#bbc pramface

[michaelfenton]

Mike: If I punch myself and it hurts, am I weak or strong?

Jamie: Strong.

Beth: An idiot, is what your are.

[jbaileyfansite]

Old Jonathan Bailey Interview for South Downs (2012)

At the time of the interview, Jonathan Bailey was appearing as Jeremy Duffield in South Downs, which is part of a Double Bill with The Browning Version playing at the Harold Pinter Theatre until July 2012. “They’re two gems that are quite simple but also great writing, two brilliant stories that are really moving, that are told, I think, touch wood, really well.”

Jonathan has many television credits to his name including playing the lead role of Leonardo da Vinci in BBC1’s Leonardo. He has also performed with the Royal Shakespeare Company, playing Prince Arthur in King John.

Jonathan took some time out from his busy schedule to answer some questions about himself and his career. Enjoy!

You were born in Aylesbury Vale, Oxfordshire. What was it like growing up there? I was born in a village called Benton in Oxfordshire and it was typical village life. I went to the local C of E Primary School, and grew up with my three sisters, Mum and Dad. It was good that you could just have friends in walking distance at that sort of age and basically just make mud pies in the street. It wasn’t however particularly productive for performing arts.

What memories do you have of performing in school productions? I remember one role where I was playing a raindrop in the story of Noah and his Ark. I also remember playing a shepherd in the nativity when I was about four.

Where did you train and how did that prepare you for a career on the stage? Well I didn’t go to drama school. I started acting when I was really young, about seven in The Christmas Carol at the Barbican in London. They sent out the casting director to the suburbs to find cast and I remember singing ‘Where is Love’ in the church, not really aware of who it was for, and my parents definitely had no idea. After that I had an agent and came within the structure and the rules of not missing school. I managed to do either a play or a little bit of TV during the summer holidays. I was super lucky. Although I think drama school is really important I don’t believe there’s a right or wrong way of becoming an actor. If I hadn’t had the experiences of working with other actors at a young age I don’t think I would have gone to drama school as those opportunities enthused me and made me passionate about drama. I learnt quite a lot on the job and was able to take risks when playing parts. So yeah I didn’t go to drama school but everything worked out okay.

You have numerous television credits to your name including Channel 4’s Campus, BBC3’s Pramface and BBC1’s Leonardo, where you play the lead role of Leonardo da Vinci. What has been your favourite television role to date and why? I have just got back from Cape Town where we have been recording the BBC’s Leonardo. Playing Leonardo da Vinci himself is very special. There’s also a lot of cool stuff to do such as artwork on stage, fighting with weapons etc. So actually it’s a bit of playground as the props and the sets they created are excellent.

What do you like most about recording in front of a camera? You can do the take again and I like that you’ve got downtime in between. I quite like the idea that you get to do it and then it’s there and you can’t really do anything about it. On stage if you do something wrong you can’t make it right for that performance but you can make it right for the next performance. I quite enjoy that.

Where did you make your professional stage debut and what was the role? Well, on paper it’s playing Prince Arthur in King John for the RSC, and that was when I was about 15 I think. I think that was the first time that I was totally aware of what I was doing.

How would you describe performing in the RSC? It was great. Everyone was so on top of what they were doing. I remember it was quite physically challenging. There’s also a lot of work vocally and I remember having bits of plastic in my cheek to try and get the pronunciation right. The company of people all work together as a unit and it was a great experience.

Following a successful run at Chichester, South Downs is transferring as part of a Double Bill with The Browning Version, to the Harold Pinter Theatre in the West End. What can you tell us about South Downs and about your character Jeremy Duffield, and how he fits into the storyline? Both the plays are set in Public Schools. For the Browning Version, Terrence Rattigan wrote about his time at Harrow. Dave Hare was asked by the Terrence Rattigan Estate to write a play to be performed alongside The Browning Version as a Double Bill. South Downs is based on his time at Lancing College and culminates in an act of kindness by a student’s mother. John Blakemore is set apart by the fact that his forefathers hadn’t gone to public school and he doesn’t come from a typical public school family. He is a scholar but he refuses to conform as he considers the environment of the public school to be just a game. There are rules of a very strict hierarchy with the prefects essentially running the day to day matters of the school. Basically John goes to the housemaster with a problem and that’s just not the way the game should be played. A prefect is brought in, Jeremy Duffield, the chap I play, to sort out this precocious boy. John is really suffering and he’s questioning things like why he’s not allowed to wear a CND badge, when everyone else is allowed to wear a crucifix. He’s also considering why his friends all just shut up and listen in class when they don’t fully understand. Jeremy tries to protect him, and fight his corner but the big act of generosity comes from Jeremy’s mother within a conversation and then it sort of plays out nicely.

South Downs is written by David Hare and The Browning Version by Terrence Rattigan. What unites these two plays and what sets them apart? Well they fit together because of that act of kindness. South Downs is from a boy’s perspective. The Browning Version is from the master’s perspective and how the master doesn’t get the respect that he deserves.

How do these two plays compare with your own school days? I think the idea that boys will be boys is an interesting one in South Downs and there’s so much detail. The fact that David Hare based the characters on his school days makes them so real. They’re so typical to anyone who has been to a public school. But for me, specifically similarly to John Blakemore, I had to get a scholarship to go to the school my parents wanted me to go. But there were many differences in the way that the public schools were run in the early sixties where for example there were no locks on the bathroom showers and boys were often forced to swim naked. These things just wouldn’t happen now.  But I think I can relate more to the character and the situation and the feeling of going into a school where you haven’t grown up with the boys that otherwise would have grown up together and gone to prep school and that initial feeling of being an outsider and having to fit in and find out who you are.

There are many plays and musicals to see in the West End, why should theatregoers come and see these two plays? These two plays have some incredible performances and so it’s theatre at its best where people are working hard and they’re putting on plays that are essentially laid quite bare. They’re two gems that are quite simple but also great writing, two brilliant stories that are really moving, that are told, I think, touch wood, really well.

You have a range of roles on your CV including for the RSC, CBBC, regional theatre and the West End. Do you have a particular career path in mind or is diversity the key? I think diversity is the key. I haven’t reached the time yet where I would say yes or no to anything, everything needs to be considered.

The forthcoming run at the Harold Pinter Theatre ends in July, what plans do you have for the remainder of 2012? I’m going to be filming a new comedy for the BBC from the writers of Sherlock before Christmas, that’s been commissioned. So that’s going to be quite hard marketing that whilst in a play. It should be a nice challenge and there is a play that is in the pipeline and if that comes off I’ll be really excited.

What would you consider to be your strengths as an actor? I really enjoy the moments where something goes wrong and I need to improvise and that gives me the ability to act as a ‘safety net’.

What do you like to do away from the stage? I recently bought a mountain bike, so some cycling, walking, going to Cornwall, surfing. And I’m also studying a course with the Open University because I didn’t go to an arts school. I had a place in it which I decided to surrender having deferred twice.

What message would you like say to your supporters? Come and see the play and experience it and see what you think.

Source

[insanityclause]

Sunday 18 November, 7.00pm

Dead Poets Live are delighted to return to Print Room at the Coronet with The Broken Word by Adam Foulds featuring Tom Hiddleston, Toby Jones, George MacKay and Yasmin Paige.

Adam Foulds is not a dead poet. He is, however, the author of one of the finest long verse narratives of the last quarter century. The Broken Word (winner of the 2008 Costa Poetry Award and the Somerset Maugham Award) is the story of a young man who returns to his family farm in Kenya before going up to Oxford and finds himself caught up in the Mau Mau rebellion – and in its brutal suppression. The poem addresses terror, violence and spiritual disgrace with a propulsive narrative economy that recalls Homer or classical drama, but it is also lyrical, domestic, touching and precise. It’s an overwhelming experience: compassionate, unsettling and a masterfully clear-eyed examination of our colonial legacy. Dead Poets Live’s setting is a response to the poem’s inherent drama, and a one-off theatrical event.

All proceeds go to Safe Passage.

Tom Hiddleston is a British actor. His theatre credits include: Hamlet, Coriolanus, Ivanov, Othello, Cymbeline, The Changeling. His film credits include: Avengers: Infinity War, Thor: Ragnarok, Kong: Skull Island, I Saw The Light, High-Rise, Crimson Peak, Thor: The Dark World, Exhibition, Only Lovers Left Alive, Avengers, War Horse, The Deep Blue Sea, Thor, Archipelago, Unrelated. His television credits include: The Night Manager, The Hollow Crown (Henry IV Parts I & II, Henry V), Wallander, Miss Austen Regrets, The Gathering Storm.

Toby Jones is one of Britain’s most distinguished and versatile actors. Among many notable credits: in cinema, he won the London Film Critics’ Circle Actor of the Year award for his portrayal of Truman Capote in Infamous and a BIFA award for his lead role in Berberian Sound Studio. On television, he was nominated for a BAFTA for his performance as Alfred Hitchcock in The Girl and has also been nominated for a BAFTA for his role in Detectorists. On stage, he most recently played Stanley opposite Zoe Wanamaker and Stephen Mangan in Ian Rickson’s revival of The Birthday Party.

George MacKay is best known for starring roles in, among other films, The Boys Are Back, Private Peaceful, How I Live Now, Sunshine on Leith, Pride, For Those In Peril, Captain Fantastic and Ophelia. He’s just returned from Australia, where he was playing Ned Kelly, in the film of Peter Carey’s True History of the Kelly Gang. He has featured on stage at the Old and Young Vic, in The Caretaker and Ah, Wilderness. Work for television includes series roles in The Outcast and 11.22.63.

Yasmin Paige has given outstanding performances on both film and TV, notably as the lead in Richard Ayoade’s Submarine and opposite Jesse Eisenberg in the same director’s The Double. She has starred in BBC Three’s Pramface and in Jack Thorne’s Glue for E4.

Adam Foulds is the author of The Broken Word and also of four novels: The Truth about these Strange Times, the Booker-shortlisted The Quickening Maze, In the World’s Mouth, and the upcoming Dream Sequence.

GENERAL INFORMATION

Ticket prices

Standard £20|£25

Student | Concession £15

Running time: Approximately 1 h 50 mins including interval

Additional information

Devised and supported by T.S Eliot Foundation

This performance will be filmed by T.S Eliot Foundation and Print Room at the Coronet.

Tickets - SOLD OUT

(More information about Safe Passage UK: http://safepassage.org.uk/)

[ctpinocchio]

Creative Team Biogs

Lizzie Hopley - writer, script and songs

Lizzie Hopley was born in Liverpool and trained at Manchester University and RADA. As a writer, her sitcom pilot Green won Pozzitive Television’s’ Funny Dot Comp 2021(with Olivia Mace) and her TV series Bloody Betty is currently in development with Showem Entertainment. Radio plays include Salome (Drama on 3), The Elizabethan Beauty Law (Radio 4) and The Cenci Family (starring Sally Hawkins, nominated for a Sony Academy Award & a Richard Imerson 1stplay award). Her debut theatre play Pramface was awarded the Plat de Jour at Edinburgh Festival 2005. She took a year out in 2017 to work full time as a comedian to create a blog: Diary of a Stand Up Virgin. As an actress, her TV and film work includes S3 of Brassic, Little Boy Blue (ITV), Luther (BBC), Cary Fukunaga’s Jane Eyre, Pierrepoint with Timothy Spall, The Thirteenth Tale with Vanessa Redgrave, The Day of the Triffids (with Dougray Scott & Eddie Izzard). Notable theatre work includes an international tour of Tis Pity She’s a Whore with Cheek by Jowl and the RSC’s Roaring Girls Season.

Lizzie’s work with Creation Theatre Company began in 2004 when she appeared as Beatrice in Much Ado About Nothing. She has since written several shows including The Snow Queen, The Oxford Passion, Tales from Hans and Aladdin and in 2020, co-created digital Zoom play, The Merry Wives of WhatsApp.

Ryan Dawson Laight - Designer

Ryan studied Design at the University of Brighton he has gone on to work both nationally and internationally. Ryan works with clients from initial design concept, through to final production, and his style is born out of the unique collaborations that occur on each project. He is an Associate Designer for Creation Theatre and an Associate Lecturer in Theatre Design at the University of Chichester.

Currently: National Youth Dance Company’s new work choreographed by Alessandra Seutin, Good Youts Walk for Botis Seva, Hunchback of Notre Dame for NYMT.

Theatre includes: My Son’s A Queer But What Can You Do (Turbine Theatre), My Brilliant Friend (National Theatre, Associate Costume Design for Soutra Gilmore); Pinocchio, The Wizard of Oz, Crossing Lines, Sleeping Beauty, Beauty and the Beast, Peter Pan, A Christmas Carol, Grimm Tales, The Tiger Who Came To Tea (all for Chichester Festival Theatre). Associate Designer at Creation Theatre. Recent work for the company includes Grimm Tales, Alice: A Digital Wonderland, Don Quixote, The Tempest, The Snow Queen, Peter Pan, Brave New World, Swallows and Amazons, Dracula, A Christmas Carol, Alice in Wonderland, Hamlet, Macbeth, As You Like It, Henry IV, King Lear and Treasure Island; Torch Song (Turbine Theatre, dir. Drew McOnie); for Le Gateau Chocolat: Duckie (Royal Festival Hall), Icons (Edinburgh Festival), Black (Unity Theatre Liverpool/Soho Theatre) and Le Gateau Chocolat (Menier Chocolate Factory); HMS Pinafore, Chess, Blondel and The Mikado (Union Theatre national tours); for the Brit School: Landmines (Oval House), Sticky and Infinite Joy (Southwark Playhouse); Chip Shop The Musical (Octagon Theatre Bolton); Ice Cream Opera (Freedom Arts Studio).

Dance includes: Botis Seva's BLKDOG (Sadler’s Wells, Olivier Award Best New Dance 2019); Blak Whyte Gray (Boy Blue/Barbican, Olivier Award Nomination 2018); REDD (Boy Blue/Barbican Theatre); Madhead(NYDC/Sadler's Wells); Wasteland, Coal (Gary Clark Company, UK Theatre Award for Achievement in Dance); Toro, Mariposa, Ham and Passion (DeNada Dance Theatre); Drew McOnie's Drunk (Leicester Curve/Bridewell Theatre) and Good Morning Midnight (Jermyn Street Theatre); Genius (Anjali); New Ways Of Living (Pink Fringe Brighton); Je Suis (Aakash Odedra Company/Lillian Baylis Studio, Sadler’s Wells); Ruffle (Carlos Pons Guerra/Rambert Dance/Lowry Theatre); Hear Hear (Deaf Men Dancing, Sadler’s Wells).

Education: Ryan has been a visiting designer and lecturer at BRIT School (Croydon), University of Chichester, Aiglon College (Switzerland), ALRA, London Studio Centre, Northern School of Contemporary Dance, Trinity Laban, Tring School of Performing Arts, as well as delivering workshops for the Victoria and Albert Museum, Working Title Films, Chichester Festival Theatre, and his own workshops from his studio (Backstage Design Workshop).

Olivia Mace - Song Arrangements and Musical Director

Olivia is an actor, dramatist and composer. Composer credits include: Right Swipe (Amazon Prime), Dirty Word (Crazy Coqs Cabaret Theatre), Caravantomime (Robin Linde Productions). Writer-Composer credits include: Bleak House (Creation Theatre), Playing the King (Creation Theatre) The Emperor’s New Clothes (Small Truth Theatre) and Fresco (rehearsed reading recital, the Waterloo East Theatre). Olivia co-created and performed in musical improvisation cabaret show Blinkface (Crazy Coqs and Hoopla Theatre) and her satirical music videos (Hipster Hop, You Know All The Signs, Ring Out The Bell Ends, Alexander Johnson and Alt Right ladies) can be found on YouTube.

Kate Webster - Movement Director

Kate trained at RWCMD and Trinity Laban Conservatoire of Music and Dance. Movement and choreography for theatre includes; Twelfth Night (Orange Tree Theatre), Beauty and the Beast (Key Theatre), Mushy (Watford Palace and tour), Henry V (Barn Theatre), Peter Pan (Key Theatre), Diminished (Hampstead Theatre), Daisy Pulls it Off (The Park Theatre), Vanity Fair (Middle Temple Hall) A Christmas Carol, Wind in the Willows and Oh What a Lovely War! (Haymarket, Basingstoke), T5 (Roundhouse Theatre for DryDance).

Movement for Opera: The Unravelling Fantasia of Miss H (festival tour), Orpheus in the Underworld (Blackheath Halls).

Movement for Screen; Corrupted (music video), 2/10 (music video) and Heavy Shoes (music video) for Rebecca Levy.

Performance includes; Travelling Light (National Theatre), The Double Falsehood (Charing Cross Theatre), The Sea (Theatre Royal, Haymarket), Lear (The Sheffield Crucible) and The Soul of Ch’ien-nu Leaves Her Body (The Young Vic).

[sobforsirius]

best bbc (or jut british really) shows? i have already watched sherlock, broadchurch and am watching pb now. thank you very much

you have come to the RIGht person my friend,, italicised my faves

drama

bbc

peaky blinders (obviously) 

in the flesh

doctor foster

the night manager 

london spy 

thirteen

the fall 

in the club

luther

paula

merlin

robin hood 

clique 

the game 

silk 

happy valley 

ashes to ashes

our girl 

river

five-by-five

the syndicate 

barracuda 

water loo road 

man in an orange shirt (no out yet but i cannot Wait)

non-bbc 

cucumber banana tofu

my mad fat diary

skins

glue

misfits 

no offence

black mirror (before netflix)

cold feet 

humans

broadchurch

the durrels

trinity

fearless

sugar rush

comedy 

bbc

inside no. 9 

boy meets girl 

gavin and stacey 

fleabag

miranda 

a bit of fry and laurie 

the thick of it 

detectorists 

bad education

me & mrs jones

pramface

some girls

the mighty boosh

outnumbered

stag 

mum

non- bbc

the it crowd 

fresh meat

friday night dinner

the inbetweeners

peep show

green wing

spaced 

black books 

chewing gum

crashing

flowers

historical/adaptations 

bbc

and then there were none

call the midwife 

ripper street

robin hood 

merlin 

wolf hall

the white queen

war & peace 

poldark

black adder 

the hour 

parades end 

decline & fall

ss gb

life in squares

the hollow crown 

to talk invisible 

johnathan norrell and doctor strange

non-bbc

downton abbey 

granchester

miss marple 

victoria

bletchley circle

the halcyon 

the handmaids tale

tutankamun

home fires

deutschland 83

endeavour

penny dreadful 

there are so so many more but most of these are award winning and imo the best of british tv!!

[capseycartwright]

honestly does anyone remember pramface? that was such a bopping show thank u 4 it bbc

[bestillmybeefyheart]

Sherlock - BBC

I am a huge fan of the BBC Sherlock series. They are amazingly well written, well cast, and the stories are extraordinarily interesting, capturing what I see in my head as who and how Sherlock would be as a real person. I found the show years back through a friend, and ordered it from Amazon.co.uk before it was in the US in any form, DVD or streaming. Then as it started appearing in streaming formats, I watched that way, always buying the UK DVDs to rip and add to my collection. I was thrilled when our local OETA started airing the episodes as well during one of their BBC Masterpiece series as well. I had finished Series 3 minus Episode 4, the special "The Abominable Bride" and was anxiously awaiting to watch it. However life intervened and I never got to it. Then, S4 hit, and I realized I had not even finished all of S3. So yesterday evening I finished S03E03, then watched S03E04 and I loved it. I thought it was well done, as always, and loved how it tied into S03E03 so well. Now to watch 4. I don't know why but I find many of the programs from BBC and other countries, especially UK area to be wonderful. I guess growing up with Monty Python built the sense of humor into my brain and the style, sound and look into my heart. Which is odd because I just cannot watch the original Doctor Who. It makes me sad I can't, but I just cannot make it through even a few episodes and I've tried many times. The first season was awful, slow, cheesy, and the Doctor was an old asshat, sorry but he was. I fell in love with DW and The Doctor when it got rebooted in 2005. A friend sent me copies of the first series from the UK, which were low quality recordings he had made, but I devoured them. Like I do with Sherlock. I know Sherlock was meant to be a 1 maybe 2 series run and I am so glad to have kept it going. It really is amazing stuff. Now if only they hadn't cancelled Pramface, even though Wasted is quite funny, I was loving Pramface (love the friend who is in Wasted). It's the comedy I love. Moone Boy, Pramface, you name it. And Sherlock is ripe with comedy, even when its dramatic. If you see and know it, you get it. I turned a friend onto several shows via Hulu and she hated it. I had to kill her and bury her in her backyard. That's like saying you like Star Wars 1-2-3 better then 4-5-6. Such a blood mess that was. Let's see Sherlock solve that one eh. If you havent watched Sherlock, do so now. Seriously, it's probably one of the best TV series ever made and will delight your mind and your belly with the laughs and story twists and the serious yet laughable way that Sherlock makes his way through the world he lives in. I wasn't kidding about my friend. Or was I? I guess only Sherlock knows. Eh Watson?

[londontheatre]

Anna Shaffer and Pauline McLynn (l-r) for Daisy Pulls It Off at Park Theatre. Photo by Jack Sain

DAISY PULLS IT OFF: Olivier Award-winning comedy revived with age-blind, diverse cast for modern London. Directed by Paulette Randall MBE.

A ripping revival of Denise Deegan’s Olivier Award-winning, festive heart-warmer Daisy Pulls It Off is set to wrap up Park Theatre’s 2017 season. This affectionate parody of 1920s boarding schoolgirl novels, directed by Paulette Randall MBE, will feature a truly diverse ensemble cast.

Starring Anna Shaffer (Harry Potter film series, Hollyoaks), Pauline McLynn (Father Ted, Shameless), Shobna Gulati (Dinnerladies, Coronation Street) and Clare Perkins (EastEnders, Family Affairs), the official press night will be on Friday 8 December, 7pm.

Paulette Randall says: “We knew straightaway that we were never going to cast an actual bunch of 12-year-old schoolgirls to portray the play’s army of smart, brave and hilarious characters. So why even try with a bunch of sort-of lookalikes? Instead, we’ve thrown the rulebook out the window, casting a brilliant bunch of talented and diverse actors who, gloriously, tick none of the boxes. Not being bound by age and race has been such a freeing experience, and the results are hugely exciting. Our only criteria were: Are they smart? Are they brave? And – most importantly – are they hilarious? It’s all about creating a modern Daisy for a modern London crowd.”

Daisy Meredith, the energetic new girl from an underprivileged background, is the first scholarship student to attend Grangewood School for Girls. Faced with prejudice and pranks from the wealthier schoolgirls, Daisy also discovers her new school is faced with financial closure. Having won over a zany group of chums, Daisy concocts a wizard plan to save the school with the discovery of a secret treasure.

Daisy Pulls It Off won the 1983 Olivier Award for Best Comedy and ran for 3 years, launching the careers of actresses like Samantha Bond and Gabrielle Glaister.

  Anna Shaffer recently filmed Fearless (produced by Mammoth for ITV), and Lovesick for Netflix. Other recent credits include the role of Poppy in I Live With Models (produced by Rough Cut for Comedy Central) and the role of Rachel in the BBC’s Doctor Who spin-off Class. Anna had a regular role in Hollyoaks and played Romilda Vane in the Harry Potter film series.

Pauline McLynn’s television credits include: EastEnders (BBC), Father Figure (BBC), Threesome (Comedy Central), Shameless (Channel 4), The Bleak Old Shop of Stuff (BBC) Pramface (BBC), Jam and Jerusalem (BBC), Bremner, Bird and Fortune (Channel 4), High Hopes (BBC), French and Saunders (BBC), TV To Go (BBC) and The Dark Ages (ITV). She is well known for her award-winning role as Mrs Doyle in Father Ted (Hatrick/ Channel 4). Her theatre credits include Happy Days (Sheffield Crucible), The Taming of the Shrew (Smock Alley Theatre), Playboy of the Western World (Donmar Warehouse), Cymbeline and The Knight of the Burning Pestle (The Globe Theatre) and East is East (Ambassadors Theatre).

Shobna Gulati became a household name for her role as Anita in Victoria Wood’s Dinnerladies and as Sunita in Coronation Street. Her other TV credits include: Paranoid (ITV1/RED PRODUCTIONS), Casualty (BBC1), Kay Mellor’s In the Club (BBC1) and The Circle (Channel 4). Her theatre credits include: Anita & Me (The Touring Consortium), Grease (Leicester Curve Theatre), Mamma Mia (International Tour 2015- 2016), Hunger for Trade and Come Closer (Royal Exchange Theatre), The Jungle Book, (West Yorkshire Playhouse), and The Vagina Monologues (Mark Goucher Ltd).

Clare Perkins’ theatre credits include: Primetime (Royal Court), The Convert (The Gate), Little Revolution (Almeida Theatre), Generations of the Dead (Young Vic), The House That Will Not Stand (Tricycle Theatre), Mules (Royal Court), Welcome to Thebes (National Theatre), The Curious Incident of the Dog in the Nightime (National Theatre Tour), Removal Men (The Yard), Caucasian Chalk Circle (Shared Experience). Her screen credits include Death In Paradise (BBC), EastEnders (BBC), Men Behaving Badly (BBC), Family Affairs (Channel 5).

Lucy Eaton trained at LAMDA. Her theatre credits include: The Resistible Rise of Arturo Ui (Donmar Warehouse), The Duchess of Malfi (Old Vic), Khadija is 18 (Finborough Theatre), A Midsummer Night’s Dream (Southwark Playhouse), Almost, Maine (Park Theatre), Romeo and Juliet (Cambridge Arts Theatre), Win/Lose/Draw (Waterloo East Theatre), This Year It Will Be Different (Theatre 503), Cyrano De Bergerac (White Bear), The Complete Works of William Shakespeare (Abridged) (Edinburgh Fringe). Film credits include: Sedu (Ansu Kabia Productions) and Exposure. Her TV credits include: Murder Maps (Netflix).

Melanie Fullbrook trained at The Guildhall School of Music and Drama. Her theatre credits include: Playing For Time (Sheffield Crucible), A Midsummer Night’s Dream (Southwark Playhouse), Almost, Maine (Park Theatre), See What I See (Eyestring Theatre), The Voice Of The Turtle (London tour), BASH! (Rag Factory) and Win/Lose/Draw (Waterloo East Theatre). Radio credits include: Peer Gynt (BBC Radio). Her directing credits include: Joy (director at Theatre Royal Stratford East), In Night’s Darkling Glory (Director), Experience (assistant director at Hampstead Theatre), Diminished (assistant director at Hampstead Theatre), Looking at Lucien (associate director at Theatre Royal Bath)

Freddie Hutchins trained at Bristol Old Vic. His theatre credits include: Coram Boy (Bristol Old Vic), A Midsummer Night’s Dream (Southwark Playhouse), The Provoked Wife (London tour), While the Sun Shines (Lion and Unicorn), Richard III (Tower of London), Brewing Tea (White Bear) and Tartuffe (Courtyard Theatre). Film credits include Viking: The Berserkers (Lindisfarne Films). Freddie is a regular participant of the Read Not Dead initiative at Shakespeare’s Globe.

Libby Watson trained at Bristol Old Vic Theatre School and Wimbledon School of Art. Her design credits include: The Philanthropist (Trafalgar Studios), A Midsummer Night’s Dream (New Wolsey Theatre), Godiva Rocks (Belgrade Theatre), Sweet Charity (Wolsey Theatre), Rudy’s Rare Records (Birmingham Rep and Hackney Empire), Frankie and Johnny (Chichester Festival Theatre), History Boys (UK tour), What’s in the Cat and Blest Be the Tie (Royal Court). Libby also designed The Mountaintop at Trafalgar Studios, which was the winner of the 2011 Olivier Award for Best Play.

Paulette Randall is a freelance theatre director and producer. Her most recent theatre credits include; Five Guys Named Moe (Underbelly and Cameron Mackintosh), The Disappearance of Dorothy Lawrence (Vital Exposure), Obama-ology (RADA), Play Mas (Orange Tree Theatre), Frankie and Johnny in the Clair De Lune (Chichester Festival Theatre), and Rudy’s Rare Records – starring Lenny Henry (Birmingham Rep and Hackney Empire). Her TV credits include River City, Holby City, The Real McCoy (BBC Two), Desmond’s, Porkpie, C4, The Crouches, Comin Atcha, CITV and Kerching! (CBBC). Paulette was also the Associate Director of the London Olympics Opening Ceremony in 2012.

CAST & CREATIVES Anna Shaffer as Daisy Pauline McLynn as Trixie Shobna Gulati as Sybil / Mummy Clare Perkins as Monica / Belinda Melanie Fullbrook as Clare / Winnie / Miss Granville Lucy Eaton as Alice / Miss Gibson Freddie Hutchins as Mr Thompson / Mr Scoblowski / Mademoiselle

Directed by Paulette Randall Written by Denise Deegan Designed by Libby Watson

LISTINGS DAISY PULLS IT OFF Venue: PARK200, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP Dates: 5 December 2017 – 13 January 2018 Press night: Friday 8 December, 7pm Age guidance: 8+ http://ift.tt/1NQfsF7

http://ift.tt/2xfTe2w LondonTheatre1.com

[quietly-together]

its the smell of misery Keith, you can't febreeze that

BBC Pramface, series 3

[michaelfenton]

Merry Christmas Eve!

[michaelfenton]

Current mood: Beth Mitchell

[michaelfenton]

Mike: Jamie completes me.

Beth: Um, hello?

Mike: You're nice too, Beth.

Beth: I'm your girlfriend.

Mike: Yes, but he's like my brother.

[michaelfenton]

Jamie: I’ve done the best I could to raise Emily! Have I been perfect? No. Jamie: Do I know anything about children? No! Jamie: Should I have picked up a book on parenting? Probably! Laura: Beth: Mike: Jamie: Where was I going with this? I had a point.

[michaelfenton]

Jamie: That sounds like a terrible plan.

Mike: Oh, we've had worse.

[michaelfenton]

Jamie, Laura, Mike & Beth in their Hogwarts houses

[michaelfenton]

Jamie, whispering to Mike, who’s on the phone with Beth: Ask her something!

Mike: How are you feeling?

Beth: Fine.

Jamie: Something personal!

Mike: At what age did you first get your period?