Plays of the Future – A Ticket Lottery
Like a lot of things in life, buying a theatre ticket is a bit of a lottery. Advance publicity is such that it’s quite possible to be made aware of productions months, or even sometimes more than a year, before the first night. So the question arises: How far ahead are you prepared to commit yourself? Do you plan holidays, weddings and other major events in your life before or after buying theatre tickets?
And of course, buying a ticket for a play is quite akin to buying the proverbial pig in a poke. You may find that the tickets you’ve looked after for so long turns out to be for a performance that you feel like walking out of at the end of the first act. You never know.
Much of the long lead-in time to many plays is because of the hectic schedules of the many TV and film stars who feel their acting career is not complete without treading the boards of the London stage. The pulling power of these celebrities is inestimable; they frequently perform for what is for them a low wage, yet the run is likely to be sold out and sold out very quickly simply because their name is on the bill. No wonder theatre producers are anxious to acquire their services. The Young Vic website faltered and tickets were sold in record time when it was announced that Gillian Anderson was to play Blanche Dubois in ‘A Streetcar Named Desire’. Martin Freeman, of Sherlock and Hobbit fame, has attracted adoring audiences to his portrayal of Richard III at the Trafalgar Studios. And apparently, visitors to the Barbican website were told that there were about number 30,000 in a queue when they attempted to buy tickets to see Benedict Cumberbatch as Hamlet more than a year ahead!
And with the rise of star power in the theatre has come the inexorable rise of ticket prices. To be fair, non West End houses have shown a little more restraint in their pricing (although it must be remembered that theatres like the National are lucky recipients of subsidies), but even community theatres like the Almeida, Hampstead and the Tricycle have had a considerable price hike. Whereas it doesn’t seem that long ago it was only for lavish musicals theatres charged £50 or more for a top-price seat, this is now, more often than not, the second or third tier price level for the majority of performances in the West End. And at a recent Kevin Spacey one-man show about the American lawyer Clarence Darrow, the top-price seats were over £100! This to me does seem rather disproportionate considering what you could get for that princely sum. When you add to the price of a ticket the extras entailed with a night at the theatre, travel there, eating out, then you wonder why so many people choose to go to the theatre at all.
Yet a recent poll revealed that more people go to the theatre than to football matches and that attendances by a younger audience is on the rise. And all over the country there’s always the option of going to smaller, fringe venues where the quality can often be high and the prices low. Paying a fortune for a performance doesn’t guarantee a brilliant experience, and you can be awestruck when you’ve spent just a few pounds on a theatre ticket. As I said, life’s a bit of a lottery!
Jeannette Nelson, arts critic with special interest in theatre
Blink and you’ll miss it: A Unique Happening at THE PRINT ROOM
One of the most happening new venues for art, fringe theatre and performance in London, The Print Room in Notting Hill offers provocative and challenging spectacles and sounds.
Currently showing is Triptych by Opera Erratica: three short operas performed against a rich backdrop of projection and design installation by artist Gavin Turk.
Although unrelated, each piece is unique and touching, beautifully performed with great humour and humanity.
Having been treated to an oblique opening act featuring disrobing erotic nuns with voices like angels, Triptych follows with “The Party”, a hilarious and daringly original piece which plays out fantasy relationships from an English Language Teaching record, which deconstructs a suburban 1950s dinner party !
The final piece tells the strange story of the disappearance of an architectural photographer and combines projections of his photographs paralleled with reference to Hopper’s painting. It is poetic and tragic.
Director-librettist Patrick Eakin Young, sound designer composers Thomas, Christian Mason and Christopher Mayo, with singers Catherine Carter, Lucy Goddard, Callie Swarbrick, Kate Symonds-Joy and Oskar McCarthy seamlessly and skilfully combine opera, sound, physical theatre and dance with oblique storytelling with uncompromising inventiveness.
The Print Room was reinvented just two years ago as an art and performance space by Anders Winter and her small dedicated team. The theatre seats only 80 people with an adjoining exhibition space. Past spectacles include Alice Anderson’s performance art and installations, FLOW a contemporary ballet performed in a pool of water, and other surreal musical repertoires with storytelling.
I have been amazed and moved by the creativity and uniqueness of my experiences there.
Go while you can: the performance is only running for only a few days and (rumour suggests) the building may be sold in the near future.
Blink and you’ll miss it.
On until the 7th June 2014 www.the-print-room.org
Tel 020722216036
Anne Tilby Jones, Trash Factory
Winter Culture in London – theatre, art and literature
The still balmy days of autumn mean that the hot, sunny days of summer are not yet a distant memory, but promises of imminent cooler weather are a reminder that winter is not a distant prospect.
So now’s the time to shake out the winter woollies and consider options for the darker, shorter days.
Perusing the listings online and in the press, one word resonates in my head: Vienna. Perhaps it’s because this is the city my parents hailed from, but undeniably, it features in various aspects of culture this season.
First, and most obviously, is the exhibition at the National Gallery in London entitled Facing the Modern – The Portrait in Vienna 1900, which is showing from 9 October 2013 to 12 January 2014. Check it out on www.nationalgallery.org.uk and if it appeals, go and luxuriate in the works of Klimt, Schiele, Gerstl et al.
The second, perhaps more oblique reference to that once powerful city centre of empire is perhaps more problematic to see. It’s the production of Hysteria by Terry Johnson who also directs what I believe must be the definitive version of his 20 year old witty and intelligent play. Unfortunately, it is only playing until 12 October, but tickets have been hard to come by throughout its entire run. This is largely due to the critically acclaimed performance of Anthony Sher as Freud, the pioneer of psychoanalysis. An added frisson is that the action takes place not in his famous Berggasse rooms in Vienna but in his consulting room in Hampstead, a matter of a few hundred yards from the theatre itself. Unbelievably, the play treads the difficult line between farce, surrealism, intellectual debate and the Holocaust with extreme dexterity. One minute you’re laughing (especially at the mention of a ‘Freudian slip’ referring to an item of underwear), the next you sit back in your seat in shock and horror. It is a play that only ever so often is revived; catch it if you can. Meanwhile, if you’re in that part of London, why not visit the Freud Museum in Hampstead, where the Bergasse is recreated in minute detail and includes the famous couch www.freud.org.uk.
My final reference to Vienna is cheating a little, as it concerns a book written about 50 years ago that I came across recently via the BBC website. In the run-up to the centenary of the start of the first World War, there apparently had been a piece on the Today programme about the fact that in the year running up to the shooting of Archduke Franz Ferdinand in Sarajevo, Vienna had been home, albeit temporarily for some, for several well-known figures: Freud, obviously, but also Stalin, Hitler, Trotsky and Tito. At the end of the website report, reference was made to the aforementioned book, Thunder at Twilight by Frederic Morton, and a trawl through Amazon secured me a second-hand copy. It makes utterly fascinating reading and has been passed on to several relatives and friends who have all been enamoured by it. Check if your library can get you a copy, the origins of ‘the war to end all wars’ have never been more clearly explained to me.
Which leads me to mention a production that has not yet started, although tickets have been on sale for a while already. The Theatre Royal Stratford East, created by the grande dame of people’s theatre Joan Littlewood, is reviving its production of Oh What A Lovely War! to mark the centenary. It’s comforting for me to know that nestled in the new buildings, immense shopping centres and the Olympic stadium, this theatre, one of the oldest in the capital, can still put on plays that wrestle with the conscience. It’s playing from 1 February 2014 to 15 March 2014. Check it out on www.stratfordeast.com
Jeannette Nelson, Arts Critic A bit of a culture vulture, Jeannette enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
Merrily We Roll Along at the Menier Chocolate Factory, Southwark
Now it has been revived at the Menier Chocolate Factory in Southwark, home to most of London’s theatres in Shakespeare’s time and becoming a popular theatrical area again in the 21st century. Starting in 1980 (around the time it was written) it adopts the novel approach of running the story backwards. So we first meet the central three characters, friends from 20 years back, as their lives have become jaded and all youthful enthusiasm and joie de vivre has ebbed away. As the years count back to 1957 (and in particular to the launch of the Soviet sputnik satellite) we see how different ambitions and accidents of life have formed their character and driven them apart. Why backwards, you may ask? Well, it certainly concentrates the mind and makes the audience more aware of changes that have happened, in contrast to the rather lazy way the mind follows events in chronological order.
The production values at the Chocolate Factory are extremely high. Although there are three central lead players, this is definitely an ensemble piece and everyone pulls their weight and expresses music, lyrics and emotions to the full. The balance between the orchestra and the actors is spot-on, something that is not always the case at the fringe, and the whole experience is mesmerizing and absorbing. The run has been extended by two weeks due to extremely high demand, so you now have the opportunity to see this until 9th March. There are also rumours that, like several Chocolate Factory productions before this, it may transfer to the West End and possibly even Broadway. If you are a Sondheim fan, you probably don’t need any more persuading to go; if you’re not, this could well be the one to convert you!Jeannette Nelson, Arts Critic A bit of a culture vulture, Jeannette enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.Want to Brush up on your History? Visit the Theatre!
Some plays have an obvious historical content, Shakespeare’s histories for example. But currently showing in London are some whose titles belie the history lesson you’re about to receive. And here are some examples.
Adrian Lester
Move forward a couple of centuries and, for the next play, the audience finds itself in 19th century London, bookended by two short scenes that take place in Poland some 30 years later. Red Velvet is currently playing at the Tricycle Theatre in Kilburn. Written by Lolita Chakrabarti and starring her husband Adrian Lester (Mickey of Hustle fame) it tells the story when the legendary English actor Edmund Kean is taken ill and his role as Othello is taken over by a black American actor, Ira Aldridge; his style is considerably more avant garde than that of the English cast, with their ‘teapot’ acting techniques (imagine the item and then the comparable actor’s stance), with the majority of the cast using this as a ready-made excuse to display their prejudices. And all this is set against the background of the Abolition of Slavery Act. Despite the efforts of the radical French producer of the play, the English press is clearly not ready for this, and as a result of damning criticism of the play and his acting style, Aldridge never appears on the London stage again. A final note: Lester will be taking on the role of Othello at London’s National Theatre next spring.
Charles Edwards and Julian Wadham Photo by Johan Persson
The final play I’m writing about is This House at the National Theatre. It’s currently showing at the flexible Cottesloe space with the downstairs seats arranged as in the House of Commons. The play tells of the five years of knife-edge Labour government between 1974 and 1979 – knife-edge because with wafer thin majorities, they only hung on by the skin of their teeth and by ferrying in ‘walking wounded’ and those almost at death’s door for crucial votes. The main focus is on the whips’ office, a topical subject in the ‘pleb-gate’ context, and the wheeler-dealer shennanigans necessary to retain power. As with so many productions at the Cottesloe, it’s currently sold out; however, the good news is that it’s transferring to the large Olivier stage at the National in the new year.
Jeannette Nelson, Arts Critic A bit of a culture vulture, Jeannette enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.Hollywood Costume opens Saturday at the V&A!
The world of costume according to Tilby:
The Queen starring Helen Mirren in the title role
This show is a stupendous retrospective and archive of costume memorabilia from one early film to the present day. A “must” for film and theatre makers and buffs … there are over 130 outfits displayed which have taken five years to gather.
The montage and audio visuals are stunning and innovative – collating interviews, discussions, anecdotes and drawings as well as the outfits. The curators and their team have used everything creatively to bring the exhibition to life – projection, screens, montage, props, drawings , lighting fx, interviews and script experts, emotive film scores heighten the experience.
(I “did” the exhibition backwards as the press were spilling out into the corridor so I had a good view of everything!)
I have worked as a designer for film, opera and tv for several decades, and enjoyed the reaffirmation that the design is about creating character and helping to bring that character to life.
It is very different to the world of fashion.
Spielberg sketch
Ultimately the two worlds overlap when the audiences fall love with or are moved by the characters in a story and that character becomes a symbol or is iconic and influences the world of fashion.
The interpretation of period costume in films is often combined with the spirit of the time in which it is made giving a twist to the genre. Yet the overall result should be to advance the drama.
That is the motivation and the raison d’etre of design for stage and film.
The story is paramount and the starting point of any movie and so unfolds the characters and the humanity.
Charlie Chaplin’s suit
A curator told me that she was moved to tears when she saw Charlie Chaplin’s suit.
When I am researching a design or costume project I often go and look at garments to see how they were made and to study the tailoring but for me this exhibition is not about the technique and the tailoring of the costumes but about the characters and the motivations – the association is far more important.
The associations and emotions from the memory and iconography in these films have become so closely entwined … I defy you not to be moved by seeing and experiencing many of these characters and “revisiting” them !
A very enjoyable and experiential exhibition.
Anne Tilby Jones, Contributing author, film, opera and tv designer
Networking Actors’ Club
Christopher Parker and Elliot Jordon
The acting profession has always been a precarious one, but such is the passion for it that many youngsters embark on this career path despite knowing, or perhaps ignoring the fact, that any success at all let alone mega-stardom may never be attained.
I recently attended the launch of the So & So Arts Club, whose aim is to help and support aspiring and established actors and others involved in the theatre business. It’s basically a networking club which for a modest annual fee of £30 also offers free advertising for shows, professional workshops and seminars and concessions on tickets and rehearsal and performance spaces.
But the networking is the main thing and this was clearly manifested at the launch. The room positively buzzed with the ‘hi’s’, ‘how are you’s’ and shrieks of recognition as the mostly young crowd met and greeted non-stop. Fuelled by the bar (and a welcoming free drink), the optimism and confidence was palpable. Many were dressed up to the nines and no-one was more enthusiastic than the club’s founder, Sarah Berger. In her welcoming speech she gave the answers to so many dreams, outlining what the club was designed to do and what it already has done.
Sean Baker, Daniel Casey and Jean Marsh
I engaged in conversation with a few obviously talented members. One, a guy called Nathan, had come from Malta to study at a drama school in West London. He must have had talent at his auditions because he also had been offered a place at a school in New York. Since graduating, he had done some radio work, some adverts and a number of performances, but confessed that to keep body and soul together his main occupation was that of a waiter. This must have been true of so many of the bright young things in the room. Those actors that make it big are such a tiny proportion of the profession, and although acting in modern times is no longer restricted to the stage, with television, radio and the internet offering more outlets for talent, the increase in numbers competing for jobs has probably meant that there is still around 80% out of work at any one time.
Yet how many become disillusioned? Not many, I’ll warrant. There are not many professions where there’s such determination to carry on despite all the knockbacks. And thank goodness for that, as my life like so many others would be much the poorer without theatre and those that create it. Some might argue that in a time of recession the arts are not a top priority. I would disagree with that. When life’s hard, there’s a real need for its more esoteric side, and the pleasure theatre and the related arts give is immeasurable.
Dwina Gibb and Sarah Berger
I wish Sarah Berger and her new venture, the So & So Arts Club, every success, its aims are laudable and should, in many practical ways, help those struggling to find their way to the top – or even the middle! In a currently rather dreary and pessimistic Britain (with the exception of course of the life-affirming Olympics) it would be nice to think that all the enthusiasm that manifested itself at the club’s launch will continue unabated throughout many of the potential theatrical careers.
Jeannette Nelson, Arts Critic A bit of a culture vulture, Jeannette enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
Get your Culture Fix – London UK Summer 2012
Welcome break, Trafalgar Square
As I type, two major forces are in the frame for affecting traditional summer cultural activities: the Olympics and the Para Olympics, and the good old British weather! Though, of course, the effect up to a million predicted tourists per day in the capital will have on the transport systems is yet to be witnessed and may well show the cries of chaos to be exaggerated. And as for the weather, well, it may be wetter and greyer so far this spring and summer than in living memory, but the resilience of the British character keeps shining through – the rain-sodden Thames Pageant to mark the Queen’s Jubilee showed that!
Oxford Street, London
Christiane Kubrick Wife of the late Stanley Kubrick Exclusive Interview + Book Giveaway
Christiane Kubrick at her easel
Last century, there were a few film directors who rewrote cinema. Apart from London-born Alfred Hitchcock, geographically the closest to South East film buffs was Stanley Kubrick, New York born but happily settled in Childwickbury, just north of St Albans, for many years before his death.
Known as an obsessive who valued his own privacy and space above all else – his classic A Clockwork Orange was withdrawn from circulation for many years in the UK because he didn’t want to engage in discussion about its potential for social harm – it’s hardly surprising that this silent iceberg of a talent had the potential to overshadow his talented wife, German-born Christiane.
Life is always hard for the lesser-known partner in a well-known relationship. Whatever their achievement, they always face the danger of being just a footnote to a more famous life. However, Christiane Kubrick has always done her own thing and has gained an international reputation as an artist to boot.
Descended from a melange of theatre directors, actors, writers and musicians, Christiane’s parents were opera singers and encouraged her into a career in the theatre, although her impulse was always to paint. However, she found early success as a dancer and actress – this included leading roles in theatre, radio, TV and film productions, when she was seen by Stanley who cast her in the only female part in the film Paths of Glory.
But the desire to paint never left her. Despite family commitments, she continued painting, studying at UCLA, the Art Students League in New York and at St Martin’s School of Art in London.
Then, following a family move to the UK in the 1960s, she began to exhibit – the Cork Street Galleries the Grosvenor Gallery, the Drian Gallery and the Mercury Gallery. Later, Christiane was elected Chair of the Women’s International Art Club, founded with a legacy from suffragette and artist Sylvia Pankhurst to defy a law that prohibited women from exhibiting their paintings. And she was also chosen four times for the Royal Academy Summer Exhibition.
At the same time, her work appeared in her husband’s films – in a curious mirror image of wardrobe designer Shirley Russell’s contribution to her husband Ken – as well as in works by Steven Spielberg, on a CD cover design for cellist Alexander Baillie and the cover for a novel by Gabriel García Márquez. Her paintings have been widely collected in the USA and Europe, with both prints and posters published, first by Athena Fine Art Posters and latterly by the Bentley Publishing Group. Many are reproduced in a series of fine art books in Japan and in 1990 a selection was published by Warner Books in a book Christiane Kubrick Paintings* selected as Art Book of the Year on American television.
Enough? No, there’s more! In keeping with the theatrical tradition in her family, she designed the sets for the Palace Opera’s successful production of Hansel and Gretel which was chosen by the Queen Elizabeth Hall in London to be its Christmas Show for two consecutive years.
That experience of theatre design led her to use an Apple Macintosh computer and the computer program ‘Painter’. She now uses these as a complement to her painting and also as a tool in her multimedia projects. Her recent activities include exhibitions for Art in Action at Waterperry (Oxon) and Open Studios (Herts).
She teaches regularly at workshops in Hertfordshire and Shropshire, as well as exhibiting and selling her work over the web.
Remembering Stanley
So, that’s Christiane Kubrick – artist, creator, woman, mother. Ask her about Stanley and you get the stock response: “As and when the time comes that I feel I must say more, I will.” But that’s no problem – she’s a fascinating force in her own right. And she demands, in the nicest possible way, her own identity as an artist. “I don’t know whether Stanley wrote anything about my painting,” she says. “He might have mentioned it when he used my work in his films, but I’m afraid that’d be too long a search!”
Let us then take Christiane Kubrick as her own person, an artist of substance – ironic, humorous, whimsical but full of substance.
Here she is in conversation with In Balance magazine in 2007
IB: Have you always painted?
CK: I have painted all my life, I have painted professionally, from the age of 25 – before that I needed to learn how to draw. I come from an extremely theatrical family, so that’s all I ever really knew, opera and stuff. And I had a puppet theatre from day one it seems to me and I repainted the puppets and I learnt how to sew, I really learned painting, sculpture and sewing and all that in my wish to build the theatre and I made sets – sadly I don’t have them any more because the early ones must have been very funny.
IB: That was important to you?
CK: I know I gave it everything I had and I started to play with electric lights and water – nearly killed myself!
When I think hard, because the children have asked me about these things, I think it was when I had all the childhood diseases. When I had scarlet fever I remember just doing the theatre for weeks – that’s why I think I was better in class at drawing than the other children, just simply by doing it all the time.
Later I studied at St Martin’s School of Art and wherever I could in between babies and stuff!
IB: You’re German. What’s your background?
CK: I was born in 1932 in Braunschweig, a town in North Germany. I then lived in many different places as my parents were opera singers. Later, I was evacuated and I lived in my Nan’s relatives house in a brickworks, in the countryside. Then I lived with lots of other people after the war and went to boarding school.
I was 23 when I met Stanley and we got married a year or so later. I had been married before – criminally young – and had my eldest daughter, Katherine, in Germany before I went to the US. Stanley and I had Vivien who lives in California and Anya**.
IB: Moving to your paintings, the colours you use are very vivid, strong. Are they what you see or what you’d prefer them to be?
CK: I tend to see the world in bright colours, but now I’m longing to use more muted versions. I hope it comes not from growing older but from being more sensitive.
IB: So your style changes …
CK: Yes, it goes in phases. It’s a bit like handwriting – one day you write and it looks okay and another day you think how beautiful and neat it looks. Seems to be true of painting too.
IB: Do you sell most of your work?
CK: Well, it goes in waves, I sold very well at first on the Internet but that was because I was riding on Stanley’s coat tails and when he died lots more people looked me up, otherwise I think I wouldn’t be looked up that much. So that was good for sad reasons. It seems to have evened out. I sell at ‘Art in Action’, I sell to people who collect my work – overall I have sold a little over half my work. Of course, when I was young I sold them very cheap and I sold lots!
IB: Away from art, what makes you angry?
CK: The war in Iraq, but it’s not something I want to speak publicly about …
IB: What don’t you want to talk about when you’re asked for interviews?
CK: Some journalists are very clever and they surprise you. I hate that perplexed moment when you gush out the first thing that comes to your mind, or you are dumbfounded and you say nothing. Either way you look a fool.
IB: What sort of things?
CK: There were a lot questions about whether Stanley minded my being German – that kind of thing. People just assume that you’re a kiss and tell person – that’s insulting. I didn’t want to appear to be an idiot – it was that very thing that Stanley was afraid of with the press. He said that you do your very best, you work very hard and you only show the stuff you think is really good and then in an interview it’s undermined by nervous babble. He only wanted to talk about things he had considered carefully. He didn’t think he was quick witted enough to cope with intense interviews.
IB: Of course, you were married to Stanley and supported him. But what did you personally think of his films?
CK: I liked all his films, each one in its own way as they were very different from each other. As a painter I liked very much Barry Lyndon and 2001 – I liked the last one very much. Perhaps I felt the least connection with Full Metal Jacket where the topic was more alien, but I thought that was a good film as well.
So much time was spent on each one they represent whole periods of my life and I don’t have a favourite film. It depends on my mood at the time.
IB: He worked at home, though? So you were involved?
CK: He worked at home and prepared the film at home. It usually started when he read a story he really liked and he would talk about that particular story and how he could make it. Then, if it was really something he thought would work, he would make a budget and work out the casting. It took a long time to do it carefully and he enjoyed the preparation enormously. The driving force was a longing to see the story on screen.
IB: So you knew everything that was going on with his films while he was making them?
CK: Yes, because it happened at home.
IB: What did you learn from him?
CK: I learned from Stanley that you had to be thorough and patient, not self indulgent. He was good at putting different hats on. He was producer, business man, director. One instance I can remember was where he really liked a particularly long scene. He said “I think it’s particularly wonderful but it’s too long. It doesn’t help the whole enough for me to put it in.” And he whittled away at it. Often it was very painful to let go of something he thought was really good and he’d put it in, take it out, suffer in other words, but he also expected to do that. Paintings are slightly more protected because they will be there no matter what. The worst thing that could happen is I don’t sell but there are no other people pulled in, no one else suffers and the whole thing doesn’t collapse because I do a lousy painting. Film is different, it is so big and expensive. It needs ability and endurance to succeed, only a few people can do it, and Stanley did.
Val Reynolds Brown & Dave Reeder
1. Christiane Kubrick at her easel © Pintail Media
2. Remembering Stanley © Christiane Kubrick
** Died 1999
August 2011:
I met Christiane recently when she generously offered a copy of her book to give away to an In Balance reader
If you would like to enter the prize draw send an email to editorinbalance@me.com with Christiane Kubrick Paintings in the subject box and your full contact details in the text box.
Last day of entry 10 November 2011. One entry per household.
Ecstasy & Under Milk Wood
Jeannette Nelson Jeannette is a bit of a culture vulture who enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
In Balance 