#perrymental

[milliondollarbaby87]

A Christmas Number One (2021) Review

A Christmas Number One (2021) Review

Nina Cutter wants nothing more than for her uncle Blake Cutter to be happy and find love. He writes a Christmas song for her which just happens to be a possibility to make it to Christmas number one! ⭐️⭐️ (more…)

[d423d1994]

Anyways you are not listening @perrymental Dig it on bc: https://nicksafe.bandcamp.com/album/anyways-42c11sd25 . . . #trippyvideo #perrymental #fraktale #fraktalvideo #psychedelictrip #ambientmusic #calmmusic #chilloutmood #visualcrush #musicaddict https://www.instagram.com/p/B-ZzJx2CYTK/?igshid=to0epybwck3x

[if-you-fan-a-fire]

“Vindicate Firemen By Investigation,” Toronto Star. September 19, 1931. Page 22. ---- Fire Marshal Heaton Finds Charges Unfounded ---- Long Branch, Sept. 18. - Fire Marshal E. P. Heaton vindicated the honor of the Long Branch volunteer fire brigade in a statement he issued at the private investigation held at Municipal Chambers last night into allegations that a grass fire had been started by a friend or friends of firemen. The fire marshal stated that he had heard of the charge and that in his judgement it was a reflection on the honor of a volunteer fire force that was doing fine work.

‘I wanted to find out whether such a charge had been made,’ the fire marshal said, ‘and if it it had to call for the evidence that a charge might be laid against the person or persons concerned.’

‘Having heard under oath the evidence of Councillor A. W. Cooper, C. B. Barker, the clerk of the municipality, W. J. Perkins, the former secretary and now the acting chief of the brigade, Gordon Chamberlain, the ex-chief, and Walter Perryment, the ex-assistant chief,’ he continued. ‘I have a positive assurance from Mr. Copper that he made no such charge, that no one has ever told him of such an incident, and that he did not know himself of any such occurrence.’

‘I accept his reputation and relieve the brigade of any aspersion that members of the brigade seem to think was set upon them by the reflection.’

The investigation last for almost two hours.

[darksamus222]

Marika Hackman - My Lover Cindy from Samuel J. Bailey on Vimeo.

DIRECTOR Sam Bailey PRODUCER Lucy Bradley PRODUCTION COMPANY Agile Films EXECUTIVE PRODUCER Katie Lambert

1ST AD Wayne Bentley DIRECTOR OF PHOTOGRAPHY Ann Evelin Lawford FOCUS PULLER Emily-jane Robinson GRIP Emil Charlaff GAFFER Yan Murawski

ART DIRECTOR Gemma Pearce WARDROBE Lucy Upton-Prowse MAKE-UP Addy Frame

CAST Jess White CAST Jinny Lofthouse

EDITOR Sam Bailey SOUND DESIGN Max Perryment

DIRECTOR'S REPRESENTATION OB Management COMMISSIONER Connie Meade LABEL Amf Records

[anewsbuddy]

Robert Perryment, former soldier, author

Robert Perryment, former soldier, author

[ad_1]

I joined the Parachute Regiment when I was 17.It seemed the right thing to do at the time. I was working for Enfield Cables as a young corrosion technologist — and making the coffee. My line manager had been a National Serviceman in the Parachute Regiment, and was called back, as a reservist, and was part of the regiment that parachuted into Suez to try to retake the Suez Canal in 1956.…

[poettier]

YORA - What’s your pet’s carbon pawprint? from Yukai Du on Vimeo.

"These days more and more of us are doing our best to reduce our impact on the planet, We’re cycling more, driving more efficient cars and reducing the amount of meat that we eat. But there are members of our family that have a bigger impact on the environment than you might think… "

An explainer video for YORA, a new sustainable pet food. Please visit yorapetfoods.com for more information.

Credit Client - YORA Pet Food Director - Tom Neish Agency - Junction Studio Animation Director - Yukai Du Production - Bliink.tv, Junction Studio Character animation - Nick Murray Willis Live action filmed and edited - Progressfilm.co.uk Music - Max Perryment Sound design - Peter Rolls

[londontheatre]

It’s almost always a bold move to present a relatively rarely performed work. Dear Brutus imagines, as far as I could deduce, some sort of parallel universe in the form of a wood (that is, an area of woodland) that only appears on Midsummer’s Eve. The show’s characters enter, undergo varying levels of transformation, and when they return to the real world, see themselves and one another as they have never done before. It’s absurd as it sounds, and it’s one of those shows best enjoyed by simply doing one’s best to go along with proceedings. After all, isn’t theatre ‘make believe’ as it is?

J M Barrie’s script contains an unusual amount of description, with some very specific background details with regard to the characters. It’s worth a read to gain some additional insight into the play. To an extent, it’s regrettable that this is so, as a comprehensive understanding of the play should, ideally, be evident just by watching the production. Anyway, why is it, for example, that Mr Coade (James Woolley) insists on going out of his way to provide a footrest for Mrs Coade (Josie Kidd) whenever she sits down, despite having no walking impediment or leg pain? What does Lady Caroline Laney (Helen Bradbury) hope to achieve by deliberately mispronouncing her r’s as w’s?

The costumes are commensurate with the era being portrayed, as is the on-stage furniture. But I struggled with this production at times, particularly in watching and listening to someone in the wood counting to 100. The dialogue between Margaret (Venice van Someren) and Will Dearth (Miles Richardson) was too repetitive for my liking, though it produced a mildly amusing comic effect. The best humour is reserved for a love triangle given prominence in all of the show’s three acts, between John Purdie (Edward Sayer, a young talent who could well have a long and successful career judging by his compelling performance here), Mabel (Bathsheba Piepe) and Joanna (Charlotte Brimble).

They really don’t write plays like this anymore, with extensive but nonetheless accessible vocabulary and putdowns spoken with finesse. Some interesting set design decisions correlate well with the story: a decent effort to create ‘the wood’ does not result in a later clear-up when the play returns to the house of Lob (Robin Hooper). In a proverbial sense, what happened to the characters in the wood stays with them long after they have left it. Simon Rhodes as Matey, butler to Lob, has remarkable timing and stage presence.

Performed ‘in-the- rectangle’ (as opposed to ‘in-the-round’), there are moments when characters are speaking from opposite ends of the stage, such that much of the audience is watching a conversation as though the stage were a tennis court. Overall, the show was performed with great aplomb, but in the end, the idea of getting a second chance is just pure fantasy: life is never a dress rehearsal, as you know. Still, fans and followers of Barrie’s works will find much pleasure in this well-directed production.

Review by Chrs Omaweng

1917. In a remote English village there are rumours of an enchanted wood. One of the inhabitants – a mysterious old man – invites eight strangers to stay. They all have something in common. When, one evening, the wood miraculously appears the guests feel compelled to enter. What happens there has the power to change their lives forever…

From J. M. Barrie, the celebrated writer of Peter Pan, The Admirable Crichton and Quality Street, comes this haunting drama of self-revelation. Darkly comic, and presented in a sumptuous production for the play’s centenary year, Dear Brutus is Barrie at his most magical.

Directed by Jonathan O’Boyle (Sense of an Ending – Time Out Critics’ Choice) and produced by Troupe, who return to Southwark Playhouse after their critically acclaimed production of The Cardinal (The Telegraph Critics’ Choice).

Troupe presents DEAR BRUTUS by J. M. Barrie. Directed by Jonathan O’Boyle. Designed by Anna Reid. Lighting Design by Peter Harrison. Sound Design by Max Perryment. Wednesday 29 November – Saturday 30 December 2017 http://ift.tt/NsSQwM

http://ift.tt/2A5GkFM London Theatre 1

[piter8uczta]

Marika Hackman - My Lover Cindy from Samuel J. Bailey on Vimeo.

DIRECTOR Sam Bailey PRODUCER Lucy Bradley PRODUCTION COMPANY Agile Films EXECUTIVE PRODUCER Katie Lambert

1ST AD Wayne Bentley DIRECTOR OF PHOTOGRAPHY Ann Evelin Lawford FOCUS PULLER Emily-jane Robinson GRIP Emil Charlaff GAFFER Yan Murawski

ART DIRECTOR Gemma Pearce WARDROBE Lucy Upton-Prowse MAKE-UP Addy Frame

CAST Jess White CAST Jinny Lofthouse

EDITOR Sam Bailey SOUND DESIGN Max Perryment

DIRECTOR'S REPRESENTATION OB Management COMMISSIONER Connie Meade LABEL Amf Records

[vileart]

Replay Dramaturgy: Nicola Wren @ Edfringe 2017

Replay

Pleasance Courtyard (Bunker One), 60 Pleasance, Edinburgh, EH8 9TJ

Wednesday 2nd – Monday 28th August 2017 (not 15th), 14:15

When a fiercely independent, workaholic police officer finds herself on the street where her brother once lived, she is propelled back to her vibrant childhood and forced to confront his tragic suicide. Flooded with memories of the times they spent together, she remembers the wonderment with which she used to see the world. Replay is an intimate, moving and

ultimately uplifting new monologue, written by Nicola Wren (501 Things I Do In My Bedroom) and brought to you by Edinburgh Fringe favourites DugOut Theatre (Swansong, The Sunset Five, Fade, Inheritance Blues). What was the inspiration for the performance? I am really interested in idolisation – whether that be in a religious context, celebrity worship or hero-worship of a loved one. I wanted to write a play that captured, in some way, what happens when you discover that something, or someone, you have believed in your whole life isn’t what you thought at all.  Does that person or thing that brought you so much joy and happiness in the past have to be totally eradicated from your life, or is there a way of accepting and embracing the good things that came from it and moving forward? I wanted to write an intimate and personal story about a woman who lost her adored older brother to suicide when she was very young, and how that impacted the decisions she made moving forward with her life. We meet her at the point of her major inner battle where she has to decide whether to continue to ignore her past, or embrace it and allow the memory of him to live with her, even though the relationship, as it was, is gone forever. Is performance still a good space for the public discussion of ideas? Absolutely.  You have to properly hear an opinion in order to disagree or agree with it. Performance is a powerful way of showing multifaceted sides to any argument that it’s audience may not have considered before. Also, the shared experience of watching someone bear their soul on stage can allow the audience to drop their own barriers and be open and honest about their thoughts and feelings afterwards. How did you become interested in making performance? I was always be performing as a child, making up characters and doing little ‘bits’, largely for laughs and attention, but it while I was at drama school seeing other people making work (Engineer Theatre Collective were 2 years ahead of me) that I thought I might like to do it in longer form.  I realised how stories and performance could help people to get more in touch with themselves, so I set out with the objective of making work that could make everyone in the audience feel better about the things they are embarrassed about. That being said, I also just really enjoy doing it, so it’s not entirely selfless thing! Is there any particular approach to the making of the show? Because I knew I wanted to write a very personal and intimate story, I chose to work very closely from the start with director George Chilcott who knows me very well and who I was able to be open with. We had a lot of discussion about personal loss and the aftermath of it, whether that be loss of a loved one, a break up or simply finding that your parents are seriously flawed people.  We then talked to other people about these experiences.  I thought a lot about different types of loss and was particularly interested in how we react when someone really wants to leave. I looked into how mega fans reacted to Robin Williams’ tragic suicide and wondered how that would change their perceptions of him. I had also received a poorly written business card from a rather suspect ‘spiritual healer’ who promised to heal anything including “return of a loved one” and this fascinated me. I wanted to create and story and a character that felt totally real, but include a more spiritual element. George set me the challenge of writing a first draft culminating all the things we’d discussed and what came out was a story about a cynical policewoman who had lost a brother to suicide met a spiritual healer and started to have conversations with her dead brother.  This draft was a mess, but there were a few moments in it that we clung to and then went into more exploration of this role of a police officer and what that might tell us about this woman’s personality and life experience. Police officers are supposed to represent safety and stability, but I was interested in what was going on behind the uniform. I started redrafting the play and watched a lot of Met Police documentaries to see how women of the police force conducted themselves, I was joyfully surprised to find that the female experience was generally very positive and that the there is a lot of pride from everyone within the police. I took that work into rehearsals and George and I worked with improvisation around the text and did a lot of physical exploration of the character which then fed into the script.  Music and sound is a big feature of this play and so we worked from the start with the main song, to which the character is very attached, and Max Perryment gave us some brilliant sounds to help capture the dream like, nostalgic sequences in the play. Jen McGinley came on board to design set and costume, making very simple and powerful choices that allow the audience to just focus on the story. Lastly, Tom Kitney created a beautiful lighting design. We previewed the play over six nights in London before bringing it to the Edinburgh Fringe where it will, no doubt, continue to develop. Does the show fit with your usual productions? This is only my 2nd show and, like the first, it is a monologue. The story is very different and the character is a much bigger stretch for me, but at its heart it is just a very personal story told in an intimate setting. This is the first time that I have worked with DugOut Theatre, who are known mostly for doing devised, comedy plays with music. This play is a slightly new direction for them in terms of form, but the heart of the play and the use of light humour is in keeping with their previous shows. They always make ultimately uplifting work, and this play is no exception to that. What do you hope that the audience will experience? I hope that they will feel like they’ve spent an hour with a real person going through real things and that they will have gone through various emotions of the character and leave feeling uplifted. What strategies did you consider towards shaping the audience experience? For me, the most important thing with a monologue is just being sure to really speak to the audience and connect with them, rather than just perform at them or over their heads, so I’m always working on that. It makes an audience feel fundamental to the character’s journey, which, of course, they are. This is the story of a woman revisiting her childhood, coming to terms with the significant pain of her past and finally realising that she needs to embrace the memory of her brother in order to move on with her life. Heart, honesty and humour are at the core of this moving play in which Wren explores what it is to grow up, accept loss, be vulnerable and celebrate the past, however painful. Beautifully directed by DugOut Theatre’s George Chilcott and heightened by Max Perryment’s intricate sound design, alongside Linbury Prize winner Jen McGinley’s set design and lighting design by Tom Kitney, Replay is the kind of play that will stay with you for a long time. Wren comments, I’m fascinated by the lengths people go to in order to hide pain and vulnerability, especially when they feel it’s embarrassing, ‘silly’ or insignificant in comparison to what’s going on in the rest of the world. I wanted to create a character who has, subconsciously, made life choices that allow her to avoid thinking about her feelings. As a police officer she is able to remain calm in a crisis but buried deep behind her façade is a wide-eyed little girl who desperately misses her older brother. She needs to come to terms with her past in order to move onto her future. Director George Chilcott comments, Replay is a play about loss and coming to terms with loss. It touchingly speaks to anyone who has experienced loss – be that a death in the family or a break up. Watching 501 Things I do In My Bedroom (Nicola's last play), I was drawn to the honesty and humour in Nicola's writing – she writes from the heart and, therefore, has the ability to profoundly move her audience.

from the vileblog http://ift.tt/2qMKjC4

[londontheatre]

Fresh from an award-winning, sell-out run at Edinburgh Fringe 2017, Dust by Milly Thomas (Clique, BBC3; Clickbait and A First World Problem, Theatre503), directed by Sara Joyce, now transfers to London’s Soho Theatre. Dust is a refreshing, caustic and comedic treatment of one woman’s depression, suicide and everything that happens afterwards.

A woman. A suicide. A choice. A fly on the wall. A funeral. A Bakewell tart. A life. A lie. A truth. An ending. Of sorts. Alice thinks that life isn’t worth living. So she kills herself. Sort of. She is stuck, a fly on the wall. Forced to watch the aftermath of her suicide and its ripple effect on her family and friends, Alice quickly learns that death changes people. And that death is not the change she hoped for.

Milly Thomas comments, I’m beyond excited to bring Dust to a London audience. For the show to come to Soho Theatre after the support and nurturing they have given me from the very start of my career feels like a dream come true. So much of my very favourite work have grown from this venue and I’m hugely excited for this next chapter in Dust’s afterlife.

Written using Thomas’ own experience of depression and her desire to talk more about suicide and mental health in society today, Dust is very much about life, about those who remain behind and how squeamish we are around death. How do you quantify a life? What if you lived as an arsehole but suddenly, in death, you’re a saint? And, if push came to shove, would your mother get your funeral right?

Written and performed with dynamism by Thomas herself, there’s a candour about Dust that looks the audience in the eye and dares it to either pass judgement or else be sympathetic. Alice wouldn’t be satisfied with either, one suspects, in a show where sex is a matter of life, death and much more besides (The Herald). Thomas was awarded a Stage Edinburgh Award for her performance in Dust in Edinburgh 2017.

Running time 70 minutes Twitter @dust_theplay, @sohotheatre Notes Ages 16+ Writer/Performer Milly Thomas Director Sara Joyce Producer Holly De Angelis Set Designer Anna Reid Sound designer Max Perryment Lighting designer Jack Weir

Dust Performance Dates Tuesday 20th February – Sunday 17th March 2018 Location Soho Theatre, 21 Dean Street, London W1D 3NE Box Office Tickets are available from www.sohotheatre.com

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

[londontheatre]

J. M. Barrie’s rarely performed Dear Brutus comes to Southwark Playhouse for a Christmas season in a new production directed by Jonathan O’Boyle.

Troupe presents DEAR BRUTUS by J. M. Barrie. Directed by Jonathan O’Boyle. Designed by Anna Reid. Lighting Design by Peter Harrison. Sound Design by Max Perryment. Press performance: Monday 4 December at 8pm. Dear Brutus runs from Wednesday 29th November to Saturday 30th December 2017.

“The fault, dear Brutus, is not in our stars, but in ourselves.” 1917. In a remote English village there are rumours of an enchanted wood. One of the inhabitants – a mysterious old man – invites eight strangers to stay. They all have something in common. When, one evening, the wood miraculously appears the guests feel compelled to enter. What happens there has the power to change their lives forever…

From J. M. Barrie, the celebrated writer of Peter Pan, The Admirable Crichton and Quality Street, comes this haunting drama of self-revelation. Darkly comic, and presented in a sumptuous production for the play’s centenary year, Dear Brutus is Barrie at his most magical.

Directed by Jonathan O’Boyle (Sense of an Ending – Time Out Critics’ Choice) and produced by Troupe, who return to Southwark Playhouse after their critically acclaimed production of The Cardinal (The Telegraph Critics’ Choice).

Listings Information Venue Southwark Playhouse 77-85 Newington Causeway London SE1 6BD

Nearest Tube: Borough / Elephant and Castle Performances DEAR BRUTUS Wednesday 29 November – Saturday 30 December 2017 http://ift.tt/IyHGBX

http://ift.tt/2wMftK8 LondonTheatre1.com