#snoo wilson

[famousdeaths]

Andrew James Wilson, better known as Snoo Wilson, was an English playwright, screenwriter and director. His early plays such as Blow-Job (1971) were overtly pol...

Link: Snoo Wilson

[mariacallous]

The discovery of alternate geometries, paradoxes of the infinite, incompleteness, and chaos theory revealed that, despite its reputation for certainty, mathematical truth is not immutable, perfect, or even perfectible. Beginning in the last century, a handful of adventurous playwrights took inspiration from the fractures of modern mathematics to expand their own artistic boundaries. Originating in the early avant-garde, mathematics-infused theater reached a popular apex in Tom Stoppard’s 1993 play Arcadia. In The Proof Stage, mathematician Stephen Abbott explores this unlikely collaboration of theater and mathematics. He probes the impact of mathematics on such influential writers as Alfred Jarry, Samuel Beckett, Bertolt Brecht, and Stoppard, and delves into the life and mathematics of Alan Turing as they are rendered onstage. The result is an unexpected story about the mutually illuminating relationship between proofs and plays—from Euclid and Euripides to Gödel and Godot.

Theater is uniquely poised to discover the soulful, human truths embedded in the austere theorems of mathematics, but this is a difficult feat. It took Stoppard twenty-five years of experimenting with the creative possibilities of mathematics before he succeeded in making fractal geometry and chaos theory integral to Arcadia’s emotional arc. In addition to charting Stoppard’s journey, Abbott examines the post-Arcadia wave of ambitious works by Michael Frayn, David Auburn, Simon McBurney, Snoo Wilson, John Mighton, and others. Collectively, these gifted playwrights transform the great philosophical upheavals of mathematics into profound and sometimes poignant revelations about the human journey.

[averycanadianfilm]

The Proof Stage: How Theater Reveals the Human Truth of Mathematics - Stephen Abbott

How playwrights from Alfred Jarry and Samuel Beckett to Tom Stoppard and Simon McBurney brought the power of abstract mathematics to the human stage.

The discovery of alternate geometries, paradoxes of the infinite, incompleteness, and chaos theory revealed that, despite its reputation for certainty, mathematical truth is not immutable, perfect, or even perfectible. Beginning in the last century, a handful of adventurous playwrights took inspiration from the fractures of modern mathematics to expand their own artistic boundaries. Originating in the early avant-garde, mathematics-infused theater reached a popular apex in Tom Stoppard’s 1993 play Arcadia. In The Proof Stage, mathematician Stephen Abbott explores this unlikely collaboration of theater and mathematics. He probes the impact of mathematics on such influential writers as Alfred Jarry, Samuel Beckett, Bertolt Brecht, and Stoppard, and delves into the life and mathematics of Alan Turing as they are rendered onstage. The result is an unexpected story about the mutually illuminating relationship between proofs and plays—from Euclid and Euripides to Gödel and Godot.

Theater is uniquely poised to discover the soulful, human truths embedded in the austere theorems of mathematics, but this is a difficult feat. It took Stoppard twenty-five years of experimenting with the creative possibilities of mathematics before he succeeded in making fractal geometry and chaos theory integral to Arcadia’s emotional arc. In addition to charting Stoppard’s journey, Abbott examines the post-Arcadia wave of ambitious works by Michael Frayn, David Auburn, Simon McBurney, Snoo Wilson, John Mighton, and others. Collectively, these gifted playwrights transform the great philosophical upheavals of mathematics into profound and sometimes poignant revelations about the human journey.

[pdj-france]

Par Rick Gonzales | Publié il y a 11 minutes Cela fait plus de sept ans que nous avons tragiquement perdu Alan Rickman à cause du cancer. Rickman était un véritable trésor, non seulement à Hollywood mais aussi dans son pays d'origine, l'Angleterre, où il a suivi sa formation d'acteur et ses débuts en tant qu'acteur, se produisant dans des productions théâtrales classiques et modernes. C'était le premier rôle de Rickman dans un long métrage, celui qui a finalement défini sa carrière, qui a été une surprise totale pour lui et qu'il a failli ne pas prendre. Alors que cela puisse sembler fou désormais, le premier véritable travail d'acteur d'Alan Rickman sur grand écran était en fait dans Mourir dur, le film dont on se souviendra peut-être le plus même après sa longue carrière. C'est quelque chose qui est arrivé quasiment par accident compte tenu de ce qu'il faisait avec sa carrière d'acteur. La vie d'Alan Rickman avant Die Hard Avant qu'Alan Rickman ne trouve sa vocation d'acteur, il s'intéressait à une autre forme d'art : le graphisme. Pendant un certain temps, Rickman a suivi cette passion pour l'art en fréquentant d'abord le Chelsea College of Art and Design, suivi d'un séjour de trois ans au Royal College of Art. Pendant trois ans, il a trouvé le réussite dans un studio de graphisme qu'il a ouvert avec quelques amis. Mais jouer était quelque chose qu'il avait fait pendant ses études et tandis que son entreprise poursuivait son réussite, Rickman commençait à avoir des doutes sur sa carrière. Dans cet esprit, il a fini par fréquenter la Royal Academy of Dramatic Art, ce qui l'a amené à devenir membre de la Royal Shakespeare Company. Alan Rickman était dans des représentations scéniques de Roméo et Juliette et A View from the Bridge, bien avant qu'il n'atterrisse sur grand écran Au début de sa carrière sur scène, Alan Rickman a notamment produit The Seagull de Tchekhov et The Grass Widow de Snoo Wilson. On l'a aussi vu dans Roméo et Juliette de même que Vue du pont. Alors qu'il gagnait en reconnaissance sur scène, faire des films ne figurait pas sur sa liste de priorités. Il a été nominé pour un Tony Award pour sa performance de 1987 dans Les Liaisons Dangereuses, qui l'a conduit à Los Angeles et une offre très surprenante. Alan Rickman devient Hans Gruber Pour entendre Alan Rickman en parler, l'idée pour lui de jouer Hans Gruber dans le film de Noël classique, Die Hard face à Bruce Willis, a été une gigantesque surprise. Rickman dit qu'il n'était à Los Angeles que deux jours avant qu'on lui propose le rôle. Alan Rickman s'est vu offrir Die Hard durant sa visite à Los Angeles pour rencontrer des directeurs de casting "Nous avons terminé six mois à New York et, je ne sais pas comment tout cela s'est passé", a expliqué Rickman en parlant de son début de carrière. "Je ne connaissais rien à LA, je ne connaissais rien au cinéma. Je suis allé rencontrer des directeurs de casting, je suis allé rencontrer des producteurs, et je crois que c'est deux jours après mon arrivée qu'on m'a proposé Die Hard. Je n'ai jamais fait de film auparavant. Alan Rickman a ensuite expliqué que lorsqu'il a lu le scénario pour la première fois, il s'est demandé: "Qu'est-ce que c'est que ça?" Il ne pouvait pas se voir dans un film d'action. Ensuite, on lui a dit qu'il devait comprendre que cette offre n'était pas quelque chose qui arrivait trop souvent, étant donné qu'il n'avait jamais été dans un film et qu'il n'était à Los Angeles que pour quelques jours. Alors, il a démarré à réfléchir au rôle. En lisant à nouveau le scénario, il s'est demandé pourquoi son personnage devrait être dans l'équipement terroriste s'il avait déjà des gens habillés comme ça. "Donc, je pensais juste que si je portais un costume et pas tout cet équipement terroriste, alors peut-être qu'il pourrait y avoir une scène où, euh, je mets un accent américain et il pense que je suis l'un des otages." Au début, Rickman ne pensait pas qu'ils l'écoutaient, c'est-à-dire jusqu'à ce qu'il obtienne le « nouveau » scénario.

C'était la scène qu'il avait décrite. De là est né Hans Gruber. L'un des méchants les plus symboliques de tous les temps sur grand écran, Gruber figure sur la liste des 100 ans… 100 héros et méchants d'AFI au numéro 46. Le magazine de cinéma britannique Empire a inscrit Alan Rickman deux fois sur leur liste des plus grands méchants avec son interprétation du Le shérif de Nottingham se classe numéro 14, alors qu'ils ont Hans Gruber assis au numéro 4. Vous pouvez voir Alan Rickman parler de sa carrière et, plus précisément, de Hans Gruber commencer aux alentours de 2 minutes dans l'interview ci-dessous. Il était très demandé en tant qu'acteur La performance d'Alan Rickman dans le rôle de Hans Gruber lui a ouvert de nombreuses portes à Hollywood. Die Hard a conduit à The January Man, Quigley Down Under, Truly Madly Deeply et Closet Land, avant de retourner dans son sac de méchant en qualité de shérif de Nottingham face à Kevin Costner dans Robin Hood: Prince of Thieves. Alors que Rickman ait signé pour jouer le rôle, il ne pensait pas que le scénario était à la hauteur. En fait, il a apporté le scénario à un ami dramaturge, lui demandant de regarder le scénario car, d'après les mots de Rickman, le scénario "était terrible". Cet ami lui a fait des suggestions pour étoffer ses répliques comme l'a fait un autre ami scénariste. Rickman a utilisé ces suggestions et a transformé un shérif assez apprivoisé de Nottingham en l'un des personnages les plus mémorables de sa carrière. Alan Rickman a continué à se produire sur scène tout en construisant son CV de long métrage. Sense and Sensibility, Rasputin et Michael Collins ont été ajoutés à sa carte de visite, tout comme Judas Kiss, Dark Harbor et Dogma. Puis vint un autre grand rôle dans sa carrière, celui d'Alexander Dane/Dr. Lazarus dans la comédie de science-fiction merveilleusement drôle, Galaxy Quest. Alan Rickman En qualité de professeur Snape dans la franchise Harry PotterLe film avait la co-vedette Sam Rockwell disant que c'était Rickman qui avait empêché le film de tomber dans le chaos, ce qui était compliqué à arrêter avec Tim Allen à bord. "Il y a eu quelques répétitions où nous avons retravaillé certaines choses assis autour de la table", a annoncé Rockwell au Hollywood Reporter. "Alan Rickman a joué un rôle très important pour être sûr que le scénario atteigne les notes dramatiques, et tout avait une logique et une raison fortes derrière cela. Il voulait que le moment du marteau de Grabthar soit parfaitement mis en place, donc il a eu cette émotion quand il l'a livré à Patrick Breen, qui est un acteur fantastique. Evidemment, il n'y a pas que Hans Gruber ou le shérif de Nottingham ou même le Dr Lazarus qui ont fait la carrière d'Alan Rickman. C'était sa performance en qualité de professeur Snape dans la série Harry Potter. C'était son rôle de mari coureur de jupons dans la comédie romantique Love Actually. C'était sa performance en qualité de juge Turpin dans la comédie musicale d'horreur Sweeney Todd: The Demon Barber of Fleet Street. Tout cela, cela dit, provient de ce tout premier rôle de long métrage en qualité de Hans Gruber. Qui sait où serait allée la carrière de Rickman s'il n'avait pas accepté le rôle ? Avec son talent, il aurait sans aucun doute eu autant de réussite, mais c'est Gruber qui a jeté les bases. Nous avons perdu un homme extrêmement talentueux quand Alan Rickman est décédé en 2016, mais nous avons certainement encore son grand catalogue de films à apprécier.

[l3tterk]

14/04/2023

Hey world! So I’m aware that I have been horrific at keeping this thing up to date and want to (try!) to amend that.

Since I last uploaded here,  I’ve been continuing going to classes and doing the typical university stuff. Rehearsing for my self tape as well.

I took part in a couple of readings of plays for the Snoo Wilson Prize at the Garage Theatre in Norwich.

One for a play I performed for a showcase for last year actually got shortlisted, so myself and most of the original cast came back and reprised our roles, this was really fun and chance to get some more acting done, which is always fun.

I went to a live interview with the Joe Russo (Avengers, Everything Everywhere All At Once, Community and… general greatness) this was really awesome and I got some great insight.

My co-director and I have also been working hard trying to get my play “Can You Keep a Secret?” off the ground, we’re on a break for rehearsals right now, but hopefully things will get moving once Easter Break is over - this is new territory for me, very exciting!

I’ve been making a lot of music as well, trying to get this EP I’ve been working on  for the last year and a bit finished (fingers crossed I’ll have something soon).

[mariocki]

RIP John Stride (11.7.1936 - 20.4.2018)

John Stride - who has sadly died, at 81 - was that rare thing in classic British TV; the star of a successful and long running cult classic who didn’t have to work his way up from guest spots and jobbing work in genre shows. Unlike, say, Alfred Burke, Edward Woodward or George Sewell (all playing leads whilst The Main Chance was on air, all with a clutch of guest appearances to their names), Stride seemed almost to come from nowhere and cement himself as a star overnight.

He hadn’t, of course. Born in London, 1931, to Margaret and Alfred, the working-class Stride had worked hard from childhood, winning scholarships to grammar schools and eventually RADA. The theatre was probably his natural home - fellow students included Peter O'Toole and Alan Bates, and Stride had a notable early role in one of Peter Shaffer’s early plays.

In 1960 he joined the Old Vic and became part of an iconic movement in 20th century drama. He played Romeo opposite Judi Dench’s Juliet in Franco Zeffirelli’s revolutionary production of Shakespeare’s tragedy, and followed the company to New York as Malcolm in Macbeth. Then it was over to The National, starring opposite Olivier and Maggie Smith in Othello, followed by the lead in Brecht’s Edward II.

Still greater was to come. In 1967, the 36 year old Stride became a part of theatre history, originating the role of Rosencrantz in Tom Stoppard’s incomparable, incredible Rosencrantz and Guildenstern Are Dead. This was a new type of theatre, a move from the socially conscious, issue-heavy work of the Angry Young Men toward something that was simultaneously more irreverent and more universally urgent. It’s testament to Stride’s talents as an actor that his performance in the role is still written about.

There were some film appearances - an uncredited part in Sink The Bismarck! (1960) and a bigger part in Bitter Harvest (1963) - as well as spots in the more respectable type of evening television (Armchair Theatre, BBC Play of the Month). The lure of TV stardom was, however, now calling.

The Main Chance (1969 - 1975) - much like it’s near contemporaries Public Eye and The Power Game - belongs to a subset of classic TV that was hugely popular at the time and almost instantly forgotten once it had finished. All three are cult successes, of course, but considering their (comparative) lengthy and successful runs, none have remained in the public consciousness like, say, The Avengers, The Champions, Z Cars etc. Perhaps its no coincidence that all three are much more rooted in realism and the everyday - it’s difficult, too, to imagine any of the three being made today. Regardless, TMC was a notable success for Yorkshire Television, running for four series over six years and filming extensively on location - including trips abroad for the third series, to the Alps and Amsterdam (a pretty rare thing for 70’s TV).

The brain child of Edmund Ward, a key contributer to The Power Game, and solicitor John Batt (credited as John Malcolm and also, apparently, the composer of the frantic theme tune), the show charts the career of ambitious young David Main. Main is a solicitor, and a good one, who decides to branch out from his London practice by partnering with the more experienced - and more respectable - Leeds office of Henry Castleton. David is a fully developed, three dimensional character - often arrogant, but often right; sometimes ruthless but usually professional; repeatedly unfeeling and hard but never cruel. It’s a wonderful part for an actor, a complex, difficult, frustrating, compelling lead. The casting of Stride was a perfect choice.

The first series establishes an enviable ensemble of stalwart character actors - John Wentworth as the elder Henry, Margaret Ashcroft as his daughter and legal partner Margaret, Kate O'Mara as Main’s dissatisfied wife Julia, Anna Palk as secretary and confidante Sarah Courtney - but its Stride who dominates. He immerses himself fully in David Main, fills the screen, burning with intensity and passion. Over the four series he sees great success and utter failure, loses everything, wins it back and loses again. He is stoic and defeated, then furious and then vulnerable. It’s a bravura performance. The show isn’t perfect - I wrote, when I was watching it, how disappointed I was in the third series (which features entirely atypical sexism and casual racism). But elsewhere it is perfect. It deals with big themes - bigotry, racism, homophobia, ablism, abuse - and almost always in a way that feels surprisingly, shockingly even, considering the era, sensitive and thoughtful. Those issues never feel forced or like token references. There is a notable episode in the final series, after a traumatic turn of events, in which Main simply breaks down and weeps. It didn’t strike me until after I’d watched it just how rare that is - even now, but especially then - to see a ‘hero’ male lead simply breaking their heart crying in a popular TV show. It’s a genuinely moving moment.

The show, as I said, has some low points - but they are never Stride’s, who is mesmerising throughout. Main grows and changes with the series, adapts and tries and fails and wins. I should add, this isn’t at the expense of the other characters either (Margaret gets one of the best, most subtle arcs of a female character in all of classic tv, as she quietly matures and develops into a very different, but equally as talented solicitor as David). Like all the best shows, by the end they feel like a substitute family. You genuinely care about David, and his terrible decisions, and his regrettable actions, and his near manic obsession with The Law.

It couldn’t last forever, of course, and in 1975 the series ended. Stride used his new visibility to secure roles in some bigger, flashier films - notable supporting roles in Juggernaut, Brannigan (1975) and A Bridge Too Far (1977), as well as a brief appearance in The Omen (1976) - but his screen career would never again reach the millions of viewers who followed The Main Chance. There was one more leading role on television - Wilde Alliance (1978) with Julia Foster, as a husband and wife detective team - as well as starring in the last of the Ghost Story For Christmas’s, The Ice House (also 1978), but for much of the rest of his career John would concentrate on the area of his first successes; the stage.

In 1982 he won good reviews for his performance as Aleister Crowley in Snoo Wilson’s The Number Of The Beast, and three years later John finally worked with the RSC, as Claudius in Hamlet. By the end of the decade he was holding his own against Paul Scofield, in Jeffrey Archer’s Exclusive. Latterly, his career was very quiet and by the turn of the millennium he seems to have retired from acting.

Although his credits are comparatively few and his name may not have the recognition of some of his contemporaries, John Stride leaves a legacy of thoughtful and captivating performances. He was married twice, first to the actor Virginia Thomas (better known by her married name, Virginia Stride), and from 1972 to the actor April Wilding. April passed away in 2003; his friends suggest that John never fully recovered from her loss. He is survived by three daughters.

[hello-robin-goodfellow]

Alan Rickman, Tracey Ullman and Ron Cook acting in the Grass Window, written by Snoo Wilson, Royal Court Theatre, London, 1983.

@amalthea9 

[ada-brewer-books-bevs]

Mechanical Failure by Joe Zieja x peanut butter whiskey

"A smooth-talking ex-sergeant, accustomed to an easygoing peacetime military, unexpectedly re-joins the fleet and finds soldiers preparing for the strangest thing — war."

I have to start this one off by explaining that, over the years, I've become agnostic about how I "read" book. Hardback, paperback, audiobook, e-reader, what matters most to me is how can I acquire it with the budget I have available (sometimes that's none, thank you local libraries!) and how I will be able to cosume it in a timely manner. My TBR pile is too damn big already, I've finally convinced myself I need to be realistic. I don't even necessarily want to say I'm a "reader" because more and more I'm listening to books. Maybe it's "book consumption"? No, no I don't need salt or pepper thanks. Regardless, I'm calling out the fact that I listened to this audiobook specifically because I enjoyed it so much! The author read the audiobook, and is also a voice actor (whose work I was already aware of). His performance really made the jokes land and drew contrast to the more dramatic moments. And the think about peanut butter whiskey is, you pour it into a regular rocks glass and people would be hard-pressed to guess you were drinking something that tasted like it peanut butter. In a silly book all about the illusion of power and gravitas, this bev selection was a no-brainer.

Also, our protagonist R. Wilson Rogers not only does not fear death by snoo snoo, but embraces and only wishes for the opportunity to get closer to his rough, tough, and buff female space marine love interest. LOVE IT 👏💯🥃

[movies-derekwinnert]

Shadey (1985, Antony Sher, Billie Whitelaw, Patrick Macnee) - Classic Movie Review 9972

Shadey (1985, Antony Sher, Billie Whitelaw, Patrick Macnee) – Classic Movie Review 9972

Anthony Sher stars in director Philip Saville’s grotesque and repellent 1985 British black comedy Shadey about a broke car mechanic, Oliver Shadey (Sher), who uses his mind-reading powers to pay for a sex-change operation.

Fine stage actor Sher struggles with the title role, laughs are at a premium in Snoo Wilson’s screenplay, and, in a remarkable cast, only Katherine Helmond makes a mark as a…

[joelamberti]

Jan. 2019 // Month in photos

Sgt. Jose Burgos pauses for a moment at the casket of Vietnam veteran Peter Turnpu as several hundreds gather for a funeral Friday, Jan. 18, 2019 in Wrightstown, N.J.

Aidan Peterson is seen in a reflection playing taps as a funeral is held for Vietnam veteran Peter Turnpu Friday, Jan. 18, 2019 in Wrightstown, N.J.

Vietnam veteran Peter Turnpu is laid to rest Friday, Jan. 18, 2019 in Wrightstown, N.J.

A man walks along Dr Martin Luther King Blvd Friday, Jan. 11, 2019 in Camden, N.J.

A woman carries her baby at Broadway and Dr Martin Luther King Blvd Tuesday, Jan. 15, 2019 in Camden, N.J.

An American flag is posted on an abandoned shed on Dr Martin Luther King Blvd Tuesday, Jan. 15, 2019 in Camden, N.J.

Janice Wright, director at Camden Day Nursery Tuesday, Jan. 15, 2019 in Camden, N.J. Wright has worked at the nursery for over 40 years, located by the intersection of Dr Martin Luther King Blvd and S 4th St.

Tyra Wilson of Sicklerville checks on her 19-day-old baby Princess Jackson, during a demonstration of the new SNOO Smart Sleeper Tuesday, Jan. 15, 2019 at Jefferson Washington Township Hospital in Sewell, N.J. The bed is designed to help infants who are suffering from withdrawal symptoms after being born dependent on opioids. (Princess is healthy and was only used for demonstration purposes)

[liberalcom-blog]

Thelemic Magic XC (1994): Being the Proceedings of the Ninth International Symposium of Thelemic Magick (Carfax, Oxford)

https://liber-al.com/?p=24381 Various authors including Snoo Wilson, Steven Ashe, Shantidevi, Robert Ansell, Michael Staley, Jan Fries, Steve Nicholls, Dave Lee, M C Medusa and Svapnamatadevi Mandrake of Oxford/Golden Dawn Publications, Oxford, UK, 1995. First Edition. Paperback. 84 pages plus adverts. This book contains the proceedings of Thelemic Magick's 1995 symposium. It brought together magicians working with the thelmic tradition on topics and themes of interest to thelmic and other magicians. The discussions include talks on Aleister Crowley, the cult of LAM, Enochia, and Chaos Magic. Wraps edgeworn and soiled,light stain to the edges of the first few pages, otherwise Very Good. Being the Proceedings of the Ninth International Symposium of Thelemic Magick 22nd October 1994. Papers and workshops by Snoo Wilson, Steven Ashe, Shantidevi, Robert Ansell, Michael Staley, Jan Fries, Steve Nicholls, Dave Lee, M C Medusa and Svapnamatadevi. The Thelemic Symposium was cooked up by a couple of hung-over Thelemites back in 1986. It is hosted by the Oxford Golden Dawn Occult Society, which is a non-sectarian magical sodality that shelters within its ranks magicians of many diverse kinds. The symposium is an annual event that brings together magicians working within the thelemic tradition on topics and themes of interest to thelemic and other left hand path magicians. The printed talks in this volume give a useful snapshot of what these interests are. There is an essay on Aleister Crowley, the founder and continuing inspiration to the movement. This was written by an influential playwright Snoo Wilson and broadcast on Channel Four television last year. There are also talks on the magical work that occupies the modern magician  Invocation of the Holy Guardian Angel, the Cult of LAM, Enochia, Chaos Magick, Devotion to Babalon and the sorcery of Austin Osman Spare. #aleister-crowley #DaveLee #enochian-magic #golden-dawn-and-rosicrucianism #JanFries #kenneth-grant #MCMedusa #MichaelStaley #RobertAnsell #Shantidevi #SnooWilson #SteveNicholls #StevenAshe #Svapnamatadevi #thelema #typhonian #women-in-the-occult

[londontheatre]

Strangers on a Train

A major new production of Strangers on a Train is set to steam into theatres across the UK next year. The masterful and gripping thriller is based on the taught psychological drama by the celebrated writer Patricia Highsmith (The Talented Mr Ripley, Carol), immortalised by Hitchcock’s Academy Award-winning film.

Opening at Brighton’s Theatre Royal on 5th January 2018, Strangers on a Train is presented by Ambassador Theatre Group and Smith and Brant Theatricals, and directed by Anthony Banks – the team behind the critically acclaimed and phenomenally successful tour of Patrick Hamilton’s Gaslight.

Casting is led by John Middleton (Detective Arthur Gerard) who left Emmerdale earlier this year in a deeply moving storyline, having played the village’s beloved Vicar Ashley Thomas for over 20 years.

Christopher Harper – currently appearing on the nation’s screens as Coronation Street’s Nathan Curtis in the show’s explosive grooming storyline – plays the charismatic and manipulative Charles Bruno, a psychopathic playboy who has a chance encounter with a troubled stranger, Guy Haines (played by Jack Ashton, Call The Midwife). Hannah Tointon, starring as Guy’s fiancé, Anne Faulkner, is famed for her roles in Mr Selfridge (alongside her sister, Kara), The Inbetweeners and Hollyoaks.

A fateful encounter takes place between two men in the dining carriage of a train crossing America. Guy Haines is the successful businessman with a nagging doubt about the fidelity of his wife. Charles Bruno is a cold, calculating chancer with a dark secret. A daring and dangerous plan develops from this casual conversation, setting in motion a chain of events that will change the two men’s lives forever.

Strangers On A Train was written by Craig Warner and based on the world renowned 1950 novel by Patricia Highsmith, latterly made universally famous by the classic Alfred Hitchcock film. In the great tradition of Hitchcock, this spine-chilling tale will delight audiences with its marriage of dark wit and edge-of-the-seat tension.

Director Anthony Banks’ credits include this year’s hugely successful production of Gaslight starring Kara Tointon and Keith Allen, as well as Dennis Kelly’s DNA (National Tour); Bryony Lavery’s Cesario and More Light, Lucinda Coxon’s The Eternal Not and Michael Lesslie’s Prince of Denmark (National Theatre); Snoo Wilson’s Pignight (Menier); Mark Ravenhill’s The Experiment (Soho Theatre & Berliner Ensemble); Tennessee Williams’ The Hotel Plays; Patrick Marber’s After Miss Julie (Theatre Royal Bath & National Tour). Anthony was an associate director at the National Theatre until 2014 where he commissioned and developed one hundred new plays for NT Connections.

2018 TOUR DATES

5 – 13 January 2018 Theatre Royal, Brighton http://ift.tt/1ieQEKL

15 – 20 January 2018 Lyceum Theatre, Sheffield http://ift.tt/Z3Lm6I

22 – 27 January 2018 Theatre Royal, Glasgow http://ift.tt/2jQEqkB

29 January – 3 February 2018 Birmingham New Alexandra http://ift.tt/2xt2rmz

5 – 10 February 2018 Opera House, Manchester http://ift.tt/2jRLHk7

12 – 17 February 2018 New Victoria Theatre, Woking http://ift.tt/2g28GT0

19 – 24 February 2018 Richmond Theatre, Richmond http://ift.tt/1hmAboa

26 February – 3 March 2018 Arts Theatre, Cambridge http://ift.tt/2xtfsws

5 – 10 March 2018 Grand Opera House, York http://ift.tt/2iPbUKA

19 – 24 March 2018 Aylesbury Waterside Theatre http://ift.tt/2xtQygn

27 – 31 March 2018 New Theatre, Cardiff http://ift.tt/Ye1iY3

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

[awomaninvisible]

The story of Alan Turing: Genius. War hero. Deviant.  Awoken from his deathbed by his favourite childhood teddy bear, Turing is led by the hand through the journey of his life, from glowing academia to New York drag bars, from triumph to disgrace. Snoo Wilson’s Lovesong of the Electric Bear is an epic, psychedelic and …

Cast: ALAN TURING: Ian Hallard

Ian Hallard @IanHallard ·  20 hours ago

Move over, Benedict. It’s my turn to have a go. ;)

The Hope Theatre; a 50-seat venue above the world famous Hope and Anchor pub on Islington’s Upper Street.