Swanland, East Riding, Yorkshire
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My image of Joan of Arc lies somewhere between the black and white photograph of Dorothy Tutin on the front of my A-level copy of Jean Anouilh’s The Lark and Milla Jovovich gangling androgynously through Luc Besson’s The Messenger. For all those similarly in need of correction on the subject of the Maid of Orleans, last night was our night.
In Joan of Arc: God’s Warrior (BBC2), Dr Helen Castor stripped away the accreted layers of subsequent interpretation, myth and legend to give us the barest, cleanest bones she could of what is, even at its sparest, an astonishing story. Deep in the 100 Years’ War and the Armagnac countryside, a teenage peasant girl hears the voice of God and his angels telling her to
Related: Geraldine McEwan obituary
My first sighting of Geraldine McEwan was as Olivia in Peter Hall’s 1958 Stratford Twelfth Night. At the time Olivia tended to be played as a figure of mature grief: McEwan was young, sparky, witty and clearly brimming with desire for Dorothy Tutin’s pageboy Viola. In contrast, one of my last impressions of McEwan was as the frisky, quivering Old Woman in Simon McBurney’s brilliant 1997 revival of Ionesco’s The Chairs.
Related: Geraldine McEwan: life and times – in pictures
A rediscovered haul of television dramas that has been lost for 40 years or more is set to change the way we think about many of Britain's biggest acting stars.
The extraordinary cache of televised plays – described by experts as "an embarrassment of riches" – features performances from a cavalcade of postwar British stars. The list includes John Gielgud, Sean Connery, Gemma Jones, Dorothy Tutin, Robert Stephens, Susannah York, John Le Mesurier, Peggy Ashcroft, Patrick Troughton, David Hemmings, Leonard Rossiter, Michael Gambon, Maggie Smith and Jane Asher. The tapes have been unearthed in the Library of Congress in Washington DC.
After months of negotiation, the library and the New York-based public service television station Wnet have agreed to allow the British Film Institute in London to showcase the highlights in November, an occasion
The film director and producer Geoffrey Reeve, who has died aged 77, contributed polished examples of mainstream British cinema in a variety of forms over several decades.
He was born in Tring, Hertfordshire, the son of a compositor who would cycle each day to the printworks in nearby King's Langley. A bright pupil at the local primary, Reeve won a county council scholarship to Berkhamsted school where he excelled in sports, academic subjects and school plays. He was also a notable chorister, an experience he would put to good use for the subplot of the film Shadow Run 50 years later.
After national service with the 7th Royal Tank Regiment in Hong Kong, he went to Exeter College, Oxford, in 1953 to read law. His singing voice and his gift for comic acting made him a useful addition to Oxford's drama and revue companies, and he was apparently
We already knew from the movie of Guys and Dolls that Simmons, though not possessed of a trained voice, could charmingly if a little perilously carry a tune. This was exactly the requirement for the vocal appeal of Desiree Armfeldt, the role originally written for Glynis Johns. The character's signature number, Send in the Clowns (still Sondheim's most widely known and recorded), works much better in near-sprechgesang than if sung full out, as many usually unimpeachable singers have demonstrated. Simmons was also perfectly cast for that natural quality that Thomson identifies, the proper manner belied by hints of mischief.
Dorothy Tutin and Judi Dench
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