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4 All the UK Case Studies and People Like You
For people like us 4 All the UK Case studies and people like you 3 Contents 4 Introduction Alex Mahon, Chief Executive, Channel 4 6 Viewpoint One year on Sinéad Rocks, Managing Director, Nations and Regions, Channel 4 8 Leeds 10 Viewpoint Roger Marsh OBE, Chair, Leeds City Region Enterprise Partnership and NP11 12 Case study: Steph’s Packed Lunch 14 Bristol 16 Glasgow 18 Manchester 4 All the UK case studies 20 Harjeet Chhokar 21 Kate Thomas 22 Barry Agnew 23 Sharon Chapendama 4 All the UK 24 Emerging Indie Fund and Indie Growth Fund 26 4Studio 28 4Skills 30 Viewpoint Sally Joynson, CEO, Screen Yorkshire 32 Contacts 4 Introduction When we set out our 4 All the UK We’ve also committed to upping strategy just over two years ago, our spend on creative content in the it sparked the largest structural Nations and Regions – from 35% to shake-up in Channel 4’s history. 50% of main channel UK commissions by 2023, worth up to £250 million We knew that if we were going to more in total. Plus, we’ve announced truly fulfil our remit to stand up for a new Emerging Indie Fund to help diversity, take creative risks and budding early stage production inspire change, we’d need to change companies from across the country to too. We’d need to look and feel break into new genres and scale up. different, behave differently and most importantly, get outside the M25. Through our new 4Skills training and development initiative, we’re making After a bidding process that involved sure that Channel 4 is even more open to most major cities in the country, we new talent and fresh voices from picked Leeds as our new national HQ. -
Etditaxmurnats. ~THE JOURNAL of the BRITISH MEDICAL ASSOCIATION
THE ritishJ eTdiTaXMurnaTS. ~THE JOURNAL OF THE BRITISH MEDICAL ASSOCIATION. EDITED BY NORMAN GERALD HORNER, M.A., M.D. VOLUME 1, 1932 JANUARY TO JUNE I PRINTED AND PUBLISHED AT THE OFFICE OF THE BRITISH MEDICAL ASSOCIATION, TAVISTOCK SQUARE, LONDON, W.C.1. [Thu Bama-- J"A.-JUNE, I932j 1MXUDAL JOURNAL KEY TO DATES AND PAGES THE following table, giving a key to the dates of issue and the page numbers of the BRITISH MEDICAL JOURNAL and SUPPLEMENT in the first volume for 1932, may prove convenient to readers in search of a reference. Serial Date of Journal Supplement No. Issue. Pages. Pages. 3704 Jan. 2nd 1- 44 1- 8 3705 9th 45- 84 9- 12 3706 16th 85- 128 13- 20 3707 23rd 129- 176 21- 28 3708 30th 177- 222 29- 36 3709 Feb. 6th 223- 268 37- 48 3710 ,, 13th 269- 316 49- 60 3711 ,, 20th 317- 362 61- 68 3712 ,, 27th 363- 410 .69- 76 3713 March 5th 411- 456 ......77- 84 3714 12th 457- 506 ......85- 92 3715 19th 507- 550 93 - 104 3716 26th 551- 598 .105- 112 3717 April 2nd 599i.- 642 .113- 120 3718 9th 643- 692 .121 - 132 3719 ,, 16th 693- 738 .133- 144 3720 23rd 739- 784 .145- 160 3721 30th 785- 826 .161 - 208 3722 May 7th 827- 872 .209- 232 *3723 ,, 14th 873- 918 3724 21st 919- 968 .233 - 252 3725 , 28th 969- 1016 .253 - 264 3726 June 4th 1017 - 1062 .265 - 280 3727 11th 1063 - 1110 .281 - 288 3728 , 18th 1111 - 1156 .289- 312 3729 Pt 25th 1157 - 1200 .313- 348 * This No. -
Thin Blue Lines: Product Placement and the Drama of Pregnancy Testing in British Cinema and Television
BJHS 50(3): 495–520, September 2017. © British Society for the History of Science 2017. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0007087417000619 Thin blue lines: product placement and the drama of pregnancy testing in British cinema and television JESSE OLSZYNKO-GRYN* Abstract. This article uses the case of pregnancy testing in Britain to investigate the process whereby new and often controversial reproductive technologies are made visible and normal- ized in mainstream entertainment media. It shows how in the 1980s and 1990s the then nascent product placement industry was instrumental in embedding pregnancy testing in British cinema and television’s dramatic productions. In this period, the pregnancy-test close- up became a conventional trope and the thin blue lines associated with Unilever’s Clearblue rose to prominence in mainstream consumer culture. This article investigates the aestheticiza- tion of pregnancy testing and shows how increasingly visible public concerns about ‘schoolgirl mums’, abortion and the biological clock, dramatized on the big and small screen, propelled the commercial rise of Clearblue. It argues that the Clearblue close-up ambiguously concealed as much as it revealed; abstraction, ambiguity and flexibility were its keys to success. Unilever first marketed the leading Clearblue brand of home pregnancy test in the mid- 1980s. Since then home pregnancy tests have become a ubiquitous and highly familiar reproductive technology and diagnostic tool. -
The-Music-Of-Andrew-Lloyd-Webber Programme.Pdf
Photograph: Yash Rao We’re thrilled to welcome you safely back to Curve for production, in particular Team Curve and Associate this very special Made at Curve concert production of Director Lee Proud, who has been instrumental in The Music of Andrew Lloyd Webber. bringing this show to life. Over the course of his astonishing career, Andrew It’s a joy to welcome Curve Youth and Community has brought to life countless incredible characters Company (CYCC) members back to our stage. Young and stories with his thrilling music, bringing the joy of people are the beating heart of Curve and after such MUSIC BY theatre to millions of people across the world. In the a long time away from the building, it’s wonderful to ANDREW LLOYD WEBBER last 15 months, Andrew has been at the forefront of have them back and part of this production. Guiding conversations surrounding the importance of theatre, our young ensemble with movement direction is our fighting for the survival of our industry and we are Curve Associate Mel Knott and we’re also thrilled CYCC LYRICS BY indebted to him for his tireless advocacy and also for alumna Alyshia Dhakk joins us to perform Pie Jesu, in TIM RICE, DON BLACK, CHARLES HART, CHRISTOPHER HAMPTON, this gift of a show, celebrating musical theatre, artists memory of all those we have lost to the pandemic. GLENN SLATER, DAVID ZIPPEL, RICHARD STILGOE AND JIM STEINMAN and our brilliant, resilient city. Known for its longstanding Through reopening our theatre we are not only able to appreciation of musicals, Leicester plays a key role make live work once more and employ 100s of freelance in this production through Andrew’s pre-recorded DIRECTED BY theatre workers, but we are also able to play an active scenes, filmed on-location in and around Curve by our role in helping our city begin to recover from the impact NIKOLAI FOSTER colleagues at Crosscut Media. -
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. -
Hw Biography 2021
HUGH WOOLDRIDGE Director and Lighting Designer; Visiting Professor Hugh Wooldridge has produced, directed and devised theatre and television productions all over the world. He has taught and given master-classes in the UK, Europe, the US, South Africa and Australia. He trained at the London Academy of Music and Dramatic Art (LAMDA) and made his West End debut as an actor in The Dame of Sark with Dame Celia Johnson. Subsequently he performed with the London Festival Ballet / English National Ballet in the world premiere production of Romeo and Juliet choreographed by Rudolph Nureyev. At the age of 22, he directed The World of Giselle for Dame Ninette de Valois and the Royal Ballet. Since this time, he has designed lighting for new choreography with dance companies around the world including The Royal Ballet, Dance Theatre London, Rambert Dance Company, the National Youth Ballet and the English National Ballet Company. He directed the world premieres of the Graham Collier / Malcolm Lowry Jazz Suite Under A Volcano and The Undisput’d Monarch of the English Stage with Gary Bond portraying David Garrick; the Charles Strouse opera, Nightingale with Sarah Brightman at the Buxton Opera Festival; Francis Wyndham’s Abel and Cain (Haymarket, Leicester) with Peter Eyre and Sean Baker. He directed and lit the original award-winning Jeeves Takes Charge at the Lyric Hammersmith; the first productions of the Andrew Lloyd Webber and T. S. Eliot Cats (Sydmonton Festival), and the Andrew Lloyd Webber / Don Black song-cycle Tell Me 0n a Sunday with Marti Webb at the Royalty (now Peacock) Theatre; also Lloyd Webber’s Variations at the Royal Festival Hall (later combined together to become Song and Dance) and Liz Robertson’s one-woman show Just Liz compiled by Alan Jay Lerner at the Duke of York’s Theatre, London. -
A Career Overview 2019
ELAINE PAIGE A CAREER OVERVIEW 2019 Official Website: www.elainepaige.com Twitter: @elaine_paige THEATRE: Date Production Role Theatre 1968–1970 Hair Member of the Tribe Shaftesbury Theatre (London) 1973–1974 Grease Sandy New London Theatre (London) 1974–1975 Billy Rita Theatre Royal, Drury Lane (London) 1976–1977 The Boyfriend Maisie Haymarket Theatre (Leicester) 1978–1980 Evita Eva Perón Prince Edward Theatre (London) 1981–1982 Cats Grizabella New London Theatre (London) 1983–1984 Abbacadabra Miss Lyric Theatre, Hammersmith Williams/Carabosse (London) 1986–1987 Chess Florence Vassy Prince Edward Theatre (London) 1989–1990 Anything Goes Reno Sweeney Prince Edward Theatre (London) 1993–1994 Piaf Édith Piaf Piccadilly Theatre (London) 1994, 1995- Sunset Boulevard Norma Desmond Adelphi Theatre (London) & then 1996, 1996– Minskoff Theatre (New York) 19981997 The Misanthrope Célimène Peter Hall Company, Piccadilly Theatre (London) 2000–2001 The King And I Anna Leonowens London Palladium (London) 2003 Where There's A Will Angèle Yvonne Arnaud Theatre (Guildford) & then the Theatre Royal 2004 Sweeney Todd – The Demon Mrs Lovett New York City Opera (New York)(Brighton) Barber Of Fleet Street 2007 The Drowsy Chaperone The Drowsy Novello Theatre (London) Chaperone/Beatrice 2011-12 Follies Carlotta CampionStockwell Kennedy Centre (Washington DC) Marquis Theatre, (New York) 2017-18 Dick Whttington Queen Rat LondoAhmansen Theatre (Los Angeles)n Palladium Theatre OTHER EARLY THEATRE ROLES: The Roar Of The Greasepaint - The Smell Of The Crowd (UK Tour) -
Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind. -
Class of 2003 Finals Program
School of Law One Hundred and Seventy-Fourth FINAL EXERCISES The Lawn May 18, 2003 1 Distinction 2 High Distinction 3 Highest Distinction 4 Honors 5 High Honors 6 Highest Honors 7 Distinguished Majors Program School of Law Finals Speaker Mortimer M. Caplin Former Commissioner of the Internal Revenue Service Mortimer Caplin was born in New York in 1916. He came to Charlottesville in 1933, graduating from the College in 1937 and the Law School in 1940. During the Normandy invasion, he served as U.S. Navy beachmaster and was cited as a member of the initial landing force on Omaha Beach. He continued his federal service as Commissioner of the Internal Revenue Service under President Kennedy from 1961 to 1964. When he entered U.Va. at age 17, Mr. Caplin committed himself to all aspects of University life. From 1933-37, he was a star athlete in the University’s leading sport—boxing—achieving an undefeated record for three years in the mid-1930s and winning the NCAA middleweight title in spite of suffering a broken hand. He also served as coach of the boxing team and was president of the University Players drama group. At the School of Law, he was editor-in-chief of the Virginia Law Review and graduated as the top student in his class. In addition to his deep commitment to public service, he is well known for his devotion to teaching and to the educational process and to advancing tax law. Mr. Caplin taught tax law at U.Va. from 1950-61, while serving as president of the Atlantic Coast Conference. -
Sarah Esdaile Director
Sarah Esdaile Director Sarah graduated in English and Drama from Goldsmiths College in 1991. Whilst at London University and subsequently, she worked with many producers and theatres including Bill Kenwright, Robert Fox and Theatre Royal Brighton. In 1996 she was one of twelve invited on the first Directors’ Course run by the National Theatre Studio. She was previously Associate Director at the West Yorkshire Playhouse. Agents Nicki Stoddart [email protected] +44 (0) 20 3214 0869 Dan Usztan Assistant [email protected] Charlotte Edwards 0203 214 0873 [email protected] 0203 214 0924 Credits In Development Production Company Notes CALL THE MIDWIFE 11 BBC 1 / Neal Street Productions 1 episode 2021 Television Production Company Notes EASTENDERS BBC Continuing Drama 20 episodes and strands in a 16-episode silo 2019 - 2021 block United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Theatre Production Company Notes ABIGAIL’S PARTY ATG UK tour by Mike Leigh; starring Jodie Prenger 2019 DESIGN FOR LIVING LAMDA by Noel Coward 2018 SCRATCH NIGHT & FERTILITY Bush Theatre As part of Fertility Fest 2018 FIGHT CLUB TALK 2018 DANCING AT LUGHNASA BADA 2018 LAMDA SHOWCASE Trafalgar Studios 2018 THE SPOTLIGHT PRIZE The Under Globe Director 2017 ABIGAIL'S PARTY by Mike Leigh Theatre Royal Bath Tour 2017 Productions WALKING ON EGG SHELLS by as part of Fertility Fest Curated by Jessica Hepburn at Amy Rosenthal Birmingham Repertory Theatre and 2016 Park Theatre - May/June 2016 FIVE WOMEN WEARING THE LAMDA Linbury Studio SAME DRESS by Alan Ball 2016 TESTING THE ECHO by David Show curated by Director of David Edgar piece with Edgar Emma Manton Juliet Stevenson & Zubin Varla for 2016 MOVING STORIES Charity event at the National Theatre 14th Feb 2016 fundraiser for the United Nations Refugee Agency THE BFG adapted by David Octagon Theatre. -
The Northern Issue 3
ISSUE 3 p 4 – 9 NEWS ROUND-UP CON- p 10 – 15 CARLY PAOLI: SINGING HER DREAMS p 16 – 17 DO WHAT YOU LOVE TEN- p 18 – 23 NORTHERN HIGHLIGHTS: CELEBRATING YOUR SUCCESSES p 24 – 27 SCOTT BROTHERS DUO: KIN AND KEYBOARDS p 28 – 29 TS WHERE ARE THEY NOW? RNCM BIG BAND p 30 – 31 p 32 – 33 THE RESILIENT MUSICIAN Contact us: THEN & NOW: A PICTORIAL Lisa Pring, Alumni Relations Manager RNCM, 124 Oxford Road, Manchester M13 9RD TOUR THROUGH TIME T +44 (0) 161 907 5377 p 34 – 35 E [email protected] www.rncm.ac.uk/alumni GET INVOLVED 2 3 IN THE SPOTLIGHT BEST +VIEXRI[W;I[IVISRISJƼZIMRWXMXYXMSRWXS[MREWTSXPMKLXTVM^IEXXLI+PSFEP 8IEGLMRK)\GIPPIRGI%[EVHW OF BRIT Presented by Advance HE in association with Times Higher Education, the GTEAs celebrate outstanding institution-wide approaches to teaching and are open to all universities and higher education providers worldwide. Jess Gillam’s certainly on a roll at the moment. The third year saxophonist And on top of this, our Learning and Participation Department is on track to win the not only won a Classical BRIT Award Widening Participation or Outreach Initiative of the Year category at the Times Higher over the summer, but she stole Education Awards, and our Paris-Manchester 1918 collaborative project with the Paris the show at the BBC Last Night Conservatoire is up for Best Event at the Manchester Culture Awards. Results for both of the Proms in September with a will be announced in November. dazzling performance of Milhaud’s Scaramouche. CHAMPIONS IN CHINA ,YKIGSRKVEXYPEXMSRWXSXLI62'14IVGYWWMSR)RWIQFPI -
Chatting with Evita's Christina Decicco, the 'Alternate Eva'
Friday, June 29, 2012 DIVA TALK Chatting With Evita’s Christina DeCicco, the ‘Alternate Eva’ By ANDREW GANS For those like myself who like to catch as many different actresses playing the role of Evita as possible, there is some exciting news: For two weeks this summer former Wicked star Christina DeCicco will step into the title role of the Tony Award-nominated Broadway revival of the Andrew Lloyd Webber and Tim Rice musical at the Marquis Theatre. DeCicco, who normally performs the role twice weekly — Wednesday evenings and Saturday matinees — will play the late Eva Peron six performances a week July 12-19 and August (dates to be announced shortly) while Argentinian actress and Olivier winner Elena Roger films a movie (during those two weeks Jessica Lea Patty will be the Alternate Eva). (For the record, this diva lover has enjoyed the Evitas of Tony winner Patti LuPone, Derin Altay, Nancy Opel, Donna Marie Elio [now Asbury], Judy McLane, Natalie Toro, Felicia Finley, Elena Roger, and, come July 7, Ms. DeCicco.) Although DeCicco has only gotten to play the role about 20 times, her co-stars have lavished her with praise. Rachel Potter, who plays Peron’s Mistress, previously told me, “Christina is from New York. She’s an American through and through, and she brings such a different energy, but it’s so, so great, and I hope that more and more people will come see her because she’s fantastic....Her voice is stunning, and we’re all very, very proud of her because obviously being an alternate is never an easy job.