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the-fiction-witch · 5 years ago

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Apologies P3

REAL LIFE: COUPLE: TBS X READER RATING: MEAN + SAD + DARK

I stood at my locker sorting out my books for class "Hey Y/n Manatee" A voice smirked I turned around and saw Thomas trying to peek under my skirt "Ughh! Get off you dirty Bastard!" I complained "I was just having a look Y/n" He smirked giving my butt a slap "Get off Thomas!" "fine, You spoil all my fun fat ass" he smirked before he walked off to his class so I sighed finishing up my stuff and heading to my class "Excuse me miss Lewis?" The teacher asks holding her ruler "Yes miss?" "In roll that skirt this instant! You know your not allowed your skirt above the knee" "Ohh... I'm sorry miss but it's not rolled" "Then pull it down!" "I can't miss I won't go anymore down..." I began "Don't argue with me! To the deputy heads office now!" She ordered so I went almost crying going and sitting on the little chair outside for a while "What are you doing here?" He asked as he walked past with a cup of coffee and a donut "Miss Ola sent me because of my skirt" I answered so he let me inside his office shutting the door behind me as I stood with my books "Alright, skirt violation... It is above the knee miss Lewis" he warns "I know sir but you see... Because of it zipping at the waist it won't go down anymore, if I push it down it won't zip up" I explain "Ohh that's ridiculous!" He laughs coming and tugging on my skirt noticing it wouldn't budge due to my hips "humm... It would seem your skirt is too small that will solve the zip and length issue,go and buy a bigger one from the school shop' "But sir... As the school requires uniform to be bought from the school, this is the largest sold" "Right" he sighed "I've had quite enough of your talking back you lady!" "But sir-" "Enough!" He yelled "I'm sending you home, come back with a longer skirt, a bigger skirt, or loose some weight!" "Yes sir" I said as I took my note from my parents and went home giving it to my mother as soon as I got in "But you can't help they don't sell them any bigger!" She yelled and I nodded in tears "and that dam school charges twenty pounds a skirt, that's it I'm buying from stones and sewing the dam logo on myself!"

I took my books as the bell rang running off to the little computer room that was my form room, I never liked eating in the canteen and it's not like I had freinds to sit with on the yard so I would always go and read in my form room as the library didn't allow food, so I opened the door seeing the room dark and empty so I clicked on the lights "Fuck off!" A voice shouted from within "Thomas?" I asked as I did recognise the voice "Turn the fucking lights off manatee!" He yelled so I turned all but one off as he sat on the floor at the back of the room tears staining his face "Are you okay?" "What the bloody hell do you care manatee?" "I don't know why I should" I sighed "but I do so ... What's wrong?" "Lindsey broke up with me okay! Happy now!" "Are you alright?" "Yeah I'm fine" he sighed "Do you want some gum?' I offered he turned and gently smiled at me taking a couple prices as I sat close to him but still keeping my distance "you must have really liked her?" I smiled as I had some gum too "Not really" "Then why where you dating her?" "I don't know," he shrugs "the guys say shes hot? Her dad's rich? I don't know just kinda assumed I had to" "Why did you have to?" "Because she's like the second hottest girl in our year so... Kinda have to date her?" "Didn't you like anything about her?" "I don't know, uhh I liked making out with her?" He shrugs "Isn't it kinda a given that you enjoy making out with most people you make out with?" I asked "I guess so" he laughs "Mind me asking why she broke up with you?" "She wanted to go out with Daniel" he sighed having to sniffle and wipe a tear "Fucking Daniel" I sighed probably the person I hate most below Thomas "Whoa" he laughs "What?" "I think that's the first time I've ever heard you swear manatee?" He laughs "you should do it more often... Kinda suits you" I looked at the clock and but wouldn't be long till next period and my class was across the school so I got up giving him some more of my gum "Talk to your brother when you go home I'm sure he'll help out Thomas" I smiled going to the door "Hey!" He yelled across the room as he got up wiping his eyes "thanks Y/n" "Your welcome Thomas"

I signed up for this year's fall production but to be on the stage team of course, wearing all black, knowone knows you exist all I wanted out of life. Unfortunately a certain blonde someone also ended up on the stage hand team but lately... Thomas hadn't been causing me much trouble, yeah I caught him sneaking peaks up my skirt ever so often and he still called me names but I had bigger things to worry about. I stood on the stage doing all the mic rigs I job I did enjoy its like playing a video game because you couldn't put them too close or they squeal but too far you don't pick anything up from performers even if they where all rehearsing across the school while we where setting up and running music and lighting ques it felt like it took hours even if I was enjoying it plus being in black under heavy stage lights was making me quiet hot somehow I ended up the only one on the stage for a while as everyone else had gone to there bags for drinks and such I spotted Thomas stood in his black tee and his black school trousers his white shirt sleaves rolled up to cuff around his black theatre shirt having a drink from his blue bottle "Hey uhh Y/n right?" One of the six form boys on the control panel at the back asked "Yeah?" I asked into a mic as they wouldn't hear me I'd I didn't "Can you just uhh stand in the middle for me, and sing something real quick we just need to check for the chorus girls!" He yelled to me I did as I was told a little nervous being under these lights, everyone could see me, everyone would hear me and judge me and look at my body "just anything okay! It doesn't matter it's just for sound" I didn't know what to do or how to feel about it as I felt a million eyes all over me... "I dreamed a dream in time gone by, when hope was high and life worth living, I seemed that love would never die, I dream that would god would be forgiving" I sang I couldn't see anything but the harsh light from the stage lights nothing but light and flickers of people in wings "that okay?" "Uhhh yeah, yeah that's fine" he nodded so I ran to my bag burring my head in it as I got a drink, I could feel all there eyes but tried to ignore them "right that's a wrap for tonight guys, see you all tomorrow!" So I grabbed a bag and coat almost running out avoiding the clicks of freinds as I headed out and down the street towards home, I felt eyes behind me so I glanced and saw Thomas with his bag following at a distance behind me so I kept walking but unable to ignore his eyes as he looked at me "What?" I asked "What?" He laughs "Stop following me!" "I'm going home, I can't help we live the same way manattee" he laughs So I kept walking "stop looking at me!" "I'm just walking and looking Infront of me" he smirked "not my fault that means you manattee" "Well stop it's creepy!" "Why did you not tell anyone?" "About what?" "You know exactly what" he smirked as he walked backwards on the road he walked backwards looking at me as he walked slightly Infront of me walking the white line along the road "I don't know what your talking about" "Don't you?" He laughs "since when could you sing like that?' "Since forever," "I've been with you since day one of primary school manatee how the hell did I not know?' "I don't like stages and you never asked" "Why don't you go audition for the roles? Rather then being stuck on the tech team?" "I have what they call a radio face" I sighed "and a radio body, honestly just a indoor non face to face world is what I'm meant for" I sighed "you should know you've been telling me since I was five" "Y/n..." he said clearly going to start something but I went into my gate "come on Y/n wait-" he began but I shut the door to the house

I stood organizing the closet for the drama department it was full of costumes and props from classes, exams, performances and shows. I offered to tidy it on my lunch break as I had little else to do this lunch and it got me away from everyone else. I heard the door open assuming it was a teacher but... They didn't call, I froze thinking who could be there as I stood putting a 20's showgirl dress on a hanger from bugsy Malone last year "Hey manattee" a voice smirked as I felt a hand on my waist, I instantly pushed it away turning to see... Not Thomas but Daniel, the dark haired football boy that had been long freinds with Thomas but they had drifted apart as Daniel focused on football, that and the matter of Lindsey "how are ya doing?" He smirked "Fine, what do you want?" I asked as I worked "Not much just... Figured as we had a little alone time" he smirked putting his hand on my skirt but I pushed him away "Get off Daniel!" "Ohh come on manatee, there's so much off you I just wanna touch a couple of bits" he smirked grabbing my boobs "I said no Daniel!" I yelled hitting his hands away "I wasn't asking manatee" he laughed pushing me hard onto the pile of set boxes and foam props... I don't remember much of exactly what happened, I don't think mentally I was there in my body, my soul abandoned my body for half an hour leaving my body as it screamed and cried begging for help that no matter how much she screams will never come. When he left I remember feeling so strange and horrible like I was broken, I just remembered going to my English class sitting alone at the back of class and wanting to cry but I think I was all cried out "You alright Y/n?" The teacher asked and I didn't answer I didn't know how to unsure of what has just happened to me and unsure of how to just sit back into a lesson like nothing happened "just try to finish a story before the end of class" she says handing me some paper and a work sheet I just wrote a story about a woman who dreamed of living on a cloud so knowone would ever see her and that whenever she got sad it would start raining like the clouds wanted her there too but no matter how hard they both tried they both failed. As soon as class was over I went home the house empty as my family was away, and I just collapsed right there against the front door crying into the dark and empty house holding myself so tightly that it hurt, I cried, I screamed, I burnt, I cut, I did everything and nothing would ever truly numb the pain.

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jimhenson-themuppetmaster · 7 years ago

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Builder Ed Christie

Edward Gustav “Ed” Christie (b. May 20, 1956) is a puppet designer and builder who has worked with Sesame Street and Henson Associates since an internship with Henson in 1978. Christie graduated from UMass/Amherst with a BFA/Education in 1979.

The first Muppet Christie created was Butch, originally designed as a sabertooth tiger used in the “Toothbrush” skit of the Caveman Days series on Sesame Street.

After years of learning Muppet design techniques, and building many of the classic Muppet characters, he was promoted to Muppet Supervisor in charge of Sesame Street (1991-1996). He was later promoted to Vice President/NY Muppet Workshop Supervisor (1997-2004) as well as Art Director for Henson on Sesame Street. He also contributed his skills to Henson Licensing and Publishing.

In 2004, Christie left Henson and was contracted by Sesame Workshop where he is currently designing characters for the domestic version of Sesame Street and Sesame Street International. He has designed the Muppet characters for Sesame in the United Arab Emirates, United Kingdom, Northern Ireland, Indonesia, India, Bangladesh, Russia, Israel, South Africa, Egypt, China, Poland, France, Mexico, Canada, Japan and others. Christie is featured in the 2006 documentary The World According to Sesame Street.

He has won eight Emmy Awards for his work on Sesame Street and many nominations for other Henson productions. Christie’s work was also seen in the Broadway productions of Doonesbury, Peter Pan, Sugar Babies and Encores! Carnival. He also designed, built and performed in the 2007 production of Carnival! at the Kennedy Center in Washington, DC. From December 5 to January 25, the Provincetown Art Association and Museum displayed the exhibit Rods and Monsters: the Puppets of Ed Christie.

Christie lives on Cape Cod and is an artist represented by the Alden Gallery in Provincetown, MA

The Academy of Television Arts and Sciences Foundation interviewed Christie in 2004 for the Archive of American Television. The hour and a half interview was posted on YouTube in 2009. MUPPET CREDITS Designer For Jim Henson Productions

The Muppet Show: Muppet Designer, built Mr. Dawson, Caterpillar, others The Muppet Movie: Muppet Designer/Film Crew - built Camilla the Chicken The Great Muppet Caper: Muppet Builder/Designer Fraggle Rock: Designer/Builder/Film Crew The Muppets Take Manhattan: Muppet Constructor/Designer, built Baby Piggy and others Little Muppet Monsters: Project Supervisor, built Tug Monster The Tale of the Bunny Picnic: Designer/builder/Film Crew - built the Dragonbunny, Great-great-great-great Grandmother Bunny, Snort A Muppet Family Christmas: builder of The Snowman The Christmas Toy: Muppet Design Group supervisor - built Belmont, Jack-in-the-Box The Jim Henson Hour: Muppet Designer (Jojo & others), builder for Beard Dog City: built Bugsy Them, Mad Dog & Eddie the dalmatian puppy Muppet Meeting Films - built various characters The Muppet Christmas Carol: Designer/Builder - built Ghost of Christmas Present head Muppet Treasure Island: NY Workshop Manager The Wubbulous World of Dr. Seuss: built original The Cat in the Hat for pilot Bear in the Big Blue House - built Luna Muppets from Space: Workshop Manager It’s a Very Merry Muppet Christmas Movie: Muppet Workshop - NY Manager Carnival: NY City Center Encores: designed Carrot Top, Horrible Henry, Renaldo, and Marguerite For Sesame Workshop/International

Sesame Street (1978-2004) Designer/Supervisor/Art Director; designed Abby Cadabby, Curly Bear, Rosita, Zoe, The Elephant, Lulu, built Aristotle Big Bird in China: Designer/Builder Follow That Bird - designed the Board of Birds, built Daddy Dodo’s head Sesame Street Jam: A Musical Celebration: Workshop Manager Elmo Saves Christmas: Muppet Workshop supervisor, designed Lightning the reindeer The Adventures of Elmo in Grouchland: Character Design Supervisor - designed Bug, Pesties, Grizzy Alam Simsim (Egypt): designed Nimnim, Filfil, and Khokha Sesamstrasse (Germany): designed Feli Felu, Pferd, Wolle Sesamstraat (Holland): designed Purk Zhima Jie (China): designed Hu Hu Zhu, Xiao Mei Zi Galli Galli Sim Sim (India): designed Boombah, Chamki, Aanchoo, & Googly Sisimpur (Bangladesh): designed Ikri Mikri, Halum the tiger, Tuktuki and Shiku the jackal Sesame Tree (Northern Ireland): designed Potto, The Weatherberries, Hilda and Archie Jalan Sesama (Indonesia): designed Tantan the orangutan, Momon, Putri, and Jabrik the rhino Sesame Street (Japan): designed Mojabo, Teena, and Pierre (frog) Ulitsa Sezam (Russia): designed Kubik , Zeliboba, and Businka Sesame Park (Canada): designed Chaos the cat Rechov Sumsum — Shara'a Simsim (Israel/Palestine): designed Dafi, Haneen & Kareem the rooster Takalani Sesame (South Africa): designed Moshe, Zuzu, Kami, & Zikwe Sesame English (EFL): designed Tingo The Furchester Hotel (UK): designed Funella Furchester, Furgus Fuzz, Phoebe Furchester-Fuzz, Isabel the Bell Iftah Ya Simsim (United Arab Emirates): redesigned No'man and Shams Cleaner, Healthier, Happier campaign: designed Raya Performer The Muppet Show: Additional Muppet Performer Sesame Street: Fred the Wonder Horse in “I’m Proud to Be a Cow”, Uncle Ned, Baby Hungry Big Bird in China: Puppeteer Don’t Eat the Pictures: Puppeteer and wrangler The Muppets Take Manhattan: Additional Muppet Performer The Jim Henson Hour: Himself (Secrets of the Muppets) The World According to Sesame Street: Himself - Featured as Muppet Character Designer NON-MUPPET CREDITS Carnival!: 2007 Kennedy Centre production of the Broadway musical “Big City Park” BBC - designed Rauiri, Dara The Fox, & Billy Badger Alden Gallery - www.aldengallery.com

#ed christie #builder #workshop #jim henson #rare pics #information #the muppets #our scan

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aion-rsa · 4 years ago

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Why Harvey Keitel’s Lansky Looks for Goodness in Bad Men

https://ift.tt/2U2hKkb

The biographical crime feature Lansky attempts to pull off a major heist: the historical legacy of the mob mastermind Meyer Lansky. One of the most notorious and infamous of the Jewish gangsters who rose during prohibition, Lansky was a businessman with a head for numbers. He was called “the Mob’s accountant,” and the film wants to set the record straight. Played by Harvey Keitel, we can count on an emotionally accurate portrayal of the man who helped set up the national crime syndicate.

John Magaro, who will be playing young Silvio Dante in the upcoming The Sopranos prequel, The Many Saints of Newark, plays young Meyer Lansky. Writer-director Eytan Rockaway’s crime drama is loosely based on the real-life story his father, Robert A. Rockaway, and the interviews he conducted before Lanksy died. His book was called But He Was Good to His Mother: The Lives and Crimes of Jewish Gangsters, and it included noteworthy figures like Waxey Gordon, Arthur “Dutch Schultz” Flegenheimer, Jack “Greasy Thumb” Guzlik and the Purple Gang out of Detroit.

Rockaway spoke with Den of Geek about those gangs and why Meyer Lansky’s life was the story which most needed to be told. He also explains why Lansky needed Harvey Keitel to tell it.

I appreciate the history behind Lansky, how much of your father’s encounter do you remember?

Eytan Rockaway: Well, I wasn’t born back then, but I did take his research and his transcripts and I interviewed my father at their meeting. The movie is mostly historically accurate, except for that part where my father was a down-on-his-luck reporter. And I did rely on his research and his transcripts, and he wrote a book about gangsters. Meyer Lansky was one of the dozens of big gangsters that he interviewed. I relied a lot actually on his feelings for Meyer Lanky just before he died when he was in his 80s.

The book was But He Was Good to His Mother. Which of the other Jewish mobsters in it do you think would be most cinematic?

I think Bugsy Siegel, but they covered him in that great movie. I think that the Purple Gang are an interesting group. I think that Murder, Inc. in general is a very, very interesting group because most of the people who started at the Bugs and Meyer gang then transferred to Murder, Inc., and then they brought the Italians.

But I think the people in Murder, Inc. are definitely some of the toughest and some of the most notorious killers. I mean, the FBI said they killed between 500 to 1,000 people. They were vicious killers. They’re not great guys, but I think it would be an interesting story. But there are so many. Dutch Schultz and Lepke Buchalter and all of them had interesting lives. But Meyer Lansky, by far, I think, surpassed not only them, but most gangsters in American history, just because of what he managed to achieve and accomplish.

I’ve read books on Lasky and I was actually surprised at the arc of Lansky’s son, Buddy.

Well, he loved his son Buddy. Lansky put a lot of love and effort in him and he was very close to him. I tried emphasizing that relationship specifically because I thought that it showed, even when he was in his ruthless years as a criminal and doing all these bad things, he still had a soft spot, especially for family and it still was the most important thing to him. And I think, the relationship with his son that had all these issues, health issues, that I emphasized that.

One of the things your father’s book points out is that the Jewish mobsters were only one generation of the children of immigrants. Why didn’t it continue in generations, the way the Italian mobs did?

It’s a cultural thing. I think that a lot of these Jewish gangsters, because they came to America and they were second-class citizens and immigrants and had a tougher time, most of them were ashamed of that life. Because culturally, they just came from a different place and are being persecuted around the world. It’s a good question.

I think many historians and Jewish historians could answer that better. But in general, what is true is that there was always one generation when you had a gangster and he wanted his children to not to be part of that world and become a doctor or become a lawyer, but they never wanted their children to continue in their footsteps.

What was most fascinating about Lansky the man?

I think that he had two different sides of him. Most gangsters, there’s good, there’s bad. Lansky played on that thin gray line. He did a lot of bad things. He did a lot of good things. One thing was that he wasn’t notorious and people think that he was an accountant. He wasn’t. He started one of the most ruthless gangs in Manhattan back in the day with Ben Siegel. He was a gangster and he was a criminal, but he also was an academic.

He was great with mathematics, almost to the genius level. He was a great businessman. He structured the underworld with Lucky Luciano. He structured it like a Fortune 500 company. If he wasn’t born in the slums of New York, he would probably run a Fortune 500 company. At one time, he gloated they were bigger than U.S. Steel because he really, with the National Crime Syndicate, created one of the most powerful criminal organizations in the world at that time, aside from pioneering gambling. He’s one of the founders of gambling in general, not only in America.

Was your father ever contacted by the FBI?

No, but my father was the first civilian to get access to the secret FBI files. He was a very well-known professor and he covered gangsters and the underworld all his life. He was one of the first ones. He never was contacted by the FBI in that capacity, but he did work a lot with the FBI. The FBI was searching for Lansky until he died. They were looking for his money. They were trying to catch him. But that storyline was the fictionalized element, the reporter dealing with the FBI.

The film captures the Bund attack very accurately from what I read. What did you do to maintain the accuracy?

I really did what he actually did. I mean, he was a patriot. He hated Nazis. And in general, not only was he Jewish, but he was a very, very proud American and he did everything that he could, not only to squash the Nazi presence in America but also help in the war efforts. I touched on it. It was much more involved and there were dealings with the American government back then, because back then in World War II, the Germans were sending spies and the gangs of New York controlled the docks.

And he was still never given citizenship in Israel?

I suspect, and I allude to that in the movie, that because of his cooperation with the American government, maybe that’s why they couldn’t catch him or put him in jail. In Israel, they didn’t allow him to get in. He was the only Jew not to be allowed to enter Israel and that was a political move. And I guess that it hurt him very much. It was a very embarrassing moment in his life. I was trying to be as objective as I could in this movie. I didn’t want to portray him in necessarily a bad way or good way. I presented the moral conflicts that he had and then I want the audience to decide they’d like him, hate him, or both.

How did you maintain period accuracy? The clothes, the cars, in general?

I had an amazing production designer, April Lasky, and set decorator Laurel Belle, and they did an amazing job.

We shot in Alabama for a reason. We needed Miami in the 1980s and we needed New York in the 1930s and Alabama afforded us both, because it borders Florida beaches. We shot in Gulf Shores, which looks like Miami 30 or 40 years ago. And then we shot in Mobile and other places there that have buildings from the 1920s, ’30s, and ’40s that are untouched. It was a perfect location to shoot it, but it was excruciating.

Movies

Lansky: Harvey Keitel Gives a Gangster Legend a Subtle Farewell

By Tony Sokol

Culture

The Irishman: A Hitman’s Ring Explained

By Tony Sokol

We had to shoot this entire movie in 20 days and the scope of the movie, it’s like this epic movie. and we had to condense it. Twenty days shooting three different time periods with action sequences, I don’t recommend.

How did Harvey Keitel get involved in the project?

There was an actor, Danny Abeckaser, who plays the young FBI agent. He put me in contact with him. Harvey read the screenplay and liked it, but from the moment that he read the screenplay, three years passed. And we lived in New York in the same area a few blocks away. Once in a while, I used to see him in the street and I’m like, “Harvey, it’s the director of Lansky.” And after a year, he was like, “Oh, here we go again. That guy.” And eventually he’s like, “Who is this crazy director?”

And then eventually, at the end of the shoot, he gave me a book, because three years passed from the moment he signed on. “Hey, Lansky! We’re doing Lansky!” And he gave me a book about [Elia] Kazan. He wrote inside, “To my dear friend, Eytan. The only stalker I was ever happy that caught up to me.” Because he thought it was the stalker director.

Working with him was probably a privilege and one of the greatest experiences in my life. He’s such a great actor and he’s such a great human being. It was just phenomenal. I learned so much from him.

Does he come on to the set with his character fully formed or does he like being directed?

He very much enjoys it. He’s respectful. He’s the type of guy, he walked on set, before we started the shoot, he shook every single person’s hand from the caterer to the grips, every single person before we shot the first scene.

And he’s very, very, very open. The one thing that he won’t allow you to do is, because he’s a method actor, he said, “Don’t ever tell me what to feel. Give me an action.” Every actor likes to work differently, but he’s such a great method actor and has been head of the Actors Studio for two decades. You learn a lot working with somebody like him, but he’s such a good human being and we became good friends. I see him once a week now, because we had such a good time.

In my review, I say, “In the hierarchy of gangster movies, Keitel is Lansky.” Not just from the movies. He grew up in this, he joined the marines at 16. Does it correspond to your father working with Meyer?

When Harvey takes on a character, he makes it his own and precedes it. But the way that I wrote the screenplay was along the lines of the way my father perceived Lansky. But again, my father, I don’t think was as objective as I am because he met Lansky when he was 82 years old, this aging gangster, and Lansky reminded him of my grandfather. So, he wasn’t completely objective. But I think that the way that my father meant, and what he perceived from him when he was older, is pretty accurate.

Now the young Lansky, that’s a whole different story. He was a different human being when he was in his 20s, 30s, and 40s. But I think everyone, when they get older, they start acting differently, looking at life differently. And I think that I was true to the way my father perceived him at an old age.

I remember my father told me a funny story. When Meyer Lansky set up a meeting with him, he was at my grandmother’s house and she got a call and he’s sitting, eating breakfast. My grandmother is older and she gets a call and she picks up the phone and she goes, “Hi, who is it?” And he said, “I’d like to speak with Robert Rockaway.” And she asked him, “Who is this?” And he says, “Meyer Lansky.” And she got scared, so she takes the phone and puts her hand on it and she goes to my father, “It’s Meyer Lansky.”

He was like, “Why are you whispering?” Back then, Meyer Lansky was such a scary individual for most people and she was terrified. And for my father, he was an 82-year-old, 81-year-old guy that he was wanting to interview.

What movies were you watching? Because I saw a nod to Miller’s Crossing and a few other movies.

I’m amazed that you got that. Miller’s Crossing was definitely one of the greatest inspirations for this movie, including that forest scene. The problem was, I had to shoot it in 20 days. Me and the DP had this whole visual feast of things that we wanted to do. But when you go on set, you have 15 or 20 setups, the assistant director says to you, “Listen, you have two or three.” So every morning, you wake up to throw your shot list in the garbage and you improvise. And luckily, I come from the independent world and when you have your back to the wall, we did it.

But I did try Miller’s Crossing, some other classics, but I did try also giving it a modern feel to it. So everything in the 1980s, I tried shooting classically to represent his slow-paced life and everything in the 1930s and forties, I tried as much as I could to give it kind of like this modern feel, handheld cameras when I could and stuff. And then the same thing with the coloring and also the music. If you notice, the electronic synthesizer score mixed with classical to give it that modern 1980s feel throughout.

Where do you see the gangster genre going?

I can tell you I love the genre. People like gangster movies, these mythical characters, these dangerous, adventurous lives. And they did a lot of good and bad. They had their own rules of conduct, and I think that’s what most people like about them.

I think there’s a great market and I really hope they put some money behind it and do some other big movies with historical figures that have depth in it. And it’s not about just killing people and shooting people, but there is depth. That’s what I tried doing with this movie. Show a man when he was young and a man when he was older. The aging Meyer Lansky is about a man dealing with his morality and the perception of his life, and the reporter learning what’s important.

Your last film, The Abandoned, was horror. Do you think we love gangster and horror movies because it gives us an excuse to root for the monsters, even in the old movies where we knew they had to die?

I think that’s a pretty good, accurate statement, to be honest. I think that it throws us into a world that we’re not used to. It’s almost like a rollercoaster. You’re on something scary and then it lands safe. And I think, especially horror these days, a lot of it is so elevated and there are so many things that you can get from it. Because life is not about black and white, good and bad. There’s a thin gray line between the two and I think gangster movies and horror movies can help kind of emphasize that.

A lot of people painted The Irishman as the swan song for gangster movies. Scorsese spoke about toxic masculinity and atonement. Do you think that that changes how gangsters will be portrayed moving forward?

I don’t think so. I think every filmmaker has his own take on gangster movies, his own messages. And also, it comes down to the person that you’re making the movie about. For me, Meyer Lansky wasn’t about that thing. It was completely different.

I think Scorsese has his storyline and he’s the greatest, I think, when it comes to the crime genre, but he has his story and he has his own evolution as an artist. I don’t know if I’ll do another gangster movie, but I’m sure that other filmmakers that come on board will bring a new take into it and their own different perceptions and stories and thoughts on it.

You have two completely different types of violence in this film, mob violence and domestic violence. Can you tell me about the difference in preparing to capture those?

Well, mob violence, at least in this movie, was mostly justified. So it was kind of fun. Domestic violence is a hard scene, it wasn’t fun and it’s not called for in any shape or form. Luckily, AnnaSophia Robb was just such an amazing actress, and John as well. They were just both amazing. And I just gave them the freedom to explore it in their own way.

When you shoot something like that, just like shooting other intimate scenes, you just let the actors, and especially if they’re great actors, do their thing and you give them the space. But for me, it was definitely harder.

Shooting the Nazi Bund scene, for instance. I am an Israeli Jew and suddenly I’m in the middle of Alabama with a hundred extras and this swastika sign. I remember walking into the room and then seeing that sign, it first gave me a kind of like that feeling. But when we started shooting, I made it my own. Suddenly it diminished. I remember a lot of these extras were just people that we picked up. When they had to do Heil Hitler and all of that, they were very ashamed. And I’m like the Israeli Jewish director on the stage: “You have to say Heil Hitler better.”

Those scenes were fun because it had a purpose for me and it was justified. Doing the domestic violence scene in the relationship with his wife, that was much harder, but that’s where the great acting comes in and you let the great actors do their thing.

How did you consciously approach the film to make it different from other gangster movies?

To be honest with you, I tried keeping it a bit lighthearted. The murder scene of Maranzano, I just wanted to show how Ben Siegel enjoyed killing people, which he did. When I was directing David Cade, I was telling him, “Look in his eye, I want it to show that he’s enjoying not only killing, but he also was enjoying killing a traitor.” But I tried, when I could, kind of leaving it lighthearted at one point.

I really enjoyed Magaro and Cade’s scenes together. They seemed to have a lot of fun. Was it a sociable set?

It was a sociable set, at least for them. When they weren’t shooting, they got to hang out and have fun. I was working 17, 18-hour days just getting the days done. The set, especially in the 1930s and ’40s, all of those scenes, it was a fun set. It was definitely much different when we were shooting in Miami with Sam and Harvey. It was much more serious. But when you have a younger cast and they’re having fun and everybody’s dressing up as gangsters and stuff and John and David had this connection because they were hanging out in the hotel so much and just drinking and having fun while I was working, I think that came on screen and you could see that they had a really great connection and chemistry in general.

Magaro is going to be playing Silvio Dante in The Sopranos prequel movie.

He’s a great actor. He is phenomenal. I mean, you see him and he looks one way and then he goes on set and you see that click. And you’re like, “Who the hell is that?”

A lot of the film runs like a documentary. Obviously, some of that is because of the budget, but did you have an eye towards true crime shows?

Yeah, when we finished shooting the movie, I had to cut 15 to 20 pages of the screenplay just because we didn’t have time to shoot, but they had so much information. I know that people are going to look at this movie and say, “You can make five movies about Meyer Lansky. It can be a miniseries.” There’s so much to cover. So, what I tried doing is finding the key moments in his life that I thought were important to at least understand and get a picture of who that man was.

Because I had to cut out so many scenes, we had to be creative in the editing room and I added a bunch of voiceovers to fill in the blanks. I wanted people to get a clear picture of how things happened. What was the history? What were the key moments? Scenes that I couldn’t shoot, I did with voiceover. So yeah, I tried playing with both. I think we achieved it and I think people will get a good picture of not only the organization, not only his rise to power, but also who he was at an old age and a young age and everything around it.

At one point in the movie, Lansky says, “I’m an angel with a dirty face.” And that’s almost the title of one of my favorite movies. What are some of your favorite gangster movies?

Well, I mean, Miller’s Crossing. The Godfather. There are just so many, but I think the one that really stayed with me the most was, for some reason, Miller’s Crossing. I don’t know. There was something about that movie that just stuck with me. And by the way, that line, “Angel with a dirty face,” that was Harvey’s idea. And he said, when he was in New York, gangsters used to say that to him, when he met a few of them.

And he said, “Meyer Lansky probably would have watched that movie and probably would have said that because I had other gangsters that I met in New York back in the day that said that line to me, because back then it was a famous movie.” So that’s Mr. Keitel and his improvisation at its best.

Lansky hits select theaters and will be available on demand on June 25.

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agendahammer79-blog · 6 years ago

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Low FODMAP One Pan Chicken Cacciatore

This low fodmap chicken cacciatore recipe is brought to you in partnership with my friends at Fody Foods. All opinions are my own (obviously). Thank you for supporting the brands that make this site (and my SIBO healing) possible!

Earlier in December, Charlie and I hosted our second annual murder mystery party at his family’s home in South Carolina.

Yes, this is as dorky and sensational as you think it is. A pre-planned costume party that ends at 10pm? What 30-something dreams are made of!

Last year, we chose a mansion theme where someone dies at the will reading of a notorious billionaire. But after re-watching The Untouchables recently, we decided this year’s plot would need to be a period drama, preferably involving flapper dresses, short gangster ties, and chicken cacciatore!

Yes, I had the menu as much in mind as the fashions when we decided on Murder at the Juice Joint. I envisioned Baked Ziti alla Bugsy. Alley Cat Arugula Salad. Big Daddy’s Twigs in a Blanket. Cat’s Meow Chocolate Chip Cookies. Bathtub Gin Punch. And, of course, Al Capone’s reinvented low FODMAP Chicken Cacciatore.

Whenever I’m entertaining for the weekend, I try to make as many things in advance as possible, and I knew a main course that could be made in one pan and baked off to reheat right before the party would be perfect. More importantly, I wanted to make sure that I could safely eat most things on the menu, since even with the forgiveness of a little fringe, it’s no fun singing jazz music at the speak easy when you’re a bloated mess!

Though I’ve gone back to eating FODMAPs since I kicked my SIBO, I still feel my best when I do so in moderation. And though I would have called you a bold-faced liar if you told me I’d feel this way a year ago, the truth is: I don’t miss cooking with garlic and onion. It saves me time, makes me feel my best, and the end result tastes just as delicious.

One of the reasons for the latter is that I get some help from store bought staples like FODY foods. As you know, I am all for shortcuts when they’re from brands I trust (especially when I’m cooking for 10 people for the weekend!), so I used their garlic-infused oil and low FODMAP tomato-basil sauce in this chicken cacciatore recipe. (I will also say that their potato chips are some of the most insanely delicious potato chips I’ve ever eaten. Don’t put them in the cacciatore though. Or do…? Fuhgeddaboudit)

Even if you’re not discriminating against certain carbs, you can’t go wrong with this one pan chicken cacciatore for a weeknight dinner or larger dish for a crowd. It’s good for you, gluten-free, dairy-free, paleo, and also Whole30 friendly if you swap stock for the wine.

Read on for the recipe, and if you’re living that low FODMAP life, definitely check out FODY Foods. Not only are their products fantastic, they are also a proud sponsor of my new podcast SIBO Made Simple!! I’m incredibly grateful to be able to partner with a brand that’s so aligned, and for them to be supporting me on my mission to spread this gut knowledge far and wide. Listen to the trailer if you haven’t already – first 3 episodes drop next week!

With health and hedonism,

Phoebe

Garlic-infused oil and low FODMAP pasta sauce help make this Italian classic safe for those suffering from SIBO or IBS. But even if you’re not in that camp, it’s simply an easy, one pan delicious weeknight recipe that’s gluten-free, dairy-free and healthy.

Ingredients

4 tablespoons FODY Foods garlic-infused olive oil divided

Salt and freshly ground pepper

2 pounds boneless skinless chicken thighs

2 small carrots thinly sliced

2 medium celery ribs thinly sliced

1 red bell pepper diced

¼ teaspoon red pepper flakes

½ cup dry red wine or low FODMAP chicken broth

2 tablespoons thinly sliced pitted kalamata olives

2 cups FODY Foods Tomato-Basil Sauce

4 sprigs fresh thyme or 1/4 teaspoon dried

4 sprigs fresh oregano or 1/4 teaspoon dried

2 tablespoons fresh minced Italian parsley

Instructions

In a large skillet, heat 2 tablespoons of the garlic-infused oil over a medium-high flame. Season the chicken thighs with salt and pepper, and in batches, add to the pan in an even layer. Cook the chicken until a golden-brown crust has formed on both sides and the chicken is cooked through, about 10 minutes. Remove to a plate and repeat with the remaining chicken. Set aside.

Add the remaining garlic-infused oil to the pan along with the carrots, celery, and bell pepper. Sauté the vegetables, scraping up any brown bits from the bottom of the pan, until soft, about 5 minutes. Season them with 1/2 teaspoon sea salt and the red pepper flakes.

Pour in the red wine and simmer until reduced by at least half, 2 minutes. Add the olives and tomato sauce, stirring to combine. Carefully return the chicken to the skillet and nestle it in the sauce, making sure it’s fully coated. Tuck the herbs in between the chicken thighs. Simmer over medium-low heat until the sauce has thickened and the chicken is fork tender, 10 to 15 minutes. Garnish with the parsley and serve the chicken cacciatore directly from the skillet alongside gluten-free pasta or quinoa.

Recipe Notes

To make this Whole30 approved, sub chicken stock for the wine.

Source: https://feedmephoebe.com/low-fodmap-chicken-cacciatore-recipe/

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nemesisbinxartifactseries · 6 years ago

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Artifact Series B

B. F. Skinner's Baby Tender

B. F. Skinner's Dippy Bird *

Baba Gulabgir’s Flute

Babe Ruth's 714th Baseball

Babe Ruth's Baseball Bat *

Babe Ruth's Baseball Glove

Babel Stones *

Babushka's Scrub Brush

Babylonian Battery *

BACCCU Horn

Back Dorm Boys' Basketball Jerseys

Badea Cârțan’s Coat

Badge of the 6th Northern Light Infantry

Bag of Holding Messenger Bag

Bag of Seeds from the Pavlovsk Experimental Station

Baiju Bawra's Oil Lamp

Bakelite Dress Clip

Baku Statue

Balclutha

Balancing 2B Pencil

Balcony of Capulet's House

Balda's Bough of Mistletoe

Balthasar Gérard’s Pig Bladder

Banksy’s Drinking Glass

Barbwire from Auschwitz

Barnard Elliott Bee Jr.'s Civil War Uniform

Baron Humbert von Gikkingen and Louise Statues

Baron Samedi's Top Hat

Barry Larkin's Olympic Torch

Barry Seal's Aviation Radio and Headset *

Barry White's 1979 Stutz IV-Porte

Barstool from the Cedar Tavern

Bartolomeo Scappi's Cloche

Bartending Beer Taps

Barthelemy de Chasseneuz's Wig

Bartholomew Roberts’ Marine Sandglass and Chip Log

Baruch Spinoza’s Icosahedron

The Basano Vase

The Baseball that killed Ray Chapman

Basilikon Doron

Bassoon from the Premiere of The Rite of Spring

Bass Reeves' Marshal Badge

Ba Statuette

Bataan Death March Dogtags *

Bat-Signal

Battle of Trenton Hessian Plate

Bavarian Breaking Wheel Machine

Baychimo Ship’s Wheel

The Bayeux Tapestry

Baylor Dodgeball *

'Beach Blanket Bingo' Bingo Stamper

The Beach Boys' Surfboard

The Bean Family's Chains

Bean Nighe Washing Rag

Beatrice Portinari's Shroud

Beatrix Kiddo's Hatori Hanzo Katana

Beatrix Potter's Scarf

Beatrix Potter's Tea Set *

Beau Brummell's Cravat

The Beau Sancy

Beauty and the Beast's Rose

Bedlam Cot

Beethoven's Ear Horn

Beethoven's Piano

Bela Lugosi's Cape

Bell and Howell's Spectroscope *

Belle Boyd's Dress

Belle Gunness' Wheelbarrow

Bellerophon’s Bridle

Bell from Carmo Convent

Bell X-1 "Glamorous Glennis"

Belt Buckle from 9/11

Ben Kuhl’s Letter

Bender Family Hammer and Knife

Benedict Arnold's Sword

Benedict Arnold's Wig

Benedict of Aniane's Rosary

Benito de Soto’s Black Joke

Benito Mussolini's Brass Knuckles

Benjamin Disraeli's Wreath

Benjamin Franklin Keith’s Theater Seat

Benjamin Franklin's Glass Armonica

Benjamin Franklin's Keys

Benjamin Franklin's Lightning Rod *

Benjamin Franklin's Ring *

Benjamin Guggenheim's Deck Chair

Benjamin Harrison's Wax Cylinder

Benjamin Hornigold's Tri-Corner Hat

Benjamin Waterhouse Hawkins' Gloves

Benkei's Weapons Pouch

Benny Binion’s $10,000 Bill

Benny Goodman's Clarinet

Benvenuto Cellini's Salt Cellar and Silver Spoon

Beowulf's Sword

Berlin Wall Spray Paint *

Bernard Bosanquet's Cricket Ball

Bert Acosta's Aviator Goggles and Cap

Bertel Thorvaldsen's Chisel

Bertram Forer's Paper Ball

Bertrand Russell's Teapot

Berzerk Arcade Console

Besarion Jughashvili's Leather Boots

Bessus' Crucifix

Best Friend Bracelets

"Best of the 80s" Jukebox

Beta Version of Civilization: Call to Power

Betsy Ross' Sewing Needle

Bettie Page's Leather Corset

Betty Crocker's First Cookbook

Betty MacDonald's Pouch

Betty White's Pearl Earrings

Beverly Hills Supper Club Cash Register

Bian Que’s Acupuncture Needles

Bian Que's Tea Kettle

Bianca Lawson/Kendra Young's Stake 'Mr. Pointy'

Bickering Halloween Statues

Biddenden Maids' Cake Pan

Bifocals of Hormonal Youth

Bill Anderson's Apron

Bill Bailey's Skimmer Hat

Bill Clinton's Saxophone *

Bill Cosby's Radio

Bill France Sr.'s Key Bowl

Bill Gates' High School Reunion Invitation

Bill Haast’s First Aid Kit

Bill Hicks’ Contact Lens

Bill Kaysing's Feather

Bill O'Reilly's No-Spin Pen

Bill Todman's 'Penny Ante' Board *

Bill Watterson's Transmogrifier Gun

Billy Bretherton's Bug Spray

Billy Club from the Standford Prison Experiment

Billy Hodgson's Teddy Bear

Billy Joel's Harmonica

Billy Joel's Piano

Billy Loomis' Cell Phone

Billy Mays' Placebo Products

Billy Mitchell's Air Force Goggles

Billy the Kid's Boots

Billy the Kid's Repeater

Billy the Puppet's Tricycle

Binding Norse Key

Bing Crosby's Record Player

Binnacle from the USS Squalus *

Bird's Eye Magnifying Glass

Bird's Postal Hat

"Birmingham Badgers' Underwear" *

Birmingham Precinct 7 "Blotube" *

Birthing Charm

Biwa-bokuboku

Bertram Forer's Paper Ball

Black Bart's Cannon *

Black Bart's Sextant

Black Canary's Fishnet Leggings

Black Cookie Jar

Black Denim Trousers of the Terror of Highway 101

Black Hawk's Shackles

Black Hole of Calcutta Monument

Black Oni Mask

Black Oragon Figurehead Fragment *

Black Jake's Faro Table

Black Ribbon from the 2013 London Marathon

Blackthorn Shillelagh

Blade Runner Clapboard

Blade’s Katana

Blaise de Vigenere's Inkwell

Blaise Pascal's Calculator

The Bleeding Hand

Blendtec Blender

Blindness Inducing Candelabra *

Blood Saturated Rwandan Towel

Bloody "Bee" Playing Cards

Blueberry Hill

Blues Brothers' Hats

Blueprint for the Leaning Tower of Pisa *

Blueprint for the Taj Mahal *

Blue Suede Shoes

Boa Vista Plantation Token *

Bob Beamon’s Sand Pit

Bob Braham’s Lifejacket

Bob Dylan's Bus Transfer *

Bob Falfa's Black '55 Chevy

Bob Fosse's Bowler Hat

Bob Hope's Handkerchief

Bob Johnstone's Microphone

Bob Marley's Hairpick

Bob Ross' Palette & Easel

Bobbie the Wonder Dog's Tags

Bobby Baker’s Vending Machine

Bobby Blackburn's Crocodile Teeth Dentures

Bobby Fischer's Bag of Marbles *

Bobby Jones' Golf Clubs *

Bodhan Stashynsky's Gas Gun

Bodhidharma's Cloak

Bodhidharma's Slippers *

Bola Spider Bolas

Bolaji Badejo's Beret

Boombox from Say Anything

The Bonnot Gang’s Limousine

Bookshelf of Isaac Asimov's Complete Works

Boots from the Grande Armée

Borgia Family Cup

Boris Karloff's Frankenstein Costume

Boroboroton

Boston Pope Night Carts

Bottomless Canteen

Bottomless Cookie Jar *

Boudica's Helmet

Bound and Stuffed Doll

Bow of Eros

Bow of Leif Ericson's Ship

Bowl of Golden Apples *

Box of Tomatoes from La Tomatina

Brad Anderson's Dog Collar

Bradshaw Dreamtime Rock Painting

Brahan Seer’s Adder Stone

Brainwashing Antennae *

Bram Stoker's Crucifix

Bran the Blessed's Cauldron

Braun Couple's Flying Knives

Brendan O'Carroll's Garters

Breogan’s Mirror

Brian G. Hughes Umbrella

Briar Pipe Collection

Briar Rose's Spindle Fuse

Brick from the Berlin Wall *

Bricks from the Collyer Brothers Home

Brick from the Great Wall of China

Brick from the K Foundation

Brigadier General Laverlong's Elephant Walking Stick *

Bridge Plank from Tsingy de Bemaraha

British WWI Soldier's Helmet from the Battle of the Somme River

Britanic Davit

Brodie Smith's Frisbee

Bronze Dragon Token

Bronze Locust

Broxodent Electric Toothbrush

Bruce Lee's Punching Bag *

Bruce Nolan's Hairnet

Brumberger Industrial Slide Projector

Brutus' Dagger

Bryce Dion's Headphones

Buckminster Fuller’s Geodesic Dome Model

Buckskin Frank Leslie's Rifle

Buddy Holly's Sunglasses

Buddha's Alm Bowl

Buddha's Bodhi Tree

Buddha's Khakkhara

Buddy Ebsen’s Funnel

Buddy Rich's Drums *

Buddy's Leash & Collar

Buffalo Bill's Mail Bag

Bugsy Siegel's Knuckle Dusters

Bullfighter Estoque

Bull Summoning China Cabinet

Bunbuku Chagama Kettle

Bunny Man's Axe

Burning Coins

Burt Munro’s Indian Scout

Burt Shavitz's Bee Smoker

Busby Berkely's Flask *

Buster Crash Test Dummy

Bust of Diocletian

Butch Cassidy's Pistol

Butch Cassidy's Revolver

Butter Churn from Lancaster County

Buying Naked For-Sale Sign

Byford Dolphin Diving Bell

Byzantine Iron Rod

0 notes

ismael37olson · 7 years ago

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You're Cellophane!

Not too long ago, I created a Music Man glossary, since that show is so chock-full of period slang and euphemisms. Now, working on Anything Goes, I find the same thing is true. It's part of what make both shows so good -- they create a very real, full world in which these characters exist. And contrary to what a lot of directors and actors think, it is not important for the audience to get every reference; but it is important that the actors get them, so that they can live fully and honestly in this world. That sense of reality is the real value of period references. On the other hand.. In the original Anything Goes, several the lyrics were full of references to people and things that were popular in 1934, many of which we haven't even heard of today. So a lot of the original lyric for "You're the Top" and "Anything Goes" would just be baffling to audiences; and instead of listening to the song, they'd be feeling left behind and confused. Those lyrics had to be revised for the revivals. All that said, for actors and directors working on Anything Goes, and for all musical theatre fangirls and fanboys (of which I am one) who just love the show, here is my Anything Goes glossary. Take a look particularly at the juxtaposition of these pop culture references against each other, in their context. Porter is doing some really subtle, sophisticated social commentary in many of these lyrics. From the original 1934 script: "Manhattan" -- a cocktail made with whiskey, sweet vermouth, and bitters. While rye is the traditional whiskey of choice, other commonly used whiskeys include Canadian whisky, bourbon, blended whiskey, and Tennessee whiskey, invented in in the early 1870s at the Manhattan Club. "Grosvenor House" -- one of the largest private homes in London, torn down during World War I, and replaced with the luxury Grosvenor House Hotel

"Tommy gun" -- the Thompson submachine gun, invented by John T. Thompson in 1918, and became infamous during the Prohibition era. "rote shot" -- a section of the newspaper with society photographs, called the "rotogravure," after the printing process "Evelyn" -- a then common British man's name pronounced EVE-lin. "Snake Eyes Johnson" and Moonface Martin" -- jokes on 1930s gangster nicknames, like Baby Face Nelson, Pretty Boy Floyd, Bugsy Siegel, Machine Gun Kelly, Lucky Luciano... "dicks" -- law enforcement; a slang term for detectives, originally coined in Canada and brought south by rumrunners during Prohibition. The comic strip character Dick Tracy was named for this term. "a wireless" -- a telegram "Mater" -- British for Mother, from the Latin, an intentionally old-fashioned term "Eight Bells Strike" -- the striking of eight bells on a ship says a four-hour watch shift is over (it's not connected to a specific time on the clock) "my sea legs..." -- a person's ability to keep their balance and not feel seasick when on board a moving ship. "Nicholas Murray Butler" -- a famous American philosopher, diplomat, and educator; president of Columbia University, president of the Carnegie Endowment for International Peace, and a recipient of the Nobel Peace Prize. "Damn white of him" -- originally used under British colonialism, an expression of appreciation for honorable or gracious behavior, under the assumption that white people were inherently more virtuous. "The Social Register" -- according to Wikipedia, "The social elite was a small closed group. The leadership was well known to the readers of society pages, but in larger cities it was impossible to remember everyone, or to keep track of the new debutantes, the marriages, and the obituaries. The solution was the Social Register, which listed the names and addresses of the families who mingled in the same private clubs, attended the right teas and cotillions, worshipped together at prestige churches, funded the proper charities, lived in exclusive neighborhoods, and sent their daughters to finishing schools and their sons away to prep schools" "Beefeater" -- actually a ceremonial guard at the Tower of London, but here just referring to a British person, possibly also implying that Evelyn is stiff...? "Coliseum" -- the famous amphitheater in Rome, built in 70-80 AD "Louvre Museum" -- the world's largest museum, in Paris, holding some of our great works of art, including the "Mona Lisa." "Symphony by Strauss" -- German composer Richard Strauss was still actively writing operas and concert works when Anything Goes opened.

"Bendel bonnet" -- a ladies' hat from Henri Bendel, the upscale women's specialty store still today based in New York City, selling handbags, jewelry, luxury fashion accessories, home fragrances and gifts "Shakespeare Sonnet" -- Shakespeare wrote 154 sonnets, fourteen-line poems Mickey Mouse -- you have to remember that for these characters living in 1934, Steamboat Willie premiered only six years ago, and Mickey was still only in black and white... "Vincent Youmans" -- Broadway composer of many musicals, including No, No, Nanette, Hit the Deck, and several Hollywood films "Mahatma Gandhi" -- still in the middle of his historic fight for independence for colonial India from Great Britain at this moment "Napoleon Brandy" -- an "extra old" blend of brandy in which the youngest brandy is stored for at least six years "The National Gallery": Famous art gallery in Washington, D.C. "Garbo's salary" - according to an article on Slate.com, "After the success of Flesh and the Devil (1927), Greta Garbo demanded that MGM raise her salary from $600 per week to $5,000 per week. Louis B. Mayer hemmed and hawed, so Garbo sailed to Sweden. Eventually Mayer gave in and Garbo sailed back. $5,000 per week comes to $260,000 per year, or the equivalent in today's dollars of $4.6 million per year." "cellophane" -- according to Wikipedia, "Whitman's candy company initiated use of cellophane for candy wrapping in the United States in 1912 for their Whitman's Sampler. They remained the largest user of imported cellophane from France until nearly 1924, when DuPont built the first cellophane manufacturing plant in the US. Cellophane saw limited sales in the US at first since while it was waterproof, it was not moisture proof—it held water but was permeable to water vapor. This meant that it was unsuited to packaging products that required moisture proofing. DuPont hired chemist William Hale Charch, who spent three years developing a nitrocellulose lacquer that, when applied to Cellophane, made it moisture proof. Following the introduction of moisture-proof Cellophane in 1927, the material's sales tripled between 1928 and 1930." Our story is set in 1934. "Derby winner" -- the 1934 running of the Kentucky Derby was its 60th! "You're a Brewster body" -- the frame for a Bentley or Rolls Royce luxury car "A Ritz hot toddy" -- a specialty drink of the Ritz Hotel bar in Paris "the sleepy Zuder Zee" -- The Zuiderzee was a shallow bay of the North Sea in the northwest of the Netherlands. The characters in Anything Goes know this because in 1928, sailing events for the Amsterdam Summer Olympics were held on the Zuiderzee. "Bishop Manning" -- Episcopal Bishop of St. John the Divine Cathedral in Manhattan. "A Nathan panning" -- a bad review from New York drama critic George Jean Nathan "broccoli" -- something of a novelty in 1934, having been farmed commercially in the US only since the 1920s, and the first advertising campaign on its behalf didn't occur until 1929. So in 1934, broccoli was the culinary cutting edge "a night at Coney" -- Coney Island "Irene Bordoni" -- French actress who starred on Broadway in Cole Porter's 1928 musical Paris, introducing the song "Let's Do It" (which had replaced "Let's Misbehave") "a fol-de-rol" -- a useless ornament or accessory, nonsense

"Arrow collar" -- the famous "Sanforized" collar on Arrow Shirts. The Arrow Collar Man became an advertising symbol in the 1920s for rugged masculinity. "Coolidge dollar" -- the very sound, very strong American dollar, under President Calvin Coolidge, before the Depression "Fred Astaire" -- Broadway and film star of musical comedies "(Eugene) O'Neill" -- Pulitzer Prize winning American playwright of powerful dramas, including Anna Christie (1920), The Emperor Jones (1920), The Hairy Ape (1922), Desire Under the Elms (1924), Strange Interlude (1928), Mourning Becomes Electra (1931), and others "Whistler's Mama" -- the famous painting actually called Arrangement in Grey and Black No.1, best known as Whistler's Mother, painted by the American painter James McNeill Whistler in 1871 "Camembert" -- A mellow, soft cheese with a creamy center first marketed in Normandy, France. "Inferno's Dante" -- Dante Alighieri (1265-1321) author of The Divine Comedy, the third part of which deals with Inferno (Hell). "the great Durante" -- comedian/actor Jimmy Durante. His first film was in 1930, but he had made 19 films by 1934 "de trop" -- a mispronunciation of the French phrase de trop, meaning too much, not wanted, unwelcome "A Waldorf Salad" -- a salad of apples, walnuts, raisins, celery, and mayonnaise, originated at the Waldorf-Astoria Hotel in Manhattan. "Berlin ballad" -- A romantic song by American songwriter Irvin Berlin, who by 1934 had already written standards like "Alexander's Ragtime Band," "What'll I Do?", "Blue Skies," and "Puttin' on the Ritz." A few years later, in 1938, Berlin would write "God Bless America." "an Old Dutch master" -- a Dutch master painter like Rembrandt, but ALSO a brand of cigars "Mrs. Astor" (changed to "Lady Astor" in 1962) -- Mrs. John Jacob Astor, leading New York socialite. "Pepsodent" -- toothpaste introduced in the USA in 1915 by the Pepsodent Company of Chicago. The original formula for the paste contained pepsin, a digestive agent designed to break down and digest food deposits on the teeth, hence the brand and company name. From 1930 to late 1933 a massive animated neon advertising sign for the toothpaste, featuring a young girl on a swing, hung on West 47th Street in Times Square in New York City.

"the steppes of Russia" -- a region of grasslands joining Europe and Asia -- Around 1930 the Soviet Union wanted to attract foreign tourists to bring in currency and improve its external image. On Stalin's and the Party's initiative a national tourist agency was founded. Intourist was responsible for attracting, accommodating and escorting all foreign guests.Western advertising styles were applied to appeal to the target audience. Intourist posters pictured a tourist paradise, not a country of laborers and peasants. Trains were no icons of progress but a comfortable way of transport. Intourist women were not working hard in a factory but were either fashionable or exotic. "Pants on a Roxy usher" -- the famous Roxy Theatre in Manhattan ("the Cathedral of motion pictures") had a squad of ushers who were trained like an army platoon and wore very tight pants. "G.O.P." -- Grand Old Party, i.e. Republicans. "Tower of Babel" -- Biblical tower in the land of Shinar, the building of which ceased when a confusion of languages took place. "Whitney stable" -- the socially prominent Whitney family bred famous horses "Mrs. Baer's son, Max" (also referred to as "Maxie Bauer") -- Max Baer, World Heavyweight Champion in the 1930s (his son, Max Baer Jr. played Jethro on The Beverly Hillbillies) "Rudy Vallee" -- 1920s/1930s crooner, who often sang through a megaphone and later starred in the original production of How To Succeed In Business Without Really Trying. "Phenolax" -- a pink flavored wafer laxative, first introduced in 1908

"Drumstick Lipstick" -- brand of makeup manufactured by Charbert, a French cosmetics firm. "brig" -- military prison "in irons" -- shackled "The Dean boys" -- baseball players and brothers Dizzy and Daffy, members of the famed "Gashouse Gang," the 1934 St. Louis Cardinal baseball team, which won 95 games, the National League pennant, and the 1934 World Series -- just months before Anything Goes opened! "Max Gordon" -- Broadway producer from the 1920s through the 1950, famous for extravagant productions "Jitneys" -- independent taxi cabs or small buses. The joke here is that the middle-class folks who can still afford to take a cab, here in the middle of the Depression, would be shocked to find out that some of the richest Americans (in this case, the Vanderbilt and Whitney families) had lost nearly everything. "Vanderbilts and Whitneys" -- two prominent rich families in New York "Sam Goldwyn" -- movie studio head "Lady Mendl" -- an American actress, interior decorator, author of the influential 1913 book The House in Good Taste, and a prominent figure in New York, Paris, and London society. Her morning exercises were famous, including yoga, standing on her head, and walking on her hands. "Missus R." and "Franklin" -- Eleanor and Franklin Roosevelt

"broadcast a bed from Simmons" -- Eleanor Roosevelt did weekly radio broadcasts sponsored by Simmons mattresses "Mrs. Ned McLean" -- a socialite who was the last private owner of the Hope Diamond "Anna Sten" -- Ukrainian movie star "Swannee River" -- a reference to Stephen Foster's famous song "Old Folks at Home" and to the Gerhwin song "Swanee "goose's liver" -- pate "Russian Ballet" -- reference to the 1934–1935 world tour by the Dandré-Levitoff Russian Ballet "the Oxford movement" -- a 19th-century movement of High Church members of the Church of England which eventually developed into Anglo-Catholicism, arguing for the reinstatement of some older Christian traditions of faith and their inclusion into Anglican liturgy and theology. Presumably, Mrs. Wentworth is confusing the Oxford Movement with The Oxford Group was a Christian organization founded in 1931 by the American Christian missionary Frank Buchman. [For the references in "Anything Goes," see my earlier post on that song.] [For the references in "Blow Gabriel, Blow" see my earlier post about that song.] "Sing Sing" and "Joliet" -- famous maximum security prisons [For an explanation of the intro to "Be Like the Bluebird," see my earlier post about that.] Additional Things from the 1962 version: "The Globe American" -- a generic fictitious name for a newspaper "Hymsie Brown, the fighter" -- a fictitious nicknamed boxer "you know the New Deal" -- reference to government red tape, bureaucracy "Toscanini" -- Italian conductor Arturo Toscanini. The New York Philharmonic under Toscanini, in 1931, became the first orchestra to offer regular live coast-to-coast radio broadcasts of its concerts, gaining Toscanini unprecedented fame and a remarkable salary of $110,000 per year. "Milton Berle" -- already a successful stand-up comedian in the 1930s, patterning himself after one of Vaudeville's top comics, Ted Healy (the inspiration for Billy Flynn in Chicago). A year before Anything Goes opened, Berle starred in the short musical film Poppin' the Cork, a topical musical comedy about the repealing of Prohibition. "tomato ketchup" -- During the 1930s Heinz increased their sales force and advertising, to battle the drop in sales due to the Depression. Heinz salesmen were expected to be at least 6ft tall, impeccably dressed and particularly eloquent at promoting Heinz products. Their equipment which included chrome vacuum flasks, pickle forks and olive spears weighed about 30lbs. "Chippendale" -- various styles of furniture fashionable in the late 18th century and named after the English cabinetmaker Thomas Chippendale

"Fourth Dimension" -- according to Project Muse, "During the first three decades of the twentieth century, the fourth dimension was a concern common to artists in nearly every major modern movement: Analytical and Synthetic Cubists, Italian Futurists, Russian Futurists, Suprematists, and Constructivists, American modernists in the Stieglitz and Arensberg circles, Dadaists, and members of De Stijl. Kandinsky’s own awareness of the idea, and the growing interest in Germany in the space-time world of Einstein. Although by the end of the 1920s the temporal fourth dimension of Einsteinian Relativity Theory had largely displaced the popular fourth dimension of space in the public mind, one further movement was to explore a fourth spatial dimension: French Surrealism." "George Bernard Shaw" -- British playwright (Pygmalion, Major Barbara, Man and Superman, Saint Joan, etc.) "verse" -- Today, we call the first section of a song the intro, which sets up the topic, before we get to the first verse and main melody (though many songs today don't have one). Then we get the first verse, which introduces the main melody, and then in most pop songs, we get the chorus. Sometimes there's a contrasting section called the bridge. But in Porter's time, the first section was the verse, and what we call the verse and chorus were together called the refrain. "Tinpantithesis" -- an invented joke word, meaning the Tin Pan Alley (common) antithesis (opposite) of good music Gullery -- Billy's joke on Mrs. Harcourt "un peu d'amour" -- French for a little love "DAR, PTA, and WPA" -- The Daughters of the Revolution, the Parents-Teachers Association, and the Works Progress Administrtion -- three things that do not belong together, but Mooney doesn't know that... Every day, I find new richness in Anything Goes, new craft, new surprises. It's such diving this deep into a show I've always loved but never thought about that much... Hope you enjoy learning about all this stuff as much as I do! The adventure continues! Long Live the Musical! Scott from The Bad Boy of Musical Theatre http://newlinetheatre.blogspot.com/2018/02/youre-cellophane.html

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londontheatre · 8 years ago

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Full casting has been announced for the West End transfer of Everybody’s Talking About Jamie, directed by Jonathan Butterell and written by Dan Gillespie Sells and Tom MacRae, which will play a limited season at the Apollo Theatre from Monday 6 November following a critically acclaimed run at Sheffield Crucible.

As previously announced John McCrea will return to play the title role of Jamie alongside Josie Walker who reprises her role as his Mum, Margaret. They are joined by the following original cast members from the run in Sheffield Daniel Davids (Levi), Mina Anwar (Rayia ‘Ray’ Begum), Luke Baker (Dean Paxton), Courtney Bowman (Fatimah), Tamsin Carroll (Miss Hedge), James Gillan (Tray Sophisticay), Harriet Payne (Bex), Shiv Rabheru (Cy), Lucie Shorthouse (Pritti Pasha) and Kirstie Skivington (Vicki) along with Alex Anstey (Laika Virgin), Luke Bayer, Marvyn Charles, Ken Christiansen (Jamie’s Dad), Jordan Cunningham (Sayid), Ryan Hughes (Mickey), Daniel Jacob (Sandra Bollock), Cherelle Jay, Rebecca McKinnis, Phil Nichol (Hugo), Chloe Pole and Lauran Rae (Becca).

Fairy tales really do come true. Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation.

Supported by his brilliant loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight. This fabulous, funny, feelgood brand new musical sensation hits London with catchy new songs by lead singer-songwriter of The Feeling Dan Gillespie Sells and writer Tom MacRae. Sixteen: the edge of possibility. Time to make your dreams come true.

Music by Dan Gillespie Sells Book and Lyrics by Tom MacRae From an idea by Jonathan Butterell Directed by Jonathan Butterell Design by Anna Fleischle Choreography by Kate Prince Lighting design by Lucy Carter Sound design by Paul Groothuis Video design by Luke Halls Musical direction by Theo Jamieson Casting by Will Burton

Everybody’s Talking About Jamie Trailer

CAST BIOGRAPHES Alex Anstey plays Laika Virgin and is making his West End debut in Everybody’s Talking About Jamie. Previous theatre credits include Pageant (London Irish Centre) and Peter Pan (International tour). Alex performs around the UK as his drag alter ego Vileda Moppe, and won Drag Idol in 2016.

Daniel Davids is returning to the role of Levi. Previous theatre credits include The Lion King (Lyceum Theatre), A New World: A Life of Thomas Paine (The Shakespeare Globe Theatre), Meet The Adebanjo’s (Broadway Theatre & The Hackney Empire), My Name is Tom (Dugdale Centre), A Harlem Story (Jermyn Street Theatre) and Everybody’s Talking About Jamie (Sheffield Crucible).

Mina Anwar is returning to the role of Rayia ‘Ray’ Begum. Mina has previously appeared on stage in Twelfth Night (Royal Exchange), Everybody’s Talking About Jamie (Sheffield Crucible), The Infidel – The Musical (Theatre Royal Stratford East), Hard Times (Library Theatre), Romeo and Juliet and A Midsummer Night’s Dream (Nottingham Playhouse), The Vagina Monologues (West End / Tour), Talent (UK Tour), King Lear (Sheffield Crucible), Skeleton (Soho Theatre), Too Much Too Young (London Bubble), The Iron Man (Young Vic), Hair (Broadway Musical Theatre Company, New York). Film credits include The Infidel and Maybe Baby. Television credits include The Worst Witch, Doctor Who, The A Word, In The Club, Upstart Crow, Marley’s Ghosts, Scott and Moving On, Remember Me, Happy Valley, House of Anubis, A Passionate Woman, The Sarah Jane Adventures 2-5, The Invisibles, Shameless, Birthday Girl, The Flint St. Nativity, The Thin Blue Line.

Luke Baker is returning to the role of Dean Paxton. Previous theatre credits include Sunny Afternoon (Harold Pinter Theatre), Link Larkin in Hairspray (Cork Opera House), I Can’t Sing! (London Palladium), Bare (Greenwich Theatre), Beautiful Thing (Arts Theatre & UK Tour), Aladdin with Paul O’Grady’s Lily Savage at the O2 (Michael Rose Productions), Ultimate Broadway (Shanghai), All The Fun of the Fair (UK Tour), Peter Pan (UK Tour), Sign of the Times (Duchess Theatre) and Salad Days (Riverside Studios).

Courtney Bowman is returning to the role of Fatimah. Courtney’s theatre credits include Martha in Blondel (Union Theatre), Everybody’s Talking About Jamie (Sheffield Crucible) and The Wind in the Willows (UK Tour).

Tamsin Carroll is returning to the role of Miss Hedge. Tamsin’s numerous theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), Shirley in Strictly Ballroom (West Yorkshire Playhouse and Global Creatures), Baroness Bomburst in Chitty Chitty Bang Bang (West Yorkshire Playshouse), Chairy Barnu in Barnum (Chichester Festival Theatre), Rita in Casa Valentina (Southwark Playhouse), Ellen in Miss Saigon (Prince Edward Theatre), The Magistrate (National Theatre), Emma Goldman in Ragtime (Regents Park Open Air Theatre), Titania in A Midsummer Night’s Dream (Regents Park Open Air Theatre), Nancy in Oliver! (Theatre Royal Drury Lane), Magenta in The Rocky Horror Show (ATG and New Theatricals – Sydney and Melbourne), Martha in Company (Kookaburra), Dusty Springfield in Dusty (Dusty Productions), Isabella in Measure for Measure (Bell Shakespeare Co) Rizzo in Grease – The Arena Spectacular (SEL/GFO), Tracy Lord in High Society (The Production Company), Allie/Olivia on Harbour/The Republic of Myopia (STC), Rita in Side Show Alley (Workshop-Pratt Foundation), Rose in Bye Bye Birdie (The Production Company), Sheila in Hair (The Production Company), Nancy in Oliver! (IMG), Marianna Ranate in Shout, Vicki in Long Gone Lonesome Cowboys (Railway Street Theatre), Red Riding Hood in Into The Woods(MTC). Film credits include Goddess, Holy Smoke and Ms Understanding. Tamsin’s television credits include Nicole in Eastenders, A Difficult Woman, Above The Law, All Saints, Heartbreak High and The Three Stooges.

Ken Christiansen plays Jamie’s Dad. Ken’s theatre credits include A Jovial Crew, Anthony & Cleopatra, The School of Night and Misha’s Party (RSC), Mother Courage and Her Children (National Theatre) alongside Diana Rigg, and as Eric Birling in Stephen Daldry’s landmark production of An Inspector Calls (National Theatre/West End), Fool For Love (UK Tour), Handbag (UK Tour), An Absolute Turkey (West End), Unleashed and White Something (Arcola), Lord of the Flies (Regent’s Park Open Air Theatre), Death Takes a Holiday (Charing Cross Theatre), Closer to Heaven (Union Theatre), Pacific Overtures (Union Theatre), The Rise and Fall of Little Voice (Union Theatre) and The Fix (Union Theatre). Television credits include Kingmakers, Picking Up The Pieces, Insiders, Coronation Street, Mrs Hartley And The Growth Centre, The History File: Germany, Cracker, Where The Heart Is, Casualty, Holby City, Dream Team, Peak Practice, Midsomer Murders, Hollyoaks, Doctors, 9/11:Voices From The Air, 50 Ways To Kill Your Lover, Fortitude and The Bill. Film credits include The Selfish Giant, Treacle, War Bride, Fish-Eye, First Love, Last Day on Earth, Gorka, The Obit Woman, Bug, The Resurrection, Cabrón, Empire, Chasing Robert Barker, The Black Prince, Slayers, Breathe Easy. Radio credits include David Grieg’s The Events.

Jordan Cunningham plays Sayid. Previous theatre credits include Ritchie Valens in The Buddy Holly Story (UK Tour), West Side Story (Kilworth House Theatre), Stiles and Drewes Peter Pan: A Musical Adventure (Really Useful Theatres) and Everybody’s Talking About Jamie (Sheffield Theatres).

James Gillan returns to the role of Tray Sophisticay. Full theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), The Donkey Show (Camden Proud Galleries), The Lion The Witch and the Wardrobe (Rose Theatre Kingston), Little Shop of Horrors (Aberystwyth Arts Theatre), The Secret Garden (Birmingham Rep and West Yorkshire Playhouse), Peter Pan (West Yorkshire Playhouse and the Royal Festival Hall), original Boq in Wicked (Apollo Victoria Theatre), Assassins (Sheffield Crucible), Starlight Express (Apollo Victoria theatre and UK Tour), Taboo (UK Tour), Fame (Arena Tour of Sweden), Godspell (Chichester Festival Theatre), Anthony and Cleopatra (Shakespeare’s Globe), Julius Caesar (Shakespeare’s Globe), Pippin (The Bridewell Theatre), Tommy (Shaftesbury Theatre), Joseph and the Amazing Technicolor Dreamcoat (UK Tour) and James and the Giant Peach (UK Tour). Television credits include Doctors, ‘Orrible, Casualty, The Seven Industrial Wonders of the World, The Inbetweeners, The C Word, A Tale of Two Cities and Suspects.

Ryan Hughes plays Mickey and is making his West End debut in Everybody’s Talking About Jamie. Ryan has performed in Groove on Down the Road, Into the Hoods: Remixed and The Mad Hatters Tea Party for ZooNation.

Daniel Jacob plays Sandra Bollock. Theatre credits include Joseph and the Amazing Technicolor Dreamcoat (UK Tour), Ragtime (JWC Productions), Aladdin (Blue Genie Entertainment), Bugsy Malone (Future Cinema), Angelina Ballerina the Mousical (UK Tour), Charming Dick (Royal Vauxhall Tavern), The Macbeths (Ferodo Bridges CIC), Rent Party (Darren Pritchard Dance). Daniel also originated the role of The Diva in the award winning play, Testosterone by Rhum & Clay. Screen credits include Piss Off, I Love You and Queer Britain. Daniel is also known by his Drag Queen persona, Vinegar Strokes. John McCrea returns to the role of Jamie New. His theatre credits include The Buskers Opera (Park Theatre), Peter Pan (Adelphi Theatre), Streets and RENT! (Cockpit Theatre), The Sound of Music and Chitty Chitty Bang Bang (London Palladium), Barney’s Colourful World and The King and I (National Tour). John’s television credits include Documental, The Catherine Tate Show, New Tricks, Kerching! and Let’s Roll With Roland Butter. Film credits include God’s Own Country (Sundance Film Festival 2017), Late Night With Albin, Balbita and The Cult (Shorts). Workshops include Stella Boulton in Fanny & Stella, Jez in Philip Ridley’s Moonfleece and Jamie in Everybody’s Talking About Jamie.

Phil Nichol plays Hugo. Theatre credits include The Machine (Manchester International Festival/ The Park Avenue Armory New York), One Flew Over the Cuckoo’s Nest (Gielgud), Twelve Angry Men (Assembly Rooms) and Taboo (Venue Theatre). Telvision and film credits include Man Down, Catastrophe, Siblings, Uncle, Holy Flying Circus, Confetti. Phil is Artistic Director of Comedians Theatre Company, and has produced and starred in over 15 shows in the past 12 years including True West, School for Scandal, Killer Joe, Gagarin Way and Talk Radio. Phil is also a stand-up comedian, and having been twice nominated previously, won the 2006 Edinburgh Comedy Award.

Harriet Payne returns to the role of Bex. Full theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), Charlotte’s Web (Gordon Craig Theatre Stevenage), Snow White (Southport Theatre and Grimsby Auditorium), Sleeping Beauty (Millfield Arts Centre London), The Little Mermaid (Dugdale Centre London), Beauty and the Beast (The Victoria Theatre Halifax), The Wizard of Oz (UK Tour) and Spring Awakening (The Bull Theatre Barnet).

Shiv Rabheru returns to the role of Cy. Shiv’s theatre credits include The Taming of the Shrew (Lazarus Theatre Company), Submission (The King’s Head Theatre and The Edinburgh Fringe Festival), Everybody’s Talking About Jamie (Sheffield Crucible), Prevent Tours (The Bunker Theatre), Cats (UK and European Tour), Sleeping Beauty (Millfield Arts Theatre), Celebrity Cruises (Celebrity Infinity) and Dick Whittington (Imagine Theatre).

Lauran Rae plays Becca. Her theatre credits include Jesus Christ Superstar (Regent’s Park Open Air Theatre), Bugsy Malone (Lyric Hammersmith), Ghost (Asian Tour), Hairspray (Macau), Heathers (The Other Palace), Hairspray (Gordon Craig Theatre), Bare (Greenwich Theatre), Aladdin (Cambridge Arts Theatre) and Get Ready (Assembly Hall Theatre, Tunbridge Wells). Television credits include Ghetto Heaven (TV Pilot).

Lucie Shorthouse returns to the role of Pritti Pasha. Full theatre credits include Roller Diner (Soho Theatre), Everybody’s Talking About Jamie (Sheffield Crucible), The House of In Between (Theatre Royal Stratford East) and The Comedy of Errors (Shakespeare’s Globe). Television credits include Line of Duty, Doctors and The Sound of Music Live.

Kirstie Skivington returns to the role of Vicki. Full theatre credits include Jesus Christ Superstar (Regent’s Park Open Air Theatre), Everybody’s Talking About Jamie (Sheffield Crucible), Side Show (Southwark Playhouse), West Side Story (Salzburg Festival), Bend It Like Beckham (Phoenix Theatre), I Can’t Sing (London Palladium), Viva Forever (Piccadilly Theatre) and Ghost (Piccadilly Theatre).

Josie Walker returns to the role of Margaret New. Her theatre credits include The Plough and the Stars, Husbands and Sons, 3 Winters, The Silver Tassie and War Horse for the National Theatre, Matilda The Musical (RSC and Cambridge Theatre), Enjoy (UK Tour, Gielgud Theatre), Corrie – the Play by Jonathan Harvey (The Lowry Manchester) and The Secret Garden (West Yorkshire Playhouse). Television credits include Midwinter of the Spirit, Call the Midwife, Waterloo Road, Psychoville, Holby City, Eastenders, Blessed, and The Bill. Film credits include Where Hands Touch, Fishbowl and Sleeping Beauty.

Luke Bayer plays Swing. Theatre credits include Yank! The Musical (Hope Mill Theatre), The 12 Tenors (China Tour), Les Miserables (Queen’s Theatre), Out There The Musical (Original YMT Cast). Luke was a finalist in The X Factor 2007.

Marvyn Charles plays Swing. Theatre credits include Thriller Live (Lyric Theatre and International Tours), Milkshake Live! The Magic Story Book (UK Tour), In The Night Garden Live! (UK Tour), Smurfs Live on Stage (Saudi Arabia), Dora the Explorer (International Tours), Red Show (Ferrari World, Abu Dhabi) and Robin Hood (Elgiva Theatre). Film and television credits include Harry Potter and the Order of the Phoenix and Harry Potter and the Half-Blood Prince.

Cherelle Jay plays Swing. Theatre credits include I Can’t Sing! (London Palladium) and Some Like It Hop Hop (UK Tour and West End) and Into The Hoods (The Peakcock Theatre and UK Tour) for ZooNation. Film and television credits include The Holiday.

Rebecca McKinnis plays Understudy Margaret New, Rayia ‘Ray’ Begum and Miss Hedge. Theatre credits include MAMMA MIA! (Novello Theatre and Prince of Wales Theatre), Women on the Verge of a Nervous Breakdown (Playhouse Theatre), A Small Family Business (National Theatre), Viva Forever (Piccadilly Theatre), Les Miserables (25th Anniversary Tour), We Will Rock You (Dominion Theatre), Fat Pig (Trafalgar Studios), Three Hours After Marriage (Union Theatre), The Taming of the Shrew and Beggars’ Opera (both Changeling Theatre Company), Taboo (UK Tour), Starting Here Starting Now (Upstairs at the Gatehouse), Half A Sixpence and Charley’s Aunt for CMC.

Chloe Pole plays Swing, and is making her West End debut in Everybody’s Talking About Jamie.

EVERYBODY’S TALKING ABOUT JAMIE Apollo Theatre 31 Shaftesbury Avenue London W1D 7ES PREVIEWS FROM : Monday 6th November 2017 PRESS NIGHT: Wednesday 22 November 2017

Tickets on sale from £12.00

http://ift.tt/2sPpWEH LondonTheatre1.com

#IFTTT #LondonTheatre1.com

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