the review:

Press night for any new Matthew Bourne show is always an event. There were more celebrities alongside the great and the good of the dance world to be seen in the lobby than there were traditional ballet shoes on stage.

But there is a good reason for that. Bourne's latest 'project' is a masterpiece of entertainment. It melds dance with mime and humour with pathos; and visual creativity is unsparingly sprinkled with movie references and Hollywood glitter.

Mix a slice of West Side Story with a generous portion of The Truman Show; and add fabulous fifties outfits and bright and brilliant sets. Then blend clever lighting wizardry flavoured with jaw dropping special effects and just simply watch for two hours with a big smile on your face.

Edward Sissorhands successfully takes movement and music and tells a tale which can readily be seen as reminiscent of a classic story you may find in traditional opera and ballet.

Action packed, the actors/dancers (and they are all both of these) create an almost ideal 'celluloid' world at Sadlers Wells. Perhaps it will not challenge you intellectually as a piece of modern dance, but the great thing abut this show is that it has universal appeal and will no doubt pack in the crowds for this relatively short run.

Book now, if it's not too late!

New Adventures, Martin McCallum and Marc Platt
present:

Edward Scissorhands
Devised, Directed and Choreographed by Matthew Bourne

November 14, 2005 – 5 February 2006
at
Sadler’s Wells, Rosebery Avenue, London EC1R 4TN

Music Composed, Arranged and Adapted by Terry Davies
Based on the original Motion Picture Score by Danny Elfman

Based on the original Motion Picture by arrangement with 20th Century Fox
Original story and motion picture directed by Tim Burton
Original screenplay, story and co-adaptation by Caroline Thompson

The touching and witty gothic fairytale of a boy created by an eccentric inventor who dies leaving him alone and unfinished. Left with only scissors for hands, Edward must find his place in a strange new suburban world where the well-meaning community struggle to see past his strange appearance to the innocence and gentleness within.

Box Office +44870 737 7737

Tickets: £48 (US$84), £40 (US$70), £25 (US$44), £18 (US$32), and £10 (US$18) approx.

the review:

What makes for a good pantomime? Bad jokes? Old songs? Good actors? Great costumes? Kids joining in? Big kids joining in?.

Yes! It's all those things that make pantomime the annual must see 'family format'.

Aladdin almost ticks all the boxes. The baddie played by Simon Callow quickly succeeds in being booed and hissed everytime he walks on stage; and the Grand Dame, played by Christopher Biggins manages to keep us amused with a sardonic wit and an understated eyebrow raise. Rock chick, soap star, Patsy Kensit adds the glamour; and the very talented Frankie Doodle steals the show in the role of Wishee Washee.

But forget the love interest. Aladdin and the Princess Jasmine have little charm and not a great deal of talent; and despite the 'breaks in normal programming' service is restored as soon as they exit stage right and the rest of the cast move in.

And best of all, the kids loved it!

Richmond Theatre

presents

Aladdin

December 8, 2005 - Januay 22, 2006

Christmas at Richmond Theatre finds a host of stars from stage and screen in a new, exciting and innovative pantomime produced by First Family Entertainment.

Rub the magic lamp, enter the cave of wonders and be transported on a flying carpet ride into the mystical world of the Far East. Aladdin will delight audiences of all ages in true tradition, whilst introducing a new era of quality scripts, fresh production, great sets, wonderful songs and the highest name actors to the perennially popular family show.

Simon Callow is the wonderfully wicked Abanazar; TV and film star, Patsy Kensit is the Genie; and legendary pantomime dame Christopher Biggins is Widow Twankey.

Tickets £14 (US$25) - £21 (US$37), with £50 (US$89) Family Tickets for up to four people.

BOX OFFICE 0870 060 6651 (bkg fee)

The Young Vic’s new staging of Hergé’s adventures of Tintin co-produced by BITE:05, Barbican stars Russell Tovey in the title role as Tintin.

at the Barbican theatre

November 29, 2005 - January 21, 2006.

The world’s most famous boy reporter began his first adventure in 1929, in the comic strip Le Petit Vingtiéme. Created by illustrator Georges Remi, known to the world as Hergé, Tintin has become a modern day icon with his trademark crested quiff, plus-four trousers and his faithful dog companion Snowy. Each year more than 3 million copies of Tintin’s adventures are sold across 50 countries in 40 different languages. Tintin has a lasting appeal which has transcended time, culture and language.

This production of Tintin is based on Hergé’s most personal work, Tintin in Tibet. He described it as ‘a song dedicated to friendship’. The story follows our intrepid reporter’s quest to save his good friend Chang, into the snow fields of the Himalayas where the legendary abominable snowman is rumoured to live.

The cast includes Russell Tovey (Tintin), Sam Cox (Captain Haddock), Simon Trinder (Snowy), Tom Wu (Tharkey) and Kenon Mann (Chang).

the review:

Politics is never very far away from sport; and back in the late 1930's in the USA, politics, sport and racism were interwoven in such a fashion that they became almost indistinguishable.

Abram Hill wrote Walk Hard, Talk Loud in 1939 just before the start of World War II. The play is set on the East Coast of the US in the months preceding the war in Europe. In a country where extensive segregation was underwritten by its legislation; whenever there was an opportunity, greed would always turn a blind eye to its prejudices. (For example: when the US found itself embroiled in W.W.II, the military were more than happy to recruit a huge number - almost 1 million - Afro-Americans.)

Despite their contribution to W.W.II and post-war landmark events such as when in 1947 Jackie Robinson was hired by the Brooklyn Dogers baseball team, the US had still only taken small steps towards integration. It waited until the mid-1950s to declare segregation in schools as unconstitutional; and this was soon followed by Rosa Parks when she refused to give up her seat on the bus to a white woman.

Walk Hard was written in much darker days and despite the talent of the protagonist, Andy Whitman, his destiny was always on the cards.

The play tells a great story. And there are many scenes that capture the politics and corruption of the times. However, despite strong performances, good comedy and great sets, the play appears to stumble (rather like Whitman's career) from scene to scene.

The ending seems simplistic and somewhat didactic in our sophisticated times; but equally, it is not difficult to imagine the audience of the American National Theater in the early forties responding with passion to the very topical and sensitive issues of the day.

Walk Hard should not be missed because sadly it portrays a world that in many respects has changed very little over the last 60 and more years.

Politics, corruption and sport often go hand in hand in the 21st century; and while the vast majority remain tolerant when it comes to their heroes, bigotry often lies just around the corner.

WALK HARD, TALK LOUD BY ABRAM HILL DIRECTED BY NICOLAS KENT THE FIRST OF THREE BRITISH PREMIERES IN AFRICAN-AMERICAN SEASON AT THE TRICYCLE THEATRE

269 Kilburn High Road, London

24 November - 24 December

Walk Hard, Talk Loud, written in 1939, received its world premiere on Broadway in 1942. The first of three British premieres of African-American plays at the Tricycle Theatre. For Walk Hard, Talk Loud, Gem of the Ocean and Fabulation the Tricycle will, for the first time, put together a resident company of black actors who will perform in all three productions over a six month period.

The play charts the rise and fall of boxer Andy Whitman, a 19 year old shoe shine who gets discovered by a scout after a street fight. His new found career path doesn't fit in with his family's hope that he will go to college but he sees it as his ticket out of America. Corruption and deceit fuel the boxing world and Andy finds that it is a system that is hard to beat from the bottom.

Abram Hill co-founded the American Negro Theater. The Company was formed on 5 June 1940 in Harlem, New York, under the direction of Frederick O'Neal, Abram Hill and members of the McClendon Players and was a pioneering African-American theater company and school, in which several hundred Black actors, writers, and technicians began their careers. Affiliates of the Company included the Academy Award-winning actor Sidney Poitier, actor and singer Harry Belafonte and actress Ruby Dee. The theater was created to provide opportunities for African-American artists and entertainment for African-American audiences that was unavailable downtown on Broadway.

The cast includes: Olayinka Jiwa (Bellhop), Stephen Beckett (Larry), Rupert Farley (Lou), Kobna Holdbrook-Smith (Andy Whitman), Jenny Jules (Aunt Susie), Mac Mcdonald (Mack), Joseph Marcell (Charlie), Carmen Munroe (Becky), Lucian Msamati (Happy), Will Norris (Mickey), Nathan Osgood (reporter) and Ony Uhiara (Ruth).

BOX OFFICE Phone +4420 7328 1000

the review:

There's nothing like a pantomime to remind you that Christmas is just around the corner. The very British tradition of family entertainment in the form of shows based upon children's fairy stories has long been part of growing up in the UK.

In past years pantomime has become very 'campy' to appeal to adults as well as children; but in this latest version of Jack and the Beanstalk at the very charming Hackney Empire, the entertainment is strictly about fun.

Despite the odd reference to Hackney and local politics, this show is just a little bundle of joy.

The sets and costumes are great. Broad Bean and Runner Bean are the baddies and they are beautifully dressed in 'bean' green; Off Her Trolley Molly steals the show with her exquisite comedy timing; and award winning Clive Rowe wears a selection of outrageous dresses as he takes on the role of Dame Trot.

The actors adopt their characters with a zeal that makes you really hope that even the bad beans have a happy ending.

And despite the fact that there is the odd 'disconnected' moment when everyone sings happy birthday to a member of the audience, the majority of audience participation - of which there is a great deal (oh no there isn't! oh yes there is!) - is standard pantommime fare. Lots of yelling from children and grown ups of all ages.

This is must for the visitor to London. After all, Christmas isn't Christmas without a dose of panto antics!

Jack and the Beanstalk

December 2, 2005 - January 7, 2006

The Hackney Empire

The cast is headed by the ever popular and much loved Clive Rowe, who received rave reviews for his role as Widow Twanky last year, Tameka Empson returns as Off Her Trolley Molly and newcomer to the Hackney Empire, Matt Dempsey, plays Jack. Once again the 'doyenne' of the panto world Susie McKenna is in the director's chair and has rewritten the tale to give it a contemporary twist.

The story of hapless Jack, the magic beans, the castle in the clouds, the golden hen, singing harp and Jack's encounter with Giant Blunderbore has enthralled generations over the years. Add to these potent ingredients, thrilling adventure, knockabout comedy, great musical numbers, masses of audience participation, the most spectacular animatronic giant you have ever seen on stage oh, and Buttercup the amazing tap dancing cow - and you have the perfect treat for all the family.

Tickets are from £8:50 (US$15) through to £18.50 with concessions

Box Office - +44 (0)20 8985 2424

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Josh Cohen and Miranda Pleasence Photo by Keith Pattison

What We Did To Weinstein By Ryan Craig

at The Menier Chocolate Factory
Southwark Street
London SE1

through november 12, 2005

What We Did To Weinstein in association with Dash 05 is directed by Tim Supple and the book is by .

In the light of the current situation around the world – where a culture of fear and reprisal is becoming commonplace, where terrorism and the war on terror are the most regular news items – Ryan Craig’s comic and hard-hitting play offers a timely and sharp reminder that theatre can and must address the most important issues of the day.

What We Did To Weinstein is about a clash of cultures, of religions, of lifestyles, of ideals and of historical perspectives. Fathers and sons, brothers and sisters, lovers and old friends are polarised by the political affairs of the world. Their lives are profoundly and personally altered by the events happening around the world. These are characters in real cities: London, Jerusalem and Ramallah, who are living on the front line of the war on terror. They are characters who are trying to live their lives in the shadow of this war and who represent every possible faction within that war.

the review:

The playwright and director must have definitely got together on this one, as What We Did To Weinstein very neatly ties together a number of stories and timelines into a smoothly packaged series of scene changes - without every flinching for a moment.

These fluid transitions from scene to scene are achieved with such immaculate perfection that they actually enhance the script rather than - as on many other occasions - distract the audience and disrupt their attention. Staged between Palestine/Israel and London - past and present flow together.

What We Did To Weinstein takes a very close and specific look at the groups that have formed as result of the ongoing conflict between Palestine and Israel. As Jew and Arab wage war in the Middle East, Moslems have become increasingly alienated in many other parts of the world, including London. But for the most part, it is not the Jewish community that comes into conflict with the Muslim community in the UK. It is other races and religions whose members have adopted an extreme position in response to the modern conflict and religion polarization of extremist movements.

The success of What We Did To Weinstein is based upon constant humour in the script and excellent performances. In real life, there is always comedy in such situations. It breaks the tension which might otherwise become intolerable; and it is this closeness to reality which makes the play a pleasure to watch. Images of conflict within the modern family are the most effectively dramatized.

However, despite the strength of the script, the playwright has in some respects backed away from taking the final step. His fails in his obligation to ensure that the audience must leave the theater with a series of vital questions to insoluble problems.

Playwright, Ryan Craig slips into the commonly adopted technique of oversimplification in his characterization. The Muslim son turns religious and berates his more "British" emancipated sister; the religious son of an irreligious father joins the Israeli army; and an irreligious daughter rebels against her religious parent to become a neutral and objective journalist, taking no real sides.

Stereotypes weaken the impact of What We Did To Weinstein. The characters neutralize each other. For the most part - although there are degrees of inward turmoil - they lack shades of gray. Craig's solution in his characters' moments of self doubt provide no real analysis of the extreme subtleties involved in living in one culture, despite owning the legacy of another. Therefore, religious consequences are dealt with a writer's mighty blow and not a gentle hand.

In contrast to the big political and economic issues, the internal dilemmas of the characters are very successfully exposed in the context of relationships within family members. Conflicts between parent and child ensue, highlighting the constant dilemma of being part of one society, while at the same time somewhat disenfranchised from it.

As the play rushes along, the audience's attention is kept on the tension of the main plot and the ending is swift and somewhat unexpected.

What We Did To Weinstein is a tightly wrapped package and a must see for anybody who enjoys a 'good play'! But does it move the debate forward and address the truly salient questions? I'm not too sure it does...... but find out for yourself!

Leonard Fenton and Miranda Pleasence
Photo by Keith Pattison

who's who

Ryan Craig’s work has been performed on tour throughout the UK and in London at the National Theatre and Lyric Hammersmith. He is the Writer In Residence at BBC Radio Drama and BBC Writers Room and he is currently creating the first devised drama for BBC radio. He is a founder member of the National Theatre’s MONSTERIST group of playwrights.

Tim Supple recently directed David Greig’s Cosmonaut…. At the Donmar Warehouse and was Artistic Director of the Young Vic.

The cast includes Harry Towb (currently in Brian Friel’s The Home Place in the West End), Leonard Fenton (Doctor Legg in Eastenders), Josh Cohen (Benjamin in The Graduate in the West End), Vineeta Rishi (currently in BBC Radio’s Silver Street) and Pushpinder Chani.

Harry Towb and Leonard Fenton Photo by Keith Pattison

Show Times

Running time: 2 hours 20 minutes

Tuesday - Saturday 8pm Saturday 3.30pm and Sunday 6pm

Tickets

£18/12 (US$ 33/22)

Box Office; +4420 7907 7060

editor, october 19, 2005

Flywheel Productions

Present

"Radioplay"

september 6-26, 2005

, Battersea

Frank drives the overnight bus from Penzance to London; his passengers want to sleep, but Frank wants company. He also has the in-coach microphone.

Ed Gaughan’s one man show tells the darkly comic story of the migration of genius, of music and of furious friendship, from Ireland, by way of the Westcountry, to New York and beyond. The all night voyage provides Frank with a captive audience which he takes on a different trip, through a host of characters, and forms, through monologue, radio, live music, and film, while never quite forgetting the overnight bus journey from Cornwall to the Capital…

The story is told by one performer in a multitude of rhythms, styles and voices; at times brash, bold and loud and at others timid, intimate and confessional.

The stage alternates between two distinct times and locations:

-- the National Express bus from Penzance to London, tonight.

-- the original RKO radio booth inside Macy’s department store Manhatten, 1929-1953

Radioplay is the latest show to come through BAC’s scratch program, which produced last year’s Perrier winner "Jackson’s Way" and "Jerry Springer the Opera".

Performed by Ed Gaughan (Dead Landlord, Gangstars).

Directed by Wes Williams (roadmovie, Albert Camus, What’s the Score?, Sex III).

Additional material by Hamish McColl, from the Right Size, and Nick Whitfield.

wpe6F.jpg (9534 bytes)

who's who

Ed Gaughan was born in 1973 into an Irish family in Wembley and grew up in the westcountry & the west coast of Ireland. Ed works as a musician, actor & writer; he has performed extensively on the London comedy circuit, appeared in feature films, played innumerable Jazz gigs and performed at Glastonbury, Porto & Edinburgh festivals. Ed’s recent theatre credits include Dead Landlord (Pick of the fringe 2002) and Genco’s "Gangstars". (Circus Space Hoxton Square, Lowry Centre Salford Quays, Jersey Opera House)

"Ed Gaughan’s bigoted and insane Dr Went is a creation of genius…

This is really black humour, a paragon of absurdity… Lunancy par excellence – I might just start a fan club… (Five Stars)"

Jackie Fletcher, Edinburgh Guide, 2002 on "Dead Landlord"

Wes Williams was born in Rangoon & grew up in Calcutta. Wes works as a Theatre Director, Author & Oxford Don. He won a fringe first at Edinburgh for Sex III in collaboration with Emily Woof; previous Edinburgh shows include "Revolver", "Albert Camus, What’s the Score" and "Roadmovie" (BAC; Royal Court; Lyric, Hammersmith; national and intenational tour)

[He has also published a number of books and articles about French Renaissance Literature, and is currently preparing a book about monsters.]

TICKETS

8pm except on Sunday at 6pm

£10.75 (US$20)
Tuesday: Pay What You Can

editor, september 21, 2005

Glynis Henderson Productions

With the Lyric Hammersmith and the Dublin International Theatre Festival

Present

SOME GIRLS ARE BIGGER THAN OTHERS

With songs of Morrissey and Marr

Conceived by Andrew Wale and Perrin Manzer Allen

Aka Anonymous Society

at

Lyric Hammersmith, Lyric Square, King Street, London W6

July 1 – 23, 2005 (preview June 30)

Anonymous Society returns to the UK with another beautifully visual piece of music theatre. This time they are turning their attention to the songs of Morrissey and Marr, and will create a witty, ironic and emotional production, using the songs that were performed by The Smiths. This is not a musical, this is not a play, this is, however, pure, unadulterated theatre.

A cast of 4 female and 2 male singers will bring the songs to life with the aid of a string quartet and synthesised rhythmic loops. The performance will be an expressionist window on the lives of these four women and two men, their relationships and their environment. It is the words and music of the songs that determine the mood and sense of the performance. They will create a microcosm of society, evolving a sense of place, character and emotion from the words of the songs.

In 1999 Anonymous Society created an award winning piece of theatre based on the music of Jacques Brel first at the Edinburgh Festival and then at the Lyric Hammersmith. It threw out convention, had music and choreography, a cast of singers and dancers and a spare, almost chilling aesthetic. Yet through the raw emotion of the music by Jacques Brel, the carefully crafted and beautifully observed performances, they created a world in which audiences became totally involved.

REVIEW TO FOLLOW

WHERE

THE LYRIC HAMMERSMITH
Lyric Square, King Street, London W6

CONTACT DETAILS

Box Office

+448700 500 511

TICKETS expect to pay 2 US4 for each £ sterling

£12, £16, £20, £25 Concessions £10, 16-25 years and students £6

DATES

Friday 1st July at 8.00pm all seats £9
Saturday 2^nd July at 8.00pm C
Monday 4^th July at 8.00pm all seats £9
Tuesday 5^th July at 8.00pm C
Wednesday 6^th July at 8.00pm C
Thursday 7^th July at 8.00pm C
Friday 8^th July at 8.00pm C
Saturday 9^th July at 2.30pm C and 8.00pm C
Monday 11^th July at 8.00pm C
Tuesday 12^th July at 8.00pm C
Wednesday 13th July at 8.00pm C
Thursday 14^th July at 8.00pm C O
Friday 15^th July at 8.00pm
Saturday 16^th July at 2.30pm C and 8.00pm
Monday 18^th July at 8.00pm
Tuesday 19^th July at 8.00pm
Wednesday 20^th July at 8.00pm
Thursday 21^st July at 8.00pm
Friday 22^nd July at 8.00pm
Saturday 23^rd July at 2.30pm C and 8.00pm
C denotes concession rates available
O denotes Open Captioned performance

Followed by UK tour:

wpe69.jpg (8588 bytes) OLYMPIA THEATRE
DUBLIN INTERNATIONAL THEATRE FESTIVAL

72 Dame Street, Dublin 2, Republic of Ireland

October 6^th – 15^th 2005

Box Office 00 353 1 677 8439

Ticket prices 20 euros – 35 euros

Performance schedule:

Thursday 6^th October at 7.30pm

Friday 7^th October at 7.30pm

Saturday 8^th October at 7.00pm and 10pm

Monday 10^th October at 7.30pm

Tuesday 11^th October at 7.30pm

Wednesday 12^th October at 7.30pm

Thursday 13^th October at 7.30pm

Friday 14^th October at 7.00pm and 10pm

Saturday 15^th October at 7.00pm and 10pm

wpe69.jpg (8588 bytes) THEATRE ROYAL, BRIGHTON

New Road, Brighton, BN11 1SD

October 17^th – 22^nd 2005

Box Office 01273 328 488 / 08700 606 650

Tickets: Monday – Thursday and Saturday matinees: £21, £19, £16, £13

Friday and Saturday evenings: £22, £20, £17, £14

Performances: Monday – Saturday at 7.45pm, Saturday matinee at 2.30pm

wpe69.jpg (8588 bytes) THE LOWRY

The Lowry, Pier 8, Salford Quays, M50 3AZ

October 24^th – 29^th 2005

Box Office 0870 787 5793

Tickets: Monday – Thursday: £18, £16, £14 (£1 off concessions)

All weekend shows: £20, £18, £16 (no concessions)

Performances: Monday to Thursday at 8pm, Friday and Saturday at 6pm and 9pm

wpe69.jpg (8588 bytes) WARWICK ARTS CENTRE

The University of Warwick, Coventry CV4 7AL

October 31^st – November 5^th 2005

Box Office 024 7652 4524

Tickets: Monday £12.50, Tuesday – Saturday evenings: £18.50, £16.50, £14.50

Saturday matinee: £14.50

Performances: Monday – Saturday at 7.30pm, Saturday matinee at 2.30pm

editor, june 24, 2005

MASTERPIECES OF AMERICAN JEWELLERY

Gold Cuffs
Van Cleef & Arpels, New York, 1970
18-carat gold, width: 8.25 cm

Gilbert Collection Somerset House
Strand, London WC2R 0RN

Dates: February 15 to 12 June 2005

Open daily, 10.00 am to 6.00 pm

Following its successful debut at The American Folk Art Museum in New York in 2004, this inaugural exhibition of the National Jewelry Institute is the first museum exhibition ever to focus exclusively on America's jewellery heritage. The 200 pieces range in date from the late 18th century to the 1990s and were all designed, manufactured and distributed in the United States. The exhibition celebrates the creativity, craftsmanship and excellence of design found in American jewellery. The show explores five major themes: Americana, Nature, Humour, Pastimes and High Style. The works on view are not only by American jewellers such as Tiffany and Harry Winston but also by famous European makers who worked in America, including Cartier, Van Cleef & Arpels and Bulgari. From Walt Disney charm bracelets made by Cartier to Jackie Kennedy Onassis' gold cuffs made by Van Cleef & Arpels and a necklace sculpted in brass by the American artist Alexander Calder, this exhibition presents many surprises.

Don't miss out on this stroll through opulent taste, fashion and culture of the twentieth century. You won't necessarily like everything - some pieces are purely decorative! - but the exhibition is entertaining and the jewelry fabulous.

___________________________________________

Masterpieces of American Jewellery, the first museum exhibition to focus exclusively on America’s jewellery heritage, are on display at the Gilbert Collection, Somerset House, London, until 12 June 2005. The 200 pieces on show range from the late 18^th century to the 1990s and were all designed, manufactured and distributed in the United States. The inaugural exhibition of The National Jewelry Institute, it was first staged at The American Folk Art Museum, New York.

Lily Flower Brooch
Marcus & Co., New York, 1930
Rubies, diamonds, gold and enamel, 8 x 5.5 cm

Masterpieces of American Jewellery highlights the creativity, craftsmanship and excellence of design found in American jewellery and explores five major themes: Americana, Nature, Humour, Pastimes and High Style.

Americana is exemplified by a brooch set with diamonds, sapphires and rubies depicting the American flag. Charles Tiffany, together with John Young, formed a jewellery business in 1837 and the ‘star spangled banner’ in the exhibition was made in New York in 1900 by Tiffany & Co., still a household name today. It is exquisitely made, the flag rippling in the wind with diamond tassels flying behind, while in 1927 the New York branch of Cartier made an elegant brooch with the flag stylised into the form of a bow-tie.

A number of pieces in the Americana section commemorate such great events as Wilbur Wright’s 1909 flight over New York, the 1939 New York World Fair and the suffragette movement. America’s fascination with technology and its no-nonsense approach to life can be seen in a pair of gold cufflinks designed in 1940 as nuts and bolts by Paul Flato, the darling of the Hollywood and café society sets.

Nature. Inspired by exotic flora, American jewellers gave free rein to their imagination and this theme remains popular today. In 1889 Tiffany & Co. displayed 25 exceptional and botanically accurate diamond, enamel and gold brooches by Paulding Farnham at the Paris World Fair. All were sold by the second day, many to the railroad baron Jay Gould. Six of these breathtaking creations, each representing a different variety of orchid, are on view. Marcus & Co. also created remarkable pieces such as the brooch of enamel and yellow gold of two irises which appear translucent when held up to the light, 1900, and an exquisite ruby, diamond, gold and enamel lily flower brooch, 1930. The Duchess of Windsor reinforced this passion for nature - when she wore a flower brooch, everyone wanted one.

Walrus Brooch
Donald Claflin, Tiffany & Co, New York, 1965
Platinum, enamel, 18-carat gold, diamonds, ivory. 7 x 4.5 cm

Humour. American jewellery design has always had a witty streak. In the 1930s, Walt Disney went into partnership with Cartier to create a series of enamelled charm bracelets representing some of his animated characters. Another jeweller influenced by Disney was Raymond C. Yard. A group of his whimsical Bunny Pins made from diamonds, sapphires, rubies and emeralds will be exhibited, each depicting a rabbit - fishing, dressed as a soldier, a waiter, as a bride, a yacht owner at his boat’s wheel and pretending to ride. The bunny appears again with the Bunny Bangle created by the artist Daniel Brush. Exhibited at the Smithsonian Institute in 1987, the bangle is made of 1940s Bakelite and gold, surmounted by a rabbit’s head of pink diamonds and ruby eyes. Donald Claflin of Tiffany looked to Lewis Carroll for inspiration for his walrus brooch of 1965 made of platinum, enamel, gold, diamond and ivory.

Major artists frequently design jewellery and an extraordinary example is the tiara and necklace made in brass, commissioned from Alexander Calder in the 1950s by Sir Kenneth (later Lord) Clark for his wife. The jewelled sculptures of a stallion and mare were commissioned by the American heiress Barbara Hutton from the well-known animal sculptor Herbert Haseltine who completed this three-year project in 1949 and drew his inspiration from India. The gold horses’ heads and necks are carapaced with rubies, sapphires, emeralds, diamonds and oriental pearls and stand 38.1 cm high on rock crystal bases.

Ballerina Brooch
Van Cleef & Arpels, New York, 1946
Sapphires, diamonds, platinum, 7.2 x 7 cm

Pastimes. Americans wanted jewellery that reflected their leisure interests, whether they were sporting activities (fishing, sailing, racing and hunting) or cultural (ballet). Claude Arpels’s friendship with the famous choreographer George Balanchine led Van Cleef & Arpels to create a series of exquisite jewelled, rose-cut diamond, platinum and gold ballerinas, inspired by the great dancer Anna Pavlova.

High Style. High society and Hollywood stars alike commissioned and wore stunning pieces of jewellery. Cole Porter commissioned Paul Flato in 1940 to make a dazzling aquamarine and ruby belt buckle necklace for his wife Linda while Joan Crawford favoured pieces by Raymond C. Yard such as her elegant 1935 diamond and platinum bracelet. Major pieces by Tiffany, Marcus & Co., Cartier, Paul Flato, Van Cleef & Arpels and Harry Winston, dating from the turn of the century to the 1990s, will be on show. Amongst the most extraordinary is a Crown of Thorns brooch designed by Jean Schlumberger in 1947 for Millicent Rogers, the Standard Oil heiress, in morganite, diamonds and gold, and the gold cuffs made by Van Cleef & Arpels for Jackie Kennedy Onassis. The two most recent pieces in the exhibition are a glittering blue butterfly of Montana sapphires, diamonds, silver and gold by Joel Arthur Rosenthal (JAR), circa 1987, and a Tahitian aubergine-coloured pearl necklace with a diamond and pearl clasp by Assael International from the 1990s.

Gilbert Collection Somerset House
Strand, London WC2R 0RN

Dates: February 15 to 12 June 2005

Open daily, 10.00 am to 6.00 pm

Following its successful debut at The American Folk Art Museum in New York in 2004, this inaugural exhibition of the National Jewelry Institute is the first museum exhibition ever to focus exclusively on America's jewellery heritage. The 200 pieces range in date from the late 18th century to the 1990s and were all designed, manufactured and distributed in the United States. The exhibition celebrates the creativity, craftsmanship and excellence of design found in American jewellery. The show explores five major themes: Americana, Nature, Humour, Pastimes and High Style. The works on view are not only by American jewellers such as Tiffany and Harry Winston but also by famous European makers who worked in America, including Cartier, Van Cleef & Arpels and Bulgari. From Walt Disney charm bracelets made by Cartier to Jackie Kennedy Onassis' gold cuffs made by Van Cleef & Arpels and a necklace sculpted in brass by the American artist Alexander Calder, this exhibition presents many surprises.

Admission:

Included in admission to permanent collection: Adult: £5.00 Concessions: £4.00 Under 18s, UK full-time students, unemployed, disabled helpers, and Friends of the Courtauld Institute of Art Gallery: free Annual ticket: £20.00 Joint ticket with Hermitage Rooms or Courtauld Institute of Art Gallery: £8.00 (concession £7.00) Joint ticket with both Hermitage Rooms and Courtauld Institute of Art Gallery: £12.00 (concession £11.00)

Catalogue:

The lavishly illustrated companion publication by Judith Price, President of the National Jewelry Institute, is published by Running Press, ISBN 0-7624-2118-5 (hardback), price £20.00 ($29.95).

Related Events:

For information about educational events
tel. +4420 7420 9406 or email education@somerset-house.org.uk

How to get there:

Entrances on Victoria Embankment and Strand. British Rail mainline trains to Charing Cross, Waterloo or Blackfriars; underground stations Embankment or Temple (District and Circle lines) (Temple closed Sunday), Covent Garden (Piccadilly line) and Charing Cross (Northern, Bakerloo and Jubilee lines); buses 6, 9, 11, 13, 15, 23, 77a, 91 and 176 to Strand.

Access:

Lifts at both entrances, wheelchair access to galleries, café and shop.

Permanent collection:

The Gilbert Collection of decorative arts, which opened to the public in May 2000, is one of the most important gifts ever made to the British nation. It comprises some 800 works of art including magnificent silver, gold snuffboxes and Italian mosaics collected over forty years by the late Sir Arthur Gilbert. The stunning pieces are presented in a dazzling display in the Embankment and South Buildings of Somerset House, the architectural masterpiece designed by Sir William Chambers (1723-1796).

Shop:

The shop offers visitors the opportunity to purchase fine and unusual gifts inspired by the magnificence of the Gilbert Collection as well as the work of a number of contemporary jewellers and silversmiths. Merchandise includes specialist books, fine art prints, stationery, glass, ceramics and jewellery.

The Gilbert Collection Shop offers a stunning selection of jewellery and other gifts inspired by both the permanent collection and the exhibition Masterpieces of American Jewellery.

Nut and Bolt Cufflinks

Silver reproductions of a 1940 American classic designed by the darling of the Hollywood society set Paul Flato. Known for his audacious and yet simple and bold jewels these are a must have for any collector. Endorsed by the prestigious National Jewelry Institute, each of the limited edition cufflinks is engraved with their initial (£200).

Diamonds and Pearls…

Reminiscent of the Tiffany pieces seen in the exhibition the store stocks opulent neckpieces of handcut rubies (£450); the glamour of jewellery collectors like Jackie Kennedy Onassis is reflected in a range of handcrafted designer silver jewellery evocative of the era dripping with star quality (from £25 to £1,500); and elegant vintage style enamel handbag mirrors inspired by the beautiful organic art nouveau pieces on display (from £8).

and much more

the editor, February 14, 2005

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LANGSTON HUGHES' AWARD-WINNING MUSICAL SIMPLY HEAVENLY moves to one of LONDON'S newest venues:
TRAFALGAR STUDIOS

the review:

If this is the time in our lives for pure entertainment, Simply Heavenly fits the bill. This joyful show breathes life and energy. The cast sing, dance and act their Harlem socks off in such a way that the audience can suspend belief and find themselves in Harlem in the fifties.

And as most of the show is set in an bar, the songs are accompanied by a lot of foot-tapping and back-chatter.

There is nothing fake about this musical and only a not very strong plot and the somewhat 'unromantic' romantic female lead character 'Joyce', let the side down. But romance is not the soul of this musical. It's the energy of the almost full-time, soul filled drunken characters that provide the rhythm and the beat of the evening - a happy-go-lucky show with only one ending!

Go see Simply Heavenly and you will leave the theatre with a cure for the winter blues!

***************************

Josette Bushell-Mingo's award-winning production of Langston Hughes and David Martin's 1950's heart-warming musical comedy Simply Heavenly recently opened at the newly created Trafalgar Studios. Celebrating the soul of 1950's Harlem, the production is bursting with heartfelt blues, gospel, R&B and jazz.

Set in a neighbourhood bar in Harlem, the leading chgaracters are lovestruck Melon, bar regular Miss Mamie and Rhashan Stone as the hardworking Simple. Simple sure leads one complicated life. With a wife awaiting an expensive divorce, a girlfriend awaiting a fiancée's ring, and an indefatigable weakness for the local goodtime girl, things could certainly be less troublesome. But when faced with choosing between temptation and responsibility, he doesn't always pick the right path.

Trafalgar Studios opened in May 2004 with the RSC's production of Othello. The venue comprises a larger 400-seat theatre space and a smaller 100-seat studio and is a very welcome addition to the number of 'smaller space' venues in central London.

Book and lyrics are by black American poet, novelist, journalist and playwright, Langston Hughes (1902-67). In the 1940's Hughes' regular column for the Chicago Defender, featuring his character Jesse B Semple (known as Simple), was published as a book. The novel, Simple Takes a Wife, was later adapted into the musical Simply Heavenly when in 1957 it ran in New York featuring David Matin's score.

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the cast the cast the cast the cast the cast the cast

The cast includes: Kenny Andrews, Allyson Brown, Gerod Harris, Dawn Hope, Nicola Hughes, Melanie Marshall, Rhashan Stone, Clive Rowe, Dale Superville and Ruby Turner. Clive Rowe reprises his role as Melon from the original Young Vic production.

Clive Rowe has performed in many of the country's leading theatres where his roles have included at the National Theatre - Mr Snow in the award-winning Carousel, Cacambo in Candide and Nicely Nicely Johnson in Guys and Dolls for which he won the 1997 Olivier Award for Best Supporting Actor in a Musical; at the Donmar Warehouse - Donmar Divas and Company and for the Royal Shakespeare Company Measure for Measure and Twelfth Night. His television work includes four series of the popular Tracy Beaker for the BBC and Dalziel and Pascoe. He has recently completed filming Lars Von Trier's new film Manderlay.

(Clarke Peters plays Melon until Clive Rowe returns to the role on January 17, 2005. His extensive theatre work includes Five Guys Named Moeand Unforgettable, for both of which he received a Best Actor nomination at the Olivier Awards, Mourning Becomes Electra and Ma Rainey's Black Bottom for the National Theatre, The Iceman Cometh at the Almeida and Chicago and Kiss of the Spiderwoman in the West End. His film and TV work includes K-Pax, Notting Hill, Waking the Dead, The Wire, Jonathan Creek, and French & Saunders.)

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Ruby Turner's plays Miss Mamie. Her work an actor includes A Streetcar Named Desire and Blues Brothers Soul Sisters for the Bristol Old Vic and Hay Fame in London's West End. She also played Carmen Jones on tour in the UK. Ruby Turner is also know for her many albums and Jazz Festival performances. She has sung with UB40, Mick Jagger and Brian Ferry. On television her work includes EastEnders and Back Up. Ruby Turner tours with Jools Holland and his Rhythm & Blues Orchestra.

(Melanie Marshall plays Miss Mamie until Ruby Turner returns to the role on January 3, 2005 . Her recent theatre work includes Soul Train at the Victoria Palace and on tour nationally, Le Grand Macabre in Paris, The Best of Times at the Bridewell Theatre, Ain't Misbehavin' for the Tricycle & Lyric Theatres, Barnum on tour in the UK and in Hong Kong, Carmen Jones for Sheffield Crucible Theatre & the Old Vic, Showboat and Kiss Me Kate for the RSC, The Tempest at the Old Vi and Porgy & Bess for Glyndebourne Festival Opera. Melanie has also performed extensively with the Royal Philharmonic Orchestra.)

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Book and Lyrics by Langston Hughes

Music by David Martin

Directed by Josette Bushell-Mingo

Josette Bushell-Mingo is an Associate Artist of the Almeida Theatre Company. Her credits include work for the Royal Shakespeare Company, the National Theatre, Manchester's Royal Exchange Theatre, Birmingham Repertory Theatre and Temba Theatre Company. Her portrayal of Rafiki in the The Lion King at the Lyceum Theatre won her an Olivier Award nomination In 2004 she directed Carmen Munroe in the title role of Mother Courage for the Nottingham Playhouse.

Designed by Rob Howell

Llighting by Paul Anderson

Sound by Nick Lidster

Choreography by Paul J Medford

Musical direction by Warren Wills.

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Trafalgar Studios
14 Whitehall
London SW1A 2DY

Box Office:

+44870 060 6632

Show time:

Monday - Saturday at 7.30pm
Wednesday and Saturday matinees at 2.30pm

Tickets:

£36.00 (US$70), £30.00 (US$58), £20.00 (US$39) plus concessions

Darryll, theatre editor

The Masters Tennis The Masters Tennis The Masters Tennis The Masters Tennis

presented by Cunard

at the Royal Albert Hall

November 30, 2004 – December 5, 2004

"McEnroe defends his title"........ wpe4E.jpg (3442 bytes)

The tournament hots up as the very serious nature of winning is found to be the overriding tone of the singles' matches.

There may be an odd moment of friendly sparring during the singles - but they are few and far between - and the hilarity and jokes are left in the capable hands of the 'older' players during the doubles sessions which are sceduled between the singles matches.

The venues and the greater 'maturity' of the competitors has one great advantage over many other men's tournaments: most of these matches have been full of great rallies. A fabulous change to the serve and volley Grand Prix circuit!

Quarterfinal line-up

 Jim Courier vs. Guy Forget

Mikael Pernfors vs. John McEnroe

Thomas Muster vs. Pat Cash

Richard Krajicek vs. Anders Jarryd

  
$$$$$$$$


Friday 3rd December

 At 1.20pm

 John McEnroe vs. Mikael Pernfors

 Doubles – Mansour Bahrami/Joakim Nystrom vs. Henri Leconte/Ilie Nastase

 Jim Courier vs. Guy Forget

At 7.30pm

 Pat Cash vs. Thomas Muster

 Doubles - Johan Kriek/Jeremy Bates vs. Mats Wilander/John Feaver

 Richard Krajicek vs. Anders Jarryd

Despite recent form, John McEnroe will be fit, ready and intent on teaching the newcomers a thing or two when he arrives in London for The Masters Tennis presented by Cunard at the Royal Albert Hall.

The season-ending event has been played in London every year since 1997, but has now been upgraded to The Masters of the Delta Tour of Champions with ten of the players having qualified by their performances at all tournaments on the Road to London. McEnroe, alongside Sweden’s Mikael Pernfors, a French Open finalist in 1986, received wild cards. They will make up the 12-man field of champions at The Masters Tennis presented by Cunard. The players will compete for a brand new winner-take-all prize of $100,000.

The American warned former Grand Slam tournament winners Jim Courier, Richard Krajicek and Sergi Bruguera – all more than ten years his junior and newcomers to the Delta Tour of Champions – to watch out. “Put it this way, if I play my best, these guys that came in recently may not know what hit them,” said McEnroe. “I’ll be ready. I feel like kicking some ass. I can hardly wait. As a matter of fact, I would bet money on myself. I believe in my tennis playing ability, particularly on the indoor surface that they have at the Royal Albert Hall.”

round robin stages

Schedule and Results

Tuesday 30th November
1pm:

Thomas Muster d. Michael Stich
6-4, 6-3

Doubles - Mansour Bahrami/John Lloyd vs. Johan Kriek/Ilie Nastase

Jim Courier d. Henri Leconte 6-4, 7.5

At 7.30pm

Boris Becker d. Richard Krajicek
5-7, 7-6(4), 10-3 (on a Champions tie-break)

Exhibition – Tim Henman vs. Joachim Johansson (for Kids at Heart)

Anders Jarryd d. Mats Wilander
6-3, 6-1

Wednesday 1st December

At 1pm
Pat Cash d. Henri Leconte 6-4, 6-2

Doubles – Mansour Bahrami/Jeremy Bates vs. John Lloyd/Ilie Nastase

Guy Forget d. Mats Wilander 6-3, 6-4

At 7.30pm

John McEnroe d. Boris Becker 6-2, 6-0 (retired)

Doubles – Mansour Bahrami/Johan Kriek vs. John Lloyd/Chris Wilkinson

Thomas Muster d. Mikael Pernfors 7-5, 6-4

Thursday 2nd December

At 1pm
Anders Jarryd d. Guy Forget 6-2, 7-6(5)

Doubles – Mansour Bahrami/Johan Kriek vs. Jeremy Bates/John Lloyd

Jim Courier d. Pat Cash vs. 6-3, 6-2

At 7.30pm

Richard Krajicek d. John McEnroe 6-4, 6-7(4), 10-7 (on a Champions' tie-break)

Doubles - Mansour Bahrami/Ilie Nastase vs. Johan Kriek/Wilkinson

Mikael Pernfors vs. Michael Stick Walkover

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Full list of singles players

1. Jim Courier (US) Qualified

2. Thomas Muster (Austrian) Qualified

3. Sergi Bruguera (Spanish) Qualified

4. Richard Krajicek (Dutch) Qualified

5. Mats Wilander (Swedish) Qualified

6. Boris Becker (German) Qualified

7. Guy Forget (French) Qualified

8. Michael Stich (German) Qualified

9. Pat Cash (Australian) Qualified

10. Henri Leconte (FRench) Qualified

11. John McEnroe (US) Wild Card

12. Mikael Pernfors (Swedish)Wild Card

Despite winning the season-ending event in London four times, including last year, 45-year-old McEnroe has struggled this season, only winning a single match in the two events that he has entered, and pulling out of the tournament in Brussels last week because of a back injury. According to McEnroe, the five losses he endured were mostly a result of the surface that the matches were played on – red clay – his least favourite. “It’ll be nice to get a chance to play when I’m healthy for a change. I’ll certainly be better than I was at the other two tournaments, that’s for sure. I hurt my back just before the Paris tournament at the start of October, and when I was there I couldn’t move to save my life. I needed a month or so to get better, so by the time London comes round I will be able to show what I’m made of.”

The Masters Tennis presented by Cunard will feature a larger field than ever before (12 players instead of 8), and an extra day of action. As well as the competitive action at the Royal Albert Hall, a world-class field of players will feature in doubles entertainment. In previous years, Ilie Nastase, Peter Fleming and John Lloyd have all taken part.

The opening evening session of the event on November 30 will also see a re-match between Henman and Goran Ivanisevic to aid the charity Kids at Heart. Henman and Ivanisevic have not played each other since their memorable Wimbledon semifinal three years ago.

Tickets

box office: +44 (0)20 7589 8212

Prices

start at £25.00 (US$45)

or £7.50 (US$14) for restricted view seating.

the editor, November 8, 2004

THE TIMES bfi 48TH LONDON FILM FESTIVAL

REAL LIFE ON THE BIG SCREEN

October 20, 2004 to November 4, 2004

the review:

This year's London Film Festival has offered a virtual smorgasbord of movie choice.

This is not a film festival for the industry or for the film buff. The London Film Festival invites its audience - the movie enthusiast of all shapes, ages and sizes - to experience a selection of world cinema from the most experienced directors and producers and artists across the spectrum to the completely untrained actor.

Perhaps the greatest delight of this year's selection - made by the very down-to earth and talented Sandra Hebron, Artistic Director of the Festival - is the introduction to the audience of a world of new talent.

And this is literally a world of the new, where you get the opportunity to see new movies by new talent from around the globe. And some of these films may never receive distribution in the UK cinema or perhaps in any major market round the world so this is not just a 'first' in London. It may also be your last chance.

The focus this year seems to reflect the difficult times in which we live. Rather than offer the didactic or make political commentary, writers, producers and directors alike are only too aware of today's media 'overkill'. So much of our day to day lives confronts the very harsh realities of today;s political, religious and economic crises that the movie industry has taken it to heart to show to us how different communities cope with conflict (of all types) .

Swedish film Daybreak directed by Bjorn Runge tackles the subject of the pressures on marriage and how to cope with relationships in the context of the demands of the 21st century. Crossing the social and financial strata, he offers to three couple s a life-changing opportunity.

The movie - which has been sold into 27 countries - tackles a very universal subject and the audience is challenged to experience the deepest feelings of revenge , hate , jealousy and much more. Playing a dangerous game with his audience is one reason this film is such a sharp comment on today's society.

Kotebel is a beautiful movie, and like many of the other films shown during the festival the audience is given an greater insight into the production as the directors discuss their projects in Q&As after the performance. This Russian movie draws you into the Russian landscape and gives you just enough information that you get a real insight into Russia and in this case the Crimea and how people live. It is touching while at the same time the characters immaculately portray a snapshot of the realities of living in new Russia.

Thirst is an amazing first film from the Palestinian director Tawfik Abu Wael. Despite the fact that it is not clear at the beginning of the film exactly what has drawn this family to such an isolated place to live a life of such hardship, the film has a classical beauty which tells a story of human endurance and family relationships. It is a kind of universal statement addressing the family unit and their relationships which could be found anywhere in the world.

Questions asked by the audience after the movie, were answered by Tawfik Abu Wael in a very pragmatic fashion. He describes himself as a Palestinian who lives in Israel. He left his village to study in film school.

The film is about love and relationships. Politics play no part . And as a study of human nature, the untrained actors give haunting and memorable performances which makes this film a 'must see' - if it gets the distribution which it so richly deserves.

And of course there is a lot of humor in the festival and my favorite (of the movies I watched) was Women's Love. Director, Haled El Hagar brings us a truly funny film about three sisters and their relationships.

What stands our about this slice of upper middle class Cairo based comedy is the response that he has received from the international audience some of whom are surprised that Egyptian relationships are exactly the same as any others around the world!

Introducing an audience to the vast array of different cultures in a manner which is not didactic is just one of the great successes of this year's film festival.

Darryll Adler, editor

REAL LIFE ON THE BIG SCREEN

Among a catologue of all different types of movies, 2004 has seen unprecedented success for the modern documentary.

This year's selection of documentaries at The Times bfi 48th London Film Festival reflects this and brings to light some very differently flavoured films. For the first time ever the Festival has scheduled a documentary Gala screening Mondovino, an extraordinary look at the social, political and economical elements of the wine trade. Directed by Jonathan Nossiter Mondovino introduces a colourful array of characters and professionals and their perspective on the globalisation of the wine industry.

This year's documentary films include the directly political, and those which deal with political and social issues in more oblique or lyrical ways. For fifty years the Dalai Lama has not spoken directly to Tibetans inside Tibet, in 1996 Kalsan Dolma a young Tibetan refugee in Canada travelled across the Himalayas carrying a concealed videotaped message from the Dalai Lama, What Remains Of Us is the resulting document. The 'Tea Horse Route' is China's highest and most perilous trading routes, tea has been carried along this route by pack-mules for more than two millennia. Tian Zhuangzhuang sets out to document the origins of this route in his film Delamu. In Buenos Aires The White Train directed by Nahuel García follows a group of workers known as 'scavengers' who make ends meet by collecting paper and cardboard from waste bins across the city. Hubert Sauper's film, Darwin's Nightmare, looks at the fishing industry by Lake Victoria in Africa and the devastating effects of introducing the Nile Perch into the lake in the 1960s. Now huge cargo planes arrive bearing weapons and leave loaded with Nile Perch to sell around the world.

With a US election just around the corner, how much has changed? In 1972 black congresswoman Shirley Chisholm ran for the Democrat Presidential Ticket, and Shola Lynch's Chisholm 72 - Unbought And Unbossed, tells her extraordinary story. Czech Dream is an eye-opening look at advertising and the media. Two young Czech filmmakers set out to advertise a new shopping centre that didn't really exist, they then recorded the effects it had within the media and on the public. The first feature from Emmanuel Carrere, Back To Kotelnitch, takes the viewer into altogether new areas as it investigates a small town in Russia and surveys the processes of documentary making. In contrast to the majority of Holocaust documentaries, Out Of The Forest focuses on the passive witnesses and the cumulative effect these horrific events had on them.

a selection of what's on where/when what's on where/when what's on where/when what's on where/when what's on where/when at the NFT on London's SouthBank and at central London Odeon 'cinemas'

Chisholm 72 - Unbought And Unbossed Screening: Oct 22 - 18:30 NFT3 & Oct 23 - 16:00 NFT2 As the Democrats looked for a credible challenger for the Presidency in 1972, Shirley Chisholm, a brilliant black congresswoman from Brooklyn, put in a stirring bid for the nomination. Now approaching 80, she tells her remarkable story. With archive footage and contributions from both supporters and detractors, Lynch charts Chisholm's unique campaign in a distinctive style, and manages to celebrate a heroic figure whose bravery and commitment deserve wider recognition. This is a European Premiere. Dir. Shola Lynch/USA 2004/75 mins

Czech Dream Screening: Nov 2 - 20:30 NFT2 & Nov 3 - 16:15 NFT3 This funny and provocative analysis of the world of contemporary media manipulation is based on a hoax by two film students on the public. With the growth of hypermarkets in the Czech Republic they organise an advertising and promotional programme for a non-existent one which they market with full use of the media. Besides organising a deception that attracted international media coverage, they have constructed an impressive analysis of a world in which consumption and shopping have become ends in themselves. Dir. Vít Klusák, Filip Remunda/Czech Republic 2004/87 mins Vít Klusák and Filip Remunda are expected to attend the Festival.

Darwin's Nightmare Screening: Nov 2 - 21:00 NFT1 & Nov 3 - 13:15 NFT1 During the 60s a new fish was introduced into Lake Victoria, Africa. Voraciously predatory, the Nile Perch multiplied rapidly, and killed off almost the entire stock of native fish. Now the Nile Perch is exported all around the world. Hubert Sauper's incisive documentary develops into a damning analysis of the global economic and political interests at play, often filming undercover, Sauper managed to gain unprecedented access to the Asian factory owners, the EU commissioners and the pilots who carry the cargo in and out. Dir. Hubert Sauper/Austria, Belgium, France 2004/107 Mins

Delamu Screening Oct 23 - 18:15 NFT2 & Oct 26 - 13:30 NFT1 The 'Tea Horse Route' is the highest and most perilous of China's ancient trading routes, originating in western Yunnan leading into India. Tea was carried along this route by pack-mules for more than two millennia. Nowadays, though, they carry construction materials for the coming road which is going to obliterate traditional ways of life in the region. Tian Zhuangzhuang sets out to document the Chinese-Tibetan origins of this route. This is a European Premiere. Dir. Tian Zhuangzhuang/China, Japan 2004/110mins

Los Angeles Plays Itself Screening: Oct 28 - 20:15 NFT1 & OCT 31 - 12:00 NFT3 A remarkable documentary about cinema, an endlessly fascinating visual lecture and an important social commentary, Thom Andersen's love letter to Los Angeles explores the city's representation on film. With its relentless, mesmerising montage of clips and archive footage, the film explores how the Western centre of the film industry is actually portrayed on-screen. Dir. Thom Andersen/USA 2003/169 mins Thom Andersen is expected to attend the Festival.

Mondovino Screening: Oct 24 - 17:15 OWE & Oct 25 12:15 OWE This documentary looks at the world of wine-making, tasting and marketing and how that world relates to wider economic, social and political forces. What slowly but surely emerges is an account not only of progressive globalisation but of unashamed political expediency, with vignerons and merchants alike readily admitting to having got along well enough with oppressive regimes of every hue. Dir. Jonathan Nossiter/France 2004/158 mins/UGC Films UK

Out of the Forest (Mehivun Ha Yaar) Screening: Oct 24 - 18:30 NFT3 & Oct 26 - 16:00 NFT2 In contrast to the majority of Holocaust documentaries dealing with the horror experienced by surviviors and its repercussions for second and third generation descendants, Out of the Forest focuses instead on the role of the allegedly passive witnesses, and the cumulative effect these events had on them. Dir. Yaron Kaftori, Limor Pinhasov, Ben Yosef/Israel 2003/91 mins

Portrait Of Jason Screening: Nov 1 - 21:00 NFT2 Shirley Clarke, one of the underrated godmothers of American independent film, here adopts a minimalist black-and-white Warholian camera-stare. Posing, and adding all the necessary colour with his prototype rent-boy rap, is one Jason Holliday, a now ageing black homosexual hustler who recounts his life and times with an increasingly strained sense of self-starring street-theatre. Dir. Shirley Clarke/USA 1967/103 mins

What Remains Of Us (Ce qu'il reste de nous) Screening: Nov 2 - 21:00 NFT3 & Nov 3 - 14:00 NFT3 In 1996 Kalsang Dolma, a young Tibetan refugee resident in Canada, travelled across the Himalayas carrying a concealed videotaped message recorded by the spiritual and political leader, the Dalai Lama. In the farthest corners of Tibet, we see families gather around the tiny screen, transfixed, and for one of the first times the voices of this fragile people reach us across the distance. Dir. Kalsang Dolma, Hugo Latulippe, François Prévost/Canada 2004/77 mins

The White Train Screening Nov 3 - 21:00 NFT2 & Nov 4 - 14:00 NFT3 Every night a spectral white train makes its way from the Tucaman province to Buenos Aires. Its passengers, often referred to as 'scavengers' make ends meet by collecting paper and cardboard from the wastebins across the city. Their nocturnal journeys are closely followed by a trio of film-makers who provide a space for these marginal figures to tell poignant stories of past jobs, present domestic situations and the opportunities provided by the train, as one individual reflects, to 'wake up with a clear conscience'. Dir. Nahuel García, Ramiro García, Sheila Pérez Gímenez/Argentina, Spain 2003/80 mins

Cinevardaphoto Screening: Oct 27 - 18:15 NFT2 & Oct 28 - 12:45 NFT2 Cinevardaphoto comprises Agnès Varda's most recent film, Ydessa, the Bears and Etc..., screening alongside two of her earlier works, Ulysses and Salut les Cubains!.. Seen as a tryptich, they provide a fascinating discourse on the relationship between film and photography, and summarise the director's own history of image making in these distinct but connected films. Dir. Agnès Varda/France/96 mins

Oh, Man (Oh, Uomo) Screening: Oct 28 - 18:30 NFT2 & Oct 29 - 16:00 NFT2 Yervant Gianikian and Angela Ricci Lucchi's third part in their trilogy about the Great War is an incredible project, reworking footage from archives in the Trento History Museum and the Italian History Museum of War of Roverto to create a new poetic narrative of the horrors of war. Dir. Yervant Gianikian, Angela Ricci Lucchi/Italy 2004/72 mins

Tarnation Screening: Oct 25 - 20:30 OWE & Oct 26 - 13:00 OWE At the age of 11, Jonathan Caouette borrowed a neighbour's video camera and began documenting his own life. Caouette started the process of editing almost 20 years of recordings into this beautifully original psychedelic memoir. Using Apple's iMovie editing software to assemble and manipulate his he has created a richly textured intimate portrait of his life Dir. Jonathan Caouette/USA 2004/88 mins/Optimum Releasing

Une Visite Au Louvre Screening: Oct 27 - 20:45 NFT3 & Oct 28 - 16:15 NFT3 Shown here in two consecutive versions, running 47 and 48 minutes respectively, Une visite au Louvre joins Straub-Huillet's earlier films about Brecht, Kafka and Hölderlin in their exploration of art using uniquely cinematic means. Dir. Jean-marie Straub, Daniele Huillet/France 2004/95 mins

how to view how to view how to view how to view how to view how to view how to view how to view

Tickets:

Telephone Bookings: +4420 7928 3232
Oct 14 - 4 Nov, daily 9.30am - 8.30pm

In Person:

NFT Box Office:

how to view how to view how to view how to view how to view how to view how to view how to view

Tickets:

Telephone Bookings: +4420 7928 3232
Oct 14 - 4 Nov, daily 9.30am - 8.30pm

In Person:

NFT Box Office:
Daily 11.30am - 8.30pm
Oct 14 - 4 Nov, daily 9.30am - 8.30pm

Leicester Square Ticket Booth:
Oct 15 - 4 Nov, daily 12pm - 9pm

how to view how to view how to view how to view how to view how to view how to view how to view

the editor, October 8, 2004

Alex Caan (Dr. Aziz) Fenella Woolgar (Adela Quested) (Photo credit: Robert Day)

Shared Experience
& Nottingham Playhouse
present

E.M. Forster’s

A PASSAGE TO INDIA

at the Lyric, Hammersmith

through September 25, 2004

adapted by Martin Sherman

directed by Nancy Meckler

Anthony Bunsee (Professor Godbole) and Fenella Woolgar (Adela Quested) (Photo credit: Robert Day)

Shared Experience revives Martin Sherman’s powerful adaptation of E.M. Forster’s A Passage to India, in a co-production with Nottingham Playhouse.

Sherman brings a fresh approach to this modern classic using a story told by Professor Godbole as the impetus for an interpretation which explores the collision between two cultures. With specially composed haunting Indian music played live onstage by eminent musicians, Chandru and Sirishkumar, Shared Experience use their physical and visual style to examine two emotionally polarised communities.

E.M Forster’s award-winning A Passage to India, written in 1924, confirmed his status as one of the greatest writers of the 20^th century. The novel presents a subtle portrayal of the complexities of inter-racial relations and the ineffable mysteries of human experience. Adela Quested arrives in colonial India in preparation for her forthcoming marriage, accompanied by her future mother-in-law, Mrs Moore. Adela is determined to see the ‘real India’ behind the intolerance and stiff formality of the British Raj. She meets the charming and mercurial Dr Aziz who invites her with Mrs Moore, to visit the ‘famous’ Marabar Caves. When the trip goes disastrously awry, the community fractures, and Aziz and Adela are caught up in an explosive court case which reveals the deep divide between the two cultures.

A Passage to India is directed by Nancy Meckler, designed by Niki Turner with lighting by Chris Davey, music by Peter Salem and company movement by Liz Ranken. Alex Caan plays Dr. Aziz, Susan Tracy plays Mrs Moore, Fenella Woolgar plays Adela and William Osborne plays Fielding. The cast also includes Anthony Bunsee, Maxwell Hutcheon, Ranjit Krishnamma, Rina Mahoney, Chris Nayak, Gary Pillai and Simon Scardifield.

Review to follow

the company the company the company

Shared Experience is committed to creating theatre which

goes beyond our everyday lives. For Shared Experience

the rehearsal process is a genuinely open forum for asking

questions and taking risks that redefine the possibilities of

performance. At the heart of the company's work is the

power and excitement of the performer's physical presence

and the unique collaboration between actor and audience

- a shared experience.

Shared Experience is a truly world-class company.

Exciting and accessible, it has been instrumental in

pioneering a distinctive performance style that unites

both physical and text based theatre, creating magical

evenings of daring experiment which have captivated

audiences worldwide

From acclaimed adaptations to contemporary drama

Shared Experience have given theatre a new dimension,

giving form to the hidden world of emotion and imagination.

touring touring touring touring

A Passage to India goes on a national/international tour:

Opera House, Cork (September 28, 2004 - October 2, 2004)

Nottingham Playhouse (October 5 - 23, 2004);

New York State University (30 October, 2004)

Brooklyn Academy of Music, New York (November 2-6, 2004)

Liverpool Playhouse (November 16 - 20, 2004 )

Lighthouse, Poole (November 23 - 27, 2004)

The Lowry, Salford (November 30, 2004 - December 4, 2004 ).

get tickets get tickets get tickets get tickets

Lyric Hammersmith, King Street, W6

Box Office:
+448700 500 511

Performance times:
7.30pm and Saturday 18 & 25 September at 2.30pm:
Wednesday 22 September at 1.30pm

Ticket prices:
£12, £16, £20, £25 ) (USD18-USD45)

Darryll Adler, theatre editor

30 June - 26 September 2004

Tate Britain

Antony Donaldson
Take Five 1962
Credit: Tate
© Antony Donaldson

Art and the 60s: This was Tomorrow looks at new forms of art that emerged in Britain between 1956 and 1968.

As it emerged from a period of austerity, Britain seemed to be overwhelmed by colour and optimism. What appeared to be a period of prosperity was accompanied by new consumer products, and advances in advertising and packaging. A new youth culture brought new forms of music and fashion. Television took hold of people's imaginations, attitudes to class and sex were liberalised, and the appearance of Britain literally changed as its cities were rebuilt and modernised.

But it was not to last. The economic boom turned out to be an illusion, the establishment reacted against what they saw as a decline in standards and war in Vietnam led to increasingly passionate protests. It turned out to be a decade of optimism, but also of protest and, ultimately, disillusion for many.

During the 1960s Britain and the British changed fundamentally. Its art was a part of that change, reflecting, participating in and influencing what would become known as the 'swinging sixties'.

The latest offering from Tate Britain - challenging the popularity of its offspring Tate Modern - covers a series of themes, and two of them are given a quick mention below......

Swinging Sixties Swinging Sixties Swinging Sixties Swinging Sixties Swinging Sixties Swinging Sixties

1960s Britain witnessed a seismic shift in attitudes towards sex and sexuality. The contraceptive pill made casual sex easier and safer. The 1957 Wolfenden Report recommended the decriminalisation of homosexuality, finally legalised in 1967, and abortion and divorce were made easier. All this led to the idea of a 'permissive society'.

But liberalisation of attitudes towards sex did not mean liberation for women. While some artists' work reflected the new, freer attitudes, others articulated anxiety about the objectification of woman and the commodification of sex. All these social changes were not only reflected in the art and photography of the period, but also perpetuated by such images.

A Box of Pin-Ups A Box of Pin-Ups A Box of Pin-Ups A Box of Pin-Ups A Box of Pin-Ups

The 1960s witnessed a massive growth in the phenomenon of celebrity. The old class-based elite gave way to a glamorous new group of young people: a 'popocracy' including artists, designers, photographers, models, actors and writers.

In parallel, the 1960s saw a tendency for people to position themselves by reference to their heroes. This was the age that saw the phenomenon of the 'fan' - most dramatically in Beatlemania. The commodification of fame and personality was a theme taken up by many artists.

Many photos of the period were concerned with the character and status of celebrities, while the public image of many pop groups and film stars was defined through iconic photographs

A retro 'blast'? Check it out!

get tickets get tickets get tickets get tickets

£7/US$13 (£5/US$9 concessions)
Book online with Tate or call Tate Ticketing on +4420 7887 8888.
Lines are open Monday to Friday, 9.45 to 17.50.
Tickets for special exhibitions can be bought at Tate Britain or Tate Modern
seven days a week from 10.00 to 17.00,
with late opening until 21.00 at Tate Modern on Friday and Saturday.

Photographer: Bob Whitaker
Silver gelatin fibre photograph, 20 x 16 inches
Photograph: £900
Frame (BP): £260

Aboard the Beatles' charted jet bound for the Philippines, John relaxes for a few moments before the turbulent 48 hours in the Manila. John is wearing the official Far-East armband that was issued to all members of the Beatles' touring party.

John: "I don't want people taking things from me that aren't really me. They make you something that they want to make you, that isn't really you. They come and talk to find answers, but they're their answers, not ours."

FAR EAST AND FAR OUT

THE BEATLES’ 1966 ASIAN TOUR

Photographs by Robert Whitaker

With the benefit of hindsight, it seems symbolic that when The Beatles arrived in Tokyo on the last day of June 1966, the Far East was preparing itself against the ravages of an impending Typhoon. Somewhat appropriately, the turbulent winds that blew across the continent would also engulf the Fab Four's every move in controversy during their brief but eventful stay in the region.

If the group had privately anticipated that they were in for an easy stretch across Japan and the Philippines, events would soon reflect entirely the opposite. Intense security resulting from several death threats ensured that the group would have to be securely ensconced in their hotel suite for the duration of their Japanese stay, only being allowed to leave for their concerts at Tokyo's Budokan arena. Even then they were met with a wholly unfamiliar response. Traditional Japanese politeness being what it is, a deafening silence accompanied the concerts - a major shock for the band. For years due to the incessant screams of Beatlemania, the band, nor their audiences, could hear what was being played; not that it really mattered. Beatles' concerts had all but ceased to be a musical affair and had degenerated into a chaotic visual experience where group and audience would vie for the highest decibel count.
Having fully tired of the Beatlemania that had followed them on countless scream-ridden jaunts around the world, the group had retreated to the creative solitude of the studio. By June 1966, The Beatles had just finished recording their creatively groundbreaking album "Revolver", and as a consequence they hadn't bothered to rehearse the 12 numbers that they were to rattle out in Tokyo and the Philippines, somewhat hopefully relying that nobody in Japan would be bothered to listen. How wrong they would be….

Without any regrets the band left Tokyo behind for a brief stopover in the Philippines. Unbeknown to the band or any of their personnel, Imelda Marcos, the self styled "First Lady of the Philippines", had arranged a lunchtime reception for the group where they were expected to greet a large contingent of the country's dignitaries and their children. Unaware of any such invitation, the group slept late before performing two sell-out performances at Manila's expansive National Football Stadium. The perceived snub to the powerful Marcos family was relayed via the press in banner headlines that evening, creating a national furore against The Beatles. The next morning as the band prepared to leave the country, all security and assistance laid on for their safe passage out of Manila had been withdrawn. At the airport they were met by a baying crowd of supporters loyal to the Marcos' hammering on the glass windows overlooking the check-in area. Several of the group's touring contingent were injured in a scuffle as the group ran across the tarmac towards their British Airways plane. On arriving back in London the group met with the press, vowing never to visit the Philippines ever again.

By 1966, photographer Robert Whitaker had established a close relationship with The Beatles and was on-hand to record every moment of this, their most controversial tour to date. In an unprecedented move, the group allowed him unparalleled access into their closeted on-tour lifestyle to reveal a unique side of The Beatles that has rarely been seen. Drawn from over a library of literally thousands of incredible images, this collection offers the most intimate view of The Beatles ever published.

Exuberant Fans - 2nd July 1966

Photographer: Bob Whitaker
Silver gelatin fibre photograph, 16 x 12 inches
Photograph: £600
Frame (CP): £190

Fans erupt during a matinee performance at the Budokan. Over 210,000 ticket applications had been received for just 30,000 available seats for the original schedule of three Budokan shows. Given the enormous clamber for seats, two extra matinee shows were added to The Beatles' itinerary to satisfy the demand. Security had never been tighter for a Beatles' concert with hundreds of policeman strategically placed amongst the 10,000 fans in the hall. Sinisterly, plain-clothed officers with telephoto lenses would photograph any audience member who attempted to breach the tight security

• When & where

Brian And John On Plane - 3rd July 1966

Photographer: Bob Whitaker Silver gelatin fibre photograph, 16 x 12 inches Photograph: £600 Frame (CP): £190

Bound for the Philippines. John having a word with Beatles' manager Brian Epstein as they leave Kai-Tek airport for Manila.

John: "I'm not a cynic. They're getting my character out of some of things I write or say. They can't do that. I hate tags. I'm slightly cynical, but I'm not a cynic. One can be wry one day and cynical the next and ironic the next. I'm a cynic about most things that are taken for granted. I'm cynical about society, politics, newspapers, government. But I'm not cynical about life, love, goodness, death. That's why I really don't want to be labelled a cynic."

where :

Getty Images Gallery
46 Eastcastle Street, London

when:

July 16, 2004 to August 21, 2004

times:

Mon-Wed & Fri 10am-6.30pm,
Thu 10am-7.30pm,
Sat 12noon-6.30pm, ends Aug 21

cost:

free

the editor, July 15, 2004

Hampton Court Palace Flower Show 2004

Hampton Court Palace, East Molesey, Surrey

July 6-11, 2004

The enchanting Hampton Court Palace and surrounding parkland provide an idyllic setting for the world’s largest horticultural show. Yet again in 2004, this fabulous gardening event features a sensational range of flowers, plants, gardening accessories and of course gardens. Nothing is more relaxing on a beautiful summer's day than wandering around this very special show.

The stunning landscaped show and water gardens bursting with inspirational ideas were a joy. Just relax and wander. Drink Pimms, eat strawberiies and partipate in thelondonseason.

With displays from over 150 specialist nurseries from around the country and one of the greatest annual gatherings of roses in full bloom in the world, this flower show guarantees a glorious summer’s day out for everyone.

This year's show features 20 show gardens, 26 small gardens and seven water gardens, which are a special feature of the show.

and there are awards in the following cateogiries:
Show Gardens
Water Gardens
Small Gardens
Plants
Windowbox and Hanging Basket Competition
Market Place

*Christian Aid's garden, 'Seeds of Hope'was awarded RHS Gold Medal
and Tudor Rose Award for best show garden.
*Two other RHS Gold Medals in the show gardens category were awarded to Hardy's Cottage Garden Plants 'Daily Mail Cottage Garden' and Anais Anais inassociation with Good Housekeeping 'A Woman's Sanctuary'.
*Berkshire College of Agriculture was named Best Small Garden, for 'Snakes and Ladders'.
*The award for the Most Creative Garden was presented to Jonathan Gittins & Torunn Saksvikronning, for their Garden of Light.
*Two water gardens won gold medals: Lilies Water Gardens for Peace of Mind and Anglo Aquarium Plant Co Ltd for 'Four Winds Garden', which also received the Tudor Rose Award for best in category.
*A total of 26 RHS Gold Medals were announced in the four Floral Marquees including Hampshire Carnivorous Plants, which won the Tudor Rose Award.
*Most Creative Floral Exhibit was given to Topiary Arts.

Photo by Michael Crabtree/Troika

This year's taste of summer!
Strawberries and cream are synonymous with the British summertime. As al fresco dining and picnics beckon, the strawberry season is upon us and across the country people are gorging on Britain's favourite summer fruit. The celebration of seasonal produce is a running theme at the Hampton Court Palace Flower Show and the RHS is encouraging visitors to have a go at growing their own.

Strawberries have recently made the headlines with their many health-giving properties: they are rich in antioxidants, which protect against heart disease and cancer, low in fat and high in vitamin C. Added to this, they are reported to be a natural aphrodisiac. I also understand that they can whiten your teeth... but this is not official!

And a new survey, commissioned by the RHS and conducted by MORI to coincide with the Hampton show, reveals that only 22% of fruit and vegetable gardeners grow strawberries. They are most likely to be grown by women, and those aged 34 - 44. Meanwhile a separate MORI poll revealed strawberries are at the top of the list of children's favorite fruit.

Specialist strawberry grower Ken Muir will stage his famous display of strawberry towers in the Floral Marquee at the show; some of the UK's best known and respected chefs have put together some special recipes for the show - including the 'first' super chef, Delia Smith who has donated a recipe (Eton Mess) using strawberries; and Hampton Court will serve up over 2,000 kilos of fresh British strawberries over the course of the week. Show visitors can sit back and enjoy the quintessential taste of summer in the majestic setting of one of England's great Palaces.

Tickets

Booking information

RHS members can enjoy the show on RHS Privilege Days (Tuesday & Wednesday) when visitor numbers are restricted. Alternatively, visit on a public day (Thursday - Sunday) and take advantage of privilege priced tickets.

All members’ rate tickets must be booked at least 48 hours in advance.

Admission

Members' rates (in advance only)	10am - 7.30pm *	3 - 7.30pm *
Tuesday 6	SOLD OUT	£17.50/US$32
Wednesday 7	SOLD OUT	£13.50/US$25
Thursday 8 - Sunday 11	£17/US$31	£11.50/US$20

Public rates
Thursday 8 - Sunday 11	£22/US$40	£14.50/US$26

Child aged 5 - 15	£5/US$9
Child under 5	Free any day

* The show closes at 5.30pm on Sunday, July 11. Sale of display plants starts at 4.30pm.

Please note that this event takes place on open parkland and is subject to varying weather and ground conditions. We therefore strongly advise you to check the weather forecast before you come and dress accordingly.

Booking tickets

RHS Member Bookings: +44870 906 3790
Non-member Bookings: +44870 906 3791

the editor, July 2, 2004

Guantanamo image for The Private Room.
Credit AP/Wide World Photos.

take a shot at going to this world premiere

T H E P R I V A T E R O O M

at the New End Theatre

through June 26, 2004

the review

Life can often imitate art.

In The Private Room there are two private rooms: stage left - the private dining room of a Wall Street restaurant; and stage right - an interrogation room at Guantanamo Bay, Cuba.

If playwright Mark Lee could have anticipated the fall out from the recent pictures of torture by American troops he might have made the female interrogator Barbara, even more threatening.

Barbara - the army reservist who successfully 'secured' a promotion at a Wall Street bank in an early scene of the play - is called up and trained to interrogate Muslim terrorists. Brilliantly performed by Janet Kidder, the role of Barbara in the first act is quite amazing and supported by her victim - Salman Bashir played by Richard Sumitro and the rest of the cast, she demonstrates the cunning and vicious techniques of getting information from an unwilling prisoner.

The first and longer act of the play effectively draws parallels between the apparently 'superhuman successful banker' and the very fragility of his existence, and the equally fragile determination of the male prisoner to remain true to his ideals.

The ideal 'financial ' world of the banker, Lawrence is cleverly portrayed by actor Michael Hayden. As he speaks directly to the audience, he provides snapshots of the doubts he feels about the meaning of 'his' way of life. It makes for a dramatic counterpoint to Salman as he confesses 'his' dilemmas to Barbara, the interrogator. His dilemma is defined by his very ambiguous attraction to the meaningless conduct and lack of beliefs and respect expressed by the Western World.

The question of the role of women is at the forefront of the debate. The threat of the potential 'super-sex' undermines the traditional assumptions of both Barbara's male victims and it is made clear that in these unstable and confusing times there are many more answers than questions.

The effectiveness of the first half of the play to highlight the issues is somewhat diluted in the second act as the playwright feels obligated to provide a dramatic solution to the many layered questions posed earlier.

Perhaps this is the shortcoming of modern plays as the oversimplified conclusion often weakens the script rather than strengthen the message.

Despite its shortcomings, The Private Room - which runs well over two hours - keeps the audience on the edge of their seats. Each actor performs their role to perfection, with a clarity required to make their point. The play achieves most of its objectives: to educate, inform and entertain, and you would be wise to catch it at the tiny New End Theatre in Hampstead before a potential transfer to a larger theatre.

The intimacy of the New End makes for a compelling experience as the audience is drawn into the inevitable, new millennium debate which frames most of our lives, 'what is this all about?".

the play

The New End Theatre presents the world première of Mark Lee's The Private Room, directed by Debra Hauer, The cast is Michael Hayden, James Howard, Janet Kidder, Noah Lee Margetts, Bernice Stegers and Richard Sumitro. Designs are by George Souglides and Kate Klinger and lighting is by John Bishop.

Set both in an exclusive dining room near Wall Street, New York and in a windowless interrogation room at Camp Delta in Guatánamo Bay, Cuba, The Private Room is a bold exploration of the fault lines between an anxious Super Power and the forces proclaiming a new world order. This intense, savagely funny play explores how the cultural assumptions of one world can destroy the lives of strangers thousands of miles away.

the playwright

Mark Lee wrote The Private Room in 2003. A former journalist for the Daily Telegraph and Reuters, he reported on the civil war in Uganda and was expelled for writing about genocide. Lee's critically acclaimed first play, California Dog Fight, was produced at the Bush Theatre in 1985. His work his been produced in the US at the Manhattan Theatre Club and Long Wharf Theatre. Mark Lee is the author of two novels and has written about the conflict in East Timor for the Atlantic Monthly.

the director

Debra Hauer worked at a number of London theatre's including the Almeida and Riverside Studios before turning to television to work as an independent producer. Her television and film credits include Michael Nyman's opera The Man Who Mistook His Wife For A Hat, a film version of Robert Lepage's Tectonic Plates, and the dance documentary Just Dancing Around with director Mike Figgis. For her company Euphoria Films, Debra has directed many arts documentaries for Channel 4 and the BBC. She was the UK producer of the feature film The Red Violin and Executive Producer of the BBC Drama series Eureka Street. Last year she was Assistant Director to Howard Davies on The Talking Cure at the National Theatre and to Robert Delamere on In Arabia We'd All Be Kings at Hampstead Theatre.

the actors

Michael Hayden made his British stage debut in Nicholas Hytners' production of Carousel at the National Theatre, for which he received an Olivier Award nomination for Best Actor in a Musical. In the US his stage work includes Cabaret, Enchanted April and Judgement At Nuremberg, all on Broadway. His recent television work includes Law & Order and Murder One. For his 1999 film Charming Billy, Michael received the Los Angeles Independent Film Festival Award for Best Actor.

James Howard's stage work includes The Duchess of Malfi, directed by Phyllida Law at the National Theatre and The Hour Bell for Kaleidescope Theatre Company. For television, he has recently finished filming Dream Team for Sky One and has previously appeared in Inspector Lynley and The Trench for the BBC.

Janet Kidder has worked extensively in film and television, both in America and the UK. Credits include The Girl Next Door, A Cool Dry Place, Earth: Final Contact, PSI Factor, Bride of Chucky, Ginger Snaps: The Sequel, Darkness Falling, Tom Stone and La Femme Nikita. Her theatre work includes Twelfth Night, Talking Dirty and A Midsummer Night's Dream.

Noah Lee Margetts' theatre work includes a European tour of A Streetcar Named Desire, Big Al for Ground Zero Theatre and Spears Avenue for the Hollywood Actors Theatre. His film credits include Buffalo Soldiers, Fierce Creatures and Richard Attenborough's Chaplin. His television work includes Over Here, The Affair and Lets Roll: The Story of Flight 93.

Bernice Stegers' stage work includes Trip's Cinch and The Orchestra for the Southwark Playhouse, Blood Relations and The Immortalist for the Young Vic, All for Love and Antony and Cleopatra for the Prospect Theatre and La Ronde and Soul of The White Ant for The Royal Exchange Theatre, Manchester. Her film credits include Julia's Spirit, Four Weddings and a Funeral and The Garden of Redemption. For television, she has appeared in Tipping The Velvet and Little Lord Fauntleroy.

Richard Sumitro's theatre work includes Ali Mossop in Richard Jones' production of Hobsons Choice at the Young Vic and Listen to Your Parents at the Nottingham Playhouse and Lyric Hammersmith. His film work includes The Grass Is Greener and for television, Richard has appeared in Call Red for Thames TV.

the address

New End Theatre
7 New End
Hampstead
London NW3 1JD

for tickets

call the Box Office: +4420 7794 0022

show times

Tuesday to Saturday at 7.30pm, Saturday and Sunday at 3.00pm

ticket prices

£17 (US$ 30)

Darryll, the Editor, May 28, 2004

Minimalism or Decorative to excess
- take your choice!

From Tate Modern to the Hermitage Rooms

Whether you love the clean clear lines of modern sculpture or the intricate extravagance of Eastern decoration, there is something for everyone in the museums and galleries of London this month.

Constantin Brancusi: The Essence of Things
at
Tate Modern

through May 23, 2004

Here’s a big introduction to this artist: At the beginning of the 20^th century Brancusi was to sculpture what Picasso was to painting! His international career began with his arrival in Paris in 1904. Legend has it that he walked all the way there from his homeland of Romania. He was encouraged by the great sculptor Auguste Rodin and became friends with Amedeo Modigliani and Marcel Duchamp. Brancusi created a new way of seeing space by only presenting a fragment or abstract interpretation of an object. In the 1930’s and 1940’s he was the ultimate artist representing abstract sculpture

If you have been to the Museum of Modern Art or Guggenheim in New York or one of a number of major museums around the world, you may well have already seen some of these pieces. But the fantastic opportunity of seeing them at Tate Modern is about the space that surrounds them. In the vast open room you can view the 35 pieces with a new perspective. This is one of those exhibitions where you have to remind yourself that these pieces were created a long time ago, even though they seem so modern.

The well-known Birds in Space (1930’s) is given a room on its own. The polished brass on stone sculpture has an almost iconic feeling as you walk around and inspect it from all angles. Having this famous little bird in such a big room is a unique visual experience.

For serene simplicity, Beginning of the World (1920) also has a room of it’s own. It is easy to describe the smooth cool shape as just a marble egg, but in the context of Brancusi this is worthy of meditation.

The works of Brancusi, made of marble, stone, metal, wood and bronze are incredibly delicate and fragile and do not often travel. This is a special opportunity to see the show. The next and only other stop is New York.

If you are making a day of your visit to Tate Modern, buy the combined ticket and see the colorful, large, thought provoking sculptures of Donald Judd. And afterwards, have lunch in the restaurant on the top floor of the museum. The view of London from this light, bright and airy space is spectacular.

Tate Modern is a short walk from Waterloo Station along the Thames Walk. The nearest underground station is Southwark on the Jubilee Line. Admission to Brancusi is approximately $11 and the combined ticket is approximately $16. Tate Modern is open daily from 10:00 to 18:00 and late nights on Friday and Saturday until 22:00.

So if you’ve had your fill of the modern, cross over the Thames and head for a more exotic experience.

§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§

Heaven on Earth: Art from Islamic Lands
Islamic Art from The State Hermitage Museum and The Khalili Collection
at
The Hermitage Rooms at Somerset House

through August 22, 2004

wpe33.jpg (14885 bytes)
Bifolium from a large Qur’an, Early 11^th century
Two folios: ink, watercolour and gold
45 x 30 cm
© The Khalili Collection, London

In the elegant setting of the Hermitage Rooms, an eclectic mix of textiles, Qur’ans, manuscripts, metalwork, pottery, jewelry, ornaments and paintings is an intriguing introduction to the world of Islamic Art. The 133 exhibits on display span from the 8^th to the 19^th century; from Spain and the Near East to Persia.

There are two divergent strands to contemplate as you walk through the rooms. The first is a celebration of the spiritual majesty of the Islamic religion, highlighted by the abstract, created in the service of the divine. The beauty of calligraphy, geometric shapes, and patterns is inspired by the natural beauty of flowers, plants and swirling Arabic inscriptions. The lustre coated tiles (1262-63) from the Shrine of Imamzade Yahya have a mysterious glimmering surface. You will want to get closer to see how they are made.

The second theme celebrates the material world. Take the famous Bobrinsky Bucket. This refined brass, bronze, copper and silver object was made in 1163 for a merchant from what is now modern day Afghanistan. It’s original purpose was as a soap container for use in the Hammam or what we refer to as baths. That was before it was claimed and renamed by the head of the Russian Imperial Archeological Expedition in 1885, whose name was….you guessed it "Bobrinsky". This and many other objects on display are linked to the Imperial Russian family. The legend and history behind many of these treasures adds a frisson of romance and intrigue.

wpe32.jpg (17786 bytes)
Sabre and sheath, 1875-1900
Steel, gold, precious and semi-precious stones
Length: 103 cm
© The State Hermitage Museum

There are fabulously ornate and extravagant objects from Mughal India of the 17^th century. An anklet made of gold, enamels, rubies, emeralds and diamonds is extraordinary. Daggers and sheaths made of gold are decorated with enamels and rubies. Think Bollywood adventure, think Arabian Nights!

The Hermitage Rooms are open daily from 10:00 to 18:00 . Admission is approximately $8. Nearest underground station is Temple but with entrances on the Embankment and the Strand its only a short walk from Charing Cross station and Trafalgar Square.

wpe34.jpg (33318 bytes)
Three Tiles, Early 14^th century
Stone paste, partially stained cobalt blue
27 x 26.5 cm (each)
© The State Hermitage Museum

Janis, Visual Arts Editor, April 6, 2004

STAR STUDDED 1ST ANNIVERSARY OF SAATCHI GALLERY,

COUNTY HALL, SOUTH BANK

LONDON SE1 7PB

March 23, 2004 at 6.30PM

A glittering galaxy of stars is expected at the 1st anniversary of the much publicised Saatchi Gallery, County Hall, on London's South Bank, on Tuesday 23 March 2004 to co-incide with an exciting new exhibition. "NEW BLOOD" showcases the works of up and coming artists including Cecily Brown, Ben Mayman, Brian Griffiths, Conrad Shawcross, Dan Brady, Liz Neal and Keith Farquhar, Hiroshi Sugito and Annne Chu (Japan), Jonathan Meese and Daniel Richter (Germany) and Israeli German team Muntean Rosenblum which produce beautifully weird paintings of teenage angst.

Over the past year, Charles Saatchi, the Gallery’s curator has personally continued to introduce new artists, as well as inviting independent curators to stage one-off shows and hosted touring programmes from other museums and galleries from around the world.

Red Carpet Arrivals at 6.30pm with a champagne reception & canapés

Alex Best (Im A Celebrity Get Me Out Of Here)
Alexander McQueen (Fashion Designer)
Alexandra Aitken (Socialite  daughter of Jonathan Aitken)
Alice Beer (TV Presenter)
Amy Winehouse (BRIT nominated singer)
Andrew Neil
Annabel Croft (Ex Tennis Player)
Anne Diamond (TV Presenter)
Antony Worrell Thompson (Celebrity Chef)
Audley Harrison (Boxer)
Barry Norman (Film critic / TV Presenter)
Basement Jaxx (Trendy dance act)
Beverly Turner & James Cracknell (TV Presenter & Olympic rower husband)
Cathy Dennis
Charlie Brooks
Cherie Lunghi (Actress)
Chiwetel Ejiofor and Bill Nighy (Love Actually)
Christiane Amanpour (CNN foreign corresponded)
Christopher Simpson (White Teeth, Second Generation Channel 4)
Clive Owen (Croupier, Closer)
Darius Danesh (singer)
Darren Jordon (News reader)
David & Catherine Bailey (Photographer & wife)
Denise Van Outen
Doon Mackichan (Smack The Pony)
Eve Pollard
Gary Kemp
Gary Rhodes (Celebrity Chef)
Gina McKee (The Forsyth Saga)
Hanif Kureishi (Director: Intimacy, My Beautiful Laundrette)
Harriet Scott (106.2 Heart FM)
Heather Small (singer, ex M People)
Hugh Dancy
Iwan Thomas (Athlete)
James Whale
Jaquetter Wheeler (Supermodel)
Jasmine Lowson (Newsreader / TV Presenter)
Jason Donovan (Actor)
Jay Kay (Jamiroquai)
Jayne Middlemiss (TV presenter)
Jemima French (Fashion designer Frost French, business partner of Sadie
French)
Jemma Kidd (Model / make-up artist, sister of Jodie)
Jeremy Edwards (TV Actor)
Jibby Beane
Jo Whiley (Radio1 DJ)
Joan Bakewell (Broadcaster)
Joe McFadden (Actor)
John Simpson (News reader)
Jono Coleman (106.2 Heart FM)
Julien Glover & Isla Blair
Kathy Lette (Author)
Krishnan Guru-Murphy (News reader)
Liberty X (Chart topping band)
Lindsey Coulson (Stepford Wives, Eastenders)
Lisa Maffia
Lisa Maxwell (TV Actress)
Liz Bonnin
Lowri Turner (TV Presenter)
Lucy Benjamin (TV Actress  Eastenders)
Lysette Anthony (Actress / Model)
Melanie Blatt (Ex All Saints, now solo artist)
Michael Sheen (Actor  Underworld was married to Kate Beckinsale)
Mina Anwar (Comedian)
Morweena Banks & David Baddiel
Mr Norman Baker MP
Nabil Elouhabi (TV Actor  Eastenders)
Naomi Ryan (TV Actress  Mile High)
Natalie Cassey (TV Actress)
Neal Pearson (TV Actor)
Neil Razor Ruddock (Im A Celebrity Get Me Out Of Here)
Nellee Hooper (Music producer)
Ninia Benjamin (3 Non Blondes)
Paul & Stacey Young
Paul Nicholls (Film Actor  Goodbye Charlie Bright)
Petrina Khashoggi (Socialite)
Ralf Little (TV Actor)
Ray Burdis (TV / Film  Actor, Director, Writer)
Ray Panthaki (TV Actor  Eastenders)
Ray Winstone (Film Actor  Cold Mountain)
Richard X (Music producer)
Ronni Ancona
Rosie Millard
Rowland Rivron
Rt. Hon. Charles Kennedy & wife Sarah
Rt. Hon. David Curry
Rt. Hon. David Davis
Rt. Hon. David Heathcoat Amory
Rt. Hon. Michael Angram
Sara Cox (Radio / TV Presenter)
Sarah Barrand (Footballers Wives)
Sarah Beeny
Sarah Cawood (TV Presenter)
Shebah Ronay
Simon & Yasmin Le Bon (Duran Duran front man and supermodel wife)
Siobhan Donaghy
Sir Clive Sinclair
Sir Trevor McDonald (News reader)
Skye Edwards (lead singer of Morcheeba)
Stephanie Beecham (Actress)
Stephen Campbell Moore (Bright Young Things lead)
Tamara and Anouska Beckwith (Socialite and daughter)
Tania Bryer (TV Presenter)
Terry Gilliam (Director: Fear & Loathing In Las Vegas)
The Datsuns (Indie band)
Tim Kash (Top Of The Pops presenter)
Tim Lovejoy (Sports presenter)
Toby Anstis (106.2 Heart FM)

BA Millennium Eye with County Hall , BA London Eye, Around the City of Westminster - click to enlarge

The 40,000 sq ft contemporary art gallery is dedicated to showcasing works from new and established British artists.

ADMISSION:

Adults: £8.50 US$14
Concessions: £6.50 US$11

Advanced Tickets: +44870 1160 278
Information Line: +4420 7823 2363

UNDERGROUND:

Westminster on District, Circle & Jubilee Lines

Waterloo on Northern, Jubilee, Waterloo & City

& Bakerloo Southbank exit 6 right along Thames Path

BUSES:

Westminster Bridge 12, 53, 159, 211

York Road 211 77 381

OPENING TIMES:
Sunday – Thursday 10.00 – 6.00pm
Friday – Saturday 10.00 – 10.00pm

Editor, March 13, 2004

BITE:04

BARBICAN THEATRE

presents

SOLOS WITH PIANO or not… An Evening of Music and Dance

with Mikhail Baryshnikov and pianist Pedja Muzijevic

February 17- 22, 2004

In his first Barbican appearance, Mikhail Baryshnikov, one of the world's greatest dancers, performs SOLOS WITH PIANO or not…An Evening of Music and Dance

SOLOS WITH PIANO or not… features works by emerging and celebrated choreographers - from the US: Lucinda Childs, Ruth Davidson Hahn, Tere O'Connor and Eliot Feld; Cesc Gelabert from Spain and the UK's own Michael Clark.

The sensational Baryshnikov is joined on stage for four of the pieces by pianist Pedja Muzijevic who also provides musical interludes by Scarlatti, Schoenberg and Strauss.

Baryshnikov began his ballet career with the Kirov Ballet earning acclaim for his technical brilliance, his gravity-defying leaps and his dramatic interpretations of classical roles. At the age of 26 he left the Soviet Union and defected to the West. He settled in New York and became a principal dancer with the American Ballet Theatre before moving to New York City Ballet under the guidance of Balanchine. He later returned to the American Ballet Theatre where he served as artistic director for 10 years, nurturing a new generation of dancers and choreographers.

Now aged 55, Baryshnikov has pursued his passion for dancing for over 40 years, performing over 100 different works in a range of dance disciplines, from Giselle and Don Quixote to Twyla Tharp's Push Comes to Shove, Balanchine's Apollo and Sarah Michelson's The Experts. Many of the world's most prominent choreographers have created work especially for him.

In 1990 Baryshnikov co-founded the White Oak Dance Project with Mark Morris to be 'a driving force in the production of art.' His small elite troupe of dancers expanded the repertoire of American modern dance.

In 2002 he suspended White Oak to devote his energy to the Baryshnikov Arts Center in New York. Proceeds from the international tour of SOLOS WITH PIANO or not…will go towards the centre which is scheduled to open in September 2004. The centre will house four dance studios, a 300-seat auditorium and office space. It will be an international, interdisciplinary home for young and established artists to use as a creative laboratory, meeting place, and performing space in which to experiment and create new work.

SOLOS WITH PIANO or not… An Evening of Music and Dance is a great example of how Baryshnikov plans to showcase new talent.

Lucinda Childs has created a new solo, Opus One, set to Alban Berg's Sonata for Piano Op. 1.

Ruth Davidson Hahn has set her solo Upon A Whim to three movements, Whims, Why? and Fable from Schumann's Fantasy Piece Op. 12.

Tere O'Connor's Indoor Man, his third work for Baryshnikov, is performed to tango music by Conlon Nancarrow and David Jaggard.

Cesc Gelabert's In a Landscape is set to John Cage's score of the same title.

Michael Clark's Rattle Your Jewelry is created to the music of the Beatles.

Eliot Feld's Mr. XYZ, which he recently premiered as part of Ballet Tech's Joyce Theater season, is set to four songs performed by Leon Redbone.

Barbican box office: +44845 120 7550, 9am - 8pm daily

February 17-21 at 7.45pm; February 22 at 2.30pm

Tickets: £10 (US$19) to £35 (US$63) PAY £5 (US$9 )MORE FOR A SUPERSEAT

Editor, December 13, 2004

	shows christmas christmas shows shows christmas shows christmas shows christmas shows christmas shows christmas shows christmas shows christmas shows christmas shows christmas shows	walk hard, talk loud
copyright © Hergé/Moulinsart 2005	copyright © Hergé/Moulinsart 2005	Tintin visuals are protected by copyright and may not be used without prior and written consent of the MOULINSART company (contact: colette.schietecat @moulinsart.be)	copyright © Hergé/Moulinsart 2005
	the pantomimes

thelondonseason

hotspot archive 2004/5/6

christmas and new year shows
with the reviews

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Tickets

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Admission

Booking tickets

thelondonseason

hotspot archive 2004/5/6

christmas and new year shows with the reviews

Hampton Court Palace Flower Show 2004

Tickets

Booking information

Admission

Booking tickets

christmas and new year shows
with the reviews