Tabard is pleased to note that theatre producers now have a ready made excuse should their wonderful new product fail to attract sufficient audiences to make money. The state of the Economy.
Speaking of excuses, which one is Liverpool going to magic up for the latest shambles engulfing its year as Capital of Culture?
Apparently the great American actor John Barrymore was asked on his deathbed if dying was hard. “Dying is easy,” Barrymore replied, “comedy is hard.”
Balzac’s novels are thick with detail - who wore what and how they wallpapered their homes, sandwiched between more weighty analysis of human nature. So how was all this, plus some pretty sharp turns of fortune, going to be crammed into a two-part dramatisation of The Black Sheep? Perhaps with walk-on parts for Gok Wan and Laurence Llewelyn-Bowen, with their appraisals of what was a la mode in Paris and the provinces in 1842, followed by some philosophical musings on moral fibre from Alain de Botton?
Meanwhile - and on a more serious note - Tabard is delighted to see Dan Crawford and Judy Campbell being remembered with a brand new production at the Jermyn Street Theatre.
Spooks: Code 9 is set in the year 2012, where the UK is still reeling from the devastation of the nuclear terrorist atrocity that wiped out everybody who isn’t young, good-looking, thin and sexy.
Is it a British thing to feel uncomfortable in the presence of one of the world’s greatest players of the self-blowing trumpet?
The arts council might also like to take a pointer from Live Music Now in how not to pitch your new figurehead.
Adverts have gone out for the new chair of Arts Council England, with Christopher Frayling due to hang up his hat early in the New Year.
Throughout July, radio drama was so full of collective dark nights of the soul, that I thought we were going to limp into high summer, heads spinning with dire economic forecasts and wall-to-wall coverage of obscure sports, wanting only to slash our wrists.
Going out around 5pm means that Roman Mysteries can’t indulge in the kind of excesses usually associated with the era, but this CBBC drama still manages to tackle adult historical themes with intelligence and honesty.
To hear Richard Ingrams on Desert Island Discs you’d think Private Eye edited itself all those years. He was merely a conduit for other people’s talents, he told Kirsty Young, invoking Malcolm Muggeridge’s definition of the ideal editor as “a blind man tapping his way along with a white stick.”
The BBC rather cheekily borrowed Nino Rota’s score from The Godfather to advertise House of Saddam, a four part serial about the former Iraqi dictator which shares several dramatic similarities with the Oscar-winning Mafia classic.
Tabard hasn’t made the trip up to Edinburgh for the start of the festival this week, but has instead dispatched a few little helpers to the barren lands north of the border. These are some of the things they’ve reported back.
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