The bestselling novelist likes to pack her books in cheek-by-jowl.
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Forget about socialites eating cheek by jowl with secretaries, bank heads alongside barbers.
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Office workers in pressed shirts and builders in orange jumpsuits sit cheek by jowl.
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So the city's population rose—a lot—leaving New Yorkers once more cheek by jowl.
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In both it's fighting cheek by jowl with the likes of Amazon, Google and many more.
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You are expected to stand, cheek by jowl with your fellow circusgoers, for the show's duration.
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But he does manage to capture the tragicomedy of four struggling clubs living cheek by jowl.
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Bears and humans typically live cheek by jowl with few problems but tragedy has struck before.
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Old lighting rigs sit cheek by jowl with model spacecraft, dinosaur skulls next to lunar atlases.
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One that speaks to the loneliness you can feel living cheek by jowl with other people.
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But though Esplanade and Aventura sit cheek by jowl, the two have not always been neighborly.
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On this land, two families work cheek-by-jowl in 1940s Mississippi, but in vastly different circumstances.
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Down the slope ahead of him, 500 black Drakensberger and mottled Nguni cows graze cheek by jowl.
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Workers unable to stay in hotels or RV parks are living cheek by jowl in rented houses.
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Gossip lives in the shadows, sitting cheek by jowl, with every lewd, harassing, inappropriate behavior out there.
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The very poorest Californians, by comparison, are in the agricultural areas, not cheek by jowl with the opulent.
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There's a kind of energy when you're sitting stool to stool, cheek by jowl, asking for the ketchup.
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There's a kind of energy when you're sitting stool to stool, cheek by jowl, asking for the ketchup.
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Because whether in cheek-by-jowl metropolises or intimate neighbourhoods or small towns that answer is both absurd and unwanted.
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These communities live "cheek by jowl, but in separate worlds," John Brewer, a sociologist at Queen's University Belfast, told me.
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Images of ugliness cheek by jowl with images of honor, photos of fury side by side with pictures of love.
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Philippines Prisoners live cheek by jowl in Manila's Quezon City Jail, one of the most densely populated corners of the Philippines.
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He sent the play to his associate director, Declan Donnellan, then on tour in Brazil with his company Cheek by Jowl.
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THE cliché of luxury penthouses and Gucci stores cheek-by-jowl with filth and poverty is usually reserved for poor-world entrepôts.
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They would have been far safer from coronavirus at home than in a large open ward, cheek by jowl with the infected.
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A few lesser-known names, including the intriguing Israeli painter Yigal Ozeri, hang cheek-by-jowl with marmoreal interiors and ghastly cityscapes.
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For the past half century, he has painted in the rustic space, cheek by jowl with the picturesque antique elevator wheel and cables.
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It is unusual for an arts ensemble to sit cheek-by-jowl with such organisations, but the proximity serves Mr McGregor's restless curiosity.
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Like you, I need my personal space, and when I'm crammed cheek-by-jowl with commuters on a train, I find it suffocating.
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More than 286,2129 inmates -- and counting -- live cheek by jowl in what has to be one of the most densely populated corners of the Philippines.
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Forced to make life anew, they live cheek by jowl with Palestinian families who have eked out a living there since the camp's creation in 1949.
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Those opening sounds so filled the house that you felt as though you had been transported into an orchestra pit, cheek by jowl with the players.
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Hindus, Muslims and members of smaller religious minorities live cheek-by-jowl in Jewar, typical for towns and cities in Uttar Pradesh, Indian's most populous state.
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It was, Mr. Donnellan recalled, "a very small show, the size of any other Cheek by Jowl show" — just eight actors on a fairly bare stage.
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In the western Galilee, where Jews and Arabs live cheek-by-jowl, relations between the two communities tend to be more amicable than flashpoints such as Jerusalem.
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And the European troupe Cheek by Jowl, in partnership with the Pushkin Theater, will stage a breakneck-speed take on Shakespeare's "Measure for Measure" (Oct. 16-20).
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Building and maintaining products in the cloud for multinational firms (and for the American government) might similarly require tech firms to operate cheek-by-jowl with business partners.
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But within its walls, crated or sealed cheek by jowl in cramped storage vaults, are more than a million of some of the most exquisite artworks ever made.
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A photograph in a slide show on the website of Xinhua showed cheek-by-jowl crowds beneath an outdoor archway at the Sun Yat-sen Mausoleum in Nanjing.
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Yet, like a James Joyce short story in which the everyday and the eternal live cheek by jowl, "The Ferryman" seems to sprawl over an entire, divided country.
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He's particularly drawn to the architecture of former Soviet states like Georgia, Kazakhstan, and Ukraine, where monolithic, communist-era apartment towers stand cheek by jowl with postmodern skyscrapers.
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In its sleek, unfussy dining room, glamour and grit sat cheek by jowl, and going to the bathroom to powder your nose could mean one of two things.
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Such cheek-by-jowl competition could breed the sort of resentment from which world wars are made and yet, the atmosphere is friendly, frenetic, jocular, and tangibly male.
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Given a choice between a cheek-by-jowl existence down here and indecent luxury up there, many might accept the risks of starting a new life in the heavens.
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It is because they are probably the only members of the leadership class who have lived cheek by jowl, day in day out, with people from every class of society.
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The vicissitudes of cheek-by-jowl urban housing are the subject of Ellen Maddow's "Burnished by Grief: A Romantic Comedy," a mildly morbid but irrepressibly effervescent lark at La MaMa.
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The typically immersive feel sees sculpture by Dorothea Tanning sit cheek-by-jowl with Anni Albers tapestries and jewelry, West African textiles and photography by Malick Sidibé and Irving Penn.
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At the center of Crocodile is a gallery containing over 20 variously sized paintings, all created between 2014 and 19903 and hung cheek by jowl in a line around the room.
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In Khayelitsha, tens of thousands of people live cheek by jowl in a squalid sea of shacks - unnumbered homes on nameless streets, perfect conditions for criminals and a nightmare for police.
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Many listeners were cheek-by-jowl with the young singers, as close to opera-in-the-making as could be, and it was a captivating experience: immersive (the company's word), almost voyeuristic.
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Supposedly set in "a spoOoOoky town in mythical Connecticut where inequality reigns," the world of the play feels exactly like, you know, Bushwick, with its tenements and wine bars cheek by jowl.
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Ambient works by the contemporary Icelandic composer-producer Valgeir Sigurdsson sit cheek by jowl with five-part Renaissance counterpoint in which, through the magic of multitracking, Mr. Byrne plays every single line.
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But its high rents mean that about half the city's 22 million inhabitants live in slums, their shacks and open drains sitting cheek by jowl with gleaming high-rise apartments and luxury cars.
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They are a throwback to an era of embellishment — scores of exuberant faces positioned cheek by jowl, sometimes literally; angels and sea monsters; griffins and goddesses; smiling cherubs and stern knights in helmets.
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Some are wonderful, but in keeping with Ms. Kusama's habit of accumulation, they are hung cheek by jowl and guarded by a line of infantile, toylike sculptures, which makes it hard to tell.
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In addition to his own company, Cheek by Jowl, he founded a troupe in Moscow in 2000, and has found a third home in France, where he is well-known for his punchy ensemble work.
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The decision to allow 86,000 to sit cheek by jowl at the MCG on Sunday was seen in a new light after the disclosure that one of the spectators had tested positive for the virus.
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And nowhere is the trend as stark as in the airline industry, whose service is delivered in an aluminum tube packed with up to four different classes, cheek by jowl, 35,000 feet in the air.
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Watch Ivan Watson's Facebook Live from deep inside Quezon City jail More than 4,303 inmates -- and counting -- live cheek by jowl in what has to be one of the most densely populated corners of the Philippines.
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And one of the biggest storms in years was bearing down on Odisha, one of India's poorest states, where millions of people live cheek by jowl in a low-lying coastal area in mud-and-stick shacks.
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In a run-down building in downtown Johannesburg that feels more like Addis Ababa than South Africa's commercial capital, Eritreans and Ethiopians work cheek by jowl in shops selling everything from coffee and spice to music and clothes.
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Other prisons around the country are facing similar problems; when CNN visited a Quezon City jail in 2016, more than 2783,000 inmates were living cheek by jowl in one of the most densely populated corners of the Philippines.
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For instance, Coke Zero and other no-calorie drinks from Coca-Cola are now standing cheek by jowl with traditional Coca-Cola, Powerade and other beverages on eye-level shelves at the Ideal Food Basket in Bed-Stuy.
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The two genes are nearly identical: they likely descended from a common ancestor millions of years ago, and now sit cheek by jowl on the genome; together, they're called C24 genes, and they come in four common variants.
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BANGKOK (Thomson Reuters Foundation) - In Phrom Samrit, a squatter settlement along a major canal in Bangkok, most of the 6.9600 households live cheek by jowl and have become used to floods after living next to water all their lives.
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And it's a welcome return; there's a palpable energy as everyone races across the set, so cheek by jowl that nothing goes unseen — Madison catches Yael kissing Coleman; and Tiffany and Chet nearly disrupt filming with a balcony tryst.
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The Mattachine party, named for the gay rights organization that held an early protest at Julius', was about to begin, and a younger, arty crowd was beginning to arrive, cramming themselves cheek by jowl with the older happy-hour crowd.
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Yet in Declan Donnellan and Nick Ormerod's vivid and uncommonly moving "Measure for Measure" — the Pushkin Theater Moscow/Cheek by Jowl production that's part of the Brooklyn Academy of Music's Next Wave Festival — she is not so easy to fault.
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It was once assumed that future professionals were sourced mostly from the asphalt streets of Merseyside, the mining and shipbuilding communities in the North East or cheek-by-jowl East London; increasingly, though, south London is England's hotbed of talent.
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I came to know the boardwalk, the cheek-by-jowl bungalows, the bagel shops and barnacle-encrusted jetty rocks, the ivory gulls with their sidelong appraising looks, the jetliners passing overhead in the clear autumn skies, headed for Kennedy Airport.
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Anyone who regularly suffers the ignominy of economy-class flying knows that there is no finer feeling than discovering that a flight is half empty and that there is no need to sit cheek-by-jowl with fellow members of the hoi polloi.
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CHEEK-BY-JOWL WITH BOKO HARAM Now, most day-to-day security in Maiduguri and the refugee camps that surround it falls to black-clad CJTF members patrolling entrances to markets or sitting behind sandbag barricades with machetes, muskets and bows and arrows.
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As night settled over southeast Bangladesh, where fragile shelters of black tarp and bamboo rose cheek by jowl on narrow terraces hacked from a once verdant hill outside the city of Cox's Bazar, the pain of the people living there was inescapable.
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Contact with foreigners and people from all parts of China made them cosmopolitan, and living cheek by jowl with neighbors made them into subtle long-term planners, capable of sidestepping day-to-day disputes while quietly plotting to further their own interests.
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In contrast, Schama marshals the Afro-Caribbean portrait photographer Charlie Phillips, who celebrated what was then the racially diverse neighborhood of Notting Hill, one of "the cheek-by-jowl districts of Powell's nightmares," where Schama, studying Talmud, used to hang out as a teenager.
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In a nation where residents tend to self-segregate according to political belief, this is a place where Democrats and Republicans often live cheek by jowl, and more or less agree to disagree amid this year's tight and agitated races for president, governor and Senate.
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While the images of Ronaldo and Messi were cheek-by-jowl near the Ramada Hotel along with a cheeky message challenging the Argentine to match his rival's goal tally in Brazil, Neymar has his own spot near the other official team hotel, the Mirage.
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Mr. Shore's sweeping scenes alternate the new and ancient, all under the same unremitting sun: cheek-by-jowl apartment buildings in the divided city of Hebron and historical, if not biblical sites: Mount Sodom, the Michmash Valley and the St. Sabas Monastery in the Judean Desert.
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In places like Philippi or Khayelitsha, the largest black shantytown about 30 km (18 miles) from the city center, tens of thousands of people live cheek by jowl in a squalid sea of shacks — unnumbered homes on nameless streets that are perfect for criminals and a nightmare for police.
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The royal couple visited The Justice Desk in Nyanga, a group that teaches self-defence and empowerment to vulnerable children, many of whom have suffered trauma - key skills in a place where thousands live cheek-by-jowl in a squalid sea of tin and wood shacks, and where violence is a daily reality.
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If eBay is a metastasizing megamall, it's one where slick, name-brand storefronts sit cheek-by-jowl with halfhearted garage sales, "junk drawer lots" of worthless oddments, and the sort of Weird Stuff, Really Weird Stuff, and Totally Bizarre Stuff (actual eBay categories) that wouldn't be out of place in a wunderkammer curated by John Waters.
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Thomas Ostermeier's reworking of "Richard III," from Berlin's Schaubühne Theater; "Measure for Measure" presented by the international touring company Cheek by Jowl with the Pushkin Theater of Moscow; and "Shake," a 1970s-set reimagining of "Twelfth Night" that is the brainchild of Dan Jemmett and his France-based company Eat a Crocodile, will be staged this summer.
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The cold comfort of Dada Africa is that it straightforwardly presents Dada paintings, sculptures, collages, photo-collages, letters, sound pieces, and photographs cheek by jowl with non-Western cultural objects, like the stunning "Masculine Figure" (late-19th century) from the Baoulé tribe of the artistically rich Ivory Coast once in the collection of Parisian art dealer Paul Guillaume.
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In 1989, Cheek by Jowl also produced Donnellan's own play Lady Betty, which was based on the true story of a hangwoman in the West of Ireland around the time of the French Revolution. Cheek by Jowl is notable for producing work in English, French and Russian.
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Nicholas Ronald Ormerod OBE (born 9 December 1951) is a British theatre designer and co-founder of the international theatre company Cheek by Jowl. In 1981 he founded Cheek by Jowl with Declan Donnellan, and they are the company’s co-artistic directors. In addition to his Cheek by Jowl productions, Ormerod has made theatre, opera and ballet with companies across the world. He studied law at Trinity College, Cambridge before studying for BA in theatre design at the Wimbledon School of Art.
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Cheek by Jowl is an Arts Council England National Portfolio Organisation and an Associate Company of the Barbican Centre, London. The company has performed in the UK since 1981 and internationally since 1984, when its productions of Vanity Fair and Pericles were invited to the Almagro, Valladolid, and Jerusalem festivals. Between 1985 and 1993, Cheek by Jowl performed 13 productions at the Donmar Warehouse. This marked the company’s West End debut, which led Cheek by Jowl to receive 4 Laurence Olivier awards out of 10 nominations.
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She was nominated for a 1994 Ian Charleson Award for her performance in William Shakespeare's Measure For Measure with theatre company Cheek by Jowl.
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"Unfolding landscapes", Cambridge University Library, 2003. According to Cambridge City Council, it "preserv[es] a sense of the cheek-by-jowl nature of the early town".
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As of 2017, Cheek by Jowl has performed in over 400 cities in over 40 countries, including Peter Brook's Bouffes du Nord in Paris, the Chekhov International Festival in Moscow and New York's Brooklyn Academy of Music. The core of Cheek by Jowl's work has always been Shakespeare; by the time of their production of The Winter's Tale in 2015, Cheek by Jowl had produced thirteen of Shakespeare's plays. The company has also consistently produced other classical works of European drama, both in translation and in their original language. Cheek by Jowl have given the British premiere of 10 works of European classics, including Le Cid, by Jean Racine and Andromaque, by Pierre Corneille.
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Declan Michael Martin Donnellan (born 4 August 1953) is an English film/stage director and author. He co-founded the Cheek by Jowl theatre company with Nick Ormerod in 1981. In addition to his Cheek by Jowl productions, Donnellan has made theatre, opera and ballet with a variety of companies across the world. In 1992, he received an honorary degree from the University of Warwick and in 2004 he was made a Chevalier de l'Ordre des Arts et des Lettres for his work in France.
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Declan Donnellan at Cheek by Jowl In 2010, he was made an honorary fellow of Goldsmiths' College, University of London. Donnellan was appointed Officer of the Order of the British Empire (OBE) in the 2017 Birthday Honours for services to theatre.
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Cheek by Jowl logo. Cheek by Jowl is an international theatre company founded in the United Kingdom by director Declan Donnellan and designer Nick Ormerod in 1981. Donnellan and Ormerod are Cheek by Jowl's artistic directors and together direct and design all of Cheek by Jowl's productions. The company's recent productions include an Italian-language version of Thomas Middleton's The Revenger's Tragedy, Russian-language productions of William Shakespeare's Measure for Measure and Francis Beaumont's The Knight of the Burning Pestle, an English-language production of The Winter's Tale and a French-language production of Shakespeare's Pericles, Prince of Tyre.
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Ormerod was born and grew up in London, England. He studied law at Trinity College, Cambridge before studying for a BA in theatre design at the Wimbledon School of Art. In 1981 Ormerod founded Cheek by Jowl with Declan Donnellan. The company has performed across the world, working in over 400 cities in 40 countries spanning six continents. Since 2006 Cheek by Jowl have been part of the Barbican’s International Theatre Program (BITE) resulting in co-productions of The Changeling (2006), Cymbeline (2007) and Troilus and Cressida (2008). In addition to his work with Cheek by Jowl, Ormerod designed the Royal Shakespeare Company’s productions of School for Scandal (1998) and King Lear (2002 Academy Production). In 2005, he co-wrote an adaptation of Charles Dickens’s Great Expectations (2005) for the Royal Shakespeare Company with Declan Donnellan. He designed Shakespeare's Troilus and Cressida for the Burgtheater, Vienna in 2000, and Falstaff for the Salzburg Festival in 2001.
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The basic plot was "the Tundishes, down-at-heel country aristocrats, are compelled to live cheek-by-jowl with the vulgar Belchers from Salford"Debbie Horsfield article in The Independent so simultaneously drawing on the English north-south divide and class divide.
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Fortunately, Owen landed a job with Cheek by Jowl and followed the theatre company on tour around the world performing Shakespeare plays. Owen has said that he wished he had gone to university, and that he had been "in too much of a rush"..
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Toni Morrison said Hubbub was 'a really extraordinary book', and that it had influenced her 2008 novel A Mercy. Hubbub is often included in academic bibliographies of seminal works in modern urban history and the history of everyday life. Cheek by Jowl. A History of Neighbours followed in 2012.
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She was Chair of the Bike Shed Theatre and a trustee of Headlong and Cheek by Jowl. She was a Clore Fellow, winner of the Clore Prize and voted by the Cultural Leadership Programme as a Woman to Watch. In 2017, Stenning was made an honorary Doctor of Letters by Bristol University.
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Parks > and avenues unanticipated by the plan have been created. The grid gave rise > to a particular kind of urbanism. Unlike Washington, D.C., and the capital > cities of Europe, New York does not have axial avenues that focus on star > buildings. New York has buildings that sit cheek by jowl and anonymously > form street walls.
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Unlike most South Wales Coalfield villages, Hirwaun has an array of different architectural housing styles, often cheek-by-jowl in small blocks. This is due to developments to satisfy different needs at different times, with much gentrification in the last few decades. So Hirwaun has a discontinuous, hotch- potch feel to it that marks it out as unusual in the South Wales Valleys.
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The theatre's foyer was extended in 1986 but facilities were limited. Among those who appeared at the theatre were Zoë Wanamaker, Stephen Mangan, Fiona Fullerton, Prunella Scales, Tom Watt, Sandra Payne, Philippa Urquhart, David McAlister, Christopher Cazenove, Angharad Rees, Lisa Bowerman, George Waring, Sean Bean, Ian Bartholomew, Stephanie Turner, Gareth Thomas, Christopher Timothy, Maureen Lipman, James Bolam, Bernard Holley, David Hargreaves, Jack McKenzie, Simon Callow, William Gaunt and Rachel Kempson, the widow of Sir Michael Redgrave. The theatre company Cheek by Jowl premiered its production of As You Like It at the theatre in July 1991 before a run at the Lyric Theatre in Hammersmith.Production of As You Like It (1991) – Cheek by Jowl website A 1991 production of The Seven Descents of Myrtle at the Redgrave starring Kit Hollerbach as Myrtle and Stephen Hattersley as Chicken led to Hattersley winning Best Actor 1991 in the TMA Awards for his performance.
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In November 2011, Variety reported that Disney Theatrical Productions intended to produce a stage version of the film in London with Sonia Friedman Productions. The production was officially announced in November 2013. Based on the film screenplay by Norman and Stoppard, it was adapted for the stage by Lee Hall. The production was directed by Declan Donnellan and designed by Nick Ormerod, the joint founders of Cheek by Jowl.
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New York: New Directions, 1996. 26. He drew or painted nearly every day of his life, and his notebooks contain drawings and pasted-in illustrations and photos cheek by jowl with his own observations and other writings and quotations from others. From college forward, Davenport supplied cover art and decorations to literary periodicals. He also supplied illustrations for others' books, notably two by Hugh Kenner: The Stoic Comedians (1962) and The Counterfeiters (1968).
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Clifford played Octavius Caesar at the Lyric Theatre, Hammersmith, in London in 2005. He then went on to work for the Cheek by Jowl theatre company, in the classical play, The Changeling at the Barbican theatre in London. Clifford toured with The Changeling on an extensive European tour in 2006, where it was awarded Best Foreign Play 2006 in Spain. From that period onwards, he worked periodically with the English theatre and film director and innovator, Peter Brook.
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The lure of the low-life for those in established social strata has been a perennial feature of western history: it can be traced from the Neronian aristocrat described by Juvenal as only at home in stables and taverns–“you'll find him near a gangster, cheek by jowl, mingling with lascars, thieves and convicts on the run”Gilbert Highet, Juvenal the Satirist (1962) p. 115–through the Elizabethan interest in cony-catching,B. Ford ed., The Age of Shakespeare (1973) p.
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He has also worked with Cheek by Jowl, Theatre Set Up and the National Theatre (including Turgenev in Tom Stoppard's The Coast of Utopia in 2002). He was an acclaimed Earl of Leicester in the 2005–06 Donmar Warehouse production of Schiller's Mary Stuart, which transferred to the West End. He had previously played the same character in the 1986 film Lady Jane. From December 2008 to March 2009 he appeared as Andrew Aguecheek (alongside Derek Jacobi) in the Donmar: West End production of Twelfth Night.
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Recorded in the key of E-flat major, it has since become a jazz standard; in addition, harmonically it conforms to the structure known as rhythm changes, a well known kind of composition for jazz musicians. It is often played for the amusement of audiences as part of a medley, forming what is referred to as "jazz humor". The International Association of Jazz Record Collectors refer to it as "campy" and "cheek by jowl". Often performed at an exhilarating pace, it is technically challenging for some.
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Oliver Boot (born 1979) is an English actor. He trained at the RADA, and has appeared on both stage and screen. His theatre credits include Antony and Cleopatra, In Extremis (in the role of Abelard),"In Extremis" -The Stage News Three Musketeers, Hayfever, Tartuffe, Jamaica Inn"Jamaica Inn" - The Stage News and an award winning world tour of Othello with Cheek by Jowl. He has starred as Demetrius in Shakespeare's A Midsummer Night's Dream and as Ventidius in Timon of Athens, at the Globe, in London.
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The Bromleys were a landed gentry family in a county without a resident aristocracy and dominated throughout the century by the gentry.Coulton, p.40 However, their estates were not large: their wealth came from their use of their education and contacts to tap into the opportunities for enrichment offered by the State, both national and local. George Bromley was the heir to the family estates, the most substantial at Hawkstone, near Hodnet, where they lived cheek by jowl with the Hills, their closest allies.
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Like Homer's æthere (αἰθήρ)the "pure air" of Mount Olympuswas the divine counterpart of the air breathed by mortal beings (άήρ, aer). The celestial spheres are composed of the special element aether, eternal and unchanging, the sole capability of which is a uniform circular motion at a given rate (relative to the diurnal motion of the outermost sphere of fixed stars). The concentric, aetherial, cheek-by-jowl "crystal spheres" that carry the Sun, Moon and stars move eternally with unchanging circular motion. Spheres are embedded within spheres to account for the "wandering stars" (i.e.
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Hollander won the 1992 Ian Charleson Award for his performance as Witwoud in The Way of the World at the Lyric Hammersmith Theatre. He had been nominated and commended the previous year for his Celia in an all-male production of As You Like It for Cheek by Jowl and was again nominated and commended for his Khlestakov in The Government Inspector at the Almeida Theatre in 1997. He had also received a special commendation for his 1996 performance of the title role in Tartuffe at the Almeida Theatre.Wright, Michael.
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2009 saw an important development in the appointment of Struan Leslie as Head of Movement at the Royal Shakespeare Company. This was the only official Head of Movement position within a British theatre company at the time. Many contemporary movement directors have established long running relationships with certain companies, with whom they have created a shared body of work and working methodology. These are for example Jane Gibson with Cheek by Jowl, Kate Flatt and Struan Leslie with Katie Mitchell at the National Theatre and English National Opera, and Liz Ranken with Shared Experience.
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In the second story, he appeared alongside Jason Hughes, who plays Detective Sergeant Ben Jones; Richard had previously appeared with Jason Hughes in an episode of the cult BBC 2 TV series This Life, where he played Phil, a friend of Hughes's character Warren. Other television appearances include The Way We Live Now, Bleak House, Gimme Gimme Gimme, and Gunpowder Treason and Plot. In 2007 he appeared in an episode of Doctor Who, "Blink". He has worked on stage for The National Theatre, RSC, Royal Court, Cheek by Jowl, and Sheffield Crucible.
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About 6.67% of the adults held one or more university degrees. Most residents were homeowners. In 1996 the Dallas Observer described the district, which had "urban demographics" and a location "a few minutes from downtown Dallas," as having an "incongruous rural feel" with "pig farms sit cheek by jowl with burglar-barred houses in sprawling subdivisions built 25 or 30 years ago" within the Dallas portion of Wilmer-Hutchins ISD. Korosec stated that the residents blamed the poor performance of WHISD for the fact that nobody established new businesses and houses within the district boundaries.
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Foote, Timothy, "License in the Park", Time, 23 August 1976, p. 57 In April 1981 director Michael Rudman presented a version with an all-black cast at London's National Theatre. Rudman re-staged his concept at the New York Shakespeare Festival in 1993, starring Kevin Kline as the Duke with André Braugher as Angelo and Lisa Gay Hamilton as Isabella. Between 2013 and 2017, theatre company Cheek by Jowl staged a Russian-language version of the play in association with the Pushkin Theatre, Moscow, and the Barbican Centre, London.
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Here dwelt the Ashley's, Walt Liebscher, and Jack Weidenbeck, and later noted science fiction author E. Everett Evans. They all moved en masse on September 7, 1945, to another site on Bixel Street, Los Angeles, cheek by jowl with the LASFS (Los Angeles Science Fantasy Society) clubroom. (It was the ground floor of a duplex next door. Its upper floor, “Slan Shack Annex”, was rented occasionally to struggling fen and pros.) The place didn't break up till the building was torn down in March 1948 to make room for an office building.
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The 2004 production, directed by Jon Ciccarelli, embraced the fairy tale aspect of the story and produced a colourful version with wicked step-mothers, feisty princesses and a campy Iachimo. The 2014 version, directed by Rachel Alt, went in a completely opposite direction and placed the action on ranch in the American Old West. The Queen was a southern belle married to a rancher, with Imogen as a high society girl in love with the cowhand Posthumous. In a 2007 Cheek by Jowl production, Tom Hiddleston doubled as Posthumus and Cloten.
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After completing his training at LAMDA, Waldmann began his career in 2004 playing the role of Leto, in Fishbowl,Spotlight: Alex Waldmann. directed by Paul Higgins, at Theatre 503. Since that time he has played a large number of roles in regional theatre. A break through came in Waldmann's career when he landed the role of Troilus, in Shakespeare's play Troilus and Cressida, with Cheek by Jowl, at the Barbican in 2008, directed by Declan Donnellan. The play received positive reviews,Michael Billington, The Guardian, 29 May 2008 and went on to tour in Europe after finishing its run in London.
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A private equity group purchased the company in 1985, and began relocating operations elsewhere. In 1987, the Gilbert & Bennett site was included as part of the Georgetown Historic District listing on the National Register of Historic Places. In a 1987 nomination document for the National Register of HIstoric Places, proponents cited Gilbert & Bennett as an "anachronism" in the history of U.S. industry and labor. "Peaceful, tree-lined residential streets converge on a functioning industrial complex; well- preserved historic houses stand cheek-by-jowl with modern factories; the deteriorated slum neighborhoods associated with modern industry do not exist," the nomination states.
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Other work in Russia includes The Winter's Tale for the Maly Drama Theatre of St. Petersburg in 1997. With Cheek by Jowl he and Donnellan have produced further work in Russian including The Tempest with the Chekhov Festival and Measure for Measure in a co-production with Moscow's Pushkin Theatre. Ormerod was nominated for the Laurence Olivier Award Designer of the Year in 1988 for A Family Affair, The Tempest and Philoctetes and won the Corral de Comedias Award with Donnellan in 2008. He directed the 2012 film Bel Ami, an adaption of the Maupassant novel.
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One conspicuous gap in the otherwise cheek-by-jowl buildings came about in the 1960s on the corner of Marktstraße and Metzgergasse on the north side of the Castle Square (Schlossplatz) when the building that once housed the Worms Episcopal faïence factory was torn down. It had begun life as the Reigerspergischer Hof in 1592, and in 1689 it had withstood the great fire that had burnt the rest of the village down. Until its demolition, it was the village's oldest building. Since the foreseen replacement, a block of flats, was never built, the plot became a featureless carpark, mostly covered in gravel.
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The Almeida housed a producing company which commissioned and staged several theatre works and operas and was a London "receiving house" for Fringe, avant-garde, regional and international theatre productions. Touring companies from the UK were regularly hosted, including Complicité, Shared Experience, Joint Stock, Cheek by Jowl and the Leicester Haymarket, alongside international guest companies from the Philippines, Tibet, Israel, Ireland and Czechoslovakia. Stage directors of Almeida Theatre Company productions included Pierre Audi, Ian McDiarmid, Yuri Lyubimov, Tim Albery, Mike Bradwell, David Hayman, and Jean Jourdheuil. Works by directors Robert Wilson, Robert Lepage, Phelim McDermott, Julia Bardsley, Deborah Warner, Simon McBurney, Annabel Arden and several others were featured in Almeida presentations.
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A BBC spokeswoman said the remaining episodes will "definitely be shown", but that it was not yet known when: . Owen's film career has included appearances in short films, and supporting roles in The Republic of Love (2003) (as Peter),. which was based on a novel by Pulitzer Prize-winning author Carol Shields, and in Miss Potter (2006) (as a solicitor named William Heelis who married children's author Beatrix Potter).. However, Owen's first love has always been the theatre. Early in his professional career he was involved in the Cheek by Jowl productions of Philoctetes and the Shakespeare plays Macbeth, The Tempest and Twelfth Night.
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After leaving Cambridge, Doggart trained as a drama director at Central School of Speech and Drama. His production of Ms Lear—which radically re-interpreted King Lear as a neo-Thatcherite woman—performed at theatres in London and Amsterdam. On graduating, he directed productions for eminent British companies Cheek by Jowl (world tour of The Duchess of Malfi); Actors Touring Company (Ion by Euripides); Theatre Museum Covent Garden (Playing with Fire by August Strindberg) and Creation Theatre Company (Romeo and Juliet, which Doggart set in 18th century Ireland, with English Capulets and Irish Montagues). Doggart established himself as the leading translator/director of Latin American plays on the British stage.
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Alongside the parks and the many old trees, the large front gardens provided for in Robert Schmidt's plans for the houses help make the Moltkeviertel into a garden city, especially when seen from above. But in contrast to a garden city in the original form, in the Moltkeviertel there is no spatial separation of working and living areas. Rather the workplaces – primarily educational, medical, administrative, engineering consulting and legal practices – are cheek by jowl with residential buildings. In a publication of the Bund Deutscher Architekten (German Architects' Federation) and the city of Essen dated 2004 (see below) it is stated that the Moltkeviertel was originally planned for approximately 4,000 residents and approximately 3,000 workplaces.
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US Army newsreel of atrocities On 11 April, advance parties of the US 3rd Armored Division entered Nordhausen with little opposition. They found hundreds of dying prisoners lying amongst more than a thousand corpses, including many children and babies. Some had been dead before the air raid; others were burned to death or died after the air raid from neglect. The American soldiers were outraged; one wrote, "No written word can properly convey the atmosphere of such a charnel house, the unbearable stench of decomposing bodies, the sight of live human beings... lying cheek by jowl with the ten-day dead..." A 15 April report describes the camp as "the most horrifying example of Nazi terrorism imaginable".
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A reviewer in Literary Review described Cheek by Jowl as 'authoritative if heavy-going'; while The Telegraph noted that 'Cockayne does not marshal her subject particularly linearly ... [but] crisply accounts for our disappearing notion of neighbourliness'. In 2020, Cockayne published a history of recycling and material reuse entitled Rummage. The Guardian hailed Rummage as 'brilliantly original and deeply- researched', while The Sunday Times called it 'rich and meticulous'. In addition to her academic work, which has included contributions to the history of Magdalen College Oxford and essays on noise and deafness in Urban History and The Historical Journal respectively, Cockayne has written for Architectural Review; The Daily Telegraph; The Times; Times Literary Supplement; and The Wall Street Journal.
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Prior to his screen career, Rowland studied graphic design at the North Adelaide School of Art in South Australia and started his early working life as a designer and illustrator specialising in the arts. His list of freelance clients grew to include Sony (US), Womad (International) and Peter Gabriel (UK). He also held the position of Art Director with the Adelaide Festival of Arts (1987–93) a job which saw him work with some notable artists, including Peter Brook, 7th Earl of Harewood, Cheek by Jowl, Jan Fabre, Sankai Juku, Andy Goldsworthy, Winton Marsalis, the Kronos Quartet, Zubin Mehta and Pierre Boulez. He has won numerous awards for his design and illustration, including the 1992 AADC's Master's Chair.
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This was followed by Sulaiman Cole's production of a first ever West End Snoo Wilson premiere, "HRH", directed by Simon Callow, about the British Royal Family's Duke and Duchess of Windsor, which opened the day after the death of Diana, Princess of Wales. The play was harshly reviewed as anti-Royal. The theatre returned to life as a commercial receiving house with several seasons of Almeida Theatre and Cheek by Jowl productions, including the popular but critically panned premiere of David Hare's The Judas Kiss. Interior of the theatreSuccesses at the Playhouse since the late 1990s have included Naked (1998); J. B. Priestley's An Inspector Calls (2001) and Journey's End, directed by David Grindley.
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After a year at RADA, Morrissey went back to Liverpool to perform in WCPC at the Liverpool Playhouse. He then did Le Cid and Twelfth Night with Cheek by Jowl, and spent two years with the Royal Shakespeare Company (RSC), principally with director Deborah Warner for whom he played the Bastard in King John in 1988. He saw the role as a learning opportunity, as he had often wondered at RADA if he would ever have the chance to act in classical theatre. His performance has been described as "the most contentious characterisation of the production"; he received negative critical reaction from Daily Telegraph and Independent critics, but a positive opinion from the Financial Times.Cousin, Geraldine (1994).
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Collings's career on stage began with seasons at the storied Liverpool Rep., and has since taken him all over the world with leading companies including the National Theatre, the Royal Shakespeare Company and Cheek by Jowl, as well as BAM and the Lincoln Center in New York. He has had a long theatre career appearing in various productions in the UK, US and globally, ranging from Shakespeare and his contemporaries, classical works, Restoration dramas and farce, through to contemporary classics and new plays. He played the parts of Mortimer the Elder and Matrevis in a production of Edward II at the Royal Exchange, Manchester, which also featured his son, the actor Samuel Collings.
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After graduating from RADA in 1994, Mangan did not pursue lead roles on-screen, preferring to take what he saw as the less limited opportunities on the stage. Between 1994 and 2000, he performed in plays throughout the UK and the West End before joining the theatre company Cheek by Jowl for an international tour of Much Ado About Nothing, earning him a nomination for a National Theatre Ian Charleson Award. He worked again for director Declan Donnellan at the Royal Shakespeare Company in School for Scandal, and at the Savoy Theatre in Hay Fever. In 2008 he played the title role in The Norman Conquests, directed by Matthew Warchus, at The Old Vic and then at the Circle in the Square on Broadway.
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By 1988, there was, according to former Fringe Administrator Michael Dale, a feeling that "smaller venues may lose out, but this case may be overstated... The episode of the super-venues, the Assembly Rooms in particular, has some way to go yet". Student shows continued to thrive with the National Student Theatre Company, National Youth Music Theatre, Cambridge Mummers, Oxford Theatre Group and Bradford University producing well-received new work. Among professional companies, the Almeida Theatre, ATC, Cheek By Jowl, Cherub, Cliff Hanger, Entertainment Machine, Hull Truck, Kick Theatre, Lumiere and Son, Medieval Players and Trickster were regulars. In 1983, the Fringe joined with the International Festival, Edinburgh Tattoo and the Film Festival to promote Edinburgh as 'The Festival City' for the first time.
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Numerous prestigious companies touring shows to the Arena during this period included Kneehigh Theatre, Royal National Theatre, Royal Shakespeare Company, People Show, Tara Arts, Shared Experience, Forced Entertainment, Volcano, Hull Truck Theatre, Gay Sweatshop, Cheek by Jowl, Market Theatre (Johannesburg), Trestle Theatre, Complicite, Kathakali Dance, Black Theatre Co-operative, Red Shift Theatre, ATC Theatre, Snarling Beasties and The Right Size. In addition to these, the Arena Theatre welcomed local professional touring companies from the West Midlands, Foursight Theatre, Theatre Foundry and Pentabus. As well as these, there were dance performances, live art and music concerts. After 20 years, the theatre had outgrown its cramped and inaccessible home, so with investment from the University of Wolverhampton and a grant from the National Lottery, an ambitious £2 million refurbishment began.
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While her father wanted her to be a lawyer, Udwin supported herself working in theatre and teaching while at university; in her first year she was raped, a fact she told nobody about at the time. She began her career as an actress at the Space Theatre in Cape Town, one of the only two integrated (‘multi-cultural’) theatres in South Africa, playing in the Duchess of Malfi and Stephen Poliakoff’s Hitting Town. Not wishing to work in ‘whites-only’ theatres, her work possibilities in South Africa were limited, so she moved to London at age twenty-one. There she acted in plays at the Royal Court, National Theatre, Royal Shakespeare Company and Cheek By Jowl playing roles like Lady Macbeth, Isobel in The Mayor of Zalamea, Masha in Chekhov's Three Sisters, Nora in A Doll's House, etc.
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The relationships BAM forged with artists often became ongoing; since the start of the festival, BAM has hosted nine productions by Robert Lepage, and 12 by Pina Bausch's Tanztheater Wuppertal, which performs in New York exclusively at BAM. In 1997, The New York Times said, "the Brooklyn Academy of Music's Next Wave Festival has become the foremost showcase for contemporary experimental performance in the United States." The Next Wave programming, offered in the fall, was anchored by an equally strong spring season, with bookings of New York artists as well as major international companies that reflect BAM's global relationships. Characteristic performances include opera such as William Christie's French Baroque company Les Arts Florissants, as well as theater by prominent British companies such as Royal Shakespeare Company, Young Vic, Donmar Warehouse, Propeller, and Cheek by Jowl, which present new takes on the classics.
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His stage career has been distinguished by playing lead roles for Cheek by Jowl (including Oberon/Theseus in their world tour of A Midsummer Night's Dream), the Royal Shakespeare Company, Liverpool Everyman Theatre, Royal Exchange, Manchester, Open Air Theatre, Regent's Park, Shakespeare's Globe, Birmingham Repertory Theatre, Sheffield Crucible, Chichester Festival Theatre and other companies. On the West End stage he has played Evelyn Oakleigh opposite Elaine Paige in Anything Goes, and Pierre Guerre in Martin Guerre (both at the Prince Edward Theatre); Ronald Reagan in Gaddafi at the English National Opera; Father in Rabbit at Trafalgar Studios; Banquo, at the Gielgud Theatre, in the highly acclaimed Macbeth directed by Rupert Goold and starring Patrick Stewart, which transferred to New York's BAM Harvey Theatre and Broadway; and as Juror 11 in Twelve Angry Men at the Garrick Theatre.
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Melillo was responsible for the artistic direction of theater, dance, music, visual art, film, and more at the multi- venue arts center, which includes the Harvey Theater, Howard Gilman Opera House, Fishman Space, Rose Cinemas, and BAMcafé. Prior to that, working with President/Executive Producer Harvey Lichtenstein, Melillo served as BAM's producing director, following a six-year tenure as founding director of the BAM Next Wave Festival. Over 35 years at BAM, Melillo programmed the work of emerging and established artists such as Pina Bausch, Philip Glass, Trisha Brown, Bill T. Jones/Arnie Zane, Merce Cunningham, Robert Wilson, Urban Bush Women, Ivo van Hove, Ralph Lemon, Anne Bogart, Cheek by Jowl, Reggie Wilson, Mark Morris, and Michelle Dorrance, among many others. During his tenure, he worked alongside Karen Brooks Hopkins (BAM president from 1999—2015) and Katy Clark (BAM president from 2015—present).
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Following RADA, he starred as Romeo in Shakespeare's Romeo and Juliet at the Battersea Arts Centre in London. On stage, he played Billy in West End show Warhorse at the National Theatre in 2010. In 2011, he resumed work with Phillip Ridley who cast him to star as 'Man' in his play, Tender Napalm. The following year, he starred as Giovanni in 'Tis Pity She's A Whore, a Cheek by Jowl production that would go on to tour the world. In film, he would go on to play roles such as Jamie in Andrea Arnold's Fish Tank, Jeeko in Phillip Ridley’s Heartless, Lieutenant Burridge in Julian Jarrold’s A Royal Night Out and GI Stanley in Captain America; The First Avenger. In 2014 he was cast as the rowdy Northern Soul dancer, Sean in Elaine Constantine’s Northern Soul, and starred as Max in Love Me Do opposite Rebecca Calder in 2015.
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Belhomme entreated the 12 police chiefs in charge of Paris to send him rich prisoners who would pay high fees to live in his asylum as comfortably as possible. From then on marquises, bankers, journalists, famous actors, old nobles and army officers, along with other disgraced persons who bribed the doctors and police chiefs to be transferred on the pretext of illness, lived cheek by jowl with the mad. Belhomme rented the neighbouring building, the hôtel de Chabanais, to which he linked his own building by a charming garden after the young marquis de Chabanais, a descendant of Colbert, had emigrated with his mother and had his possessions confiscated by the state. Belhomme ended up buying the house to invest the money he had made. It was in this setting that there occurred the romance between Jacques-Marie Rouzet, a deputy to the National Convention, and Louise Marie Adélaïde de Bourbon, widow of the Duc d’Orléans and mother of the future King Louis-Philippe.
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The American Architect and Building News described how the addition was "grafted" onto the original building: "Of course no attention was paid to the design of the existing building and within and without a rank Romanesque runs cheek by jowl with the old Italian, one bald, the other florid; cream-colored brick and buff sandstone come in juxtaposition to white marble." According to one biography of Eidlitz, he could not understand the reason behind the controversy surrounding his design: > Standing in the rotunda of the courthouse one day, when his own vari-colored > brick arches and columns had been inserted between the cast-iron panels of > the older work, he said, "Is it possible for anybody to fail to see that > this," pointing to the new work, "performs a function and that that," > pointing to the old, "does not?" The Tweed Courthouse was officially finished in 1881, more than 20 years after work began. Much of the construction was financed through the sale of public stocks issued on several occasions throughout the construction process.
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A phraseme is an idiom if its meaning is not the predictable sum of the meanings of its component—that is, if it is non-compositional. Generally speaking, idioms will not be intelligible to people hearing them for the first time without having learned them. Consider the following examples (an idiom is indicated by elevated half-brackets: ˹ … ˺): : ˹rock and roll˺ ‘a Western music genre characterised by a strong beat with sounds generated by guitar, piano, and vocalists’ : ˹cheek by jowl˺ ‘in close association’ : ˹the game is up˺ ‘your deceit is exposed’ : ˹[X] comes to [NX’s] senses˺ ‘X becomes conscious again’ : ˹put [NY] on the map˺ ‘make the place Y well-known’ : ˹bull session˺ ‘long informal talk on a subject by a group of people’ In none of these cases are the meanings of any of the component parts of the idiom included in the meaning of the expression as a whole. An idiom can be further characterized by its transparency, the degree to which its meaning includes the meanings of its components.
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Some of his notable British theatre credits include Ghosts, Waste, Tom and Viv, Five Gold Rings (Almeida Theatre), Huis Clos (Trafalgar Studios), Macbeth, The Changeling (Cheek By Jowl, Barbican and international tours), The Arsonists (Royal Court Theatre), Kiss of the Spider Woman (Donmar Warehouse), The Rubenstein Kiss (Hampstead Theatre), Hysteria, Don Juan, Man and Superman (Theatre Royal, Bath), Pericles, The Prince of Homburg (Lyric Hammersmith), The Duchess of Malfi, The Coast of Utopia, Mary Stuart, Hove (National Theatre), The Two Noble Kinsmen, The Tempest, The Winter's Tale, Dido Queen of Carthage (Shakespeare's Globe), The Seagull, Present Laughter, The Tempest (West Yorkshire Playhouse), and Quartermaine's Terms, A Midsummer Night's Dream and Elton John's Glasses (West End). His TV credits include Wolf Hall, The Musketeers, Midsomer Murders, Silk, Sherlock, The Impressionists, Wired, Casualty 1907, Elizabeth, New Tricks, Titanic, Foyle's War, The Colour of Magic, and The Refugees. His film credits include Nine Lives of Tomas Katz and Love and Other Disasters. In 2016, he played the role of the Queen's longtime Private Secretary, Michael Adeane, in the Netflix series The Crown.
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She became Head of Piano at the Royal Academy of Music in 2011. In the early years of her performing career, MacGregor was a prolific composer for the theatre (including work for Cheek by Jowl, and Oxford Stage Company's production of Hamlet at Elsinore Castle and the Edinburgh Festival). She was one of the first artists to be selected for the Young Concert Artists Trust in 1985, and has since performed in more than seventy countries, appearing as a solo artist with many of the world's leading orchestras, including the New York Philharmonic, London Symphony Orchestra, Netherlands Radio Philharmonic Orchestra, Oslo Philharmonic Orchestra, Chicago Symphony Orchestra and Berlin Symphony Orchestra, London Philharmonia, Melbourne Symphony and Sydney Symphony Orchestras, Hong Kong Philharmonic, BBC Symphony and Salzburg Camerata. The conductors with whom she has worked include Pierre Boulez, Sir Simon Rattle, Sir Colin Davis, Michael Tilson Thomas, and Valery Gergiev, and she has appeared in many of the world's greatest venues, including the Wigmore Hall, Southbank Centre and the Barbican in London, Sydney Opera House, New York's Lincoln Center, Leipzig Gewandhaus, the Concertgebouw in Amsterdam and the Mozarteum in Salzburg.
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This building stood cheek by jowl with the passenger station building on the Kurrajong railway station platform. The 1929 timetable shows a goods train ran separate to the passenger service each weekday, in addition to one mixed goods - passenger train, but these services operated for the entire 26 years of the line from 1926 to July 1952. Arthur Poole remembers the goods truck on the combined train was drawn from Kurrajong to Richmond by the steam engine "Pansy" where it was added to the goods train departing Richmond for Sydney, until after the second World War when road transportation became preferred.Pansy: The Richmond to Kurrajong Railway, tourist Railway Association, Kurrajong, 2000, photo J. L. Buckland p. 18, photo R. Boyd 21, photo H. J. Wright p. 24, pp. 4, 16, 20, 23. In 1882 after almost twenty years of operation of the Blacktown-Richmond line, the residents of Kurrajong were agitating for the railway to be extended from Richmond to Kurrajong, thus, when the present North Richmond bridge was built in 1904 provision was made on it for a line to be added on the downstream side.
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After having studied at the RADA from 1992 to 1995, Macfadyen became known in British theatre primarily for his work with the stage company Cheek by Jowl, for which he played Antonio in The Duchess of Malfi, Charles Surface in The School for Scandal, and Benedick in Much Ado About Nothing. His Benedick was played as an officer-class buffoon with a moustache and a braying laugh. In 2005, he played Prince Hal in Henry IV, Parts One and Two at the Royal National Theatre, with Michael Gambon in the role of Falstaff. In 2007, he returned to the stage, portraying an American, Clay, a stay-at-home father with a liberal attitude in the play The Pain and the Itch. A TV breakthrough came when he appeared as Hareton Earnshaw in an adaptation of Wuthering Heights, screened on the ITV network in 1998. Further television drama work followed, including starring roles in the dramas Warriors (1999) and The Way We Live Now (2001), both for the BBC. Also in 2001, he earned acclaim for his starring role in the BBC Two drama serial Perfect Strangers, which was written and directed by Stephen Poliakoff. In 2002, he starred in The Project, a BBC drama charting New Labour's rise to power.
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