s Park Open Air Theatre). Other credits include Into The Hoods: Remixed, The Mad Hatter’s Tea Party and Some like it Hip Hop (ZooNation), Kiss Of The Spider Woman (Donmar Warehouse), The Silence of the Sea (Donmar Trafalgar), An Enemy of the People (Sheffield Crucible) and The Lady In The Van (National Tour). In 2011 he won the MEN award for Best Design for Doctor Faustus at the Royal Exchange, Manchester. - ENDS – PRESS CONTACTS For further information please contact Laura Myers or Hannah Barnett Leveson at The Corner Shop PR: [email protected] / [email protected] / 0207 831 7657 Images available here Username: Bush Password: 2017 LISTINGS 15 Jun – 22 Jul HIR A Bush Theatre production Written by Taylor Mac Directed by Nadia Fall Designed by Ben Stones Lighting Designed by Eliott Griggs Sound Designed by Elena Peña Press night: 20 June, 7pm Captioned: 7 Jul, 7.30pm Audio described: 15 Jul, 2.30pm TICKET PRICES Count Me In: £10 (Theatre) Adult: From £20 (Theatre) and £10 (Studio) Count Me In tickets are just £10 and are available for performances in the Theatre. These are unreserved tickets which will be allocated to a seat on the day of performance. Audience members might not be sitting next to the people they booked with but will be guaranteed a seat. Concessions: Bush Locals, Senior Citizens,
Load more

Recommended publications
  • VORTEX Playing Mrs Constance Clarke
    THE BIG FINISH MAGAZINE MARCH 2021 MARCH ISSUE 145 DOCTOR WHO: DALEK UNIVERSE THE TENTH DOCTOR IS BACK IN A BRAND NEW SERIES OF ADVENTURES… ALSO INSIDE TARA-RA BOOM-DE-AY! WWW.BIGFINISH.COM @BIGFINISH THEBIGFINISH @BIGFINISHPROD BIGFINISHPROD BIG-FINISH WE MAKE GREAT FULL-CAST AUDIO DRAMAS AND AUDIOBOOKS THAT ARE AVAILABLE TO BUY ON CD AND/OR DOWNLOAD WE LOVE STORIES Our audio productions are based on much-loved TV series like Doctor Who, Torchwood, Dark Shadows, Blake’s 7, The Avengers, The Prisoner, The Omega Factor, Terrahawks, Captain Scarlet, Space: 1999 and Survivors, as well as classics such as HG Wells, Shakespeare, Sherlock Holmes, The Phantom of the Opera and Dorian Gray. We also produce original creations such as Graceless, Charlotte Pollard and The Adventures of Bernice Summerfield, plus the THE BIG FINISH APP Big Finish Originals range featuring seven great new series: The majority of Big Finish releases ATA Girl, Cicero, Jeremiah Bourne in Time, Shilling & Sixpence can be accessed on-the-go via Investigate, Blind Terror, Transference and The Human Frontier. the Big Finish App, available for both Apple and Android devices. Secure online ordering and details of all our products can be found at: bgfn.sh/aboutBF EDITORIAL SINCE DOCTOR Who returned to our screens we’ve met many new companions, joining the rollercoaster ride that is life in the TARDIS. We all have our favourites but THE SIXTH DOCTOR ADVENTURES I’ve always been a huge fan of Rory Williams. He’s the most down-to-earth person we’ve met – a nurse in his day job – who gets dragged into the Doctor’s world THE ELEVEN through his relationship with Amelia Pond.
    [Show full text]
  • The Representation, Interpretation and Staging of Magic in Renaissance Plays from the Sixteenth Century Onwards
    Ghent University Faculty of Arts and Philosophy The representation, interpretation and staging of magic in Renaissance plays from the sixteenth century onwards. A case study of William Shakespeare’s The Tempest, Macbeth and Cristopher Marlowe’s Doctor Faustus. Supervisor: Paper submitted in partial Professor Doctor fulfilment of the requirements for Sandro Jung the degree of “Master in de Taal- en Letterkunde: English-Spanish” by Tine Dekeyser August 2014 Word count: 27334 Dekeyser i Acknowledgments First of all, I would like to thank my supervisor, Professor Doctor Sandro Jung, for granting me the opportunity to continue working on the same topic of my BA-dissertation and for guiding me towards a more profound investigation of magic and the Renaissance society. Also, I want to thank Professor Jung for reading the many versions of this dissertation and for providing a lot of helpful suggestions throughout the year. Secondly, I would like to thank The British Museum for giving me permission to use their highly detailed engravings, without which this dissertation would not exist. Thirdly, I would like to thank my boyfriend and my mother for supporting me, listening to my dilemmas and calming me down when stress got the better of me. Also, I want to thank my boyfriend for helping me track down the movies I needed for my analyses. Dekeyser ii Table of Contents Acknowledgments ....................................................................................................................... i List of Illustrations ...................................................................................................................
    [Show full text]
  • Completeandleft
    MEN WOMEN 1. Adam Ant=English musician who gained popularity as the Amy Adams=Actress, singer=134,576=68 AA lead singer of New Wave/post-punk group Adam and the Amy Acuff=Athletics (sport) competitor=34,965=270 Ants=70,455=40 Allison Adler=Television producer=151,413=58 Aljur Abrenica=Actor, singer, guitarist=65,045=46 Anouk Aimée=Actress=36,527=261 Atif Aslam=Pakistani pop singer and film actor=35,066=80 Azra Akin=Model and actress=67,136=143 Andre Agassi=American tennis player=26,880=103 Asa Akira=Pornographic act ress=66,356=144 Anthony Andrews=Actor=10,472=233 Aleisha Allen=American actress=55,110=171 Aaron Ashmore=Actor=10,483=232 Absolutely Amber=American, Model=32,149=287 Armand Assante=Actor=14,175=170 Alessandra Ambrosio=Brazilian model=447,340=15 Alan Autry=American, Actor=26,187=104 Alexis Amore=American pornographic actress=42,795=228 Andrea Anders=American, Actress=61,421=155 Alison Angel=American, Pornstar=642,060=6 COMPLETEandLEFT Aracely Arámbula=Mexican, Actress=73,760=136 Anne Archer=Film, television actress=50,785=182 AA,Abigail Adams AA,Adam Arkin Asia Argento=Actress, film director=85,193=110 AA,Alan Alda Alison Armitage=English, Swimming=31,118=299 AA,Alan Arkin Ariadne Artiles=Spanish, Model=31,652=291 AA,Alan Autry Anara Atanes=English, Model=55,112=170 AA,Alvin Ailey ……………. AA,Amedeo Avogadro ACTION ACTION AA,Amy Adams AA,Andre Agasi ALY & AJ AA,Andre Agassi ANDREW ALLEN AA,Anouk Aimée ANGELA AMMONS AA,Ansel Adams ASAF AVIDAN AA,Army Archerd ASKING ALEXANDRIA AA,Art Alexakis AA,Arthur Ashe ATTACK ATTACK! AA,Ashley
    [Show full text]
  • IWU London Program
    IWU London Program Prof. Edgar Lehr Join us in London! Illinois Wesleyan University established its London 2018 London Director Program to provide students with a chance to study abroad in the first Illinois Wesleyan University is pleased semester of the sophomore or junior year while earning credit toward four to announce that Dr. Edgar Lehr, General Education requirements. The IWU London Program offers you a Professor of Biology, will direct the 2018 IWU London Program. close connection to an IWU faculty member, who acts as the program A specialist in the biodiversity of director, and to a cohort of IWU students while you pursue the General amphibians and reptiles in the Education goals of independence, critical thinking, imagination, social neotropics (Peru). Professor Lehr has awareness, and sensitivity to others. Specifically, a semester abroad will extensive experience living and working abroad and has taught in the US, prepare you for responsible citizenship and leadership in a global economy. Germany, Hong Kong, and Peru. In London, Prof. Lehr will offer London, the City “Understanding Evolution” (LSI, London is one of the world’s greatest Global Diversity). As he says, the course is “a perfect fit for London, where cities. With a history that spans Darwinian evolution had its origins.” centuries, London offers students the As part of the course, students will visit opportunity to visit Roman ruins, the Natural History Museum and medieval religious structures, a Museum of Science, the Darwin House reconstruction of Shakespeare’s Museum, the London Zoo, and Kew Globe Theatre, Winston Churchill’s Botanical Garden. In addition, Prof.
    [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]
  • Blue Surge by Rebecca Gilman Directed by Ché Walker
    Press Information The Finborough Theatre is now FULLY AIR CONDITIONED Summer Season June to August 2011 Mark Cartwright in association with Neil McPherson for the Finborough Theatre presents The UK Premiere Blue Surge by Rebecca Gilman Directed by Ché Walker. Cast includes: James Hillier. The UK premiere of Rebecca Gilman's acclaimed play Blue Surge opens at the multi-award-winning Finborough Theatre on Tuesday, 2 August 2011 (Press Night: Thursday, 4 August 2011 at 7.30pm) for a limited four-week season. He's a 38 year old cop. She's an 18 year old prostitute. They're in love. What could possibly go wrong? Curt is a small-town cop in Midwest America under pressure to close down the local massage parlor. But after an encounter with one of its occupants, Sandy, his job suddenly becomes anything but clear-cut. As Curt and Sandy embark upon an unlikely relationship, they realize they might just achieve the American Dream. Yet when events begin to get out of control, they find escaping the past is much more difficult than it seems... Set against challenging questions about the class struggle in America today, this moving love story between cops and hookers is a tale of expectations missed and overcome, a play about the narratives we all write for ourselves and how fortune and single moments can change our lives. Playwright Rebecca Gilman plays include The Glory of Living, Spinning into Butter, Boy Gets Girl and The Sweetest Swing in Baseball. She was the first American playwright to win an Evening Standard Award for The Glory of Living (seen in the UK at the Royal Court Theatre), which also won the George Devine Award, was named one of Time magazine's Best Plays of the Decade, and was a finalist for the Pulitzer Prize.
    [Show full text]
  • SPECTACULAR DOCTOR WHO HD CINEMA EVENT BBC Worldwide Australasia Partners with Event Cinemas for Global Exclusive
    FOR ONE NIGHT ONLY: SPECTACULAR DOCTOR WHO HD CINEMA EVENT BBC Worldwide Australasia partners with Event Cinemas for global exclusive 26 February 2013: For the first time in New Zealand, Doctor Who fans will be able to see two high definition episodes of Doctor Who on the big screen, in a special cinema event as part of the celebrations for the Doctor Who 50th anniversary year. For one night only on Thursday 14 March at 7pm, fans can experience ‘The Impossible Astronaut’ and ‘Day of the Moon’ from Series 6 in HD, a two-part story which introduced the newest monster created by series executive producer and showrunner Steven Moffat – the Silence. Screening in cinemas across New Zealand and Australia, this will be a world-first multiple cinema screening for Doctor Who. Taking place at select Event Cinemas across the country, there will be a ‘best dressed’ prize at each cinema for the Doctor Who fan with the most impressive costume, from Time Lords to Monsters. More details can be found on participating cinema websites. Written by Steven Moffat and directed by Toby Haynes, the 90-minute screening stars Matt Smith (Eleventh Doctor), Karen Gillan (Amy Pond), Arthur Darvill (Rory Williams), Alex Kingston (River Song) and Mark Sheppard (Canton Everett Delaware III). In ‘The Impossible Astronaut’, the Doctor, Amy and Rory receive a secret summons that leads them to the Oval Office in 1969. Enlisting the help of a former FBI agent and the irrepressible River Song, the Doctor promises to assist the President in saving a terrified little girl from a mysterious Space Man.
    [Show full text]
  • October 2019 – March 2020
    13 September 2019 National Theatre On-Sale: October 2019 – March 2020 Just announced: • Emma Rice adapts and directs Emily Brontë’s iconic masterpiece WUTHERING HEIGHTS, in a new co-production with Wise Children in association with York Theatre Royal. Opening in the Lyttelton Theatre in autumn 2020 before touring across the UK • Lucy Briers, Crystal Condie and Kevin Hely join the cast of Francesca Martinez’s debut play ALL OF US, directed by Ian Rickson • Ben Daniels joins Nancy Carroll in Moira Buffini's timely new play MANOR, directed by Fiona Buffini On sale: • Sarah Niles joins Natalie Simpson and Racheal Ofori in THREE SISTERS, Inua Ellams’ adaptation of Chekhov’s classic play, relocated to 1960s Nigeria and directed by Nadia Fall • Hugo Weaving joins Lesley Manville in Tony Kushner’s new adaptation of Friedrich Dürrenmatt’s masterpiece THE VISIT or THE OLD LADY COMES TO CALL • Further casting announced for Lucy Kirkwood’s new play THE WELKIN, directed by James Macdonald, with a cast including Maxine Peake, Cecilia Noble and Ria Zmitrowicz • Ex Machina’s epic THE SEVEN STREAMS OF THE RIVER OTA, directed by Robert Lepage, returns to the NT as part of a world tour • Clint Dyer becomes the first Black British artist to have acted, written and directed at the NT with DEATH OF ENGLAND, written by Roy Williams and Dyer, and performed by Rafe Spall • Ciarán Hinds and Judith Roddy reprise their roles with Fra Fee joining the cast of Brian Friel’s TRANSLATIONS, directed by Ian Rickson • Further performances on sale for MY BRILLIANT FRIEND, adapted by April De Angelis from Elena Ferrante’s bestselling Neapolitan Novels To download high-resolution images for on-sale productions, please see here.
    [Show full text]
  • 1 October 25 2016 National Theatre Annual Review 2015–16: in Summary the National Theatre's Annual Review for 2015–16 Deta
    October 25 2016 National Theatre Annual Review 2015–16: in summary The National Theatre’s Annual Review for 2015–16 details Rufus Norris’ first year as Director of the National Theatre, with Lisa Burger as Executive Director. A full version of the Annual Report is available online, with key highlights below. Summary: What We Made Last year we made 27 new productions for the four theatres at our London home. The broad and exciting programme included re-imagined classics, modern masterpieces and new writing. We staged 35 productions in total, employing 508 actors and 131 musicians. We gave 3,134 performances across the UK and around the world. Where We Went In 2015–16 our work was seen in more places than at any point in our history. Through touring productions, collaboration with 63 theatre companies around the country, NT Live broadcasts, and our Learning programme, we reached more of the UK than ever before. Among the year’s highlights was the successful completion of a 31 city nationwide tour of The Curious Incident of the Dog in the Night-Time. Internationally, The Curious Incident of the Dog in the Night-Time became the longest-running play on Broadway in over a decade, winning 5 Tony Awards. War Horse played in Belgium and the Netherlands, and on 4th September War Horse opened in Beijing before touring to 5 other Chinese cities. Who Saw Our Work Our global paying audience was 4 million and our audience in the UK was 2.5 million. 57% of our UK ticket-bookers came from outside London.
    [Show full text]
  • Lorna Jowett Is a Reader in Television Studies at the University Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NECTAR 1 The Girls Who Waited? Female Companions and Gender in Doctor Who Lorna Jowett Abstract: Science fiction has the potential to offer something new in terms of gender representation. This doesn’t mean it always delivers on this potential. Amid the hype surrounding the 50th anniversary of Doctor Who, the longest running science fiction series on television, a slightly critical edge is discernable in the media coverage concerning the casting of the twelfth Doctor and issues of representation in the series. This paper examines Doctor Who in the broader context of TV drama and changes to the TV industry, analysing the series’ gender representation, especially in the 2005 reboot, and focusing largely on the female ‘companions’. Keywords: gender representation, television, feminism, BBC. When I put together an earlier version of this paper two years ago, I discovered a surprising gap in the academic study of Doctor Who around gender. Gender in science fiction has often been studied, after all, and Star Trek, another science fiction television series starting in the 1960s (original run 1966-69) and continued via spin-offs and reboots, has long been analysed in terms of gender. So why not Doctor Who? Admittedly, Doctor Who’s creators have no clear philosophy about trying to represent a more equal society, as with the utopian Trek. The lack of scholarship on gender in Doctor Who may also be part of a lack of scholarship generally on the series—academic study of it is just gaining momentum, and only started to accumulate seriously in the last five years.
    [Show full text]
  • 2016 Topps Doctor Who Extraterrestrial
    Base Cards 1 The First Doctor 34 Judoon 67 Dragonfire 2 The Second Doctor 35 The Family of Blood 68 Silver Nemesis 3 The Third Doctor 36 The Adipose 69 Ghost Light 4 The Fourth Doctor 37 Vashta 70 The End of the World 5 The Fifth Doctor 38 Tritovores 71 Aliens of London 6 The Sixth Doctor 39 Prisoner Zero 72 Dalek 7 The Seventh Doctor 40 The Tenza 73 The Parting of the Ways 8 The Eighth Doctor 41 The Silence 74 School Reunion 9 The War Doctor 42 The Wooden King 75 The Impossible Planet 10 The Ninth Doctor 43 The Great Intelligence 76 "42" 11 The Tenth Doctor 44 Ice Warrior Skaldak 77 Utopia 12 The Eleventh Doctor 45 Strax 78 Planet of the Ood 13 The Twelfth Doctor 46 Slitheen 79 The Sontaran Stratagem 14 Susan 47 Zygons 80 The Doctor's Daughter 15 Zoe 48 Sycorax 81 Midnight 16 Sarah Jane 49 The Master 82 Journey's End 17 Ace 50 Missy 83 The Waters of Mars 18 Rose 51 The Daleks 84 Victory of the Daleks 19 Captain Jack 52 The Sensorites 85 The Pandorica Opens 20 Martha 53 The Dalek Invasion of Earth 86 Closing Time 21 Donna 54 Tomb of the Cybermen 87 A Town Called Mercy 22 Amy 55 The Invasion 88 The Power of Three 23 Rory 56 The Claws of Axos 89 The Rings of Akhaten 24 Clara 57 Frontier in Space 90 The Night of the Doctor 25 Osgood 58 The Time Warrior 91 The Time of the Doctor 26 River 59 Death to the Daleks 92 Into the Dalek 27 Davros 60 Pyramids of Mars 93 Time Heist 28 Rassilon 61 The Keeper of Traken 94 In the Forest of the Night 29 The Ood 62 The Five Doctors 95 Before the Flood 30 The Weeping Angels 63 Resurrection of the Daleks 96
    [Show full text]
  • Doctor Who, Steampunk, and the Victorian Christmas Mcmurtry, LG
    Doctor Who, Steampunk, and the Victorian Christmas McMurtry, LG Title Doctor Who, Steampunk, and the Victorian Christmas Authors McMurtry, LG Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/44368/ Published Date 2013 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Leslie McMurtry Swansea University Doctor Who, Steampunk, and the Victorian Christmas “It’s everywhere these days, isn’t it? Anime, Doctor Who, novel after novel involving clockwork and airships.” --Catherynne M. Valente1 Introduction It seems nearly every article or essay on Neo-Victorianism must, by tradition, begin with a defence of the discipline and an explanation of what is currently encompassed by the term— or, more likely, what is not. Since at least 2008 and the launch of the interdisciplinary journal Neo-Victorian Studies, scholars have been grappling with a catch-all definition for the term. Though it is appropriate that Mark Llewellyn should note in his 2008 “What Is Neo-Victorian Studies?” that “in bookstores and TV guides all around us what we see is the ‘nostalgic tug’ that the (quasi-) Victorian exerts on the mainstream,” Imelda Whelehan is right to suggest that the novel is the supreme and legitimizing source2.
    [Show full text]