SISTER – Sat 21 March

Total Page:16

File Type:pdf, Size:1020Kb

SISTER – Sat 21 March By Chloë Moss RUN Thu 27 February SISTER – Sat 21 March A Sheffield Theatres, Paines Plough RUN and Soho Theatre Production STUDIO WELCOME It’s a pleasure to welcome you to Run Sister Run. We’re delighted to be working in partnership with Paines Plough and Soho Theatre to bring you the world premiere of Chloë Moss’s brilliant new play. Sheffield Theatres has a long relationship withPaines Plough, with whom we share a deep commitment to staging bold new writing and developing great writers. It’s an honour to be working with Paines Plough’s two new Artistic Directors, Charlotte Bennett and Katie Posner. Charlotte directs a splendid cast and leads a first-rate Creative Team to bringRun Sister Run to the stage. Working with a terrific new work powerhouse likeSoho Theatre gives us the opportunity to export more work made in Sheffield to a wider audience. In the last six months tours of Reasons to Stay Alive and My Mother Said I Never Should have taken our work to theatres across the UK, and this year Life of Pi joins Everybody’s Talking About Jamie in London’s West End, with Jamie also touring the country and Standing at the Sky’s Edge poised to transfer to the National Theatre at the start of 2021. Here in Sheffield, the Studio continues to be a platform for the best new writing. Run Sister Run is the first of three world premieres this year, and we’re proud that writers of the calibre of Chloë Moss are drawn to presenting their work here. That’s thanks to audiences like you. I look forward to welcoming you again soon. Robert Hastie Artistic Director, Sheffield Theatres First performed at the Studio Theatre Sheffield on Thu 27 February 2020. Sheffield Theatres Crucible Trust is a registered Charity No. 1120640 and is a company limited by guarantee No. 6035820 CAST BIOGRAPHIES LUCAS BUTTON Theatre credits include: War Horse (UK Tour/National Theatre); The Butterfly Lion (Chichester Festival Theatre); Kes (Leeds Playhouse); Alan, We Think You Should Get A Dog (New Diorama Theatre); The Winter's Tale (English National Opera); Pinocchio and A Tender Thing (The Dukes Theatre); The Lost Palace (Fuel Theatre and Uninvited Guests). Short film credits include: Billy And Jake (Andrew Jonathan Smith). SILAS CARSON Theatre credits include: The Captive Queen (Shakespeare’s Globe); Occupational Hazards, Drawing The Line (Hampstead Theatre); Half Life (Theatre Royal Bath); A Midsummer Night’s Dream (Royal & Derngate Northampton); The Prophet, Shakuntala (Gate Theatre); The Comedy of Errors (National Theatre); Ruined, Macbeth (Almeida Theatre); Arabian Nights (Royal Shakespeare Company); Much Ado About Nothing (Regent’s Park Open Air Theatre); Baghdad Wedding (Soho Theatre); Homebody/Kabul, A Doll’s House (Young Vic); A View From The Bridge (The Crucible). Film credits include: Phantom Thread; The Corrupted; Miss You Already; Blood Cells; Dying Of The Light; Locke; Clean Skin; Franklyn; Flawless; Hidalgo; Star Wars – The Phantom Menace/Attack Of The Clones/Revenge Of The Sith; Fever Pitch. Television credits include: The Accident; Sick Of It; Silent Witness; Trust; New Blood; Unforgotten; Indian Summers; The Casual Vacancy; The ‘C’ Word; Glue; Transporter; Strikeback; Holby City; How Not To Live Your Life; The Philanthropist; Bonekickers; Outnumbered; The IT Crowd; Hustle; The Ten Commandments; Spooks; Absolute Power; The Grid; Waking The Dead; The Project; A&E; Metrosexuality; Innocents; Cold Lazarus. LUCY ELLINSON Theatre credits include: Macbeth (Royal Exchange Theatre); Top Girls (National Theatre); Kingdom Come, A Midsummer Night’s Dream: Play for the Nation (Royal Shakespeare Company); The Resistible Rise of Arturo Ui (Donmar Warehouse); Grounded, The Christians, Trojan Women, Tenet, Dear Elizabeth (Gate theatre); World Factory (Metis Arts/Young Vic/New Wolsey); Money The Game Show (Bush Theatre); Oh The Humanity (Northern Stage/Soho Theatre); Presumption (Third Angel). Radio credits include: 15 Minutes Live (Slung Low). Television credits include: Britannia; New Tricks. HELENA LYMBERY Theatre credits includes: Mr Gum And The Dancing Bear, Treasure Island, This House, The Cat In The Hat, ...Some Trace Of Her, Women of Troy, Attempts On Her Life, Iphigenia At Aulis, His Dark Materials, Wicked Yaar, Henry V (National Theatre); Dear Elizabeth (Gate Theatre); Queen Margaret (Royal Exchange Theatre); Pity (Royal Court); Wolves Are Coming For You (Pentabus); Harry Potter and The Cursed Child (West End); We Want You To Watch (RashDash/National Theatre); The Secret Agent (Young Vic/Theatre O); After Dido (Young Vic/ENO); Sleeping Beauty (Young Vic); Coasting (Bristol Old Vic). Television credits include: Doctor Foster; Father Brown; Oliver Twist; Alistair McGowan’s Big Impression; The Inspector Lynley Mysteries. Film credits include: London Road. REHEARSAL PHOTOS Click here to see photos of the cast in rehearsals for the show CREATIVE BIOGRAPHIES CHLOË MOSS WRITER Chloë is an accomplished playwright and screenwriter. Her celebrated play This Wide Night (Clean Break, Soho Theatre) won the prestigious Susan Smith Blackburn prize and was subsequently produced off-Broadway, starring Edie Falco. Theatre credits include: The Gatekeeper (Royal Exchange Theatre); Fatal Light (for Clean Break at Soho Theatre); Catch (Royal Court Theatre); How Love Is Spelt (Bush Theatre/New York’s Summer Play Festival). Television credits include: Six Wives (BBC One); Dickensian (Red Planet Pictures). She has written episodes for New Tricks (BBC One); The Smoke (Kudos) and Prisoner’s Wives and The Secret Diary Of A Call Girl (Tiger Aspect). She has also written Care, a single drama, (Warp Films and Sky Arts) and an original series Switch, co-written with Tim Price (Touchpaper/ITV2). CHARLOTTE BENNETT DIRECTOR Charlotte is joint artistic director of Paines Plough. She was previously the Associate Director at Soho Theatre. Theatre credits include: Whitewash (Soho Theatre); Happy Hour (Soho Theatre at Edinburgh Fringe Festival); Rattle Snake (Open Clasp Theatre Company at Live Theatre/Soho Theatre/UK tour); Genesis (The Lowry/UK tour); Clothes Swap Theatre Party (Derby Theatre); Swags and Tails, The Space Between Us (Open Clasp Theatre Company at Live Theatre/tour); On the Harmful Effects of Tobacco/Can Cause Death (National Theatre/tour); A Midsummer Night’s Dream, The Comedy of Errors, The Taming of the Shrew, Macbeth (Sprite Productions at Ripley Castle); A Five-Star Werewolf (York Theatre Royal). ROSIE ELNILE DESIGNER Theatre credits include: [Blank] (Donmar Warehouse); Our Town (Regents Park Open Air Theatre); The Ridiculous Darkness, Unknown Island, The Convert (Gate); The American Clock (Old Vic, costume designer); The Wolves (Theatre Royal Stratford East); The Mysteries, Three Sisters (Royal Exchange); Abandon (Lyric Hammersmith); Returning to Haifa (Finborough Theatre); Goats (Royal Court); Prime Time (Royal Court Schools Tour); BIG GUNS (The Yard Theatre). ZOE SPURR LIGHTING DESIGNER Zoe trained at Royal Central School of Speech and Drama. Theatre credits include: Wuthering Heights (Royal Exchange); An Edinburgh Christmas Carol (Lyceum Edinburgh); A Midsummer Night’s Dream (National Youth Theatre/Criterion Theatre); The Seven Ages Of Patience (Kiln Theatre); Hedda Tesman (Headlong/Chichester Festival Theatre); Onegin, Georgiana, Lucio Papirio Dittatore (for Buxton International Festival/Buxton Opera House); A Man Without A Past (New Perspectives/UK Tour); Emilia (Vaudeville Theatre); The Phlebotomist (Hampstead Theatre); The Maids (Home Manchester); Cat In The Hat (Leicester Curve/UK Tour); The Unreturning (Frantic Assembly/UK Tour); Silence (Mercury Theatre/UK Tour); Toast (The Other Palace/Traverse 1); Meek (Headlong/UK Tour); Abigail’s Party, Abi (Queen’s Theatre Hornchurch/ UK Tour); Polstead (Eastern Angles/UK Tour); Sticky, Infinite Joy, Confidence, Natives, Collective Rage (Southwark Playhouse); Tiny Dynamite (Old Red Lion); Not Talking (Arcola); Grotty (Bunker); Phoenix Rising, Loose Lips (Big House Theatre Company/Site Specific); The Beginners (Unicorn Theatre); Elephant (Birmingham Rep); The Magic Flute (Soho Theatre/UK Tour). ARUN GHOSH COMPOSER AND SOUND DESIGNER Arun Ghosh is a British-Asian musician and composer. Twice awarded Jazz Instrumentalist of the Year at the Parliamentary Jazz Awards, Ghosh leads his own ensembles, touring nationally and internationally. He has released four albums on camoci records: Northern Namaste, Primal Odyssey, A South Asian Suite and but where are you really from? Arun Ghosh is a Creative Associate at Watford Palace Theatre, and an Associate Artist of Z-arts, Manchester. Credits as a composer for theatre: Storm (Contact); The Wolf, The Duck and The Mouse (Unicorn/New Perspectives); A Doll’s House (Lyric Theatre); Bystanders (Cardboard Citizens); Hobson’s Choice (Royal Exchange); Noughts & Crosses (Pilot Theatre/Derby Theatre); Approaching Empty (Tamasha/Kiln Theatre); Much Ado About Nothing (Watford Palace); Lions and Tigers (Shakespeare’s Globe). SARAH DICKENSON DRAMATURG Sarah is a freelance dramaturg and associate dramaturg for LAMDA and Paines Plough. Her roles have included: Associate Dramaturg for the Royal Shakespeare Company, Production Dramaturg for the Globe, Senior Reader at Soho Theatre, Literary Manager for Theatre503, New Writing Associate at The Red Room and founder of the South West New Writing Network. She has worked on performance projects and artist development nationally and internationally for a wide range of organisations and theatre makers including: Nuffield Theatre Southampton, Theatre Centre,
Recommended publications
  • Gregory Clarke Sound Designer
    Gregory Clarke Sound Designer Agents Giles Smart Assistant Ellie Byrne [email protected] +44 (020 3214 0812 Credits In Development Production Company Notes THE HOUSE OF SHADES Almeida By Beth Steel 2020 Dir. Blanche McIntyre ALL OF US National Theatre By Francesca Martinez 2020 Dir. Ian Rickson THE REALISTIC JONESES Theatre Royal Bath By Will Eno 2020 Dir. Simon Evans Theatre Production Company Notes THE BOY FRIEND Menier Chocolate Factory Book, Music and Lyrics by Sandy Wilson 2020 Dir. Matthew White THE WIZARD OF OZ Chichester Festival Adapted by John Kane from the motion 2019 Theatre picture screenplay A DOLL'S HOUSE Lyric Hammersmith By Henrik Ibsen in a new adaptation by 2019 Tanika Gupta Dir. Rachel O’Riordan. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE SECRET DIARY OF Ambassadors Theatre Based on the novel by Sue Townsend ADRIAN MOLE AGED 13 3/4 Dir. Luke Sheppard Book & Lyrics by 2019 Jake Brunger, Music & Lyrics by Pippa Cleary Transfer of Menier Chocolate Factory production THE BRIDGES OF MADISON Menier Chocolate Factory Book by Marsha Norman COUNTY Music & Lyrics by Jason Robert Brown 2019 Based on the novel by Robert James Waller Direction Trevor Nunn THE BEACON Druid By Nancy Harris 2019 Dir. Garry Hynes RICHARD III Druid / Lincoln Center NYC By William Shakespeare 2019 Dir. Garry Hynes ORPHEUS DESCENDING Theatr Clwyd / Menier By Tennessee Williams 2019 Chocolate Factory Dir. Tamara Harvey THE BAY AT NICE Menier Chocolate Factory By David Hare 2019 Dir.
    [Show full text]
  • Elgar Chadwick
    ELGAR Falstaff CHADWICK Tam O’Shanter Andrew Constantine BBC National Orchestra of Wales Timothy West Samuel West CD 1 CD 2 Sir Edward Elgar (1857-1934) Sir Edward Elgar (1857-1934) Falstaff – Symphonic Study in C minor, Op.68 Falstaff – Symphonic Study in C minor, Op.68 1 I am not only witty in myself, but the cause that wit is in other men 3.59 1 Falstaff and Prince Henry 3.05 2 Falstaff and Prince Henry 3.02 2 Eastcheap - the robbery at Gadshill - The Boar’s Head - revelry and sleep 13.25 3 What’s the matter? 3.28 3 Dream interlude: ‘Jack Falstaff, now Sir John, a boy, 4 Eastcheap - the robbery at Gadshill - The Boar’s Head - and page to Sir Thomas Mowbray, Duke of Norfolk 2.35 revelry and sleep 13.25 4 Falstaff’s March - The return through Gloucestershire 4.12 5 Dream interlude: ‘Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of Norfolk’ 2.37 5 Interlude: Gloucestershire. Shallow’s orchard - The new king - The hurried ride to London 2.45 6 Come, sir, which men shall I have? 1.43 6 King Henry V’s progress - The repudiation of Falstaff and his death 9.22 7 Falstaff’s March - The return through Gloucestershire 4.12 8 Interlude: Shallow’s orchard - The new king - Total time 35.28 The hurried ride to London 2.44 BBC National Orchestra of Wales 9 Sir John, thy tender lambkin now is king. Harry the Fifth’s the man 2.24 Andrew Constantine 10 King Henry V’s progress - The repudiation of Falstaff and his death 9.25 George Whitefield Chadwick (1854-1931) Tam O’Shanter 11 Chadwick’s introductory note to Tam O’Shanter 4.32 12 Tam O’Shanter 19.39 Total time 71.14 BBC National Orchestra of Wales Andrew Constantine Falstaff, Timothy West Prince Henry, Samuel West George Whitefield Chadwick, Erik Chapman Robert Burns, Billy Wiz 2 Many of you might be coming to Elgar’s great masterpiece Falstaff for the very first time - I truly hope so! It has, undeniably, had a harder time working its way into the consciousness of the ‘Elgar-lover’ than most of his other great works.
    [Show full text]
  • Monday 7 January 2019 FULL CASTING ANNOUNCED for THE
    Monday 7 January 2019 FULL CASTING ANNOUNCED FOR THE WEST END TRANSFER OF HOME, I’M DARLING As rehearsals begin, casting is announced for the West End transfer of the National Theatre and Theatr Clwyd’s critically acclaimed co-production of Home, I’m Darling, a new play by Laura Wade, directed by Theatre Clwyd Artistic Director Tamara Harvey, featuring Katherine Parkinson, which begins performances at the Duke of York’s Theatre on 26 January. Katherine Parkinson (The IT Crowd, Humans) reprises her acclaimed role as Judy, in Laura Wade’s fizzing comedy about one woman’s quest to be the perfect 1950’s housewife. She is joined by Sara Gregory as Alex and Richard Harrington as Johnny (for the West End run, with tour casting for the role of Johnny to be announced), reprising the roles they played at Theatr Clwyd and the National Theatre in 2018. Charlie Allen, Susan Brown (Sylvia), Ellie Burrow, Siubhan Harrison (Fran), Jane MacFarlane and Hywel Morgan (Marcus) complete the cast. Home, I’m Darling will play at the Duke of York’s Theatre until 13 April 2019, with a press night on Tuesday 5 February. The production will then tour to the Theatre Royal Bath, and The Lowry, Salford, before returning to Theatr Clwyd following a sold out run in July 2018. Home, I’m Darling is co-produced in the West End and on tour with Fiery Angel. How happily married are the happily married? Every couple needs a little fantasy to keep their marriage sparkling. But behind the gingham curtains, things start to unravel, and being a domestic goddess is not as easy as it seems.
    [Show full text]
  • The Voting Records Available Within This Document Represent Decisions Made by Castlefield Investment Partners LLP on Behalf of Clients
    The voting records available within this document represent decisions made by Castlefield Investment Partners LLP on behalf of clients. The record covers all votes from July 2016 to June 2017 Meeting Res Number Resolution Long Text Vote AVEVA GROUP PLC, CAMBRIDGE GB00BBG9VN75 08-Jul-2016 Annual General Meeting TO RECEIVE THE ANNUAL ACCOUNTS OF THE COMPANY AND THE REPORTS OF THE DIRECTORS FOR THE FINANCIAL YEAR ENDED 31 MARCH 2016 1 TOGETHER WITH THE AUDITOR'S REPORTS THEREON F 2 TO APPROVE THE DIRECTORS' REMUNERATION REPORT FOR THE FINANCIAL YEAR ENDED 31 MARCH 2016 N 3 TO DECLARE A FINAL DIVIDEND OF 30 PENCE PER SHARE IN RESPECT OF THE YEAR ENDED 31 MARCH 2016 F 4 TO RE-ELECT PHILIP AIKEN AS A DIRECTOR OF THE COMPANY F 5 TO RE-ELECT RICHARD LONGDON AS A DIRECTOR OF THE COMPANY F 6 TO RE-ELECT JAMES KIDD AS A DIRECTOR OF THE COMPANY F 7 TO RE-ELECT JONATHAN BROOKS AS A DIRECTOR OF THE COMPANY F 8 TO RE-ELECT PHILIP DAYER AS A DIRECTOR OF THE COMPANY F 9 TO RE-ELECT JENNIFER ALLERTON AS A DIRECTOR OF THE COMPANY F 10 TO RE-APPOINT ERNST AND YOUNG LLP AS THE AUDITOR OF THE COMPANY A 11 TO AUTHORISE THE DIRECTORS TO FIX THE REMUNERATION OF THE AUDITOR F 12 TO AUTHORISE THE COMPANY TO MAKE MARKET PURCHASES PURSUANT TO SECTION 701 OF THE COMPANIES ACT 2006 F 13 TO AUTHORISE THE DIRECTORS TO ALLOT SECURITIES PURSUANT TO SECTION 551 OF THE COMPANIES ACT 2006 F 14 TO EMPOWER THE DIRECTORS TO ALLOT EQUITY SECURITIES PURSUANT TO SECTION 570 AND 573 OF THE COMPANIES ACT 2006 F 15 TO ALLOW 14 DAYS' NOTICE OF GENERAL MEETINGS N MARKS AND SPENCER GROUP
    [Show full text]
  • Queer Television Thesis FINAL DRAFT Amended Date and Footnotes
    Queer British Television: Policy and Practice, 1997-2007 Natalie Edwards PhD thesis submitted to the University of Nottingham School of American and Canadian Studies, January 2010 Abstract Representations of gay, lesbian, queer and other non-heterosexualities on British terrestrial television have increased exponentially since the mid 1990s. Lesbian, gay, bisexual, transgender and queer characters now routinely populate mainstream series, while programmes like Queer as Folk (1999-2000), Tipping the Velvet (2002), Torchwood (2006-) and Bad Girls (1999-2006) have foregrounded specifically gay and lesbian themes. This increase correlates to a number of gay-friendly changes in UK social policy pertaining to sexual behaviour and identity, changes precipitated by the election of Tony Blair’s Labour government in 1997. Focusing primarily on the decade following Blair’s installation as Prime Minister, this project examines a variety of gay, lesbian and queer-themed British television programmes in the context of their political, cultural and industrial determinants, with the goal of bridging the gap between the cultural product and the institutional factors which precipitated its creation. Ultimately, it aims to establish how and why this increase in LGBT and queer programming occurred when it did by relating it to the broader, government-sanctioned integration of gays, lesbians and queers into the imagined cultural mainstream of the UK. Unlike previous studies of lesbian, gay and queer film and television, which have tended to draw conclusions about cultural trends purely through textual analysis, this project uses government and broadcasting industry policy documents as well as detailed examination of specific television programmes to substantiate links between the cultural product and the wider world.
    [Show full text]
  • Tipping the Velvet
    Tipping the Velvet Based on the book by Sarah Waters A new adaption by Laura Wade Directed by Lyndsey Turner A Lyric Hammersmith & Royal Lyceum Theatre Edinburgh production Royal Lyceum Theatre, Edinburgh Wednesday 28 October – Saturday 14 November 2015 Press Night Thursday 29th October at 7.30pm It’s 1887 and Nancy Astley (Sally Messham) sits in the audience at her local music hall: she doesn’t know it yet, but the next act on the bill will change her life. Tonight is the night she’ll fall in love… with the thrill of the stage and with Kitty Butler (Laura Rogers), a girl who wears trousers. Giddy with desire and hungry for experience, Nancy follows Kitty to London where unimaginable adventures await. Author Sarah Waters says: “I am absolutely thrilled that ‘Tipping the Velvet’ is to be brought to life on the stage of The Lyric, Hammersmith. I can think of no better setting for the play than the lush Lyric interior or the beautiful Lyceum in Edinburgh, and no more exciting creative talents than those of writer Laura Wade and director Lyndsey Turner. The production promises to be full of energy, fun and music-hall sparkle - in other words, everything I could wish for. I am simply delighted." Sally Messham who plays Nancy recently graduated from RADA and Tipping the Velvet is her first professional lead role on stage. Full company includes Jared Ashe (Walter), Kirsty Besterman (Diana), Tamara Camacho (Young Ensemble), David Cardy (Chairman), Grace Frogley (Young Ensemble), Amanda Hadingue (General Woman), Ru Hamilton (Sweet Alice), Adelle Leonce (Florence), Georgie Lord (Young Ensemble), Sally Messham (Nancy), Andy Rush (Ralph), Laura Rogers (Kitty), Aasiyah Shah (Young Ensemble), Sarah Vezmar (Blake).
    [Show full text]
  • Foundation the International Review of Science Fiction Foundation 119 the International Review of Science Fiction
    Foundation The International Review of Science Fiction Foundation 119 The International Review of Science Fiction In this issue: Matt Englund reassesses Philip K. Dick’s Galactic Pot Healer George A. Gonzalez explores US military policy in Star Trek Foundation Samantha Kountz analyses the representation of immigration in post-war sf cinema Erica Moore evaluates the post-Darwinism of J.G. Ballard’s Crash Nick Hubble reflects on the legacy of 2000 AD Iain M. Banks and Kim Stanley Robinson in conversation on the subject of utopia Vol. 43 No.119 2014 43 No.119 Vol. Conference reports by Paul Kincaid, Paul March-Russell and Robin Anne Reid In addition, there are reviews by: Jeremy Brett, Molly Cobb, Leimar Garcia-Siino, Lincoln Geraghty, Grace Halden, Andrew Hedgecock, Anna McFarlane, Joe Norman, Andy Sawyer, Will Slocombe, Tom Sykes and Michelle K. Yost Of books by: Jeannette Baxter and Rowland Wymer, David Brittain, Stefan Ekman, Simon Ings, Graham Joyce, Paul McAuley, Howard E. McCurdy, Jonathan Oliver, Christopher Sims, Graham Sleight, David C. Smith, and Thomas Van Parys and I.Q. Hunter Cover image/credit: Ian Gibson Foundation is published three times a year by the Science Fiction Foundation (Registered Charity no. 1041052). It is typeset and printed by The Lavenham Press Ltd., 47 Water Street, Lavenham, Suffolk, CO10 9RD. Foundation is a peer-reviewed journal. Subscription rates for 2015 Individuals (three numbers) United Kingdom £20.00 Europe (inc. Eire) £22.00 Rest of the world £25.00 / $42.00 (U.S.A.) Student discount £14.00 / $23.00 (U.S.A.) Institutions (three numbers) Anywhere £42.00 / $75.00 (U.S.A.) Airmail surcharge £7.00 / $12.00 (U.S.A.) Single issues of Foundation can also be bought for £7.00 / $15.00 (U.S.A.).
    [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]
  • PRESS RELEASE – Friday 10Th January CASTING ANNOUNCED for the WORLD PREMIERE of CHLOË MOSS' RUN SISTER RUN, a CO- PRODUCTIO
    PRESS RELEASE – Friday 10th January CASTING ANNOUNCED FOR THE WORLD PREMIERE OF CHLOË MOSS’ RUN SISTER RUN, A CO- PRODUCTION FROM PAINES PLOUGH, SHEFFIELD THEATRES AND SOHO THEATRE IMAGES CAN BE DOWNLOADED HERE Casting has today been announced for a new play by award-winning playwright Chloë Moss. RUN SISTER RUN, a co-production between Paines Plough, Sheffield Theatres and Soho Theatre, explores the lives of two sisters and the different directions life takes them in as they desperately hold onto their unbreakable bond. The production is directed by Paines Plough co-Artistic Director Charlotte Bennett and the cast includes: Lucy Ellinson; Helena Lymbery; Lucas Button; Silas Carson. The show will open at Sheffield Theatres on 27 February with a Press Night on 4 March before transferring to Soho Theatre from 25 March with a Press Night on 27 March. The production runs until 2 May. ‘You can’t pick your family but if you could I’d still pick you’ Connie and Ursula are sisters, connected by the same beginning but heading in different directions. Spanning four decades up to the present day, nurture competes with nature as the pair navigate their unbreakable bond. From award-winning playwright Chloë Moss, this story of family, love and dependence asks who gets it right? Lucy Ellinson’s theatre credits include: MACBETH (Royal Exchange Theatre); TOP GIRLS (National Theatre); JUBILEE (Lyric Hammersmith/Royal Exchange Theatre); KINGDOM COME, A MIDSUMMER NIGHT’S DREAM: PLAY FOR THE NATION (RSC); THE RESISTABLE RISE OF ARTURO UI (Donmar Warehouse); GROUNDED, THE CHRISTIANS, TROJAN WOMEN, TENET (The Gate); WORLD FACTORY (Metis Arts/Young Vic/New Wolsey); MAD MAN (Chris Goode/Theatre Royal Plymouth); Television includes: BRITANNIA; NEW TRICKS.
    [Show full text]
  • A RELIANCE ENTERTAINMENT COMPANY IM Global Presents A
    A RELIANCE ENTERTAINMENT COMPANY IM Global presents A Shoebox Films production LOCKE Tom Hardy Ruth Wilson, Olivia Colman, Andrew Scott, Tom Holland, Bill Milner Written and directed by Steven Knight Produced by Paul Webster Guy Heeley Executive producers Stuart Ford, David Jourdan, Steven Squillante,Joe Wright Casting director Shaheen Baig Director of photography Haris Zambarloukos Editor Justine Wright Production sound mixer John Casali Composed by Dickon Hinchliffe Costume designer Nigel Egerton Hair and make-up designer Audrey Doyle International Press Contact: Bonnie Voland, IM Global [email protected] LOCKE LOCKE is the highly-anticipated second film from UK writer-director Steven Knight (Hummingbird). It is based on an original screenplay by the Oscar-nominated Knight (Eastern Promises, Dirty Pretty Things) and is produced by Oscar-nominated producer Paul Webster (Anna Karenina, Salmon Fishing in The Yemen, Eastern Promises, Atonement) and Guy Heeley (Hummingbird) through their London-based company, Shoebox Films. Shoebox is a partnership between Webster, Heeley and director Joe Wright. LOCKE is financed and distributed by IM Global’s specialty label Anthem. Stuart Ford, David Jourdan, Steven Squillante and Joe Wright serve as executive producers. Tom Hardy (Inception, The Dark Knight Rises) plays Ivan Locke. LOCKE is the story of one man’s life unravelling in a tension-fuelled 90- minute race against time. Ivan Locke has the perfect family, his dream job, and tomorrow should be the crowning moment of his career. But one phone call will force him to make a decision that will put it all on the line. Acclaimed UK actress Ruth Wilson (Jane Eyre, Anna Karenina, The Lone Ranger,Luther) plays Ivan’s wife Katrina.
    [Show full text]
  • Television Fiction in Europe
    Television Fiction in Europe Eurofiction 2002 Sixth edition Please note: The following report is a comprehensive analysis of fiction programmes scheduled in European TVs in 2001. The European Audiovisual Observatory could not publish anymore such a report for the following years. However, in the framework of its Yearbook, Film, Television and Video in Europe, Chapter “Programming”, the Observatory published for all the following years a statistical analysis of fiction programming in most of the European television markets. Milly Buonanno (editor) October 2002 Edited by Milly BUONANNO, EUROFICTION, Television Fiction in Europe, Report 2002 Sixth edition, European Audiovisual Observatory, Strasbourg, October 2002 ISBN 92-871-5028-1 The Eurofiction project team is coordinated by the Hypercampo Foundation, partner organisation of the European Audiovisual Observatory and comprises of: Italy University of Firenze Fondazione Hypercampo Osservatorio sulla Fiction Italiana (OFI) France Institut National de l’Audiovisuel (INA) Conseil Supérieur de l’Audiovisuel (CSA) Germany Universität Siegen Spain Universitat Autónoma de Barcelona (UAB) Corporación Multimedia y TVC United Kingdom British Film Institute (BFI) Director of Publication Wolfgang Closs, Executive Director of the European Audiovisual Observatory [email protected] Liaison Officer with Partner Organisation André Lange, Expert – Information on Markets and Funding andré[email protected] Marketing Markus Booms, Marketing Officer [email protected] Translators/Revisers France Courrèges, Paul Green, Erwin Rohwer, Ann Stedman and Colin Swift Print Production C.A.R. - Centre Alsacien de Reprographie Publisher European Audiovisual Observatory 76 allée de la Robertsau 67000 Strasbourg France Tel.: 0033 (0)388 14 44 00 Fax: 0033 (0)388 14 44 19 Email: [email protected] URL: www.obs.coe.int The analyses expressed in these articles are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members and the Council of Europe.
    [Show full text]
  • Laura Wade's Posh and Katherine Soper's Wish
    1 Structure of Class Feeling / Feeling of Class Structure: Laura Wade’s Posh and Katherine Soper’s Wish List ABSTRACT: Theatre’s counter-hegemonic resistance to the “demonization of the working class” (Owen Jones) is the subject of this article. This resistance is analysed through case studies of two “class acts”: the elite Oxford boys in Laura Wade’s Posh (2010) and poverty-stricken youth in Katherine Soper’s Wish List (2016). My close reading of these two plays involves a reprise of Raymond Williams’s “structure of feeling”: the conjugation of “structure” and “feeling” allows me to engage with and advocate a dual concern with systems of classification as well as the affective, experiential (lived) dimension of being “classified.” Moving between the class-fuelled feelings of entitlement in Posh and those of alienation in Wish List, I elucidate how, under the United Kingdom’s regime of neoliberal austerity, the label “working class” has become “sticky” (Sara Ahmed) with disgust-making properties (Pierre Bourdieu). Overall, what emerges is a critical feeling for the United Kingdom as a class-divided nation and the urgent need to resist the entrenched classifying gaze of the neoliberalist imagination. KEYWORDS: class politics, working class, structure of feeling, women’s playwriting BIO: Elaine Aston is Professor of Contemporary Performance at Lancaster University, UK. Her monographs include Caryl Churchill (1997/ 2001/ 2010); Feminism and Theatre (1995); Feminist Theatre Practice (1999); Feminist Views on the English Stage (2003); Performance Practice and Process: Contemporary [Women] Practitioners (2008, with Geraldine Harris); A Good Night Out for the Girls (2013, with Geraldine Harris); and Royal Court: International (2015, with Mark O’Thomas).
    [Show full text]