alex jennings

This Crazy Fan Theory About ‘Jeopardy!’ Actually Makes Total Sense

Okay, so the three contestants on each episode of Jeopardy! embody the conflicting forces of Past, Present, and Future, who are waging an eternal war for dominance over the universe’s matter and energy.

The podiums they stand behind are the looms that weave the tapestry of existence, and the board is the spinning wheel that forms the thread of possibility.

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Last week I went to see the 60th anniversary production of My Fair Lady at the Sydney Opera House. It was directed by Julie Andrews and everything was faithful to the original production with the sets and costumes replicated exactly. The Ascot scene was magnificent. The cast was led by Alex Jennings who was the perfect Henry Higgins. I have been watching him in a lot of things lately and was quite chuffed that I got to see him live. Eliza was played by Anna O’Byrne who has a brilliant voice. Her exuberance when she had finally mastered her accent was a joy to watch. I feel quite privileged to have the chance to see this production.

Sherlock and Spectre’s Andrew Scott has joined the cast of Mick Jackson’s Denial, an adaptation of  Deborah E Lipstadt’s History On Trial: My Day In Court With A Holocaust Denier.

The book recounts Lipstadt’s legal battle for historical truth against David Irving, who accused her of libel when she declared him a Holocaust Denier: in the English legal system, the burden of proof is on the accused; therefore, it was up to Lipstadt and her legal team to prove the essential truth that the Holocaust happened. Scott joins the cast in the role of solicitor Antony Julius.

Rachel Weisz (who replaced Hilary Swank), Tom Wilkinson and Timothy Spall lead the cast, alongside Caren Pistorius, Jack Lowden, Alex Jennings and Harriet Walter.


The Habit of Art Production Images


‘Performances of comic perfection.’ Daily Telegraph

National Theatre Live’s 2010 broadcast of Alan Bennett’s acclaimed play The Habit of Art, with Alex Jennings, Frances de la Tour and the late Richard Griffiths, returns to cinemas as part of the National Theatre’s 50th anniversary celebrations.

Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by, amongst others, their future biographer and a young man from the local bus station.

Alan Bennett’s play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion’s spent: ultimately, on the habit of art. 

Photos by Johan Persson