Maureen Chadwick Writer

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Agent: Peter MacFarlane MAUREEN CHADWICK WRITER Maureen was the Creative Director and Co-Founder of Shed Productions in 1998 along with Eileen Gallagher, Ann McManus and Brian Park. Maureen remained at Shed until the company was bought out by Time Warner in 2010. She has now returned to freelance writing. In Development: SWAGGER Writer FOOTBALLERS’ WIVES – Writer THE MUSICAL Work includes: CRUSH: THE MUSICAL Big Broad Productions Other work: THE REALNESS Hackney Downs Studios THE SPEED TWINS World Premiere at Riverside Studios BLACK & BLUE 6 x 1 hour drama for television In development with Mammoth Screen CRUSH, THE SCHOOLGIRL MUSICAL (Musical Theatre) Co-creator and lead writer of long-running drama series including: BAD GIRLS FOOTBALLERS’ WIVES WATERLOO ROAD Other credits include: Television Episodes for: ANGELS EASTENDERS ELDORADO MacFarlane Chard Associates, Beacon House, 113 Kingsway, London, WC2B 6PP T: +44 (0) 20 7636 7750 F: +44 (0) 20 7636 7751 www.macfarlane-chard.co.uk SPRINGHILL CORONATION STREET Single plays for BBC Screen One: TWO GOLDEN BALLS Directed by Anya Camilleri, Produced by Margaret Matheson, starring Kim Cattrall, Claire Skinner and Christopher Ellison WATCH WITH MOTHER Directed by Gareth Jones, Produced by Martin Auty, starring Annette Crosbie & Gerry Cowper Theatre JOSEPHINE BAC/Oldham Coliseum/national tour Critics’ Circle Best Musical Award Nomination, 1993 DUST BAC BAD GIRLS – Book by Maureen Chadwick and Ann McManus, music and THE MUSICAL lyrics by Kath Gotts West Yorkshire Playhouse/Garrick Theatre MacFarlane Chard Associates, Beacon House, 113 Kingsway, London, WC2B 6PP T: +44 (0) 20 7636 7750 F: +44 (0) 20 7636 7751 www.macfarlane-chard.co.uk .

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Venustheatre
VENUSTHEATRE Dear Member of the Press: Thank you so much for coverage of The Speed Twins by Maureen Chadwick. I wanted to cast two women who were over 60 to play Ollie and Queenie. And, I'm so glad I was able to do that. This year, it's been really important for me to embrace comedy as much as possible. I feel like we all probably need to laugh in this crazy political climate. Because I thought we were losing this space I thought that this show may be the last for me and for Venus. It turns out the new landlord has invited us to stay and so, the future for Venus is looking bright. There are stacks of plays waiting to be read and I look forward to spending the summer planning the rest of the year here at Venus. This play is a homage, in some ways, to The Killing of Sister George. I found that script in the mid-nineties when it was already over 30 years old and I remember exploring it and being transformed by the archetypes of female characters. To now be producing Maureen's play is quite an honor. She was there! She was at the Gateway. She is such an impressive writer and this whole experience has been very dierent for Venus, and incredibly rewarding. I hope you enjoy the show. All Best, Deborah Randall Venus Theatre *********************************************** ABOUT THE PLAYWRIGHT PERFORMANCES: receives about 200 play submissions and chooses four to produce in the calendar year ahead. Each VENUSTHEATRE Maureen Chadwick is the creator and writer of a wide range of award-winning, critically acclaimed and May 3 - 27, 2018 production gets 20 performances.
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Competition and Public Service Broadcasting: Stimulating Creativity Or Servicing Capital?
COMPETITION AND PUBLIC SERVICE BROADCASTING: STIMULATING CREATIVITY OR SERVICING CAPITAL? Centre for Business Research, University of Cambridge Working paper No. 408 by Simon Turner Department of Health Services Research and Policy, London School of Hygiene & Tropical Medicine, Keppel Street, London, WC1E 7HT Email: [email protected] Ana Lourenço School of Economics and Management, Catholic University of Portugal, Rua Diogo Botelho, 1327, 4169-005, Porto, Portugal. Email: [email protected] June 2010 This working paper forms part of the CBR Research Programme on Corporate Governance Abstract In UK public service broadcasting, recent regulatory change has increased the role of the private sector in television production, culminating in the BBC’s recent introduction of ‘creative competition’ between in-house and independent television producers. Using the concept of ‘cognitive distance’, this paper focuses on the increasing role of the independent sector as a source of creativity and innovation in the delivery of programming for the BBC. The paper shows that the intended benefits of introducing new competencies into public service broadcasting have been thwarted by, on the one hand, a high level of cognitive proximity between in-house and external producers and, on the other, a conflict in values between the BBC and the independent sector, with the latter responding to a commercial imperative that encourages creativity in profitable genres, leaving gaps in other areas of provision. While recent regulatory reform appears to have had a limited impact on the diversity of programming, it does suggest a closer alignment of programme content with the imperatives of capital. Implications for the literature on communities of practice are noted.
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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.
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“Bad Girls Changed My Life”: Homonormativity in a Women's
Kent Academic Repository Full text document (pdf) Citation for published version Herman, Didi (2003) ”Bad Girls Changed My Life”: Homonormativity in a Women’s Prison Drama. Critical Studies in Media Communication, 20 (2). pp. 141-159. ISSN 1529-5036. DOI https://doi.org/10.1080/07393180302779 Link to record in KAR https://kar.kent.ac.uk/1570/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Kent Academic Repository – http://kar.kent.ac.uk “Bad Girls Changed My Life”: Homonormativity in a Women’s Prison Drama Didi Herman â Critical Studies in Media Communication 20 (2) pp 141 – 159 2003 Not Published Version Abstract: This paper explores representations of sexuality in a popular British television drama. The author argues that the program in question, Bad Girls, a drama set in a women’s prison, conveys a set of values that are homonormative.
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First published in 2011 by HammerOn Press [email protected] www.hammeronpress.net © Deborah M. Withers All rights reserved. No part of this publication may be reproduced in any form or by any means without the written permission of HammerOn Press. All reasonable attempts have been made to trace the copyright owners for the material used in this book. Designed by Jan Martin Illustration, Bristol, www.janmartin.co.uk Typeset in Optima by Jan Martin Illustration. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 978-0-9564507-1-5 FEMINISM IN BRISTOL 1973–1975 collected by DEBORAH M. WITHERS Contents 3 The Beginning of the 64 The National Women’s Project Liberation Conference, Bristol 8 Sour Faced Feminists by Jane Mornement 68 Humour and Disruption 10 Sistershow by Helen Taylor 69 Bristol Women’s Centre 12 Sistershow: My Immortality 70 Women’s House Project by Alison Rook 71 Music and Sistershow 17 Sistershow 74 Sistershow Bedminster and 28 History of Bristol Feminism Class Politics 1969-1974 77 Punk theatre 20 Social and Political History 81 Sistershow Edinburgh of 1970s 82 Sistershow: The Woman 21 Feminist and Alternative Machine Theatre in the Early 1970s 86 Conflicts in Sistershow 23 The First Sistershow (Bower Ashton) 89 Helen Taylor and Brenda Jacques’ Tape Slide 24 Miss Women’s Liberation 1973 91 Contraception, the Pill and the Women’s Abortion 28 Challenging Stereotypes of and Contraception the Humour-less Feminist Campaign 29 Jackie Thrupp (1941-1991) 94 Improvising Sistershow 32 Pat VT West (1938-2008) 97 Family Allowances 35 My friend Pat by Ros Campaign Beauhill 98 Wages for Housework 38 Enough by Tessa Cole 99 Working Women’s Charter 42 Domesticity and Gendered 100 The Impact of Sistershow work on People’s Lives 63 Gay Women’s Group 101 Where are they now? Endnotes Acknowledgements BEGINNINGS 3 Sistershow Revisited The beginning of the project* I’ve often been asked how I found out about Sistershow.
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Worcestershire Cover Online.qxp_Worcestershire 05/08/2015 10:22 Page 1 THE MIDLANDS ULTIMATE ENTERTAINMENT GUIDE WORCESTERSHIRE ’ Whatwww.whatsonlive.co.uk sOnISSUE 356 AUGUST 2015 ALEXANDRA BURKE THE BODYGUARD IN BRUM WORCESTER FESTIVAL return of the city’s biggest summertime celebration ROBERT POWELL gets regal playing King Charles III at The Rep interview inside... INSIDE: FILM COMEDY THEATRE LIVE MUSIC VISUAL ARTS EVENTS Quill FOOD & DRINK takeCOMES the TO audience MALVERN on an exciting journey & MUCH MORE! Style Birmingham (FP-August).qxp_Layout 1 24/07/2015 11:06 Page 1 Contents August Region 1.qxp_Layout 1 23/07/2015 14:06 Page 1 August 2015 Editor: Davina Evans INSIDE: [email protected] 01743 281708 Editorial Assistants: Robert Powell Brian O’Faolain [email protected] gets regal playing King 01743 281701 Charles III at The Rep Lauren Foster interview [email protected] p8 01743 281707 Adrian Parker [email protected] 01743 281714 Jamie Ryan [email protected] 01743 281720 Sales & Marketing: Lei Woodhouse [email protected] 01743 281703 Chris Horton [email protected] 01743 281704 Subscriptions: Adrian Parker [email protected] Summer In Southside 01743 281714 bank holiday fun in the Managing Director: Paul Oliver heart of the city p48 [email protected] 01743 281711 Publisher and CEO: Martin Monahan [email protected] 01743 281710 Graphic Designers: Lisa Wassell Alexandra Burke takes the lead as Rachel Maron in award-winning Chris Atherton musical The Bodyguard.
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A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Ball, V. 2007. Female identity and the British female ensemble drama 1995-1998. PhD thesis. Queen Margaret University. Accessed from: http://etheses.qmu.ac.uk/92/ Repository Use Policy The full-text may be used and/or reproduced, and given to third parties for personal research or study, educational or not-for-profit purposes providing that: • The full-text is not changed in any way • A full bibliographic reference is made • A hyperlink is given to the original metadata page in eResearch eResearch policies on access and re-use can be viewed on our Policies page: http://eresearch.qmu.ac.uk/policies.html http://etheses.qmu.ac.uk FEMALE IDENTITY AND THE BRITISH FEMALE ENSEMBLE DRAMA 1995-1998 VICTORIA BALL A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy QUEEN MARGARET UNIVERSITY 2007 Abstract This thesis focuses upon a distinctive form of ‘feminine-gendered’ fiction, that of the British female ensemble drama, that has proliferated across televisual schedules since the late 1970s and which has received little academic attention. Although not a discrete genre, the female ensemble drama is nevertheless identifiable as a distinctive form of ‘feminine-gendered’ fiction that is largely written and/or produced by women, which diegetically focuses on particular communities of female characters and which is predominantly aimed at female audiences. The purpose of this text-based analysis of the female ensemble drama is to engage with a central concern of feminist television criticism, that of the gendered identity of this particular media form and the constructions of gender within it given its association with women at these three sites of production, text and audience.
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The Speed Twins a Couple of Years Ago
DEBORAH RANDALL [Founder/Artistic Director; Director/Costumes/Properties] is the founder and visionary behind Venus Theatre. Born in Washington, DC, and raised in Prince George’s County, she began directing as a student and president of the Drama Club at Prince Georges Community College. Her first paid acting gig was at LYNDA BRUCE [The Powers that Be] is joining Venus Theatre for a fifth time, after Aglaonike and the Tiger and Wild World Theme Park in 1986. She later went on to graduate cum laude from UMBC under the guidance of This Little Light. Other credits include St. Nicholas and A Coffin in Egypt with Quotidian Theatre as well as Xerxes Mehta, Wendy Salkind, Sam McCready, Alan Kriezenbeck, and Alice Robinson. She was in Mehta’s Crónica de una Muerte Anunciada with Gala Theatre. Al Todopoderos@, toda gloria. Marat/Sade at UMBC with the Maryland Stage Company and in McCready’s Merry Wives of Windsor with Shakespeare on Wheels. After college, Randall worked as an actor regularly in Washington, DC, and then began MYRRH CAUTHEN [The Powers that Be] Actress, songwriter, character! Music programmer WPFW-FM 89.3 performing her own monologues. She has performed four solo shows, written two, and had one published. She FM"Bluesday Tuesday 12-1pm, WOWD-LP 94.3 FM Borderlines, music across all borders every other Wednesday has also written and staged works for multiple casts. She began doing public staged readings of other living 10 am to 12 noon sharing slot with Bobby Hill. playwrights in 2002, which led to cultivating strong relationships with many writers.
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From the Cottage to the City: the Evolution of the UK Independent Production Sector An Independent Report commissioned by the BBC September 2005 Evolution of the UK Independent Production Sector Table of Contents 1. Executive summary 3 2. Introduction 5 3. History of the independent production sector 6 Launch 6 Take-off 7 Failure to thrive 8 First time around for corporate finance in the independent sector 9 Why the City has been cautious about TV production 10 The resurgence of City interest 11 4. The current drivers of change 13 Rapid take-up of multi-channel services 13 WOCC 13 Overseas programme sales 13 New platforms 14 Regulatory changes 15 Other factors 15 5. The future size and shape of the UK independent production sector 16 Market size 16 Market shape 17 6. Conclusions 20 Appendix I: Profile of key players in UK independent production sector 21 All3Media Ltd 21 Complete Communications Corporation Ltd (Celador) 23 Endemol BV (Telefonica) 24 FremantleMedia (RTL Group) 26 Hat Trick Holdings Ltd 28 HIT Entertainment Ltd 30 RDF Media Group plc 32 Shed Productions plc 33 The Television Corporation plc 34 Ten Alps Communications plc 36 Tiger Aspect Productions Ltd 37 Zenith Entertainment Ltd 38 Appendix II: Market forecasts 39 Base case projections 39 Mediatique analysis of the impact of WOCC 40 Non-traditional revenues 43 Summary 43 2 Evolution of the UK Independent Production Sector 1. Executive summary The Independent Production Sector1 in the UK (the 800 UK-based, non-broadcaster aligned companies that supply original television programming to UK and international broadcasters) has evolved significantly in recent years, and is now poised to enter a more professional and profitable period of development.
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Alex Kalymnios
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