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3 episodes with Charlotte Moore
2 episodes with Charlotte Moore
2 episodes with Charlotte Moore
2 episodes with Charlotte Moore
4 episodes with Charlotte Moore
Charlotte Moore resigns from the BBC, kickstarting a flurry of changes at some big indies. Chris Curtis, editor of Broadcast Magazine, takes us through what it all means... and who's in the running for the BBC's top creative role.Also on the programme: how is 5 News bucking the trend and growing its audience? Reporter Warren Nettleford tells us more.And why do audio paywalls work in Europe... but less so in the UK? We find out from Podimo's Jake Chudnow.Become a member for FREE when you sign up for our newsletter at https://www.themediaclub.comA Rethink Audio production, produced by Matt Hill with post-production from Podcast Discovery.We record at Podshop Studios - for 25% off your first booking, use the code MEDIA CLUB at https://www.podshoponline.co.ukWhat The Media Club has been reading this week:Charlotte Moore to leave BBC for SonyBBC Report into WestwoodTortoise to takeover Observer from Easter Sunday5 News editor piece in Press GazetteBen Frow feature in BroadcastWashpo Opinion Editor resigns over Bezos decreeObserver confirms takeover datePodimo reaches 1m paying subscribersNeighbours Axed (again)James Bond Takeover CompleteAmazon open to scripted co-prosCHAPTERS:(00:00) Intro(00:44) Media Club Inductees(03:29) Charlotte Moore's BBC Exit(10:54) BBC's Tim Westwood Report(16:26) Channel 5 News' Resurgence (21:58) The Week's Media Headlines(23:10) Podimo's 1 Million Subscribers (29:28) Warren Nettleford's New Audio Production Company (35:13) The Media Quiz Hosted on Acast. See acast.com/privacy for more information.
December 2024 – Pensions: Present and Future In this podcast Aon's John Harney and Jennifer Michel are joined by journalist Charlotte Moore (who chaired of a recent Aon-hosted discussion) to reflect on the present and future of pensions. You will also hear the key pension news from the last month summarised by John Harney and Jennifer Michel. Watch our recent budget webinar on demand: https://aonevents5.webex.com/recordingservice/sites/aonevents5/recording/a413f248832c103d9e6b521448572ceb/playback Learn more about Charlotte Moore: https://lotsmoore.co.uk Email us your topic suggestions, comments and questions to TalkToUs@aon.com
Water on stage. Developing trust. The opening night of our lives. “I am seeing myself – it's so emotional – in all the women who I've strived to be like.” Jordan Tyson is in the opening night of her life. It's her Broadway debut and The Notebook is proving true what the magic of Broadway can be. So what is it like to make your Broadway debut as the lead of a new smash hit? What was the road like? Let's celebrate the journey from a Zoom audition to becoming the toast of the town. JORDAN TYSON (Younger Allie). Broadway debut. Theatre: Bulrusher (McCarter/Berkeley Rep/dir. Nicole A. Watson) Into The Woods (PCLO/dir. Scott Weinstein) The Notebook (Chicago Shakespeare/dir. Michael Greif/Schele Williams), Lempicka (La Jolla Playhouse/dir. Rachel Chavkin) The Streets of New York (Irish Repertory/dir. Charlotte Moore), Folk Wandering (ART/NY/dir. Andrew Neisler), I And You (Weston Playhouse/dir. Johanna Gruenhut). TV: “The Chair” (Netflix/Recurring Guest w/Sandra Oh). Film: Vampires vs. the Bronx (Netflix). Readings: Hearts Beat Loud, Learned Ladies, Sweetee. 2017 Audelco Rising Star Award, 2018 YesBroadway 40 Under 40. Currently working on her debut EP. @curlybroad www.jordantyson.com Producers Kevin McCollum and Kurt Deutsch present The Notebook, the new musical based on the bestselling novel by Nicholas Sparks that inspired the iconic film, premiering on Broadway this Spring. The Notebook features music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson and a book by playwright Bekah Brunstetter (writer and producer on NBC's “This Is Us,” The Cake). The production is directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (Aida, The Wiz), with choreography by Katie Spelman (Associate Choreographer on Moulin Rouge! The Musical). Allie and Noah, both from different worlds, share a lifetime of love despite the forces that threaten to pull them apart. With a book that has sold millions of copies worldwide and a film that's one of the highest-grossing romantic dramas of all-time, the musical adaptation of Nicholas Sparks's The Notebook comes to Broadway following a critically acclaimed world premiere engagement at Chicago Shakespeare Theater in the fall of 2022. The cast of The Notebook features Tony Award®-winner Maryann Plunkett as Older Allie, Dorian Harewood as Older Noah, Joy Woods as Middle Allie, Ryan Vasquez as Middle Noah, Jordan Tyson as Younger Allie, John Cardoza as Younger Noah, Andre?a Burns as Mother/Nurse Lori. Playing various roles are Yassmin Alers, Alex Benoit, Chase Del Rey, Hillary Fisher, Jerome Harmann-Hardeman, Dorcas Leung, Happy McPartlin, Juliette Ojeda, Kim Onah, Carson Stewart, Charles E. Wallace and Charlie Webb. The Notebook features scenic design by David Zinn and Brett J. Banakis, costume design by Paloma Young, lighting design by Ben Stanton, sound design by Nevin Steinberg, and hair and wig design by Mia Neal. The production's music supervisor is Carmel Dean, who also collaborated on arrangements with Ingrid Michaelson and on orchestrations with John Clancy, and the music director is Geoffrey Ko. Casting by The Telsey Office, Patrick Goodwin, CSA. Learn more about your ad choices. Visit megaphone.fm/adchoices
Thirty years ago, a new kind of soda arrived in select stores. Instead of crowing about how spectacular it was, it offered up a liquid shrug, a fizzy irony. OK Soda was an inside joke for people who knew soda wasn't cool. But what exactly was the punchline? In today's episode, we're going to ask how Coca-Cola, a company predicated on the idea that soda is more than ‘OK,' ever bankrolled such a project. It was either a corporate attempt to market authenticity or a bold send-up of consumer capitalism; a project that either utterly, predictably failed or, perhaps more surprisingly, almost succeeded. This episode was written by Willa Paskin. It was edited by Jenny Lawton. It was produced by Willa Paskin and Katie Shepherd, along with Evan Chung. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. You'll hear from Sergio Zyman, Brian Lanahan, Robin Joannides Lanahan, Charlotte Moore, Peter Wegner, Todd Waterbury, Dustin Ness, and Matt Purrington. Special thanks to David Cowles, Art Chantry, Seth Godin, Jeff Beer, Gabriel Roth, Mark Hensley for all the OK Soda commercials and Mark Pendergrast, whose book For God, Country, & Coca-Cola was indispensable. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
Thirty years ago, a new kind of soda arrived in select stores. Instead of crowing about how spectacular it was, it offered up a liquid shrug, a fizzy irony. OK Soda was an inside joke for people who knew soda wasn't cool. But what exactly was the punchline? In today's episode, we're going to ask how Coca-Cola, a company predicated on the idea that soda is more than "OK," ever bankrolled such a project. It was either a corporate attempt to market authenticity or a bold send-up of consumer capitalism; a project that either utterly, predictably failed or, perhaps more surprisingly, almost succeeded. This episode was written by Willa Paskin. It was edited by Jenny Lawton. It was produced by Willa Paskin and Katie Shepherd, along with Evan Chung. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. You'll hear from Sergio Zyman, Brian Lanahan, Robin Joannides Lanahan, Charlotte Moore, Peter Wegner, Todd Waterbury, Dustin Ness, and Matt Purrington. Special thanks to David Cowles, Art Chantry, Seth Godin, Jeff Beer, Gabriel Roth, Mark Hensley for all the OK Soda commercials and Mark Pendergrast, whose book For God, Country, & Coca-Cola was indispensable. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
Thirty years ago, a new kind of soda arrived in select stores. Instead of crowing about how spectacular it was, it offered up a liquid shrug, a fizzy irony. OK Soda was an inside joke for people who knew soda wasn't cool. But what exactly was the punchline? In today's episode, we're going to ask how Coca-Cola, a company predicated on the idea that soda is more than "OK," ever bankrolled such a project. It was either a corporate attempt to market authenticity or a bold send-up of consumer capitalism; a project that either utterly, predictably failed or, perhaps more surprisingly, almost succeeded. This episode was written by Willa Paskin. It was edited by Jenny Lawton. It was produced by Willa Paskin and Katie Shepherd, along with Evan Chung. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. You'll hear from Sergio Zyman, Brian Lanahan, Robin Joannides Lanahan, Charlotte Moore, Peter Wegner, Todd Waterbury, Dustin Ness, and Matt Purrington. Special thanks to David Cowles, Art Chantry, Seth Godin, Jeff Beer, Gabriel Roth, Mark Hensley for all the OK Soda commercials and Mark Pendergrast, whose book For God, Country, & Coca-Cola was indispensable. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
Thirty years ago, a new kind of soda arrived in select stores. Instead of crowing about how spectacular it was, it offered up a liquid shrug, a fizzy irony. OK Soda was an inside joke for people who knew soda wasn't cool. But what exactly was the punchline? In today's episode, we're going to ask how Coca-Cola, a company predicated on the idea that soda is more than "OK," ever bankrolled such a project. It was either a corporate attempt to market authenticity or a bold send-up of consumer capitalism; a project that either utterly, predictably failed or, perhaps more surprisingly, almost succeeded. This episode was written by Willa Paskin. It was edited by Jenny Lawton. It was produced by Willa Paskin and Katie Shepherd, along with Evan Chung. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. You'll hear from Sergio Zyman, Brian Lanahan, Robin Joannides Lanahan, Charlotte Moore, Peter Wegner, Todd Waterbury, Dustin Ness, and Matt Purrington. Special thanks to David Cowles, Art Chantry, Seth Godin, Jeff Beer, Gabriel Roth, Mark Hensley for all the OK Soda commercials and Mark Pendergrast, whose book For God, Country, & Coca-Cola was indispensable. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
Thirty years ago, a new kind of soda arrived in select stores. Instead of crowing about how spectacular it was, it offered up a liquid shrug, a fizzy irony. OK Soda was an inside joke for people who knew soda wasn't cool. But what exactly was the punchline? In today's episode, we're going to ask how Coca-Cola, a company predicated on the idea that soda is more than "OK," ever bankrolled such a project. It was either a corporate attempt to market authenticity or a bold send-up of consumer capitalism; a project that either utterly, predictably failed or, perhaps more surprisingly, almost succeeded. This episode was written by Willa Paskin. It was edited by Jenny Lawton. It was produced by Willa Paskin and Katie Shepherd, along with Evan Chung. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. You'll hear from Sergio Zyman, Brian Lanahan, Robin Joannides Lanahan, Charlotte Moore, Peter Wegner, Todd Waterbury, Dustin Ness, and Matt Purrington. Special thanks to David Cowles, Art Chantry, Seth Godin, Jeff Beer, Gabriel Roth, Mark Hensley for all the OK Soda commercials and Mark Pendergrast, whose book For God, Country, & Coca-Cola was indispensable. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
Charlotte Moore from Northern Ireland rode the Gobi Challenge in 2023 and stops by to tell us all about it. Justine Brook (host of Heels Down Happy Hour) gives us the scoop on her and Wyat /War Feather's experience at the Retired Racehorse Makeover! Plus, some Realli bAd Adz….HORSES IN THE MORNING Episode 3289 – Show Notes and Links:The HORSES IN THE MORNING Crew: Glenn the Geek: co-host, executive in charge of comic relief, Jamie Jennings: co-host, director of wacky equestrian adventuresTitle Sponsor: Kentucky Performance ProductsPhoto: Horse Radio NetworkGuest: Charlotte MooreGuest: Justine BrookeFollow Horse Radio Network on TwitterAdditional support for this podcast provided by RIDE TV, My New Horse, and Listeners Like You!Time Stamps05:20 - Daily Whinneys19:06 - Charlotte Moore31:00 - Justine Brooke44:25 - Realli bAd Adz
Charlotte Moore from Northern Ireland rode the Gobi Challenge in 2023 and stops by to tell us all about it. Justine Brook (host of Heels Down Happy Hour) gives us the scoop on her and Wyat /War Feather's experience at the Retired Racehorse Makeover! Plus, some Realli bAd Adz….HORSES IN THE MORNING Episode 3289 – Show Notes and Links:The HORSES IN THE MORNING Crew: Glenn the Geek: co-host, executive in charge of comic relief, Jamie Jennings: co-host, director of wacky equestrian adventuresTitle Sponsor: Kentucky Performance ProductsPhoto: Horse Radio NetworkGuest: Charlotte MooreGuest: Justine BrookeFollow Horse Radio Network on TwitterAdditional support for this podcast provided by RIDE TV, My New Horse, and Listeners Like You!Time Stamps05:20 - Daily Whinneys19:06 - Charlotte Moore31:00 - Justine Brooke44:25 - Realli bAd Adz
During her days at Swarthmore College, Charlotte Moore found out two things: she was really good at mathematics, and she didn't like teaching. Those realizations led to a long career in astronomy and physics. Moore was born 125 years ago yesterday, in Pennsylvania. Her parents were teachers, and they encouraged her to get a good education. She earned a degree in math from Swarthmore. She worked as a substitute teacher to pay her way, but she didn't like the experience. Moore got a job at Princeton as a “computer” — she did the tedious calculations that today are done by electronic computers. She worked for Henry Norris Russell, a leading astronomer. They published many papers on binary stars and the chemistry of the stars. In 1931, Moore moved to Mount Wilson Observatory in California. She studied the Sun — especially sunspots. She came up with the first good idea of the temperatures of the dark blotches, which are much cooler than the surrounding gas. While in California, she also earned her PhD, in astronomy. Moore later returned to Princeton, where she worked with Norris. She married a fellow scientist, Bancroft Sitterley. And she developed reference tables for the chemical elements that are still in use today. Charlotte Moore Sitterley finished her career at the National Bureau of Standards. Yet she continued to work for decades after retiring — all the way up to her death, at age 91. Script by Damond Benningfield Support McDonald Observatory
Episode 14: ESG Soundbite Series Rebecca Burton speaks to Charlotte Moore and Catalina Becerra at SIGWATCH, a global activism consultancy and data provider. They speak about recent trends in NGO-led climate litigation, why it is being used by NGOs as a tactic to address climate change and how companies should look to engage with the heightened risk of NGO-led litigation. To listen to all episodes in this series, visit our ESG Soundbite Series webpage.
Linklaters – Payments Monthly – Our view on payments law and regulation
Episode 14: ESG Soundbite Series Rebecca Burton speaks to Charlotte Moore and Catalina Becerra at SIGWATCH, a global activism consultancy and data provider. They speak about recent trends in NGO-led climate litigation, why it is being used by NGOs as a tactic to address climate change and how companies should look to engage with the heightened risk of NGO-led litigation. To listen to all episodes in this series, visit our ESG Soundbite Series webpage.
In this episode of V-FM, the Pensions Podcast, Darren and Nico talk to multi award-winning journalist Charlotte Moore. As well as having a pop at Nico for once wearing a cravat, Charlotte manages to cause trouble on the podcast on a news story about Monzo potentially entering the pensions market. We also talk fixed income, Mansion House reforms, sustainability and the importance of focussing on delivering great outcomes for savers. Charlotte also gives a hint of an upcoming piece of work that a few of us are working on looking at asset managers' approach to communicating ESG - watch this space!
Global News: Canadian Pediatric Society outlines steps to conserve 'vital supply' amid shortages. Critical drug shortages continue across Canada. CPS provides guidelines to help healthcare providers to ensure that children have access to safe and secure supply of necessary medications. Guest: Dr. Charlotte Moore Hepburn. Special advisor for Pediatric Drugs and Therapeutics for the Canadian Pediatric Society and one of the authors of the new guidance document on managing critical drug shortages. Learn more about your ad choices. Visit megaphone.fm/adchoices
We have another awesome episode where we have a different look at dog training! One of our regular guests is back! The popular Charlotte Moore that you can't get enough of! Who is Charlotte? Charlotte is based in Perth, Australia. We connected because of our similar training styles: yes she trains horses like I train dogs: focusing on a relationship first before we get to the training part! Today we're talking about if it's OK to cuddle your dog if they're freaked out. Or even if they're not. Is your dog just a dog and are we going overboard with the comforts and comforting or is there more to the story! Find out more in today's episode! You can find Charlotte here: https://www.facebook.com/CMTrainingEducationFor free tips and freebies advised on this episode, check out https://luzellethedogtrainer.com! Happy Training!
This week we speak to award-winning freelance finance journalist and communications consultant Charlotte Moore! We discuss how the media covers finance and investing, things asset managers tend to get wrong and right with their communications, and how the changing media landscape impacts the industry. We finish with an array of top communications tips from a media expert that listeners won't want to miss.
As mandates are being lifted across the country after over two years of pandemic waves, it feels like we're all coming back to life again. But how do we go about finding a new normal? And what exactly does that mean? Melissa speaks with those who are living it, in real time - in New York City. People who make New York a place others flock to, as well as a place millions call home: Tom Birchard from Veselka, Charlotte Moore and Ciarán O'Reilly from the Irish Repertory Theatre, and Maria Nazzoli from Pearl Oyster Bar.
Streaming records continue to be broken with BBC iPlayer recording a new record of 141 million programmes streamed during the week of the New Year . Streaming records continue to be broken with BBC iPlayer recording a new record of 141 million programmes streamed during the week of the New Year (27 December – 3 January). The figure represents a 6% uplift on the same week in 2020/21. Charlotte Moore, BBC's Chief Content Officer says: “2022 on the BBC has started with a bang with record viewing across Christmas and New Year on BBC iPlayer. Millions of people chose to watch our unrivalled range of box-sets and Christmas specials live on our channels, or binge on-demand across the festive season – paving the way for the BBC's centenary, a landmark year that will look forward and celebrate British creativity across the whole of the UK.” BBC iPlayer had its best-ever day over the Christmas holiday period with 22 million streams Sunday 2 January, boosted by the debut of thriller The Tourist, starring Jamie Dornan. The series is currently the third most successful drama launch of all time on iPlayer – having been streamed over 18 million times to date. The Girl Before (1.6 million) was also popular, along with Christmas Day staples including the Call the Midwife Christmas special (1.6 million) and EastEnders (1.5 million). Click to share on Facebook (Opens in new window) Click to share on Twitter (Opens in new window) Click to share on LinkedIn (Opens in new window) Click to share on WhatsApp (Opens in new window) Related
Want to learn more from Charlotte? Check out her online programs: https://cmhorsemanship.com/online-coursesFor free tips and freebies advised on this episode, check out https://luzellethedogtrainer.com! Happy Training!
Want to learn more from Charlotte? Check out her online programs: https://cmhorsemanship.com/online-coursesFor free tips and freebies advised on this episode, check out https://luzellethedogtrainer.com! Happy Training!
Want to learn more from Charlotte? Check out her online programs: https://cmhorsemanship.com/online-coursesFor free tips and freebies advised on this episode, check out https://luzellethedogtrainer.com! Happy Training!
On this episode of Finding Your Bliss, Life Coach and Bliss Expert Judy Librach is joined by Canadian Theatrical legend Charlotte Moore. A musical theatre veteran and national treasure, Charlotte Moore is part of one of the greatest musical theatre families in the country. She is the daughter of Mavor Moore, who, of course was a member of the Order of Canada and won a Governor General's award, and Mavor Moore really helped establish professional theatre in Canada. Charlotte
This week Shirin sits down with Charlotte Moore and Robert Blood of SIGWATCH, an NGO activism and campaigns tracker, to speak on harnessing the power of NGOs in shaping corporates response to the climate crisis. They speak on whether NGOs are our our golden bullet to solving the climate crisis, the importance of questioning everything, and why they don't just have one favourite activist. As ever, if there's a theme you want them to cover, or a burn question you wish them to ask, please do send in your feedback to ibgreenminds@gmail.com Links to books mentioned in the episode: Bury me Standing - By Isabel Fonseca https://www.waterstones.com/book/bury-me-standing/isabel-fonseca/9780099740216 The Beautiful Cure - By Daniel M. Davis https://www.theguardian.com/books/2018/feb/05/the-beautiful-cure-review-daniel-m-davis-engaging-study-immunology
Recorded live at the Radio Academy Festival this week, Kerrang! Radio breakfast show presenter Sophie K talks about smashing through barriers and breaking the mould as a female in the male-dominated world of rock radio.There are catchup tickets still available for this annual audio event, including:BBC content chief Charlotte Moore on her plans for audio and a new scheme for indiesClaudia Winkleman and Clara Amfo in conversationAnd some radio geek called Matt Deegan talking about a youthquake in radioAll the details on how to watch all the sessions are at radioacademy.org/festivalA Rethink Audio & PPM Production. We'd like thank the Radio Academy for allowing us to share this session with you. Support The Media Podcast by setting up a regular voluntary subscription: themediapodcast.com/donate See acast.com/privacy for privacy and opt-out information.
In this episode of the Versus History Podcast, we interview Alec Marsh about his brilliant new book, 'Ghosts of the West'. It is a fascinating tale and our interview covers so much interesting content about the historical basis for the story, both British and American ...When daring journalist Sir Percival Harris gets wind of a curious crime in a sleepy English town, he ropes in his old friend Professor Ernest Drabble to help him investigate. The crime is a grave robbery, and as Drabble and Harris pry deeper, events take a mysterious turn when a theft at the British Museum is soon followed by a murder. The friends are soon involved in a tumultuous quest that takes them from the genteel streets of London to the wide plains of the United States. What exactly is at stake is not altogether clear – but if they don't act soon, the outcome could be a bloody conflict, one that will cross borders, continents and oceans… Meanwhile, can Drabble and Harris's friendship – which has endured near-death experiences on several continents, not to mention a boarding school duel – survive a crisis in the shape of the beautiful and enigmatic Dr Charlotte Moore?For terms of use, please visit www.versushistory.com
Unsure how the UK pensions industry actually works? Not to worry, we have it covered in today's AIM High episode: The legacy and leadership of the UK pensions industry. Accompanying Twink to discuss this subject is Charlotte Moore, a freelance Communications Consultant and Jo Sharples, Partner and CIO at Aon.Themes covered in this podcast:· The UK pensions industry landscape and how defined benefit (DB) pensions schemes have evolved· The challenges pension schemes face in relation to the UK government's ‘investments big bang' push· Are the UK government and the UK regulator at odds with each other over risk?· The knock on effect of Osborne's pensions reforms and freedom of choice· Challenges for DB and defined contribution (DC) pension schemes in the next 5 – 10 years and how pension schemes will evolve· How marketers of institutional houses can do a better job in communicating with gatekeepers of big pension schemesIntroducing the participants:Charlotte Moore is an award-winning freelance journalist and communications consultant who specialises in pensions. She writes regularly for a number of publications such as Professional Pensions and IPE. Charlotte also helps asset managers produce readable blog posts, white papers, monthly updates and book chapters.Jo Sharples is a Partner in Aon's Investment Practice and is the Chief Investment Officer for Aon's DC Solutions. She has over 20 years of experience in the pension and investment industry and is a Fellow of the Institute and Faculty of Actuaries. Joanna is responsible for the development and implementation of delegated investment solutions for DC pension schemes, working closely with Aon's UK delegated team.
Warning: some strong language. We chat with Charlotte Moore (award-winning lifestyle writer and editor, children's copywriter at Penguin Random House, and Existential Bi-sis columnist for Aurelia) about bisexual representation in the media. All episode transcriptions can be found at www.galsinjournalism.com. Logo is by Megan Shepherd. Music is the instrumental version of 'Sertraline Gang' by Trannieboi. Trannieboi is the abolitionist, queer, afro-futurist hyperpop brainchild of Jolliff Seville. As Trannieboi, he celebrates the multiplicity of Black, queer, disabled existence by transforming what is frightening – mania, trans homelessness, trauma, the immense difficulty of being a Black working artist – and making it an expression of joy. Check him out on Spotify.
Charlotte Moore ie a wheelchair basketball player for Paralympics GB. Tokyo will be her second Games after making her debut as a 17 year old in Rio. She's been playing since she was 8 when she had a chance meeting whilst shopping with her mum at Sainsbury's when she was approached by the coach of a local wheelchair basketball team. She's never looked back from that chance meeting. She's played lots of sport and even got to carry the Olympic Torch on the Torch Relay ahead of London 2012. Charlotte talks about the extraordinary issues they've had as a squad during Covid which has limited severely the time they've been able to spend training together. GB just missed out on a medal in Rio as they finished 4th. Charlotte's hoping it'll be at least one better this time! Support this podcast
In S3E6, certified Life Coach and founder of The Curiosity Club, Catri Barrett, sits down with Charlotte Moore, a Manchester-based journalist and poet, usually found writing about mental health, sex and LGBTQ+ issues. In this episode, Catri and Charlotte speak about: Using writing as a form of self-discovery and how it all started for her writing fan fiction The downfalls of how we're taught poetry and literature at school and what a more empowering curriculum might look like Charlotte shares her tips for aspiring writers and journalists The failings of sex education, especially for the LGBTQ community Personal finance: what would've been useful for us to be taught in school, and Charlotte shares her experience of getting into debt with payday loans and the impact this had on her Follow Charlotte here and check out her website Studio Sonder Come and get curious with us over on Instagram Be sure to subscribe and leave a rating and review :) Read stories from real people from our #Essays Read the full show notes on the Curiosity Club website.
In this episode of Subgenre, host Josh Dasal is joined by his guest host, educational/science TikTok star and "science mom", Charlotte Moore, aka Charlotte A. Cavatica, to discuss the 1995 coup-on-a-submarine picture, Crimson Tide, directed by Tony Scott, and starring Denzel Washington and Gene Hackman. Topics of discussion include the dire need for more female representation in the submarine film subgenre, the ubiquity of a certain 90s techno font, Josh's love for Gene Hackman, and a look at the classic films of writer-producer Charles Brackett.Guest host: Charlotte MooreTikTok: @cavaticaTwitter: @cavaticatInsta: @cavaticaRead more about Crimson Tide at:IMDB: https://www.imdb.com/title/tt0112740/Wikipedia: https://en.wikipedia.org/wiki/Crimson_Tide_(film)Our theme music: Still Room on the Night Train by Ketsa feat. SoularflairLearn more about Subgenre, and register for our mailing list, at https://www.subgenrepodcast.com/ ★ Support this podcast ★
This week on TRACK! we are joined by UK middle-distance running royalty, Christina Boxer. Christina was a consistently selected GB athlete between 1978 and 1992 over the 800 and 1500m distances. She is a 3 time Olympian, Gold medalist at the Commonwealth Games and has the distinction of being the first British female to run under 2 minutes in the 800m. Christina followed her time competing as a respected athletics journalist with ITV and BBC as well as embarking on a coaching career that has seen her work with Jo Pavey and Charlotte Moore. We are lucky to have Christina as a coach at Worcester AC which has allowed us to get to know her and convince her to give up her time for a chat. In the pre-show we discuss the return of racing to the UK with some brilliant performances. We cover the latest from Beth Potter's performance at Podium 5km and the Olympic Marathon selection story including Charlotte Purdue's appeal against her non-selection. Thanks for listening, we hope you enjoy.
The Meerkats immediately get roasted by their guest, Tik Tok sensation Charlotte Moore, over their mutual blind spot on Mystery Science Theatre 3000. Gabby gets yelled at for self-deprecating and Lukas learns about the mysteries of Bachelor Nation. Charlotte expands on her knowledge of slug sex (they could self-fertilize but choose not to — powerful!). One listener details an unusual fetish/phobia combo, and another asks genuine advice on getting over someone. Follow Charlotte!: @cavatica on Instagram, TikTok, @cavaticat on Twitter TikTok: @lukastarnold @hipsoccermom Instagram: @twonosymeerkats @lukastarnold @hipsoccermom Twitter: @twonosymeerkats @lukastarnold @hip_soccer_mom
My Effing Desk: S1 E4Storyteller + Filmmaker Charlotte Moore: Follow Your InspirationStoryteller and filmmaker Charlotte Moore talks about motherhood and creativity, trusting your calling, and the hard work of dismantling racism through her nonprofit, Black Bodies Project.Take the listener survey!Support the Podcast on Patreon!Black Bodies ProjectI Wonder as I Wander by Langston Hughes*For Every Mountain performed by Kurt Carr SingersSilent WitnessEnjoying the show? Take a minute to rate it and leave a review so new listeners can find it!Follow us on Facebook, Instagram, Twitter, YouTube, TikTok, and Pinterest. Learn more at www.myeffingdeskpodcast.comGet in touch at myeffingdeskpodcast@gmail.com *Amazon affiliate linkSupport the show
This week on the Future of Tourism, David is joined by Charlotte Moore, Digital Project Manager at RTO4, and Hannah Hintz, Account Director at Miles Partnership. The trio talks about the radically disrupted consumer buyer decision process, and the tools and opportunities destinations can access to meet the consumer where (and how) they shop.
Leading 'true indie' producers Phil Fairclough, MD of Two Wise Monkeys Entertainment and Alaska's co founder and Creative Director Ian Lamarra discuss Ru Paul's Emmy success, commissions in lockdown, MIPCOM Online+ and Charlotte Moore's new mega-role as Chief Content Officer for the BBC. And we’ll find out their Heroes of the Week – and who or what they're telling to Get in the Bin!K7 Media’s Girts Licis looks at the expanding alternative sources of IP for TV drama production.And Deadline Hollywood's Peter White takes us through the big winners at this week's Emmy Awards.Ian's Story of the Week - https://tbivision.com/2020/09/03/bbc-ups-charlotte-moore-to-content-chief/Phil's Story of the week - https://realscreen.com/2020/09/20/rupauls-drag-race-takes-competition-series-emmy/Phil's Hero of the Week link - Lights Out Fall 2020 https://www.youtube.com/watch?v=08ET47-b13oTellyCast advertising and sponsorship enquiries including our MIPCOM special shows: justin (at) boomdialogue (dot) comTellyCast is edited by Ian Chambers.Music by David Turner, lunatrax. Recorded in lockdown March 2020 by David Turner, Will Clark and Justin Crosby. Voiceover by Megan Clark.
Charlotte Moore and Ciarán O’Reilly founded Irish Repertory Theatre in 1988. Ever since they have been passionately devoted to bringing Irish and Irish-American works to the stage. The Irish Rep presents everything from classics to contemporary works as they nurture new generations of Irish and Irish-American playwrights. Now in its 31st season, Moore serves as Artistic Director and O'Reilly is Producing director. They have won the Drama Desk Award, Outer Critics Circle Award, the Lucille Lortel Award and the Jujamcyn Theatres Award for their excellence. In 2019, Moore and O’Reilly were both inducted into the Irish America Hall of Fame and received Ireland’s Presidential Distinguished Service Award for the Irish Abroad. Irish Repertory Theatre has presented over 190 productions and worked with more than 500 company members. The theater now has entire online component and thriving online summer season. Love Noël: The Songs And Letters of Noël Coward, starring Steve Ross and KT Sullivan and directed by Charlotte Moore, will be online from August 11 to August 15. For more details visit, https://irishrep.org/show/irish-rep-online-2020/love-noel-2/ This episode was recorded May 19, 2020. Produced in part by the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices
We just talked to Charlotte Moore who found a whole nest of snakes in her walls. Snakes.... why'd it have to be snakes?
Racism "solved in about 2 hours" with Charlotte Moore! Join me in listening to possibly the most multi-faceted, creative storytelling artiste on earth, today. We have a great conversation ranging across topics stemming from her life and non-profit organization: www.blackbodiesproject.com including the movie, book, dancing, painting and even listen to one of her original poetic songs! --- Support this podcast: https://anchor.fm/exovation/support
Charlotte Moore recounts the stranger-than-fiction tale of her great-great-great-uncleBenjamin Leigh Smith, born in 1828, was the polymath illegitimate son of an MP. Born into a radical family, by various twists and turns of fate he ended up as an explorer of the frozen north.His fifth expedition ended in the wreck of his ship, Eira, and ten months of gruelling survival in the arctic, before a daring escape via makeshift longboat. The only tragedy is that this story of ingenuity and resolve isn't better known.This podcast episode was recorded on 22nd January, 2020, and was edited and produced for Pushkin House by Rafy Hay.
Charlotte Moore from Studio Sonder and Girl on Film walks us through how to up-level our website, blog and social media copy to talk to our audiences and push our personal brands in the most natural and authentic way. Her insight is GOLD - listen in now....
Has anyone ever affected your ability to believe in yourself as an artist? Singer/Actor Charlotte Moore is joining the conversation on Cue To Cue today to share how people influenced her confidence as a performer and the battles she faced to overcome self-doubt. She will help us reevaluate how we speak to ourselves and how it impacts our self-assurance. In this episode: Practicing gratitude when things don't turn up as planned Impact of having positive conversations with ourselves How Social Media affects your castability Importance of saving in an artist's life A little about Charlotte: Daughter of Mavor Moore (Order of Canada, Governor General's Award), grand-daughter of Dora Mavor Moore (after whom Toronto's annual Theatre Awards are named), and one of Canada's most dynamic performers, Charlotte has been on the scene for over thirty-five years, mostly in her first love, musical theatre. A recipient of the 1990 Dora Mavor Moore Award, (also known at Charlotte's house as a "Granny"), for her work in The Rocky Horror Show, Charlotte has had the great good fortune of working across the country with some pretty amazing people. Most recently she appeared as Marilla in Anne of Green Gables at The Charlottetown Festival. She has twice appeared in Gypsy – once as "Louise", and once as "Rose" – eighteen years apart. She also managed the same trick with "Lucy" in You're A Good Man, Charlie Brown. She played "Fantine" in Les Miserables across the country opposite Craig Shulman, and her favourite role to date is definitely as the sole woman in Stan Rogers - A Matter of Heart. She spent a season in Robin Phillips' Grand Theatre Company , and three wonderful seasons at the Shaw Festival, culminating in the unforgettable Jackie Maxwell production of Sondheim's Merrily We Roll Along. Charlotte has also done a lot more shows you'd recognize, but her real passion are the ones you probably won't – the Canadian shows that she has had the pleasure of being in. Shows by Leslie Arden, Jim Betts, Cathy Elliott, Joey Miller, and a whole host of other folks – a lot of whom are represented on her CD, "Friends of Mine". It features fifteen songs from shows past and present, only one of which had been recorded before. For more information, check out the Music page. For Charlotte's current résumé, visit The Talent House.
Highlights from the top commissioning panels from this year’s Edinburgh Television Festival.https://www.broadcastnow.co.uk/media-business-podcast-7-edinburgh-tv-festival-2019-meet-the-commissioners/5142464.article
We talk to Charlotte Moore, one of the founders of Irish Repertory Theatre, about the show "Love, Noel," playing at the theatre through August 25. Then we talk to Bernadette Gavin-Palmieri, inkeeper of Gavin's Country Inn, about the rock festival Gavinstock, which takes place August 16-18. and to Seamus Keane of The Narrowbacks. Featured Tune: "Streets of Woodlawn," by The Narrowbacks.
Today I sit down with the mesmerizing Kathryn Grody. We talk everything from motherhood to acting to being a good human. Not to be missed. Kathryn Grody fled Los Angeles, arrived in New York City, and found herself employed on Broadway in Scapino, . Off-Broadway followed with appearances at Joseph Papp’s Public Theatre including Fishing by Michael Weller, Museum, by Tina Howe, Nasty Rumors and Final Remarks by Susan Miller and Lulu Bett directed by Jack Hofsiss at the Berkshire Theatre Festival. Ms. Grody received Obie Awards for her performances in Top Girls by Caryl Churchill, directed by Max Stafford-Clark and The Marriage of Bette and Boo by Christopher Durang, directed by Jerry Zaks as well as a Drama Desk nomination for her performance in her three character one woman play, A Mom’s Life, all at the Public Theatre. (( Other performances include Dusa Fish Stas and Vi at the Manhattan Theatre Club, The Split at Ensemble Studio Theatre, Cause Maggie’s Afraid of the Dark, The 49 Years by Liz Swados, with Estelle Parsons at the Actors Studio Raw Space, Waxing West by Savianna Stanescous at The Lark, and Victoria Roberts cartoon come to life directed by Linda Mancini at Dixon Place. )) Film appearances include Limbo, written and directed by John Sayles and Men With Guns, also by Mr. Sayles, My Body Guard, directed by Tony Bill, Lemon Sisters with Diane Keaton and Carol Kane, Another Woman by Woody Allen and Reds by Warren Beatty. Ms. Grody’s television appearances include “The Sunset Gang” with Uta Hagen, “Execution of Private Slovik” with Martin Sheen and many after-school specials. (( And of course, Law And Order-Criminal Intent in NYC..)) Kathryn Grody performed with A.C.T. in San Francisco, the Actors Theatre of Louisville and was a company member at the Mark Taper Forum in Los Angeles. ) Her essays have appeared in The Mountain Record, Harpers Bazar, Oprah magazine, and her narrative version of the original Mom’s Life was published by Avon. She appeared in the world premiere of two new Wendy Wasserstein plays, ((directed by Michael Barakeeva ))at Theatre J in Washington D.C., originated the role of Maggie in The Penetration Play by Winter Miller, ((directed by Josh Hec))t at The Mint, performed the classic role of Nell in Beckets Endgame, with Alvin Epstein, Adam Heller and Tony Roberts,(( directed by Charlotte Moore,)) at the Irish Repetory Theatre . She braved the Barrow Street Theatre with Tim Crouch in the Oak Tree, and was proud to participate in the Caryl Churchill reading at NYTW, Seven Jewish Children-a play for Gaza…... She played Hinda in Zuzka Kurtz’s My Inner Soul at The Lion, appeared in the 59th st shorts in Tina Howes’ The Woman Who Lost Her Head and was seen as Hilary Clinton in the Performance Art Biennial, I Feel Your Pain, by Liz Magic Laser..And was Lola in Donald Margulies A Model Apartment, directed by Evan Cabnet.. Falling Apart....together , the sequel of A Mom’s Life, was seen at CSC, directed by Timothy Near..Most recently played Gaby in Susan Millers’ 20th Century Blues, directed by Emily Mann at the Signature. She is a Ususal Suspect at NYTW, works with the IRC and Search For Common Ground and is on the board of Downtown Women For Change., Dances for A Variable Population and Noor Theatre.
One of our favourite talks from the 2018 festival: Charlotte Moore, Director of Content at the BBC, interviews public intellectual, feminist, author and television presenter Mary Beard. In her trademark accessible style, Britain's best-known classicist discusses her broadcasting career as well as her most recent book, Women & Power: A Manifesto, hailed as a modern feminist classic.
@TinDogPodcast reviews TV #DoctorWho #TheWomanWhoFellToEarth 277 – "The Woman Who Fell to Earth"277 – "The Woman Who Fell to Earth"Doctor Who episodeDoctor Who Series 11 Episode 1 The Woman Who Fell to Earth.jpgPromotional image for the episode, displaying Yasmin (Gill), Ryan (Cole), The Doctor (Whittaker), Graham (Walsh) and Grace (Clarke)CastDoctorJodie Whittaker (Thirteenth Doctor)CompanionsBradley Walsh (Graham O'Brien)Tosin Cole (Ryan Sinclair)Mandip Gill (Yasmin Khan)OthersSharon D. Clarke – GraceSamuel Oatley – Tim ShawJohnny Dixon – KarlAmit Shah – RahulAsha Kingsley – SoniaJanine Mellor – JaneyAsif Khan – Ramesh SunderJames Thackeray – AndyPhilip Abiodun – DeanStephen MacKenna – DennisEveral A Walsh – GabrielProductionDirected by Jamie ChildsWritten by Chris ChibnallScript editor Nina MétivierProduced by Nikki WilsonExecutive producer(s) Chris ChibnallMatt StrevensSam HoyleIncidental music composer Segun AkinolaSeries Series 11Length 63 minutesOriginally broadcast 7 October 2018Chronology← Preceded by Followed by →"Twice Upon a Time" —Doctor Who episodes (1963–1989)Doctor Who episodes (2005–present)"The Woman Who Fell to Earth" is the first episode of the eleventh series of the British science fiction television programme Doctor Who. It is written by new head writer and executive producer Chris Chibnall, directed by Jamie Childs, and was first broadcast on BBC One on 7 October 2018. It is the first episode to star Jodie Whittaker in her first full appearance as Thirteenth Doctor, and introduced her new companions – Bradley Walsh as Graham O'Brien, Tosin Cole as Ryan Sinclair, and Mandip Gill as Yasmin Khan. The episode also guest stars Sharon D. Clarke, Johnny Dixon and Samuel Oatley. The story focuses on a group of people who come across a new alien threat together within Sheffield, and find themselves banding together with the recently regenerated Doctor, who has been separated from the TARDIS since the events of "Twice Upon a Time". As the group seek to understand the threat, they find themselves in danger as well, and discover that the recently arrived aliens are planning a hunt upon a single human, leading the Doctor to co-ordinate an attempt to prevent this happening and save the group from danger. This episode is the first to be led by Chibnall, alongside executive producers Matt Strevens and Sam Hoyle, after Steven Moffat and Brian Minchin stepped down at the conclusion of the tenth series, while marking the third production era of the revived series, following Russell T. Davies' run from 2005–2010, and Moffat's from 2010–2017. This episode marked a change in the programme's broadcasting schedule, with both it and subsequent episodes being broadcast regularly on Sundays, instead of Saturdays as had been done since Doctor Who was revived, while the episode premiered without the traditional opening credits, as had occurred before with "The Day of the Doctor" (2013) and "Sleep No More" (2015). Since its first broadcast in the UK, the episode has received positive reviews from critics, as well as an overnight rating of 8.20 million viewers, the highest since "The Time of the Doctor" (2013). Contents1 Plot2 Production2.1 Development2.2 Casting2.3 Filming2.4 Promotion3 Broadcast and reception3.1 Television3.2 Cinemas3.3 Ratings3.4 Critical reception4 References5 External linksPlotRyan, a dyspraxic young man, struggles to ride a bike and throws it off the hill in frustration. Searching for it, he touches some strange lights, causing a blue pod to appear. Concerned, Ryan calls the police, receiving help from PC Yasmin Khan, an old school friend. Meanwhile, Ryan’s grandmother, Grace, her husband, Graham, and another passenger, Karl, find themselves trapped onboard their train with a floating orb of writhing tentacles and electricity. They call Ryan, and he and Yasmin head for the train, arriving just as the Doctor suddenly falls through the carriage ceiling. The orb departs after hitting everyone with an energy bolt. Karl leaves, but the others follow the Doctor, who suffers from post-regeneration amnesia. She discovers the orb implanted DNA destroying bombs into each of them, liable to explode at any time. Finding the pod has disappeared, they track it down to a warehouse. They learn that the warehouse belonged to Rahul, a local man who took the pod he connected with the disappearance of his sister but was killed when a second alien emerged from it. The Doctor, missing her sonic screwdriver, constructs another from spare parts. The group intercepts the orb creature, revealed to be a mass of biological data-gathering coils. The second alien suddenly appears, revealing himself as Tzim-Sha, a Stenza warrior hunting humans for sport, Rahul's sister the target of a previous hunt. A furious Doctor demands Tzim-Sha leave the planet, but he collects the data of his target, Karl, from the coils and teleports away. The group track down Karl, a crane operator, to a construction yard. The Doctor, Ryan, and Yasmin climb another crane to save Karl before Tzim-Sha can reach him. Tzim-Sha captures Karl, but the Doctor, recalling her identity, orders Tzim-Sha to leave him, or face losing the pod's recall device and being stranded on Earth. Tzim-Sha detonates the DNA bombs, but the Doctor reveals that she transferred the bombs into the Coils, unwittingly self-implanted by Tzim-Sha when he downloaded the data. The Doctor thrusts the recall device at Tzim-Sha and he transports himself away. Grace successfully destroys the coils but is fatally injured after falling from the crane. Following Grace's funeral, the Doctor tells the group she must find the TARDIS. After building a teleport, she bids the group goodbye, but inadvertently brings them with her into deep space. ProductionDevelopmentIt was announced in January 2016 that the tenth series would be Moffat's final series as executive producer and head writer, after seven years as showrunner, for which he was replaced in the role by Chris Chibnall in 2018.[1] Matt Strevens serves as executive producer alongside Chibnall, as well as Sam Hoyle.[2][3] A new logo was unveiled at the BBC Worldwide showcase on 20 February 2018. This logo was designed by the creative agency Little Hawk, who also created a stylized insignia of the word "who" enclosed in a circle with an intersecting line.[4] Murray Gold announced in February 2018 that he would step down as the programme's composer, having served as the musical director since 2005, and that he would not be composing the music for the eleventh series.[5] On 26 June 2018, producer Chris Chibnall announced that the musical score for the eleventh series would be provided by Royal Birmingham Conservatoire alumnus Segun Akinola.[6] Casting Whittaker at the 2018 San Diego Comic-Con, where she promoted her first full series.The episode introduces Jodie Whittaker as the Thirteenth Doctor. Her predecessor Peter Capaldi departed from his role as the Twelfth Doctor after the tenth series, having played the role for three series.[7] His final appearance was in the 2017 Christmas special, "Twice Upon a Time".[8] Moffat stated in February 2017 that Chibnall tried to persuade the actor to continue into the eleventh series, but despite this, Capaldi still decided to depart.[9] The search for the actor to portray the Thirteenth Doctor, led by Chibnall, began later in 2017, after he completed work on the third series of the ITV series Broadchurch, for which he is also the head writer and executive producer. Chibnall had the final say on the actor, although the decision also involved Charlotte Moore and Piers Wenger, the director of content and head of drama for the BBC respectively.[10] Media reports and bookmakers speculated as to who would replace Capaldi as the Thirteenth Doctor, with Ben Whishaw and Kris Marshall among the most popular predictions.[11] On 16 July 2017, it was announced after the 2017 Wimbledon Championships men's finals that Whittaker would portray the thirteenth incarnation of the Doctor.[7] The episode also introduces a new set of companions, including Bradley Walsh, Tosin Cole, and Mandip Gill as Graham O'Brien, Ryan Sinclair and Yasmin Khan, respectively.[12][13] Actress Sharon D. Clarke also appears as Ryan's grandmother and Graham's wife, Grace.[12][14][15] The episode also guest stars Johnny Dixon and Samuel Oatley.[16][17] FilmingJamie Childs directed the first and seventh episode of the series in the opening production block, having directed Whittaker's introduction video as the Thirteenth Doctor.[3][18] Pre-production for the eleventh series began in late October 2017.[3] After filming for the series was expected to begin in late 2017,[10][2][19] it officially began with the first episode in November 2017.[20] The eleventh series was shot using Cooke and Angénieux anamorphic lenses for the first time in the series' history, a creative decision made in order to make the show look more cinematic.[21] PromotionThe first teaser for the series was released during the final of the 2018 FIFA World Cup on 15 July 2018, almost exactly a year after the announcement of Whittaker as the Thirteenth Doctor.[22][7] Whittaker, Gill, Cole, Chibnall and Strevens promoted the show with a panel at the San Diego Comic-Con on 19 July 2018,[23] where the first trailer was released.[24] Broadcast and receptionProfessional ratingsAggregate scoresSource RatingRotten Tomatoes (Average Score) 8.19[25]Rotten Tomatoes (Tomatometer) 91%[25]Review scoresSource RatingDaily Mirror 4/5 stars[26]IGN 8.7[27]IndieWire B-[28]New York Magazine 4/5 stars[29]Radio Times 3/5 stars[30]The A.V. Club B[31]The Telegraph 4/5 stars[32]The Guardian 4/5 stars[33]The Independent 4/5 stars[34]Television"The Woman Who Fell to Earth", the first episode of the eleventh series, runs for a total of 63 minutes, while the remaining episodes will run for an average of 50 minutes each, after the episode count dropped from twelve to ten for this series.[19][35] The episode was simulcast in the United States on BBC America.[36] It breaks with previous practice in not using any opening credits, similar to "The Day of the Doctor" (2013) and "Sleep No More" (2015).[37] CinemasThe premiere of the new series was held at Light Cinema in Sheffield on 24 September 2018, as part of a red carpet event for the episode and eleventh series.[38][39] "The Woman Who Fell to Earth" will be released in select Australian cinemas on 8 October 2018,[40] and in the United States from 10–11 October.[41] RatingsThe episode was watched by 8.20 million viewers overnight, making it the highest overnight viewership since "The Time of the Doctor" (2013), which received 8.30 million overnight viewers. The episode had an audience share of 40.1% also.[42][43] It also marked the highest overnight figure for a series premiere since "Partners in Crime" (2008), the opening episode of the fourth series, achieved 8.40 million viewers.[44] Critical receptionThe episode currently holds a score of 91% on Rotten Tomatoes, with an average score of 8.19. The site's consensus reads "Jodie Whittaker easily embodies the best of the titular time traveler in "The Woman Who Fell To Earth" and proves that change can be a very, very good thing."[25]
In this week’s episode I sit down with Charlotte Moore. Charlotte Moore is a performer who has worked all over North America in the theatre industry and is also a singer songwriter who’s new album Long Road Back is currently out on iTunes. In our conversation today we discuss how she began working in the theatre industry, the mentors that helped to guide her in the early parts of her career, as well as some of her most positive experiences in the industry. We also discuss some of the main lessons she has learned about herself over her career, what she has learned through her experiences writing and recording her album, as well as where she sees theatre in Canada headed in the future.
In this week’s episode I sit down with Charlotte Moore. Charlotte Moore is a performer who has worked all over North America in the theatre industry and is also a singer songwriter who’s new album Long Road Back is currently out on iTunes. In our conversation today we discuss how she began working in the theatre industry, the mentors that helped to guide her in the early parts of her career, as well as some of her most positive experiences in the industry. We also discuss some of the main lessons she has learned about herself over her career, what she has learned through her experiences writing and recording her album, as well as where she sees theatre in Canada headed in the future.
Rob and Dave discuss Doctor 13, Jodie Whittaker. Featuring listener emails and a special audio from The Rev. As always, you can write to us: hello@theDWshow.net - Jodie Whittaker graduated from the Guildhall School of Music and Drama in 2005 with a gold medal in Acting. Since then she has worked continually in Film, Television and Theatre. Her TV credits include the critically acclaimed ITV drama Broadchurch (for which she was nominated for Best Actress for the RTS Television Awards), Emmy award-winning Black Mirror, Sky 1's The Smoke, BBC's Cranford, in which she starred opposite Judi Dench and Imelda Staunton, The Night Watch (BBC), The Accused (BBC), and Tess of the D'Urbervilles (BBC). Jodie has recently finished shooting Journeyman, written and directed by Paddy Considine, as is the lead in the new BBC drama series Trust Me. Her other film credits include Venus, (which earned her nominations for Best Newcomer at the British Independent Film Awards; Best British Newcomer at the Critics' Circle Awards and Best Actress In A Motion Picture at the Satellite Awards); Attack The Block, One Day, Black Sea, Good Vibrations, St.Trinian's, Get Santa and most recently Adult Life Skills, which she Executive Produced as well as starred in which received a number of BIFA nominations. Jodie made her professional theatrical debut at Shakespeare's Globe Theatre in The Storm. Other theatre credits include playing the title role in Antigone at the Royal National Theatre, Bash at the Trafalgar Studios, Awake And Sing and Enemies at the Almeida, both directed by the then Artistic Director Michael Attenborough. - 1. What does it feel like to be the Thirteenth Doctor? It's very nerve-racking, as it's been so secret! 2. Why did you want the role? To be asked to play the ultimate character, to get to play pretend in the truest form: this is why I wanted to be an actor in the first place. To be able to play someone who is literally reinvented on screen, with all the freedoms that brings - what an unbelievable opportunity. And added to that, to be the first woman in that role. 3. Has it been hard to keep the secret? Yes. Very hard! I've told a lot of lies! I've embroiled myself in a whole world of lies which is going to come back at me when this is announced! 4. Who was the first person you told when you got the role? My husband. Because I was allowed to! 5. Did you have a codename and if so what was it? In my home, and with my agent, it was The Clooney. Because to me and my husband, George is an iconic guy. And we thought, what's a really famous iconic name? It was just fitting. 6. What does it feel like to be the first woman Doctor? It feels completely overwhelming; as a feminist, as a woman, as an actor, as a human, as someone who wants to continually push themselves and challenge themselves, and not be boxed in by what you're told you can and can't be. It feels incredible. 7. What do you want to tell the fans? I want to tell the fans not to be scared by my gender. Because this is a really exciting time, and Doctor Who represents everything that's exciting about change. The fans have lived through so many changes, and this is only a new, different one, not a fearful one. 8. What are you most excited about? I'm most excited about becoming part of a family I didn't even know existed. I was born in 1982 - it's been around longer than me, and it's a family I couldn't ever have dreamed I'd be part of. 9. How did Chris sell you the part? We had a strange chat earlier this year where he tricked me into thinking we were talking about Broadchurch. And I started to quiz him about his new job in Wales, and asked him if I could be a baddie! And he quickly diverted the conversation to suggest I should consider auditioning to be the 13th Clooney. It was the most incredible chat because I asked every question under the sun, and I said I'd take a few weeks to decide whether I was going to audition. He got a phone call within 24 hours. He would've got a phone call sooner, but my husband was away and there was a time difference! 10. Did he persuade you? No. There was no persuasion needed. If you need to be persuaded to do this part, you're not right for this part, and the part isn't right for you. I also think, for anyone taking this on, you have to want to fight for it, which I certainly had to do. I know there will have been some phenomenal actors who threw their hats in the ring. 11. What are you going to wear? I don't know yet. 12. Is that your costume in the filmed sequence which introduced you as the new Doctor? No. 13. Have any of the other Doctors given you advice? Well they can't because they haven't known until now, but I'm certainly expecting a couple of calls - I've got a couple of mates in there. I'm mates with a companion [Arthur Darvill], I'm mates with a trio of Doctors. I know Matt Smith, Chris Eccleston and obviously David Tennant. Oh! And let's throw in David Bradley! Four Doctors! So I'm hoping I get some calls of advice. - The BBC today announced to the world that Jodie Whittaker will be the new Doctor Who. The identity of the new Doctor was revealed exclusively on BBC One and on social media around the world after the Men's Wimbledon Final on Sunday 16 July. She will be the Thirteenth Time Lord and take over from Peter Capaldi, who leaves the global hit show at Christmas. New head writer and executive producer Chris Chibnall, who takes over from Steven Moffat on the next series, made the decision to cast the first ever woman in the iconic role. Jodie Whittaker says: “I'm beyond excited to begin this epic journey with Chris and with every Whovian on this planet. It's more than an honour to play the Doctor. It means remembering everyone I used to be, while stepping forward to embrace everything the Doctor stands for: hope. I can't wait.” Chris Chibnall, New Head Writer and Executive Producer, says : “After months of lists, conversations, auditions, recalls, and a lot of secret-keeping, we're excited to welcome Jodie Whittaker as the Thirteenth Doctor. "I always knew I wanted the Thirteenth Doctor to be a woman and we're thrilled to have secured our number one choice. Her audition for The Doctor simply blew us all away. Jodie is an in-demand, funny, inspiring, super-smart force of nature and will bring loads of wit, strength and warmth to the role. The Thirteenth Doctor is on her way.” Peter Capaldi says: “Anyone who has seen Jodie Whittaker's work will know that she is a wonderful actress of great individuality and charm. She has above all the huge heart to play this most special part. She's going to be a fantastic Doctor.” Charlotte Moore, BBC Director of BBC Content, says: “Making history is what Doctor Who is all about and Chris Chibnall's bold new take on the next Time Lord is exactly that. The nation is going to fall in love with Jodie Whittaker - and have lots of fun too!” Piers Wenger, Controller BBC Drama, says : "Jodie is not just a talented actor but she has a bold and brilliant vision for her Doctor. She aced it in her audition both technically and with the powerful female life force she brings to the role. She is destined to be an utterly iconic Doctor." Matt Strevens, Executive Producer, says : "I'm so thrilled that Jodie Whittaker said yes to playing the Doctor. I've been a fan for years and always hoped to work with her. She is an actor of great emotional range and inhabits every role with complete passion and conviction. Just thinking about what she will bring to the Doctor makes me as excited as a kid at Christmas. It's going to be a lot of fun."
An introduction from Rhodri Talfan Davies, Director of BBC Cymru Wales, to Charlotte Moore, Director, BBC Content being interviewed by Professor Jane McCloskey, Dean of Faculty of Creative Industries, University of South Wales. #IWAMedia
Sheffield Doc/Fest were absolutely thrilled to welcome world-renowned naturalist Sir David Attenborough to the Festival for the first time in 2016. Long established as the world’s leading natural history documentarian and presenter, Sir David’s long and celebrated career has also included the highest-level work off screen, as Controller of BBC2, and Director of Programmes across the BBC. He has been responsible for commissioning many innovative titles over the years, including the 13 part documentary television series The Ascent of Man. In 1966 he oversaw the introduction of colour television to Britain and in 1969 was responsible for clearing the BBC schedule for the moon landing. Sir David discussed his long and illustrious career and talked about the future of television and media with Charlotte Moore, Controller of Channels and iPlayer for the BBC. Supported by BBC
Talking TV unpicks another busy fortnight for broadcasting, as well as heading behind the scenes on BBC2’s landmark series Inside Obama’s White House. Joining host Jake Kanter is Steven D Wright and Outline managing director Laura Mansfield. Together they debate a feisty speech from BBC content supremo Charlotte Moore and Peter Salmon’s departure from BBC Studios. Legendary filmmaker Norma Percy and her executive producer Paul Mitchell then talk about Brook Lapping’s four-part BBC2 series Inside Obama’s White House. Finally, there are previews of ITV Encore’s latest original series Houdini and Doyle and BBC3 comedy Flat TV.
We hear from the new Controller of BBC TV Channels (BBC 1,2 and 4) and iPlayer Charlotte Moore about her vision for the future. She also gives her response to claims (from Culture Secretary John Whittingdale and a recent report from consultants Oliver & Ohlbaum and Oxera Consulting), that BBC TV has become less distinctive. We hear from Sevgi Akarcesme, Editor in Chief of Today's Zaman about the Turkish state takeover of the anti-government newspaper for which she works, and from the BBC's Turkey correspondent Mark Lowen on the context of this crackdown on press freedom. A recent report by Sir David Clementi into the governance and regulation of the BBC recommended that the government appoint about half of a reformed future BBC's operational board. The Director General of the BBC, Lord Hall, said this recommendation could undermine the BBC's independence from government. So where should the balance lie between BBC freedom from government influence and the public's ability, via the democratically elected government, to have a say in how the BBC licence fee is spent? We hear from "the insider's insider" Tim Suter. He's been a BBC TV executive,worked for the broadcasting regulator Ofcom, is on the board of the Press Recognition Panel, advised the House of Lords Communications Select Committee and is one of the leaders of the European Broadcasting Union's project for developing a vision for European Public Service Broadcasting.
Talking TV goes behind the scenes at the 20th annual Broadcast Awards to catch up with some of the winners. Stationed at the Grosvenor Hotel in London, host Jake Kanter hears why BBC1 controller Charlotte Moore believes she is making her mark after winning Channel of the Year. Love Productions creative director Richard McKerrow lifts the lid on a remarkable year after picking up Best Independent Production Company. Elsewhere, BBC comedy producer Jon Plowman reflects on The Office after it was voted the best Broadcast Award-winning show of the past 20 years. Dominic Treadwell-Collins hails EastEnders’ turnaround after it was crowned Best Soap, while ITV Studios’ director of entertainment Siobhan Greene revels in Ant & Dec’s Saturday Night Takeaway winning Best Entertainment Programme for the second year in a row. There’s also a sprinkling of stardust as Mary Berry, Harry Enfield, Paul Whitehouse and John Motson stop by for a chat.
BBC One is the UK's most watched channel, with more than 40 million viewers tuning in each week. A BBC Trust review published earlier this year found the channel consistently produced high quality programmes but many viewers felt that the channel appeared to play it safe in programming and scheduling - particularly during peak time. In her first radio interview, since taking up the position, Charlotte Moore, Controller BBC One talks to Steve about her strategy for the channel, taking more risks in programming, balancing populism with public service as well as engaging the hard to reach audiences.Serial, the new podcast from the creators of 'This American Life' is using a combination of innovative storytelling and investigative journalism to top the podcast charts in both the US and the UK. Steve is joined by Observer radio critic Miranda Sawyer, who has founded her own Facebook Serial 'addicts' group, to explore what makes it such a compelling use of the audio medium and what example it sets for traditional radio networks, 10 years after the birth of the podcast.Patrick Collins, one of the most widely read of British sports journalists, has just announced his retirement. His career began in newspapers fifty years ago, and includes over thirty years at the Mail on Sunday. He's covered 10 football World Cups and every summer Olympic Games since 1972, bar one. Steve speaks to him about his career and the changing nature of sports journalism.Producer: Dianne McGregor.
From Wikipedia, the free encyclopedia 240 – "The Day of the Doctor" episode Official poster Cast () () () () Others – /The Moment – – Osgood – Androgar – The General Philip Buck – Arcadia Father – – McGilliop Aidan Cook, – – Voice of the/Zygons , – Daleks – The Curator/ John Guilor – Voice of the – (uncredited) Production Director Script editor Richard Cookson Producer Marcus Wilson Executive producer(s) Steven Moffat Faith Penhale Incidental music composer Series Length 76 minutes Originally broadcast 23 November 2013 (GMT, simulcast internationally) Chronology ← Preceded by Followed by → """" (mini-episode) "" "The Day of the Doctor" is the 799th episode of the British programme , and marks the programme's fiftieth anniversary. It is written by , an executive producer alongside Faith Penhale. It has been described by series producer Marcus Wilson as a "love letter to the fans" and by the controller of , , as an "event drama". It was shown on on 23 November 2013, in both 2D and 3D. The special was broadcast simultaneously in 94 countries, and was shown concurrently in 3D in some cinemas. It achieved the for the largest ever simulcast of a TV drama. The episode shows the last day of the , in which a of faces his choice to kill both and his own race of in an act of mass destruction, paralleling this with a present-day choice by paramilitary organisation to destroy rather than allow an alien invasion. It reveals how, contrary to previous plotline understanding, the Doctor followed plea to change his mind at the last instant of the Time War, and hid the war-racked planet Gallifrey in time, rather than destroy it, but due to the distortions of time incurred, had retained no memory of his changed decision. The episode starred as the and as his companion, . Previous lead actors and returned for the episode, Tennant reprising his role as the , while Piper portrayed a sentient doomsday weapon called the Moment, projecting an image based on her character , invisible and inaudible to everyone but the , played by, introduced for the first time in the as an unknown past incarnation of the Doctor. Other appearances included a very brief view of the upcoming, expected to succeed Matt Smith in , and a significant by actor , now in his late 70s and the earliest surviving actor to have played the title role. Rounding out the guest cast, starred as , while returned to portray the in-series daughter of 1970s central figure .The special also featured the return of the , and the , shape-shifting aliens who had previously only appeared in the 1975 serial . Contents [] Mini-episodes See also: and Two mini-episodes written by Steven Moffat, "" and "", were released shortly prior to "The Day of the Doctor". They depict events occurring during the between the Doctor's own race of and his , the . In "The Night of the Doctor", reprised his role as the from the and subsequent audio plays. He is a to the ongoing Time War and intends to rescue a crew member from a crashing spaceship via the . Realising that he is a , she refuses to comply, preferring to die rather than go with him. She and the Doctor die as the ship crashes on Karn. The Doctor is resurrected temporarily by the Sisterhood of Karn. They persuade the Doctor to take action to end the Time War, offering him a selection of potions to control his regeneration. He chooses a potion designed to initiate his regeneration into a hitherto unknown of the Doctor as a "warrior" (described in credits as the "" and played by ). "The Last Day" is filmed from the first-person perspective of a Gallifreyan soldier who has had a camera implanted in his head. The soldiers scan for Daleks at Arcadia, Gallifrey's second city and believed due to its impregnable defences to be the safest place on the Time Lords' home planet. During training exercises, a blurred object in the sky is identified surprisingly as the first of a fleet of successfully invading Daleks, which kill the soldiers. The "Fall of Arcadia" becomes the central battle of the Time War around which "The Day of the Doctor" is centred. Plot At , teacher receives a message from the and returns to the , which is unexpectedly to . Kate Stewart of the paramilitary organisation shows the Doctor preserved instructions from previous wife , along with the Under-Gallery, a secret vault of forbidden art housed at the . The vault includes several works of art: moments of time preserved in stasis that take the form of "3-D pictures". One such work, called either No More or Gallifrey Falls, shows the fall of Arcadia on the last day of the Time War, an event believed to have obliterated both the Time Lords and the from the universe. The glass of several of these pictures has been broken from within and figures in the paintings have disappeared. It transpires that the , preserved in stasis in the pictures, are invading, taking the forms of UNIT members. To defeat them, Kate plans to detonate a nuclear warhead in London from within UNIT's "TARDIS-proof" Black Archive of Time Lord and other alien artefacts. The detonation would will wipe out London but save the rest of humanity. In the midst of the Time War, the —a hitherto-unknown "hidden" incarnation of the —watches Gallifrey falling to the Dalek invasion. He decides to trigger an ancient called "the ", a "galaxy eater" which will destroy both races completely. The Moment, however, is sentient and possesses a conscience. Its interface manifests with the form of his future assistant to challenge whether mass killing is his best option and to show him the future personal consequences of his actions. The Moment opens fissures in space and time between these two points in the timeline and Elizabethan England, depositing the Eleventh Doctor and the War Doctor near the and a young Elizabeth I under threat from Zygons, who are using the time period to secret themselves into the stasis of the Time Lord paintings as to invade in the contemporary future. All three Doctors are captured and imprisoned in the , where the Moment encourages the War Doctor to form an escape plan involving calculations which would take "centuries", but which, being begun on the War Doctor's , are therefore now completed on the Eleventh's screwdriver, four hundred years in its future. The Eleventh Doctor, meanwhile, inscribes in stone the code necessary to activate a stored in UNIT's Black Archive. Found by his allies in the present day, it allows Clara to both escape the Zygons and free the Doctors, by travelling into the past. Using the same technique to "travel" to the present via the Time Lord paintings as the Zygons, they gain entry to the Black Archives despite its TARDIS-proof defences. They use the Black Archives' mind-wiping facilities to erase the memories of the humans and Zygons present, causing them to forget who is human and who is Zygon in human form, and forcing them to cancel the detonation and discuss peace. The War Doctor, now convinced that detonating the Moment will allow his future selves to save many more lives, is returned to his time by the Moment. His other two present incarnations appear with the intention of detonating the device alongside him so as to share his burden. Clara, reminding them that he chose the name "Doctor", implores that he seek a different solution. The three Doctors finally think of an alternative solution, to put the planet Gallifrey in stasis in a moment of time, leaving the Daleks surrounding the planet to be obliterated by their own firepower; to the rest of the universe it would still appear that both sides wiped each other out. The three work with the consent of the desperate Time Lords and summon all of the Doctor's other past incarnations – as well as – to successfully execute this plan. The three Doctors and Clara return to the Gallery, unsure whether it is possible to return Gallifrey from stasis. The War Doctor is content to think that he failed in doing the right thing, rather than succeeding in doing the wrong thing. He realises that neither he nor the Tenth Doctor will remember what happened, and will continue shouldering the guilt for centuries. After departing, the aged War Doctor finds himself beginning to within his TARDIS. The Tenth Doctor also leaves, having persuaded his successor to tell him about his impending death on the planet . The Eleventh Doctor, now alone in the Gallery, is joined by its mysterious curator, who appears to resemble an aged version of the. The Curator enigmatically suggests that he might be a future incarnation of the Doctor, as well as commenting that the painting's actual name is neither No More nor Gallifrey Falls, but Gallifrey Falls No More. The Doctor surmises that his plan to save Gallifrey was successful. In closing, the Doctor describes a recurring dream, in which he and his eleven previous incarnations are looking together upon Gallifrey. The Doctor vows to find and restore Gallifrey. Continuity As the show's 50th anniversary special, the episode contains multiple references to previous episodes. It opens with the title sequence and theme arrangement used at the series' debut in 1963. Echoing the opening of the very first story, , a policeman is shown walking past the sign for I.M. Foreman, the scrap merchant in whose yard the TARDIS was located, and its first few seconds are in monochrome (as had been the case in , the last time more than one Doctor had featured in an official story)., where the Doctor's granddaughter went when they were on Earth in 1963, also featured in both the original story and the 1988 serial . According to the school sign, the chairman of the school governors is now , formerly one of the First Doctor's original three companions and a science teacher at the school, and the headmaster is W. Coburn, a reference to and ,[] who respectively directed and wrote An Unearthly Child. Clara rides out of Coal Hill School on the Eleventh Doctor's anti-gravity motorcycle from "" at 5:16, the time An Unearthly Child originally aired on television (the first broadcast began 1 minute 20 seconds after its scheduled time of 5:15 on 23 November 1963.). The same date and time were also reflected in the activation code of the vortex manipulator, 1716231163 (signifying 17:16 23/11/1963). When the TARDIS is picked up by , the call sign used by the helicopter to refer to UNIT is 'Greyhound leader', reflecting that of,[] whose daughter Kate is now portrayed as having his role as commander of UNIT. Lethbridge-Stewart was a central character in the 's era and also several of his successors', originally appearing in the serial and making his last appearance in Doctor Who in serial , which is also referenced. An image of the Brigadier is seen alongside images of various companions of the Doctor. Kate's assistant, Osgood, is also a name from that era (UNIT technician Osgood from ) and her scarf is very similar to that worn by the Fourth Doctor; the Eleventh Doctor remarks that it is a "nice scarf". Osgood also uses it to trip up her Zygon duplicate who was standing on it, a nod to the Fourth Doctor's actions against a thug in his first story Robot. Kate Stewart twice mentions her subordinate, Malcolm, presumably the same UNIT scientist named Malcolm played by in "".[] The controversy, regarding whether the era stories took place in the 1970s or 1980s, is referenced in dialogue by Kate Stewart, when she mentions that events occurred in "the '70s or '80s depending on the dating protocol used". The Tenth Doctor's era is also heavily referenced, elaborating on his marriage to Queen Elizabeth I originally mentioned in his final story, and first referred to in "". It is implied that he deserted her shortly after the wedding as part of his (fruitless) attempt to flee his impending death, hence her fury at him when she finds him at the Globe Theatre;[]at that time he had no idea why she was so angry, since the events of "The Shakespeare Code" occur much earlier than those of "The Day of the Doctor". The Tenth Doctor's speech to a rabbit whom he believes to be a Zygon is partially taken from the Christmas special, "". The Tenth Doctor mentioned the Fall of Arcadia in "". When he leaves after learning of Trenzalore, the Tenth Doctor remarks, "I don't want to go...", his incarnation's final words from The End of Time; the Eleventh Doctor tells Clara that "he always says that" after his TARDIS leaves. The Eleventh Doctor's fixation with – a linking item in this story – begins in "" and reappears in "", "", and "". The Moment device was originally mentioned in The End of Time, but had not been explored in depth. Here, it takes the form of "", a seemingly omnipotent being and personalisation of the itself, which manifested in when she absorbed the Time Vortex in the finale, "". Other references come heavily from the previous multi-Doctor anniversary stories, The Three Doctors and The Five Doctors. The Eleventh Doctor's dismissal of the Tenth Doctor and War Doctor as "the sandshoes and grandad" to mock their respective trainers and age echo the First Doctor's description of his two successors in The Three Doctors as "a dandy and a clown"[]. Likewise, a Time Lord says, "I didn't know when I was well-off! All twelve of them!" which recalls the Brigadier's line from The Three Doctors: "Three of them, eh? I didn't know when I was well off." More of the Brigadier's dialogue from the latter serial is referenced when Kate asks for an incident report code-named "Cromer"; in the earlier story, upon being transported to another universe, the Brigadier initially believes himself to be near the coastal Norfolk town. A line from the First Doctor, this time from The Five Doctors, is also referenced near the end as the Tenth Doctor tells the Eleventh, "It's good to know my future is in safe hands" (which the First told the Fifth in the earlier story, appended by "after all"). In trying to compensate for the presence of three Doctors who utilise different console rooms, the Tenth Doctor's TARDIS console briefly changes to the War Doctor's console room, seen again later in the episode, before settling on the Eleventh's; according to the script, the fact that all three are together has knocked their time streams out of sync and the TARDIS is reacting to that.[] The Tenth Doctor comments upon the Eleventh Doctor's TARDIS console, "Oh you've redecorated! I don't like it", a line originally used by the speaking to the Third in and later reused by the Second and Eleventh Doctors respectively in and "". There were plenty of other script references to both the recent and classic history of the programme. When the Tenth and Eleventh Doctors aim their at troops in 1560, the War Doctor asks if they plan to "...assemble a cabinet at them?", a line used by when the Eleventh Doctor points his screwdriver at in a fight scene of "". The white roundels in the wall of the War Doctor's TARDIS were featured in the classic series' original TARDIS console rooms from 1963 to 1989 before being removed for the more elaborate TARDIS console used by the Seventh and Eighth Doctors in the TV movie. Seeing the white roundels, both the Tenth and Eleventh Doctor are pleased, but are uncertain as to what they are for. The final scene in the Gallery, containing 's as the curator, somewhat, as he enigmatically talks to the watching audience and Eleventh Doctor in a short upon the Doctor's past and future activities, ultimately (in the context of the episode) deterring questions about his apparent knowledge with the comment, '"Who" Knows?'. Cast as the . as the . Excluding flashbacks and archived footage, Tennant had not appeared in Doctor Who since his final regular appearance as the Doctor in the concluding scenes of , broadcast on 1 January 2010. as companion . The special was the first time the actress was credited on the show simply as Jenna Coleman, dropping the Louise part of her name seen in previous episodes. as the Moment Interface, a Gallifreyan super weapon. While credited as , Billie Piper was instead portraying the projection of the Moment's user interface which had taken the form of the Doctor's then-future companion.[] Piper has not portrayed Rose as a series regular since "", although she reprised her role in various episodes of the fourth series and appeared briefly in The End of Time. as the , the Doctor's warrior-like forgotten incarnation. The War Doctor came between the and Doctors, and renounced the title of Doctor. as 's daughter Kate Stewart, who previously appeared in "", having been originated by actress Beverley Cressman in the direct-to-video spin-offs, and . as . Page is the third actress to portray Elizabeth I on Doctor Who, following Vivienne Bennet () and (""). as Osgood. Throughout the special, Osgood is seen wearing a copy of the 's iconic scarf. as Androgar, a . as the General of Gallifrey. Jonjo O'Neill as McGilliop. Aidan Cook and as the . as the voice of the and the Zygons. and as Daleks.[] as the Curator, a mysterious character who informs the Eleventh Doctor of Gallifrey's survival at the end of the episode. His resemblance to the is alluded to, but left unexplained. , , , Tom Baker, , , , and all appear in the special as their respective Doctors, through the use of archive footage and voice doubles. All are credited as "the Doctor" alongside Smith, Tennant and Hurt in the episode's closing credits. John Guilor provided voice acting for the First Doctor, though he was credited as "Voice Over Artist". makes an uncredited cameo appearance as the , prior to taking over the lead role from Smith in the 2013 Christmas Special, titled "". Casting Both David Tennant and Billie Piper returned to appear in the 50th anniversary special On 30 March 2013, a distribution error occurred, and many subscribers to received the issue five days before the official release date. The issue of the magazine included the official announcement that and , who previously played the and in Doctor Who respectively, were lined up to appear in the special, along with actor . Moffat did not want to bring Rose the character back because he felt her story was wrapped up and did not feel comfortable adding to Davies' arc. However, he liked the concept of bringing back her Bad Wolf persona and felt that Piper needed to be in the special as she symbolised the rebirth of Doctor Who. John Hurt did not actually audition for the part, but had been asked by the production team and "said yes with remarkable speed".His costume was meant to signify that he was "rougher, tougher", and had been around for a while; the audience had missed a lot. Hurt's request to keep his beard adds to this effect, and makes him the first bearded Doctor. discussed plans for the anniversary episode with Moffat, but eventually declined to return as the ., who played the , claimed that none of the surviving actors who portrayed the Doctor prior to Eccleston were contacted regarding the special. confirmed this while being interviewed on Australian television alongside McCoy and . However, McGann went on to say that he could still be in the 50th but at the last moment. reported rumours that a Doctor from the classic era would feature in the special, citing unknown sources. and, who played Tenth Doctor companions and , respectively, both stated they would not be in the 50th, but may return to the show at some point. Barrowman stated that he would have liked to be in it, but speculated that the producers wanted to try some different things. Production Publicity Steven Moffat previously stated, "Most things that have been said about the 50th are not true... Normally I am responsible for the disinformation and the rubbish rumors—I usually put them out myself, but I haven't needed to for this one." On the importance of the episode, Moffat has stated that it will "change the narrative" of Doctor Who. "", an additional 7-minute special, was released on 14 November 2013, and featured the ()'s regeneration into the (). Another 4 minute special, entitled "", was released on 20 November 2013 and saw the start of the Fall of Arcadia. On 4 November 2013, the BBC released the official synopsis: "The Doctors embark on their greatest adventure in this 50th anniversary special. In 2013, something terrible is awakening in London's National Gallery; in 1562, a murderous plot is afoot in Elizabethan England; and somewhere in space an ancient battle reaches its devastating conclusion. All of reality is at stake as the Doctor's own dangerous past comes back to haunt him." On 22 November 2013, stated on "I can say something about my character; it's not Rose as we know her" to about the episode.[] Writing "The Day of the Doctor" was written by , current head writer of Doctor Who, and produced by Faith Penhale in , with directing. Moffat began writing the script for "The Day of the Doctor" in late 2012, announcing that, as a security precaution, he had not produced any copies, instead keeping it on his computer "under lock and key" until it was needed. Moffat had often thought about featuring a "mayfly Doctor" who appears for a single episode, asking, "Would it be weird in the run of the series to have the 45th Doctor turn up and be played by or someone? Would that be a cool thing to do?" He also indicated that the "classic Doctor" he would most like to feature in a new story was 's , stating, "You'd want him to come and say 'What in the name of God have I turned into?' That's the confrontation that you most want to see, to celebrate 50 years. Going round and round in circles on it I just thought, 'What about a Doctor that he never talks about?' And what if it is a Doctor who's done something terrible, who's much deadlier and more serious, who represents that thing that is the undertow in both David and Matt. You know there's a terrible old man inside them. Well, here he is, facing the children he becomes, as it were." Knowing that Matt Smith was planning to leave, Moffat wrote the special specifically with the brief appearance of the during the sequence of all of the Doctors uniting to save Gallifrey, prior to casting anyone in the role. Moffat later stated of the 50th episode, that it was his "plan from the start" that all the Doctors would fly in to save Gallifrey, and he knew there would be a new one at that time. He wrote it before knowing who would be cast. Typically, Doctor Who's anniversary stories are named after the number of returning Doctors, as with and . Moffat explained his choice of title to SFX magazine, commenting that "... it's very rare in Doctor Who that the story happens to the Doctor. It happens to people around him, and he helps out – he's the hero figure who rides in and saves everybody from the story of the week. He is not the story of the week. In this, he is the story of the week. This is the day of the Doctor. This is his most important day. His most important moment. This is the one he'll remember, whereas I often think the Doctor wanders back to his TARDIS and forgets all about it." Filming Because "The Day of the Doctor" was filmed in 3D, the episode took longer than usual to shoot, especially as every shot had to be done twice. Filming began on 2 April 2013 in , . On 9 April 2013 scenes were filmed for the special in , . On 17 April 2013 , , and filmed scenes in ,, , and some scenes were shot in . On 2 May 2013, scenes in were being filmed for scenes that take place at Totter's Lane and Coal Hill school, locations which had previously featured in the first 1963 serial , the 1985 serial , and the 1988 serial . Filming for the special was completed on Sunday 5 May 2013. From 4–5 May 2013, Paul McGann returned to Doctor Who alongside John Hurt's War Doctor, to record "The Night of the Doctor". Marketing Trailers The first trailer for the special was shown to attendees of in July 2013. The BBC's decision not to release the trailer online to international fans was met with controversy. On 26 July, the BBC responded to criticisms by saying the trailer was intended to be exclusive to Comic-Con attendees and that content for all other audiences would be forthcoming at a later date.The trailer was also screened at The Edinburgh International Television Festival, at the end of Charlotte Moore's "Meet The Controller" session.[] On 28 September, the BBC revealed that the trailer for the special had been specifically shot and was currently in post-production. On 19 October 2013, a specially-made teaser trailer, directed by Matt Losasso, was shown on BBC One, and was then subsequently posted online. It contained icons from the history of the show and had a monologue by Matt Smith, as well as body doubles and to create shots of previous Doctors. A clip from "The Day of the Doctor" was shown at the BBC's show on Friday 15 November. The official trailer for the episode aired in the United Kingdom at 8 pm GMT on 9 November. Due to the leak of a trailer earlier on 9 November on BBC Latin America's Facebook page, the BBC officially released it ahead of schedule. A second official trailer was shortly released later. Furthermore, before the release of the main trailers, a short clip previewed the Eleventh Doctor and Clara examining a seemingly impossible painting. On 10 November 2013, a short clip of the Eleventh Doctor announcing "The clock is ticking" interrupted a BBC One ident. This was followed on Monday 11 November by another ident interruption, with the Eleventh Doctor stating "It's all been leading to this..." Viral marketing On 28 September, the BBC unveiled a (#SaveTheDay) and an that was used to promote the special.Respectively, the hashtag and the ident were shown before and after the premiere of on BBC One. The hashtag was used to reveal all subsequent promotional material. On 7 November 2013, a video starring Smith in character as the Doctor was released promoting the hashtag, promising exclusive content. A website was launched to reveal the content. Broadcast Countries that screened "The Day of the Doctor" simultaneously. Countries that screened on TV. Countries that screened in cinemas. Countries that screened both on TV and in cinemas. The BBC broadcast the episode in 94 countries simultaneously, in order to avoid plot leaks. It earned a for the world's largest ever simulcast of a TV drama. The rated the episode PG for mild violence and threat. The also rated the episode PG for "mild science fiction themes and violence", noting there was "very mild impact" with regards to sexual themes. The episode broadcast at 7:50pm in the UK, and was preceded and followed by other Doctor Who related programmes and broadcasts, including broadcast of an after-party. Canadian rated "The Day of the Doctor" PG in , G in and G in. Broadcasters The following is a list of some broadcasters that aired "The Day of the Doctor" on 23 or 24 November 2013, depending on time zones. CountryChannel and (television) and Hoyts (cinema) (television), and (cinema) Haydn and (cinema) BBC Entertainment and BBC HD BBC Entertainment and BBC HD (television)Movie Center (cinema) BBC Entertainment BBC Entertainment and BBC HD (television)Cinemark (cinema) (television) (television) (cinema) Cinemaxx (cinema) ( and Yle HD) (television)Cinemaxx, Cine Star and UCI (cinema) (television) (cinema) Bíóparadís (cinema) (not simultaneous, 20 minute delay and commercial breaks) Kinopark and Chaplin Cinema (cinema) BBC One (not simultaneous, 10 minute delay) (cinema) Fredrikstad Kino, Kristiansand Kino, Trondheim Kino,Volda Filmteater, Ringen Oslo Kino and Bergen Kino (cinema) and NST (television)CoolConnections (cinema) BBC Entertainment Asia Cinesa (cinema) Bio Roy and Tumbascenen Bio (cinema) BBC One Kronverk Cinema (cinema) BBC One, and BBC 3D (television), and (cinemas), as well as independent cinemas around the UK. (television), , Cinemark and (cinema) Home media "The Day of the Doctor" is planned to be released on DVD and 3D Blu-ray on 2 December 2013 in the UK. It will be released on 4 December 2013 in Australia and 10 December 2013 in North America. Reception "The Day of the Doctor" received instant positive reactions. Ben Lawrence of gave the special five stars, calling it "charming, eccentric and very, very British." 's Simon Brew praised the special, calling it "terrific", and stating that it was "pulsating with comedy, ambition, and top to bottom entertainment." Jon Cooper of gave the episode five stars, stating that it "not only gives hardcore fans a beautiful reinvention of their favourite show but also gives casual viewers a stonking story and a reminder why we all love this show so much." Jim Shelley of called the episode "a clever, chaotic, infuriating combination of nifty, knowing tiny detail and big, hollow, pompous bluster." However, he disliked the effects, accusing the BBC on pandering to the American audience, as well as disliking the Zygons, deeming them not "scary enough," and naming Matt Smith and David Tennant "irritating." 's Chris Taylor stated that the episode is "one designed to please fans and newcomers alike," and that it "shows why the Doctor is finding his way into ever more homes and hearts." 's Viv Grospok criticised various elements of the episode, though concluded that "it was all worth it." Social analytics website SecondSync revealed that Doctor Who generated almost 500,000 "tweets" on during its broadcast, with the peak number of tweets occurring at the beginning of the broadcast, at 12,939 tweets per minute. Overnight figures revealed that the episode had a total of 10.18 million viewers for the live broadcast in the United Kingdom, while the box office takings for its cinema screenings totalled £1.7m (US$2.2m), which placed it at number three in the UK film chart for the week, behind and . The live simulcast on , at 2.50pm /11.50am , had a total audience of 2.4m viewers, with a further 1.2m watching the later repeat, the largest audience in the channel's history. The cinema screenings, on a total of 660 screens nationwide, took a total of US$4.8m (approx £3m) at the box office, placing it at number 2 in the US chart. The special had a total of 1.95m viewers for its two broadcasts in Australia, with 590,000 watching the live broadcast on at 6.50am /3.50am AWST, and another 1.36m watching the repeat at 7.30pm, while the cinema box office takings totalled AU$1.54m, putting it at number three in the Australian film chart. A total of 1.7m viewers watched the two broadcasts on Canadian channel , making it the most watched entertainment programme in Canada on the day, with the 1.1m watching the live broadcast at 2.50pm being the channel's largest ever audience. Worldwide, cinema screenings brought $10.2 million at the box office. See also , a parody tie-in to this episode. Notes References ^ Sources that refer to John Guilor's role as the voice of the in the special include: Southall, J. R. (25 November 2013). . . Retrieved 28 November 2013. Kistler, Alan (26 November 2013). . . Retrieved 28 November 2013. ^ . Bbfc.co.uk. 2013-10-25. Retrieved 2013-10-30. Radio Times Staff (10 September 2013). . RadioTimes. Retrieved 10 September 2013. (10 September 2013). . . Archived from on 10 September 2013. Retrieved 10 September 2013. Mellor, Louisa (10 September 2013). . . Retrieved 10 September 2013. ^ . BBC News Entertainment & arts (: BBC). 11 February 2013. ^ . Media Centre. BBC. 13 March 2013. Retrieved 14 March 2013. . Radio Times. 30 November 2012. .BBC News. 30 March 2013. Retrieved 30 March 2013. ^ . Digital Spy. 26 July 2013. Retrieved 26 July 2013. ^ . website. 24 November 2013. Retrieved 24 November 2013. . This Week. 12 February 2013. Retrieved 2 April 2013. .. . 2 August 2013. Retrieved 2 August 2013. ^ . BBC. 30 March 2013. Retrieved 30 March 2013. ^ . . 8 April 2013. Retrieved 9 April 2013. (22 July 2013). . . Retrieved 22 July 2013. . BBC. 2 April 2013. Retrieved 2 April 2013. Howe, Stammers, Walker (1994), p. 54 . BBC. 16 August 2012. Jones, Paul (20 June 2013). . Radio Times. Retrieved 20 June 2013. Tobin, Christian (1 April 2013). . Digital Spy. Retrieved 2 April 2013. ^ Leigh, Rob (3 April 2013). . Retrieved 3 April 2013. . RTÃ. 16 April 2013. Retrieved 20 April 2013. .DoctorWhoTV.com. 30 September 2013. Retrieved 30 September 2013. Jeffery, Morgan (9 April 2013). . Retrieved 9 April 2013. . BBC.co.uk. 16 November 2013. Retrieved 16 November 2013. . Doctor Who TV. 28 March 2013. Retrieved 5 April 2013. ^ .bbc.co.uk/news. BBC News. 23 November 2013. Retrieved 23 November 2013. ^ . radiotimes.com. . 23 November 2013. Retrieved 23 November 2013. Wicks, Kevin (24 November 2013). . . Retrieved 25 November 2013. ^ Setchfield, Nick (7 November 2013). . . Retrieved 10 November 2013. Jeffery, Morgan (5 April 2013). . Digital Spy. Retrieved 5 April 2013. Jeffery, Morgan (4 April 2013). . Digital Spy. Retrieved 22 April 2013. Cole, Tom (10 April 2013). . Radio Times. Retrieved 22 April 2013. Harp, Justin (12 April 2013). . Digital Spy. Retrieved 23 April 2013. Dowell, Ben (22 July 2013). . Radio Times. Retrieved 24 September 2013. Harp, Justin (4 March 2013). . Digital Spy. Retrieved 23 April 2013. ^ Curtis, Beth (22 April 2013). . Digital Spy. Retrieved 23 April 2013. (13 May 2013). . . Retrieved 13 May 2013. . The Mirror. The Mirror. 31 October 2013. Retrieved 3 November 2013. . BBFC. Retrieved 3 November 2013. . BBFC. Retrieved 2 November 2013. . BBFC. Retrieved 4 November 2013. Tarley, Rachel (7 December 2013). . Metro.co.uk. Retrieved 5 April 2013. Brown, David (18 March 2013). . . Retrieved 19 October 2013. Setchfield, Nick (14 October 2013). . . Retrieved 19 October 2013. Jeffrey, Morgan (25 November 2013). . . Retrieved 25 November 2013. SFX magazine, issue 241 (October 2013). Jeffery, Morgan (21 February 2013). .. Retrieved 19 October 2013. Dex, Robert (9 April 2013). . The Independent. Retrieved 22 April 2013. Fitzmaurice, Sarah (18 April 2013). . Daily Mail. Retrieved 22 April 2013. Kelly, Stephen (3 May 2013). . RadioTimes. Retrieved 6 May 2013. . Cultbox. Retrieved 6 May 2013. Anders, Charlie Jane (21 July 2013). . io9. Retrieved 26 July 2013. Kelly, Stephen (22 July 2013). . RadioTimes. Retrieved 26 July 2013. Jefferies, Mark (23 July 2013). . RadioTimes. Retrieved 26 July 2013. Fletcher, Alex (22 July 2013). . DigitalSpy. Retrieved 26 July 2013. . BBC. 26 July 2013. .. 28 September 2013. Retrieved 29 September 2013. Dowell, Ben (19 October 2013). . . Retrieved 19 October 2013. . . Doctor Who TV. Retrieved 2013-11-02. digitaljournal.com. Retrieved 28 November 2013. . BBC on . 10 November 2013. Retrieved 10 November 2013. . BBC on . 11 November 2013. Retrieved 11 November 2013. Brew, Simon (28 September 2013). . Dennis Publishing Limited. Retrieved 29 September 2013. . BBC. 7 November 2013. Retrieved 8 November 2013. . BBC News. 24 November 2013. Retrieved 24 November 2013. . . Retrieved 2 October 2013. (1 November 2013). . . Retrieved 22 November 2013. . Official Doctor Who Twitter. 8 November 2013. Retrieved 10 November 2013. . . Retrieved 2013-11-22. . . Retrieved 2013-11-22. .. Retrieved 2013-11-22. . . Retrieved 2013-11-02. . The Register. 2013-10-24. Retrieved 2013-10-26. . Omniplex Cinemas. Retrieved 26 November 2013. Delgado, Jesús. . hobbyconsolas (in Spanish). Retrieved 31 October 2013. on site of Kronverk Cinema (ukr.) . BBC Shop. Retrieved 19 October 2013. . BBC Shop. Retrieved 19 October 2013. . TVShowsOnDVD.com. Retrieved 24 September 2013. Lawrence, Ben (23 November 2013). . . Retrieved 24 November 2013. Brew, Simon (23 November 2013). . . Retrieved 24 November 2013. Cooper, Jon (23 November 2013). . Retrieved 24 November 2013. Shelley, Jim (23 November 2013). . . Retrieved 24 November 2013. Taylor, Chris (23 November 2013). . . Retrieved 24 November 2013. Grospok, Viv (23 November 2013). . . Retrieved 24 November 2013. SecondSync (23 November 2013). . . Retrieved 24 November 2013. Marcus (24 November 2013). . Doctor Who News. Retrieved 24 November 2013. Golder, Dave (24 November 2013). . . Retrieved 25 November 2013. Weight, Anthony (26 November 2013). . Doctor Who News. Retrieved 26 November 2013. . Doctor Who News. 26 November 2013. Retrieved 28 November 2013. .Doctor Who News. 27 November 2013. Retrieved 28 November 2013. . Doctor Who News. 25 November 2013. Retrieved 26 November 2013. Foster, Chuck (26 November 2013). . Doctor Who News. Retrieved 26 November 2013. .. Retrieved 27 November 2013. . Doctor Who News. 25 November 2013. Retrieved 26 November 2013. Cunningham, Todd (27 November 2013). . . Retrieved 28 November 2013. External links Wikiquote has a collection of quotations related to: at the at at the
Andrew Knight, chairman of Times Newspapers, on this week's split of NewsCorp into separate entertainment and publishing arms; Henry Porter of The Observer and Stephen Glover of The Mail discuss whether rival news media under-reported the Guardian's spying scoops; Lisa Campbell, editor of Broadcast, on Charlotte Moore who today takes over at BBC1.Presenter: Steve Hewlett Producer: Simon Tillotson Editor: Andy Smith.
Tennessee Williams, perhaps best-known for his plays "Streetcar Named Desire," "The Glass Menagerie," and "Cat on a Hot Tin Roof," is the author of a "massive body of work," in the words of N.Y.U. drama professor Joe E. Jeffreys. On the occasion of the centennial of Williams' birth—the playwright was born March 26, 1911—Jeffreys hosted the first of a three-part series at Manhattan's Museum of Arts and Design entitled The Kindness of Strangeness. (Williams fans will recognize the title of the panel from an achingly memorable line delivered by Blanche DuBois in the playwright's "Streetcar Named Desire.") The memory-strewn afternoon included words from Williams' agent Mitch Douglas together with Williams' friends David Schweizer and Jeremiah Newton. Later in the day, the actress Charlotte Moore, who worked closely with Williams, also spoke. The author of 30 full-length plays, 70 one acts, as well as short stories, poetry, occasional pieces and novels, Tennessee Williams is a giant among American writers, and is equally celebrated for his complex, theatrical personality, including his wild cackle and large appetite. Agent Mitch Douglas called the playwright's work "really a roller-coaster ride." To hear the afternoon conversation, in which Douglas recalls Williams at the White House, Newton examines the writer's work with mutual friend Candy Darling and Schweizer gets found on a Key West beach (only to wind up at a grand Tennessee Williams party), click on the audio above. Bon Mots: David Schweizer on attending Williams' party in Florida: "I put on a suitable outfit from 1971."Joe Jeffreys responds: "What would have been a suitable outfit for a party at T.W.'s house in 1971?"David Schweizer: "Uh, kind of see-through lace."Joe Jeffreys: "There you go, that's what I was thinking." Mitch Douglas on Williams' appetite: "I.C.M. (International Creative Management) was owned and run by a gentleman by the name of Marvin Josephson and one day I had a call from Marvin saying 'I've had a rather distraught phone call from Tennessee and I want to ask you a question: What's he on?' and I said, 'Everything but roller skates.'" Jeremiah Newton on Williams' anger at disruptions in the theater: "He clutched a curtain and flung it back and went away, finally. I thought that was very brave of him, but not wise." Mitch Douglas on Williams' disrupting his own one-act play "Kirche, Kŭche und Kinder" in the theater: "I've had audience members ask him to shut up. I remember "Kirche, Kŭche und Kinder," he cackled through "Kirche, Kŭche und Kinder," and I remember some audience member turning around and saying 'Will you please quit laughing like that at Mr. Williams' work? He's a very important playwright.'" The Kindness of Strangeness was funded by the New York Council for the Humanities and took place this past January.
The Artistic Directors of four off-Broadway not-for-profit theatre companies -- Douglas Aibel of Vineyard Theatre, Charlotte Moore of Irish Repertory Theatre, Tim Sanford of Playwrights Horizons and Jim Simpson of The Flea Theater -- share their thoughts about attracting audiences to their shows, the cost of keeping their theaters going, the challenges they face competing with commercial productions, how they choose the works performed on their stages and what they hope to accomplish for their companies in the next several years.
Get the most of any business trip to Geneva with Charlotte Moore's audio guide.
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