Podcasts about Battersea Arts Centre

In this 2013 podcast, Jennifer Williams talks to poet, playwright and recording artist Kate Tempest* about hip hop, poetry, their play Brand New Ancients, mythology, world peace and much more. Kate has written plays for Paines Plough and the Battersea Arts Centre, written poetry for the Royal Shakespeare Company, Channel 4 and the BBC, worked in schools and won the Ted Hughes Award for New Work in Poetry 2012, for Brand New Ancients.  *In 2020 the musician and poet formerly named Kate Tempest changed their name to Kae Tempest, and announced they are non-binary. In the announcement on Instagram, Tempest said they were changing the pronouns they use, from she and her to they and them. Image © Melanie Flash

In this episode, I talk to the fantastic comedian, JESSICA FOSTEKEW. Fostekew is an English actress and stand-up comedian. She is a regular presence on the UK stand-up comedy circuit, and her solo show, Hench, was nominated for the 2019 Edinburgh Comedy Award for Best show. Her TV acting credits include Avoidance (with Romesh Ranganathan), Cuckoo, and Motherland. She has featured on BBC Radio 4 (including The News Quiz) and on numerous TV entertainment shows, (including Live at The Apollo).   She is a regular co-host of The Guilty Feminist podcast, as well as creator and host of the comedy food podcast, Hoovering. I always smile when I see her name on a comedy bill as I know I am in for as good time. She has on numerous occasions reduced me to helpless fits of laughter, and I have seen her many times over the years.  I first saw her as a guest for Mervyn Stutter's Pick of the Fringe at the Edinburgh Festival in 2012, and other notable performances include as a guest act for Always Be Comedy in 2017, 2019, 2020 and 2022, Work In Progress shows at Leicester Comedy Festival in 2020, and Battersea Arts Centre in 2023, and her Hoovering Podcast Live  in London in 2021 and Leicester in 2024. Thank you so much for listening to my podcast, if you like what you hear, please subscribe and I hope you enjoy the interview. Please read Jessica Fostekew's blog at: www.arichcomiclife.blog/2020/07/10/jess-fostekew/ Jessica Fostekew's links: Facebook:  www.facebook.com/jessicafostekew/ X (Twitter): www.x.com/jessicafostekew Instagram: www.instagram.com/jessicafostekew/    

From growing up in the Middle East where theatre was banned to leading one of London's most innovative cultural spaces, Tarek Iskander's journey is a masterclass in transformative leadership. In this candid conversation, he reveals how his NHS background shapes his mission driven approach at Battersea Arts Centre, championing bold, experimental work while making art accessible through initiatives like "pay-what-you-can" ticketing. His insights on nurturing youth creativity, navigating institutional challenges, and reimagining the arts sector's future offer invaluable lessons for anyone interested in cultural leadership and social impact. KEY TAKEAWAYS Tarek had to radically shift his natural coaching leadership style during COVID-19. He took on more direct control to protect his team from difficult decisions, showing how crisis management can push leaders outside their comfort zones. Through Battersea Arts Centre youth programs, Tarek discovered that having staff who came from local communities mattered more than architectural changes or pricing strategies. His street teams of young people recruiting other young people proved more effective than traditional outreach. Having grown up where the theatre was banned, Tarek's conviction about art's vital role in society led him to transform BAC into a vaccine hub during lockdown while maintaining creative programming - demonstrating how arts venues can serve multiple community needs. Coming from outside the traditional theatre world, Tarek leveraged his outsider perspective to restructure BAC's financial model, generating 50% of income from private business while making performances accessible through pay-what-you-can ticketing. When faced with pressure to post black squares during Black Lives Matter, Tarek chose to commission Black artists to respond creatively instead of making performative gestures. This was a decision that initially received pushback but was later vindicated. Despite ticking only two of the ten criteria for the Arts Council job, Tarek spent a week preparing intensively for the interview, demonstrating his belief that hard work can overcome perceived qualification gaps. Rather than trying to do everything, Tarek made tough decisions to stop running BAC's museum and co-working space to focus on the core missions of supporting creativity in young people and artists. As someone who describes himself as "incredibly shy," Tarek had to overcome significant self-doubt to take on public-facing leadership roles, learning that internal demons often pose bigger challenges than external ones. BEST MOMENTS "Growing up in the Middle East where pretty much most of theatre or live performance was banned for most of my childhood... I had very little exposure to the arts." "I think we never think of our next gen or youth programs as an end to something else... If you believe that the world can be a better place, those new creative ideas are going to come from that next generation." "The biggest obstacles ahead of us are the ones we put up ourselves." "BAC is small enough to be naughty and not have to play by the rules necessarily, but maybe big enough that people often take notice when something happens." "I'm very allergic to things that feel performative or just words.” "Art and performance is so vital that keeping it going and supporting artists and audiences and young people to engage in those ways feels like really critical work." "Don't let the barriers up yourself. Let other people put them up for you." "Sometimes the demons within are probably much tougher than the demons without." EPISODE RESOURCES Instagram: @batterseaartscentre Facebook: @BatterseaArtsCentre bac.org.uk PODCAST HOST BIO With over 30 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Build Relationships The Easy WayOur self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/**** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative.

SIGN UP TO MY FREE WORKSHOPS NEWSLETTERSUBSCRIBE NOW WHEREVER YOU LISTEN TO YOUR PODCASTSGrab a free Audible 30 Day Trial and listen to SAFE HANDS for FREE!It's episode 227 with Edward Carey, funny and inspirational playwright and artist turned author of loads of unique and original novels, including his latest, Edith Holler. Edward is full of fascinating insights and adviceEdward is is a writer and illustrator who was born in North Walsham, Norfolk, England. He's written plays for the National Theatre of Romania and the Vilnius Small State Theatre, Lithuania. In England his plays and adaptations have been performed at the Young Vic Studio, the Battersea Arts Centre, and the Royal Opera House Studio. He is the author of the novels Observatory Mansions and Alva and Irva: the Twins Who Saved a City, as well as the YA Iremonger Trilogy and his previous novel, The Swallowed Man. His latest book, Edith Holler is out everywhere right now.Find Edward's links on his website here.Thinking of self-publishing and want help and a cover design? Take a look at this post on Wayne's website.WANT A FREE eBOOK WITH 2 CRIME STORIES? SUBSCRIBE TO WAYNE'S NEWSLETTER HEREDon't forget – this is YOUR SHOW so keep tweeting me, leave your comments below, check out our Facebook page and the brand new newsletter and mailing list. It's totally free to sign up and you'll get a FREE motivational PDF to download – '10 Tips For Surviving NaNoWriMo, The First Draft and Beyond' PLUS the 3 Act Story Structure Template to help you plot your story. More content coming soon, including videos, blog posts and loads of extra writing tips.

Edward Carey discusses with Ivan six things which should be better known. Edward Carey is a writer and illustrator who was born in North Walsham, Norfolk, England, during an April snowstorm. He is the author of the novels Observatory Mansions and Alva and Irva: the Twins Who Saved a City, and of the YA Iremonger Trilogy, which have all been translated into many different languages and all of which he illustrated. His 2018 novel Little has been published in 20 countries. His novella The Swallowed Man, set inside the belly of an enormous sea beast, was published in 2022. His latest novel Edith Holler will be published on 3rd October by Gallic Books and is available at https://uk.bookshop.org/p/books/edith-holler-edward-carey/7601350?ean=9781913547783. He has written plays for the National Theatre of Romania and the Vilnius Small State Theatre, Lithuania. In England his plays and adaptations have been performed at the Young Vic Studio, the Battersea Arts Centre, and the Royal Opera House Studio. He has collaborated on a shadow puppet production of Macbeth in Malaysia, and with the Faulty Optic Theatre of Puppets. Edward will be in the UK in October and speaking about Edith Holler in bookshops around the country: Waterstones Trafalgar Square (3rd October), Mr B's Emporium (4th October), Blackwells Oxford (5th October), Blackwells Manchester (7th October) and Dragon Hall, National Centre for Writing in Norwich (8th October). Commonplace books https://balzerdesigns.typepad.com/balzer_designs/2023/06/what-is-a-commonplace-book.html Whitby Museum https://whitbymuseum.org.uk/ The art of Charles Altamont Doyle https://huntington.org/exhibition/unseen-world-charles-altamont-doyle The fairy tales of Giambattista Basile https://www.britannica.com/biography/Giambattista-Basile Norwich undercrofts https://www.norwichunderground.xyz/undercrofts/ Victorian toy theatres https://craftsmanship.net/the-rise-and-fall-of-toy-theatre/ This podcast is powered by ZenCast.fm

In this episode Gary Mansfield speaks to Katy Baird (@thenewlookkatyb) As an artist Katy has performed at performance festivals and venues across Europe as well as squat parties, clubs and raves.Her debut studio-based performance Workshy, a show about work and the things we do for money, was a smash hit and toured internationally to over 30 cities.She has received commissions from Battersea Arts Centre, Wellcome Trust, The Yard Theatre, Camden People's Theatre and Duckie amongst others. Since 2016 she has been artist in residence at queer club night Knickerbocker.She is currently working on a new solo show entitled Get Off, due to be touring 2023/24As a Curator she founded and co-produces Steakhouse Live, a DIY platform in London for radical performance practices and is currently Artistic Director of Home Live Art, producers of live events across Hastings, the South East and beyond.Katy has also worked as an independent producer at Fierce Festival (Birmingham) and Manchester International Festival, as well as a guest lecturer at the University of Chichester, Central School of Speech and Drama, Rose Bruford College, Goldsmiths University, University of East London and University of Dundee.From 2012-2017 she worked as Coordinator at the Live Art Development Agency in London. For more information on the work of Katy Baird go tohttps://katybaird.com Thanks to Anna @abstraktpublicity for the connection*Cover Image via:@JMA.Photo To Support this podcast from as little as £3 per month: www.patreon/ministryofarts For full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

Kaia Goodenough is a freelance curator, writer and facilitator in London, particularly interested in interdisciplinary and collaboratively embodied practices. Kaia originally trained as a contemporary dancer at London Studio Centre and her choreography has been performed at Lillian Bayliss, Sadlers Wells, DanceEast, Battersea Arts Centre, The Place and the Point, and Eastleigh. She recently studied at the Royal College of Art graduating with a Masters in curating contemporary Art. In today's episode, Kaia discusses how she took her complicated relationship with dance and worked to reclaim it as her own, how being a dancer influences her art, producing, and curation, and the beauty of dancing explicitly to have a good time.  She also shares how having her work funded was the least creative she's ever been, how the choreographic project empowering students led to her never being asked to return,  and how she explores femininity and womanhood through movement. Follow along on Kaia's journey: kaiagoodenough.co.uk Transcript available on our ⁠⁠⁠⁠website⁠⁠⁠⁠! --- Support this podcast: https://podcasters.spotify.com/pod/show/storyproject/support

Jo Hunter is the Founder and CEO of 64 Million Artists, a social enterprise inviting everyone in the UK to explore their creative potential and use it to challenge the status quo. Since they were founded in 2014, they have run bespoke programmes and nationwide campaigns for individuals, communities and leaders across schools, universities, whole cities, workplaces, cultural institutions and health and government bodies. They experiment with different ways to reconnect people with their creativity and work to understand and explore how creativity impacts positive change. Over 120,000 people take part in their January Challenge each year and they are well known for prioritising well-being, working a 4-day week and taking August off each year.   Previously Jo was Head of Strategic Development at Battersea Arts Centre, Senior Artistic Associate at Harbourfront Centre Toronto and Head of Funded Programmes at Sing Up. She also started her career in the circus and is a former presenter of BBC's Why Don't You? She was a Clore Cultural Leadership Fellow in 2014/15 and is a fellow of the Salzburg Leadership Forum.    ---- SOCIALS: Twitter: https://twitter.com/64M_Artists Facebook: https://www.facebook.com/groups/1199043716842584 Instagram: https://www.instagram.com/64millionartists/ Website: https://64millionartists.com/team/jo-hunter/

How to set a child up for success: 1. Give birth to him in secret 2. Let him be raised by an indifferent mother and obnoxious father 3. Not so secretly think he is evil from babyhood - and tell multiple people this 4. ??? 5. Kill him (once he's old enough) Book: Super Edition: Yellowfang's Secret Support us on Ko-fi! WCWITCast Ko-fi Follow us on Twitter! WCWITCast (@WCWITCast)  Follow us on Instagram! WCWITCast  Cat Fact Sources: Pluto's Twitter Pluto's Twitter - Retirement Post Facebook - Pluto the Cat - Battersea Arts Centre Battersea Arts Centre - Wikipedia Battersea Arts Centre David Jubb Blog - Battersea 2015 Fire Have you seen Battersea Arts Centre's missing theatre cat Pluto? | Wandsworth Times Pluto the Theatre cat Retires After Eleven Years at Battersea Arts Centre - Katzenworld Music: The following music was used for this media project: Happy Boy Theme by Kevin MacLeod  Link: https://incompetech.filmmusic.io/song/3855-happy-boy-theme License: http://creativecommons.org/licenses/by/4.0/

Easy! If you enjoy this and would like to support my work, you can subscribe to this and or make a dontion on Ki Fi - BUY-ME-A-LAGER https://ko-fi.com/paulcree Greetings, bonjour, what's happening Welcome to Lager Time, fellow patrons of the Lager Nation, as we unwind, we let the lager flow and free our collective minds, or some such bollox.Yes indeed. Apologies for the short absence, these last few weeks I didn't quite anticipate it being this long but here we are, such is life. I am at times, a little disorganised but I've also been pretty busy. There's been a lot of back and forth to London, days at a time, meaning I'm away for my little home studio, there's been a couple of funerals, two weeks in a row, which have both been on Friday's, which is normally my day for putting the podcast out; so I'm sure you'll understand,So what have I been doing? Couple of weeks back, I had the pleasure of working at the Battersea Arts Centre, a place which I've done lots of stuff over the last 14 years, mate. It was the place I first got involved in theatre, had my first professional performing jobs, as well my first jobs, my first assistant roles doing workshop, met Conrad Murray etc etc.So I was back working with the almighty Beatbox Academy (who I've worked with, on and off, for many years.) It was the opening week for their latest show, Pied Piper, which is a re-telling of the classic-story, as hip hop musical, sounds it's all beats, bars, and a lot of singing and some pretty sublime harmonies and melodies. All the sounds are made on stage, by the cast and it's pretty damn good.Conrad Murray, who is the creator of the show and co-director with Ria Parry. Con is a good pal of mine, we set up Beats & Elements together (ten years ago now) – and I know all the cast too, some of which are good friends of mine. Yes I'm biased, but the show is a banger, mate! Fun for all the family.The whole run sold-out and it's had some really good reviews so far, and it now goes on tour, next stop Canterbury if you're down there. So there's a part of the show, which involves some of the younger members of the academy, which I was co-leading on. It was fun, got to go on stage twice a day, to packed out audiences who were having a great time. It was a fun week.I also stepped-up and performed at the Anti-Slam, which is a tongue-in-cheek, satirical take on a poetry slam. It was at the very cool Pleasence Theatre in London. The night itself was really fun, my bit could've gone better to be honest. I really enjoyed writing it, learning it, but I don't think it landed that well on the night. Oh well, sometimes you try these things. I think also, some of the other acts were simply very good. Large up Kareem Parkins Brown who won on the night, and was very entertaining.I also this week passed my driving test, so well done me. First time and all that. 40 years old, mate. Think I got a bit lucky. Means I've got get a little motor now, and generally become a bit more useful to my wife and my family. Which is good, I hopeAlright, so, onto this week's little Young Unprofessional piece. It's the final piece in this first little foray into doing this stuff. Just Another Day(Te) – little wordplay there. I managed to sneakily record it on Tuesday but my little doggies were making a lot of noise which you may hear on the recording. I've enjoyed doing this, I don't know if anyone else has, but you know, I'm only dong this because I like doing it. I want to take a bit of time and go back through them, look at the form of it, so what I can do more of etc etc.  I've got a few older pieces in the Reece character which I might record and put out, for posterity purposes. But well see, mate. As ever, everything on here is a work-in-progress, like my Anti-Slam gig, some things work, some don't, that's the game mate.In the meantime, I've been slowly adding old poems and lyrics, complete with video or audio, onto my website if you fancy taking a look - https://paulcree.co.uk/lyricsandpoemsSome more links below to support my work (or in the podcast description)That's it for nowI'll be back with something, probably in a couple of weeks timeKeep it Larger than lifePeas and tatersPaulIf you're able to, these are ways you can support my workTHE SUBURBAN BOOKMy 1st book collection of stories and poemswww.paulcree.co.uk/shopBeats & Elements: A Hip Hop Theatre Trilogy2 plays I co-wrote plus Denmarked by Conrad Murrayhttps://paulcree.co.uk/shop/beats-and-elements-a-hip-hop-theatre-trilogySTREAM TOAST IN THE MACHINE EPhttps://paulcree.hearnow.com/toast-in-the-machineBUY-ME-A-LAGERhttps://ko-fi.com/paulcreeSHOW LINKSPiped Piper @ The Gulbenjier, Canterbury Dec 6th 10thhttps://thegulbenkian.co.uk/events/pied-piper/Kareem Parkins Brown – Poethttps://www.instagram.com/parkinsbrown/Conrad Murrayhttps://www.conradmurray.org/Just Another Day(te)So we'd agreed Thursday for the date with Alice. Date. Can't believe I'm saying that, what happened to just, having a drink? Going a drink? Anyway, it was a Thursday. ‘ave that Stuart, a Thursday, priorities, mate! Be At One cocktail bar in Holborn. Despite vowing to not tell anyone, I told pretty much everyone; which totals about seven people. Such as to say, whilst I was making my way there, I received three text messages all wishing me good luck. Even Diane from work sent me one?! Diane… was she hinting at… na.Do people do that before someone goes on a date, though? Surely for some cosmopolitan young twenty something Londoner, especially a geezer, who probably does this type of thing all time all the time, they don't get those sorts of messages, do they? It was hard not to read too much into those texts. It felt as if they're were saying ‘Reece, we don't know how this has happened, or how desperate this person is, but you're going on a date, good luck, son, you'll need it'-  but it did make me realise I probably shouldn't have told anyone, probably. I was a bit embarrassed, I don't like drawing attention to myself like that, it's to exposing.  Even Gary sent me a good luck message, of sorts. It said ‘Do the business, mate, you can't be a nonce your whole life.' He meant well.I went straight from work. Got changed in the carzi. Took off my work shirt, and changed into a long-sleeved blue one that I'd bought in Topman. Kept, my work trousers and shoes on. I guess I looked kind of smart? It was about as smart as I'd get. Ideally, I'd least have the Air Max on, and maybe a Lacoste polo, letting her know I've got the street-geezer edge, little bit hip hop little bit football casual, but I was worried this bar would have a dress-code. Fucking dress codes. I didn't want to be late, so I got there early, like really early, and walked over to the bar. I don't normally go in cocktail bars, only really when I'm on dates, or birthday parties. I don't really go on dates, and don't have that many mates, so I don't really go in cocktail bars; unless it's some work doo. Basically, I don't go in cocktail bars. I looked inside and it was packed full of young 20's and 30's types. Some in couples, some in groups, some looking like the post-work crowd; still boozing. I figured it was too early to go in, especially on my ones, so I bopped round to The Crown, safer-ground, where I'd met that prick Stuart Simmons a few weeks before; he who put me onto this Gumtree online dating caper. It'd come full circle.‘Look at me now Stuart, I've made it, I'm on a date, you can't laugh at me now… and I've still got your Spiderman Game on the PS1! I'm gonna make love to this girl with that on in the background, on pause, just looping around. And what, bruv?!'He's a prick, but I guess he had done something good here. Alice seems really nice, from the computer anyway. And she's a teacher, with like, a proper job, a career. I'm probably out of depth here. There was a lot at stake. I was excited, and nervous, and anxious; I'd been thinking about it all day, all week. I pretty much did nothing back at work, which is only slightly less than what I normally do.I got a pint of that Alpine lager in, told myself I had time to kill, so sip it slow. Yea. Something else must've kicked in and overrode that internal command, because I did it in about four gulps; without even noticing. It's like I couldn't help myself, like my right hand was a magnet to the glass and my elbow was automated to go up and down and I didn't know where the off-button was. It just goes down to easy. I was trying to read a copy of the Metro on the table, but no words were going into my brain. Just staring a picture of Frank Lampard celebrating a goal for Chelsea. I wonder what Frank Lampard would be doing in my position.All I could think about were various scenarios of me impressing Alice, with my suave free-spirit-creative-vibes, but with the coating of a geezer who's got a bit about him. Not some posh kid who writes poetry on a tree-protest. Obviously. She needed to know that I was good guy, but I weren't no melt, like Stuart Simmons, or any of his London mates.Three pints later and I had half-an hour before we were due to meet. I was gassed-up and already fizzing with that lager buzz, feeling good but also like I shouldn't have drunk all that booze, a few burps slipping-out, worried that I might've already crossed that threshold, when talk just goes into turbo breeze and I'm just spouting hot air, like a malfunctioning kettle close to boiling point or more like implosion.I slipped in to the carzy for a Pat Cash and a sneaky spray of a Hugo Boss miniature, that I'd bought off Kemal from work, he had a load of them so I bought a set; some mate of his that worked in Duty Free or something; was getting job-lots of them. Whilst I was washing my hands, I noticed the jonny machine. Up until that point, the thought of banging, sleeping together, hadn't even occurred to me. I'd been pretty much entirely focused on hoping she was cool, whilst not making a complete dickhead out of myself, which I was at permanent risk of doing. It'd been a good while since I'd even got close to a chick like that, for even a kiss, let alone anything else. What was I meant to do here? I certainly wasn't planning on bangs, I felt lucky enough to even have a toenail in the door with a chick, a girl, a female, a lady, a women, with a job, and a career, and opinions, and a sense of humour, who seemed really nice, and funny, this was far from a sealed deal. Yet, what am I meant to do here? There's clearly some sort of rules to this caper; rules which have passed me by. If it went well, and things heated up a bit, she might think I was naïve if I didn't have them? Or reckless? But then, if I did, she might think I'm too presumptuous? Arrogant even? Disrespectful? I didn't want to be any of those things. This debacle was stressing me out. I stood there by the sink and wondered if many a geezer had been in this predicament, like Frank Lampard, where, whatever you did, you were probably gonna get it wrong. I thought about texting Gary, but then I knew what he would likely say. I had no idea what Frank Lampard would say, probably some football platitude about the lads putting in a good shift. So I rung Stuart, he laughed and told me to buy them, just to be on the safe side, figuratively and literally. Good advice, I thought and despite being a melt, he seemed to have done alright with the ladies of late. It's like he came into his own at uni or something. Lord knows how, he played Warhammer when we were kids, not even I had the temerity to do that (though I can't lie, I was tempted.)So I bought a pack of jonnies. The process of popping a couple of nuggets in the machine and the packet coming out, made me feel good, like a man, or something, sort of. I actually had a reason to be buying jonnies, for once. I was hoping another geezer would come in the carzy, like Frank Lampard, and see me buying the jonnies, like it's nothing, and give me that nod of respect. Not like back when we were teens when we'd would take turns to buy them in the shopping centre toilets, fill them up with water and throw them off the top floor.I stuck the rubbers in my pocket, which left a bit of a bulge but I had nowhere else to put them.  Bowled out that carzy, three pints in, a bit lagered-up, jonnies in my pocket, wearing that alpha-male swag like I'd just bought it from a fancy dress shop; felt good though, even if I had no idea what the fuck I was doing. Being half-cut at least made me forget, how woefully unprepared I was, for any of this.Alice sent me a text saying she was running ten minutes late. I could deal with that, I thought, and my fears were numbed enough from those pre-pints to step into the cocktail place on my Jack Jones. She messaged me, which to me was a good-sign, she hadn't ghosted me yet, like that time in year nine when Natalie Longden agreed to go to the cinema with me, but never turned up and I stood outside the ABC for two hours.It looked like a few of the post-work boozers had cleared out as a couple of tables had come free. Stepped up to the bar, picked up a menu and looked at it for all of about ten seconds; there were multiple cocktails on there, none of which I knew what they were, and I didn't have the patience to read the ingredients; so I got another pint in; they had kronenburg on tap; which considering I was three pints in, on an empty stomach, weren't the best idea. Kroenburg was in the naughty club; up there with Stella; personal favourite of mine, but I knew to tread carefully. I had a penchant for the naughty lagers but had gotton myself in trouble on those, many, many times before. But there were other forces at work here, familiarity won out, revealing I know nothing about cocktails, or much else for that matter.I sat, or perched, like a budgie, on this awkwardly high stool by the awkwardly high, tiny round table. Who actually wants to sit at these? They're so uncomfortable. I took regular small sips of the pint, and kept the phone in my hand, routinely reading the messages she'd sent me, nodding my head along to the generic house music, which was just about at background level, that no one else was listening too. I'd gone from feeling alright to shaking, and I couldn't stop tapping my foot, to the point where I wobbled the table and spilt a bit of the pint, which went on my hand and on my shirt. I managed to get some napkin form the bar, to wipe off the booze, some of which had also gone on my phone, when Alice rung me. Shit. I sort of panicked and said ‘hello' – voice going up an octave, and could about make out a female voice with a slight northern accent, saying‘I'm here, where are you?'I look up, and no more than ten metres away is this small, petit girl with dark blonde hair, with glasses, shoulder length, wearing a cream jacket, with a big clutch bag on her shoulder, blue jeans, flat converse trainers, standing there on her phone, looking around. She looked alright, bit small, but shit, alright, mate. And she's wearing trainers. Should've worn mine!‘I think I can see you ‘I said, napkin stuck to my arm, which I'd just realised. She turns round and sort of clocks me and walks forward. I unstuck the tissue, awkwardly climbed off my perch to greet her.  She looked kind of tentative walking towards me. Fair enough, I'm a stranger, you don't know me etc. I might be a nonce or something, which I'm not, obviously, or wait maybe it's not that obvious? Shit, I hope not. But she don't know that I'm not a nonce, so she was tentative, nervous. Like me.  Maybe she's  a nonce?As she's walking towards me, I'm thinking; what do I here? Is this a handshake thing, a hug thing, a kiss on the cheek thing? A two kiss on the cheek thing? What would Frank Lampard do? But before I knew it, I'd gone for some clumsy hybrid of a handshake and a hug and almost like fell into her. I got close enough to know her head came pretty much just by my chest, and that she smelled nice, even if she did have to lean back to avoid me crashing into her..‘Sorry' I said, I weren't quite sure what to do there.'She laughed though, and said ‘hello, I'm Alice.' It was a nervous laugh, but you know, understandable. ‘It's alright', she said, ‘we can hug.' And we hugged, and she still smelt nice.As first impressions go, I don't think I was doing that well. She had to climb a bit to get on the stool, and laughed while doing it. Do I laugh here? Is that appropriate? That would draw attention to her petiteness and I don't think I'd earned that right yet. But we get into the small talk anyway, how's your journey and your day so far and all that caper. I can do that bit, but I could already hear the wind-chimes indicating that I could unleash a whirlwind of turbo breeze at any minute, and talk a load of complete bollox, scaring her away. Had a cursory glance at my pint and I was already two thirds down. Do you want a drink, I said? She said ,yes please, and asked me to choose her a cocktail, that's a good sign right, bit flirty, but shit, she's gonna realise I know nothing about cocktails. I came back with a Long Island ice tea because that's the only one I'd heard of. She looked surprise and went, ‘ok, that's a strong one'. Not sure what that meant, though, but I don't think it was good.At the bar I spied they had bottles of Peroni so I downgraded myself to that, I had to keep the storm at bay, otherwise all hell would break loose, and I was already close. I was at the four-pint threshold with no food and a big potato sack of nerves, raging through me. This was a terrible combination; this was going to take all my mental powers to hold it together.She seemed a bit reserved, and was looking around a bit, whilst we were talking, this wasn't a good sign. I was trying to compensate for this with more chat, which was increasingly looking like bollox. However, I'd noticed she had a slight northern accent and asked her where she was from. She seemed receptive to this question and told me she was from some town in Lancashire, which she said was a bit of a dump but didn't mind it, as it was where she grew up, I respected that. Came to London for uni and stayed ever since. I then got her talking about her job, and what she liked about it, which was good because it meant I wasn't talking, and I knew a little bit about teaching. She genuinely seemed to love her job, some little primary school in Notting Hill and the more she talked, the more cool she seemed. She had a lovely smile. Slight gap between the teeth but it was cute. Not the best looking chick ever, but you know, she was alright. She then asked me the same question. I guess that's what this game is, when you're both a bit nervous, and trying to be polite, you ask each other questions and while they're talking you try to think of something witty to say whilst also trying to not be a dickhead; which for me, was proving very, very difficult. I told her about New Town, and growing up there and never really doing much.‘So you just came to London then? No uni?'Pretty much I said, expecting to think I was some kind of looser. From the sounds of it, where she's from, geezers like me don't leave. Which was a bit like New Town. I guess I am a bit different in that respect. Good for you she said, Uni was the only way I was ever gonna get out.We get on to the next drink, I'm just about holding back the drunkenness, I think she could tell, shouldn't have been late then, Alice?! She has a Martini this time and buys some crisps, which was a touch, as I think I needed some kind of sandbag in my liver to absorb some of the booze.  I could see she was relaxing a little bit more. I noticed her at the bar, texting, who though? She came back with a smile, of sorts, and some crisps. So where's your favourite place to go on holiday then?Bollox, I could lie here but fuck it.I haven't been on holiday in years, I said. We used to go to Camber Sands when I was a kid, had a couple of lads holidays which to be honest were a bit shit, just got sunburn and spent loads of money. She laughd at that. I've never been there but I'd like to see the middle east, maybe, like all of it. Iraq, Irsael, Iran, Syria I dunno. Never been to any of them.Interesting, how come? She said.I dunno, something about the region interesrts me.Like what? She said, really looking at me. I couldn't hold her stare for long, I looked at the beermatI dunno. Three of the worlds major religions are from there, in that one little spot on the map, so much of we know. The old spice roads and the ancient civilisations and all that. I dunno, maths and science, and discoveries and, like other stuff. Just find it interesting, it's like the middle of the world or something.Not quite the answer I'd expected but fair enough. You ask me a question? Go on.Shit, she was taking control, and I had no idea what to asj.‘Erm do you like music?'She laughed, that's a rubbish question, you've already asked me this question in one of your messages.Oh yea.She laughed again, ‘also, who doesn't like music?'I dunno, there's bound to be some perverts out there who don'tShe laughed again. ‘Perverts?'Shit, I'm not even trying to make her laugh here, but she's laughing. Is she laughing at me though?.My dad doesn't really like music, you calling him a pervert?What?! Na, na, er not at all.It's alright, I'm just teasing ya… he is a pervertReally?.... Oh right…Course he's not, I'm just teasing you again.Oh, ok.Jesus, she was playing me!Ok, next question then?Erm who's your favourite celebrity?Another corker of a question.SorryStop saying sorry. I'll answer it though. Gloria Estefan. Me and mum love her, sometimes we stand in the kitchen and sing Rhythm Is Gonna Get You, mainly when dad is out, as he hates it. So what about you then?I hate these questions, had no idea what to say.Err Frank Lampard.The footballer?YeaWhy?He's err a role model, kinda there when I need him, sort of.I've no idea what that meant, why did I say that?She laughed again, looked at me for a few seconds then checked the time on her phone, looking a bit mor anxious. We chatted a bit more, I talked this time about my family, Tanya who's a cousin, my job. She seemed more and more occupied, though, and checked her phone again.Do you want another drink? I saidNo you're alright, I've gotta head off. It's almost ten and I'm up up early, so if you don't mind I'm gonna say goodbuy.Shit. Suddenly her demeanour had changed a bit, I think she'd seen through me.Ah no worries, I should probably get off myself off as well, I've enjoyed it though.Yea she said, unconvincingly, whilst climbing down off her chair and opening her handbag.I got up myself, to sort of see her off, with no idea what to do, so I tried to play it cool and look like this was all fine, you know business as usual but suddenly feeling awkward and before I knew that automated arm was doing its own thing again, and had reached into my pocket for my oyster card, and without thinking pulled out my wallet, and the pack of jonnies, and plonked them on the table; before I could even register what I was doing.She looked at them, then at me, with a sort of bemused look. I didn't know what to say.Oh shit sorryShe looked at me, what are you sorry about? I didn't mean to get those out. I weren't suggesting anything, I forgot they were in there. Do you want me to walk with you to the tube station?She ignored the question. Do you always get those out on first dates?No… I didn't know what to do, my mate advised me to get them just in case..Just in case what?! She seemed pissed-off, now. And who is this, mate? Frank Lampard?!Was she brining Frank into this before, he didn't do anything. I didn't saying anything, and then in some sort of desperation repeatedDo you me to walk you to the station?No I'm fine, thankyou. It was nice meeting you.No kiss, no hug, no handshake, she just turned and walked off, didn't even look back. I slumped back down, elbow on the tables, head in hands. I blame Stuart. Dickhead.I was blasting out Broken Wings again on the train home. Did the routine,  Got off, kebab, smashed that, sauce in my chin, back to the flat, straight to bed. I wasn't going too as I knew it was a lost cause but decided to send her a text message and apologised for my clumsiness. Explained that I didn't really know what the correct thing to do was, so I was just being precautious. She didn't reply.Next day at work, Dianne weren't in and I was low down enough on most peoples priority list, to not give a shit about the fact that I'd gone on a date, so no one asked me, which was a good thing. I'd come to the conclusion that the whole date was a little like a Division Two side getting a plum cup-match against a Premier League outfit. Of course, I was the underdog going into it, no one expecting me to actually doing anything, just hoping for some of that cup magic. Held my own for a bit, showed a few glimpses of something and then eventually collapsed, standard I suppose.Got to about 5pm, whilst pretending to look at this customer, my phone vibrates and it's Alice. She said sorry she'd not replied and don't worry about the whole thing. She had some bad family news whilst we were there and said she'd overreacted a bit, was a bit upset and maybe in a few weeks, did I want to go out again?Shit. Sick! I didn't know what to do here? I mean obviously my answer was yes, but like when do I respond?? Leave it a couple of days? What would Frank Lamp… oh fuck that. No worries, I said, and yes I'd like that. Speak to you soon, Reece. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit cree.substack.com

If your audience is online, shouldn't your theatre show be online too?In a post-pandemic world where creators and collaborators of all kinds have been forced to revisit how they make and present work, what does it mean to bring an audience together in a virtual space?Paula Varjack is a multi-disciplinary creative whose work is firmly rooted in performance art. Her work includes stage productions in theatre settings - including the Barbican and Battersea Arts Centre - as well as shows specifically designed to be enjoyed online."I, Melania was a show that.. fully took place on social media and began and ended on a platform called Gather, where you arrived as an avatar and saw the audience before the show began. And then you could come back to that space to have a post-show conversation as your avatar."Paula is also the dramaturg and digital artist for Proteus Theatre's stage production, Indestructible.In this compelling deep-dive into the motivations and mindset of an outstanding performance artist, Paula discusses her work, her career, and the artists who have inspired her with show-host Mary Swan.Timestamps1:25 Digital culture, popular culture and theatre4:33 The draw of solo theatre5:47 Training as a theatre technician7:17 Pandemic productions - I, Melania and The Baby Question13:40 Moca North - building a fictional gallery website18:30 The joy and pain of Woody Allen23:13 The experience of being marginalisedCreditsThe podcast Indestructible is a Creative Kin production for Proteus Theatre Company.Executive Producer & Producer: Jason CaffreyMixing and Mastering: Adam DoubleProduction Music: DEX 1200Artwork: Y DesignsLinksIndestructible stage showMoca NorthProteus Theatre CompanyOmnibus Theatre ClaphamCreative KinIndestructible podcast mini-site at Creative KinCreative Kin client guest bookRemember to rate and review this show!

No matter your sexual preference, navigating marriage can be a challenge. It's important to know where you stand and the power you have in making your relationship your own. Creative powerhouses Sophia and Heleana Blackwell share their experiences as a married same-sex couple, how they handle problems and difficult tasks in their business, and the importance of aligning your marriage with what you want instead of what society expects of you. Tune in to this episode: Wife Material with Sophia and Heleana Blackwell Key points covered in this episode: ✔️ Marriage isn't the endpoint of a relationship. Now that you're committed, it's actually where all the work begins, like learning how to set boundaries, saying no, and exploring each other's different facets. Marriage provides safety and containment for a deeper exploration. ✔️ Marriage needs to be queered, no matter your preference. You don't have to submit to societal conventions. Be empowered to create your own traditions. Feel free to leave aside wedding practices that you don't feel comfortable doing. ✔️ There is happiness and joy in same-sex marriages. It's about time we break the myth that gay relationships are doomed to fail. Sophia and Heleana Blackwell aim to demolish the stereotype and proudly share their journey with the world. ✔️ Couples can make a business relationship work. Sophia and Heleana have recognized each other's strengths and weaknesses. This allows them to easily bounce off their ideas, take breaks, and focus on being a couple when needed. ✔️ Creative collaboration can open up different sides of people. It also encourages trying new things and taking on new challenges that you wouldn't have tried if it weren't with your partner. Whatever your gender identity and sexual preference may be, relationships come with ups and downs. But it's crucial to be firm in your values, know what you want the relationship to look like and how you want it to feel, and curate it to become an adventure that brings joy to you and your partner. Sophia Blackwell is a performance poet, and radio and podcast host for Resonance FM, The Polari Podcast, and Virgin Radio Pride. Her most recent collection with Burning Eye Books, The Other Woman, was longlisted for the Polari Prize. Heleana Blackwell is a stand-up comedian and Max Turner Prize Semi-finalist who has performed at a range of top London nights such as LOL Word at Battersea Arts Centre, Foc it Up at 21 Soho and 2Northdown, as well as at Brighton and Camden Fringes in 2022. Links: Website: www.wifematerial.co.uk Heleana's Instagram: https://instagram.com/h_a_blackwell   ————————————————————————————————   ★★★ About Marie-Elizabeth Mali ★★★ Marie-Elizabeth is the founder of Relationship Alchemy, where she helps women near or in midlife reconnect with their deepest desires and truths so they can build lives of passion, purpose and joy without shrinking themselves or dimming their light. She does this through coaching, retreats, and community, using her PassionBody Activation Method. ★ TAKE THE “GROWN-ASS POWER” QUIZ ★ For passionate women having a “Now what?” moment who are ready to turn on their unapologetic power. http://relationshipalchemy.com/power-quiz   As the founder of Relationship Alchemy® and the PassionBody Activation™ retreats, and two-time TEDx Speaker, Marie-Elizabeth Mali helps women connect more deeply with themselves and communicate more effectively in their lives and businesses. Her clients transform patterns of thinking and behavior that get in the way of love, connection, and success in relationships and business. Drawing on her Master's degree in Traditional Chinese Medicine and over 20 years of working with clients, she teach women how to show up as authentic leaders in their relationships and work instead of twisting themselves to fit in. Her work has been featured in Thrive Global, SWAAY, and Forbes. Marie-Elizabeth is also a philanthropist and published author with an MFA in Poetry from Sarah Lawrence College, and an underwater photographer who has a thing for sharks. Learn more at https://relationshipalchemy.com.

Our Guest today is Alexandra Donnachie https://www.alexandradonnachie.com/ Alex is an award-winning actress, award-nominated writer, theatre maker and voice actor. Her writer-performer credits include the critically acclaimed shows: twenty-eight, When We Died, and  3 Years, 1 Week and a Lemon Drizzle. She's enjoyed several successful runs at the Edfringe as well as touring the UK.  Other acting credits include stints at the Battersea Arts Centre, numerous audio dramas for Big Finish and Audible and plays series regular, 'Jackie' Tate in the Dark Shadows audio drama series. She also performed in The Suffragettes with Lucy Worsley a BAFTA winning production with BBC One. She is currently working on a large-scale family show with integrated accessibility with the support of Arts Council England, Battersea Arts Centre and Merton Libraries.  She is also developing her fourth play and working on the screen adaptation of When We Died.   I invited Alex onto the podcast to talk about the importance of a self-care routine specifically her self-care process while she was performing her one woman show about sexual abuse at the EdFringe this year.  Including how she safeguards her wellbeing after her emotional performances and having boundaries not only between herself and her character but between herself and those audience members who strongly resonate with the shows themes and want to talk with her afterward.  We also touched on the unintentional psychological healing that comes from performing her own work.

As the death toll from wildfires in Hawaii rises, The Beekeeper of Aleppo author Christy Lefteri explains how similar tragedies in Greece inspired her new novel The Book of Fire. Battersea Arts Centre's Artistic Director and CEO Tarek Iskander, critic Andrzej Lukowski and theatre consultant Amanda Parker discuss what could be behind the current exodus of artistic directors from theatres across the UK. Curator Rachel Dedman and artist Aya Haider reflect on the roots of the striking needlework in Material Power, an exhibition of Palestinian Embroidery. Presenter: Samira Ahmed Producer Paula McGrath

In this special episode, we talk to two artistic directors about the current funding crisis ravaging our sector. Back in May, when the Greenwich Dance team was having funding applications repeatedly rejected, we were relieved to see renowned theatre director Nicholas Hytner's Guardian article "The arts in Britain are teetering on the brink. Here's my plan to save them". Here at last someone was talking about the dire situation the arts are in and, just as importantly, offering up with ideas about how to do something about it. And it turns out someone else had also been thinking constructively about arts funding models. Way back in 2020, Tarek Iskander, Artistic Director of Battersea Arts Centre, proposed a National Arts Service, using his experience of working in the NHS as a starting point. As we begin to see a general election on the horizon and the possibility of a new government starts to feel possible, we invited them both to talk us through their intriguing provocations. We ask at this time, when we are emerging from a pandemic, suffering the effects of a cost of living crisis and dealing with the repercussions of Brexit, how do we inject more funding into the cracks appearing in the arts? And as we navigate our own precarious funding situation, we ask if not now – when? Talking Moves is a Greenwich Dance production Presented by Melanie Precious Production by Carmel Smith, Lucy White and Melanie Precious   Recording date: Wednesday 19 July 2023

Now for a roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their weekly email newsletter. Audio described shows and events included: The Beekeeper Of Aleppo - Saturday 13 May, 2.30pm, touch tour 1.30pm, Theatre Royal Norwich Around the World in 80 Days - Thursday 18 May, 7.30pm, Richmond Theatre Titanic The Musical - Tuesday 23 May, 7.30pm, touch tour 6pm, Wycombe Swan Theatre, High Wycombe Six The Musical - Thursday 25 may, 8pm, Hull New Theatre Elvis Died of Burgers - Thursday 25 May, 7.30pm, Battersea Arts Centre, London  A Mid Summer Night's Dream - Saturday 27 May, 2pm, touch tour 12noon, Shakespeare's Globe Theatre, London To find out more about these and other up-coming audio-described arts events as well as details about how to sign up to the VocalEyes weekly email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

For Comic Relief, Linton Stephens is joined by comedians Tiff Stevenson and Larry Dean for a special live edition recorded at Battersea Arts Centre with the BBC Concert Orchestra and conductor Gabriella Teychenné. What will Tiff and Larry make of the classical playlist that Linton made for them when they're face to face with the orchestra performing it? Tiff and Larry's playlist: Wolfgang Amadeus Mozart - Overture from The Marriage of Figaro Judith Weir - Still, Glowing Dobrinka Tabakova - Orpheus' Comet Claude Debussy - Clair de lune (from Suite bergamasque) Florence Price - Juba Dance from Symphony no.1 Classical Fix is a podcast aimed at opening up the world of classical music to anyone who fancies giving it a go. Each week, Linton mixes a bespoke playlist for his guest, who then joins him to share their impressions of their new classical discoveries. Linton Stephens is a bassoonist with the Chineke! Orchestra and has also performed with the BBC Philharmonic, Halle Orchestra and Opera North, amongst many others.

In today's episode, we are pleased to share with you our very first radio play. The play we will be sharing with you today is called Gravity and it was written by Katie Caden. Caden is an alumnus of Soho Writers Lab and has had her work performed at Vault festival, the Bunker Theatre, Southwark Playhouse, Theatre 503, Camden People's Theatre and Battersea Arts Centre. Her last show 'Paper Straws', produced by her theatre company PearShaped, won the Vault Origins award and her first play 'Are You Happy Now' was shortlisted for Lyric Hammersmith's Original Theatre Voices competition. Caden's writing explores contemporary issues, and interrogates the way we live our lives today, experimenting with form and often using humour as a way to communicate serious issues. She writes to understand other people, and herself, exploring why we behave in the way we do? Why do we make poor decisions and repeat our mistakes? And what drives us to hurt each other or conversely express our love? Writing 'Gravity' in response to Unfeeling, the theme for this year's issue, allowed Caden to consider these things and, in particular, how people can express their love through their actions whilst saying they don't care, and conversely how we can tell people we love them and then behave like we don't. All the characters battle with these impulses and the push and pull between feeling too much and feeling nothing at all. Alongside this, Caden has included technology almost as an extra character, interfering with these dynamics, pulling attention away from the situation at hand, and impacting the characters' ability to feel to the fullest extent. For more information and to access the transcript: www.ucl.ac.uk/moveable-type/gravity-radio-play-katie-caden Date of episode recording: 2022-09-27 Duration: 00:15:58 Language of episode: English Presenter: Sarah Edwards Guests: Eve Colyer, Regina Co, Sophie Edwards, ELiot Taylor, Sarah Chambre, Miriam Helmers, Oliver Toloza Chacon, Damian Walsh Producer: Sarah Edwards (producer), Katie Caden (playwright)

Rosana Cade & Ivor MacAskill are renowned queer live artists based in Glasgow, creating and performing their unique works nationally and internationally in a wide range of contexts. In this interview they chat to Sam about their latest project which takes inspiration from the story of Pinocchio from a queer trans perspective. It shifts between fantasy and authenticity in response to Ivor's gender transition. The performance is part of LIFT (London International Festival of Theatre) 2022 and premieres on June 29th at the Battersea Arts Centre. Find out more about LIFT - http://www.liftfestival.com 

Grace Francis, with a background as an actress, performing in theatres ranging from the Battersea Arts Centre to The National Theatre. On Channel 4 and again on BBC. It was a chance experience as an 11-year-old, after a month-long stint at a famous theatre school; which ended prematurely due to a lack of family funds, that became the catalyst to her lifelong passion for making high-quality arts more accessible to children. Episode Links:Website: https://www.dramed.com/Facebook: https://www.facebook.com/DramedukTwitter: https://twitter.com/DramEdUKLinkedIn: https://www.linkedin.com/company/dramed/Instagram: https://www.instagram.com/dramed_uk/YouTube: https://www.youtube.com/channel/UCIGM-YgIq-bgJ3AZQ8PynBg/featuredLinkTree: https://linktr.ee/DramEdEmail: hello@dramed.comJoey Pinz Conversations Podcast Information: • Website: https://www.joeypinz.com • Link Tree: https://linktr.ee/joeypinz • Music by Tom Izzo: @wahlsinger  https://tomizzomusic.com  Support our podcast:  • Subscribe: https://joeypinzconversations.com/subscribe/ • How much is this podcast worth to you? Consider $5, $10 or $20/mo with Patreon: https://www.patreon.com/joeypinz  • How about a one-time payment?  • What is the episode worth to you? $25/$50/$100/$500 /$1,000/$5,000 with PayPal (one-time): https://www.paypal.com/paypalme/JoePannone Please subscribe/follow to Joey Pinz Discipline Conversations Podcast: • Spotify, Apple, Google, or others.  Please consider rating with 5 stars if you like it. • Apple: https://podcasts.apple.com/us/podcast/joey-pinz-discipline-conversations/id1583997438 • Spotify: https://open.spotify.com/show/69SFwY3XSwcw9qNvElAn10 • Google: https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xODI4OTA2LnJzcw • YouTube: https://www.youtube.com/c/JoeyPinzDisciplineConversations?sub_confirmation=1Please follow on social media: @TheJoeyPinz • Instagram: @TheJoeyPinz https://www.instagram.com/TheJoeyPinz  • Twitter: @TheJoeyPinz  https://twitter.com/TheJoeyPinz • Facebook: @TheJoeyPinz https://www.facebook.com/TheJoeyPinz • TikTok:  @TheJoeyPinz  https://www.tiktok.com/@thejoeypinzFinally,  join our newsletter: https://joeypinzconversations.com/#newsletterSupport the show (https://www.patreon.com/joeypinz)

Episode 102 Notes and Links to Tice Cin's Work         On Episode 102 of The Chills at Will Podcast, Pete welcomes Tice Cin, and the two discuss a wide range of topics, from Tice's youth in the warm and multilingual communities of north London to her love of music and its impact on her writing (as well as the reverse), to her artistic inspirations and muses (hint: Scorcese and Barry Jenkins are a few), her depictions of immigrant life, intergenerational trauma, cabbages (so cleverly and skillfully rendered in her writing!), and crime. The bulk of the conversation revolves around the exquisite pacing, structure, and understatement coupled with sheer beauty that propels her wonderful and unique Keeping the House.           Tice Cin is an interdisciplinary artist from north London. A London Writers Award-winner, her work has been published by Extra Teeth and Skin Deep and commissioned by places like Battersea Arts Centre and St Paul's Cathedral. An alumnus of Barbican Young Poets, she now creates digital art as part of Design Yourself – a collective based at the Barbican Centre – exploring what it means to be human when technology is changing everything. A producer and DJ, she is releasing an EP, Keeping the House, to accompany her debut novel of the same name.     Buy Tice Cin's Keeping the House    Tice Cin's Keeping the House Playlist   Los Angeles Review of Books Review for Keeping the House   The Guardian Review for Keeping the House (called “a cult classic in the making”) At about 1:25, Pete describes his perfect record in reading standout books published through And Other Stories, including Annie McDermott's (Episode 91 guest) translation of Levrero.    At about 2:30, Pete asks Tice about growing up in North London, and she talks about gentrification's role in her childhood environs, as well as her relationship with the Turkish and Turkish Cypriot languages   At about 4:45, Pete registers his awe that Tice has done such marvelous and critically-acclaimed work at such a young age, similar to S.E. Hinton and Christopher Paolini.    At about 5:35, Tice discusses how the Turkish Cypriot language informs the way she writes in English   At about 6:35, Pete and Tice discuss the skill and beauty of Chinua Achebe's Things Fall Apart, particularly with its Ibo proverbs, which helped inspire Tice to use proverbs and flowery language in her book    At about 7:10, Tice responds to Pete's wondering about what she was reading as a kid and into high school; Tice talks about her different cultures and representation, including ways in which writers succeeded and didn't succeed    At about 9:25, Tice explains how she looks back at some of what she read as a kid as “Orientalist,” including Dune    At about 11:20, Pete wonders about “those who got it right” and whose work spoke to Tice; she highlights Samuel Delaney and Octavia Butler    At about 12:45, Pete wonders what moment/s provided inspiration for Tice to become a writer-she cites J.G. Ballard's work as one inspiration     At about 14:05, Pete asks Tice about her relationship with music, and how music informs her writing, and vice versa; she talks about battle raps/community, and more   At about 18:25-another “ATLiens” shout out! It's at least the second-check out 40:00 in this episode with Alan Chazaro   At about 19:40, Tice talks about the varied music she listens to as she writes   At about 20:45, Tice details her path to becoming a “professional writer.”   At about 23:50, Tice talks about building her craft and style, and how she is influenced by Delaney, and made her work more “gully”   At about 26:30, Tice talks about contemporary work that thrills and energizes her, including fellow Tottenham-ite Derek Owusu's That Reminds Me   At about 27:15, Tice explains what she means that the book was written for the “under the kitchen table kids”   At about 29:45, Tice describes the variety of structures in the book and her structures   At about 32:25, Tice describes the “light blue” color she is chasing in charting particularly noir-ish part of her book   At about 33:15, Pete makes yet-another Henry Hill comparison in fleshing out Damla's role as observer in Keeping the House, and the Scorcese talk moves onto The Irishman, as Pete gives kudos to Tice for her treatment of aging and guilt (or lack thereof) in her book   At about 36:30, Pete shouts out some memorable and skillful lines from Tice's writing   At about 37:30, Tice describes the ways in which the pacing of her book was inspired by Moonlight and “the gentle eye of the director”   At about 40:25, Tice responds to Pete wondering about how she has been able to “say goodbye” to the characters from the book   At about 41:25, Pete inquires about Tice's incredibly-creative and successful method of footnotes/side-notes, thanks to some great help from Alex the typesetter   At about 45:15, Tice speaks to Damla and the ways in which she was raised, in addition to the connections to the book's title; Pete asks about a double/multiple meaning for “keeping the house”   At about 48:00, Pete and Tice discuss the idea that the women in the book are often cleaning up after men, in more ways than one, including the ways in which mother and daughter deal with stress/trauma    At about 51:00, Tice and Pete discuss themes of community in the book, and Pete asks Tice about her impressive lack of moralizing when writing about the drug trade; she references misunderstandings/misreadings of her book and shouts out fellow UK standout Graeme Armstrong and his ideas of “holding up a mirror to society”   At about 54:55, Pete and Tice enjoy the beautiful scene between Cemile and Damla and discuss Cemile's role in the book; Pete wonders who Cemile is for Damla, and Tice discusses methods of coping   At about 58:15, the two discuss intergenerational trauma, and how the 1974 Cypriot civil war was a quiet but powerful specter over the story's characters/events   At about 1:02:50, Tice discusses the myriad meanings of cabbage in her book and its symbolism   At about 1:03:35, Tice's cat has entered the chat!   At about 1:06:20, Pete gives a prospective future blurb for    At about 1:06:50, Tice reads from the chapter “Ayla”   At about 1:12:45, Tice talks about interesting future projects    At about 1:16:50, Tice gives her social media information, including mentioning her new Tik Tok page      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.  This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for the next episode, Episode 103 with Tracey Thompson. Tracey is a woman after my own heart-a voracious reader of short stories, who has read a short story a day for over a year. The episode with Tracey will air on February 8.

Episode 101 Notes and Links to Mia St. John's Work         On Episode 101 of The Chills at Will Podcast, Pete welcomes Mia St. John, and the two talk about her upbringing, being a victim of racism, her private battles as a youth and her moving around a lot as a youth, her resolve in becoming a world-champion boxer, how her childhood shaped her boxing prowess, the highs and lows of high-level boxing, and the grief and love she has experienced, especially in recent years, which she has channeled into in becoming an advocate for mental health. The two discuss these topics and more through the prism of her recently-published memoir, Fighting for my Life: A Memoir about A Mother's Loss and Grief.            Mia St. John was born in San Francisco, California. Her fighting career started soon after, at the age of six, competing in Tae Kwon Do. Mia earned a black belt and received a Bachelors Degree in Psychology from California State University of Northridge in June of '94.   In 1996, Mia decided to pursue her true passion full-time, the sport of combat. Valentines Day, 1997, Mia made her pro-debut in boxing, knocking out her opponent in fifty-four seconds into the first round. Mia signed with Don King and stayed with him for a year and a half before she left King for his rival Bob Arum of Top Rank. At Top Rank, Mia spent four years opening for all of Oscar De La Hoya's major fights. Mia has fought all over the world, including Beijing, China, where she won her IBA Championship. After accumulating an unheard of boxing record of nearly 60 pro fights, on June 14th, 2008, Mia fulfilled her dream of fighting in her mother's home country of Mexico. She fought one of the toughest fights of her career and became the WBC International Boxing Champion of the World at the age of 40. In November of 2010, Rep. Grace F. Napolitano joined Mia and LA Laker Ron Artest for an official mental health and suicide prevention training at Napolitano's district office in Santa Fe Springs. Artest and St. John have joined Napolitano to promote the Mental Health in Schools Act, legislation she authored which would increase federal funding for mental health therapists in schools. She also spoke at the Congressional Hispanic Caucus, where President Barack Obama made a riveting speech at the CHCI's annual Gala. As well as Congress, Mia speaks in schools and juvenile halls on the importance of education and overcoming hardship. She speaks of her own battles with mental illness, addiction, poverty and overcoming it all, to become a three time international boxing champion. On August 14th, 2012, Mia fought Christy Martin in a long awaited rematch. Her dream of sixteen years finally materialized and at the age of 45, she captured the WBC Super Welter Weight Championship of the World.   Buy Mia St. John's Fighting for My Life   Mia St. John's Personal Webpage   Mia with Jim Hill on CBS LA   Support The Mia St. John Foundation   People Magazine Synopsis of Mia's Memoir At about 4:20, Mia talks about her mission in publishing her memoir   At about 4:55, Pete wonders and asks Mia a boxing question: How does someone train to get punched in the face?   At about 6:40, Mia references a synopsis of her memoir in People Magazine from Dec. 21, 2021   At about 7:20, Mia talks about her reasons and timing for her new book   At about 8:20, Pete asks Mia about the positive feedback-she cites so many notes from mothers-she has received for her memoir   At about 9:15, Mia talks about “seeds” for the book, explaining that its origins go back to childhood   At about 10:50, Pete refers to the opening of Mia's book, and how a daily affirmation by Francisco “Panchito” Bojado affected and affects Mia   At about 11:50, Pete asks Mia about perspective and how years away from boxing have informed her book   At about 13:25, Mia talks about the “dark part of the soul” that was experienced in boxing and boxing in response to her tough upbringing    At about 14:55, Mia talks about her determination, as manifested in her boxing days, and in her response to the horrible    At about 15:50, Mia explains how her mother's upbringing affected her later life, and the determination she inherited from her mother   At about 17:10, Mia describes the ways in which her father was a “functioning alcoholic”   At about 18:20, Mia details racist slurs and racism that she experienced growing up, and how sad it was that respect came with violence   At about 20:30, Mia responds to Pete's question about how she was changed by moving around so often as a kid   At about 22:10, Mia responds to Pete's question about what alcohol brought her as a young person who became addicted    At about 24:10, Pete asks Mia about her independent trip to live in CA after high school graduation, and Mia outlines her early days in the Los Angeles-area   At about 26:30, Pete inquires into her educational hard work and her choice to study psychology and about her initial time with Kristoff St. John   At about 28:05, Mia describes her early days in taekwondo, and how her mentor “Mr. V” showed such tough love and brought out the best in Mia   At about 29:00, Mia gives background on how she decided to turn pro in boxing   At about 30:00, Pete describes Mike Aspinwall's description (at about 40:45 of this episode) of the adrenaline rush and feelings associated with his time on WWE, and then asks Mia to describe he feelings about entering the ring   At about 32:00, Mia describes her time with her mentor Art, an early boxing coach and Pete asks about how Mia is still inspired by him to this day   At about 33:10, Pete wonders about the “shady” nature of boxing that Mia learned about early on, and she describes the idea of the “tomato can”   At about 34:40, Pete wonders about the “solitude of boxing” that Mia describes in the book   At about 35:50, Pete asks Mia about her experience being featured in Playboy, which Mia describes as an overall great experience and how she came to be featured on the cover for the November 1999 issue    At about 36:55, Mia is asked to describe the incredible atmosp[here and feelings surrounding being on the undercard for the legendary Oscar de la Hoya vs. Julio Cesar Chavez 1998 fight   At about 39:10, Mia describes how she became a “boxer” under the tutelage of Fernardo Vargas' team and left being a “fighter” in the past   At about 40:40, Mia talks about her relationship with and fights against Christy Martin, and she details her mindset and the moving end to their second fight   At about 43:00, Pete wonders what it was like for Mia after she retired    At about 44:15, Mia talks about her beautiful and sensitive son Julian and his brilliant art and her daughter, “a hero” to Mia, and how Julian's schizophrenia manifested itself    At about 47:15, Mia talks about Julian's legacy and his enduring art    At about 48:15, Mia talks about Stone Art and The Mia St. John Foundation (donate here) and their missions   At about 49:00, Mia talks about using her knowledge of mental health and mental health facilities to help others and change the system, including working with Grace Napolitano and Metta World Peace on The Mental Health in Schools Act   At about 50:45, Pete asks Mia about the tragic passing of her ex-husband and its connection to our mental health system    At about 52:00, Pete and Mia talk about her resolve and her family and friends who have helped her in these past years and Mia talks about her daily gratitude list   At about 54:10, Mia talks about her upcoming work, including working with homeless populations through Step Up   At about 55:00, Mia gives out contact information and thanks Elaine Aradillas and Post Hill Press for their help with the memoir       You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.  This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.        Please tune in for the next episode, Episode 102 with Tice Cin, who is an interdisciplinary artist from north London. A London Writers Award-winner, her work has been published by Extra Teeth and Skin Deep and commissioned by places like Battersea Arts Centre and St Paul's Cathedral. An alumnus of Barbican Young Poets, she now creates digital art as part of Design Yourself – a collective based at the Barbican Centre – exploring what it means to be human when technology is changing everything. A producer and DJ, she is releasing an EP, Keeping the House, to accompany her debut novel of the same name.

The scene is a retrospective exhibition of the work of a famous male artist. As the young female curator is interviewed by a journalist, we start to suspect there is more to his paintings than meets the eye. Marie O'Shea is a short story writer living on the Beara Peninsula. Her work has appeared in, ‘Popshot', ‘The Galway Review', ‘The Blue Nib', ‘The Caterpillar Magazine,' ‘Literary Mama' and ‘Storgy'. Catherine Allison is a voice artist and actor living in SE London. She trained as part of the Battersea Arts Centre's Development Theatre Company, working with directors such as Paul King, Steven Canny and Phil Wilmott. She also runs Master the Art, a training consultancy that helps people communicate with more confidence, influence and authority in the workplace and beyond.  Produced by Martin Nathan Martin Nathan has worked as a labourer, showman, pancake chef, fire technician, and a railway engineer. His short fiction has been published by Tangent Press, HCE and Grist and his poetry has appeared in Finished Creatures, Erbacce and Aesthetica. His novel – A Place of Safety is published by Salt Publishing. Photograph is by Martin Nathan.

This time on Things Musicians Don't Talk About, we meet Ellie Consta, the founder of Her Ensemble. We talk about the struggles of lockdown, life as a musician, and her growing discomfort with the classical music world as it stands today. These issues together lead her to set up Her Ensemble, the UK's first women and non-binary orchestra, which is taking the classical music scene by storm.Thank you to Ellie for all of the incredibly important work that she is doing, and for speaking to us so honestly and openly.London based violinist, arranger and director Ellie Consta leads an exciting and varied musical career performing in a range of musical genres. Ellie's versatility and diverse range of interests and influences means she appears regularly with world renowned orchestras, ensembles and chamber groups, as well as world class artists and bands. Recent highlights include performing for Louis Tomlinson, Pixie Lott, Tom Walker, Laura Marling, and Jack Savoretti, as well as arranging music for Wilma Archer, Flyte, Litany and Caitlyn Scarlett. Since graduating from the Royal College of Music with a first class Honours MPerf degree, Ellie has been offered contracts with the CBSO and ESO, as well as working regularly with the LPO, Spira Mirabilis, Britten Sinfonia, the 12 Ensemble, United Strings of Europe and leading Guy Barker's Big Band. She was also a member of the European Union Youth Orchestra for four years and is currently on trial for a sub-principal position with the BBC Symphony Orchestra. Most recently, Ellie founded Her Ensemble, the UK's first women and non-binary orchestra who made their debut this month at Battersea Arts Centre. Since forming in November 2020, the group have already recorded a feature film score for BBC Scotland, performed alongside Pixie Lott and LITANY and been featured by The Strad, Scala Radio and Help Musician's UK. 

Born in Zolani, South Africa, brothers Mthuthuzeli & Siphe November have danced together since before either of them can remember, until their passion for dance grew into two accomplished careers and sent them to two different continents. Siphe has been an undeniable force and integral part of the National Ballet of Canada; and Mthuthuzeli's work as a dancer and choreographer in London, England with Ballet Black continues to dazzle and win prestigious awards. We caught up with both brothers in the midst of their creation process in London to chat about how they were getting along. Their highly-anticipated work, titled My Mother's Son, was filmed by Canadian director Vikram Dasgupta at the palatial Battersea Arts Centre in London, and premieres on Oct. 13 as part of Fall for Dance North's digital event 2021 Signature Program, co-presented by TO Live.

All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact me immediately via email: unpluggedtube@outlook.it and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ----------------------------------------------------------------------------------------------------     'A Late Night Special' concert-film recorded live at Battersea Arts Centre, January 18th 2021. The debut album 'In Praise of Shadows' is out now.   https://ffm.to/pb-shadows​   Setlist: 00:00:40 - Sweet Dreams 00:03:30 - Velvet Leaves 00:08:40 - (She's) Just A Phase 00:11:57 - Cherish (furs) 00:16:00 - Snowflower 00:19:20 - Already Falling 00:23:42 - Midnight Blue 00:28:40 - Want Me 00:34:16 - Opiate 00:37:10 - Oil Slick 00:43:18 - Silk Print 00:48:38 - Bath House 00:53:35 - Moon Undah Water 00:59:30 - Only Trying 2 Tell U Directed by CHILD Studio Recorded & Mixed by Thomas Le Beau Morley Band: Puma Blue - guitar/vocals Harvey Grant - keys/sax Cameron Dawson - bass Ellis Dupuy - drums/samples Gabriel Levy - guitar Bre Antonia - vocals Jemimah Marie - vocals Maria Drea - vocals Sound: recorded & mixed by Thomas Le Beau Morley monitoring & engineering - Jonathan Keirn monitoring & engineering - John Evans Film: produced by CHILD Studio producer - Tayo Rapoport producer - Josh Renaut executive producer - Jacob Allen executive producer - Chris Chadwick production manager - Sinead Solomon production assistant - Nana Quartey director of photography - Henry Gill gimbal operator - Stephan Knight camera operator - Daisy Gaston camera operator - Buster Grey-Jung camera operator - Iona Greaves 1st AC - Mitchel Collins 2nd AC - Iona Greaves gaffer - Sam Baker spark - Damien Gray production designer - Dora Miller production design assistant - Molly Morphew production design assistant - Hannah Eccles production design assistant - Jess Griffin colourist - Thierry Phung with special thanks to: [PIAS] Blue Flowers Music Battersea Arts Centre MAD Rentals Pixipixel Shift 4 & Famous Friends Mgmt   Team UNPLUGGED.      

Nicola Benedetti's new album is out today on Decca Classics focussing on two composers of the Italian Baroque, Francesco Geminiani, and Antonio Vivaldi, and accompanied by eight live performances at Battersea Arts Centre and an online education project, the Baroque Virtual Sessions. Then on August 14 the violinist begins a residency at this year's Edinburgh International Festival, featuring music spanning the breadth of her instrument's repertoire and history. She talks to Editor Martin Cullingford about all these projects, as well what it feels like to return to live performance.

Jude discusses overcoming obstacles, leadership in the arts, cultural activism and building a global movement towards a gender equal world. Jude Kelly is an award winning theatre and opera director and has led organisations such as Battersea Arts Centre, West Yorkshire Playhouse, Metal Culture and Southbank Centre. She founded the WOW - Women of the World festival in 2010, which has staged over 65 festivals across six continents reaching more than two million people. Her 2016 Ted Talk ‘Why women should tell the stories of humanity' has been viewed more than 1.2 million times. She founded The WOW Foundation in 2018 to focus solely on the development of WOW as an independent charity.

This weekend is the British Library's HistoryFest, so Hannah's been on the Zoom with one of this year's speakers, Dr Peggy Brunache, to find out more about the trans-Atlantic slave trade and what myth should be thrown in the bin forever. Mickey catches up with Katherine Kotz, multi-hyphenate in the arts, and curator of an excellent new online short-film festival called The Motherhood Project at the Battersea Arts Centre, which is raising cash for Refuge. Katherine managed to fight the delirium of new mumming to explain why it exists and what punters can expect.And blimey O’Reilly, what a Rated Or Dated, as Hannah and Mick revisit Bridget Jones’s Diary 20 years on to see how it speaks to, for and about women. Strap in: it ain’t pretty. Support this show http://supporter.acast.com/standardissuespodcast. See acast.com/privacy for privacy and opt-out information.

Beth Bramich talks to the artist Chloe Cooper about her work with Jenny Moore and Phoebe Davies as Bedfellows, a research project about sex re-education, performing an Internal Scratch at Battersea Arts Centre, sex education at the British Museum, sex positivity, activism and consent.

Episode 6: Monica Gaga/James & The Giant King's Speech IMDp is an improvised interview podcast. Every week Martina Minnow interviews a director about their upcoming film, but until she introduces them, only Martina knows the guests name and the name of their movie. Also joining Martina each week are our resident improvisers who create cutaway scenes and clips from the films discussed. Todays Special Guest: As seen, heard, staged and featured on BBC Three, BBC News, BBC Click, ITVBe, London Live, BBC History, BBC Radio London, Talk Radio, Global Pillage, The Comedy Store, Hoopla Impro, Omnibus Theatre, Boulevard Theatre, Battersea Arts Centre, The Guardian, Timeout and more...  Monica Gaga is a British-born black African queer improviser, facilitator, host, and scripted actor and performer. She trained in Community Theatre at East 15 Acting School, and her boundless love for improv stems from time spent at Second City in Chicago. When she is not performing, hosting or teaching, Monica is championing diversity, inclusion and equity in improv and trying to get as many people, particularly POC, involved as possible. Monica is based in London, UK.         www.monicagaga.com The IMDp Team: @improvmoviepod   Sabrina Luisi (Martina Minnow) is in Hoopla House team Michelle, acapella improvised musical group Acaprov, improvised musical narrative group Multiverse and long form team Buffet. Sabrina is also an actor and writer in immersive online murder mystery group, Play Dead London. She loves Eastenders, refrigerated Curly Wurlys, and has three accents she uses on rotation in improv shows.  Twitter: @sabrinaluisi                      Instagram: @sabrina.luisi Rory Vieyra (Resident Improviser) is an improviser and Actor who regularly performs with Music Box Improv, Acaprov and The Inflatables in London and abroad. He also teaches improv with Hoopla Impro and performs in immersive Murder Mystery group Play Dead London. He loves Cinnanmon Buns, Dolly Parton and Ancient Greece. He know his impressions are bad but refuses to stop. Instagram & Facebook: @roryvieyra Ryan J Murphy (Resident Improviser) is an improviser from London who has been performing since 2012. He's performed shortform, longform and musical improv up and down the UK, including at the last 7 Edinburgh Festival Fringes, and internationally. Ryan performs in the Enid Blyton inspired show Bumper Blyton and improvised acapella musical Acaprov.  Find him eagerly shouting out answers at a quiz or whipping up a pavlova.  Twitter: @RyanJMurphy Steve Tanner (Producer/Editor) is Director of 4Foot1Films. He creates and edits video content for theatre productions and regularly collaborates with Hoopla Impro to edit their sketches. He runs filmmaking workshops for kids and is also an actor with immersive online murder mystery group, Play Dead London. Instagram @4foot1films   Theme Music by Matt Brown & Jonny Griffiths Episode Artwork by Marty Sears   Additional music by Stan Babich THE RIGHT MUSIC FOR YOUR VIDEO Music Link ://www.patreon.com/no_copyrightmusic And "Night Ride" by Aries Beats - https://www.youtube.com/watch?v=AOvr_57BMZo

Marked as explicit because of derogatory language.   Fleeing from hammering and drilling sounds coming through the wall, Charles Adrian talks about books that were given to him towards the end of the fourth season of his podcast.   More information and a transcript of this episode is at http://www.pageonepodcast.com/.   You can find a handy primer on the limitations of a first-past-the-post voting system, along with links to information about alternative systems, on the Electoral Reform Society’s website here: https://www.electoral-reform.org.uk/voting-systems/types-of-voting-system/first-past-the-post/   You can read about Caroline Lucas, who at time of recording this episode was the UK’s first and only Green Party MP, on Wikipedia here: https://en.wikipedia.org/wiki/Caroline_Lucas   Revolutionary Letters by Diane di Prima is also discussed in Page One 185.   Rebecca Solnit, mentioned briefly here, is discussed more fully in Page One 135.   The episode of the podcast Reply All that Charles Adrian mentions about the activist barricaded inside his apartment while the police massed outside is here: https://gimletmedia.com/shows/reply-all/wbhgk9. The episode is from the podcast Resistance, which you can find here: https://gimletmedia.com/shows/resistance   The Sadean Women by Angela Carter is discussed more fully in Page One 123. Other books by Angela Carter discussed on the podcast are Wise Children (Page One 54), The Passion Of New Eve (Page One 76) and The Bloody Chamber (Page One 86, Page One 135 and Page One 141).   The homepage of the Battersea Arts Centre is here: https://bac.org.uk/   Books discussed in this episode were previously discussed in Page One 121 (http://www.pageonepodcast.com/season4#/121-bettina-john/) and Page One 122 (http://www.pageonepodcast.com/season4#/122-chris-goode/).   Episode image is a detail from a photo by Charles Adrian.   Episode recorded: 17th November, 2020.       Book listing:   The Golden Notebook by Doris Lessing (Page One 121) Revolutionary Letters by Diane Di Prima (Page One 122) The Sadean Women by Angela Carter (Page One 123)

In Frankenstein: How to Make a Monster, six performers from Battersea Arts Centre's Beatbox Academy interpret Mary Shelley’s classic novel from their own perspective; as young people growing up in 21st-century Britain. Using only their own mouths and voices to make every sound in the film, they explore how today’s society creates its own monsters. John Wilson talks to one of the creator performers, Nadine Rose Johnson. Acclaimed author William Boyd talks about his new novel, Trio. Set in the summer of 1968, the year of the assassinations of Martin Luther King and Robert Kennedy, there are riots in Paris and the Vietnam War is out of control. While the world is reeling, three characters - a producer, a novelist and an actress - are involved in making a Swingin' Sixties movie in sunny Brighton and each of them is harbouring a dangerous secret. Artist Rachel Whiteread discusses her series of works she has been creating in lockdown at her home in the Welsh countryside: March-Sept Drawings, as well as a newly-revealed resin sculpture, Untitled (Pinboard), which goes on digital display today. Author Irenosen Okojie and journalist Mik Scarlet review the new ITV drama series The Sister, written by Neil Cross (creator of Luther) and starring Russell Tovey. Mik will also be discussing the Shaw Trust Power 100, an annual publication aiming to further inclusivity by celebrating 100 most influential disabled people, and Irenosen celebrates her current cultural highlight, the Netflix American comedy film The 40-Year-Old Version. Presenter: John Wilson Producer: Oliver Jones Main image: Grove in Frankenstein: How to Make a Monster Image credit: Lukas Galantay

TRIGGER WARNING: this episode contains talk of suicide and addiction.Stand-up, podcaster and creator of ‘Pope’s Addiction Clinic’ Pope Lonergan joins Lou for a virtual cuddle this week.Follow Pope on Twitter: @thedailybumbler‘Pope’s Addiction Clinic’ is at Battersea Arts Centre, Sun 4 Oct. Buy tickets hereListen to Pope’s podcast ‘Pope Lonergan is Plimmin’ and Lompin’’ hereFollow Cuddle Club on Twitter and Instagram: @CuddleClubPodEdited by Naomi Parnell for Plosive Productions.Artwork by Paul Gilbey (photography and design). Support this show http://supporter.acast.com/cuddleclub. See acast.com/privacy for privacy and opt-out information.

Hosted By Michael Rau This Podcast is supported by the Office of the Vice President for the Arts and Stanford TAPS. The statements in this podcast are the opinions of the speakers. This Week's Episode of Intersections features Rachel Chavkin. RACHEL CHAVKIN is a director, writer and dramaturg, as well as the founding Artistic Director of Brooklyn-based company the TEAM (theteamplays.org) whose work has been seen all over London and the U.K. including the National Theatre, the Royal Court, Old Vic, and multiple collaborations with the National Theatre of Scotland and the Battersea Arts Centre. Selected freelance work includes Dave Malloy’s Natasha, Pierre & the Great Comet of 1812 (Ars Nova, A.R.T., Broadway), Anaïs Mitchell’s Hadestown (New York Theatre Workshop, Edmonton Citadel, London’s National Theatre, upcoming: Broadway), Arthur Miller’s The American Clock (Old Vic), Matt Gould and Carson Kreitzer’s Lempicka (Williamstown), Caryl Churchill’s Light Shining in Buckinghamshire (New York Theatre Workshop), Marco Ramirez’s The Royale (Old Globe, Lincoln Center), Bess Wohl’s Small Mouth Sounds (Ars Nova, Off-Broadway, national tour), Sarah Gancher’s I’ll Get You Back Again (Round House), and multiple collaborations with Taylor Mac including The Lily’s Revenge, Act 2 (HERE); and with Chris Thorpe, including Confirmation and Status. Chavkin is a recipient of a Tony nomination for Best Direction, three Obie Awards, a Drama Desk Award, multiple Lortel nominations, two Doris Duke Impact Award nominations, and the 2017 Smithsonian Award for Ingenuity along with Dave Malloy.

The arts world is facing a “cultural catastrophe” with the impact of Covid-19 leading to the loss of an annual revenue of £74 billion according to one report along with warnings of 400,000 jobs lost. But does this terrible crisis also provide an opportunity to rethink the arts world? Frances Morris, Director of Tate Modern, Amanda Parker, Editor of Arts Professional and Director of Inc Arts, David Jubb, theatre producer and former Director of Battersea Arts Centre, and Music Writer Alexandra Coughlan share their ideas for positive change. Radio 4's Rethink week is exploring ways in which the world should be rethought after the pandemic. Main Image: Luke Jerram's coronavirus - Covid 19 - glass sculpture Presenter: John Wilson Producer: Ekene Akalawu Producer: Tim Prosser Studio Manager: Duncan Hannant

Theatre director and producer Jude Kelly talked to Aleks about growing up in ‘50s Liverpool, finding and fostering revolutionary theatre, and about a woman many refer to as ‘The Mother of Modern Theatre’.  Jude Kelly is a British theatre director and producer. She has directed more than a hundred plays and her work has appeared at the Royal Theatre Company, London’s West End, and the Châtelet in Paris. She was 26 years old when she took on the role of Artistic Director at the Battersea Arts Centre, and then 12 years at Britain’s biggest cultural institution, the Southbank Centre in central London. In 2010, Jude took a side step, and started her own thing, the Women of the World Festival.  To find out more about Jude Kelly and possibly how to attend one of her WOW fests… go to https://www.judekellystudios.com/ You can find more on Joan Littlewood on the British Library’s website, under the title, ‘An introduction to Joan Littlewood’s theatre practice’.

Beatboxing as a form of theatre, and (at 24 mins in) the musician's musician on songwriting (including penning a song for Johnny Cash).

On Sunday 20th October, at Battersea Arts Centre, following an incredible day of 'Pop Up Tomorrow', I launched 'From What Is to What If'. Here is the audio of the evening, which also features appearances by improv expert Jeremy Finch and Ruth Sapsed of Cambridge Curiosity and Imagination. I hope it gives you an inspiring taste of the evening.

Meet Susie Thornberry. She is the Assistant Director at Imperial War Museums where she leads public engagement for adults, young people, schools, and families across the five museums. Her extensive experience in arts, museums, festivals, and heritage includes roles with Historic Royal Palaces, Artichoke, and Battersea Arts Centre. In 2016, she was producer of London’s Burning, a festival to commemorate the 350th anniversary of the Great Fire of London, including London 1666 a 120-metre-long sculpture created by hundreds of young Londoners which was spectacularly set alight on the River Thames. In 2018, Susie became a Commissioner of Historic England. Today, Susie and I talk about creating space and exploring the human impact of conflict through art. The irony of touching that last topic today on September 11th is not lost on me. It hits me in the feels and takes me back to a very sad, but life-changing, time in NYC for me.    We also dive into Susie’s role at Imperial War Museums, because seriously, it’s an incredibly rad role and not entirely shocking that Susie's in it when you learn more about her zigs and zags. We also discuss the role of museums in the public space and as perspective builders. After all, we could all use a change in perspective sometimes, don’t you think? Of course, we touch on topics related to burnout and living life on your own terms, like how to courageously say I don't know, mitigating over-stimulation by innate curiosity, and curiously meanadering. You’ll find out what all of that means when you listen to this episode.  Please don't forget to share this episode with the one human you think will really dig it, and subscribe to Le vital corps Salon wherever you listen to podcasts.  Selected link love + resources from the episode can be found here:  https://www.vitalcorpswellness.com/blog/lvcs-0074-susie-thornberry

This is the fourth episode in a series of podcasts covering Edinburgh Fringe 2019.  Listen back to the previous episodes with Mika Johnson & Teddy Lamb, Travis Alabanza, and Emily Aboud & Charlotte Dowding, and look out on our social media for tour dates to see their shows.   You can now support Bechdel Theatre on Patreon with a monthly donation of $1.   Brigitte Aphrodite is a punk poet, musician, writer, theatre maker and feminist showgirl. Brigitte is the writer of Parakeet, and performs as a parakeet underscoring the show.   Michelle Tiwo is an actor, poet and model, and the lead performer in Parakeet. Brigitte’s #FeministFaves are…   Music: Pink Suits, Self Esteem, Big Joanie, The Tuts, Dream Wife, Kate Nash, Lunatraktors Books: Period Power by Maisie Hill, Laura Dockrill’s books for children & young adults. Poet: Neelam Saredia-Brayley Michelle’s #FeministFaves are... Travis Alabanza & their writing about Edinburgh Fringe Ruth Sutoye & Bald Black Girls Tobi Kyeremateng & The Black Ticket Project Poetry & art from: Touching Bass, Steam Down, Andrea Phillips, Vanessa Kisuule, Rachael Young, Theresa Lola, The Rap Party, Belinda Zhawi & Born::Free Michelle & Brigitte’s Edinburgh show recommendations... Pink Lemonade by Mika Johnson How To Be Brave by Dirty Protest  Out by Rachael Young Splintered by Emily Aboud Burgerz by Travis Alabanza (Autumn tour includes: Dublin, Newcastle, Glasgow, Warwick, Birmingham, Bristol, Cambridge & London) The End & One by Bert & Nasi (One is coming to Battersea Arts Centre in October) Civilization by Antler Theatre Class & Fat Blokes By Scottee (Class is coming to Home in Manchester in Oct & touring in 2020) Hearty by Emma Frankland

Kate Tempest: performance poet. Scorpio Asc, Sun Capricorn in 2nd, Moon Taurus in 6th. Cluster, Bowl chart. Indigo. Sun conjunct Neptune.   Chart for when her career took off: The specific dates were from 4th-22nd Sept of this first performance that got her nominate for the Ted Hughes prize. The Moon started in Taurus (her own Moon sign) and transited into Sagittarius, so went all the way round through the part of her chart that's empty and ended conjunct her cluster in the 1st. Uranus as you'll see is now in her 5th house of creativity. https://youtu.be/QdE0BkP95Ng In this clip she is performing in London live to 120 prisons in London and Wales. Watch how she picks herself up when she momentarily gets overwhelmed with what she's actually doing and almost forgets the words and makes a wonderful recovery. This is a (short) part of the poem Brand New Ancients she performed in Sept 2012 at The Battersea Arts Centre in London.

David Micklem is an independent producer, consultant and writer with a background at Arts Council England as their Senior Theatre Strategy Officer followed by Battersea Arts Centre as Joint Artistic Director.

后浪剧场 vol.110声音旅行 | 英国有哪些主流剧院和剧团？主播丨小树嘉宾 | 林纯如剪辑 | 大卫封面 | 长乐本期节目会重点谈及英国的主流戏剧文化，包括剧院、剧场、剧团与剧目，不容错过。 嘉宾依然是老朋友，来自台湾的戏剧人林纯如老师，这一期是她在后浪剧场做的声音旅行系列的第三集，越来越精彩！ 嘉宾：林纯如台湾高雄人高雄医学大学医学系，英国东十五表演学院(East 15 Acting School)剧场导演艺术硕士(MFA Theatre Directing)，并曾赴俄罗斯戏剧艺术大学(GITIS)和印尼艺术学院(ISI)修习表演艺术。旅英期间任华格纳两百年冥诞大英图书馆《尼伯龙根的指环》全本读剧演出导演助理、迈克尔．弗莱恩《双打》导演助理与执行舞台监督、《浮士德》导演助理、《沃伊采克》改编与导演；亦于中国大陆参与剧场活动，任南京光荣退休青年剧团《求证》导演助理、南京艺术学院12级导演班《脏手》戏剧构作与舞台监督。戏剧之外亦钟情于声音与音乐活动，大学时随南台湾最佳合唱团体高医声乐社演出，亦担任独唱，具丰富歌唱与教学经验，师事杨文忻老师、孙婉真老师和连芳贝老师。重要演出经历：高雄世运主场馆开幕音乐会、朱宗庆打击乐团跨界音乐会《击乐人声》、三度演出于国家音乐厅、台南人剧团《白水》歌手。好啦，废话不多说，直接出本期关键词，以下是纯如的自言自语喔，请感受一下为了做这期节目，她有多么认真： 来伦敦第一年就看了5个裸体的戏普遍气氛更开放质量水平更高热爱说故事便宜！ 一、 经典剧本的复排（莎士比亚、契诃夫、易卜生、阿瑟米勒、田纳西威廉斯、艾伯塔、贝克特） 1. 主要剧场：NT，Barbican， Young Vic， Almeida，Old Vic 英国莎剧：朗读腔或自作多情、氛围为叙事服务导致核心把握不如其他国家的表演精彩。“说好一个故事”。环球剧场原汁原味？也是有例外Cheek by Jowl，Punchdrunk。俄罗斯：Barbican's A Midsummer Night's Dream (As You Like It) by Dmitry Krymov's Laboratory理查德三世、德国邵宾纳剧院，印度版《无事生非》NT: 很喜欢Nicholas Hytner希特纳 2. Young Vic《三姊妹》by Benedict Andrews（也是2014 Young Vic《欲望号街车导演》）、《樱桃园》by Katie Mitchell、《桥头眺望》 3. Andrei Konchalovsky的《三姊妹》与《万尼亚舅舅》 4. 老维克剧院：《萨勒姆的女巫》 5. Almeida Theatre艾尔美达剧院：易卜生《群鬼》，《我们的小镇》，《1984》Headlong（轻率的）经典剧本演出LIES金钱世界比利时剧团 Ontroerend Goed其他当代经典：Harold Pinter， Samuel Beckett， Caryl Churchill， 萨拉•凯恩(Sarah Kane) 二、新剧本：Royal Court Theatre皇家宫廷剧院：The Nether网络虚拟现实与恋童癖议题Hampstead Theatre汉普斯泰德剧院National Theatre国家剧院：《战马》《深夜小狗神秘事件》《一仆二主》西区：《捕鼠器》《鬼故事》《黑衣女人》、the play that goes wrong彼得布鲁克的《惊奇的山谷》（The Valley of Astonishment） Sadler's Well山得乐之井：舞蹈演出歌剧：Royal Opera House, English National Opera: Philip Glass's Satyagraha directed by Phelim McDermott Complicite艺术总监Simon McBurney参与的《魔笛》King's Head Theatre 三. 音乐剧：《舞动人生》（Billy Elliot）、摩门经（《悲惨世界》《歌剧魅影》《妈妈咪呀》）西区：Stephen Sondheim's Company、尿尿城、Matilda小维克剧院：《喜乐园》《开心窝》《欢乐之家》（Fun Home），The Scottsboro Boys斯格茨伯罗男孩NT: 《富丽秀》 Menier Chocolate Factory梅尼尔巧克力工厂：Candide赣第德，老实人。法国版镜花缘，伏尔泰小说。Forbidden Broadway禁忌百老汇Assassins刺客列传与餐厅或酒吧结合的小剧场。剧场空间灵活 船上剧场：I Love You, You Are Perfect, Now Change. 邻近Battersea Arts Centre巴特西艺术中心 Bush Theatre布什剧场SOHO theatre, southwark playhouse索思沃克剧院, peacock theatreAlcora Theatre阿寇拉剧院，pay as you can乐捐（卡姆登镇 Camden Town 戏剧节）

后浪剧场 vol.110声音旅行 | 英国有哪些主流剧院和剧团？主播丨小树嘉宾 | 林纯如剪辑 | 大卫封面 | 长乐本期节目会重点谈及英国的主流戏剧文化，包括剧院、剧场、剧团与剧目，不容错过。 嘉宾依然是老朋友，来自台湾的戏剧人林纯如老师，这一期是她在后浪剧场做的声音旅行系列的第三集，越来越精彩！ 嘉宾：林纯如台湾高雄人高雄医学大学医学系，英国东十五表演学院(East 15 Acting School)剧场导演艺术硕士(MFA Theatre Directing)，并曾赴俄罗斯戏剧艺术大学(GITIS)和印尼艺术学院(ISI)修习表演艺术。旅英期间任华格纳两百年冥诞大英图书馆《尼伯龙根的指环》全本读剧演出导演助理、迈克尔．弗莱恩《双打》导演助理与执行舞台监督、《浮士德》导演助理、《沃伊采克》改编与导演；亦于中国大陆参与剧场活动，任南京光荣退休青年剧团《求证》导演助理、南京艺术学院12级导演班《脏手》戏剧构作与舞台监督。戏剧之外亦钟情于声音与音乐活动，大学时随南台湾最佳合唱团体高医声乐社演出，亦担任独唱，具丰富歌唱与教学经验，师事杨文忻老师、孙婉真老师和连芳贝老师。重要演出经历：高雄世运主场馆开幕音乐会、朱宗庆打击乐团跨界音乐会《击乐人声》、三度演出于国家音乐厅、台南人剧团《白水》歌手。好啦，废话不多说，直接出本期关键词，以下是纯如的自言自语喔，请感受一下为了做这期节目，她有多么认真： 来伦敦第一年就看了5个裸体的戏普遍气氛更开放质量水平更高热爱说故事便宜！ 一、 经典剧本的复排（莎士比亚、契诃夫、易卜生、阿瑟米勒、田纳西威廉斯、艾伯塔、贝克特） 1. 主要剧场：NT，Barbican， Young Vic， Almeida，Old Vic 英国莎剧：朗读腔或自作多情、氛围为叙事服务导致核心把握不如其他国家的表演精彩。“说好一个故事”。环球剧场原汁原味？也是有例外Cheek by Jowl，Punchdrunk。俄罗斯：Barbican's A Midsummer Night's Dream (As You Like It) by Dmitry Krymov's Laboratory理查德三世、德国邵宾纳剧院，印度版《无事生非》NT: 很喜欢Nicholas Hytner希特纳 2. Young Vic《三姊妹》by Benedict Andrews（也是2014 Young Vic《欲望号街车导演》）、《樱桃园》by Katie Mitchell、《桥头眺望》 3. Andrei Konchalovsky的《三姊妹》与《万尼亚舅舅》 4. 老维克剧院：《萨勒姆的女巫》 5. Almeida Theatre艾尔美达剧院：易卜生《群鬼》，《我们的小镇》，《1984》Headlong（轻率的）经典剧本演出LIES金钱世界比利时剧团 Ontroerend Goed其他当代经典：Harold Pinter， Samuel Beckett， Caryl Churchill， 萨拉•凯恩(Sarah Kane) 二、新剧本：Royal Court Theatre皇家宫廷剧院：The Nether网络虚拟现实与恋童癖议题Hampstead Theatre汉普斯泰德剧院National Theatre国家剧院：《战马》《深夜小狗神秘事件》《一仆二主》西区：《捕鼠器》《鬼故事》《黑衣女人》、the play that goes wrong彼得布鲁克的《惊奇的山谷》（The Valley of Astonishment） Sadler's Well山得乐之井：舞蹈演出歌剧：Royal Opera House, English National Opera: Philip Glass's Satyagraha directed by Phelim McDermott Complicite艺术总监Simon McBurney参与的《魔笛》King's Head Theatre 三. 音乐剧：《舞动人生》（Billy Elliot）、摩门经（《悲惨世界》《歌剧魅影》《妈妈咪呀》）西区：Stephen Sondheim's Company、尿尿城、Matilda小维克剧院：《喜乐园》《开心窝》《欢乐之家》（Fun Home），The Scottsboro Boys斯格茨伯罗男孩NT: 《富丽秀》 Menier Chocolate Factory梅尼尔巧克力工厂：Candide赣第德，老实人。法国版镜花缘，伏尔泰小说。Forbidden Broadway禁忌百老汇Assassins刺客列传与餐厅或酒吧结合的小剧场。剧场空间灵活 船上剧场：I Love You, You Are Perfect, Now Change. 邻近Battersea Arts Centre巴特西艺术中心 Bush Theatre布什剧场SOHO theatre, southwark playhouse索思沃克剧院, peacock theatreAlcora Theatre阿寇拉剧院，pay as you can乐捐（卡姆登镇 Camden Town 戏剧节）

  Lauren Steele is a drag king, burlesque performer and activist. She is a founding member of Pecs drag king collective, and performs as Thrustin’ Limbersnake. Pecs latest show SEX SEX MEN MEN is on at The Yard until March 16. Watch the iconic trailer for the show now. Lauren’s #FeministFave is The LOL Word comedy, a collective made up of queer womxn and non-binary comics. They host regular nights at The Albany and have been performing a show at VAULT Festival with a ‘prom night’ theme. Beth’s #FeministFave is Generation Z, especially the teenagers taking part in the School Strike for Climate. Pippa’s  #FeministFave is Jeanette Winterson’s book Written on the Body. Be in our audience: Bechdel Theatre Podcast is recording LIVE at VAULT Festival on Sunday March 10 at 16:45. More recommendations… Becoming– Stratford Circus Arts Centre March 6 – 9 I’m A Phoenix, Bitch – Battersea Arts Centre until March 9 The Paper Man – Soho Theatre until March 9 Boots – The Bunker until March 16 And The Rest Of Me Floats – The Bush until March 16 The Trick – The Bush until March 23 Inside Bitch – The Royal Court until March 23 Richard II – The Globe until April 21 Emilia  – Vaudeville Theatre March 8 – June 15 A Hundred Words For Snow – Trafalgar Studios March 5 – 30 96 Festival – Clapham Omnibus until March 31 Smack That (A Conversation) – Ovalhouse until March 16 and touring to locations including Essex, London, Portsmouth, Oxford, Salford, Newcastle, and Salisbury throughout 2019.

John Newbigin OBE shared his thoughts on the power of regional creativity and the creative economy. John has worked at Channel 4 Television as Head of Corporate Relations, Special Advisor at the Department for Culture, Media and Sport and Policy Advisor to the leader of the opposition. He also has extensive Board experience, which includes being Founder and Chairman of Creative England Ltd, and a trustee of Battersea Arts Centre and Whitechapel Gallery. In 2015, John was awarded an OBE for 'services to creative industries and the arts' and is an Honorary Professor at Hong Kong University. Follow Rob on Twitter/Instagram: @RobTwellsUK. Music: www.bensound.com

Rebecca Atkinson-Lord talks to artistic director David Jubb about ideas of legacy, following his announcement that he's stepping down from his role at the helm of Battersea Arts Centre. See acast.com/privacy for privacy and opt-out information.

Nick Payne, the writer of new BBC One series Wanderlust starring Toni Collette and Steven Mackintosh, discusses adapting his play on modern sexual relationships into a sexually upfront series for mainstream TV.In 2015 the Grand Hall of Battersea Arts Centre in London was devastated by fire. It was rebuilt and last week reopened - with the show that was in the space when it was destroyed. The architect Steve Tompkins and artistic director David Jubb show Samira (who used to dance there in her youth) around, and explain how the fire was an opportunity as well as a disaster. As she embarks on a national tour, saxophonist YolanDa Brown discusses her love of reggae, jazz and soul, and performs live.Presenter Samira Ahmed Producer Jerome Weatherald.

Jess Thom visits Battersea Arts Centre where she is joined by Lekan Lawal, Liz Moreton and Henrietta Imoreh. They discuss the future of artistic leadership, community engagement and the philosophy of scratch.

The Possibility Club is a movement to connect adventurers in business, culture and education. Richard Freeman's special guest this week is Stella Duffy OBE. Stella is many things. A multi-award winning author of 16 novels, spanning both literary and crime fiction, over 60 short stories and 10 plays, which have been performed at The Bush Theatre, Battersea Arts Centre, and Lyric Hammersmith amongst many others. She is a comedy improviser, theatre director, screen actress and documentary film-maker. In 2016, Stella as awarded an OBE for services to the arts. For the past 4 years, Stella has been one of the driving forces behind Fun Palaces, a massive UK-wide celebration of culture, making, science, heritage and community that takes place every October. Richard and Stella spoke in mid May 2018, chatting about what makes a Fun Palace work, childhood, inclusion, class, opportunity, risk and creativity. Useful links http://funpalaces.co.uk/ https://stelladuffy.wordpress.com/ https://www.theguardian.com/stage/2014/jul/18/fun-palaces-joan-littlewood-dream-realised-100-years-birth https://www.devotedanddisgruntled.com/ --- The Possibility Club is more than a podcast, but a peer network for adventurers who want to create, lead or innovate in the world. If you have a burning idea, project or business and want to get critical support from new friends - join for free at www.thepossibilityclub.org Richard Freeman is the host for always possible and this podcast is produced and edited by CJ Thorpe-Tracey for Lo Fi Arts.

I met up and chatted to Urielle Klein-Mekongo and we chatted her show, Yvette, performing, drama schools, Edinburgh Fringe, how she got into the theatre with schemes such as Playing Up and how this lead to her going to East15. Urielle is the writer and creator of Yvette, a one-woman show with original music about a stolen childhood and growing up with a secret. Produced by China Plate, Yvette went to the Edinburgh Fringe Festival 2017 and tour London venues such as The Bush, Battersea Arts Centre, The Albany, Camden's People's Theatre and more. Socials: @Ukleinmekongo @Mumba_Jasmine @OrdArtists www.chinaplatetheatre.com/yvette mumbadodwell@outlook.com

Roland Smith talks to David Jubb, artistic director of Battersea Arts Centre.

When antiques dealer and erstwhile TV personality Mike Melody was diagnosed with incurable motor neurone disease, he tasked his daughter Victoria with the responsibility of organising his funeral but a year later it transpired that doctors had misdiagnosed him and he wasn't facing death after all.Leo and Katherine caught up with Mike and Victoria as they prepared to take to the stage for the first time in their father-daughter comedy show Ugly Chief, at the Battersea Arts Centre, telling the story of Mike's misdiagnosis, Victoria's quest to train as a professional funeral director, and the darkly comedic industry of death they uncovered during their search for the perfect send-off.Follow us on Twitter @VLWRadio, Instagram VLWRadio and on Facebook.com/VeryLooseWomen. See acast.com/privacy for privacy and opt-out information.

Lara Pawson is the author of 'This Is The Place To Be', a fragmentary memoir which was published in September 2016 with CB editions. It is based on the long looping monologue, Non Correspondence, which was directed by Forced Entertainment’s Tim Etchells and performed by Cathy Naden at the Battersea Arts Centre for the London International Festival of Theatre 2014, After A War. In the 'Name of the People: Angola’s Forgotten Massacre' (IB Tauris, 2014) was her first book. It was nominated for several awards and longlisted for The Orwell Prize 2015. It was translated as 'Em Nome Do Povo: O massacre que Angola silenciou' (Ediçôes Tinta da China, 2014). Her commentary, essays and reviews have been published in many places, most recently in the Times Literary Supplement, Verso, New Humanist and ArtReview. As well as making many programmes for the BBC, Lara has participated in numerous radio and television programmes in London, Lisbon, Luanda and Johannesburg.

Natalie Abrahami got her theatre break as the Royal Court Graduate Trainee, before winning the JMK Award at Battersea Arts Centre in 2005. A spell at the Gate theatre followed, and then associate director at the Young Vic. Natalie spoke to us about these experiences, the difference between directing for stage and screen, embedding sustainability into theatre making, as well as her friendship with Juliet Stevenson, and their current production of Wings at the Young Vic.

This week, your heroic double act sit at the worlds smallest table situated at Battersea Arts Centre. Join John and Andy as they discuss French contemporary dancing, insignificant questions and … Continue reading "Lenor Lemoy: DredgeLand Live from Battersea Arts Centre"

This week, your heroic double act sit at the worlds smallest table situated at Battersea Arts Centre.

Aasmah Mir and the Rev Richard Coles are joined by the Queen of Baking, Mary Berry who has been teaching the nation to cook for over four decades. She's now turning her attention to home maintenance and tells us how to air our beds and clean our loos in a new book. Harry Judd is best known as the drummer for pop band McFly and a winner of Strictly Come Dancing. Now a fitness fanatic, he explains how exercise has helped him get over his anxiety, OCD and panic attacks Father and daughter performers Victoria and Mike Melody tell the story of how after a fatal diagnosis Mike planned his own funeral with Victoria. After a reprieve, they decided to go ahead with the funeral away - and put on a show about it. Dentist and mum of four, Ursula Goode, recently won a gold medal in gymnastics at the British Adult Gymnastics championship at the age of 44. The broadcaster and theatre critic, Libby Purves reveals her Inheritance Tracks - Vaughan Williams Fantasia on a Theme by Thomas Tallis and Noel Coward's There are Bad Times Just Around the Corner. Mary's Household Tips and Tricks - Your Guide to Happiness in the Home by Mary Berry is published by Michael Joseph. Ugly Chief with Victoria & Mike Melody runs at the Battersea Arts Centre from 31 October - 18 November. Get Fit, Get Happy by Harry Judd is published by Coronet. Libby Purves presents Planks and a Passion on Radio 4 on 17th October. Producer: Annette Wells Editor: Eleanor Garland.

I met up and chatted to Tobi about being a Producer, her time at the Battersea Arts Centre as well as working for Apples and Snakes.

For the 97th Second-Hand Book Factory, Charles Adrian is joined, in a bedroom upstairs at the Battersea Arts Centre in London, by performer and reader Miriam Gould. They discuss books as empathy technology, dead people who never stop talking and moral pornography. Miriam's website: https://miriamgould.com/ Page One website (for book listing and more info): http://www.pageonepodcast.com/ Episode image is a detail from the cover of The Sadeian Women by Angela Carter, published by Virago Ltd in 1979; the cover painting is itself a detail from Voyeuse by Clovis Trouille © the artist’s estate.

In this episode, Emma is again in Brighton, talking with performance maker Rosana Cade about identity and difference.  About holding hands in public space; performances in public space; fear in public space and the Brighton Safety Map Project. Also about weird hugs and kissing your cousins. We were invited to record this episode by Pink Fringe in conjunction with The Safety Map, a project they were facilitating across the recent bank holiday weekend at the Marlborough Theatre. It was an invitation for people to share experiences of anti-social behaviour in Brighton as well as spaces where they feel welcomed and celebrated. Rosana says ”I am a performance maker based in Glasgow. Whilst the form of my performance work varies, and emerges in relation to the specific process or context I am engaging with, it is firmly rooted in a queer discourse and straddles live art and activism. My performances happen in various contexts including theatres, public spaces, as well as club and cabaret settings. I was part of the Spill National Showcase in 2013, a National Theatre of Scotland ‘Auteur’ in 2014 and I am an Artsadmin artist bursary recipient 2014/15. My work has been shown extensively across the UK with over twenty organisations including the National Theatre in London, at Summerhall as part of the Made in Scotland Showcase at the Edinburgh Fringe 2014, Contact Theatre – Manchester, the Arches in Glasgow, Forest Fringe, Battersea Arts Centre, and at international venues including Teatro Maria Matos in Lisbon, Frascati in Amsterdam and Kwai Fong Theatre in Hong Kong. I also collaborate regularly with my partner Eilidh MacAskill in our live art riot girl boi band, Double Pussy Clit Fu*k to create club and cabaret performances. And I am co-founder of //BUZZCUT// festival.” You can find links below or follow the Safety Map Project online at #safetymap and you can follow Rosana at @RosanaCade And you can keep up to date with Emma's movements through the None of Us is Yet a Robot project at www.notyetarobot.co.uk or @elbfrankland on twitter. Opening music was by Kraftwerk and Closing music by Señor Coconut y Su Conjuto Some things we mentioned in the conversation were: The Safety Map - https://www.facebook.com/events/1780845748818488/ The Marlborough, Brighton - http://www.marlboroughtheatre.org.uk Maslow’s Hierarchy of Needs - http://www.simplypsychology.org/maslow.html Walking / Holding - https://rosanacadedotcom.wordpress.com Judith Butler - https://en.wikipedia.org/wiki/Judith_Butler Casey Plett - http://topsidepress.com/titles/a-safe-girl-to-love/ Rituals for Change at the Yard Theatre (10 - 14 May) - http://notyetarobot.co.uk/portfolio-item/rituals-for-change/ Advice about reporting hate crime - https://www.gov.uk/report-hate-crime LGBT Support Gendered Intelligence: http://genderedintelligence.co.uk Stonewall: http://www.stonewall.org.uk Brighton & Hove LGBT Switchboard - http://switchboard.org.uk See you next time. xxx

Leonardo DiCaprio stars as American pioneers-man Hugh Glass, in Oscar-contender The Revenant. It's graphic, visceral, epic in scope and could sweep the boards at the awards Photographer Annie Leibovitz has an exhibition of portraits under the title "Women", which will tour the globe. How does she tackle such an enormous subject? The debut novel by former civil servant Nicholas Searle "the Good Liar" is gaining a lot of attention but do our critics think it's a good book? BBC iPlayer's first online-only drama is a snooker comedy film 'The Rack Pack' - which tells the story of the rise of the sport in the early 80's from a parlour game to a world-conquering TV fixture. Give Me Your Love is a play at The Battersea Arts Centre about the treatment of former combatants who have PTSD with MDMA (ecstasy). Is this a wise move? Tom Sutcliffe's guests are Paul Morley, Natalie Haynes and Jacqueline Springer. The producer is Oliver Jones.

On Sunday 15th November 2015, Battersea Arts Centre broadcast four theatre shows live from BBC's Television Centre. Tim Bano watched the broadcast with his sister and his cat, and together they offered an insightful commentary. He also went behind the scenes of TV Centre before the broadcast, so there are bits of that adventure in there too. Live from TVC is available on BBC iPlayer until later December. You can catch all the performers - Jess Thom, Gecko Theatre, Richard DeDomenici, Common Wealth and Islington Community Theatre - on tour around the country. See acast.com/privacy for privacy and opt-out information.

Seth Kriebel creates brilliant choose your own adventure games that let you explore a building without leaving your seat. He tells N Quentin Woolf about his latest game at Battersea Arts Centre. See acast.com/privacy for privacy and opt-out information.

This month it’s political. We have reviews and discussions of the latest in political theatre including…. Reviews of Lampedusa at Soho Theatre, Fight Night at Unicorn Theatre and Stand at Battersea Arts Centre. Round the table to discuss the shows are Bob Churchill, Jessie Thompson, Tim Bano and Annegret Marten Also, we have Conrad Murray … Continue reading Pursued by a Bear – episode 2 See acast.com/privacy for privacy and opt-out information.

Libby Purves meets Emma O'Reilly, the woman who blew the whistle on Lance Armstrong; artist Joshua Sofaer; writer and performer Danny Braverman and dragonfly expert Ruary Mackenzie Dodds. Artist Joshua Sofaer is the man behind The Rubbish Collection, an exhibition at the Science Museum. Part of the museum's Climate Changing programme - a series of events and exhibitions that support its Atmosphere gallery - the exhibition takes a month's worth of the museum's rubbish and looks at the value and volume of what's discarded. The Rubbish Collection is at the Science Museum. Emma O'Reilly worked as a soigneur for the US Postal professional cycling team from the mid-1990s. Confronted by a doping culture she despised, she resigned in 2000 and began to speak out about what was happening in the sport. After breaking cycling's code of silence, she was shunned by the sport and endured a decade of personal attacks, broken relationships and the threat of bankruptcy. Her book, The Race to Truth - Blowing the whistle on Lance Armstrong and cycling's doping culture - is published by Bantam Press. Writer and performer Danny Braverman inherited a shoebox stuffed with thousands of scraps of paper which provided a unique record of 20th century London and Jewish life. From the 1920s to the 1980s Danny's great uncle, Ab Solomons, drew comical and heartfelt pictures on his weekly wage packets before giving them to his wife, Celie. Danny's show, Wot? No Fish!!, invites the audience to discover the history and inner workings of the Solomons family. Wot? No Fish!! is at the Battersea Arts Centre. Ruary Mackenzie Dodds is a writer and dragonfly expert. In 1985 a dragonfly landed on his shirt which became the catalyst for a lifelong obsession with protecting them. In his book, The Dragonfly Diaries, he shares his fascination for these striking creatures and the ups and downs of establishing Britain's first public dragonfly sanctuary. The Dragonfly Diaries is published by Saraband. Producer: Paula McGinley.

TravCast is the Writer's Podcast from the Traverse, Scotland’s New Writing Theatre. Associate Director, Hamish Pirie, interviews well known playwrights, artists and theatre makers whose work features in the year round programme at the Traverse. In this episode, Hamish speaks to Fleur Darkin, Artistic Director of Scottish Dance Theatre, as their latest tour, Yama/Kingdom, comes to the Traverse stage. Fleur’s work made under her own company Hotel (2005), Augustine (2007), Low Fidelity (2009) and DisGo (2009) toured to more than 100 venues in the UK alone. Internationally, her artistic practice has been commissioned by partners including Junges Hundes (Germany), P.A.R.T.S. (Belgium) and Bolzano Danz (Italy). Fleur is a prolific collaborator and her theatre work includes Roam (Grid Iron), Playtime (West Yorkshire Playhouse), You Tell Us What Was (National Theatre of Scotland), Bint Jbeil (Grid Iron/National Theatre of Scotland), The Three Musketeers (Traverse/Belgrade), Virgins (Company of Angels) and various productions for venues including Birmingham Rep, Dundee Rep, Bristol Old Vic, Liverpool's Everyman, Edinburgh Lyceum and Battersea Arts Centre. Darkin’s large-scale projects include three Glastonbury Festivals, choreographing the world’s first ever science musical, Dr Tatiana, (Channel 4/Discovery) and the 2006 commission Parabolic, which played to a live audience of 25,000. Circus productions include Helter Skelter (Tramway/Brewhouse), War and Peace (Giffords Circus) and her aerial choreography for Threesixty's Peter Pan - "best of all" Benedict Nightingale (The Times) - was seen by audiences of over 300,000 on its two year global tour. She is a passionate advocate of innovative dance education and was at the helm of The Collaboratory - the UK's first peer-lead choreographic laboratory in 2012. Darkin has choreographed in castles, universities, prisons, schools and nightclubs and written for publications including The Guardian, Icon and The Observer. Darkin is passionate that dance is a powerful means of self-transformation and has worked with participants in schools, pupil referral units and mental health charities. Darkin is currently developing partnerships with the V&A at Dundee and various festivals and venues in India and Brazil for forthcoming projects. Fleur joined Scottish Dance Theatre as Artistic Director in 2012. Original music by James Iremonger www.jamesiremonger.co.uk Produced and engineered by Cian O Siochain *Please note, this episode contains language some people may find offensive*

In this podcast, Programme Manager Jennifer Williams talks to poet, playwright and recording artist Kate Tempest about hip hop, poetry, her play Brand New Ancients, mythology, world peace and much more.  Kate has written plays for Paines Plough and the Battersea Arts Centre, written poetry for the Royal Shakespeare Company, Channel 4 and the BBC, worked in schools and won the Ted Hughes Award for New Work in Poetry 2012, for Brand New Ancients.  Her band, Sound of Rum, has performed at myriad venues and festivals and she has a collection of poetry coming out with Picador in 2014.  Find out more about Kate at www.katetempest.co.uk Image © Melanieflash.co.uk

The boys are back from Ibiza & Amy is back from Margate. This week they put bothersome gay things in Room 101, discuss someone saying Hillary will be a Lesbian President, a confusing anti hate speech law in Italy, the thriving gay culture in Hell, and how Pope Francis just gets better and better. Baylen also reports from the 1-on-1 festival at Battersea Arts Centre and of course all the GayStarNews. Plus Amy has a new DJ night klaxon!

In the second of five essays, the theatre director Emma Rice explores the role of the director as storyteller, and elaborates on the undertaking that transforms a text into a fully-fledged production.Emma Rice is the Joint Artistic Director of Kneehigh Theatre. For Kneehigh, she has directed for The Red Shoes (2002 Theatrical Management Association [TMA] Theatre Award for Best Director); The Wooden Frock (2004 TMA Theatre Award nomination for Best Touring Production); The Bacchae (2005 TMA Theatre Award for Best Touring Production); Tristan & Yseult (2006 TMA Theatre Award nomination for Best Touring Production); Cymbeline (in association with the Royal Shakespeare Company for The Complete Works festival); A Matter of Life and Death (Royal National Theatre production in association with Kneehigh Theatre); Rapunzel (in association with Battersea Arts Centre); Brief Encounter (tour and West End; Studio 54, Broadway); and Don John (in association with the Royal Shakespeare Company and Bristol Old Vic). She was nominated for the 2009 Olivier Award for Best Director for Brief Encounter.Emma's latest work includes Oedipussy for Spymonkey; Steptoe & Son; the West End production of Umbrellas of Cherbourg; Wah! Wah! Girls for World Stages in association with Sadler's Wells and Theatre Royal Stratford East; and, in spring 2013, The Empress at the RSC.The series is produced by Sasha Yevtushenko.First broadcast in February 2012.

Soundbites from the Transition Network UK Conference 2012, held at Battersea Arts Centre, London.

Soundbites from the Transition Network UK Conference 2012, held at Battersea Arts Centre, London.

Soundbites from the Transition Network UK Conference 2012, held at Battersea Arts Centre, London.

Libby Purves is joined by Clarence Adoo, a member of the British Paraorchestra, Simon Gough, to talk about his relationship with his great uncle, the poet Robert Graves, sports writer Duncan Hamilton and poet/rapper Kate Tempest. Musician Clarence Adoo is a founding member of the British Paraorchestra. Set up by the conductor Charles Hazlewood, the orchestra is made up of disabled musicians playing a range of instruments from the harp to the sitar. Clarence was a top trumpeter with the Northern Sinfonia when he was paralysed from the neck down in a car accident in 1995. He now makes music on a computer called 'Headspace'. The orchestra features in a Channel Four documentary Paraorchestra and they will be performing at the Southbank in London as part of the Unlimited festival. Simon Gough is the son of actor Michael Gough and actress-cum-journalist Diana Graves. In his book, The White Goddess - An Encounter, Simon recalls the complicated relationship with his great-uncle, the poet Robert Graves. The book describes Simon's time with Graves in Deya, Majorca, and his uncle's beautiful muse Margot who they were both in love with. The White Goddess - An Encounter is published by Galley Beggar Press. Duncan Hamilton is a sports writer and two-time winner of the William Hill Sports Book of the Year. His book, 'The Footballer Who Could Fly' was inspired by his father's devotion to Newcastle United. But it is also an exploration of the bond between father and son through 'the beautiful game' and how football became their only connection. 'The Footballer Who Could Fly' is published by Century. Kate Tempest is a poet, rapper, playwright and writer. Her new show 'Brand New Ancients' is an hour long spoken story that she tells over a live orchestral score. The story follows two families as they intertwine and collide. 'Brand New Ancients' runs at the Battersea Arts Centre in London from September 4th, as part of the theatre's Cook Up season. Producer: Paula McGinley.

Boris Johnson and Dee Doocey open People's Question Time 15 March, 2011 at the Battersea Arts Centre.

Kate Pullinger is a novelist who also writes for film and various digital platforms. Born in Cranbrook British Columbia she went to high school on Vancouver Island, dropped out of McGill University, worked for a year in a copper mine in the Yukon, traveled, and eventually settled in London. Pullinger has written two short story collections; her novels include When the Monster Dies (1989), Where Does Kissing End? (1992), A Little Stranger and most recently The Mistress of Nothing which has just won Canada's GG Literary Award for best English Fiction (to be awarded this evening). She has lectured and taught at, among other institutions: the Battersea Arts Centre, the University of Reading, and Cambridge University, as well as in various prisons. She currently teaches Creative Writing and New Media at De Montfort University, Leicester. The Mistress of Nothing (2009), takes its inspiration from the life of Lucie, Lady Duff Gordon, and is set in nineteenth-century Egypt. I met with Kate in Ottawa. Among other things we talk about what it's like to win the GG, class structures, and the future of the book (check out her website here).

IN THE LATE NINETIES, the UK was gripped by the "reality TV" sensation of the Jerry Springer show. A musical was bound to follow, but few predicted the quality and acclaim that went with Richard Thomas' and Stewart Lee's operatic and theological treatment of the subject. Rising unstoppably from the Battersea Arts Centre scratch nights to Carnegie Hall, by way of the National Theatre and a West End run, Richard Thomas joins Tim Saward to talk through an overnight success that actually took many years! Ryan Molloy also talks to Nick Hutson about his recollections of playing Tremont at the National Theatre, and Tim joins DJ Excalibah to talk about his role in the urban musicals at the Theatre Royal, Stratford East in the time of Philip Hedley and Kerry Michael.