BAFTA Breakthrough Brits 2018 – Press Bios Paapa Essiedu – Actor
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ANNUAL REVIEW 2015 -16 the RSC Acting Companies Are Generously Supported by the GATSBY CHARITABLE FOUNDATION and the KOVNER FOUNDATION
ANNUAL REVIEW 2015 -16 The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION. Hugh Quarshie and Lucian Msamati in Othello. 2015/16 has been a blockbuster year for Shakespeare and for the RSC. 400th anniversaries do not happen often and we wanted to mark 2016 with an unforgettable programme to celebrate Shakespeare’s extraordinary legacy and bring his work to a whole new generation. Starting its life in Stratford-upon-Avon, Tom Morton-Smith about Oppenheimer, we staged A Midsummer Night’s a revival of Miller’s masterpiece Dream in every nation and region Death of a Salesman, marking his of the UK, with 84 amateurs playing centenary, and the reopening of Bottom and the Mechanicals and The Other Place, our new creative over 580 schoolchildren as Titania’s hub. Our wonderful production of fairy train. This magical production Matilda The Musical continued on has touched the lives of everyone its life-enhancing journey, playing involved and we are hugely grateful on three continents to an audience to our partner theatres, schools and of almost 2 million. the amateur companies for making this incredible journey possible. Our work showcased the fabulous range of diverse talent from across We worked in partnership with the the country, and we are proud of the BBC to bring ‘Shakespeare Live! From increasing diversity of our audiences. the RSC’ to a television audience of 1.6m and to cinema audiences in People sometimes ask if Shakespeare 15 countries. The glittering cast is still relevant. The response from performed in the Royal Shakespeare audiences everywhere has been a Theatre to an audience drawn from resounding ‘yes’. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
A Sheffield Hallam University Thesis
Reflections on UK Comedy’s Glass Ceiling: Stand-Up Comedy and Contemporary Feminisms TOMSETT, Eleanor Louise Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26442/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26442/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Reflections on UK Comedy’s Glass Ceiling: Stand-up Comedy and Contemporary Feminisms Eleanor Louise Tomsett A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate declaration: I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University's policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acKnowledged. 4. The worK undertaKen towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
28Th GALWAY FILM FLEADH 5-10 JULY 2016
#filmfleadh 28th GALWAY FILM FLEADH 5-10 JULY 2016 TOWN HALL THEATRE, COURTHOUSE SQUARE, GALWAY www.galwayfilmfleadh.com · booking 091 569777 The Arts Council proudly supports film festivals to put audiences in the frame. 28th Galway Film Fleadh 5 – 10 July 2016 We would like to thank the following organisations for their support: Principal Funder Major Sponsors In Association with Supported by booking 091 569777 1 5 – 10 July 2016 Galway Film Fleadh From Sundance to the Galway Film Fleadh… Celebrating Irish Film all over the world A Date for Mad Mary Mom and Me Lost in France Crash and Burn The Young Offenders Bobby Sands: 66 Days Tiger Raid The Land of the Enlightened Moon Dogs www.irishfilmboard.ie 2 www.galwayfilmfleadh.com 28th Galway Film Fleadh 5 – 10 July 2016 Introduction Contents It’s that time of year again, and we are excited to once more showcase Galway as the beating heart of cinema in Ireland. or one week in the summer the entire Irish film industry descends on our Sponsors 1 “Cannes on the Corrib”, alongside filmmakers, talent, financiers and more Introduction 3 Ffrom every corner of the world. They share ideas, collaborate and watch Booking & Merchandise Info 5 films in the uniquely welcoming, intimate and informal atmosphere that only Galway Film Fleadh Map 5 a Galway festival experience could provide. More important, however, are our Day by Day Schedule 6 audiences which come from Galway, all over Ireland, and from almost every Panel Discussions 9 point of the globe, to see the best in new Irish and world cinema. -
ABC KIDS/COMEDY Program Guide: Week 23 Index 1 | Page
ABC KIDS/COMEDY Program Guide: Week 23 Index 1 | P a g e ABC KIDS/COMEDY Program Guide: Week 23 Index Index Program Guide .............................................................................................................................................................. 3 Sunday, 31 May 2020 ............................................................................................................................................ 3 Monday, 1 June 2020 ............................................................................................................................................ 9 Tuesday, 2 June 2020 .......................................................................................................................................... 15 Wednesday, 3 June 2020 .................................................................................................................................... 21 Thursday, 4 June 2020 ........................................................................................................................................ 27 Friday, 5 June 2020 ............................................................................................................................................. 33 Saturday, 6 June 2020 ......................................................................................................................................... 39 2 | P a g e ABC KIDS/COMEDY Program Guide: Week 23 Sunday 31 May 2020 Program Guide Sunday, 31 May 2020 5:00am The Hive (Repeat,G) 5:10am Pocoyo -
5 April 2019 Page 1 of 15
Radio 4 Listings for 30 March – 5 April 2019 Page 1 of 15 SATURDAY 30 MARCH 2019 gradual journey towards all I now do, I am honoured to be a daughters to the coast to find out if if the problems and mum to a fabulous autistic son. In the UK, we have thousands concerns have changed. SAT 00:00 Midnight News (m0003jxg) of autistic mothers, and indeed autistic parents & carers of all The latest national and international news from BBC Radio 4. kinds. Many bringing up their young families with love, As the women travel to their picnic by the sea in a minibus, we Followed by Weather. dedication and determination, watching their children grow and hear their stories. thrive. Do we enable and accept them? Balwinder was born and brought up in Glasgow and drives a SAT 00:30 Book of the Week (m0003jxj) Loving God, on this Mothering Sunday weekend, we ask that taxi. She was raised in a strict Sikh family and at the age of The Pianist of Yarmouk you guide and support all mothers, enabling them to gain eighteen her parents arranged her marriage. “With Mum and strength from you, cherishing all that their children will bring to Dad it was just, ‘You don’t need to study, you don’t need to Episode 5 the world, as young people deserving to be fully loved, and fully worry about work, because the only thing you’re going to be themselves. doing is getting married.’” Ammar Haj Ahmad reads Aeham Ahmad’s dramatic account of how he risked his life playing music under siege in Damascus. -
THE BIRTHDAY PARTY by Harold Pinter Directed by Ian Rickson
PRESS RELEASE – Tuesday 6th March 2018 IMAGES CAN BE DOWNLOADED HERE @BdayPartyLDN / TheBirthdayParty.London Sonia Friedman Productions in association with Rupert Gavin, Tulchin Bartner Productions, 1001 Nights Productions, Scott M. Delman present THE BIRTHDAY PARTY By Harold Pinter Directed by Ian Rickson CRITICALLY ACCLAIMED 60th ANNIVERSARY REVIVAL OF THE BIRTHDAY PARTY ENTERS FINAL WEEKS AT THE HAROLD PINTER THEATRE STRICTLY LIMITED WEST END RUN STARRING TOBY JONES, STEPHEN MANGAN, ZOË WANAMAKER AND PEARL MACKIE MUST COME TO AN END ON 14TH APRIL Audiences now have just five weeks left to see the critically acclaimed West End production of playwright Harold Pinter’s The Birthday Party. The company for the major revival, which runs 60 years since the play’s debut, includes Toby Jones, Stephen Mangan, Zoë Wanamaker, Pearl Mackie, Tom Vaughan-Lawlor and Peter Wight, and is directed by Ian Rickson. Stanley Webber (Toby Jones) is the only lodger at Meg (Zoë Wanamaker) and Petey Boles’ (Peter Wight) sleepy seaside boarding house. The unsettling arrival of enigmatic strangers Goldberg (Stephen Mangan) and McCann (Tom Vaughan-Lawlor) disrupts the humdrum lives of the inhabitants and their friend Lulu (Pearl Mackie), and mundanity soon becomes menace when a seemingly innocent birthday party turns into a disturbing nightmare. Truth and alliances hastily shift in Pinter's brilliantly mysterious dark-comic masterpiece about the absurd terrors of the everyday. The production is designed by the Quay Brothers, with lighting by Hugh Vanstone, music by Stephen Warbeck, sound by Simon Baker, and casting by Amy Ball. For more information visit TheBirthdayParty.London -ENDS- For further information please contact The Corner Shop PR on 020 7831 7657 Maisie Lawrence [email protected] / Ben Chamberlain [email protected] LISTINGS Sonia Friedman Productions in association with Rupert Gavin, Tulchin Bartner Productions, 1001 Nights Productions, Scott M. -
Britgrad 2016 Programme
BritGrad 2016 Committee Chair Ella Hawkins The Eighteenth Annual Secretary Anna Hegland British Graduate Shakespeare Conference Registrars Helen Clifford Katie Knowles 2 - 4 June 2016 Treasurer Kelsey Ridge Party Planning Megg Ward Mary Way IT Jennifer Moss-Waghorn PuBlicity Elaine Goodfellow Anna Hegland Catering ReBecca Fredrickson Building and Facilities ReBecca White, Juliet Creese, David Gould, Stephen Sharp The Shakespeare Institute, The Shakespeare Institute Stratford-upon-Avon Church Street, Stratford-upon-Avon WARKS, CV37 6HP Tel. 0121 414 9500 beyond BritGrad 2016: \ind us on Twitter, Facebook, and our WordPress blog Welcome! (links Below). Please also feel free to Browse the Book stands in the Lounge at any point during the conference. Hello, and a very warm welcome to the Shakespeare Institute for the Eighteenth Annual British Graduate Shakespeare Conference! The Committee No BritGrad experience would Be complete without a carefully curated and I are delighted to welcome new and returning delegates to the programme of social events. This year’s line-up includes a trip to Hamlet at conference; we hope you enjoy attending the event as much as we’ve enjoyed the RSC (directed By Simon Godwin and starring Paapa Essiedu), and a planning it. suitaBly fantastic party at the RSC’s newly opened The Other Place. Our closing reception will take place at the same venue on Saturday evening. Every summer, the Shakespeare Institute in Stratford-upon-Avon opens its doors to guests from around the world for the British Graduate Shakespeare My huge thanks are due to the 2016 BritGrad Committee for their hard work Conference. First convened in 1999, BritGrad was initiated By Peter Holland during the past eight months. -
The Trump Dossier
4 NEWS The main story… What happened What the editorials said For months, “embittered Remainers” have been accusing May May’s plan for Brexit of not having a coherent Brexit plan, said the Daily Mail. She Theresa May promised this week to pursue a proved them spectacularly wrong this week. clean break from the European Union, ruling In “clear, unequivocal” terms, she pointed out out any deal that “leaves us half-in, half-out”. that we can’t remain in the single market, In a long-awaited speech setting out her because it ties us to the free movement of priorities for the Brexit negotiations, the Prime people and the supremacy of EU courts. And Minister said the UK cannot remain within the she indicated that “if the EU insists that being single market, as staying in “would, to all a member of the customs union means we intents and purposes, mean not leaving the EU cannot strike our own trade deals in the wider at all”. She pledged instead to seek a “bold and world, she will take us out of that, too”. The ambitious” trade agreement with the bloc – one speech was a “defining moment in British that would keep trade with Europe as politics”, said The Daily Telegraph. Optimistic “frictionless as possible” while still allowing the and outward-looking, yet with a welcome UK to control its borders, set its own laws and touch of steel, May’s plan “represents a strike solo trade deals with other countries. masterclass in common sense and is exactly what Britain voted for last June”. -
Searching for Something: Dualisms in Metal Detecting
Searching for something: dualisms in metal detecting Jess Moorhouse 13084100 MSc Cultural and Social Anthropology (Visual) Graduate School of Social Sciences University of Amsterdam Master thesis (Discussion Paper) Supervisor: Milena Veenis Word count: 6629 12th of March 2021 Amstelveen, the Netherlands Table of Contents Plagiarism declaration .................................................................................................................................... 2 Summary ......................................................................................................................................................... 3 Searching for something: dualisms in metal detecting .................................................................................. 4 References ....................................................................................................................................................20 Bibliography ..................................................................................................................................................23 1 Plagiarism declaration I have read and understood the University of Amsterdam plagiarism policy http://student.uva.nl/mcsa/az/item/plagiarism-and-fraud.html?f=plagiarism. I declare that this assignment is entirely my own work, all sources have been properly acknowledged, and that I have not previously submitted this work, or any version of it, for assessment in any other paper. Signed, Jess Moorhouse 12th of March 2021 Amstelveen, the Netherlands -
Reclaiming the Female Body and Self-Deprecation in Stand-Up Comedy
Positives and negatives: reclaiming the female body and self-deprecation in stand-up comedy TOMSETT, Eleanor <http://orcid.org/0000-0003-1645-9556> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/18629/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version TOMSETT, Eleanor (2018). Positives and negatives: reclaiming the female body and self-deprecation in stand-up comedy. Comedy Studies, 9 (1), 6-18. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Ellie Tomsett Department of Stage and Screen, Sheffield Hallam University, Sheffield, UK. Positives and negatives: Reclaiming the female body and self-deprecation in stand-up comedy. Abstract Drawing on existing research into feminist humour, this article argues that many of the functions of self-deprecation within comic performance that have been identified and explored in relation to the American context of the late 90s and early 2000s are still evident on the current UK circuit. Self-deprecation in stand-up comedy by women continues to be understood as both positive (as part of the rise of popular feminisms) and negative (as reinforcing patriarchal norms). These contradictory understandings of self-deprecation in stand-up comedy are always inextricably linked to the identities of the audiences for such humour. I consider how emergent female stand-up performers may rationalise and understand the role self-deprecation plays within their own work in the current British context.