Wishing you a happy New Year, one week on… 2016 was bittersweet. 2017 is a new hope.
Last summer I embarked upon the exciting and enlightening journey into documentary filmmaking; self-producing Access Granted, a video pilot about audio described performances in theatre.
2017 brings Access Granted version 2.0
The project originally brought together elements of my life and line of work: a foundation performing/producing/studying/working in theatre; a Masters degree in Television Production; partial-sight in my right-eye. Each factor formed the basis of my research and development (R&D) when I started looking into this niche subject area, and since creating the documentary pilot, the concept and content has evolved extraordinarily.
Audio description (often referred to as ‘AD’) is used in many different forms for various services. I won’t go into the particulars – at this point I just wish to share with you my journey and what I envision for this project. I also wish to thank a great many kind people in various guises who have helped along the way.
If you have not yet watched my documentary pilot Access Granted then I urge you to please give 20 minutes of your time to see where this project currently stands and maybe learn something new!
P. G. Wodehouse’s Jeeves & Wooster are given a renewed lease on life by The Goodale Brothers in Perfect Nonsense, fresh from its run on London’s West End.
Alice Power’s delight-filled set design, and the introduction of each element of the design as it comes into play, provides an excellent accompaniment to Sean Foley’s marvellous comic direction, delivered with exquisite choreography by John Gordon Sinclair, James Lance and Robert Goodale. Yes, that is one of the aforementioned Goodale brothers! All three actors are each superb in their physicality and characterisation.
The Hypochondriac, by Richard Bean, is a new translation of Molière’s Le malade imaginaire (The Imaginary Invalid), and co-directed by Lindsay Posner and Lisa Blair.
A highly animated play, Posner and Blair’s direction brings a multitude of fascinating characterisations to make the most of these age-old stories and bawdy universal tales: the need for attention; unrequited love; enforced marriage; being wedded for money… and so on and so forth.
“It’s a strange kind of healing that I do, getting men well enough to go back to a place where such vile things can happen to them. The ambiguity of my job.”
Nicholas Wright’s stage adaptation of Pat Barker’s Regeneration trilogy, directed by Simon Godwin, is a production to be admired. The Touring Consortium Theatre Company produce a brilliant impassioned drama about the Great War, focussing on the psychological effects of those having been injured on the front-line.
“Now you’re the only case I’ve got, and the most difficult.”
John Mortimer’s play The Dock Brief has character. That is to say, this two-man two-act play shows off a script with character in its composition; the dialogue and interaction between a failing barrister and his initially indifferent defendant.
“Oranges and lemons, say the bells of St. Clement’s.”
In this new adaptation of 1984 created by Robert Icke and Duncan Macmillan, Headlong’s innovative production is a revelation to its audience in showing the relevance of George Orwell’s novel even six decades after it was first published.