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"Tom Hanks gives the performance of a lifetime as Phillips, the former Boston cabbie turned hard-working sea captain who earns an increasingly hard-won dollar piloting vast ships through treacherous waters without clear backup or onboard protection. As two tiny skiffs skeeter across the ocean toward the Maersk Alabama, we see Phillips sending out a distress signal ("They're not here to fish!"), only to be told to observe standard protocol and hang tight.
"Is that it?" he asksHe decides against merely doing nothing, instead turning on the hoses, swinging the rudders. Grabbing a flare, he becomes suddenly aware of how isolated he and his ship have become. (as do we)
I can't imagine anyone other than Paul Greengrass handling this material. The story seems tailormade for his trademark blend of political clout, dramatic punch, thespian wallop and broad audience appeal.
"Make sure you allow time for a stiff drink afterwards", Mark Kermode advises.
(at the Birchmeadow bar)
film starts at 7:45
Fund raising funCome and enjoy an evening of Classic 60's and 70's sounds, played by our very own "Concessions".
Supper by Simon Gibbons.
Don't miss this one !!It will not have escaped the world's attention that there is a very special anniversary be marked this year, which is the centenary of the start of the First World War. Amongst all the contributions that remind us of the tragedy, it’s hard to imagine a piece that’s more poignant and hard-hitting than Joan Littlewood's "Oh What A Lovely War", first produced in 1963.
A satirical musical, it highlights the ironies and tragedies of this immense episode in history, tracing the course of the Great War through a constantly changing series of scenes and songs.
The actors, who are dressed as pierrots, play generals, soldiers, and civilians from pretty much every nationality involved in the conflict. They change character by simply changing hats, or by sticking on a false moustache. To further enhance the vaudeville-like feeling of the show, the performers are directed by an unnamed ringmaster.
The first act is funny, somewhat sentimental, and surprisingly light-hearted. Just before the interval however, it becomes clear that the jokes and the cheery songs were all part of an elaborate set up to lull you into a false sense of security. It makes the second act hit all the harder, as its content ranges from the French soldiers bleating like sheep as they walk into the machine-gun fire, to the industrialists of the nations allied against Germany bleating about ‘peace scares’, and helping us all to believe in the ‘economic necessity of war’.
When drawing people together for the audition, Mike ended his briefing note by saying "I can promise you it will be a moving and yet entertaining piece of total theatre."
Setting the tone
The whole team is determined to make this another in the series of spot-on productions from BroADS - another skilled, slick, team effort.
In the picture, Mike Kaiser and a chicken who wishes to be nameless try to get the message across - to Jacob Jones, Amelia Gilbert, Lynn Cawley, Nick Downes, Zack Jones, Jane Rendell, Bonnie Gillion, Liz Reeves, Sam Walker, and Richard Kee (Bob Poole at the keyboard).
start at 7:30
Who’s in itCary Grant, Audrey Hepburn, James Coburn, Jaques Marin, and directed by:- Stanley Donan
What’s it aboutA stylish comedy-thriller very much in a Hitchcock vein. Grant plays Peter Joshua, who meets Reggie Lampert (Hepburn) in Paris and later offers to help her when she discovers that her husband has been murdered.
After the funeral, Reggie is summoned to the embassy and warned that her late husband helped steal 250,000 dollars during the war and that the rest of the gang is after the money as well. When three of the men who attended her husband's funeral begin to harass her, Reggie goes to Joshua for help, at which time Joshua confesses that his name is actually Alexander Dyle, the brother of an accomplice in the gold theft.
The three men from the funeral are revealed to be the three other accomplices in the crime, and though she knows next to nothing of the heist, Reggie is caught in a ring of suspense as she is followed by the shadowy trio, all after the money. Apparently, the only person she can trust is Joshua/Dyle, or can she...?
The Birlings are unexpectedly visited by a man calling himself Inspector Goole. Goole goes on to question them all about the suicide of a young working-class woman, Eva Smith (who also uses the name Daisy Renton). The family are individually interrogated and are revealed, one by one, to have been responsible for the young woman's exploitation, abandonment and social ruin, effectively leading to her death.
This play's won more awards than any other, and has long been considered as THE classic example of "drawing room" theatre. It's also been hailed as a scathing critique of the hypocritical nature of English society in Edwardian times.
Theatre is alive & wellHaving chosen the play, Maureen Callon (director) was then confronted with the task of finding three younger actors - no easy matter! She's found her ideal candidates in Miriam Perry (playing Sheila Birling), Sam Lamplugh (Eric Birling) and Dominic Silk (Gerald Croft). They will be joined on stage by Liz Fisher and John Sugden portraying the Birling parents, David Bowgett as Inspector Goole, and Liz Herdson as the maid, Edna
Entertainmentfrom Prima Donna and Marjorie Cartwright-Jones.
Fabulous forties disco
Food included (might it be Spam ??)
Who’s in itBob Hoskins is the leading "real person" - Roger the Rabbit and other characters are cartoons - very clever !!! Directed by Robert Zemeckis
What’s it aboutIn this trailblazing combination of animation and live-action, Hollywood's 1940's cartoon stars are a downtrodden minority, living in the ghetto-like Toontown. Their movements are sharply monitored by the human power establishment.
The Toons (cartoons, that is) are permitted to perform in a jazzy nightspot, but are forbidden to actually USE the joint. One of Toontown's leading citizens, the rather rebellious Roger Rabbit, is framed for the murder of human nightclub owner Marvin Acme (Stubby Kaye).
Private detective Eddie Valiant (Bob Hoskins), whose prejudice against Toons stems from the time that his brother was killed by a falling cartoon piano, reluctantly agrees to clear Roger of the accusation.
Virtually every major cartoon character of the late 1940's shows up and the film allows us to believe (at least for 90 minutes) that toons exist, and that they are capable of interacting with 3-dimensional human beings.
The story of a man, a woman, and a rabbit
in a triangle of trouble.
Runs 99 minutes