Bobbi Brown Pop Up Cafe Launches in London

Many of my lovely readers and supporters live in London and the surrounding areas. I also know that a lot of you head off down to the big smoke to frequent the West End for a trip to the theatre, for a family day out or to see a gig. If you’ve followed my blogging journey this year you’ll know that I’m delighted to be collaborating with the wonderful Bobbi Brown UK and that my friends and I were treated to a magnificent make-over before we headed to the National Television Awards at London’s O2 in January.

My Make-Over for the National Television Awards thanks to the wonder of Bobbi Brown UK

How would you like to experience the Bobbi Brown magic for yourselves?

The good news is that for three days only you can drop in to the Bobbi Brown pop up cafe in Soho, where they are offering a complimentary shade-match and 7 day sample to help find your new skin-true shade, as well as a free coffee for all attendees. All the details are below so why not take a trip to see the Bobbi Brown team and treat yourself!

Where:

·         Bobbi Brown Pro Studio, 1 Poland Street, W1F 8PR

When:

·         Friday 1st March: 10am – 2pm, 2.30pm – 4pm

·         Saturday 2nd March: 10am – 2pm, 2.30pm – 4pm

·         Sunday 3rd March: 12pm – 4pm

T&Cs

·          One shade match and sample per attendee

·          One coffee per person

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Bobbi Brown Red Carpet Make-Over

It’s no secret that I attended the National Television Awards at The O2, London last month. Two of my buddies and team-mates joined me for the experience and we had a fantastic girls day and night out. As luck would have it, Bobbi Brown UK had re-launched a studio in the Oxford Street John Lewis store merely months before we planned to celebrate awards season.

Thanks to their wonderful PR, the three of us were treated to a red carpet make-over so that we were awards ready and the hassle of applying our own make-up was one thing ticked off our list for the evening ahead.

We were greeted by Molly, Aaminah and Kyah who immediately made us feel at ease (none of us are regulars when it comes to putting ourselves in the hands of make-up artists!) and we were quickly seated in front of the mirrors ready to put out trust and faith in these wonderfully creative professionals.

Molly immediately started to work with the colours of my dress for the evening which I was conveniently wearing for the session. You’ll see my before and after photos below, the first being of my completely make-up free face and the second being the after result.

My skin treatment and makeup from the Bobbi Brown UK range included:

Skincare – Cleanser/Toner – Extra Treatment Lotion, Treatment – Extra Repair Serum, Eye Cream – Extra Repair Eye, Face Cream – Extra Repair Moisture Cream

Skin Foundation Stick Shade – Porcelain

Corrector Formula – Creamy, Shade – Extra Light Bisque, Concealer Formula – IEC, Shade – Porcelain

Foundation Formula – Extra tinted balm, Shade – Alabaster tint, Correct & Perfect – Skin Stick – O

Powder Formula – Nude Finish, Shade – Porcelain

Bronzer – Stonestreet, Blush – Pink Brightening Brick, Highlight – Pink Glow

Lip Colour – Rose Petal Nourishing, Lip Pencil – Pink Mauve

Brows Formula – Brow Shaper, Shade – Brunette

Long Wear Eye Base – Light, All Over Shadow – Cream (Night Drama)

Lower Lid Shadow – Torched (Night Drama) Sunflare Luxe, Crease Shadow – Heat Ray Luxe

Eye Liner Formula – Black Ink/Charcol, Shade – Ogel/Eyeshadow

Mascara – Smokey Eye

Hayley Makepeace – Before Photo

My long-time very close friend, Hayley Makepeace experienced the Party Ready treatment from Kyah – you can see her make up free photo above and below is her finished look…

The result! Make-Over completed and Party ready!

Hayley’s look was achieved with the following Bobbi Brown UK products:

Skincare – Soothing cleansing oil, Treatment lotion, Hydrating eye cream, Vit enriched face base, Extra illuminating balm – bare glow

Instant Full Cover concealer, Shade – beige

Skin foundation, Shade – beige

Nude Finish illuminating Powder, Shade – Nude

Bronzer – Medium, Blush – Tawny, Highlight – Afternoon Glow

Lip Colour – Downton Plum Luxe, Lip Pencil – Pink Mauve

Brows Formula – Perfectly Defined LW Pencil, Shade – Mahogany

Eyes – Golden Bronze Shadow Stick, Crease Shadow – Taupe

Eyeliner Gel – Sepia Ink, Shade – Black Ink

Smokey Eye Mascara

Allspice Sparkle Shadow

Clear Brow Shaper

Jen Franklin – without make-up!

Jen Franklin is a close friend I met on social media a few years ago and we share many common interests. Jen was treated to a Soft Glam make-over. Check out her before photo above and the finished picture below!

The result! Jen’s Soft Glam Look…

Jen’s Bobbi Brown UK Make-Over was achieved by Aaminah with the following products:

Skincare – Hydrating tonic, Hydrating Eye Cream, Hydrating Gel Cream

Skin Foundation Stick – Beige #3

Corrector Formula – Creamy Corrector, Shade – Bisque, Concealer Formula – Instant Full Coverage, Shade – Beige

Foundation Formula – Skin long-wear weightless, Shade – Beige #3, Correct & Perfect – Skin Weightless Powder Beige #3

Powder – Nude Finish Illuminating Powder, Shade – Nude

Bronzer – Natural, Blush – Tawny Brightening Brick, Highlight – Pink Glow

Neutral Rose Luxe Lip Colour, Lip gloss – Nougat

Brows Formula – Powder, Shade – Mahogany

All Over Eye Shadow – Golden Bronze/All Spice, Lower Lid Shadow – Rich Brown

Smokey Eye Mascara

3-in-1 Hydrating Setting Spray

Here we are – ready for the National Television Awards. Thanks Bobbi Brown UK!

National Television Awards 2019 – Musings of an attendee…

Another National Television Awards ceremony has passed and it was an interesting, slightly controversial star-studded evening.

As an entertainment blogger with big love for all things telly and a working relationship and indeed friendships with a few familiar names from the small screen, I like to attend the awards whenever possible. I was a regular attender of the National Television Awards during the good old days when the Royal Albert Hall was the venue for the event. This year saw my third visit to the show since the move to the O2 and the extortionate charge to meet the celebrities on the red carpet came into being.

I’m often asked if it’s as good to be there as it looks on the telly and whether it’s worth paying for a ticket to go etc. The honest answer is that you do get a better view on your television at home, however I also believe that everybody should experience it at least once. Had the ceremony and set up remained the same as during Sir Trevor McDonald’s tenure – then I wouldn’t have hesitated to recommend that everyone with a passion for television pays a visit and indeed for a ticket, if they can. Every trip to the O2 for me has been widely different, however what stood out this time was the number of people in the audience who were going in and out of the auditorium at regular intervals and not during commercial breaks. This was disruptive to the evening itself for us members of the public. It’s no mean feat going up and down those stairs all the time either, they must have had a great workout!

The basic charge before fees for a red carpet ticket which includes a seat at the ceremony itself is £120. Prior to the move to the O2 it was free to attend the red carpet before and after the ceremony. There was a degree of scrambling which was kept under control by stewards, however on the whole it wasn’t a bad experience and helped to build up the excitement and anticipation before we piled into the venue itself. During commercial breaks inside the Albert Hall the nominees would make their way over to have photos with us and sign autographs too. It felt like we were all in it together, actors, crew members, directors, producers and us, the viewers.

As it’s an awards ceremony voted for by the public, back in those days it truly felt like the public got something back for supporting the various television shows. If you didn’t have an opportunity to see your favourite celebrity before the show or during, there was always a good chance that you would meet them afterwards. Indeed I was able to arrange to meet friends who were nominated and we’d easily find one another amongst the throng. On all three occasions that I’ve been in the audience at the O2 it’s been impossible to meet any nominees in my social and working circle.

So why the big change? Security risks are heightened of course due to a vast number of reasons and social media and all its pitfalls have also added to the mix. There are a few ‘fans’ out there who troll celebrity social media accounts and they could be loose cannons on occasions such as these I expect. It’s such a shame though because the event which I have always loved being a part of now feels like an us and them situation – those who are on TV versus those who aren’t. Separated and kept under lock and key by more security staff than you can shake a stick at – and you’d be wise not to shake a stick or you’d find yourself back on the tube before the stars were in their seats. Which wouldn’t be difficult! At the Royal Albert Hall the nominees were always seated well in advance of the show going live. At the O2 it’s almost more entertaining to watch the celebrities being herded in, rather like cats, than it is to watch the show. As you will no doubt have spotted on your screens this year, they are seldom in their seats ahead of the show being broadcast.

Although there is a notable barrier between Joe public and the television greats, there are a handful of stars who like to boogie with the warm up man and get the crowd ready to party. This year Brendan O’Carroll and Jennifer Gibney aka Mrs Brown and Cathy Brown were having a dance and cheering with the audience before Dermot came on to do his thing. Last year we had Ruth Langsford and Alison Hammond strutting their stuff. The various television theme tunes are blasted out and we can see footage from the red carpet to spark our enthusiasm. It’s after that I feel the show becomes something of a damp squib.

The positive side of the night for me personally is that I go with friends and we have a brilliant time. This year we were treated to a ‘red carpet’ make over by Bobbi Brown UK in John Lewis and Partners, Oxford Street ahead of the show and spent our time enjoying a good catch up. It is what you make it, and if you want to spend the big bucks to meet the stars on the red carpet, the opportunity is there. It’s not what we’re keen to do but it would certainly be an experience not to be forgotten I’m sure. You can book tickets for next year so if you feel it’s time to see what all the fuss is about and see the inside of the awards for yourself, book now: www.nationaltvawards.com/

Photo Credits: National Television Awards/ITV

Bobbi Brown Studio Re-Launch, John Lewis & Partners, Oxford Street

Entertainment Views Awards 2018 public vote closed on 1st November and we’re very excitedly preparing for the cyber ceremony which is due to be broadcast across our social media channels on 15th December 2018. With our guest presenters lined up to announce the winners in the fourteen categories it’s all systems go.

Awards season is upon us, the first round of The National Television Awards 2019 public vote has also closed recently too. Entertainment Views will be in attendance and while we can’t wait to see who’s wearing who, we also look out for make-up choices on the night. Styles vary from year to year – bold colours, neutral shades and always synchronised with the colour they’re wearing on the red carpet of course.

On 18th October Bobbi Brown Cosmetics re-launched their new studios at John Lewis & Partners, Oxford Street and with their assistance, team Entertainment Views will be getting the red carpet look ahead of the National Television Awards ceremony at London’s O2 on 22nd January 2019.

Here’s the press release from the re-launch, why not book yourselves an appointment and see what the new space has to offer:

Bobbi Brown Cosmetics are taking their consumer experience to the next level with a bold re-design. Carefully conceptualised through the consumer’s eyes, this new space ensures a seamless journey of discovery and play, with a primary focus on bringing the best possible service and experience to the heart of Oxford Street. The re-imagined studio space will feature the first ever private Makeup Room within a central London department store, hosted by a colour brand.

The Makeup Room offers the flexibility of personalised appointments and beauty services, converting to a fully private room with a screen to close off the space if required.

In addition to the new design, Bobbi Brown Cosmetics will launch three new services, exclusive to John Lewis & Partners, Oxford Street.

To celebrate the launch of this innovative new space, the esteemed Bobbi Brown Pro Artists made guest appearances during the month of October, giving customers the opportunity to book personalised makeup lessons and receive bespoke tip and tricks based on their beauty needs.

We are excited to report from The National Television Awards in January with our glam new looks courtesy of Bobbi Brown make-up!

 

Entertainment Views Interviews: Leo Mercer – Writer and Producer of GUY: A New Musical

The creators of multi-award-winning The Marriage of Kim K, leoe&hyde, return with an uplifting new musical about modern masculinity, body image, and the hook-ups and downs of dating in the 21st century. GUY’s heart-pounding electronic score will reel you in to this FOMO-arousing, catch-he gay rom-com, transferring to the King’s Head Theatre in a revised version after a successful premier and tour, winning multiple awards.

***** “exceptional cast… catchy [music]… a joy to watch” Theatre Box

Guy is a gay millennial looking for love. Guy is fat, nerdy and shy. Guy feels like he doesn’t fit in to the gay community. But when a rejection on Grindr pushes Guy to make terrible life choices, he is forced to confront his inner demons, all the while pushing away everyone close to him. With 12 heart-pounding electronic-pop anthems, this millennial odyssey through bingeing, gyming, prejudice, hook ups, beauty standards, and stolen identity is a much-needed reminder that the only person you can be is yourself.

****½ “[An] irresistible rom-com of the highest order… [this] show has the potential to be very big indeed” The Reviews Hub

Sometimes sexy, always real, GUY is a game-changing gay rom-com for the 2010s: with nakedly honest characters; an unapologetically moving portrayal of the hook-ups and downs of 21st-century dating; and a thought-provoking glimpse behind the veil of modern masculinity, male beauty standards, and unspoken prejudices within marginal communities. Tied together with a pioneering and infectiously catchy electronic score, GUY channels floor-filling EDM anthems, indie electronica, queer hip-hop, and PC Music with the lyrical charm of Sondheim, and the earworm melodies of Schwartz.

**** “A really fresh new musical with fantastic songs and great performances” West End Wilma

Following an acclaimed run at The Bunker, GUY’s tour won the show Best New Writing at the Buxton Fringe 2018, and the show now returns to London. The lead role of Guy is played by Brendan Matthew, who is joined by Seann Miley Moore. Moore first came to the attention of the UK public in The X Factor 2015, where he reached the finals. Since then, he’s toured gay pride internationally and launched a successful solo pop career, releasing his first EP last year. GUY is his UK theatre debut. The show is written and produced by leoe&hyde, following the success of their debut production The Marriage of Kim K (2017). The rising millennial musical theatre company received strong reviews, multiple awards and international attention last summer for the show, and have been called ‘a formidable partnership’ (Review Hub).

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Leo Mercer chatted to Entertainment Views about the musical, focusing on the challenges and what the audience can expect. 

Thanks for talking to Entertainment Views, Leo. Tell me about the production, how did the idea form, how long did it take before the script was ready to be read/work-shopped?

After the success of The Marriage of Kim K, Stephen and I wanted to do something a little bit different. Kim K was so ornate, operatic and complex, but we’d really been getting obsessed with electronic-pop. So in October, we just sat down and wrote the pop songs that we were feeling at the time, really raw, honest and emotional, without having to worry about crafting a story.

As it turned out, a few weeks later I had an “aha” moment, when I realised that those songs essentially tell a love story not dissimilar to those that my generation tend to experience, and I drafted a script around them. Some of the songs in the show – Mutual Prostitution, Is Your Body Who You Are – were written then, and as we’ve developed the show, lots of new material has been created to fill in the important moments.

This show really was an accidental baby – WE HAD OTHER PLANS! But once an idea grabs you, you’re grabbed. We then got performance slots at Hope Mill and The Bunker, and rushed through seven drafts of the show to get it ready. We’ve redrafted it again between those performances and the run we’re about to do at The King’s Head.

Did you have a clear ideas of who you wanted to cast?

Not at all: we went into auditions with a mega open mind. It’s always difficult rejecting auditionees – there are so many brilliant people out there deserving of a part, and you just want to send them each huge emails explaining why they’re wonderful too. However, we’ve never once doubted the cast members we ended up choosing: they’re dedicated, hard-working, lovely and absolutely talented. They’ve said they feel like the characters; the audience keep commenting on the fit between cast and character; it’s become a very lovely and collaborative process.


Has your vision for the piece altered during rehearsals?

Not really, but it has deepened. There are things we want to achieve in GUY – for example: a sophisticated, almost filmic show – and the chance to practice means we’re understanding what that actually involves more day by day. It often feels like when you have an idea for a show, and it’s so clear and simple in your mind, that the whole writing and production process is about trying to reach that simple, end point, but you go through lots of complex groundwork to get there.

What can the audience expect from the show?

Someone tweeted after the show saying the show fulfilled their expectations of being unexpected, and I think that sounds about right. Our shows always take a very pop culture matter – Kim Kardashian in The Marriage of Kim K, Grindr in GUY – but approaches them as if they’re something you’d expect from something much more “establishedly cultural”

What do you envisage audience reactions might be?

 Stephen and I always joke that we wish we had a mind-scanner, and as everyone leaves the show could collect all the thoughts that people have. Based on what we’ve heard, I’d imagine that mind-scanner would detect several earworms, an intense sense of connection with Guy, and a sense that they’ve seen some aspect of their own life mirrored back at them.

What do you hope they’ll take away from the piece?

I don’t really know what catharsis is, but I think that’s the aim? 21st century society has made a lot of humans very confused about their bodies and what love should be, and watching a closely observed character deal with this will hopefully let a reader go on their own psychological journey at the same time as Guy does.

Thanks to Leo for an insightful interview, wishing the cast and crew all the best for their run. The show runs until Saturday 1 September 2018. 

Book tickets here: GUY Tickets

 

 

Mamma Mia ~ Novello Theatre, London

Star rating: *****

Approximately twenty to twenty one years ago, Donna Sheridan met three men within a short space of time and… dot dot dot! Mamma Mia remains as spectacular a West End hit as it has for the past nineteen years it’s been entertaining audiences of a wide age range. In fact with the show almost as old as Donna’s daughter, Sophie, it couldn’t have been a better time to revisit a show I’ve seen a grand total of six times, now.

Abba’s songs have always stood the test of time, if they hadn’t have successfully filtered through various decades the show wouldn’t have worked at all. The popular hits are surely one of the main draws to this particular musical, and nobody in the audience is out of place if they sing along! Unless they’re louder than the lead during a ballad of course!

The striking feature with this latest incarnation which has undergone a recent cast change is that I truly feel I have witnessed the best combination when it comes to casting for Donna, Tanya and Rosie. The chemistry between Sara Poyzer (Donna), Kate Graham (Tanya) and Ricky Butt (Rosie) was so unbelievably natural, infectious and gripping that it rivalled that of Streep/Baranski/Walters in the movie version. The trio were simply electric together and their delivery of such favourites as ‘Dancing Queen’, ‘Super Trooper’ and the hilariously choreographed ‘Chiquitita’ was simply musical theatre magic at its best. While in previous trips to see the feel-good show I’ve always left the auditorium with a smile on my face and a spring in my step, I left reluctantly on this occasion as I had an over-riding feeling of desperately needing to see the show again… right there and then!

Of course, the triplet of triple threats were not alone in creating such an overwhelmingly engaging atmosphere, their male counterparts were equally talented super troopers. From Dean Read’s palpable love-struck Sam Carmichael to Neil Moors who was understated yet extremely likeable as the wannabe spontaneous Harry Bright to free spirited Aussie Bill Austin who is played with astonishing verve and impeccable comic timing, by Stephen Beckett. Add Georgia Louise to the mix as antsy bride-to-be, Sophie who’s seeking out her father so he can walk her down the aisle – Georgia gave a beautiful performance. Alec Porter was well cast too as her husband-to be, Sky, another triple threat to watch out for.

The set transports you to a Greek island quite effortlessly with simple, effective and practical staging, almost minimal which allows the sheer energy of the musical to take the limelight. There’s not one weak link in an ensemble who each characterise the roles they play, brilliantly. The orchestra were a joy to hear, powerful and a match for the fine vocalists who sing Abba’s technically stringent back-catalogue as if it’s second nature.

Do you need to be a fan of Abba to enjoy the twists, turns and laugh out loud comedy of this gleeful show? No! Even if you’re not a fan of Abba’s music, I wager that a trip to see Mamma Mia might just convert you.

Book your tickets now: Mamma Mia Tickets

 

Photo Credits: Brinkhoff/Mogenburg 

Carmen 1808 ~ Union Theatre

Carmen 1808 stays at Union Theatre until 10th March, book tickets here: Union Theatre Box Office

Star rating: ***

Reviewed by: Francesca Mepham 

Being very familiar with Bizet’s original Opera, I was intrigued to see this re-imagining of Carmen as a musical theatre production at Union Theatre, performed by The Phil Willmott Company.

The set design instantly stood out as very impressive as the show began, with the smoky haze giving a feeling of authenticity and unrest brewing. It’s 1808 and Napoleon’s army has invaded Spain, with its brutality, inspiring Francisco Goya to paint one of his most poignant works, Los Fusilamientos del treat de mayo. Goya as the narrator is one of the highlights of this production, with Alexander Barria’s captivating lyric baritone welcoming you in to Carmen 1808.

Once Carmen is introduced on stage in the seductive shadows, as a spy for the resistance, the expectation is high for a sultry and tempting other worldly character, which Rachel Lea- Gray does with much charisma. With Bizet’s original recitative replaced by the new alternative story, by Phil Willmott, one of its most well-known and defiant songs Habanera, should be bold and engaging, but the vocal and arrangement meant it sounded restrained, rather than a rich sensual vocal tone, that would have brought it to life. I wanted to hear this number especially, explored more, vocally.

The chemistry between the whole company definitely resonated, especially between the resistance who executed Adam Haigh’s traditional Spanish high-energy choreography, with conviction. The vocals unfortunately, at times felt a bit lost in the space but with just Musical Director Teddy Clements on keyboard accompaniment, this helped to slightly conceal it. With Charlotte Haines’ strong Soprano register as noblewoman Josephina, midway through the production (as with Barria as Goya) it only reinforced the work that was needed, on the majority of the cast’s solo vocal projection, in the theatre.

Corporal Luis, the salt of the earth womanising soldier, is acted superbly by Thomas Mitchell, who gives a comic touch to Carmen 1808. As does a short musical number by a group of French Soldiers whose silliness is absolutely infectious. They contrasted with the more sensitive and aristocratic Captain Verlade, who is a tortured romantic hero played by Maximilian Marston. The scenes with his love Carmen, left you wanting to see more of the pair together on stage.

Carmen 1808 is a bold re-imagining of a classic, by Phil Willmott, which has a strong cast dramatically, but musically the songs could have been delivered with more conviction, with vocals not always being projected fully to the audience. Lea-Gray and Marston were compelling as the central love story, performed with much unexpected tenderness. The ensemble dance numbers were a joy and I could easily imagine in a theatre twice the size. Theatre is about taking risks and this production is a great example, of just how important it is to breathe new life and interpretation, in to classic works.

Photo credits: Scott Rylander 

Moments / Empty Bed ~ Hope Theatre, Islington

Book tickets here (booking until 17th February 2018)The Hope Theatre

Reviewed by G. Wood

Star rating: ****

Pennyworth Productions present two bite size plays at The Hope Theatre this spring, both featuring the writing and acting talent of Julia Cranney, and together they make for an engaging and insightful evening. Interestingly, both titles would work for either play, as themes of isolation, mental health (and cake) echo throughout the performance and, though they differ in form and narrative structure, they make for perfect bedfellows.

The first time we meet Ava and Daniel in Moments they are both asleep, ready to start their day working in dreary jobs within the empty heart of the big city, each narrating for us the life of the other as we meander through their daily routine. Ava appears to be searching for her place in the world (there are hints of aspergers as well as a deep hunger for connection) whereas Daniel, despite his own painful history, seems to know where and who he is, their shared loneliness quite palpable. There are moments when their separate voices become one, evoking a powerful reminder of the pain of being alone in the city, before we carry on our journey through their separate eyes. Strangely, this structural device of each recording the movement of the other is both the play’s strength and weakness; there are a few points where it edges dangerously close to becoming wearisome but the pay off, whenever these two lost souls finally start to make some connection, is actually made more welcome and stronger for what has come before. As Ava, Julia Cranney delivers her written words with aplomb, drawing us gradually into the world of a fragile young woman and Simon Mattacks brings warmth, humour and an endearing awkwardness to his Security Guard Daniel, helping us forgive him his bluntness and a sometimes archaic take on the world.

Post interval is Empty Beds, Anna Reid’s simple but effective design shifting from arena to traverse as we are now staring at a train carriage; here the writer plays the eldest of three sisters, heading off to visit their brother Michael on his birthday. Immediately accessible, the play weaves neatly in real time through the strains of the sibling dynamic, bouncing from joy to anger to pain with the deftness of a truly gifted writer. Although she is sometimes hampered by the need to get characters off stage for dramatic purpose, what Cranney really nails is how no family moment ever happens without being imbued by a sense of history, how an argument is never wholly about the matter in hand, but always stained by what has come before. And director Kate Treadell guides us carefully through it all, drawing strong performances from all three actors to create a convincing picture of siblings and all the baggage that this brings. Completely unrecognisable from the first play, Cranney plays the hard edged but loving Catherine, alongside Carys Wright (beautifully ethereal as Emily) and Debbie Brannan (sensational as Michael’s twin sister Jo). There is a moment where we hear (almost imperceptibly) the train that they are on grind to a halt: perhaps a metaphor for how impossible it is for any family to move forward, especially when there is still pain and reprisal to be dealt with.

Cranney is exceptionally adept at bringing her simple observations of the world to life, be it the mass production of eggs in London or finding those hidden plug sockets on a train, and throughout the evening the truth of these smaller moments help the larger ones resonate more powerfully, helped along by an excellent cast of five (wait, four), effective design all round and Treadell’s assured direction. The Hope continues to programme top rate fringe theatre and these two bijou theatrical nuggets from Pennyworth are no exception.

 

OCAIAF 2017 ~ Press Release

OCAIAF 2017, 5-11th October

London, UK

London’s 2017 Open Central Asia International Arts Festival highlights the best in contemporary arts and culture from this vast region. Curated by Orzu Arts, OCAIAF, now in its second year, brings you outstanding talent from East of the Caspian Sea, with prominent artists and performers from Uzbekistan, Kyrgyzstan, Tajikistan and Turkmenistan alongside friends of OCAIAF from India, Cyprus, Russia and Belarus.

OCAIAF 2016 offered unforgettable film screenings, concerts, lectures and dance workshops from Central Asia and USA. Building on last year’s success, the 2017 festival programme features 6 theatre pieces from 6 countries, 2 independent film screenings, visual and applied arts exhibitions, ethnic-folk concerts, talks by distinguished theatre directors and actors from Central Asia, Eastern Europe and India, alongside regional cuisines and a Central Asian crafts bazaar.

Programme:

OCAIAF 2017, 5-11th October

Venue: The Courtyard theatre

Adress: 40 Pitfield St, London N1 6EU

Nearest tube station: Old Street

                                                                     Theatre groups

5.10.2017

Opening Gala

Starts 18:30 Ends 21:30

1. Welcome speech by festival curators Yuldosh Juraboev, Amita Shankar, Joseph Sanders

2. Welcome speech by Baroness Alison Sattie

3. Welcome speech by Kyrgyzstan’s peoples artist Sultan Raev & award winning director Ovlyakuli Khodjakuli

4. Performance by Orzu Arts & Mugam Central Asia – Guljahon Bais Uzbekistan/Tajikistan/Kyrgyzstan/Turkmenistan

Venue: White room & main theatre space

5. Networking, drinks

6.10.2017

1. 18:00   Opening of the Art Exibition from Central Asia/Uzbekistan, Tajikistan, Kyrgyzstan, Turkmenistan, Kazakhstan & Belarus . White room.

a) Opening speech by festival’s curators Joseph Sanders & Amita Shankar

b) Opening Speech by exhibitions curators.   

2. 19:30 -20:30. Medea. Orzu Arts. Uk/Uzbekistan. In English. Main Space 

3. 20:30 – 22:00 Networking, drinks

7.10.2017

1. 18:00 -22:00 Art Exibition from Central Asia/Uzbekistan, Tajikistan, Kyrgyzstan, Turkmenistan, Kazakhstan & Belarus. White room

2. 19:30 – 20:30 Ilegileg. (White crane) Play by S. Raev. Kyrgyzstan. In Kyrgyz language with English Subtitles. Main theatre space

3. 20:30-22:00. Networking evening. Drinks at the bar

8.10.2017

 1. 18:00 -22:00 Art Exibition from Central Asia/Uzbekistan, Tajikistan, Kyrgyzstan, Turkmenistan, Kazakhstan & Belarus . White room

2. 19:30 -20:30. Marriage . By Gogol, russian classic. .Goodge street theatre. UK/Russia

3. 20:30-22:00. Networking evening. Drinks at the bar

9.10.2017

1. 18:00 -22:00 Art Exibition from Central Asia/Uzbekistan, Tajikistan, Kyrgyzstan, Turkmenistan, Kazakhstan & Belarus. White room

2. 19:30 – 20:30 Marriage 2.Goodge street theatre. UK/Russia

3. 20:30-22:00. Networking evening. Drinks at the bar

10.10.2017

1. 18:00 -22:00 Art Exibition from Central Asia/Uzbekistan, Tajikistan, Kyrgyzstan, Turkmenistan, Kazakhstan & Belarus. White room

2. 19:30 – 20:50 Era Androgyne . Play. Belarus. Physical theatre. Main Space

4. 20:30-22:00 Networking evening. Drinks at the bar

11.10.2017

1. 18:00 -22:00 Art Exibition from Central Asia/Uzbekistan, Tajikistan, Kyrgyzstan, Turkmenistan, Kazakhstan & Belarus . White room

2. 19:00 -20:10 To be or not to be. Film screening. Kazakhstan. In Russian with English subtitles

Closing Gala ( tckts £35 )

To get tickets for the Closing Gala please contact Orzu Arts directly at yjuraboev@gmail.com

21:00 – 00:00 Closing Gala and Award ceremony at Pasha restaurant.

Venue: Pasha Hotel

Address: 158 Camberwell road. SE5 0EE

Nearest tube station: Elephant and Castle

Special Guests of the evening.

a) HE Ambassador of Tajikistan

b) HE Ambassador of Kyrgyzstan

c) Merlene Toh Emerson, MBE UK/China

d) Irina Kara cinema and theatre actress UK/Russia

e) Multi award winning theatre director, associate professor of NSD in India. Turkmenistan, Ovlyakuli Khodjakuli

With love,

Yuldosh Juraboev

Curator and artistic director OCAIAF 2017

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