Podcast appearances and mentions of Patrick Marber

Episode 096: Dealer's Choice by Patrick Marber Host: Douglas Schatz Guest: Patrick Marber Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. A poker game in the basement of a London restaurant is the setting for six men to play out their dreams and disappointments in Patrick Marber's first play, Dealer's Choice. The play premiered at the National Theatre in 1995, and thirty years on a cracking new production is on stage at the Donmar Warehouse in London. I'm delighted to be joined by its director, Matthew Dunster, to explore Marber's perceptive portrait of male conflict and compulsion.

Join Gaius and Jackson in the return of the Deep Dive spinoff as we also celebrate the 20th anniversary of the critically acclaimed film "Closer." Dive deep into the intricate relationships and raw emotions that define this intense drama, exploring the brilliant direction of Mike Nichols and the powerful script by Patrick Marber. We'll dissect the stellar performances of Julia Roberts, Jude Law, Natalie Portman, and Clive Owen, examining how their portrayals brought the complex characters to life. From the film's unforgettable moments to its themes of love, deceit, and intimacy, we'll give you an insider's perspective on what makes "Closer" a timeless piece of cinema.Where To Watch Closer

Villalobos, Simián y Valdivia se vuelven a juntar por vía remota para discutir Closer, la penúltima película de Mike Nichols, basada en una famosa obra teatral de Patrick Marber. En el medio: pelambres, confesiones y desvíos varios. 

Joe & Adam take a long hard look at the film Closer, based on the play of the same name, by Patrick Marber.  Released in 2004, the MYFYF duo ponder if it translates to screen, the brutal language of love, and the Julia Roberts of it all - is she just too damn powerful to be believable? They keep singing that Damien Rice song too. Content warning: the film is bracingly frank with its use of rude language, and it gets quoted. A lot.  Send us an email at moviesyouforgotyouforgot@gmail.com with any cinematic thoughts you have, along with suggestions for future episodes. There is a ‘communal list' of films people forgot they forgot - add one to the tally. Follow Adam on Letterboxd, it's fun over there. He might follow back - depends on your numbers and if you review the films you log.

We're bringing you another of our Soundtracking Everyman Film Club's today, recorded in front of an audience at Everyman King's Cross. The guests on this occasion are Sir Ian McKellen and Anand Tucker, star and director of Patrick Marber's The Critic. Based on a novel by Anthony Quinn, The Critic tells the story of a powerful theatre critic in 1930s London who gets embroiled in a tangled web of deceit and murder.

John Pirruccello Returns Again!Take a walk with me down Fascination Street as I get to know even more about John Pirruccello. In John's 3rd appearance on the show, we discuss The Mandela Effect; and some of the instances where it haunts John. Then we talk about the British playwright Patrick Marber, and some of his projects. John will be working with Partrick soon, and I pepper him with questions about it. Naturally, we talk about some of John's previous projects like: She Hulk & Twin Peaks, and john shares some behind the scenes stories involving David Lynch & David Mamet. We chat about Comicon and his experience there, and then I ask John questions about his life, some of his past experiences, and people from his past. He shares a story of trying to get in the movie The Godfather 3, and the time he spent with Father Guido Sarducci. Then we jump into some of his upcoming work. Season 3 of The Lincoln Lawyer comes out this week! John plays a prosecutor in most of the new season. He talks about playing ping pong on the set with the lead actor from the show, We do talk a bit about John's time on Mayans MC, and what a fun show that was to work on. Finally, we discuss John's role in The Sex Lives of College Girls, and his upcoming debut on The Simpsons! John and I close out the show talking about The Olympics, and the break dancing kerfuffle. 

The release of The Critic, a new film starring Ian McKellen and written by Patrick Marber prompts Sarah and Alex to discuss McKellen's passion for theatre, the fortitude of his generation of actors - and the changing face of critics. Are they really this nasty? Hosted on Acast. See acast.com/privacy for more information.

This week sees the release of the much anticipated Dune part 2, the sequel to 2021's part 1, a series based on Frank Herbert's 1960's sci fi classic. We also look at Marius von Mayenburg's play Nachtland directed by Patrick Marber at the Young Vic in London and Angelica Kauffman: the Swiss artist finally gets a solo exhibition at the Royal Academy of Arts, more than 250 years after she was one of its founding members. Seán Williams and Sam Marlowe review.Plus, the 'unofficial poet Laureate of Twitter' Brian Bilston has broken some of his anonymity to go on the road with Henry Normal. To mark 29 February, Bilston reads An Extra Day from his collection Days Like These.Presenter: Tom Sutcliffe Producer: Ciaran Bermingham

Ciggies, doggy, fire...smoking jacket. He's changed his mind. It's Patrick Marber aka Peter O'Hanraha-Hanrahan! Want the episodes ad free AND extra content from Kathy? 6 Feet Under steps away from fantasy and rifles through your real funeral tales. Head to wheretheresawilltheresawake.com to subscribe. AND If you've got a story for us, send it over to kathy@deathpodcast.com. A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jack & Rob are back in the Clubhouse as the local Amateur Dramatic Society are preparing for their Dress Rehearsal next door. It inspires a discussion about the best sporting plays and the unusual skills Rob & Jack have picked up in their careers.Highlights include Edinburgh Festival memories, their respective horse riding prowess and Owl sounds. They discuss Patrick Marber's ‘Red Lion', Bryony Lavery's ‘Beautiful Burnout', John Godber's ‘Up ‘n' Under', ‘Dear England' - which transfers to the West End this month and Rob's failed courting of playwright James Graham.Share your best sporting play experiences, follow us and keep in touch on TikTok, Instagram, Threads and Twitter @StageDoorAthleticHosts: Jack Loxton & Rob Shaw CameronProducer: James CourtEdited by: Rob Shaw CameronDesign by: Charlie Finn@jackloxton1 @robshawcameron@thecourtofjames @finn__studio© Robert Shaw Cameron, Jack Loxton and James Court Hosted on Acast. See acast.com/privacy for more information.

[TW//Postnatal Depression, Suicidal Thoughts] 80% of mothers experience "baby blues" but 10% have a dramatic increase in symptoms that lasts beyond the usual 1-3 weeks and can develop into postnatal depression. These symptoms were horrific for my next guest, actor Carryl Thomas, who experienced suicidal thoughts and a breakdown. She found the strength to ask for help and is now a hugely positive voice on helping other parents with baby blues, postnatal depression and finding a sense of the individual self as well as being a parent. Carryl is also mother to successful young performers and she discusses how to manage other parents and children pressures and expectations in an exciting and challenging acting industry. Carryl is an English actress who grew up in South London. Carryl studied Musical Theatre at Mountview and enjoyed a few years in West End Musicals performing in Olivier Award winning shows, such as, My Fair Lady (directed by Sir Trevor Nunn) and Our House (directed by Matthew Warchus) and then made a smooth transition into Television joining Channel 5's original soap Family Affairs as troubled teen Kelly Boulter for 3 years, where she received British Soap and Screen Nation Award Nominations. Carryl subsequently joined the cast of The Sarah Jane Adventures and made a guest appearances in Holby City. Carryl created the role of Keisha in the world Premiere Flashdance directed by Tony Award-winning director Kenny Leon and choreographed by Arlene Phillips. Other work includes filming a new crime series from the producers of CSI and Law and Order, Silent Witness, Emmerdale and Royal Variety performances. As a busy Mother of 4 boys, Carryl continues working as an actress and combines acting with running the Foundation course at Mountview. Carryl's sons seem to be following closely in her footsteps. Her eldest son made his acting debut at the National Theatre in Patrick Marber's adaptation of Three Days in the Country, her second son Oscar made his acting debut in Bridgerton for Netflix, her third son Eiden-River made his debut in Silent Witness for BBC 1 and her youngest, Lake is only 4 but is surrounded by the arts and it won't be long before he decide to join in or indeed run for the hills! Topics 0:00 Intro 3:05 Carryl's rock bottom 6:17 Baby blues vs postnatal depression 13:35 Depression vs PND 31:00 Why did Carryl have suicidal thoughts? 32:43 How did Carryl start to get better? 36:45 The individual self vs being a parent 41:22 Being a performer vs being a parent 46:13 Advice for parents who have children in the industry 51:33 How do you maintain good mental health? 54:00 Working at Mountview 56:05 Advice for anyone connected to PND who is suffering If you've been affected by any of the issues discussed on today's episode Carryl recommends visiting: https://www.nhs.uk/mental-health/conditions/post-natal-depression/overview/ This Podcast is not for profit but my goal is to break even. To help me make more please donate here. Thank you! https://bit.ly/3kSucAs Follow Carryl Instagram - https://instagram.com/carrylthomas Follow Oliver Instagram - https://bit.ly/3IemHLY Twitter - http://bit.ly/3GQYj2l Facebook - http://bit.ly/3w8S1Gx LinkedIn - http://bit.ly/3kp4ymC TikTok - https://bit.ly/3YGLsYm Listen or watch on:  YouTube - https://bit.ly/3YrPEff Spotify - https://bit.ly/446C0zt Apple - https://apple.co/41IrJt4 or search 'School of Rock Bottom' where you listen to your podcasts. https://bit.ly/3YrPEff

In this episode we get up close to the brilliant cast and director of a New Wolsey Theatre stage production of 'The Red Lion', written by Patrick Marber We explore deep into the story of 'The Red Lion', the characters and their relationship with one another,  and the intense dynamism that's building between them on stage.  As professional actors they also talk about preparation for these roles, their feelings about their characters and how, as a team, they are building an electrifying performance.Cast:Olatunji Ayofe  Crispin LettsAlastair Natkiel Director:Douglas Rintoul 'The Red Lion' runs at The New Wolsey Theatre from 7 - 23 Sep 2023 - BOOK HEREand at Queens Theatre Hornchurch from 26 -30 Sep - BOOK HEREThank you for listening to the New Wolsey Theatre Podcast.You're all welcome to get involved and if you'd like to be a guest or like to ask a question to the theatre team, please just get in touch.Email: jparker@wolseytheatre.co.uk (Podcast host and Marketing Assistant)All show tickets are on sale HEREVisit the New Wolsey Theatre website here.Thanks to our good friends at podtalk.co.uk for managing and producing our podcast. The New Wolsey Theatre is supported by Arts Council England, Suffolk County Council and Ipswich Borough Council.

Nancy has been curating an exhibition of art made by actors; Sarah has been watching musicals including Groundhog Day at the Old Vic and 42nd Street on tour. While on Broadway, Tom Stoppard and Patrick Marber, subject of a previous podcast, have taken prizes at the Tony Awards. All are the subject of this week's freewheeling conversation. Hosted on Acast. See acast.com/privacy for more information.

This past Sunday at the 76th Annual Tony Awards, Tom Stoppard's play, “Leopoldstadt,” won 4 trophies - including Best Play and Best Direction of a Play for Patrick Marber. In 2020, “Leopoldstadt” won the Olivier Award for Best New Play for its West End run. Actor Faye Castelow joins us.

Like his main man Bob Dylan, comedian Simon Munnery knows a few things about heckles: aside from being arrested in Edinburgh for heckling Arthur Smith, he met his future wife when she heckled him in Australia. When not on the road, Simon joins his local Morris Men in Bedfordshire pubs, serenading fellow drinkers with his version of Blind Willie McTell. But he no longer owns any Dylan albums (“I've given them all away. I went through a period of being quite evangelist”). Munnery cracks us up with his drunken plot to meet Madonna at a record launch, enlightens us with his passionate appreciation of The Velvet Underground's Beginning To See The Light, cracks us up again with his theory about Kate Bush swapping places with God and mystifies us as to why he played Kind of Blue on a loop for six months. There's lots about Bob Dylan, too.Simon Munnery is “one of the most original and talented comics in the country” (The Observer). After Cambridge University in the mid-eighties, he worked with Steve Coogan, Patrick Marber, Richard Herring and Stewart Lee on an Edinburgh Fringe piece called The Dum Show. In the nineties, he performed sell-out solo shows at London theatres and international festivals, featuring characters including Alan Parker: Urban Warrior, The League Against Tedium and Buckethead. Simon starred in ITV's flagship stand-up show Saturday Live, won a Sony Gold Radio Award for his BBC Radio 1 series Alan Parker's 29 Minutes of Truth and was nominated for a British Comedy Award for his BBC2 show London Shouting. His TV series Attention Scum was directed by Stewart Lee. Simon appeared as Alan Parker on a music track by The Orb called Grey Clouds. He is currently touring Simon Munnery: Trials And Tribulations.WebsiteTwitterTrailerEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 10th January 2023 Hosted on Acast. See acast.com/privacy for more information.

Oggi a Cult: Barbara Sorrentini intervista Cristina Comencini sulla serie "Django"; al Memoriale della Shoah di Milano, la mostra "Il giardino dei Giusti. La memoria verde di Milano"; all'Elfo Puccini debutta "Don Juan in Soho" di Patrick Marber, con Daniele Russo; Mario Pirovano al Teatro Oscar con il capolavoro di Dario Fo "Lu santo jullare Francesco"... Cult è condotto da Ira Rubini e realizzato dalla redazione culturale di Radio Popolare. Cult è cinema, arti visive, musica, teatro, letteratura, filosofia, sociologia, comunicazione, danza, fumetti e graphic-novels… e molto altro! Cult è in onda dal lunedì al venerdì dalle 11.30 alle 12.30. La sigla di Cult è “Two Dots” di Lusine. CHIAMA IN DIRETTA: 02.33.001.001

Since its Broadway opening last fall, Tom Stoppard's “Leopoldstadt,” a play about a multigenerational Jewish family in Vienna, based on Stoppard's own family history, has been met with critical acclaim. Hear from celebrated actor David Krumholtz, who plays the patriarch of the family, on how his Jewish identity has been transformed by the role, why he speaks to his young children about antisemitism, and the importance of Holocaust education today. _ Episode Lineup: (0:40) David Krumholtz __ Show Notes: Leopoldstadt: Tickets and more information Photo credit: Joan Marcus Listen to:  Our most recent podcast episode: Shabbat Shalom No More? One Year Later, Colleyville Synagogue Wrestles with Impact of Hostage Crisis Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've enjoyed this episode, please be sure to tell your friends, tag us on social media with #PeopleofthePod, and hop onto Apple Podcasts to rate us and write a review, to help more listeners find us. __ Transcript of Interview with David Krumholtz: Manya Brachear Pashman:  Since its official Broadway opening on October 2 2022, Tom Stoppard's latest play Leopoldstadt has received widespread acclaim. One of the hottest tickets in town, it has been extended through July 2023. The drama follows multiple generations of a Viennese Jewish family over half a century, beginning in 1899. Through the Holocaust and beyond, the fictional family and the story is based on Stoppard's own. When he was in his 50s, the playwright learned that he was Jewish and had lost his grandparents and many other family members in the Shoah. With us now to discuss his role in the play is actor David Krumholtz, who plays Hermann Merz, the tragic patriarch of this fictional family who has converted to Catholicism for purposes of social and professional mobility, but discovers in the end it is to no avail. David, welcome to People of the Pod.  David Krumholtz: Thank you so much. Thanks for having me.  Manya Brachear Pashman: So I described your character as tragic, but it is a play about the Holocaust. So would you say all of the characters in this play are tragic? Would you agree? Walk our audience through Hermann Merz's approach to life, to his Judaism. David Krumholtz: I don't see the character as tragic at all, which is sort of a conversation I needed to have with Patrick Marber, our director before I even auditioned for the role. I think he's heroic in many ways. He's doing the very best he can for his family, and for the future generations of his family, and in doing so, he has had to shed his Judaism. You get the sense, though, that he was kind of raised in the religion of business. The most important thing he inherited, this textile factory from his father, and his father did very well. And it seems to me that he was groomed  to take over and bring it to great success, build it farther than his father could have ever imagined. And for the sake of his family, and for the sake of future generations. So, certainly converting to Catholicism in late 19th century Austria, was one of the ways to do that, you know, he wasn't labeled anymore, it opened up channels that he probably would have had a harder time getting in on. He did all that he possibly could do to benefit from the choice. And it's a choice, ultimately, that he must have known broke his mother's heart, and alienated him from his family, from the more religious members of his family. And yet, he did it anyway. And he does suffer for it. And it seems to me he's willing to suffer for it. But when we learn about him, is that at the very core of who he is, he is Jewish. At the first instance, of someone challenging his Judaism or, you know, mocking his Catholicism, he's ready to kill the guy, literally. So we get the sense that this is a very, very deep seated issue that comes from, as he explains through a story about his grandfather being bullied for being Jewish. It's true. There's a trauma there that he is doing this from, it's not all just business-minded and flippant. This is something that he has been tortured by his whole life by the time we meet him. Which is why he has so many strong opinions on Israel and the future of Jews, and assimilation in Austria. Vienna, being at the time, the cultural center of the world with an emperor king who emancipated Jews from all wrongdoing. And was a sort of Jewish sympathizer who gave Jews quite a lot of leeway that they didn't have prior to his reign. So things are looking up when we meet Hermann Merz, looking up not only for his business and his family, but for Jews in Vienna.  I think he has every right to feel positively about the future, think positively about the future, and not want to move his entire family to the middle of the desert. He's righteous in that indignation. And sadly, time tells a different story. The next, you know, 40 years of his life, teach him that his ideals and his hopes for the future were obsolete or were futile. And that's the tragedy of the story of Hermann Merz. But I don't view him as a tragic figure. Manya Brachear Pashman: But what you're referring to is there's a kind of an ongoing debate through the play between Ludvig, his brother in law, if I'm not mistaken, and Hermann, and that debate is about assimilation and what the definition of assimilation is. Ludvig says assimilation doesn't mean to stop being a Jew. Assimilation means to carry on being a Jew without insult. Would you agree with that definition? And would you consider yourself assimilated, by that definition or another? David Krumholtz: I think for the time in which the play is set, that is a very keen definition. The idea of being anything other than what religion you're raised in, identifying with a nationality, let's say, was a novel concept at the time. The term thrown around by Ludvig in that scene a couple times is the word ordinary Jew, ordinary Jews, meaning not rich, middle class Jews who don't have access to all the luxuries that my character does. And that's an interesting little phrase there. ordinary jew, What is an ordinary Jew, what separates us? What makes you know, a Hasidic Jew a Hasidic Jew, what makes an assimilated Americanized for instance Jew, the same Jew or a different Jew? What's the difference?  I personally like to think that there is only a matter of degrees of religiosity between the two. I would hope that as appreciative of I am as I am as an assimilated Americanized Jew, as appreciative as I am of the Hasidic community of the religiosity of the ultra Orthodox community, the Orthodox community, that those communities would be as appreciative of me, that there'd be no judging.  Especially at this point, 80 years, past a genocide that we all suffered through, where it didn't matter how religious you were, at the end of the day, all that mattered was what was on your birth certificate. And one would hope that, 80 years later, we're all sort of on equal footing with one another. And we've all carried on being Jews without insult in one way or another.  I grew up in New York City. I grew up in Queens, which is the most multi-ethnic, multinational place on Earth, believe it or not, per capita. Queens represents more nationalities than any place on Earth. Just the borough of Queens alone, not to mention the entire city of New York. So for me, there wasn't any corner to fit into, it was all a melting pot, and I could be whatever I wanted to be. And so over time, after Hebrew school, and having had my Bar Mitzvah, I felt strongly that I didn't necessarily relate or feel attracted to the more religious tenets of Judaism. But that culturally I was Jewish. And I've taken great pride in playing Jewish characters, and telling the story of Jewish people over the last 30 years, in my work, when I get the chance to. and so in that way, I've carried on being a Jew without insult, you know, it is part of my identity, this play has made me sort of realize how much of that identity I maybe took for granted at times. But for the most part, it's nice to be a part of something that makes a clear statement. And that statement is that Judaism is more than just a religion, it's a cultural existence, it is something unique unto itself. And there are, there's a lot to be proud of, there's a lot of amazing history to be cherished and celebrated, and to be celebrated as well. Manya Brachear Pashman: So how did you find your way to Leopoldstadt? And I will follow that up with a question of, how have you found your way to your Jewish heritage, kind of discovering what you might have taken for granted through Leopoldstadt? David Krumholtz: Patrick Marber, the director of Leopoldstadt, had his sights set on me. It flabbergasted me to be honest, I haven't done a stitch of theater in 30 years. I'm not your sort of prototype for the role on paper. And yet, he was enamored with my work and sensed that it would all pan out nicely. And so I don't look a gift horse in the mouth. So I took the opportunity.  My father would have loved this play. My father was a deeply devout Jewish culturalist at heart. You know, he grew up in the Lower East Side of Manhattan. He was surrounded by Jewish people, his upbringing was surrounded by old world Jews who had settled in America prior to the war, and Jewish survivors of the Holocaust who had just come back. That was his reality growing up as a kid in New York. And so these themes were an obsession for him his whole life. So I thought, well, one way to connect was to evoke the memory of my father, and so I did that, and in doing so, I came to some pretty tough realizations, one being my father was quite frustrated with me, and how I sort of abandoned the religion, early on in my life. There comes a time in, I think, in a lot of people's lives where they question the existence of God, they question the existence of biblical history. And that was happening to me and it frustrated my father a great deal, because he had a tremendous amount of faith. And it's only recently that I've had to take on quite a bit of faith in my life now that I'm a father and being an actor is a leap of faith. It took me a long time to realize that. I just know from doing this play, that it would have made my father very, very proud. And that if he could tell a story this is the story he would tell. And so, for me, rediscovering my Judaism, through this story, as a tribute to his life, is the formula for success. And for me finding greater pride and being Jewish than perhaps I've ever had before. Manya Brachear Pashman:   That's beautiful. This was not a typical role for you, and you hadn't done a stitch of theater for 30 years. I believe I read somewhere that, in fact, when you're making your commute into the city to do these shows, you call someone to kind of share how intimidated you are by this play, and that that call settles you down. Do you still do that? David Krumholtz:   There are certain days I just have to do that. The weight of this role is heavy. This is a heavy responsibility. In many ways, the role of Hermann is kind of, along with other roles in the play, but he's one of the anchors of this ship that is sailing to great success on Broadway, and that's not lost on me and you know, when I walk out of the theater at night and, and get teary eyed thank yous from our patrons, who clearly have been deeply impacted by what they've just seen. It's not lost on me. And so yes, you know, little old me on the way in, in my car to the city has to sometimes call anyone. But typically, my family, someone in my family and just sort of say, Hey, this is quite a mountain to climb and hang in here. But there are moments certainly where the pressure is enormous, and I feel unworthy of the glory of playing this role. It's just part of who I am. It's what motivates me. Those feelings of insecurity actually motivate a great  performance, or what I hope is a great performance. And, so I make those calls. And, you know, and like I said, they're family mostly because to me, family is just deeply important, and they know me better than anyone. Manya Brachear Pashman: Well, that leads me to ask about the family tree in Leopoldstadt, which plays a very important role. It's published in the program, so that you can study it. In fact, someone told us to study it before we even watch the play. I don't know if it made that much of a difference. It made so much more sense afterward. But there are, I believe, 31 characters in Leopoldstadt, is that right? 24 of them are members of this extended family. And even in the play, there's a reference to how confusing that family tree can be. Why? What's the point of that kind of complicated, many branches of that family tree? David Krumholtz:  Well, it's a stroke of brilliance by Tom Stoppard who's written quite a few pieces that are strokes of brilliance. It's purposeful. It's so that at the end of the play, when your frustration mounts at not knowing exactly who every character is, there's so many characters, and how they're related to each other. When that frustration mounts, you can equate that frustration with the fact that each one of those people, each one of those characters, individualism didn't matter. At the end of the day, they were killed for being something they couldn't help but be. They were killed for being Jewish. It didn't matter what their hopes were, what their dreams were, what their aspirations were, it didn't matter whose mothers were, who's who, you know, whose sons had mothers and whose mothers had sons. none of it mattered. Death is the final, there's so much finality in death.  And at the end of the play, we get a sense of that finality, that there is no coming back. There's only memory, there's only memory. And memory, for as impactful as memory can be at times, is also a thinly veiled representation of the real person. And so when our audiences walk out of the theater going, I didn't get to know that character, I didn't get to know that character…you knew as much as they knew about themselves, before they were killed, before their life ended. The frustration you feel with the frustration of generations worth of Jewish families that lost their loved ones. And that's the point. Yeah, Manya Brachear Pashman: You talk a lot about walking out of the theater and how you encounter audience members. My husband and I walked out of the theater, and we kind of stood off to the side, just really in stunned silence. We were still processing everything we had just watched and heard. And these two ladies came by and they were taking smiling selfies outside the right by the poster. And my husband and I were like, Did you just see the same play that we saw? shocked that, you know, they show it was there, you know, maybe first time on Broadway and you know, this was a Tom Stoppard play, it's exciting. But we were so kind of emotionally drained.  David Krumholtz: We've been told by a lot of audiences that they're not prepared to clap for us, when we take our vows, that the ending in the play is so deeply tragic and so stunning that suddenly there are these actors on stage taking their vows. And, our crowds aren't quite ready to process. The difference between what they just saw and reality, the difference between 1900 and 2023. And we feel it as well. And we are as a cast somewhat desensitized to the trauma of the play. But during the rehearsals, and during our first couple of weeks of runs, we all had a very, very, very difficult time processing the different, more depressing aspects of the play. There were countless tears shed. It was amazing for us to bond over something that we all clearly felt so moved by. So we're not surprised, we often have to remind ourselves, oh, this is the first time these people are seeing the show. And how it felt the first time we read it, or how it felt the first time we heard it out loud, or how it felt the first time we got it up on its feet and looked into each other's eyes and performed it. You know, we have to remind ourselves of how deeply impactful The show is. And it doesn't take much because at the end of most performances, we hear audible weeping in the in the crowd and we see it in the eyes of people standing to give us you know, an ovation and It's some of the most important work. You know, you always strive as an actor or an artist of any sort to do relevant work. So much of the work you do in between relevant work is down to whatever reasons, you know, whether it be to make a living or to, you know, to cement some future for yourself or whatever. And then in between, and then once in a while very rarely do you get to do something that is truly timeless, if you will. And that's what I believe about this play. It's timeless, in its impact. It tells the story of humanity in a very unique time. It's historical, and so the pride we all feel is just incredibly palpable. Manya Brachear Pashman:   And you should really, it is truly incredible. I also want to ask you how you've changed your behavior, what you have done, if anything. As a result of being part of this play, this is a very small thing I shared with you before we started recording, one of the lines during that comedic scene actually really pierced me and that was when the grandmother was looking through the photo album. And they don't know who people are here. She says, Well, here's a couple waving goodbye, but who are they? It's like a second death to lose your name and a family photo album. And I immediately burst into tears. And came home and started writing names on the back of photos in our family photo album because I realized, oh my goodness, what truth that line delivered. David Krumholtz:   Well, yeah, I think that theme of that desperation of clinging to memory desperately, is made all the more impactful when you realize that lives were meaninglessly lost. When tragedy strikes, memory both takes on more and less meaning. You know, because you're clinging so desperately to it, because you've lost something that you felt wasn't complete. And you're completing it in your memory, if you will. And yet it's just a memory. It's a Central as a memory, it exists here, maybe in your heart. But, there's no tangible proof that that person existed any longer. Again, it's Tom Stoppard hitting you over the head with a very, very bleak truth about the nature of murder of genocide, about the robbing of individual individuality, about the discounting of a person's dreams, of a person's hopes, of a person's family, of people's reliance on each, other dependence on each other. Just wiping people out of this general blanket of death. That memory becomes a more desperate thing. It's haunting, it's terribly haunting. And at the end of the play, we see the ghosts. What we essentially see, live in the flesh, is the new family photo album, filled with people that we just hope we can remember. And if we can't, then well, that's even more tragic.  Manya Brachear Pashman: Do you do anything different? Do you talk to your children differently about your Jewish traditions, history?  David Krumholtz: You know, I grew up incredibly frustrated by racism, because as I'm in my mid 40s, my generation grew up with the stories and the harrowing sort of, the wagging- be careful, you never know, this could happen again. I could touch and feel my great grandmother, I could see the tears in her eyes in recalling her memories. She lost 11 brothers and sisters in the Holocaust. And so I can see it. My kids can't.... So for me, it's just important. I debated – my daughter's eight, this is heavy fare for an eight year old. And I debated whether or not it was important that she see the play. I don't want to hurt her. I don't want to scare her. And at the same time, it's important that she knows and that the message is delivered by me. And so we're gonna have her come see the play before I'm done with it, and hopefully, that impacts the way it should. Manya Brachear Pashman: That's a wonderful point. I wrestle every day with how much to share with my children, because you don't want to scare them. Because you don't want them to run away from their Jewish traditions and heritage either out of here. I'm really grateful to the rabbi at our synagogue who, every Shabbat during the Mourners' Kaddish, will share six names of the 6 million killed. And my children will often look up at me when he mentions the name and age of a child that was killed during the Holocaust. It just highlights the importance of remembering, but doing so in a safe space, in a community, in a sacred space where we're all together, illustrating: we all survived, but it's important to remember those who didn't. When are you done with Leopoldstadt? David Krumholtz: I'm done March 12. Play is going through, as of right now it's extended to July 2, it may extend again, another wonderful actor is going to come in and take my place. I can't tell you who that is yet. I will have done six months. Something like 175 performances, for me, is plenty. This is a hard play to live through and live in the skin of and so, you know, I'm going to take my leave, but it's been transformative and the role of my life. It's just, for someone like Patrick Marber and Tom Stoppard, Sonia Friedman, to have believed in me, to the extent that they did to take on such a huge responsibility just means the world. And hopefully I can take that with me through to the next important job. Manya Brachear Pashman: Why is it important for people to see this play now? David Krumholtz: Well, we live in a time when, unfortunately or fortunately, where we can openly communicate our deepest darkest feelings to one another. Sometimes, those feelings are feelings of hatred. Sometimes those feelings are ignorant feelings of hatred, that are blanket generalizations based on small experiences that people may have had. People tend to use social media, for instance, to make things a lot more, a lot bigger than they are. And so something like a man with 11 million followers saying something anti semitic, can snowball very, very quickly into this kind of real world danger that the show presents that actually happened not too long ago. And so it's very important that now that people of all races, religions, creeds, this could happen to anyone. As Jew as Jews, we have to make sense of what happened to us. Part of making sense of what happened to us, I believe, is telling the story in order to warn not only our own people, but all minorities, all people that this could happen again, that this actually happened, that humanity did this, that hate created murder, can create  genocide. And it's our responsibility to pay the lesson we've learned forward, the painful lesson. It's easier to turn a blind eye, or to say, well, that's just Jewish people's problem. The truth is, it's a problem for all humanity. And so hopefully, we're not playing to a bubble of people who need to see this, want to see this, or are Jewish enough to see it.. And I think it has the power to be a play that's impactful for all people. And we found that to be true thus far, it's a really clearly communicated olive branch in a way to say, hey, we went through this, we're telling you this could happen. And stay safe, be smart, and love one another before your time's up. Manya Brachear Pashman: Thank you so much, and thank you for joining us to talk about it today.  David Krumholtz:  All right. My pleasure. Thanks for having me.

This week, host Isaac Butler talks with Patrick Marber about his multi-hyphenate career. Marber started as a stand-up comedian; has written several plays including Dealer's Choice, Closer, and Howard Katz; and is a celebrated theater director. They discuss how being a writer affects Marber's directing; his experience working with older men such as Harold Pinter, Mike Nichols, and Tom Stoppard; and his direction of Stoppard's new play Leopoldstadt, which is currently on Broadway.  After the interview, Isaac and co-host June Thomas chat about the particular challenges of directing large-cast productions, then they name the genius they would love to have collaborated with.  In the exclusive Slate Plus segment, Marber talks about the casting of the Broadway production of Leopoldstadt and whether Jewish roles should be played by Jewish actors.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Zak Rosen. Check out Remote Works here: https://link.chtbl.com/remoteworks?sid=podcast.WORKING Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks with Patrick Marber about his multi-hyphenate career. Marber started as a stand-up comedian; has written several plays including Dealer's Choice, Closer, and Howard Katz; and is a celebrated theater director. They discuss how being a writer affects Marber's directing; his experience working with older men such as Harold Pinter, Mike Nichols, and Tom Stoppard; and his direction of Stoppard's new play Leopoldstadt, which is currently on Broadway.  After the interview, Isaac and co-host June Thomas chat about the particular challenges of directing large-cast productions, then they name the genius they would love to have collaborated with.  In the exclusive Slate Plus segment, Marber talks about the casting of the Broadway production of Leopoldstadt and whether Jewish roles should be played by Jewish actors.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Zak Rosen. Check out Remote Works here: https://link.chtbl.com/remoteworks?sid=podcast.WORKING Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks with Patrick Marber about his multi-hyphenate career. Marber started as a stand-up comedian; has written several plays including Dealer's Choice, Closer, and Howard Katz; and is a celebrated theater director. They discuss how being a writer affects Marber's directing; his experience working with older men such as Harold Pinter, Mike Nichols, and Tom Stoppard; and his direction of Stoppard's new play Leopoldstadt, which is currently on Broadway.  After the interview, Isaac and co-host June Thomas chat about the particular challenges of directing large-cast productions, then they name the genius they would love to have collaborated with.  In the exclusive Slate Plus segment, Marber talks about the casting of the Broadway production of Leopoldstadt and whether Jewish roles should be played by Jewish actors.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Zak Rosen. Check out Remote Works here: https://link.chtbl.com/remoteworks?sid=podcast.WORKING Learn more about your ad choices. Visit megaphone.fm/adchoices

The Play Podcast - 051 - Closer by Patrick Marber Host: Douglas Schatz Guest: Clare Lizzimore The Play Podcast is a podcast dedicated to exploring the greatest new and classic plays. In each episode we choose a single play to talk about in depth with our expert guest. We discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. Patrick Marber's play Closer depicts a merry-go-round of metropolitan relationships powered by sex and betrayal. Its clever and candid dissection of the destructive power of sexual desire hit a contemporary nerve when it premiered in 1997. Clare Lizzimore, director of a new production at the Lyric Hammersmith, joins me to explore how the play's unflinching sexual politics has aged twenty-five years later.

Patrick Marber's Closer is 25 years old. As a new version opens at the Lyric Hammersmith, Nancy - who was in the last London revival - and Sarah are joined by the playwright to discuss what it meant when it was first unveiled, what it means now, and the role of critics in making it a success. See acast.com/privacy for privacy and opt-out information.

Catherine Russell is a British actress best known for playing Consultant Surgeon Serena Campbell in Holby City since 2012. Her other film and television credits include Bridget Jones: The Edge of Reason, The Inspector Lynley Mysteries, Messiah, Agatha Christie's Poirot, Waking the Dead, Sherlock Holmes, Silent Witness and Pete versus Life. Her hugely successful stage career has seen her play leads in the West End and around the country. Her most recent roles include Nurse Ratched in One Flew Over the Cuckoo's Nest, Rosie in the West End production of Mamma Mia!, What The Butler Saw and Alan Bennett's Habeas Corpus directed by Patrick Marber. Catherine Russell is guest number 171 on My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .Follow Catherine Russell on Twitter: @catherinerusse2 .Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens and Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by Matthew Boxall .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. See acast.com/privacy for privacy and opt-out information.

Bed-bound wit and story telling from Patrick Marber and Peter Curran. Their special guest is chef, broadcaster and host of The Great British Menu, Andi Oliver. She sings an ancient lullaby and the trio discuss a shared mistrust of dolphins. A Foghorn Company production for BBC Radio 4

Pages 147 - 155 │Aeolus, part I│Read by Patrick MarberBorn in London, 1964. Playwright and Director. Work includes: 'Dealer's Choice 'Closer' 'Don Juan in Soho' 'The Red Lion' 'Notes on a Scandal' 'Travesties' 'Leopoldstadt'Follow on Twitter: @PmarberBuy Patrick Marber's Five Plays here: https://shakespeareandcompany.com/I/9780571346806/patrick-marber-plays-dealers-choice-closer-howard-katz-don-juan-in-soho-the-red-lion*Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-companySUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURESAll episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections.Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Spotify here: https://anchor.fm/sandcoSubscribe on Patreon here: https://www.patreon.com/sandcoIn addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit.*Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/homeAdam Biles is Literary Director at Shakespeare and Company. Find out more about him here: https://www.adambiles.netBuy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeDr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco.Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/ See acast.com/privacy for privacy and opt-out information.

Patrick Marber and Peter Curran escape from the hurly-burly of the day into their nearest faraway place - the Bunk Bed. Recorded in the dark and on beds, this is the perfect place for letting thoughts to drift without rhyme or reason. This time, after a top bunk malfunction, they are forced to snuggle up together in the same bed. Socks with 12 hours of wear on them, uncut toenails and grinding all bring conflict. Eventually, we hear the strange voice of science fiction pioneer HG Wells from a 1934 BBC broadcast that spookily sums up society today. This leads naturally to a discussion of national pride, Seamus Heaney, and the male orgasm. Occasional sleepover guests for this series will include star of The Simpsons and This Is Spinal Tap, Harry Shearer, actor Jane Horrocks, cook and presenter Andi Oliver, and director Sir Richard Eyre. Producer: Peter Curran A Foghorn production for BBC Radio 4

Diane and Sean discuss the very sexy (maybe?) Mike Nichols film, Closer. Episode music is "Blower's Daughter" by Damien Rice, from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd-  Twitter: @whydoweownthis1-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show (https://www.buymeacoffee.com/dvdpod)

Episode 033: Leopoldstadt by Tom Stoppard Host: Douglas Schatz Guest: Patrick Marber Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. Tom Stoppard's ambitious new play Leopoldstadt is a sweeping work of history and ideas which charts the diaspora and decline of an Austrian Jewish family through the convulsive events of the first half of the twentieth century. It addresses profound moral questions of identity, memory and prejudice that are insistently relevant in our time. It is not only a towering intellectual achievement, it is also very personally poignant because it is based partly on Stoppard's own remarkable family history. Leopoldstadt opened in the West End in January 2020, only to be closed prematurely by the pandemic a few weeks later. Happily it has returned to the London stage this Autumn, and I am privileged and delighted to talk in this episode with the director of the London productions, playwright Patrick Marber.

A ghostly Franco visits an elderly man in the latest novel by Patrick McGrath. He joins historian Duncan Wheeler and the makers of a prize winning documentary Almudena Carracedo and Robert Bahar, as Rana Mitter's guests for a discussion of the Spanish Civil War, the ghosts and silences that remain and how history is now being written. The Silence of Others, backed by Pedro Almodóvar and directed by Almudena Carracedo and Robert Bahar has been screened at festivals across the world and has picked up many prizes. https://thesilenceofothers.com/ Duncan Wheeler is Chair of Spanish Studies at the University of Leeds and has published Following Franco: Spanish Culture and Politics in Transition. Patrick McGrath is the author of novels including Spider which was filmed by David Cronenburg, Asylum which was adapted by Patrick Marber and short stories collected under the title Writing Madness. His new novel depicting Francis McNulty, a veteran of the Spanish Civil War, has the title Last Days in Cleaver Square. Producer: Ruth Watts On the Free Thinking website you can find past episodes with Rana Mitter discussing history and Pakistan, War in fact and fiction from World War I to African conflicts; What does a black history curriculum look like? and Deep Time and Human History. All episodes are available to download as Arts & Ideas podcasts. New Generation Thinker Anindya Raychaudhuri's postcard about aerial bombardment and the Spanish Civil War is on BBC Sounds https://www.bbc.co.uk/sounds/play/p046wn7w Image: Valley of the Fallen from above which shows the Benedictine Abbey, near Madrid, Spain Credit: BBC/Craig Hastings

A scandalous affair with an underage boy is the entry into this melodrama about the friendship between two teachers in North London. Murtada Elfadl welcomes back Teo Bugbee to discuss the juicy and delicious Notes on a Scandal, the trope of the predatory lesbian, and why this film remains highly rewatchable. Support the show (https://ko-fi.com/sundayswithcate)

For her role in the play 'Present Laughter' - portraying the very understanding almost ex-wife of Andrew Scott - Indira Varma received a 2020 Olivier Award (making her the first person of South Asian descent to win one!) In 2018, she starred at the National Theatre in Patrick Marber's adaptation of 'Exit The King', opposite Rhys Ifans. On television, Indira has captivated viewers in everything from 'Rome' to 'Luther', though she's perhaps best known on the small screen for her role on 'Game of Thrones', as Ellaria Sand - mother of Sand Snakes, screamer of screams.

The Movie: Closer is a 2004 American romantic drama film written by Patrick Marber, based on his award-winning 1997 play of the same name. The film was produced and directed by Mike Nichols and stars Julia Roberts, Jude Law, Natalie Portman, and Clive Owen. The film, like the play on which it is based, has been seen by some as a modern and tragic version of Mozart's opera Così fan tutte, with references to the opera in both the plot and the soundtrack.  IMDB Link   https://www.imdb.com/title/tt0376541/ Here is where to find us online:  Instagram (https://www.instagram.com/cultofpersonalitypodcast) Twitter (https://twitter.com/cult_podcast) Facebook (https://www.facebook.com/cultofpersonalitypodcasteire) Questions for the Podcast: Email: cultofpersonalitypodcasteire@gmail.com  or DM us on our socials.  Leave a Review:  If you enjoy the Podcast - Please leave a 5 star review. It helps us very much [Click Here] (https://podcasts.apple.com/ie/podcast/cult-of-personality-podcast/id1441303012?mt=2) Support the Podcast/Donate: PayPal (https://www.paypal.me/cultpodcast) The podcast does not have any sponsors or make any money. We do however have hosting charges to pay. If you can afford to support the podcast in any way financially it would be greatly appreciated. No amount is too small. Thank you for your support.  If you are not in the position to support us financially, please leave a rating on Apple Music or tell a friend to check us out. 

Welcome to the penultimate episode of the extra special Natalie Portman birth-week extravaganza! Listen as host Kyla and special guest Shea discuss Closer. Why is this film called Closer? What does the movie communicate about the notion of truth? What does it communicate about love and intimacy? How do aspects such as the setting, direction and performances enhance Patrick Marber's brilliant screenplay? And what is the worst hairstyle in this movie? Tune in to hear the answers to these (and many other) questions!Alice's first hairstyle (red): https://weheartit.com/entry/273967138Alice's second hairstyle (brown bob with side bangs): https://www.hotflick.net/pictures/004CLO_Natalie_Portman_032.htmlAlice's third hairstyle (brown bob with straight across bangs): https://editorial.rottentomatoes.com/article/definitive-natalie-portman-movies/closer/Alice's fourth hairstyle (pink bob): https://www.popsugar.com/entertainment/photo-gallery/23447822/image/23447849/Closer-2004Alice's fifth hairstyle (blonde wig): https://ew.com/article/2004/11/05/julia-natalie-jude-and-clive-making-closer/Alice's sixth hairstyle (bouncy, natural curls): https://www.imdb.com/title/tt0376541/mediaviewer/rm2017959681Alice's awful coat: https://gcottraux.files.wordpress.com/2016/10/natalie-portman-closer.jpg

MARIA CONNOLLYMaria Connolly trained at The Royal Central School of Speech and Drama inLondon 1991-1994, where she received The Kenneth Branagh RenaissanceAward for most promising actor from Northern Ireland. She was awarded anIrish Times Best Actress nomination for her performance in PROBLEMCHILD for Prime Cut Productions.Maria began acting when she was 15 with the Ulster Youth Theatre under theleadership of David Grant. She performed in The National Theatre of Londonwhen she was 16, starting a career that has lasted over 30 years. Maria hasworked extensively in Northern Irish theatre, particularly focusing on new writingcreating roles in productions that have been revived and returned to audiencesin Northern Ireland and further afield.After an extensive Irish tour and selling out the Lyric Theatre Belfast and thenThe Grand Opera House, Maria performed internationally the solo show TWOSORE LEGS by Brenda Murphy for Green Shoot Productions. She performedTwo Sore Legs in New York at the Cuala Festival and was chosen to perform inBrussels by The Arts Council representing NI's best of the arts in the EU. Sheperformed at the Edinburgh Fringe in 2015 where she was Lorna Diamond's(The Scotsman) pick of the festival.Maria performed the role of ‘Alice' in Patrick J O'Reilly's critically acclaimedTHE MAN WHO FELL TO PIECES, for Tinderbox, which hopes to have it'sthird revival in the near future.Maria has collaborated with many theatre companies and writers in Belfast.She works extensively with Paula McFetridge from Kabosh Theatre Company,most recently on Vincent Higgins' ‘A Bellaghy Tale,' celebrating the work and‘Homeplace' of Seamus Heaney. With Paula, Maria also created the role of‘Lady Annie' at Hillsborough Castle, developing collaborations and connectionsand strengthening her passion for site specific theatre.Maria played Arlene Foster in Rosemary Jenkinson's ‘Michelle and Arlene' seriesof satirical comedies. Maria is delighted to be performing in Rosemary'snew play this year ‘Dream, Sleep, Connect' with C21 theatre company.Maria has worked extensively with and continues to collaborate and create rolesby playwright Martin Lynch performing in ‘Dancing Shoes,' History of ThePeace,' ‘We'll walk Hand in Hand' and ‘Meeting at Menin Gate.'Maria has just completed recording a 6 part sitcom for BBC Radio Ulster writtenby up and coming Northern Irish writer Ciaran Bartlett. Maria recentlyfilmed a new Sitcom ‘Familiar,' for Hare and Tortoise, directed by Simon Delaney.Maria attended script writing for the theatre, training under the direction ofJackie Doyle, formally of Prime Cut Productions. There she trained in scriptdevelopment with Graham Whybrow, formally from the Royal Court Theatre inLondon and Patrick Marber, the award winning writer of ‘Closer.' She participatedin a series of workshops organised by Replay Theatre Company designedto train emerging writers from Northern Ireland to write for children/ youngadults. Maria's participation on the course led to the commission of 2 playsfrom Replay Theatre Company.Maria since went on to write for Tinderbox Theatre Company, Kabosh TheatreCompany, BBC Radio 4 and Radio Ulster.Craic Theatre would like to acknowledge the support of Mid Ulster Council and the Arts Council NI with this podcast

A career retrospective with Maggie Gyllenhaal on October 23, 2019. Moderated by Jacqueline Coley, Rotten Tomatoes. Maggie Gyllenhaal is one of the great actresses of today. Most recently, Gyllenhaal starred in and produced the film, THE KINDERGARTEN TEACHER, which premiered on Netflix to phenomenal reviews. She also received a 2018 Golden Globe nomination and a 2019 Critics Choice Award Nomination for playing Candy on the HBO drama THE DEUCE which she also produces. She will return as Candy this September for the show’s third and final season. Gyllenhaal’s career launched in 2002 out of Sundance after she received rave reviews for her starring role opposite James Spader in Lionsgate’s SECRETARY. She went on to receive a Golden Globe nomination for “Best Actress in a Comedy or Musical”, an Independent Spirit Award nomination for “Best Actress,” a Chicago Film Critics’ Award for “Most Promising Performer,” A Boston Film Critics’ Award for “Best Actress,” a National Board of Review Award for “Breakthrough Performance” and an IFP/ Gotham “Breakthrough Performance” Award. She went on to work on Spike Jonze’s ADAPTATION (2002), MONA LISA SMILE (2003), John Sayles’ CASA DE LOS BABYS (2003), Marc Forrester’s STRANGER THAN FICTION (2006) and Oliver Stone’s WORLD TRADE CENTER (2006). Gyllenhaal was also nominated for a 2006 Independent Spirit Award for her role in Don Roos’ HAPPY ENDINGS, opposite Lisa Kudrow and Tom Arnold. At Sundance in 2007, Gyllenhaal starred in SHERRYBABY, where she played a female convict struggling to overcome her drug addiction and regain custody of her daughter. The film garnered her a second Golden Globe nomination, this time for Best Actress in a Motion Picture-Drama. In 2008, she starred opposite Christian Bale in The Warner Bros. box office hit THE DARK KNIGHT. In 2009, She gained critical acclaim, including an Oscar nomination for "Best Supporting Actress," for her portrayal of Jean Craddock in CRAZY HEART alongside Jeff Bridges. She also starred in Sam Mendes’ AWAY WE GO (2009) and Universal’s NANNY MCPHEE RETURNS (2010). In 2014, Gyllenhaal headlined the BBC/Sundance TV series THE HONORABLE WOMAN earning her a 2015 Golden Globe Award, a SAG Award nomination, and an Emmy Award nomination. In October 2014, Gyllenhaal made her Broadway debut in Tom Stoppard’s THE REAL THING, opposite Ewan McGregor and Cynthia Nixon. Her previous theater credits include Tony Kushner’s HOMEBODY/KABUL, which ran in both Los Angeles and at The Brooklyn Academy of Music (BAM) in 2004 and Patrick Marber’s CLOSER. In 2009 and 2011, Gyllenhaal starred alongside her husband Peter Sarsgaard in THREE SISTERS and UNCLE VANYA, both at Classic Stage Company. Some of Gyllenhaal’s other film credits include: John Waters’ CECIL B. DEMENTED (2000), the fantasy thriller DONNIE DARKO (2001), TRUST THE MAN (2005), HYSTERIA (2011), FRANK (2014) and Matthew Barney’s RIVER OF FUNDAMENT (2014). She has voiced the audiobooks for both THE BELL JAR by Sylvia Plath and ANNA KARENINA by Leo Tolstoy. Next up, Gyllenhaal is set to write, produce and direct, “THE LOST DAUGHTER,” based on the Elena Ferrante novel of the same name.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This is the nearest faraway place for Patrick Marber and Peter Curran. Here they endeavour to get the heart of things in an entertainingly vague and indirect way. This is not the place for typical male banter. From under the bed clothes they play each other snippets of music and the voices of famous dead people from BBC Archive. Childhood, ruined ambition, work, family and death are their slightly warped conversational currencies. Writers/Performers: PETER CURRAN is a publisher, broadcaster, writer and BBC documentary maker working in South Africa, America, Brazil, Ireland, and the Arctic Circle. He’s written and presented numerous Arts and culture programmes for both radio and television. PATRICK MARBER is a playwright, director and screenwriter. He co-wrote and performed in Knowing Me, Knowing You with Alan Partridge, and The Day Today. His plays include Dealer's Choice, After Miss Julie, Closer, Don Juan in Soho, and The Red Lion.

This week on the pod: Have you ever seen a human heart? It looks like a fist, wrapped in blood!! The guys are doing 2004’s Closer, the adaption of the play by Patrick Marber. What a delight. Clive Owen is a gleeful savage and Natalie Portman shakes off years of green-screen franchise drudgery to shine. Adultery has never been so captivating. Oh, and then James and Marco blather about the Oscars for a while at the end.

Patrick Marber talks about his new production, Exit the King, with Rachel Cooke. Patrick Marber’s plays for the National Theatre include Dealer’s Choice, Closer, The Red Lion, Three Days in the Country, The Beaux’ Stratagem, and Hedda Gabler.

Apostasy is a British film about disfellowship in Jehovah's Witness congregations. How do families cope when their religious beliefs come into conflict with contemporary social mores. London's National Theatre is staging its first production of a play by Eugene Ionesco. Adapted and directed by Patrick Marber, Exit The King stars Rhys Ifans as a monarch who knows he will die before the end of the play. Olivia Laing's first novel Crudo was written in real time in 7 weeks during 2017, recording her thoughts on the news of the day, "to get an imprint of the moment while it is still wet". White Cube Gallery's newest exhibition marks its 25th anniversary. Memory Palace is on at their two London sites (as well as at their Hong Kong gallery, but we didn't go there!) looking at memory and how it shapes our identities. BBCTV has put the 1995 adaptation of Pride and Prejudice (you know, the one where Colin Firth comes out of the lake clad in a clinging shirt) on iPlayer as a box set, we consider whether the fond memories of it match up to a re-watching 22 years on... Tom Sutcliffe's guests are Alex Preston, Kate Williams and Abigail Morris. The producer is Oliver Jones.

Mike is joined by Bernadette to drink fancy wine and discuss the 2004 stage-to-screen adaptation of Patrick Marber's "Closer."

Hosts Briana Phipps and Jacque Borowski discuss the theatre show of Closer. Closer is the second play by British playwright Patrick Marber. The play was premiered at the Royal National Theatre's Cottesloe Theatre in London in 1997, and made its North American debut at the Music Box Theatre on Broadway on 25 January 1999. It was adapted by Marber as a 2004 film of the same name, produced and directed by Mike Nichols. Make sure to subscribe to Popcorn Talk! - http://youtube.com/popcorntalknetwork HELPFUL LINKS: Website - http://popcorntalk.com Follow us on Twitter - https://twitter.com/thepopcorntalk Merch - http://shop.spreadshirt.com/PopcornTalk/ ABOUT POPCORN TALK: Popcorn Talk Network is the online broadcast network with programming dedicated exclusively to movie discussion, news, interviews and commentary. Popcorn Talk Network is comprised of the leading members and personalities of the film pre

Scarlett Johansson plays Major in the manga-based action film Ghost In The Shell. David Tennant leads the cast of Don Juan in Soho. Patrick Marber's play, based on Moliere's original - which debuted a decade ago - reaches London's West End for the first time Australian poet Les Murray's latest collection On Bunyah cogitates on the rural spot in New South Wales where his ancestors settled and lived - Wild Horses Creek, known to the aboriginal Australians as Bunyah The Art of Comics, a new exhibition in Glasgow, looks at the work of comicbook artist Frank Quitely, "from Krypton to Kelvingrove.. from Gotham to Glasgow". Harlots is a TV series starting on ITV Encore - is it too good to be hidden away on a niche channel? Tom Sutcliffe's guests are Miranda Carter, Jim White and Robert hanks. The producer is Oliver Jones.

The author Hari Kunzru discusses his new novel White Tears, about a pair of blues fans in New York who find themselves in very deep water, and the issues he now faces as a British Indian legal immigrant living in that city.Mica Levi's debut film score for Under The Skin was nominated for a Bafta. Her second film score for Jackie was nominated for an Oscar. And when this classically trained musician is not bringing her sonic talents to the big screen, she's the lead singer of an experimental pop band, Micachu and the Shapes . Currently touring a live performance of her Under The Skin soundtrack, Mica joins John Wilson to discuss why listening to her instincts are her best musical guide.Patrick Marber's Don Juan in Soho was a salacious and satirical swipe at the hypocrisies of society, and has now been revived a decade later with David Tennant as the hedonistic libertine. The writer and director guides us through the seedy, but increasingly sanitised, underbelly of modern London which inspired the play. As it is announced that the Turner Prize is to scrap the rule that eligible artists must be aged under 50, art writer Louisa Buck, who was a jurist for the prize in 2005 discusses the move and considers which artists might have won previously if the age limit had not been in place. Presenter John Wilson Producer Jack Soper.

Director Ivo van Hove and writer Patrick Marber discuss this new version of Ibsen’s Hedda Gabler with Kirsty Wark.

Deborah Sharn talks with Ryan Foizey and Tom Martin about Theatre Lab’s production of CLOSER, a play by Patrick Marber.  CLOSER is a play about modern love and betrayal.  We also talk about the .ZACK Theatre space in midtown St. Louis and about the vision for Theatre Lab theater company in St. Louis.

The Girl on The Train starring British actress Emily Blunt is based on Paula Hawkins's best selling thriller which has sold more than 10 million copies world wide. The film is set in New York, rather than London, and explores the voyeuristic obsessions of its alcoholic central character as she observes her former neighbourhood from a train window on her daily commute. Tom Stoppard wrote Travesties in 1974, inspired by the true story of James Joyce's involvement in a production of Oscar Wilde's The Importance of Being Ernest in Zurich in 1917. A revival at the Menier Chocolate Factory is directed by Patrick Marber and stars Tom Hollander as Henry Carr the British consular official who played Algernon and fell out with Joyce during the production. A major exhibition of portraits by Pablo Picasso opens at the National Portrait Gallery, with over 80 portraits by the artist in all media including the Cubist portrait from 1910 of the German art dealer and early champion of Picasso's work Daniel-Henry Kahnweiler. In Nicotine by Nell Zing - whose work is admired by Jonathan Franzen - the author sets her third novel in a house in New Jersey inhabited by a group of anarchist smokers, united in defense of their right to smoke. When Penny Baker inherits the house from her father she becomes enmeshed in the political fervor and commitment of her fellow squatters. And in Divorce, a new Sky Atlantic TV drama written by Sharon Horgan, Sarah Jessica Parker stars as Frances, a woman who suddenly begins to reassess her life and her marriage, and finds that making a clean break and a fresh start is harder than she thought. Tom Sutcliffe's guests are Kamila Shamsie, Tim Lott and Charlotte Mullins. The producer was Hilary Dunn.

Long threatened but now complete, the Afterword returns from its self enforced spring break with a podcast dedicated to The Fall. Your host DFB chats with Gavin "Whole" Hogg and Dr "Tim" Volume comparing the length of their Fall collections and many other matters   - The Russian roulette of The Fall in concert but isn't that better than the dull alternative? - What were Mark E Smith's observations of the Scottish Hotel & Gretchen Franklin?- The offshoot industry of the Fallen- Would you pick up Mark if you saw him at a bus-stop?- Where to start if you should ever want to enter the weird and frightening world.   Obviously contains imitations of Mark E Smith  impressions (Dr Volume - excellent and uncanny / DFB- a combination of Patrick Marber's northern drug dealer & Frank Sidebottom / Gavin - wisely opts out)   And remember, wherever two or three people gather to discuss M.E.S and The Fall there are thousands saying "Flipping muppets haven't got a clue" - we salute you all - uh.

Patrick Marber has re-imagined Turgenev's A Month In The Country as Three Days In The Country for The National Theatre - does his version do justice to a classic of Russian theatre? There is a retrospective of the work of Richard Long at the Arnolfini Gallery in his hometown of Bristol which includes new works created from the environment. 93 year old stylist Iris Apfel is the subject of a fashion documentary by Robert Maysles. Pulitzer Prize nominated author David Gates' collection of short stories "A Hand Reached Down To Guide Me" is his first for 15 years. Is it worth the wait? British indi comedy film The Last Sparks of Sundown was made for £46,000; was it money well spent?

The director talks about his new version of Turgenev's play, Three Days in the Country. Chaired by Rachel Cooke. #ThreeDaysintheCountry http://www.nationaltheatre.org.uk/shows/three-days-in-the-country

The director talks about his new version of Turgenev's play, Three Days in the Country. Chaired by Rachel Cooke. #ThreeDaysintheCountry http://www.nationaltheatre.org.uk/shows/three-days-in-the-country

The writer and director discuss The Red Lion, Patrick Marber's haunting and humorous new play about the dying romance of the great English game. Find out more about The Red Lion and book tickets: www.nationaltheatre.org.uk/shows/the-red-lion #TheRedLion

The writer and director discuss The Red Lion, Patrick Marber's haunting and humorous new play about the dying romance of the great English game. Find out more about The Red Lion and book tickets: www.nationaltheatre.org.uk/shows/the-red-lion #TheRedLion

London Road is a film of the groundbreaking musical play. Directed by Rufus Norris, it tells the story of a community in Ipswich recovering from a series of gruesome murders. Louis de Bernieres' latest novel The Dust That Falls From Clouds looks at the lives of those 'left behind' by the First World War Channel 4's The Tribe is applying the techniques usually used in programmes such as 24 Hours in A+E to a tribe in rural Ethiopia - lots of cameras, lots of microphones and unique access to a largely hitherto unknown community. Patrick Marber's play The Red Lion deals with non-league football, corruption and compromised integrity. A retrospective exhibition of the work of Belgian artist Carsten Holler has opened at The Hayward Gallery in London. His work is characterised by playful interactivity - will it impress or delight our reviewers? Tom Sutcliffe's guests are Abigail Morris, Emma Jane Unsworth and Kerry Shale. The producer is Oliver Jones.

RHLSTP #53: Rebecca Front. Richard is very excited about his Nostradamus-like abilities to predict the future and makes another audacious claim about future-tech. Only time will tell if he is right again. His guest is the ubiquitous and claustrophobic Rebecca Front, a woman who has appeared in all manner of award-winning TV and Radio roles, but never, it seems, if Richard has been involved in the production too. You'll discover the confusion that can be caused by a mistimed fan shouting out one of your catchphrases, what Patrick Marber is really like to work with, how Morse will never be allowed to die and what happened when Lauren Bacall ate one of her husband's chips. Rich is embarrassed to ask his usual stupid, sexual questions to someone he considers to be purer than the Virgin Mary, especially when her 15 year-old son is in the audience. But he still asks them. Because he is trapped in a nightmare of his own making that he can't escape. And was 'You Can Choose Your Friends' one of the great lost TV series or the worst thing ever to be on television (according to the Evening Standard)? Judge for yourselves here: http://www.youtube.com/watch?v=80GnRgxvhjI SUPPORT THE SHOW!Check out our website and become a badger and see extra content http://rhlstp.co.ukSee details of the RHLSTP tour dates http://richardherring.com/gigsBuy DVDs and Books at http://gofasterstripe.com See acast.com/privacy for privacy and opt-out information.

Blues legend Dr John talks to John Wilson about his tribute album to fellow New Orleans musician Louis Armstrong, and how the project was the result of a visit from Armstrong in a dream. The American composer John Adams talks about the world stage premiere of his opera The Gospel According to the Other Mary at English National Opera, which tells the Passion story from the perspective of Mary Magdalene. Following the news of the death of director Mike Nichols, best known for his film The Graduate, actor Adrian Lester, playwright David Hare and writer Patrick Marber pay tribute to the man who won a Grammy, an Oscar, four Emmys and eight Tonys for his film and stage work.

Director Christian Burgess discusses the first drama production of 2009/10 at the Guildhall School, Don Juan in Soho, by British playwright Patrick Marber. The play features final year actors and opens on Thursday 8 October 2009. First published 21 September 2009.

With Mark Lawson In the film Compliance, a police officer phones a fast food restaurant and tells the middle-aged manageress that a young employee is accused of stealing. He asks her to detain the girl until the police arrive. She complies. As the situation develops, in near real time, it becomes uncomfortable to remember that the film is based on real events. Jenny McCartney reviews. Writer and producer Kay Mellor discusses the return of her TV drama The Syndicate, which stars Alison Steadman and Jimi Mistry. This time it's the turn of five low-paid workers at a Bradford hospital to win the Euro millions jackpot. Kay Mellor discusses writing about the experience of gaining sudden wealth against a backdrop of economic austerity. A new version of Ibsen's Hedda Gabler tranports the play to Birmingham in the early 1960s, with the central character now called Heather Gardner. Similarly, Strindberg's Miss Julie has been reworked to become Mies Julie, set in the Karoo, South Africa. Writers Robin French and Yael Farber discuss their current productions, and Patrick Marber reflects on relocating Strindberg to Britain in 1945, in his play After Miss Julie. Producer: Olivia Skinner.

Already an experienced headliner, Ben is on a continuing quest to unleash the improvisational demon within. But can he run naked into battle without the temptation to put his pants back on? Also discussed: why comedians are such terrible human beings. Trapdoor Comedy Club, West End Centre, Aldershot, The Cartoon, The Plough, Clapham Jongleurs, Late N Live, Noel James, Ivor Dembina, Patrick Marber, The BAR, Willesden, Paul Tonkinson, Rudi Lickwood, Victoria Coren, The Comedy Store, Setlist, Matt Kirshen, Paul Provenza, Glastonbury, Ed Byrne, Dara O'Briain, Andrew Maxwell, Glenn Wool, Edinburgh PBH Free Fringe, Barnstormers, The Gulbenkian, Canterbury, Tony Hancock See acast.com/privacy for privacy and opt-out information.