Remaking classic tales to be set in modern-day surroundings is generally a hit or miss affair. Maybe this is due to the apparent ‘words out of a hat’ approach to nailing the concept. Think about it, you take three hats and fill one with the names of classic stories/plays/operas, fill the second with different locations, and the third with quirky settings. Presumably, this is how director, Tony Britten, ended up recreating Verdi’s Falstaff set at a golf course near Windsor – read more.
The much anticipated Fosse weekend has finally arrived, being announced by Forward to Yesterday in the early hours of the (American) morning. We hope Fosse fans from across the globe are uniting around the, rather attractive, banner now adorning Bob Westal’s blog (pictured below) and we also hope admirers from the UK tuned in to Sky Arts’ special broadcast of Fosse, which showcases some of his the most memorable moments from his revolutionary career.
Follow Forward to Yesterday closely for more great articles about the legendary choreographer. Westal has already been refusing to let his keyboard rest easy, with several enlightening posts already adorning his site. This writer has little chance of bettering anything written there, so I recommend all readers have a read - you might learn something.
In the meantime, allow me to point you in the direction of some areas of interest for any looking to further stimulate the old grey matter with regards to the great Bob Fosse.
DeviantArt is one of my favourite places to visit on the ‘net. Think of any topic you can and type it into the search box, and the chances are that you’ll find a whole host of inspiring creations by some truly talented folk. Follow this link for some Fosse-related artwork.
Similarly, Flickr boasts some excellent images. If you are looking to dress up an article this weekend, you can hardly go wrong by using a photo or two from here - though be sure to cite the source!
If you require something more stimulating than a static image, get a quick fix of Fosse and hit this crazy link.
Finally, click this link to be taken to the ‘That is So Fosse’ group on Facebook and join up! Facebook groups are quite possibly one of the most under-utilised features of the social network, with people collecting groups with the same sense of indifference they would collect friends on MySpace. Featuring discussion boards, shared photos, videos, links, and an instant relationship with a horde of like-minded peeps, this is a resource that should not be ignored.
Well, tomorrow is the beginning of the Fossethon, so head along to Forward to Yesterday for more great articles about the famed choreographer responsible for such musical favourites as Chicago, Sweet Charity and Big Deal. Today, Bob Westal has written about Cabaret, the award-winning film of the 70s, starring Liza Minnelli as Sally Bowles – an American dancer performing at a Berlin club in Weimar-era Germany.
The Nazi rise to dominance persists throughout the film, as a subtle backdrop to the changing lives of the main characters. There are only a few scenes that explicitly show the Nazi influence, and one of the most provocative is the focus of Forward to Yesterday’s post. Click here to read the fantastic article and view the powerful video - not to be missed.
Meanwhile, on the other side of the web, Andrew Markworthy starts a discussion on the Home Theater Forum asking, what was so marvellous about Bob Fosse? If you have an opinion, leap over there and let him know!
With the Fosse blogathon only days away, we may be a little premature in presenting this little gem we found on Vox Blog Not Knowing, Not Trusting – but, we don’t mind.
The artist formerly known as Unknown and now currently known as DJ Unk (but born as Anthony Platt), has one of his most popular songs mashed up with some classic Fosse in this YouTube video.
A few weeks ago, ArtsWom first mentioned the impending Fosse Blogathon being led by Forward to Yesterday taking place on the 10th November. Well, that day is rapidly approaching and we just wanted to make sure that all our readers are well-poised to get all Fosse’d up. Ready? Good.
In a motion that may be the first of its kind, Sky Arts are lending their own support to the blogathon by airing the Fosse tribute on Saturday 10th November. This follows a personal request from ArtsWom and may very well be the first time that a national television station has had its schedule altered due to activity in the blogosphere. This is the sort of thing that would be difficult for a larger channel to manage, but which perfectly suits Sky Arts, and ArtsWom hope this kind of crossover between social media and Sky Arts is only the beginning.
The initiative, although small, makes a resonant statement about the future interaction between the internet and traditional media. In general, it has taken major industries too long to realise how their involvement in the social media can enhance rather than stifle their service. As several large American networks group together in an attempt to produce a rival for YouTube, it makes you wonder why they spent so many years fighting the video site. The same can be said for the music industry and music downloads. We think it’s great that Sky Arts is embracing the online community and experimenting with the ways they can bridge the online/offline gap.
A motion so contentious that one of the leading actors in the company has resigned, the appointment of Cate Blanchett, along with her playwright husband Andrew Upton, as joint artistic directors of the Sydney-based Australia theatre company has caused much ado in the creative community. Many have said that an acting Oscar is no qualification for directing and running a whole company.
There are obvious parallels with Kevin Spacey’s tenure in the same position at London’s Old Vic, a selection that some had serious qualms about. Arguably the doubters have been proved right, as many of Spacey’s productions have not reached the standard that was expected of him, at least according to critics, and the fear is that Team Blanchett will direct the Australia company towards a similar brink. Only time will tell, and ArtsWom is going to keep a weather eye on the situation and keep you avid readers on top of the goings on down under.
Destroyed like so many greats at an early age by the ravages of alcohol, Dylan Thomas is synonymous with great poetry, a remarkable play, and Welshness (see the official web site for in-depth biographical details). The play, Under Milk Wood remains a classic to this day, and the famous narration performed by Richard Burton (who later reprised his role in the film version) is iconic. Inspired by a holiday in New Quay (the Welsh resort, not the Cornish one), the tale of the inhabitants of a sleepy fishing village is told partly as a dream sequence. It was originally recorded for radio in 1945, but Thomas worked on the story for eight more years and delivered a manuscript to the BBC in 1954, before leaving for a tour of America. He recorded a version at the YMCA in Manhattan, but within two months he had died of alcohol poisoning. Whether this was cumulative, or the result of a drinking contest to which he had been challenged by the writer Peter De Vries (upon finding Thomas in bed with his wife) is not known (one account can be found on the excellent BBC site devoted to the poet).
Thomas’s life and death is profiled in a Sky Arts documentary, part of the Great Writers series (on air today at 1.05 pm, and Tuesday 30th at 9.05 am). It contains thought-provoking and revealing interviews with contemporaries and family members, and readings from his poems, Under Milk Wood and other works. Added to this, rare archival interview footage with Thomas is also included. The result is well worth watching for Thomas fans, or if you are just curious about the inner workings of the Welsh poet.
Can a group of people produce, rehearse and perform a play in just twenty four hours? Originating in New York (and still based there), the 24 Hour Company aims to complete this very endeavour and does so on a regular basis. They have produced over three hundred plays in nine years, and are entering their tenth season with gusto. A recent collaboration attracted performances from luminaries such as Marisa Tomei, Phillip Seymour Hoffman and Julianne Moore.
Recently the experiment was re-created at the Old Vic in London under the watchful eyes of Kevin Spacey (artistic director of the theatre) and Anthony Head. They give advice and a masterclass for the 52 hopefuls as they embark on the process. Sky Arts was there to capture the entire day from start to finish, and their documentary (showing today at 11am and Monday 29th at 5pm) follows the youngsters as they pursue their burning desire to make a career for themselves in the cut-throat world of theatre.
The point of the exercise, apart from the end performances, was to garner the talent for the Old Vic’s New Voices project, which aims ‘to support young and emerging talent, to source and develop new work for production on The Old Vic stage, and to open up the building to new and diverse audiences’. The success of the project is apparent, as the theatre has renewed the initiative and started an exchange with New York companies to expose young UK writers to fresh ideas from across the pond. See the results of twenty four hour plays for yourself in the Sky Arts documentary.
East meets West in this touring production from the human circus that is Cirque du Soleil. Preferring to focus on the performance of humans rather than animals, this company puts on many, many shows around the world which continually amaze audiences. Acrobats, tumblers, jugglers and trapeze artists provide a visual delight in this Sky Arts presentation. The dragon of the East meets the lion of the West in the Cirque’s twist on Chinese theatre, which celebrates the four elements of the world – earth, water, fire and air.
Spectacular feats of human skill and strength make this performance unmissable. The aerial magnificence, fantastic juggling and unbelievable tumbling mean that there is always something to entertain the eye. Speaking from experience (ArtsWom recently was in the audience at another Cirque show, Love, the Beatles-based Las Vegas production) there is literally never a dull moment with constant movement and distraction, and we highly recommend watching this programme.
Why not share your Cirque du Soleil experiences here?
Last night, ArtsWom had the pleasure of being part of the intimate crowd at Oxford’s Old Fire Station Studio for the third date of Milton Jones’s Rabbit In The Headlights tour, the first of his career. It represents a departure from the style he employs in his stand up slots at comedy clubs as he has more time to build a rapport with audience. Using a lot more character-based humour, Jones has the opportunity to use props to support the jokes, but these are not strictly necessary as the humour stands up for itself.
As an acknowledgment of the empty rows at the back of the studio, Jones gives a big hello to the massive party from the camouflage society, adding that they are very good at what they do. Which sets the tone for the evening. Bizarre one liners are the staple of the act and are often left unfinished, allowing the audience (admittedly educated Radio 4-listening types to a person) to complete the punch line. Jones will stand, wild eyed, while the thought processes of those watching catch up with his. Examples, you say?
‘If you are an earl, and you get an OBE, does that make you an earlobe?’
‘I was walking along the other day and on the pavement I saw a small, dead baby ghost.’ Pause, wild-eyed stare. ‘But thinking about it, it was probably just a handkerchief.’
‘Those Italians eh? Slanty eyes.’ Pause, a few titters. Laughter grows as more people get it, building to all out guffaws as Jones provides the pay off. ‘Italics! Sorry it’s italics isn’t it.’
After the show, ArtsWom was lucky enough to catch up with Jones and began by askinghow the show went:
It’s hard when there are so few people, it’s difficult to build a rapport. The other night in
Norwich (the first date of the tour) there were 300 people raring to go and it was easier to bounce off them.
We noticed there was a young child in the audience, is that usual?
Oh yes, plenty of children come to the shows. I think it’s because I’m clean (there was no swearing, nothing even remotely racy), and to be honest an audience of children is easier to work with. You can be half way through a joke and a kid will stick their hand up and ask a completely random question, which gives me the opportunity to go off on a tangent.
What was the CD player all about? (Jones uses snatches of music to lead up to some of his punchlines.)
I’m trying to make the show so that I can change the material about. I want to be able to react to the audience, and switch the running list if I think one part will fit better with the way the show is going.
So,
Edinburgh, we see you haven’t been there for a while.
Yeah, to be honest there’s no money in it, and yet it’s very commercial. You can do one or two shows a day for four weeks and make a few hundred pounds. Those guys that do massive shows, they make a bit, but a lot of it goes to the venue and the promoter.
So how do you feel about comedians like Ricky Gervais and Peter Kay selling out huge arenas?
I’m fine with that. The people who go to those shows aren’t comedy punters. They’ve seen these guys on the TV and go for their big night out. They play to a TV audience, they’re not taking punters away from comedians like me.
Where is your vast repertoire of one liners stored? Do you have a joke book like Bob Monkhouse?
They’re all written down somewhere, but in lots of books. Makes them harder to steal.
How do you deal with hecklers?
Usually the guy, and it will be a guy, has spent ten minutes thinking about what he has to say, and if you engage him in a conversation it will deflate him totally. You have time to think of something funny, and he flounders. The hardest heckle to deal with was a crying baby. You just can’t slag them off, because everyone is on the baby’s side. So you just have to say, ‘What, you thought the baby would enjoy the show did you? Are they getting the jokes?’
Any plans to transfer your radio show (Another case of Milton Jones, currently replaying the first series on Radio 4) to TV?
We’ve tried. We made a video, but it just sat on someone’s desk for years. I’d love to have a go, but it’s just too random. I mean how would you shoot a script that goes from Russia to France to
Australia? Maybe it is just too visual for TV, sounds weird but it just works on the radio, where you can imagine everything for yourself.
What’s next?
Well, the rest of the tour. I think I’m quite lucky as I think there are only a few nights I’m away. There’s a live CD coming out in November, so that’ll be nice. Anyway, I’ll let you go….
If you want to join a discussion about Milton Jones, why not go here. Or visit his website here.
ArtsWom would imagine that most readers of this blog would be familiar with Edgar Allan Poe’s, The Tell-Tale Heart – even if it’s simply through watching The Simpsons or Spongebob Squarepants, both of which spoof the classic horror story. Hopefully, in that case, you are as excited as us to learn that Steven Berkoff’s stage adaptation of the great American writer’s legendary Gothic tale of dementia and murder will be broadcast this evening on Sky Arts.
Berkoff’s adaptation of the short story was originally presented on British TV as part of the acclaimed series Without Walls and has been roundly praised by the critics – particularly for Steven Berkoff’s powerful performance.
This definitely looks worthy of a viewing, and is off particular interest to a certain ArtsWom writer who used to dare himself to read a version of this story when he was young. This particular publication of the tale included illustrations of the vulture-eyed man, which was freaky enough to ensure just a modicum of empathy for the narrator - which is worrying in itself.
Does The Tell-Tale Heart have any special relevance to you? Leave us a comment and let us now.
By the way, the rather cool-looking collage decorating this post was fashioned by Jonathan Motilall from the blog Nightlit. Click on the blue text to visit his blog.
Corrieblog and The Stage deliver us exclusive news that Ian Redford, who played Coronation Street’s Keith Appleyard, will be starring in an adaptation of the 18th Century farce, She Stoops to Conquer.
The five-part series and accompanying documentary will be broadcast next year.
The much-celebrated U.S. choreographer Bob Fosse died 20 years ago this month and, as a tribute to the highly influential figure, Sky Arts has been airing Fosse - a two-hour long collection of his most memorable performances, including such classics as Big Spender, Steam Heat and Mein Herr. Slide gracefully across to the Sky Arts website to see viewing times and discuss Fosse and his achievements by exercising the power of your clicking finger across this attractively hued text.
Meanwhile, across the blogosphere…Forward to Yesterday is preparing an almighty blogathon in honour of the late luminary, starting on Saturday, November 10, 2007. Follow this link to find out more, though ArtsWom will be following the progress of the Fossethon on these pages with a great deal of interest. In the meantime, tune in to Sky Arts and visit these two blogs for a taster of some classic Fosse:
Since the age of 17, Dan Crawford embraced the theatre, and thirty years ago founded London’s first pub theatre since the time of Shakespeare. This fascinating SkyArts documentary takes a look behind the scenes at the King’s Head Theatre, and tracks its progress from the early days, through financial and architectural traumas to now. Not only did Crawford foster some of Britain’s finest theatrical proponents, but actively sought out fresh talent, introducing to the world luminaries such as Ben Kingsley, Kenneth Branagh, Hugh Grant and Joanna Lumley.
But the King’s Head did more than simply play host to great theatre. Throughout his struggles to keep the business afloat, Crawford also took time to cosset comedic talent, Lily Savage and Ruby Wax were one time members of his stable. Not content with staging guaranteed successes, the King’s Head also saw debuts from Britain’s upcoming playwrights such as Patrick Marber (probably most well known for his screenplay of Notes On A Scandal, and his work with Steve Coogan) and Tom Stoppard.
The dogged determination shown by Dan Crawford in continually striving to introduce fresh, raw talent via the King’s Head is acknowledged in this programme, which features contributions from those who have benefited from his enthusiasm. These include Alan Rickman, Anthony Sher and Victoria Wood, and their reflections on the eccentricities of the massive personality of the artistic director are in turn amusing, touching and motivating.
If you have been to the King’s Head, why not share your experiences here.
Oh, and if you’re wondering about the fantastic photo adorning this article, that is the cash machine of the King’s Head pub as taken by Iandh - you can view more of his great images of the building (as well as other amazing sites) by viewing his Flickr gallery, here.
Sky Arts’ instructive documentary provides a look behind the scenes at the workings of this unique institution. Staff who work in the theatre, actors and experts provide the commentary for the programme, which gives the viewer a unique insight into the dramas faced by crew and cast as they put on a production of Romeo and Juliet. Also explored is the considerable education programme run by the theatre, with teachers commenting on the lectures, exhibitions and school tours that bring the original Shakespeare to the younger generation.
When it was opened to the public in 1997, the jury was out as to whether the project had been a success or not. Many were critical of the concept, unsure whether people would pay to stand in the open air to watch performances. Since then, the unrivalled triumph of the Globe has put paid to any disapproval, proving that theatre-goers are more than happy to embrace the conditions that were endured by Shakespeare’s original audiences. An appreciation of the culture in which the plays were written is evident from the considerable audience figures, who flock to be engrossed and challenged by the modern day productions.
Sam Wanamaker, the American actor who initiated the rebuild of the Globe, knew when he began the project that it had to contain a Shakespeare exhibition, and now the largest display in the world is integrated into this unique and successful art enterprise which has proven its original critics completely and totally wide of the mark. Testament to this is the continued popularity of the 16th century experience, a tribute to the vision and hard work of those that built and now run this truly remarkable theatre.
Sky Arts will be broadcasting the acclaimed Chickenshed production “as the mother of a brown boy…” The play is currently being seen by festival goers at The Fringe in Edinburgh and is making a considerable impact. Critics sampling the performance are just as enthusiastic about the company’s hour long story told dynamically in dance, music and multimedia.
“Vivid and compelling - ****” Time Out (4 stars, Critics Choice)
“A culture phenomenon” Duska Radosavijevic, The Stage
There are more reviews of a similar ilk praising the energy and relevance of the both subject matter and the manner in which it is delivered. The Story of “as the mother of a brown boy…” is one of tragedy, where Mischa Niering, a mixed raced 19-year-old Londoner is killed, hit by a police car involved in a high speed chase. Following his birth, life and death the production is made even more poignant in its challenge to issues of justice, race, identity, crime and love due to its roots in real life - Niering was a member of Chickenshed.
Sky Arts is proudly showing this affecting and vital piece of theatre, giving those unable to witness the live version a chance to see a spectacular work from the Chickenshed Company.
The production will air on Sunday, September 9th at 7:00pm and will be broadcast on Sky Arts channel 267 and Sky Arts HD channel 268.
If you can detect a faint whiff of garlic in the air, it’s because the French Film Festival UK has invaded our shores with the typically-French intention of mocking our dainty, English sensibilities and seducing our spouses. That’s just the price we p
Image from the 
Image courtesy of snagglehim at 
East meets West in this touring production from the human circus that is Cirque du Soleil. Preferring to focus on the performance of humans rather than animals, this company puts on many, many shows around the world which continually amaze audiences. Acrobats, tumblers, jugglers and trapeze artists provide a visual delight in this 
Last night, ArtsWom had the pleasure of being part of the intimate crowd at Oxford’s Old Fire Station Studio for the third date of Milton Jones’s Rabbit In The Headlights tour, the first of his career. It represents a departure from the style he employs in his stand up slots at comedy clubs as he has more time to build a rapport with audience. Using a lot more character-based humour, Jones has the opportunity to use props to support the jokes, but these are not strictly necessary as the humour stands up for itself. 
