Full Cast Announced for Babette's Feast at Print Room at the Coronet
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A Sheffield Hallam University Thesis
Taboo : why are real-life British serial killers rarely represented on film? EARNSHAW, Antony Robert Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20984/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20984/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Taboo: Why are Real-Life British Serial Killers Rarely Represented on Film? Antony Robert Earnshaw Sheffield Hallam University MA English by Research September 2017 1 Abstract This thesis assesses changing British attitudes to the dramatisation of crimes committed by domestic serial killers and highlights the dearth of films made in this country on this subject. It discusses the notion of taboos and, using empirical and historical research, illustrates how filmmakers’ attempts to initiate productions have been vetoed by social, cultural and political sensitivities. Comparisons are drawn between the prevalence of such product in the United States and its uncommonness in Britain, emphasising the issues around the importing of similar foreign material for exhibition on British cinema screens and the importance of geographic distance to notions of appropriateness. The influence of the British Board of Film Classification (BBFC) is evaluated. This includes a focus on how a central BBFC policy – the so- called 30-year rule of refusing to classify dramatisations of ‘recent’ cases of factual crime – was scrapped and replaced with a case-by-case consideration that allowed for the accommodation of a specific film championing a message of tolerance. -
Casting Announced for BBC One's the Pale Horse
Casting announced for BBC One’s The Pale Horse Date: 31.07.2019 Casting for the latest Agatha Christie drama, The Pale Horse has been announced by BBC One, Mammoth Screen and Agatha Christie Limited. Rufus Sewell (The Man In The High Castle, The Marvellous Mrs. Maisel, The Father), plays Mark Easterbrook and is joined by Kaya Scodelario (Crawl, Extremely Wicked and Shockingly Evil And Vile) playing Hermia, Bertie Carvel (Doctor Foster, Jonathan Strange & Mr Norrell) as Zachariah Osborne, Sean Pertwee (Gotham, Elementary) as Detective Inspector Lejeune, Henry Lloyd-Hughes (Killing Eve, Indian Summers) as David Ardingly, and Poppy Gilbert (Call The Midwife) as Thomasina Tuckerton, Madeleine Bowyer (Black Mirror, Britannia) as Jessie Davis and Ellen Robertson (Snowflake, Britney Soho) as Poppy. Sarah Woodward (Queens Of Mystery, Loving Miss Hatto), Georgina Campbell (His Dark Materials, Black Mirror) and Claire Skinner (Outnumbered, Vanity Fair) will also star. Completing the cast are Rita Tushingham (Vera, A Taste Of Honey) as Bella, Sheila Atim (Girl From The North Country, Bloodmoon) as Thryza Grey and Kathy Kiera Clarke (Derry Girls, Tartuffe) as Sybil Stamford who will play the trio of witches. The Pale Horse follows Mark Easterbrook as he tries to uncover the mystery of a list of names found in the shoe of a dead woman. His investigation leads him to the peculiar village of Much Deeping, and The Pale Horse, the home of a trio of rumoured witches. Word has it that the witches can do away with wealthy relatives by means of the dark arts, but as the bodies mount up, Mark is certain there has to be a rational explanation. -
Playing Shakespeare with Deutsche Bank Production of Twelfth Night
2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh. -
Identity and Women Poets of the Black Atlantic
IDENTITY AND WOMEN POETS OF THE BLACK ATLANTIC: MUSICALITY, HISTORY, AND HOME KAREN ELIZABETH CONCANNON SUBMITTED IN ACCORDANCE WITH THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY UNIVERSITY OF LEEDS SCHOOL OF ENGLISH SEPTEMBER 2014 i The candidate confirms that the work submitted is 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. The right of Karen E. Concannon to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs, and Patents Act 1988. © 2014 The University of Leeds and K. E. Concannon ii ACKNOWLEDGEMENTS I am grateful for the wisdom and assistance of Dr Andrew Warnes and Dr John Whale. They saw a potential in me from the start, and it has been with their patience, guidance, and eye-opening suggestions that this project has come to fruition. I thank Dr John McLeod and Dr Sharon Monteith for their close reading and constructive insights into the direction of my research. I am more than appreciative of Jackie Kay, whose generosity of time and spirit transcends the page to interpersonal connection. With this work, I honour Dr Harold Fein, who has always been a champion of my education. I am indebted to Laura Faile, whose loving friendship and joy in the literary arts have been for me a lifelong cornerstone. To Robert, Paula, and David Ohler, in each of my endeavours, I carry the love of our family with me like a ladder, bringing all things into reach. -
The Old Vic Announces Matthew Warchus' Season 5 Plus New
PRESS RELEASE 30 APRIL 2019 THE OLD VIC ANNOUNCES MATTHEW WARCHUS’ SEASON 5 PLUS NEW TRUSTEES AND THE LAUNCH OF TWO EXCITING SCHEMES FOR AUDIENCES The Old Vic is delighted to announce Matthew Warchus’ Season 5 featuring an exciting and eclectic mix of thought- provoking entertainment. In addition, The Old Vic is also today launching two new initiatives: an online loyalty scheme called OV Extra, designed to give audiences discounts, insights, invites and surprises for just £5 a month, and Matinee Idols, a social initiative specially for those aged over 60. Plus we are delighted to announce the appointment of Tina Alexandrou and Olivier Award-winning actress Sheila Atim to The Old Vic Theatre Trust Board of Trustees. AT A GLANCE Productions: • The world premiere of a new play by Old Vic Associate Artist Lucy Prebble based on Luke Harding’s book A Very Expensive Poison, directed by John Crowley. • Claire Foy and Matt Smith make their Old Vic debuts in Duncan Macmillan’s Lungs, directed by Matthew Warchus. • Old Vic Associate Artist Jack Thorne’s version of A Christmas Carol directed by Matthew Warchus returns by popular demand. • Alan Cumming and Daniel Radcliffe star in a double bill of Samuel Beckett’s Endgame and Rough for Theatre ll, directed by Richard Jones. • A musical adaptation of the hit 1983 film Local Hero directed by John Crowley. Book by Bill Forsyth and Old Vic Associate Artist David Greig with music and lyrics by Mark Knopfler. Commissions and in development: • Commissions for 2019 and beyond include: Ella Hickson with a new version of Sophocles’ Oedipus Rex, Simon Stephens with a new adaptation of Ibsen’s An Enemy of the People and a new play by Paul Unwin chronicling the birth of the NHS directed by Sarah Frankcom. -
Handsworth Songs and Touch of the Tarbrush 86
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/35838 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Voices of Inheritance: Aspects of British Film and Television in the 1980s and 1990s Ian Goode PhD Film and Television Studies University of Warwick Department of Film and Television Studies February 2000 · ~..' PAGE NUMBERING \. AS ORIGINAL 'r , --:--... ; " Contents Acknowledgements Abstract Introduction page 1 1. The Coupling of Heritage and British Cinema 10 2. Inheritance and Mortality: The Last of England and The Garden 28 3. Inheritance and Nostalgia: Distant Voices Still Lives and The Long Day Closes 61 4. Black British History and the Boundaries of Inheritance: Handsworth Songs and Touch of the Tarbrush 86 5. Exile and Modernism: London and Robinson in Space 119 6. Defending the Inheritance: Alan Bennett and the BBC 158 7. Negotiating the Lowryscape: Making Out, Oranges Are Not the Only Fruit and Sex, Chips and Rock 'n' Roll 192 Conclusion 238 Footnotes 247 Bibliography 264 Filmography 279 .. , t • .1.' , \ '. < .... " 'tl . ',*,. ... ., ~ ..... ~ Acknowledgements I would like to express my gratitude to my supervisor Charlotte Brunsdon for her patience, support and encouragement over the course of the thesis. I am also grateful to my parents for providing me with both space and comfortable conditions to work within and also for helping me to retain a sense of perspective. -
Annual Review. 2018
Annual Review. 2018 Shakespeare’s Globe OUR CAUSE We celebrate Shakespeare’s transformative impact on the world by conducting a radical 4 Chief Executive’s Welcome theatrical experiment. 6 Theatre Inspired and informed by the unique historic 6 The Globe playing conditions of two beautiful iconic 14 The Sam Wanamaker Playhouse theatres, our diverse programme of work harnesses the power of performance, 20 Beyond the Globe cultivates intellectual curiosity and excites 21 Learning for all learning to make Shakespeare accessible 25 Widening access for all. 26 Exhibition & Tour ‘And let us… on your imaginary 27 Behind the scenes forces work’ 28 How we made it Henry V, Prologue 29 How we spent it #Globe2018 30 Looking forward 020 7401 9919 32 Learning for all shakespearesglobe.com 34 Financial Stability 34 Project Prospero 36 Thanks, thanks and ever thanks 38 Staff 41 Trustees and Globe Councillors 42 Cast members and Creatives 2018 The Shakespeare Globe Trust. Registered in England and Wales No. 1152238. Registered charity No. 266916. 2 3 Welcome to this year’s Shakespeare’s Globe review, celebrating a few of the highlights from spring 2018 to spring 2019. Our cause is to celebrate and interrogate Shakespeare’s transformative impact on the world, while our two theatres allow us to experience the architectural playing conditions under which Shakespeare’s plays were originally performed. 2018 was a year of artistic leadership change and further strategic development. Our 2017 review looked forward to a new era of artistic endeavour on Bankside, one closely integrated with our other activities, but creatively distinct; historically aware, but radically contemporary. -
Romeo & Juliet
Romeo & Juliet by William Shakespeare The title page of Romeo & Juliet from the First Folio of Shakespeare’s plays, published in 1623. Handsome bound facsimiles of Romeo & Juliet , published in the Globe Folios series in association with the British Library, are available from the shop, price £9.99. Each volume includes an introduction by the foremost First Folio scholar, Anthony James West. Sources, early Performance and Publication Shakespeare’s principal sources for Romeo & Romeo & Juliet was almost certainly first Juliet were a long narrative poem called The performed by Shakespeare’s company, the Tragicall Historye of Romeus and Juliet by Arthur Chamberlain’s Men, in or around 1596 – a Brooke, first published in 1562 and, to a lesser ‘lyrical’ period of Shakespeare’s writing career degree, the prose romance Rhomeo and Julietta which also includes A Midsummer Night’s Dream, by William Painter. Both sources were based Richard II and many of the Sonnets . No records on a French version of the Italian story Giulietta exist to tell us where it was first seen, but it e Romeo first published in about 1530. Such is likely to have been either the Theatre or the The Curtain Theatre, Shoreditch (to the right), where Italian ‘novelles’ were popular reading in Curtain playhouse in Shoreditch. It has been Romeo & Juliet was probably first performed in or around Shakespeare’s time and Painter’s collection, suggested that Richard Burbage, the company’s 1596. A detail from Abram Booth’s ‘View of London from The Palace of Pleasure , was singled out by the leading man, took the role of Romeo (he would the North’. -
Why Are Real-Life British Serial Killers Rarely Represented on Film?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sheffield Hallam University Research Archive Taboo : why are real-life British serial killers rarely represented on film? EARNSHAW, Antony Robert Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20984/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version EARNSHAW, Antony Robert (2017). Taboo : why are real-life British serial killers rarely represented on film? Masters, Sheffield Hallam University. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Taboo: Why are Real-Life British Serial Killers Rarely Represented on Film? Antony Robert Earnshaw Sheffield Hallam University MA English by Research September 2017 1 Abstract This thesis assesses changing British attitudes to the dramatisation of crimes committed by domestic serial killers and highlights the dearth of films made in this country on this subject. It discusses the notion of taboos and, using empirical and historical research, illustrates how filmmakers’ attempts to initiate productions have been vetoed by social, cultural and political sensitivities. Comparisons are drawn between the prevalence of such product in the United States and its uncommonness in Britain, emphasising the issues around the importing of similar foreign material for exhibition on British cinema screens and the importance of geographic distance to notions of appropriateness. The influence of the British Board of Film Classification (BBFC) is evaluated. This includes a focus on how a central BBFC policy – the so- called 30-year rule of refusing to classify dramatisations of ‘recent’ cases of factual crime – was scrapped and replaced with a case-by-case consideration that allowed for the accommodation of a specific film championing a message of tolerance. -
Voices De La Luna a Quarterly Poetry & Arts Magazine
Voices de la Luna A Quarterly Poetry & Arts Magazine Tuesday 15 December 2009 Volume 2, Number 2 Questions for Bridget Drinka A Tribute to Cynthia Harper “How Shall I Tell You?” by Carmen Tafolla “Are We Friends?” Flash Fiction by Naomi Nye “Aging Gracefully” by Voices Editors Interview with Annie Parker Poetry & Arts Places in San Antonio Letter from the Editors Mo H. Saidi and James Brandenburg When power leads man towards arrogance, poetry reminds him of his limitations. When power nar- We welcome you to the second year and the sixth issue of rows the areas of man’s concern, poetry reminds him Voices de la Luna: A Quarterly Poetry & Arts Magazine. Start- of the richness and diversity of his existence. When ing with the 15 June 2009 issue, our magazine was published in power corrupts, poetry cleanses. For art establishes four formats: webpage, digital reader, eMagazine, and hardcopy. the basic human truth which must serve as the touch- The printed version of the magazine is creating new visibility stone of our judgment. for us with a growing number of paid subscriber-members. The number of copies printed is determined strictly by existing, pre- John F. Kennedy (1917–63), U.S. Democratic politi- paid demand from subscriber-members, contributing editors, cian, president. Last major public address, 26 Oct. board of directors, and advisors. 1963, at dedication of Robert Frost Library, Amherst College. In the early morning hours of Friday 9 October, President Obama was awakened with the news that he had won the Nobel BOTANICAL GARDENS—33 acres of formal gardens, pools, Peace Prize for “extraordinary efforts to strengthen international fountains, and natural areas; Native Texas Area, South Center diplomacy and cooperation between people.” He was only the Periscope. -
2 Others Within Ethics in the Age of Global Shakespeare
2 Others within Running Head Right-hand: Others within Running Head Left-hand: Alexa Alice Joubin 2 Others within Ethics in the age of global Shakespeare --Alexa Alice Joubin Shakespeare is a proper noun naming a collection of privileged signifiers, but to perform and study Shakespeare is to engage with the notion of “others within.” Historically, Shakespeare’s name and works have been integrated as the “other” within many significant world cinematic and theatrical traditions. Shakespeare has become something that is both part of a local performance tradition and at the same time a usefully alien presence to inspire new works, as evidenced by James Ivory’s 1965 film Shakespeare Wallah, which follows a traveling troupe of English actors performing Shakespeare in India. Shakespeare is both an icon that is familiar enough in local contexts for dramaturgical purposes and a stubbornly foreign presence that can be called upon for political agendas. Another example is Shakespeare in Germany. As Andreas Höfele’s latest book shows, there has been a strong identification of the German “national character” with Hamlet since the 1840s (2016: ix). Yet the vitality of this recurring motif depends crucially on the fact that Shakespeare remains a non-German voice, an other within. The “split between the official German and its discontents” constantly points to Hamlet as a foreign ghost that stalks and aids the battlements of the formation of German identity (Höfele 2016: 2). In Anglophone cultures, Shakespeare has also been colored by other accents in terms of increasingly hybrid performance styles, multilingual and multinational casts, and international networks of funding and marketing partners at festivals. -
Verse WISCONSIN
issue 108 www.versewisconsin.org April 2012 Verse WISCONSIN Founded by linda Aschbrenner AS FREE VERSE 1998 VERSE DRAMA VERSE DRAMA VERSE DRAMA PROSE FEATURES DRAMATIC POETRY & FERMAT’S LAST THEOREM “Is a brief, random, one- or two- generation explosion of verse plays BY AMIT MAJMUDAR impossible? The visual fixation of modern audiences—audience implies OUR EXPANDING DRAMAVERSE audition, hearing; perhaps we should call BY WENDY VARDAMAN & GREER DUBOIS them viewers—makes it unlikely. The technological shift, from nearly bare stage to richly detailed screen, makes it even “Verse drama isn’t just important more unlikely. The emphasis among most because Shakespeare did it. Poetry is poets on “lyric” poetry doesn’t help.” drama’s native language. Performance is poetry’s native state. Besides our —Amit Majmudar broad and deeply held belief in the VERSE DRAMA power of poetry and drama, singly and VERSE DRAMA in unison, to activate the imagination and to help us to make meaning, a POETRY BY JAMES BABBS ; ALESSANDRA belief also critical to hip hop, there are BAVA ; GUY R. BEINING ; MICHAEL a host of practical, artistic contributions BELONGIE ; CAROL BERG ; STEPHEN BETT that drama can make to poetry.” ; LORNA KNOWLES BLAKE ; CAROLINE —Wendy Vardaman & Greer DuBois COLLINS ; ELIZABETH COOK ; BRUCE DETHLEFSEN ; KARL ELDER ; R. VIRGIL ELLIS ; ANNA M. EVANS ; WILLIAM FORD ; CAROL LYNN GRELLAS ; DAVID GROSS VERSE DRAMAS BY CAROL DORF & ; JERRY HAUSER ; KARLA HUSTON ; ; AUTUMN STEPHENS KEVIN DRZAKOWSKI LAWRENCE KESSENICH ; DON KIMBALL; ; ; AMIT MAJMUDAR CHARLOTTE MICHAEL KRIESEL ; BARBARA LIGHTNER ; MANDEL ANGELA ALAIMO O’DONNELL ; EMILIE LINDEMANN ; SANDY LINDOW ; MONICA RAYMOND ; DAVID YEZZI ; ; JAMES SCANNELL MCCORMICK ; JAMES B.