DOCSLIB.ORG

Life Through a Lens EXPOSURE \\\ TOXIC FAME ||| F1.8 F2.8 F4 F5.6 F8 F11 F16 F22 |||| | || © Camera Theatre Productions 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Life Through a Lens EXPOSURE \\\ TOXIC FAME ||| F1.8 F2.8 F4 F5.6 F8 F11 F16 F22 |||| | || © Camera Theatre Productions 2014 Life through a lens EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2014 CS4_Exposure_Prospectus_ED_Cover_03.indd 1 01/02/2013 11:50 SNAPSHOT Aborigines believe that the camera steals the soul… Jimmy Tucker inherits the camera of his father a photojournalist who has disappeared in the Australian Outback. The camera becomes his talisman and inspiration and Jimmy decides to follow in his father’s footsteps, his mission to highlight poverty and injustice. But has he inherited something more than just a camera… the trapped soul of an Aborigine elder? Tempted by his media guru stepfather to do a project on the Seven Deadly Sins he finds himself lured into the seedy world of the paparazzi and toxic fame, becoming as corrupt as the world he wants to expose. The conflict between the desire to expose the truth and the right to invade the private world of his subjects leads Jimmy into increasingly darker places. When in a near death experience his past comes to haunt him, he is forced to realise that in the right hands one camera click can create an icon, but in the wrong hands it can destroy a life! Will there be a guardian angel looking out for him, or has his camera stolen his soul? Can he set the aborigine free? Every now and then something comes along that makes us sit up and pay attention, reaching out to us in a more profound way than usual. Something that touches the soul because it has heart and integrity… Exposure, a new musical, is that something. EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 00 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 CONTENTS Capture the Moment 3 An Opportunity to Invest Corporate Structure 5 Camera Theatre Productions Ltd Exposure 7 Our Commitment To Stakeholders The Book 8 Story Synopsis Who’s in the Frame 11 Creative and Production Team Workshops 16 The Development Story So Far The Market in Focus 18 Design Concepts 20 A New Theatrical Language Financial Arrangements 25 Financial Promotion Order 30 Important Notice 31 Procedure for Investment 32 Application to Invest 34 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 2 CAPTURE THE MOMENT AN OPPORTUNITY TO INVEST This document outlines the investment opportunity in the production of the brand new musical Exposure - a unique invitation to be part of a creative legacy with a solid financial footing. Exposure The Musical will premier at London’s St James theatre in the Summer of 2016 prior to it’s West End premier. Camera Theatre Productions are proud to announce that the shows will be directed by critically acclaimed Phil Willmott with an award winning creative team that will set a new benchmark to be announced in the near future. Exposure The Musical tells a universal story relevant to our modern world. With a completely original book (script), musical score and lyrics, Exposure reveals how life can be changed by the click of a camera shutter. Our exclusive investment partnership with Getty Images enables Exposure to feature the world’s largest and most remarkable collection of still and moving imagery. Just as black and white gave way to colour, Exposure is a state-of-the-art production that uses the latest technology without losing the traditional strengths of musical theatre - a combination that promises a truly sizzling live experience with unforgettable songs and choreography, and the intimacy of traditional story-telling enhanced by the raw power of a stadium rock concert. EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 00 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 2 CORPORATE STRUCTURE CAMERA THEATRE PRODUCTIONS LTD Camera Theatre Productions Ltd was established in 2007 to finance the development of Exposure the Musical to the highest performance standard. Camera Theatre Productions Ltd has entered into a licensing arrangement with Getty Images International which entitles it to use up to 10,000 images from the Getty Image Archive in relation to Exposure The Musical in the West End and on tour throughout the United Kingdom. Camera Theatre Productions Ltd is a wholly owned subsidiary of Camera IP Ltd, an Isle of Man registered company, which owns the intellectual property rights in the creative elements for Exposure the Musical. Camera IP Ltd will grant a licence of the intellectual property rights in Exposure the Musical to Exposure West End Ltd a company set up in 2010 in order to present Exposure the Musical in the West End. The shareholders of Camera IP Ltd are: Robert Court FRICS ACI Arb Robert is a Chartered Surveyor and Investor and was formerly Global Head of Real Estate in Deutsche Bank’s Private Wealth Management Division. The Balinski Brothers Kaz and Zygi Balinski have interests in hospitality, media and entertainment investment. Kaz is a Director of Ionrex, a surface oil and shallow hydrocarbon development company. Warwick Woodhouse Warwick was a Senior Vice President and a Member of the Executive Committee of Getty Images with a broad ranging remit covering almost every aspect of the business. After retiring from Getty Images Warwick turned his hand to writing and has had his first novel published and is on his second. He is the author of a book on Italian food and on management and leadership. Quentin Russell Quentin is an historian, writer and producer who runs his own creative business. Denise Britnell Denise is a theatre angel David Lumby David is a multinational business angel Mike Dyer Mike is Director of Camera Theatre Productions Ltd and Exposure West End Ltd. EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 00 4 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 6 On stage, when you see these truly remarkable images which are used extensively, Exposure The Musical becomes a very, very powerful thing which sends out a clear message about the power of photography and also the evils of the world, warts and all - all encapsulated in the Exposure storyline which is simply wonderful. MATTHEW BUTSON Vice President Hulton Archive EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2013 00 CS5_Exposure_Prospectus_LO_11_3.indd 6-7 6 EXPOSURE OUR COMMITMENT TO STAKEHOLDERS • A totally new and original British stage musical • An exclusive partnership with Getty Images, the world’s largest image archive • A universal storyline that changes daily with the headlines • A modern Rake’s Progress that explores the toxic effects of fame • A magical synergy of live musical theatre, rock ‘n’ roll and digital technology • A multi-award winning, world class creative team • World Premier at London’s St James Theatre in the Summer 2016 • A show that features icons and iconic photographers • An opportunity to invest in the startup of a global brand EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2013 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 00 6 CS5_Exposure_Prospectus_LO_11_3.indd 6-7 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 THE BOOK STORY SYNOPSIS Aborigines believe that the camera steals the soul… in the right hands one camera click can create an icon, in the wrong hands it can destroy a life! A celebrated photojournalist disappears in the Australian Outback, leaving behind only his camera, which is inherited by his son, Jimmy, born on the same day in London. The camera (and with it the trapped soul of an Aborigine elder?) becomes Jimmy’s talisman and inspiration. Ten years on, he and his unmarried mother are the victims of malicious neighbourhood gossip, so she is relieved when Miles Mason, an enigmatic media guru, appears as if from nowhere to sweep her off her feet. At their wedding reception, Miles is intrigued by Jimmy’s crush, Janet, a young teenager with big aspirations to be a rock star. Miles takes Jimmy under his wing, but as the years pass his mother becomes strangely distant. Rumours surface that she is having affairs. Feeling betrayed the devastated Jimmy storms out and leaves home. Jimmy decides to become a photojournalist like his father, his mission to highlight poverty and injustice. Gaining experience at a local newspaper, he photographs a young busker, Tara, outside Angel tube station and becomes besotted with her image. After using the picture in a spread on homelessness he wins a prestigious award. At the ceremony, while Miles is telling him that his mother is ill and he should visit her, Tara bursts in, angrily admonishing him for taking her picture without permission. As the feisty confrontation turns flirtatious the mercurial Tara vanishes into the night, leaving Jimmy bemused and lovelorn. As a result of his prize Jimmy is sent to famine stricken Africa, where, haunted by the sight of a dying mother and suffering from dehydration and heatstroke, he has a vision of his dead father. During Jimmy’s absence his heartbroken mother dies. At her funeral, Miles offers his support, hoping to lure him into his nefarious world of tabloid spin and hype, but Jimmy sticks to his principles, going off to cover a military coup in Haiti. Miles, whose business empire is going global, has more success with Janet, who has morphed into rock vixen ‘Pandora’. While recording her ‘hit’ album in the Bahamas, Jimmy arrives from Haiti traumatised and disillusioned.
Load more

Recommended publications
  • Publications for John Clark 2021 2020 2019
    Publications for John Clark 2021 Bangkok, Thailand: Bangkok Art Biennale. Clark, J., Suwannakudt, P. (2021). A History of Phaiboon Clark, J. (2019). Park Seo-Bo in Historical and Comparative Suwannakudt (1925-1982). Journal of The Siam Society, Perspective. Park Seo-Bo: The Untiring Endeavorer, (pp. 91 - 109(1), 1-36. 112). Seoul, Korea, Republic of (South): National Museum of Clark, J. (2021). Las Bienales Asiaticas Contemporaneas: Modern and Contemporary Art (Seoul, South Korea). Algunas Conclusiones. In Danne Ojeda and Ruben de la Nuez (Eds.), Trazos discontinuos. Antologia critica sobre las bienales 2018 de arte en Asia Pacifico, (pp. 197-223). Leiden: Almenara. Clark, J. (2018). A Personal Poetics: Latiff Mohidin and his Clark, J., Sabapathy, T. (2021), The Asian Modern: John Clark Pago Pago series. In Shabbir Hussain Mustafa and Catherine in Conversation with T.K. Sabapathy. Conversation. <a David (Eds.), Latiff Mohidin: Pago Pago (1960-1969), (pp. 198- href="https://www.youtube.com/watch?v=4TkSKRIBxOM&fea 210). Singapore: National Gallery Singapore. ture=share&fbclid=IwAR2jQbBNqhTyOseMQT2vBD8LZp8Zk Clark, J. (2018). Contemporary Art and the Contemporary Art DH7JyXdMzbQLSWCP8wyBmOF2UwX8w4">[More Museum: Shanghai and Its Biennale. Yishu: A journal of Information]</a> Chinese Contemporary Art, 17(1), 8-29. 2020 Clark, J. (2018). Japanese Modern and Contemporary Art: An Art-Historical Field. Art History, 41(4), 596-791. <a Clark, J. (2020). 'Tradition' in Modern Thai Art. Southeast of href="http://dx.doi.org/10.1111/1467-8365.12393">[More Now: Directions in Contemporary and Modern Art in Asia, Information]</a> 4(2), 39-89. <a href="http://dx.doi.org/10.1353/sen.2020.0007">[More Clark, J.
    [Show full text]
  • Angus Mackay Diaries Volume XVIII (2002 - 2004)
    Angus Mackay Diaries Volume XVIII (2002 - 2004) ANGUS MACKAY DIARY NO. 177 Friday February 1 2002 - May 10 2002. Friday February 1 2002 Saturday February 2 2002 To Chiswick this a.m. to shop for K and give him a choice. Got back at twelve, but no sign. Arrived at something after one, animated newsy talk, and an omelette with the blewits and chanterellesI got at the lovely greengrocers - £29.50 a kilo. About two four inch blews and four or five chant. about £3, not bad for such deliciousness. Now it’s Saturday night, and K’s gone, after two wonderful days.I have done nothing except stand up and sit down, and prepare four meals, and I’m exhausted. I fear K might have felt I was lazy or feeble. Well, he started out – ‘Can’t stop here talking, or the light will go’, on the buddleia, ‘which job do you want done first?’ He sawed it right down, and I do see that it’s partly destabilised some bricks. A great relief. I hope that silly fussy man won’t find something else to shout to me about. I was becoming quite reluctant to go into the garden. Horrible to cut anything down, but on balance welcomed it. Comically, the wind was the strongest I’ve heard since I’ve been here. Quite expected a letter of complaint from the next door just as we were cutting down the dangerous bush. They have a ‘patio’ (sic) garden and are clearly nervous of a jungle takeover, or indeed anything they can’t control.
    [Show full text]
  • The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
    UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community.
    [Show full text]
  • London and Middlesex in the 1660S Introduction: the Early Modern
    London and Middlesex in the 1660s Introduction: The early modern metropolis first comes into sharp visual focus in the middle of the seventeenth century, for a number of reasons. Most obviously this is the period when Wenceslas Hollar was depicting the capital and its inhabitants, with views of Covent Garden, the Royal Exchange, London women, his great panoramic view from Milbank to Greenwich, and his vignettes of palaces and country-houses in the environs. His oblique birds-eye map- view of Drury Lane and Covent Garden around 1660 offers an extraordinary level of detail of the streetscape and architectural texture of the area, from great mansions to modest cottages, while the map of the burnt city he issued shortly after the Fire of 1666 preserves a record of the medieval street-plan, dotted with churches and public buildings, as well as giving a glimpse of the unburned areas.1 Although the Fire destroyed most of the historic core of London, the need to rebuild the burnt city generated numerous surveys, plans, and written accounts of individual properties, and stimulated the production of a new and large-scale map of the city in 1676.2 Late-seventeenth-century maps of London included more of the spreading suburbs, east and west, while outer Middlesex was covered in rather less detail by county maps such as that of 1667, published by Richard Blome [Fig. 5]. In addition to the visual representations of mid-seventeenth-century London, a wider range of documentary sources for the city and its people becomes available to the historian.
    [Show full text]
  • Future Watch – Setting the Stage for Regeneration
    http://www.architectsdatafile.co.uk/news/future-watch-setting-the-stage-for- regeneration/ Thursday, 30th November 2017 Future Watch – Setting the stage for regeneration Tim Foster With cities’ night time economy being seen as increasingly important in the future, Tim Foster, partner at Foster Wilson Architects, reflects on how theatre design projects that put placemaking at their core can catalyse regeneration. Following the debate around placemaking in recent years it is apparent that the term means many different things to different people. Local community activists believe it is about community participation and the making of places in which people have ownership, while property people believe it is about creating a congenial environment which will attract people to their developments, making them easier to sell or rent for a good return: the reality probably lies somewhere in between. As quoted in a recent article in The Guardian, the US academic Richard Florida – considered to be the guru of placemaking – told the mayors of major American cities in 2002 that attracting ‘hipsters’ to their towns was crucial. “Don’t waste money on stadiums and concert halls, or luring big companies with tax breaks. Instead, make your town a place where hipsters want to be, with a vibrant arts and music scene and a lively cafe culture. Embrace the ‘three T’s’ of technology, talent and tolerance, and the ‘creative class’ will come flocking.” This is really the same cycle that Jane Jacobs described in her seminal work ‘The Death and Life of Great American Cities’, published in 1961, whereby districts fall into decay, the artists move in attracted by the cheap rents, the hipsters and coffee shops follow, the area regenerates, forcing the rents back up and the artists and original residents to move on.
    [Show full text]
  • The Statement
    THE STATEMENT A Robert Lantos Production A Norman Jewison Film Written by Ronald Harwood Starring Michael Caine Tilda Swinton Jeremy Northam Based on the Novel by Brian Moore A Sony Pictures Classics Release 120 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS SHANNON TREUSCH MELODY KORENBROT CARMELO PIRRONE ERIN BRUCE ZIGGY KOZLOWSKI ANGELA GRESHAM 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1005 SUITE 200 8TH FLOOR NEW YORK, NY 10024 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 445-7100 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 445-0623 FAX: (323) 655-7302 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com THE STATEMENT A ROBERT LANTOS PRODUCTION A NORMAN JEWISON FILM Directed by NORMAN JEWISON Produced by ROBERT LANTOS NORMAN JEWISON Screenplay by RONALD HARWOOD Based on the novel by BRIAN MOORE Director of Photography KEVIN JEWISON Production Designer JEAN RABASSE Edited by STEPHEN RIVKIN, A.C.E. ANDREW S. EISEN Music by NORMAND CORBEIL Costume Designer CARINE SARFATI Casting by NINA GOLD Co-Producers SANDRA CUNNINGHAM YANNICK BERNARD ROBYN SLOVO Executive Producers DAVID M. THOMPSON MARK MUSSELMAN JASON PIETTE MICHAEL COWAN Associate Producer JULIA ROSENBERG a SERENDIPITY POINT FILMS ODESSA FILMS COMPANY PICTURES co-production in association with ASTRAL MEDIA in association with TELEFILM CANADA in association with CORUS ENTERTAINMENT in association with MOVISION in association with SONY PICTURES
    [Show full text]
  • A Midsummer Night's Dream
    Thursday 26 November, 7.30pm Friday 27 November, 2pm & 7.30pm Saturday 28 November, 7.30pm A Midsummer Night’s Dream By William Shakespeare Suba Das director Guildhall School of Music & Drama Milton Court Founded in 1880 by the Situated across the road from Guildhall City of London Corporation School’s Silk Street building, Milton Court offers the School state-of-the-art Chairman of the Board of Governors performance and teaching spaces. Milton Vivienne Littlechild Court houses a 608-seat Concert Hall, a 223-seat theatre, a Studio theatre, three Principal major rehearsal rooms and a TV studio suite. Lynne Williams Students, staff and visitors to the School experience outstanding training spaces as Vice-Principal & Director of Drama well as world-class performance venues. Orla O’Loughlin Please visit our website at gsmd.ac.uk Photographs of the final year acting company are by: David Buttle (Charlie Beck, Lily Hardy, Hope Kenna, Isla Lee, Noah Marullo, Umi Myers, Felix Newman, Jidé Guildhall School is part of Culture Mile: Okunola, Sonny Pilgrem, Alyth Ross), Samuel Black (Dan culturemile.london Wolff), Harry Livingstone (Nia Towle), Wolf Marloh (Zachary Nachbar-Seckel), Clare Park (Grace Cooper Milton), Phil Sharp (Kitty Hawthorne, Sam Thorpe-Spinks), Michael Shelford (Levi Brown, Sheyi Cole, Aoife Gaston, Guildhall School is provided by the City of London Brandon Grace, Conor McLeod, Hassan Najib, Millie Smith, Corporation as part of its Tara Tijani, Dolly LeVack), David Stone (Justice Ritchie), contribution to the cultural life Faye Thomas (Caitlin Ffion Griffiths, Genevieve Lewis) of London and the nation A Midsummer Night’s Dream by William Shakespeare Suba Das director Grace Smart designer Ed Lewis composer Lucy Cullingford movement director Jack Stevens lighting designer Thomas Dixon sound designer Thursday 26, Friday 27, Saturday 28 November 2020 Live performances broadcast from Milton Court Theatre Recording of this performance by any means whatsoever is strictly prohibited.
    [Show full text]
  • Press Release Images Can Be Downloaded Here Footage Can Be Downloaded Here
    PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE FOOTAGE CAN BE DOWNLOADED HERE Website | Twitter | Facebook | Instagram THE OLIVIER AWARD-WINNING “BEST NEW MUSICAL” FURTHER EXTENDS BOOKING THROUGH TO 23 MAY 2020 TODAY MARKS THE 300TH PERFORMANCE OF THE HIT MUSICAL IN THE UK AND ITS 300,000TH VISITOR THE PRODUCTION IS TO PARTNER WITH CENTREPOINT AS COMPANY ‘SLEEPS-OUT’ FOR CHARITY As hit musical Come From Away celebrates its 300th performance and 300,000th visitor in the UK, the Olivier Award-winning “Best New Musical” announces that it will further extend its hugely successful run in the West End until 23 May 2020. This joyous musical tells the remarkable true story of 7,000 stranded air passengers during the wake of 9/11, and the small town in Newfoundland that welcomed them. Cultures clashed, and nerves ran high, but as uneasiness turned into trust, music soared into the night and gratitude grew into enduring friendships. On 11 September 2001 the world stopped. On 12 September, their stories moved us all. To honour the kindness and stewardship shown by the people of Newfoundland, the London company of Come From Away is pleased to announce a partnership with homeless charity Centrepoint. The partnership will include a gala performance on 7 November as well as members of the Come From Away team joining the Centrepoint ‘sleep-out’ on 21 November, to raise awareness and vital funds for the charity’s good work. To sign up and join the team sleeping-out on 21 November, visit: www.sleepout.org.uk To donate to the fundraising page, please visit: www.justgiving.com/campaign/sleepout-come-from-away The multi award-winning musical continues sold-out, record-breaking engagements on Broadway, in Canada, in Australia and on a 60-city North American Tour.
    [Show full text]
  • Theatre6 Present
    THEATRE6 PRESENT ADAPTED BY STEPHANIE DALE DIRECTED BY KATE Mc GREGOR MUSIC BY MARIA HAÏK ESCUDERO ADAPTED BY STEPHANIE DALE WELCOME FROM THEATRE6’S Persuasion debuted at the Playground ARTISTIC DIRECTOR, KATE MCGREGOR Theatre on Tuesday 17 April 2018. Welcome to Theatre6’s production of Jane Austen’s final novel Persuasion. This LATE SUMMER 1814 brand new adaptation by Stephanie Dale celebrates 200 years since the novel’s TO SPRING 1815. publication. Opening at the Playground Theatre in London, this production will tour Anne and Wentworth were young across the country, including two performances at one of the novel’s most famous and in love. Persuaded by her locations – Lyme Regis. prosperous and prominent family to refuse Wentworth’s proposal, Jane Austen loved the sea, music, nature and her family. She wrote during the Anne lost the great love of her life. Napoleonic Wars and saw two of her brothers become Captains in the Navy. Bath Our play, as in Austen’s original was a place she spent a great deal of time. Her own life was not free of tragedy story, takes place eight years after and heartbreak. What is remarkable about Jane’s writing is not only her detailed these events. understanding of her characters, plots, locations and the impact of society and history on people but also her ability to write about the human spirit. In a time where The performance lasts for approximately women had very little agency and power in society, she created female protagonists 2 hours including an interval. with aspirations, who longed for adventure, who were able to decipher their feelings and analyse their place in a changing world.
    [Show full text]
  • FINISHING the PICTURE by Arthur Miller
    Press Information ! ! ! VIBRANT NEW WRITING | UNIQUE REDISCOVERIES June–August Season 2018 The UK premiere of Arthur Miller’s final play FINISHING THE PICTURE by Arthur Miller. Directed by Phil Willmott. Set Design by Isabella Van Braeckel. Costume Design by Penn O’Gara. Lighting Design by Rachel Sampley. Sound Design by Nicola Chang. Presented by Nastazja Somers for The Phil Willmott Company in association with the Finborough Theatre. Cast: Patrick Bailey. Stephen Billington. Jeremy Drakes. Nicky Goldie. Rachel Handshaw. Oliver Le Sueur. Tony Wredden. "She is frightened and resentful and angry – and we’ve got about half an hour to cure all three.” Following his critically acclaimed, up-close reinvention of Arthur Miller’s Incident at Vichy and sell-out revival of The American Clock, multi-award-winning director Phil Willmott brings the intense focus of the intimate Finborough Theatre to bear on Miller’s final work, Finishing The Picture, opening for a four week limited season on Tuesday, 12 June 2018 (Press Nights: Thursday, 14 June 2018 and Friday, 15 June 2018 at 7.30pm.) As the women of today’s Hollywood campaign for dignity and equality, Finishing the Picture is a razor sharp psychological study of an abused, misunderstood female star and the havoc her unpredictability brings to a film set in 1961. Inspired by the filming of The Misfits, the screenplay Miller wrote for his then wife, Marilyn Monroe, and focused on the bemused and exasperated director, screen writer, producer, acting coaches and crew that closely mirror the real life production team of The Misfits – and whilst leading lady Kitty shares many characteristics with Monroe herself, Finishing the Picture – Arthur Miller’s very final play – is a devastating indictment of how a male-dominated movie industry inadvertently destroyed a vulnerable young woman, even as they transformed her into a screen goddess, and how they were unable to deal with the wreckage they caused.
    [Show full text]
  • Poleroid Theatre Presents PLASTIC by Kenneth Emson
    Poleroid Theatre presents PLASTIC By Kenneth Emson TOURING SPRING-SUMMER 2017 A shitty little town in Essex. A summer’s day. Amid the prefect badges and empty B&H packets, a secret lurks that will send shivers down the spine of a small community. By award-winning television and screen writer Kenneth Emson, Plastic is an extraordinary, heady mix of drama and performance poetry, a dynamic new verse play looking at the musicality in the everyday; the first moments of adulthood, the hard edge of school abuse, the creation of urban folklore and the seemingly random moments that come to define our adult lives. Today’s the day Yes it is Reebok Classic of a day today Yes. It. Is. Directed by Josh Roche (RSC/Globe/nabokov/Finborough) and produced by acclaimed, triple Off West End Theatre Award- nominated Poleroid Theatre, Plastic previewed to a packed house at Latitude Festival 2015. Plastic’s debut production starred Katie Bonna (Dirty Great Love Story), James Cooney (Bottleneck), Adam Gillen (Benidorm/Fresh Meat) and Scott Hazell (Mudlarks). ‘Top of this week’s list for all theatre-goers.’ Bargain Theatre London ‘An extraordinary piece of theatre’ Female Arts ‘Touching and beautifully written’ Postscript Journal We are now planning an extensive small-scale UK tour in Spring-Summer 2017, with support from the Mercury Theatre in Colchester and High House Production Park in Thurrock, pending an ACE application. We are seeking expressions of interest/pencilled dates from venues. We have already created key marketing resources including marketing and print designs, a video trailer and press imagery.
    [Show full text]
  • Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00
    Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (Two Day Autograph Auction Day 1 ) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 tennis players of the 1970s TENNIS: An excellent collection including each Wimbledon Men's of 31 signed postcard Singles Champion of the decade. photographs by various tennis VG to EX All of the signatures players of the 1970s including were obtained in person by the Billie Jean King (Wimbledon vendor's brother who regularly Champion 1966, 1967, 1968, attended the Wimbledon 1972, 1973 & 1975), Ann Jones Championships during the 1970s. (Wimbledon Champion 1969), Estimate: £200.00 - £300.00 Evonne Goolagong (Wimbledon Champion 1971 & 1980), Chris Evert (Wimbledon Champion Lot: 2 1974, 1976 & 1981), Virginia TILDEN WILLIAM: (1893-1953) Wade (Wimbledon Champion American Tennis Player, 1977), John Newcombe Wimbledon Champion 1920, (Wimbledon Champion 1967, 1921 & 1930. A.L.S., Bill, one 1970 & 1971), Stan Smith page, slim 4to, Memphis, (Wimbledon Champion 1972), Tennessee, n.d. (11th June Jan Kodes (Wimbledon 1948?), to his protégé Arthur Champion 1973), Jimmy Connors Anderson ('Dearest Stinky'), on (Wimbledon Champion 1974 & the attractive printed stationery of 1982), Arthur Ashe (Wimbledon the Hotel Peabody. Tilden sends Champion 1975), Bjorn Borg his friend a cheque (no longer (Wimbledon Champion 1976, present) 'to cover your 1977, 1978, 1979 & 1980), reservation & ticket to Boston Francoise Durr (Wimbledon from Chicago' and provides Finalist 1965, 1968, 1970, 1972, details of the hotel and where to 1973 & 1975), Olga Morozova meet in Boston, concluding (Wimbledon Finalist 1974), 'Crazy to see you'.
    [Show full text]