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Factory Theatre. Much

Published by Anonymous (not verified) on Sat, 05/03/2022 - 8:31am in


Theatre, booze

Factory Theatre. Much loved Inner West night club over many decades, that’s struggled these past two years with Covid19 closures and restrictions like everyone else. Several venues in one; comedy, burlesque & cabaret, band rooms and outdoor/indoor bar. Only now really getting back to business. Marrickville.

MERA25: DiEM25’s new German (!) Party is now a reality

Published by Anonymous (not verified) on Mon, 27/12/2021 - 9:31pm in

You may have heard of MeRA25, the first political party that DiEM25 created in Greece – and which entered Greek Parliament in July 2019. Well, true to our ambitious transnational agenda, DiEM25 took matters further: We recently established MERA25 as a… German political party that is now legally and organisationally ready and willing to contest elections across Germany. Watch our Berlin launch on the November day when the swallows of the Greek MeRA25 flew to Germany to spread the word and the hope of a genuine, rebellious, radical, realistic European Spring.

Nb. All presentations are in German except my speech beginning on 51’30”

The post MERA25: DiEM25’s new German (!) Party is now a reality appeared first on Yanis Varoufakis.

Cheaper Doctor Who Theatrical Productions Over the Years

Published by Anonymous (not verified) on Mon, 28/06/2021 - 6:44am in

There's been three official Doctor Who plays - 'The Curse of the Daleks' (without the Doctor but with Daleks), 'Doctor Who and the Daleks in Seven Keys to Doomsday' (with both the Doctor and the Daleks) and 'Doctor Who - The Ultimate Adventure' (again with both the Doctor and the Daleks but also with the Cybermen and Margaret Thatcher!).

None of the them set the West End alight and were suspiciously absent at their year's respective Olivier Awards... but Doctor Who fans have a bit of a soft spot for them. 

Here's three cheaper versions of them... not that any of them really had a budget in the first place. Without a doubt, The Ultimate Adventure's budget would not have covered the cost of cat food for the cast of Andrew Lloyd Webber's 'Cats'.

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Humanities Cultural Programme Live Event: Katie Mitchell in conversation with Ben Whishaw

Published by Anonymous (not verified) on Wed, 04/11/2020 - 9:13pm in

Big Tent - Live Events! Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. 'Liveness'. Biographies:

Katie Mitchell is a British theatre director whose unique style and uncompromising methods have divided both critics and audiences. Though sometimes causing controversy, her productions have been innovative and groundbreaking, and have established her as one of the UK’s leading names in contemporary performance.

She was born in Berkshire in 1964, grew up in the small village of Hermitage and read English at Magdalen College, Oxford. She began her theatre career in 1986 with a job at the King’s Head Theatre as a production assistant. She became an assistant director at Paines Plough a year later, and then took the same post at the Royal Shakespeare Company in 1988. In 1990, she founded her own company, Classics on a Shoestring, where she directed a number of pioneering and highly acclaimed productions including the House of Bernada Alba and Women of Troy.

In the decades with followed, Mitchell worked as an associate director with the Royal Court Theatre, the Royal Shakespeare Company and the National Theatre. Whilst at the RSC, she was responsible for programming at the now defunct black box space, The Other Place, and her production of The Phoenician Women earned her the Evening Standard Award for Best Director.

Her numerous theatre credits include 2071 and Night Songs for the Royal Court, The Cherry Orchard for the Young Vic, The Trial of Ubu for Hampstead Theatre, Henry VI Part III (to date her only Shakespeare production) for the RSC and A Woman Killed with Kindness and The Seagull at the National Theatre. She has also directed opera, working with the Royal Opera House and English National Opera. An exponent of Stanislavski techniques and naturalism, her style was strongly influenced by the time she spent working in Eastern Europe early in her career. Her work is characterised by the creation on stage of a highly distinctive environment, the intensity of the emotions portrayed and by the realism of the acting.

Mitchell’s work has pushed boundaries and explored technique and, not just confined to the stage, has also taken her into other creative mediums. She has directed for film and television with work including The Widowing of Mrs Holroyd and The Turn of the Screw. In 2011, together with video maker, Leo Warner, Mitchell devised an immersive video installation called Five Truths for the Victoria and Albert Museum which explored the nature of truth in theatrical production.

Ben Whishaw is a multi-award winning English actor in film, television, and theatre. He trained at RADA, and his work in theatre quickly brought acclaim including a much-lauded Hamlet at the Old Vic with Trevor Nunn in 2004. He has been directed by Katie Mitchell multiple times, including The Seagull at the National Theatre in 2006, and Norma Jeane Baker of Troy at the Shed in New York last year. In television his work ranges from BAFTA-winning performances in Rupert Goold's Richard II for the BBC in 2012 to A Very English Scandal in 2018. Among many film roles, he is perhaps best known for taking on the part of Q in the Bond films since 2012’s Skyfall and for delighting audiences young and old as the voice of Paddington in the hit movies in 2014 and 2017.

Live Event: This is Shakespeare - Prof Emma Smith in conversation with Erica Whyman OBE

Published by Anonymous (not verified) on Tue, 15/09/2020 - 3:45pm in

Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. Professor Emma Smith (English Faculty) in conversation with Erica Whyman OBE (Royal Shakespeare Company).

Both Emma and Erica have recently had their Shakespeare events cancelled; Erica’s production of The Winter’s Tale for the Royal Shakespeare Company, and launch events for Emma’s book This Is Shakespeare. In this conversation, Erica and Emma discuss these events, their hopes for them, and what Shakespeare offers us both now and in the future.

Professor Emma Smith - Tutorial Fellow in English and Fellow Librarian, Professor of Shakespeare Studies, University of Oxford

Professor Smith's research combines a range of approaches to Shakespeare and early modern drama. Her recent work has been about the reception of Shakespeare and about the scholarly and cultural investments in Shakespearean criticism. 'This is Shakespeare - How to Read the World's Greatest Playwright' is her latest publication (2020).

'The best introduction to the plays I've read, perhaps the best book on Shakespeare, full stop' - Alex Preston, Observer

'It makes you impatient to see or re-read the plays at once' - Hilary Mantel

Erica Whyman OBE (Deputy Artistic Director, Royal Shakespeare Company - Royal Shakespeare Company).

Erica joined the Royal Shakespeare Company in January 2013. She works closely with Artistic Director Gregory Doran on all aspects of artistic strategy, taking a particular lead on the development of new work, the contemporary relevance of the repertoire and the national ambitions of the company.

Erica led the team which reopened The Other Place in March 2016, a creative hub dedicated to daring theatrical exploration. Erica takes a lead on extending access, equality and diversity across all RSC activities and is passionate about participation in theatre-making.

Ibsen, Scandinavia, and the Making of a World Drama: A Book At Lunchtime

Published by Anonymous (not verified) on Tue, 22/01/2019 - 1:43am in

Henrik Ibsen's drama is the most prominent and lasting contribution of the cultural surge seen in Scandinavian literature in the later nineteenth century. When he made his debut in Norway in 1850, the nation's literary presence was negligible, yet by 1890 Ibsen had become one of Europe's most famous authors. Contrary to the standard narrative of his move from restrictive provincial origins to liberating European exile, Narve Fulsas and Tore Rem show how Ibsen's trajectory was preconditioned on his continued embeddedness in Scandinavian society and culture, and that he experienced great success in his home markets. This volume traces how Ibsen's works first travelled outside Scandinavia and studies the mechanisms of his appropriation in Germany, Britain and France. Engaging with theories of book dissemination and world literature, and re-assessing the emergence of 'peripheral' literary nations, this book provides new perspectives on the work of this major figure of European literature and theatre.
Narve and Tore will be joined an expert panel to discuss the book and its themes, Professor Kirsten Shepherd-Barr (St Catherine's, Oxford), Professor Julia Mannherz (Oriel, Oxford) Chaired by Professor Peter McDonald (St Hugh's, Oxford).

David Garrick's Wigless Celebrity

Published by Anonymous (not verified) on Wed, 08/06/2016 - 12:07am in


Theatre, celebrity

Ruth Scobie's bite-sized talk on a portrait of David Garrick by Johan Zoffany Dr Ruth Scobie looks at a portrait by Johan Zoffany of the eighteenth-century actor David Garrick, and asks what the picture's notorious wiglessness has to do with the actor's control of his extraordinary contemporary celebrity, in a TORCH Bite-Sized Talk at the Ashmolean Museum's Live Friday: Framed! event.