Category Archives: Culture

Theatre Collection Presents The Three Sisters

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The Three Sisters by Anton Chekhov

Like many of Chekhov’s works, it is about the decay of the privileged class in Russia and the search for meaning in the modern world. In the play, Olga, Masha, and Irina are refined and cultured young women in their twenties who were raised in urban Moscow but have been living in a small, colorless provincial town for eleven years. With their father dead, their anticipated return to Moscow comes to represent their hopes for living a good life, while the ordinariness of da
y-to-day living tightens its hold.

Directed by Victor Sobchak

Wednesday – Saturday 7:30pm
Sunday 5pm

Tickets: £12/10

Booking:

www.theatrecollection.net

Phone: 07966597190

THEATRE COLLECTION was founded in 2009 by Victor Sobchak (Artistic Director) and Shaban Arifi (Producer,Director and Actor)

TC is the sequel of the highly acclaimed ‘ART-VIC’(Anglo-Russian Theatre) and ‘Act Provocateur Int.’ With a history spanning for 15 years.

During this period they have have produced over 100 productions which gained great interest and awards from both audiences and Press all over the world.

They performed at 11 Edinburgh Fringe Festivals and in various National and International festivals in USA, Africa, Europe and Russia.

TC will continue to justify its name presenting to the audience a collection of very different styles: from medieval farce to experimental theatre, from classic to modern International drama and new writing.

Co-Opera Co – Singers Helping Singers

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This summer, Co-Opera Co. will present two much-loved operas, Mozart’s Don Giovanni and Humperdinck’s Hansel and Gretel, at the John McIntosh Theatre of the London Oratory School.  On tour later in the year, the company will also revive its successful production of Mozart’s The Magic Flute. All three operas will be sung in English.

Founded by soprano Kate Flowers and lighting designer Paul Need, Co-Opera Co is an innovative opera company, striving to help singers earn while they learn, and promote the welfare of professional opera singers.  I asked Kate to tell me how the company started and how it has progressed since its small beginnings.

“After our first discussions about the lack of an apprenticeship stage in a singers’ training – over far too many glasses of red wine one night in Dublin!  – Paul and I decided that we should do something about it.  I suggested one to one sessions – he suggested starting our own training opera company!  So it is Paul we have to thank for being the driving force behind Co-Opera Co, from its inception.  I set about calling all my friends and colleagues in the business – over 50 of today’s eminent artists who became our members – and Co-Opera Co was formed on June 13th 2008.”

We first opened our doors in January 2009 with a series of weekend workshops run by our members, one of whom was the legendary Philip Langridge, sadly no longer with us. In August that year we ran our first summer season, with two performances each of Albert Herring and La Boheme – produced in just three weeks (we must have been mad!), with the wonderful Chroma Ensemble as our orchestra.”

To give the singers the chance to see what it would be like to perform in a different space, the company also took both shows for one performance each to The New Theatre Royal in Portsmouth.

2010 was the year the Co-Opera Co Orchestra was formed, and the company toured 7 performances of La Boheme and the Marriage of Figaro to 7 UK venues in four weeks.  2011 saw the tour grow to 25 performances in 12 weeks, with two new productions, The Magic Flute and Carmen.

Leading up to their summer season and UK tour in the autumn the company runs a comprehensive training programme, Connections, where participants work on every aspect of opera.  I asked Kate Flowers to give me a flavour of how it works.

“Connections has grown out of those weekend workshops back in 2009 and has again developed in a very organic way, taking into consideration what singers have told us that they want – this year we held a series of one day workshops in the spring.  Each workshop was run by one of our members working with up to 12 singers. Each workshop had a theme suggested by the member running the workshop – Sir Thomas Allen for instance wanted to work with the singers on Listening and Reacting;  Janis Kelly on Body, Soul and Voice; and David Parry wanted to work on singing True Bel Canto.  With everything that we have learned about what singers need, Janis Kelly is developing a fully integrated 3 month course – Professional Connections – which will cover every aspect of being an opera singer, and we are also working on a new course – Opera Matters – for opera enthusiasts and those singers who perhaps do not wish to follow a professional career but who nevertheless would like to explore the genre and work on their personal progress.”

“Because we work with so many levels of ability – and we have no age limit – in the various training programmes we run – to be honest, we will accept applications from anyone who has a real desire (and ability) to be involved in opera.  Obviously for the touring operas we need to be able to present a truly professional standard of performance (and therefore performers) to the audiences – and to the theatres.”

We have had singers as young as 15 – our Harry in Albert Herring for instance – Marina Lawrence-Marrha – and this year we have a singer aged over 60 in The Midsummer Night’s Dream – neither of them have any qualifications – other than a true ability and a longing to sing/perform.  (Marina by the way is just about to start a foundation year at the Urdang Studios and we like to think that her experience of performing with Co-Opera Co. went a long way to developing her aptitude and enthusiasm for performing – she is simply wonderful.)”

This year the company is rehearsing four operas over four weeks – Hansel and Gretel, Don Giovanni and a revival of The Magic Flute for a tour to 12 venues – at the moment (still more in the pipeline), preceded by a new venture: the Summer Opera, which is a four week course in which 30 singers work on their own opera ( A Midsummer Night’s Dream) with the Director Peter Watson, Conductor David Gostick and Choreographer Jenny Weston, performed at the John McIntosh Theatre on 17th and 18th August.

James Bonas, Director of Hansel and Gretel, believes the work of Co-opera is very important, because “There is a real shortage of programmes and performance possibilities for younger singers to gain experience once they’ve left formal training. The opportunity for near enough a hundred people to spend a summer together doing coaching, master classes, and rehearsals in one place is remarkable. It’s the chance for everyone to make contacts, get experience and take hold of some big roles that they wouldn’t yet get their hands on in the larger companies.”

James also told me about the people involved and the rehearsals for Hansel and Gretel.  “The cast is small actually – just five singers.  Then we’ll have the Co-Opera orchestra and backstage there are the stage manager, deputy stage manager and assistant stage manager.  Rehearsals have been swift. We’ve had a couple of weeks working in a rehearsal room and now we’ll have a couple of weeks onstage doing technical work, lighting and then bringing in the orchestra. With those time frames there’s no mucking about – we started with a day of music and then were up on our feet staging the scenes the next morning.”  

They did spend one Saturday morning playing games and dancing with the singers playing Hansel and Gretel.  “It’s always so important as an adult acting a child that you remember that the child is not childish – they don’t walk strangely, they don’t pull faces constantly and they don’t whine. I think we have a tendency to do an impression of a kid rather than simply being very direct and straightforward in the world – which is what young children actually are.”

Talking about opening night (Thursday 23 August) James says, “I think it’s a bit like having a baby – a mixture of excitement and terror. You’re kind of looking forward to it but you know it’s going to take a heck of a push to get there.”

David-Milner Pearce, who is playing the title role in Don Giovanni, told me that this production is anything but traditional.  “It is set in a Contemporary Art Gallery and the Don himself is based around a Damien Hirst.  To keep thing current we have made slight tweaks to the libretto, but the translation by David Parry works very well.”

Kate and Paul’s vision for the future of the company is to eventually create a Centre of Excellence: “a theatre of our own with rehearsals studios, technical workshops, etc – based around a main touring company and with a training arm for professionals and non-professionals of all ages. A lottery win would certainly help with that!!  But in the absence of that, we are aiming to  build a commercial side of the business to provide year long employment to our associates – and our beloved Co-Opera Co. Orchestra –  by moving our rehearsals for the touring productions to Easter next year, in order to prolong the touring season to include the festival market, and developing the Summer Opera Course so that August becomes the focus of the training element – and of course Janis Kelly’s Connections Programme- and Opera Matters –  which we hope to launch next spring.

Lastly, I asked Kate Flowers what Co-Opera Co means to her.

“Everything – well after my three sons and my mum that is.”

“Since Paul Need and I first started talking about the possibility of helping singers as they enter the profession, I have found that my time – and Paul’s – has become almost entirely devoted to running the company, coaching and training the singers and generally making sure that Co-Opera Co. achieves what we set out to achieve four years ago.  I would like to emphasize that everything we are doing here at Co-Opera Co. is done with no outside funding whatsoever – we rely on box office sales – especially in our London shows during August which have the potential to raise enough money to significantly reduce the unfortunately inevitable deficit we will face at the end of the season, and that whilst we pay all our members for the work they do with our singers, musicians and technicians, and we pay our associates for their performances and pay for and organise travel and accommodation on tour, neither Paul nor I have paid ourselves a penny during the past four years – and we will not even consider doing so until we have reached the point where no-one has to be asked for a contribution.  I say this because there might be a perception that there is something other than altruistic about the way we run Co-Opera Co.  To be honest, I would never have imagined that I could ever be so enthused about something that had no personal financial gain – and I think I can speak for Paul too here – but we really are doing this, we believe, for the greater good.”

Don Giovanni is on 22 and 24 August 2012, Hansel and Gretel on 23 and 25 2012, all shows at 7.30pm at John McIntosh Theatre, Seagrove Road, London SW6 1RX.  Tickets are priced between £10-25 and can be purchased online at http://www.ticketweb.co.uk/user/?region=xxx&query=schedule&promoter=co-opera.  The theatre is wheelchair accessible, and free parking is available next to the John McIntosh Arts Centre.

 

The tour covers Croydon, Yeovil, Wolverhampton, Darlington, Epsom, Manchester, Bury St Edmunds, Wellingborough, Buxton, Camberley, Blackpool, Hertford, and Southport, with further dates to be announced.  For more information please visit www.co-opera-co.org.

Ian Brady ‘letter to Winnie Johnson’ revealed in Channel 4 documentary

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In a recent interview given to a Channel 4 Cutting Edge documentary about Ian Brady, his Mental Health Advocate has disclosed the existence of a sealed envelope – the contents of which, it is alleged, could reveal the location of the body of Winnie Johnson’s son Keith Bennett. Keith is the last remaining missing victim of the ‘Moors Murderers’ Ian Brady and Myra Hindley – he was abducted by them in 1964.

Neither the producers nor Channel 4 have had sight or possession of the envelope. Documentaries Commissioning Editor and Editor for Cutting Edge, Emma Cooper says: “No-one can verify the contents of the envelope and therefore what information it does or does not contain but given the enormity of the implications as suggested by Brady’s letter, we felt we had a responsibility to inform the family via their family liaison officer. Winnie’s poor health was foremost in our decision-making and this is why we have decided to bring forward the broadcast of the film and make the existence of the envelope public.”

Ms Powell has been Brady’s Mental Health Advocate for the last 15 years, she is one of the executors to his will and has recently applied for power of attorney for his health and welfare. In one of several interviews she has given to the producers of Ian Brady: Endgames of a Psychopath she says she received a letter of instruction and a sealed envelope from Brady via his solicitors. She explains that the letter of instruction states the additional envelope contains three letters – one apparently addressed to Winnie Johnson.

Powell says the letter suggests that the contents of the unopened envelope might enable Keith’s mother to finally find peace. Johnson, now nearing 80 and battling cancer has campaigned for nearly half a century to locate her son’s body.

Jackie Powell explains the contents of the letter as follows:

Jackie: “I received a letter and a sealed envelope which said on the front of it, to be opened in the event of my death. He says that he doesn’t wish to take secrets to his grave and that within the sealed envelope is a letter to Winnie Johnson and that within that is the means to her possibly being able to rest. And that’s paraphrase that’s not verbatim.”

Interviewer (director Paddy Wivell): “What does he mean by that?”

Jackie: “Well clearly there’s something within the letter that may be able to find her son I would suggest.”

Jackie Powell, who has professional obligations in her capacity as executor and her role as Brady’s Mental Health Advocate told the documentary makers that she has not opened the sealed envelope, she cannot be certain of its contents.

Ian Brady: Endgames of a Psychopath is airing as part of Channel 4’s flagship documentary strand, Cutting Edge, airs on Monday 20 August at 9pm. CTCV is the production company, Paddy Wivell directs.

Despite nearly 50 years in captivity, Ian Brady, child murderer, psychopath and sadist and continues to exert a powerful and disturbing presence in the nation’s consciousness. This Cutting Edge film, through unprecedented access to those closest to him – charts Brady’s on-going attempts to exert influence and control over those around him.

When acclaimed director Paddy Wivell, set out to make a film about Ian Brady’s legal bid to be transferred from a psychiatric facility to a prison, he had no idea that he would find himself witnessing one of Brady’s notorious power plays. At the outset of filming, Wivell met with the solicitors and psychiatrists who have been closely involved in his cases over the last decades – many of them speaking publicly for the first time. But it was a meeting with Brady’s mental health advocate for the last 15 years – which would change the course of the film

His mental health advocate is also one of the executors of Brady’s will and recently applied for power of attorney for his health and welfare. Following Brady’s seizure which saw his mental health tribunal postponed indefinitely, she discloses, on camera, some startling information which appears to present further important evidence of Brady’s ongoing attempts to assert power over the victims’ families.

This film, airing as part of Channel 4’s flagship documentary strand, Cutting Edge, presents the inside story of the Moors Murderer since his crimes were discovered and charts his continued determination for power and control.

Professor Green says ‘Stop listening to my music’

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Music artist Professor Green is encouraging people to stop listening to his music. He’s teamed up with us for our new safety campaign asking people to remove their headphones at level crossings so they aren’t distracted from warnings about approaching trains.

Two people have tragically died this year at footpath crossings and it is thought they were wearing headphones, in the past five years there have been 19 incidents involving headphones at level crossings.

Two people have died this year at footpath crossings where it is thought they were wearing headphones. In the past five years, train drivers or railway staff have reported 19 incidents where pedestrians, joggers or cyclists wearing headphones have crossed the railway, seemingly oblivious to the approaching train.

 

“I never imagined asking people to stop listening to my music but this is about staying safe, so just for a minute, I want them to stop. I know it’s very easy to get caught up in a track when you have your headphones on and get distracted from where you are and what’s around you but I’m asking, please, lose your headphones when at a level crossing and pay attention to all the safety warnings. I don’t want anyone to end up on the tracks listening to one of mine.”

Professor Green, rapper 

Win Sonos music speakers

Our digital campaign ‘Lose Your Headphones’ features the popular rapper in a video which appears on the music streaming service Spotify as well as being promoted via social media sites such as Twitter. We’re offering a prize of Sonos music speakers to five lucky winners who re-tweet our campaign message.

Don’t get distracted

Trains can travel up to 125mph on the main British rail network and even with safety warnings such as lights and signs at footpaths across the tracks, it’s easy to get distracted if you’re caught up with your favourite tune.

Stay safe

Dr Bruno Fazenda, from the Acoustics Research Centre, University of Salford said: “Hearing is the only sense that can warn us of dangers we can’t see and when listening to music with headphones we become isolated and are less likely to hear sounds that might tell us of approaching dangers. It’s not just the volume of the music but also because the headphone itself blocks out ambient noise.

There is also plenty of evidence which shows that when you are doing two activities at the same time, such as listening to music or texting and crossing a railway track, your attention gets divided in such a way that you might not notice an approaching train even if all the warning signals are there.”

Read more about level crossings and how to use them safely.

For videos, content on rail safety for 11-17 year olds, facts and advice go to www.rail-life.co.uk.

Pay Less For Your Prescriptions.

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Check if you qualify for free prescriptions

People in Wales, Northern Ireland and Scotland all have free prescriptions. People who live in England are not so lucky. However, if you are on some benefits, are pregnant or have had a baby in the last 12 months then you will be entitled to free prescriptions. Check with your pharmacist.

Use An Alternative

Check that the medicine you have the prescription for is not available over the counter. It could be cheaper to buy it without the prescription. A lot of commonly prescribed medicine is available over the counter.

Prepay.

You can get something called a prescriptions prepayment certificate. It covers all of your NHS prescriptions for a certain period.

For example, if you need four prescriptions in a three month period, you would be better off buying a three-month certificate which costs £29.10. You can get these from the NHS Prescription Pricing Authority website nhsbsa.nhs.uk/1127.aspx or call 0845 850 0030

Ask Your Doctor To Buy in Bulk

You can ask your doctor for a single prescription to cover a certain amount of time. It is not well known but this means that a 1-3 month prescription would only cost £7.65. Instead of buying four different prescriptions over that time, which would cost £30.60. Talk to your doctor about prescription charges and how you can save money.

Other ways to save on medical bills it to take out temporary medical insurance. Your health is the most important thing in life so invest in it as much as you can.

Paradigm Theatre Company presents The Inappropriateness of Love | Theatre

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Paradigm Theatre Company presents

The Inappropriateness of Love

By Sarah E. Pitard

Directed by Cat Robey

Unrestricted View
Hen and Chickens Theatre
109 St. Pauls Road
N1 2NA
London

4th-29th September 2012

“Look… I, um… I had a good time with you…In fact, I had such a good time…that I’m inviting you to be my plus one to the wedding. What do you say? Come with me?”

The Show

The Inappropriateness of Love is a dark comedy about six interconnected people, trying to figure out who they are and where their place is in the game of love.

Scooter, a 30-year-old computer programmer, has recently received an invitation to a friend’s wedding. He really needs to find a date! Like a good son he occasionally calls on his mum for help, who is busy taking care of her husband with Alzheimer’s. There is also Zoey, Scooter’s best friend, an archaeologist on her way to Turkey to find some peace and quiet. Next there is Jessica, a therapist who is attempting to put her life together after a messy divorce with Darren. Darren is an older man, who doesn’t know who he is, or what or whom he wants. He is dating Stephanie, Scooter’s colleague, a naïve young woman looking for the perfect man.

The Inappropriateness of Love is Paradigm’s first full-length production, written by Paradigm’s Artistic Director, Sarah Pitard:

“…Pitard’s own piece of new writing, ‘3 X’s The Charm’… was a brilliant start to the evening and gave a great first taste of what Paradigm Theatre had to offer.” (*****Remote Goat, ‘3 X’s the Charm’, 2012)

2013 Off West End Award Nominated Director Cat Robey is a founding member of Paradigm, who previously co-founded LittleBerry Productions in 2011, a company committed to providing a platform for emerging talent and working with new writing. For Paradigm, Cat most recently directed 3 X’s the Charm and a scene from A Woman of No Importance…or Somewhat Little Importance Anyhow for Paradigm’s Evening of Words and Wine Benefit Show. Freelance, Cat most recently directed Award Nominated production Ondine at The White Bear Theatre, London. Press for Cat’s previous work includes:

“A play is only as good as its director, and Cat Robey must take a large amount of credit for this magical piece of theatre.” (Frost Magazine, ‘Ondine’, 2012)
“…Incredibly charming and engaging as a play, imaginative, surprising and, at times, profound; qualities which Cat Robey’s confident direction brings out.” (****Exeunt Magazine, ‘Ondine’, 2012)
“Cat Robey’s direction encouraged high stakes, and a gradual build towards a thoroughly gripping climax.” (Frost Magazine, ‘As Fate Would Have It…’ 2011)
“This taut drama… captures your attention from the outset. The chemistry between the actors is electric and the performances are remarkable.” (*****BroadwayBaby, ‘Feathers’, 2010)

The cast includes Jonathon West, Cheska Moon, Phoebe Batteson-Brown, Lee Lytle, and Gilly Daniels. Press for the cast includes:

“Phoebe Batteson-Brown drew my eyes whenever she was on stage and although her parts were small, they gave indications of a much larger potential.” (Frost Magazine, ‘Ondine’, 2012)

“Cheska Moon and Jonathan West were excellent in portraying the subtle changes between scenes and both brought vast amounts of charisma and comic timing to the roles.” (*****Remote Goat, ‘3X’s the Charm’, 2012)

“…In a cast full of testosterone, Cheska Moon gives an excellent manipulative and sexy performance as goth queen Tamora” (The Londonist, ‘Titus Andronicus’, 2010)

“Gilly Daniels as the nurse is an unstoppable force and accounts for at least three of
the strongest scenes in the production.” (The Times Colonist, ‘Romeo and Juliet’)

The Company

Created in January 2012, Paradigm Theatre Company is the only fringe repertory company in London. What that means is that besides producing four shows per season, we pull from the same body of actors, directors, and writers (our Artistic Associates) in order to produce each piece. We also have yearly season auditions where we bring in cast members from outside of Paradigm to provide a platform for emerging talent. The ethos behind this is that no member of the company will go more than a year without any artistic work, something that has become quite common for artists in the current economy.

The company produces four shows a year: three new writing pieces (one of which is an adaptation) and one classical play.

Paradigm recently produced a benefit show, staring Sylvia Syms, Annabel Leventon, and Dudley Sutton, to raise funds for the forthcoming season:

“A brilliant evening of entertainment with acting, directing and writing that displayed absolute class. The honourable ethos of offering a creative platform is simply not ambitious enough. This isn’t just a platform, it is a new and exciting theatre company that offers an opportunity for audiences to be thoroughly entertained.” (*****Remote Goat, A Night of Words and Wine Benefit Show, 2012)

More information and full company details, please visit: www.paradigmtheatrecompany.co.uk

To purchase tickets online for The Inappropriateness of Love, please visit:

http://www.unrestrictedview.co.uk/page/more-info.php?id=1265

Inspired by the Olympics? Wish you could take part?

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Michelle Sinclair’s novel Olympicked! imagines just that – a Games where all the competitors are chosen by random selection and given just four years to train in their allocated sport.

Michelle, who lived in London until earlier this year, got the idea from a chance remark made by her husband. “He joked that the Olympics would be much more entertaining if it was ordinary people competing instead of highly trained athletes. It was just a passing comment, but the thought stuck in my mind and the more I thought about it, the more I realised it wasn’t such a crazy idea. People could achieve quite a lot with four years to train, and it wouldn’t quite be the comedy or disaster that you might first imagine.

“In fact, Olympic athlete Helen Glover has vividly demonstrated that it isn’t a completely crazy idea – she only started rowing four years ago, and won Gold at London 2012!”

But Michelle also realised that having to undertake such intense training would be bound to impact on the lives of those chosen, and that became the focus of the novel, which follows eight of those chosen to compete for Great Britain at the 2020 Games.

Gary is a jobless teenager being edged towards a life of crime on a run-down housing estate; can his salvation take the form of a horse? Betty is a campaigning pensioner living life to the full and determined to fly the flag not just for her country but for older people everywhere. Susan is desperate to have a baby and is worried that the Olympic dream will interfere with her own personal goal. And Carl simply wants to impress his young daughter.

Together with an alcoholic civil servant, a party-loving gay man, a bored housewife and an out-of-work actress, their stories are told. Follow them as they learn of their selection and begin their training, facing obstacles along the way. Will they make it to the Olympic Park, and can any of them achieve that elusive Gold medal?