Bill-Kenwright

rainbowbeare  asked:

Hi Carrie, I'm an actor and this year I've got my first agent and i'm currently on my first professional tour with Dreamboats and Petticoats for Bill Kenwright. As this is my first proffesional acting job, i feel surrounded by people that are very used to this buisness, they're lovely and amazing people, but i just feel a bit overwhelmed and I'm also the youngest, haha. Do you have any advice? Thanks, Andrew

Hello! 

I know that feeling only too well! I was only 20 when I joined Les Mis. One of the cast babies and I felt very overwhelmed! Don’t be afraid to ask questions if you don’t know how things work or what’s going on. Everyone you’re working with had that first day on their first job and know how you’re feeling and therefore will be more than happy to help the newbies. Tours work very differently to shows in town and so even people who have been acting for YEARS won’t know the ins and outs of tour life if they’ve not experienced it before so you won’t be the only one trying to figure it all out. Secondly, you’re in that cast for a reason. Don’t ever doubt your place there. Even if you sometimes feel a bit in over your head. Thirdly, ask about putting your case on the truck! Sometimes they let you, sometimes they don’t but it’s so much easier to take your essentials in your rucksack on the train and to let your case be taken on the tour trucks from venue to venue. Saves you lugging it from city to city. Finally, REST! It’s SO tempting, especially near the beginning of a tour to go all out, partying hard and staying up till the wee hours to socialise. Take it easy. Pace yourself. Remember you’ve got a lot of time ahead of you for that! <3 

P.S. Congratulations on the job! You’re gonna do so well, I just know it! <3

xxx

View Bio on Official Site

An eighth generation Eastern Kentuckian, ASHLEY JUDD [Natalie Prior] first proved her acting abilities in her debut feature film role as Ruby Lee Gissing in Victor Nunez’s internationally acclaimed Ruby In Paradise. Having won major acting awards worldwide, Judd has demonstrated her range in a variety of genres and is a proven box office draw.

Most recently, Judd appeared in Dolphin Tale 2, the sequel to 2011’s hit family film Dolphin Tale. Judd reprised her role as Lorriane Nelson alongside Morgan Freeman, Harry Connick Jr., and Kris Kristofferson. This year Judd also starred in Big Stone Gap, directed by Adriana Trigiani with Jane Krakowski, Patrick Wilson, Jenna Elfman and Whoopi Goldberg.

Most recently, Judd appeared in Dolphin Tale 2, the sequel to 2011’s hit family film Dolphin Tale. Judd reprised her role as Lorriane Nelson alongside Morgan Freeman, Harry Connick Jr., and Kris Kristofferson. This year Judd also starred in Big Stone Gap, directed by Adriana Trigiani with Jane Krakowski, Patrick Wilson, Jenna Elfman and Whoopi Goldberg.

Most recently, Judd appeared in Dolphin Tale 2, the sequel to 2011’s hit family film Dolphin Tale. Judd reprised her role as Lorriane Nelson alongside Morgan Freeman, Harry Connick Jr., and Kris Kristofferson. This year Judd also starred in Big Stone Gap, directed by Adriana Trigiani with Jane Krakowski, Patrick Wilson, Jenna Elfman and Whoopi Goldberg.

In 2011, Judd co-starred with Patrick Dempsey and Tim Blake Nelson in the independent film Flypaper written by Jon Lucas and Scott Moore and directed by Rob Minkoff. Judd portrayed a bank teller caught in the middle of two simultaneous robberies, while Dempsey attempted to save her from danger.

In January 2010, Judd co-starred with Dwayne Johnson in the 20th Century Fox comedy and fantasy film Tooth Fairy as the wife of a hard-hitting minor-league hockey player who is sentenced to one week’s tooth fairy duty after telling his daughter tooth fairies aren’t real.

In 2009, Judd starred in the independent film Helen, written and directed by Sandra Nettlebeck. This dramatic story revolved around a music professor named Helen (Judd) who suffered from a deep, debilitating depression and the only one who could relate to her pain was a young female student. Helen premiered at the 2009 Sundance Film Festival and was released in theatres on July 30, 2010.

Judd starred in the feature film Come Early Morning in 2006, written and directed by actress Joey Lauren Adams; and in the Lionsgate film BUG, as a lonely, paranoid, and traumatized recluse. BUG was written by Tracy Letts, and based on his play of the same name and directed by William Friedkin. The film won the International Press Award in Cannes in 2006 and Judd’s performance generated a considerable amount of critical acclaim. The film was embraced by critics and audiences at the Sundance Film Festival as well, which was Judd’s first time at the Festival since her debut in Ruby In Paradise.

On the small screen, Judd appeared as the focus of the National Geographic documentary featuring her travels to India in early 2007 on behalf of her ongoing commitment as Global Ambassador for YouthAIDS. The documentary aired on December 1st, World AIDS Day. In 2006, a similar documentary aired on The Learning Channel that featured Judd’s travels to Central America with her friend, colleague, actor, feminist, and human rights activist Salma Hayek.

In 2004, Judd delivered a heartfelt, emotional performance as socialite Linda Lee Porter in the MGM Studios, Cole Porter bio-pic, De Lovely, for which she earned a Golden Globe® nomination. The film chronicled their marriage, which inspired such famous Cole Porter tunes as “Anything Goes.” De Lovely premiered at the Cannes Film Festival.

In early 2004, Judd starred in Twisted for director Philip Kauffman; as well as starred on Broadway for six months in the leading role of Maggie in Tennessee Williams’ Cat on a Hot Tin Roof. Cat on a Hot Tin Roof was produced by Bill Kenwright and directed by Anthony Page and was a success by all standards.

Judd had a very successful and diverse 2002. She had a small, but significant appearance as Tina Modotti in the Julie Taymor directed bio-pic of Frida Kahlo. In addition, Judd had a strong supporting role in The Divine Secrets Of The Ya-Ya Sisterhood starring amongst an impressive cast including Sandra Bullock, Ellen Burstyn, Maggie Smith, and James Garner. The film was directed by Callie Khouri and was based on the best-selling novel of the same name by Rebecca Wells.

She also starred in 20th Century Fox’s High Crimes which re-teamed her with Kiss The Girls co-star, Morgan Freeman. The film was written by Joseph Finder and directed by Carl Franklin. Also for 20th Century Fox, Judd starred with Greg Kinnear and Hugh Jackman in Someone Like You for director Tony Goldwyn. With a turn to the romantic comedy genre, Judd portrayed a producer of a popular day time talk show who had a romance with the show’s executive producer.

Judd’s other film credits include Where The Heart Is, opposite Natalie Portman; Bruce Beresford’s box-office success Double Jeopardy, opposite Tommy Lee Jones for Paramount; as well as Eye Of The Beholder with Ewan McGregor. Judd also starred in Walt Disney Pictures’ 1998 drama Simon Birch, based on the John Irving novel, A Prayer for Owen Meaney.

In 1997, Judd starred opposite Morgan Freeman in Paramount Pictures’ box-office hit Kiss The Girls; as well as MGM’s The Locusts, in which she co-starred opposite Vince Vaughn and Kate Capshaw. Judd was also seen in Michael Mann’s Heat, for which she won critical acclaim opposite Robert DeNiro, Al Pacino, and Val Kilmer. In the summer of 1996, she appeared in Joel Schumacher’s A Time To Kill, opposite Samuel L. Jackson, Sandra Bullock, and Matthew McConaughey. In late 1996, she was seen starring opposite Luke Perry in John McNaughton’s black comedy Normal Life. Also in 1996, Judd received an Emmy® nomination and a Golden Globe® nomination for her portrayal of Norma Jean Dougherty in HBO’s Norma Jean & Marilyn.

Judd made her debut theatre performance in the Naked Angels’ production of Busted, directed by Timothy Hutton. She then went on to star as Madge on Broadway in William Inge’s Pulitzer-prize winning play, Picnic at the Roundabout Theatre Company; while simultaneously filming an unforgettable supporting role in the Miramax Film Smoke, portraying the daughter of Harvey Keitel and Stockard Channing.

She is also on the board of directors for PSI (Population Services International). Judd joined PSI as board member in 2004 after serving as Global Ambassador for PSI’s HIV education and prevention program, YouthAIDS since 2002. Judd has visited PSI programs in Thailand, Cambodia, Madagascar, Kenya, South Africa, Guatemala, Honduras, Nicaragua, El Salvador, India, Rwanda and the Democratic Republic of Congo. In her work, she witnesses the lives of the exploited and poor to help educate the world about the reality of global poverty and bring solutions to the devastating effects of social injustice and gender inequality.

Judd was the subject of three award-winning documentaries aired in more than 150 countries worldwide on VH1, The Discovery Channel, and The National Geographic Channel. In her role as PSI board member, she has graced the covers of countless magazines and been the subject of newspaper and television interviews bringing vital awareness to issues closest to her heart, gender inequality and poverty alleviation. Judd has visited legislators on Capitol Hill, addressed the General Assembly of the UN on the scourge human trafficking, spoke at the National Press Club, testified before the Senate Foreign Relations Committee for the protection of vulnerable women from violence, sexual abuse and HIV, and, most recently, served as an expert panelist at Clinton Global Initiative to discuss the issue of safe water and the empowerment of girls in the developing world. PSI is a DC based nonprofit organization operating in more than 65 countries. With programs in malaria, reproductive health, child survival and HIV, PSI promotes products, services and healthy behavior that enable low-income and vulnerable people to lead healthier lives.

She is also a spokesperson for the organizations Defenders for Wildlife and The Sierra Club, providing her time and voice to advocate against practices of aerial wolf hunting (Defenders for Wildlife), and mountaintop removal coal mining (The Sierra Club).

A Phi Beta Kappa nominee and Honors Program student of the University of Kentucky with a major in French and four minors, Judd studied the Meisner technique in acting when she first went to Hollywood. In May 2010, Judd received her Mid-Career Masters in Public Administration from Harvard University’s John F. Kennedy School of Government.

Judd resides in Tennessee with her beloved pets and enjoys a quiet, rural life.

Watch on comeonyoumightyreds.tumblr.com

This was such an excellent speech by Everton Chairman Bill Kenwright. 

Justice for the 96

Bill Kenwright on Mikel

You mentioned the Everton family and you’ve done countless deals buying players, selling players. How difficult is it for you Bill when players like Tim Cahill and Mikel Arteta who are personal friends of yours move on from the football club?

“Very difficult it’s very difficult but you know the main thing you have to be in any kind of dealing is fair I believe. And Mikel of all the players, all the footballers I’ve got to know over a life that has been blessed in getting to know footballers is right up there. Right up there with the very very best, on the pitch where I worshipped him and off the pitch where I worshipped him just as much. An extraordinary man and an extraordinary footballer; gifted in every way. But he let it known that he really wanted that opportunity and he spoke to me and he was very very emotional; incredibly emotional. He said ‘I know I’m not going to get what I have here, I just know that, but I do want the opportunity.’ He said ‘I think my time has come, I just want that opportunity for Champions League and to play at another club because maybe now is the time.’ But Mikel Arteta again he and I spoke I think it was well after 1 o’clock in the morning when he just left Goodison he was really emotional but he left with his head held high. As you can see from the adoration he gets from Evertonians still and all Evertonians should know he’ll always text before a big game or text a celebration ‘Come On You Blues’. I think he’s doing a great job at Arsenal and I hope he’s really really happy at Arsenal. But I know there’s a big part of his heart that’s a Blue. Funny enough Tim and Mikel where a pair and they were like brothers those two so consequently saying goodbye to both of them was extraordinary. 

Starlight Express 2012 - a review

I should put my cards on the table. My youth was largely misspent in the standing section at the back of the Stalls of the Apollo Victoria, where for £7.50 and a return ticket to London Victoria, you could see an exciting, literally fast paced spectacle with a different permutation of cast every time. Though by the year 2000 the running order, and its contents, bore only a faint resemblance to the show that opened in 1984(with well over a dozen songs added or removed), the magic of the original production remained. This new production carries on the show’s tradition of evolution, and is almost entirely successful.

The core story is a simple one. A child dreams that Greaseball, the winner of the World Championship Railroad Race, is challenged by newcomer Electra for the title. When underdog Rusty announces his intention to compete in the same race, he is mocked by the other engines – how can a freight shunter from the sidings hope to beat the reigning champion and powerful challenger? I hope it doesn’t spoil the ending for anyone when I say that of course he does, and finds love on the way.

The updated score features new arrangements, new to the 2003 US tour “Whole Lotta Locomotion”(which the eagle eyed – or perhaps I should say, beagle-eared – will recognise as “The Beauty Underneath” from Love Never Dies), and the entirely new “I Do”, a replacement love song for Rusty and Pearl. I wish I could say that I enjoyed Alastair Lloyd Webber’s contribution to the ever-changing score, but sadly I found it dull, repetitive and about 3 times too long. The We Will Rock You style clap-clap-punch(yes, in a love ballad) provides some surreal comic relief in the middle, but I hope the song will be overhauled before too long.

The cast are magnificent, and make skating look as natural as walking at the same time as belting out the rocky score and acting their anti-blister padded socks off. As well as trick skaters Matt King and Tristan Adams, Mykal Rand and Amanda Coutts get a special mention for making it look like anyone could chaine casually across the stage on two wheels from each foot and sweep into triple sur le coup de pied pirouettes on two wheels if they felt like it. All bar one of this company have performed in the show before, and their experience shows.

Some of the costumes date from 1993, and you can tell. The Red Caboose is distinctly pink, and the Coaches’ Vegas showgirl style outfits chime uncomfortably in a show that is, after all, largely aimed at children. There’s not much they can do though, as the races are pre-recorded 3D sequences with the same costumes shown in HD detail.

New lighting design and background animation come courtesy of Nick Richings and Mark Howett. Richings has clearly studied the larger productions, as within his imaginative design two LX bars are flown to simulate the Bridge(which, being 6 and a half tonnes of Meccano, cannot tour), adding texture and atmosphere to the otherwise mostly black box set. During the Starlight Sequence the onstage lights rotate beams of white light with which to stab the audience in the eye, an authentic part of the experience usually achieved with lasers and disco balls. The background animation is part backdrop, part Rorschach ink blot test. It plays more or less constantly, and does on occasion distract from the action. I particularly liked the sepia toned image of the freight yard.

This is a great little new production, and it looks like the start of something big. Who knows – after the Olympics, there might be a velodrome going spare that it could move into.