DOCSLIB.ORG

Matt Wolf Meets a Hollywood Superstar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

August 1997 Issue 11 £2.50 Matt Wolf meets a Hollywood Superstar The thinking man's actor Prolific, precocious, provocative Making his mark Also in this issue... 08 9771364763009 i EDITOR'S LETTER n the very first imre of Applause , Matt Wolf wrote a piece in which he com/Jared the 'softne ss' of London's theatre critics to their more bmtal New York cmm ter/Jam. As CI gro up (or 'scathe ', if yo u like ) of critics , our tolerance ratio, Wolf maintained, WdS felr highe r than Broadway's bwchers who, at the risk of reducing the number of Brnw:ltuF siln us, m any seas on, to single figure s, would blast to oblivion the equivalent of the maJ1\ h<' luw-par /nodlfctions that find their way into the Wes t End. Well, if the last re i< mrdlths are an),thing to go by, London's reviewers wmrld a/Jpear to hal'e taken \CU/,;"5oh'C'T!'llt/ons to heart. The majority of them gave the thumbs down to Terrence ,'vfc.'\'alh s mmrd-lvinninf,; Mas[er C lass, Neil Simon's The Goodbye Girl, and to the 10hn Dem p,c\-I)ana Rowe musical The Fi x - all American in ori?;in, incidentally. Marlene also hl1d 11 rOI/!;h ride from some of the more disceminf,; reviewers bw, ~mlike the first two, it has manl1!;.;:,j 0 hong in on the strength of Sian Phillips' marve llous central performance. Blood has also recentl)' bee n drawn from Always, whose critical reception was the jO/tnwlistic eqHit>aient of Rese n'Olr Dogs. In cases such as this, there is not a grea t deal a producer can do excC'pt sin k so me more money into the show and hope audiences prove the Clitics \( rong . Shlll iU ,ilm , indeed , wm ow to be the case (as happened many )'ears ago, with rhe origntlll _h arhe Girl. which, desp ite its critical matrling, ran fil'e and a half years) , there con hI " \a .:.'t<'r l'c' l enge And talking of reve nge, [he best story I know conceming a cri tic's come-u{)pJ llc,: 1m o/t'CS th e great George Jean Nathan, one of the mos t feared and brilliantly en ltlir II - ,Ill Sell' 'z"ork's legendar), aisle-s itters. (I [ was Nathan, who, reviewing a production of The \ [1 KaJu, ll" ted that all [he girls were so ugly it was impossible to tell which was Katisha dill! H hid! tlClSn '[ And i[ was Nath an who ended a review of a musical by saying he'd knocked 14 claSSically traineclrnale from ~ York who are just tutu divine ! cl'e)'\' (h ing in the show except the choms girls knee s - 'and God took care of that' ,) Nothan , the ' fn n g, 'eS, wished to meet th e deaf, dHmb and blind Helen Keller, and an appointment was se t DIREU FROM NORTH AMERICA liP In Keller 's 'minder' Annie SHllivan, A few mimltes into the visit, Keller tapped out 'ome thinf,; into the palm of S~tllivcm's hand. Miss SHllivan relayed the contents bock to Nathan : ':'vii" Keller,' she said, 'remembers ver), well a ret·iew you tvrote of a play in which )'0" said tilat tht' cos tf.tmes looked as though [h ey ilad bee n made by Helen Keller .' Oops - and touche I .>.,U C ST 1997 4PP1<-\USE 3 aflPlause AUGUST 1997 ISSUE 11 content REGULARS OFFSTAGE GOSSIP 6 ONSTAGE REVIEWS 15 DIARY 20 APPLAUSE THEATRE CLUB 23 The Ihinkin g nwn '.~ t ll·lrlY . (1.3 5 CD REVIEW 37 BOOK REVIEW 38 NEW FACES DOMINIC WEST 41 SPECTRUM DANCE, TV & OPERA 42 NED SHERRIN 46 PEOPLE WHO MAKE A DIFFERENCE THElMA HOLT 47 OFFSTAGE BROADWAY GOSSIP 49 COMPENDIUM 50 SHOWS THAT MAKE A DIFFERENCE 50 CLARE RAYNER TURNER PRIZE KATHLEEN TURNER BARBICAN'S LOST MUSICALS: JUBILEE THE APOCALYPSE OF THE HORSEMAN EDINBURGH FESTIVAL REMARKABLE CAREER JULIE WILSON ALAN BATES PROFILE 3 MARTIN McDONAGH INTERVIEW ' ,... l'l . ~ ,"1 • IAN COOl( -'I,., G US- 1997 I"Pt USE 5 -stage THE C;R EAT PETE PO~ nET HWAI TE is to st,]f <I S (orced to abandon its attcmr ts to mount Fi ona TJ IE ML"'IlAL \ 'ER ~ I ON of Jean de F[ore Cl c ,md its Macheth in the Brisw l O ld Vic prod uction Laird's producti on o( Oh, \\!hac A Lovei )' \X!(lT ' ,equel lv(an un des So urces is Ll llCe ; I ~ , li n bei ng which may he heading to London in the ~nd the National Theatre will prese nt it as a 111l)() ted for a West End presenrati ,;n. T he score Winter. The un lik ely Ho ll ywood St,l[ re turns to touri ng production next year. T he :; h(1I1', whi ch 'l'cm, rn h;l\'c heen awund (ore\'e r, r erhar s the O ld Vic ha ving wo rk ed tbere with Adrian was created by T heatre Workshop '35 \T,lI'S ag(1, e\'en Sin Cl' dOing a mU Si cal b ~ l se d ,\11 Jam de Noble on v<ltiuu s productions includ ing The will also come to London. E"rlier this year, FJllrcccc'ccmed like ,I gopd kkJ. The fi lms ca me Recnlitlng Officer. Rumour has it that he gO[ his N unn managed to se cure the performance nut o n :' 1" a decade (lgl) JnJ une th in g i" fL~ r ::j urI:" hig break when Dani el Day- Lewis introduced ri ghts fL) r OJdahoma !, stealing them fl'(lm under Ernanuelle Beart wi II not he rq'c,1ClI1 g her him to the rwducers of In the Nam e of the the nose of the O pen Air whi ch thought it lI'a.S pcrfll rm ance as lvL1I1() n. I-I owe\'er J CYl l lGll Father ,15 ~n Irishman and Pete held the act in the clea r to moun t a production th is summer. ,1ge nt i:; h" und rn , uggest (;1sting Estell e together long enough for them w cast him as T he National is likely to presen t ,1 majm re\'i\'al Skornik - ye" her pf the Renault C li o ad n ' [[S ­ Giuseppe. Unlike D8n D8y- Lc\\'i s, he manc1ged in Autumn 1998. and ex panding all the nude scenes. [0 give up the accent \\'hen he stopped fi lming and didn't th ink It was necessa ry to apply fo r an • • • • • • Irish passport . A nFR THr SHOCK OF H L . \ R I ~ U that the l11 <1g ici,1lI Paul Daniels had been cast In Th e • • • SchulJl f;) r W 'Il 'c'.I , we now h,11' c to LIce the even SO~ IE rEo rLE ARE CA LLI NG Trevors Nunn's first Wl) rSe r wspec t () ( seeing Luke Goss, once of se as,m in ch<1fge of tbe N mion al T hea tre daring 8fLlS, in Ci reel.'c . The ",rt ()f peuple who hClught and rrovocJtive whil e orhers are saying it's far 8ms records alllhnse ye,lrs ,l~O are npw in their cuo safe - which suggests thar he's prohahly twentic:; and \\' () uld he I1wrrified if ~ny , )(1 e (" und the right bal ance. His own rroduction of MUSICAL disc ,))'c red the ir d,lrk, teen;'ge secret. Just wlw Ibsen's An Enemy of the Peo/)Ie defini tely comes the pn)ciuc crs think wllul d cough ur muney t,; ~m~!~T:GEAPPRECIATION SOCIETY inw the safe G1tegory, while rutting Bulgah lV's ,Cl' th iS (allen ,rar is hc),()nd cll ll1 r rehenslon. rather ubscure Flil(Ju into the la rge O livier lvk anll'hile, the same proJucers \\'Ish to (;l., t an Thl'<l tre in Febru ary seems a little deranged. unknow n for the lead role of Tony in So w dm' For all those who enjoy the Ho\\,e\'er, it's gener" ll y agreed that as king Night Fever at the Londoll Pa ll ,1dlllln. Luke', Deborah Warner to d irect Noel Coward 's musicals but would like to b[(lthcr Mart w ines tn mind. Arlene Phillips, Private Li,'es is an absolute ly insp ired idea, but learn more and share their the choreog r;J piler o( H nl (io" lr , <Inc! tn'WC it's lik ely th,1t she thuught of it herse lf. interest with others, recentl y the ,1(me l1l enti, Inc,l G rcd'c , h,1> I'ecn Meanwhile, Terry Johnson's nell' r roducti on of given the ,1o f, "I' dir<' Lnnf,! \ mn.:L I\· ,\:Ip,Jl l Fever. T he London Clickulds is certain to be interes ting Whether you perform in local This b,)des we ll f" the ,l,me e numher> bu t h'1rd ly - Ed\\'a rd Ra\'enscroft's neg lected res wration shows, go to the theatre or Sllg~ C'~ t 5 t hlH l h~ :' ~)(il..l·rct1h "l l1 o( the u r ig l n~l l filn1 comedy \\'as <1 gem of its time and was is gU lfl !.! , ) tl~Llr~ ill t h~ .,LJge \'e r ~ inn. l'er(prmed on e\'ery Lord Mayor's Day fur just listen to musicals on CD :;e \'ent\, YC <1fS until David Garrick rut 8 stop to or tape, "SMASH" aims to ••• it.
Recommended publications
  • The Influence of Kitchen Sink Drama in John Osborne's

    The Influence of Kitchen Sink Drama in John Osborne's

    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk.
  • Annual Report and Accounts 2004/2005

    Annual Report and Accounts 2004/2005

    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
  • Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)

    Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)

    December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942).
  • Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ

    Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ

    1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business.
  • Demarcating Dramaturgy

    Demarcating Dramaturgy

    Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
  • University of Huddersfield Repository

    University of Huddersfield Repository

    University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context.
  • Frank Grace – Interview Transcript

    Frank Grace – Interview Transcript

    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Frank Grace – interview transcript Interviewer: Clare Brewer 8 December 2008 Theatre goer. Anna Lucasta; Windsor Rep; The Gioconda Smile; September Tide; The Second Mrs Tanqueray; Oklahoma; Annie Get your Gun; Shakespeare; The Old Vic; Peter Brook; Olivier; Amateur Theatre; Woolford; Look back In Anger; Encore; Theatre Cruelty; Roots; Tis Pity She’s a Whore; A View From the Bridge; Censorship; Theatre Clubs; The Bald Prima Donna; Oh What a Lovely War; Arthur Miller. This transcript has been edited by the interviewee and thus differs in places from the recording. CB: How did you first become interested in theatre? FG: I suppose through [act]ing at school, but in terms of any serious theatre going I suppose it goes back to the late 1940’s... interestingly enough, when I re-looked at the [programmes] that I have got, the first play that I saw [in] the West End was most unusual for the late 1940’s, it was a play called Anna Lucasta,an American play; what was unusual for the 1940s was that it was an all black cast. CB: Really… FG: And it was about a prostitute and my parents took me [laughs] and I think they must have been slightly worried because I was fourteen at the time and it was one of my first experiences. But that was not typical of the first sort of phase of my theatre-going between that moment in 1949 and about 1951 I suppose and [after where] something dramatic begins to happen, I think.
  • Scholarship Boys and Children's Books

    Scholarship Boys and Children's Books

    Scholarship Boys and Children’s Books: Working-Class Writing for Children in Britain in the 1960s and 1970s Haru Takiuchi Thesis submitted towards the degree of Doctor of Philosophy in the School of English Literature, Language and Linguistics, Newcastle University, March 2015 ii ABSTRACT This thesis explores how, during the 1960s and 1970s in Britain, writers from the working-class helped significantly reshape British children’s literature through their representations of working-class life and culture. The three writers at the centre of this study – Aidan Chambers, Alan Garner and Robert Westall – were all examples of what Richard Hoggart, in The Uses of Literacy (1957), termed ‘scholarship boys’. By this, Hoggart meant individuals from the working-class who were educated out of their class through grammar school education. The thesis shows that their position as scholarship boys both fed their writing and enabled them to work radically and effectively within the British publishing system as it then existed. Although these writers have attracted considerable critical attention, their novels have rarely been analysed in terms of class, despite the fact that class is often central to their plots and concerns. This thesis, therefore, provides new readings of four novels featuring scholarship boys: Aidan Chambers’ Breaktime and Dance on My Grave, Robert Westall’s Fathom Five, and Alan Garner’s Red Shift. The thesis is split into two parts, and these readings make up Part 1. Part 2 focuses on scholarship boy writers’ activities in changing publishing and reviewing practices associated with the British children’s literature industry. In doing so, it shows how these scholarship boy writers successfully supported a movement to resist the cultural mechanisms which suppressed working-class culture in British children’s literature.
  • Shakespeare on Film, Video & Stage

    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.
  • 2 November 2012 Page 1 of 7 SATURDAY 27 OCTOBER 2012 Benedict

    2 November 2012 Page 1 of 7 SATURDAY 27 OCTOBER 2012 Benedict

    Radio 4 Extra Listings for 27 October – 2 November 2012 Page 1 of 7 SATURDAY 27 OCTOBER 2012 Benedict. Richard Mills - a vulnerable old man - is attacked and burgled. SAT 05:00 Old Dog and Partridge (b007w3j9) He seems lonely so Detective Inspector Gwen Danbury decides SAT 00:00 Philip K Dick - Of Withered Apples (b007jplz) Episode 4 to introduce him to her mother, Joan... As a beautiful woman picks its last withered apple, a dying A ladykiller woos Mrs Drummond and Nicola is determined to Sue Rodwell's three-part detective mystery stars Annette ancient tree is determined to survive. Read by William find the right present for her dad Jack's birthday. Badland as DI Gwen Danbury, Stephanie Cole as Joan Danbury, Hootkins. Joe Turner’s six-part sitcom stars Michael Williams as Jack, Ian Hogg as Richard Mills, Richard Frame as Darren Peters and SAT 00:30 Ben Moor - Undone (b00pkvk9) Lisa Coleman as Nicola, Cherry Morris as Mrs Drummond, John Duttine as Detective Sergeant Henry Jacobs Series 3 Simon Greenall as Andy and Finetime Fontayne as Arthur. Director: Rosemary Watts Unending Producer: Liz Anstee First broadcast on BBC Radio 4 in 2002. The Notting Hill Carnival sees the potential end of the worlds First broadcast on BBC Radio 4 in January 1999. SAT 14:00 Listen to Les (b01nh8zx) and new weirdness. Ben Moor's comic sci-fi saga with Alex SAT 05:30 Up the Garden Path (b00803k9) From 10/03/1985 Tregear. Series 2 Les Dawson with tales of Britain's first space hero, and the SAT 01:00 Sherlock Holmes (b00kkdkp) Arrivals and Departures Cosmo show discusses birds.
  • Shakespeare, William Shakespeare

    Shakespeare, William Shakespeare

    Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir.
  • Lindsay Posner

    Lindsay Posner

    Lindsay Posner Agent Katie Haines ([email protected] Director: Theatre, Television, Radio and Opera Theatre COMMUNICATING DOORS (Menier Chocolate Factory) 2015 By Alan Ayckbourne HAYFEVER (Theatre Royal Bath/West End) 2015 By Noël Coward Starring Felicity Kendal & Simon Shepherd SPEED THE PLOW (Theatre Royal Bath, West End) By David Mamet Starring Lindsay Lohan OTHER DESERT CITIES (Old Vic Theatre) By Jon Robin Baitz THE WINSLOW BOY (Roundabout Theatre, New York; Old Vic Theatre) By Terrence Rattigan A LITTLE HOTEL ON THE SIDE (Theatre Royal Bath) By Georges Feydeau, adapted by John Mortimer THE TURN OF THE SCREW (ACT Productions & Hammer Theatre of Horror; Almeida Theatre) By Henry James, Adapted by Rebecca Lenkiewicz UNCLE VANYA (Vaudeville Theatre; Stanhope Productions) By Anton Chekov, a version by Christopher Hampton Starring Ken Stott, Anna Friel and Samuel West RELATIVELY SPEAKING (Bath Theatre Royal) By Alan Aykbourn With Felicity Kendall RICHARD III (The Old Globe Theatre, San Diego) By William Shakespeare ABIGAIL'S PARTY (Menier Chocolate Factory / Bath Theatre Royal & West End) By Mike Leigh NOISES OFF (The Old Vic Theatre & West End) By Michael Frayn With Celia Imrie & Janie Dee BUTLEY (The Duchess Theatre; Mark Rubinstein Ltd) By Simon Gray With Dominic West & Paul McGann AN IDEAL HUSBAND (The Vaudeville Theatre; Stanhope Productions Ltd) by Oscar Wilde HOUSE OF GAMES (Almeida Theatre) Adapted by Richard Bean from the screenplay by David Mamet A VIEW FROM THE BRIDGE (Duke of York’s Theatre) By Arthur Miller With Ken