We at Second Geekhood have just learned through Doctor Who News about the death of veteran actor Edward Burnham, who played a role in both the Second Doctor and the Fourth Doctor eras.
In the Whoniverse, Burnham played Professor Watkins in the Second Doctor’s “The Invasion,” and returned in 1974 for Tom Baker’s debut in “Robot,” where he played Professor Kettlewell, the creator of the experimental prototype robot K1.
Outside of Doctor Who, his credits included such productions as All Creatures Great and
Small, Nightingales, and Nicholas Nickleby.
Edward Burnham died peacefully at home last Tuesday, 30th June, at the age of 98.
started reading this today. I’m quite excited! I’m not far in seeing as Charles Dickens had a preface that was rather interesting but so far so good! I now know why “Uncle” Ralph is a dick and nothing’s even happened with him in the story yet lol it’s basically just been backstory!
Edward Burnham had two major roles in Doctor Who. In 1968 he played Professor Watkins, the uncle of Isobel, in 4 episodes of the second Doctor story The Invasion. He returned to the series at the end of 1974 in Tom Baker’s début story Robot, playing Professor Kettlewell, the creator of the Experimental Prototype Robot K1.
Edward Burnham was an actor for over 60 years, appearing on Television as early as 1938 in productions of The Marvellous History of St. Bernard and The Swiss Family Robinson. In 1959 he appeared in the science fiction series Quatermass and the Pit. Other roles followed in productions such as The Citadel, Z Cars, The Plane Makers, To Sir, with Love, The Pallisers, The Search for the Nile, Churchill’s People, All Creatures Great and Small and Nicholas Nickleby.
In the early 1960’s he played Dr. Dorking and Dr. Danvers White in Emergency-Ward 10 and in 1985 he played Mr. Grimwig in Terrance Dicks’s production of Oliver Twist. He also appeared in the feature films 10 Rillington Place, Young Winston and The Hiding Place.
Edward Burnham died peacefully at home last Tuesday. Thanks to Mark Donovan
Patti LuPone, Michael Urie Put On A ‘Show’ At Lincoln Center – Review
The life of a drama critic inevitably includes a confrontation with an angry playwright who insists that every character and situation in his or her very bad play is a 100-percent-guaranteed-true facsimile of real people and events in said playwright’s life. So it is with Shows For Days, Douglas Carter Beane’s self-portrait of the artist as a boy irresistibly attracted to the glamour and thrill of community theater.
This is a familiar meme — think of Nicholas Nickleby’s adventures with the Crummles family troupe, Dickens’ fictional version of the story, or Act One, Moss Hart’s beloved, semi-fictionalized version. In the case of Beane, the prolific author of de trop comedies including The Little Dog Laughed and As Bees In Honey Drown (as well as his very fine portrait of a gay vaudevillian, The Nance), the subject is the Prometheus Theatre, his affectionate recasting of the Reading, Pennsylvania company he stumbled upon as a 14-year-old boy in the early 1970s, only to be caught up in the rich, self-dramatizing world within the confines of its ramshackle space. In the outside world, mall developers are threatening to erase what’s left of Reading’s deserted town center and a competing troupe is run by someone who doubles as the local newspaper’s drama critic.
Yet no deck could be stacked so well as to dim the passion and purposefulness of Irene (Patti LuPone), artistic director of Prometheus and doyenne of all things Reading. Crazily bewigged and draped in gold lamé (costumes by the great William Ivey Long, community theater be damned), spouting — or rather, butchering — Yiddishisms about the “goys,” she builds team spirit through a personality-driven mix of insult, intimidation and inspiration, all conveyed with an urgency that’s 50 percent caricature and 100 percent LuPone.
The troupe includes the self-described bull dyke company manager Sid (Dale Soules), the aging-out ingénue Maria (Zoë Winters), the “flamboyant” Clive (Lance Coadie Williams) and the sexually all-purpose Damien (Jordan Dean), with whom married Irene is in lust. Under Jerry Zaks’ perhaps too-respectful direction, every performance is true to type and each actor exudes conviction in this Lincoln Center Theater production.
And then there’s Beane’s stand-in, Car, played by Michael Urie, of the wonderful Barbra Streisand demolition job Buyer & Cellar. Car sets the scene by welcoming the audience to John Lee Beatty’s bare-bones set, in which the stage is outlined in various colors of tape to indicate, as Car tells us, the different locations. Think of it as The Glass Menagerie meets Our Town. Urie elides charmingly between the feckless teenager and his older-but-wiser self, as Car is drawn into the vacuum of life among this rag-tag troupe raging and pushing against the forces of inevitable extinction.
Delicious and toothsome — and accurately drawn, I’m certain — as each of these characters is, Shows For Days comes with an outer costume not of Ivey Long’s making. It’s more like the hard armor of situation comedy that seems to be its own irresistible force for Beane. The wise-crackling zingers prevail, and our own laughter, some forced, some guilty, prevents us OK, prevented me) from getting inside the Prometheus players in any meaningful way. And so Shows For Days dissolves in the ether before we’ve even left the theater.
But let me tell you about the New Agape Theater Ensemble, of White Plains, New York, with whom I, a college dropout, spent a year in the early 1970s making theater. Now that was drama…
-Don’t ignore the fact that Smike is both mentally and physically disabled
-Don’t call Smike stupid or half witted
-The book was written a very long time ago. Charles Dickens was ableist
-Don’t erase Smike’s physical disabilities
-Just write fics and have fun, but don’t be a trashbag, kay?