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INTERVIEW: “A 2014 SPACE ODYSSEY, WITH KEIR DULLEA AND GARY LOCKWOOD!”

…Somewhere in deepest Londinium, a truly unique event was about to begin…

The Mission:

To join a select group of journalists, for a ‘Q and A’ session with Keir Dullea and Gary Lockwood, star protagonists of Stanley Kubrick’s legendary cinematic opus, ‘2001: A Space Odyssey’.

…Undoubtedly, I had enthusiastically chosen to accept, and yet, somehow, I could not dismiss the overriding feeling that the stars had aligned and the opportunity had chosen me…

Arriving early, I took the space and time to dwell upon the imminent proceedings. Only in November had I disembarked upon my journey with the blockbuster movie…and now, I was installed in a low-lit, BFI Southbank Studio, sharing a front-row, replete with male counterparts, conversing about Kubrick’s created world and the chance for further enlightenment thereof, with the giddy excitement of a child, about to unwrap a plethora of gifts, on Christmas morning!

Our expedition ‘Captain’ was Rhidian Davis, Producer of the BFI’s hugely impressive ‘Sci-Fi: Days of Fear and Wonder’ Season. Relaxed and congenial, he was also enlivened by the audience response to the scheduled UK-wide selection of events, particularly indicated by all of the “really positive” social media feedback. As he waxed lyrically, the gentle hum of classical music began piping through the surround-sound, in turn, sending my mind through its own wormhole, to the opening sequence of ‘2001’..Seemingly, wherever I went, my world was happily fated to an endless soundtrackwithout the need of Soundcloud! Yet, with a topline punctuated, every so often, by the swing of a door, I would fall back into the realms of the present…to darkness falling…to the majestic ‘2001’ trailer…to new voices joining the chorus…and, at its close, to the recognition of the word “Fantastic” being uttered by one particularly familiar American accent…

…That of ‘Dave Bowman’…the one and only, Mr Keir Dullea! (Cue internal applause!)…quickly followed by another Stateside inflection, which (by process of elimination), could have been (and wasnone other than ‘Frank Poole’, a.k.a, Mr Gary Lockwood! (Ditto, with the applause!)… In stature, they were the exact opposite! Dullea, tall, lithe, piercingly-bright-eyed, silver-haired, bearded and elegantly-suited, with an air of suave, Savile Row. Lockwood, gracefully-greying, with eyes of warm, deep-set intensity and an imposing silhouette, wrapped in smart-casual attire, signalling the powerful physique of his days as a quarterback and stuntman. Yet, we were to learn that their personalities made them quite the most perfect interview double-act and their arrival had signalled our take-off, into streams of consciousness, run-on lines and priceless memories, which were to become an integral part of my own, and went a little something like this (‘stage directions’ and all!)…

[The room falls into an enjoyable outer space silence].

…Of the premiere of ‘2001: A Space Odyssey’…

KD [Thoughtful. Considered. Bowman-like!]: “It blew me away… Nothing readies you… The ‘Dawn of Man’ Sequence surprised me the most..”

(It transpires that they had seen no rushes of that section, as the scenes were filmed after they had wrapped their own).

GL [Excitedly, as if reliving the moment.]:Everyone was reading about the hype of the film… but it wasn’t all that well received..”

(Save for the shuffling of a few pens on paper…the room is still, as we absorb their every word).

KD [Glancing over to GL, continuing the thought.]: “…[It] got unbelievably mixed reviews…I began to doubt that it was going to happen [be successful]…Not that it was less of a film…”

…On how they initially got cast

KD [Measured, with a wry smile.]: “I went to a fortune teller at the Battersea Funfair and the palmist said that he saw a rocketship [in my hand]!!…I returned home and my wife said I was to call my agent…I was told that Stanley Kubrick had offered me the part…but I was also in a play with Laurence Olivier, in London, already…”

GL [Confident. Quickly chimes in!]:I knew it was over! I knew it would be the job! None of us was going to be in a better part than that! Warren Beatty said ‘They were lucky!’…”

KD [Buoyant.]: “He was right!!!”

(The men look at each other in recognition of two friends having been in the once-in-a-lifetime experience, together. They chuckle along in the moment of nostalgia…Their warmth is infectious and the smiles spread around the room!).

On Kubrick, himself…

KD [With a real sense of awe.]: “In general, people rave about the experience. Kubrick was so easygoing with us. I felt I was in the presence of genius…He was the most prepared of any director I’d ever worked with. Part of his genius was the way he cast…He cast well.”

(At this point, we learn that prior to ‘2001’, Gary Lockwood was a stuntman and had already been in such epic films as Kubrick’s ‘Spartacus.’ He asked Kubrick why he had been cast)..

GL [With a cheeky glint in his eye.]: He said, ‘I thought you could do a lot, without doing anything!’…”

KD [Still caught up in awestruck mood.]: “[Kubrick] was the most curious man I’d ever met…”

GL [Bursts into the hushed atmosphere. Continues his thought!]: “People who are really good at something have to have a good I.Q! When the ‘Pentax’ was invented, he gave his daughter the ‘Pentax’ and told her to photgraph everything that looked good. She had ‘the eye’…”

(Recounting Kubrick, increases the momentum of memories, so much so, that the energy behind Gary’s statement somewhat renders it an announcement! The gravitas has us on tenterhooks…)

…Of the movie…

KD [With deep respect.]: “The genius of this film has withstood, generation to generation. What a compliment to Stanley Kubrick.”

(The silence is golden. We all feel the respect. We all agree).

…Of the films, ‘Gravity’ and ‘Interstellar’…

GL [Bold. Objective.]: “ ‘Interstellar?’ It’s not as good as ‘2001’ but there are some really great moments! Symbiotically… all things in ‘2001’ seem to work…I don’t think ‘Interstellar’ did that. The great sci-fi movie, other than ‘2001’, is ‘Blade Runner’… It’s incredible!

KD [Deliberate. Pensive.]: “ ‘Gravity’…It’s a different experience. I enjoyed it enormously. I’m proud to have been part of this movie [‘2001’]. The last really great film I saw, last month, was ‘Force Majeure’..Painfully funny is a good way to describe it. Don’t miss it!

GL [Cheery. Enthusiastic.]: “See ‘Birdman’* everybody! It’s great! Neorealistic film, with trippy little bits!”

(The pace moves evermore swiftly…)

…Of Kubrick’s character profiles for ‘2001’…

KD [Focussed.]: “We had a fictional biography…We [Bowman and Poole] both had double-doctorates and by the year 2001, they would be choosing people [astronauts] based upon their psychological profile, rather than the military [background].”

…On why they were in the pod…

KD[Informative.]: “Stanley would have us improvise scenes and then he would take the workshops and work them into the film…”

…On contributing ideas, in general…

KD [In quiet, secretive tone.]: “In the end, when I’m in that 16th century room and I’m the older person eating, and the glass breaks… The reason why I asked Stanley if I could knock it over, was in order to sense things in a different way……. The old-age make-up took 12 hours to do!”

…On re-acclimatising to Earth, after so many hours in outer space…

KD [Jokily]: “It wasn’t hard…you just had a coffee!”

(Laughter ensues!)

…On the lack of dialogue in the film…

KD [Wonderfully matter-of-fact!]: “We’ve been in space a long while…We know each other so well, that there’s nothing much left to say! It’s laidback, as it would be, after so long…One of the interesting aspects is that the computer was more human than the humans! The only real emotional scene was when I am taking HAL’s brain apart… What I used [for intention/inspiration] was ‘Of Mice and Men’…

…Of actor, Nigel Davenport, as HAL 9000…

KD [Jocular.]: “Nigel Davenport was cast as Hal before the ultimate actor…and for the longest time, it was like Michael Caine!”

(More laughter fills the studio, owing to Keir’s brilliant impersonation of an English-accented HAL…!!)

On such a high, the ‘Q and A’ session was ‘a wrap’!

Time spent in the presence of two of the wisest, most engaging, fun-loving people whom I have been blessed to meet-and-greet, was gone, in warp-speed..

The mission might have been over but, within that silent millisecond, a mental image of Dave Bowman, hurtling into the future, sprang to mind…Proof positive that, not only would the film continue long into my own…but, having met these delightful gentlemen, the words “Open the pod bay doors, HAL” would never be the same again!

©AFROW2014-2019 ALL RIGHTS RESERVED

WARMEST AFROW-THANKS TO…

MESSRS KEIR DULLEA (KD) AND GARY LOCKWOOD (GL)

RHIDIAN DAVIS (BFI)

SARAH HARVEY PUBLICITY

THE BFI’S LEGENDARY ‘SCI-FI: DAYS OF FEAR AND WONDER’ SEASON CONTINUES…

*(Since the time of going to press, ‘Birdman’ has received 7 Golden Globes Nominations).

REVIEW: “2001: A SPACE ODYSSEY”

If ever a creation of cinematic endeavour were made for HD technology, then ‘2001: A Space Odyssey’ is it!

Currently showing as part of the BFI’s gargantuan ‘Sci-Fi: Days of Fear and Wonder’ Season, it is arguably the knockout centrepiece, within a roomful of genre heavyweights!

Whilst I had heard much of the Stanley Kubrick/ Arthur C. Clarke classic, I only became acquainted with the sci-fi archetype, in all of its visual re-mastered splendour, in November, at a BFI preview screening. You may, indeed, gasp… but I rather saved mine for the believable surreality, expressed by lavish scenes of space and a glorious classical score! In fact, sat in a pod-like room (in shape, rather proportions!), with a screen, which became my ‘visor’ into every impeccable image, for me, neither the timing, nor the location could have been more perfect…

I read, well, excitedly surfed, the synopsis…Words levitated at me… I summised that a monolith visits Earth, mystifies apes, re-appears in 2001, signals Jupiter and astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) are sent on a mission to investigate…under the watchful gaze of on-ship computer, HAL!

…And so it began…

From the crescendo of discordant sound against nothingness and visceral vividness of ‘The Dawn of Man’, to the comparative implication of sophistication and elegance of modern man and machine, borne out of the divine works of Strauss, I was hooked!

An overture of sheer fine art was sustained through an uncompromisingly focused vision.

Each frame a multi-platform symmetry of the highest quality and incredible detail…with the genius woven through the process of creatively honouring them.

For example, some of the most impeccable avant-garde apparel, by Sir Hardy Amies, graced the eye, with an aesthetic of lines so clean and sharp, cut so, entirely, be-yond minimal, that I could barely breathe! Out-of-this-world ovoid millinery and super-inventive, zero-gravity gripper shoes only underlined selecting the haute-couture designer! Furthermore, the use of such household names as ‘Pan Am’, as the method to reach the Space Station and staying at the ‘Hilton Hotel’, once there, in addition to such highly innovative technology, as video immigration and phonecard screencalls, were smart , yet utterly convincing.

There really is nothing new under the sun, as over 40 years later, we’re calling them ‘fashion-forward’, ‘product placement’, ‘check-in’ and ‘Skype’!  That said, I have yet to see a 360-degree, rotating elevator, but boy, am I glad that Kubrick not only had it in mind, but beautifully played it out, on-screen… There simply is nothing quite like the lasting image of an intergalactic air-stewardess, completely upside-down, en route to serving technicolour food, to passengers, whose falling arms (when dozing), weightlessly float with balletic grace!

Very much like a dancer extending a fingertip, to interpret a sonic phrase, so the musical movements supported and completed the visual motion. Sometimes dense, with legato strings and minor chord progressions, sometimes tense, with only breathing patterns, like vocal heartbeats, being heard, Kubrick was unafraid to strip back aural interplay, in order to facilitate mood. Of particular note, with the introduction of the monolith, was the motif of acapella chorale, suggesting reverence, yet increasing mystery, as to its significance. However, it is in the extended silences, that Kubrick played his most powerful hand. The everness of Eternity is succinctly captured, by allowing the vastness of Space to be embraced by the literal sound of silence. We see action. We hear no correlation to it. The quietude is deafening. The effect? Incremental hypersensitivity. Emotions are, thus, heightened. A directorial masterstroke…

…As is Kubrick’s casting!

In Keir Dullea (David Bowman), we are arrested by the palest of eyes…nigh-on transparent, save for the most delicate inflection of ice-blue. His voice sparse in modulation..His demeanour still, considered, controlled, to the point of highly-strung. Gary Lockwood (Frank Poole), is the ultimate foil to Dullea, portraying a chilled-out, space-traveller, with an air of the boy-next-door, who ‘lucked-out on landing a pretty cool gig’! Both at complementary ends of shared intensity…Both absolute, in their supreme acting ability to manifest the dynamics of emotion in between.

Then there’s ‘HAL’. ‘HAL 9000‘, to be exact! The conscious entity, which, due to its stratospherically high level of A.I, causes the indefinite, to become definite. Pre-mission interviews in which HAL expresses ‘worry’, only served to elevate ‘relatability’ and exacerbate the fine line between human and high science. Once again, the film deftly explores the narrative, with edge-of-the-seat suspense, which brings us to a most stunning dramatic climax, the like of which only first-person, big-screen viewing can do justice!

Thanks to this jaw-droppingly epic film, made in the 60’s, posing questions as to the life-cycle of Man, proposing fully-developed, intergalactic living and investigative missions to Jupiter, in a time when research is well underway for ‘treks’ to Mars in the very near future, the way in which I look at sci-fi will never be the same…no matter what the world of cinema produces!

To quote Keir Dullea, from a recent group interview at which I was priveleged to be present… ‘It blew me away… Nothing quite readies you..’

..My sci-fi sentiments, exactly!

©AFROW2014-2019. ALL RIGHTS RESERVED.

Heartfelt Afrow-thanks to…

The entire Creative Force behind ‘2001: A Space Odyssey’.

Rhidian Davis

Sarah Harvey Publicity

‘2001: A SPACE ODYSSEY’ IS OUT NOW, AS PART OF THE BFI’S ‘SCI-FI: DAYS OF FEAR AND WONDER’ SEASON!

‘DOTTY FOR MATT FORSTER’S UBERART!’

So here’s what you’ll do…

When your soul cries out for sustenance of the extrasensory kind, follow my lead, to the ‘Royal Opera Arcade Gallery’, London, and begin a most fulfilling journey of delicious ‘Über Art’! Created and developed with relentless fervour by the man, whom I like to call ‘Watercolour Wizard’, but whom is better known by the moniker of Matt Forster, this latest exposition is a vibrant testament to all of his dedicated efforts…and being of the ‘über’ variety, there’s more than enough to go around!

Noticeable is the space which houses the majestic collection…

A split-level gallery, flooded by luminescent white-light, akin to that of Skywalker’s sabre…Poised, yet utterly yielding to the array of immersive, wrap-around watercolour works!

Flowing from figurative to abstract, landscape to dreamscape, multicolour to monochromatic, über to klein, each piece immediately resonates with a clarity of purpose and distinctive technical execution, which speaks volumes to the subconscious. Forster is fearless in experimentation… collaging, cutting-out, scraping-back, slicing angles… Each, a willing foil for expressing his vision. In one mesmerising series, he seems to ‘liberate’ paint-spots and yet, contain the liquid movement, so as to become controlled ‘dot-formations’, of ever-increasing tonal and visual depth. In fact, with such gusto for graphics and colour collaborations, you would be forgiven for thinking him a designer of a couture collection for Spring-Summer 2015!

The opportunity to sojourn in the selection of global destinations is wonderful… In a hushed millisecond, collective languages can almost be deciphered exchanging tales of their pictorial formation! ‘Dos Pinturas’, ‘High Noon’ and ‘The Band San Cristobal de las Cases’, masterfully regale of reflective days in sunsoaked climes, whereas ‘Über Autumn’ and ‘Über Pennines’ celebrate the richness to be found amidst the more muted hues of our glorious British Isles. The latter, particularly capturing the masculinity of terrain, with the femininity of undulating hills or rippling waves… Pure, authentic, beautiful and boldly interpreted.

However, I would entreat you not to overeat the enticing wall-mounted fayre, for this is a week of artistic delights which offers even more! Indeed, this selection coincides with the launch of ‘The Art of MJ Forster’, his first, limited edition, retrospective book, the production of which, was made possible by a hugely successful crowd-funding campaign. What you will see displayed is accompanied by what you will get in the stunning publication, produced by ‘The Town and Country Gallery’…so you can snack on further morsels, at leisure!

What I would encourage you most definitely do, is partake of the ‘Über Art’ experience, firsthand… Meet Matt himself. He’s a highly personable and witty character, with an underlying intensity and creative sensibility, in perfect complement to the idiosyncratic medium of watercolour. Assuage that artistic appetite…go on….but be prepared to want, at least, a second helping from such a prolific menu!

***

‘The Art of MJ Forster’: A Retrospective Exhibition (and Book Launch) is on now until Saturday 11th October at The Royal Opera Arcade Gallery, 5B Pall Mall, London, SW1Y 4UY.

Books are available for purchase during the exhibition, from ‘The Town and Country Gallery’ and via Matt’s newly revamped website!

***

Afrow-Appreciation to:-

Simon de Pinna and the ROA GAllery for hosting a fabulous P.V and…

… HUGE CONGRATULATIONS to Matt Forster….

…‘Über Artist’ extraordinaire and, hopefully, future fashion/fabric designer!

©AFROW2014-2019 ALL RIGHTS RESERVED

BFI PREVIEW: ‘NIGHT WILL FALL’

It was a relief to cry.

The day upon which German Chancellor, Angela Merkel, spoke out against anti-semitism* and when a BBC Breakfast report cited a Europe-wide increase in such Jewish-focused attacks*, early upon this day, I attended a preview screening of filmic documentation of the single most harrowing example of anti-semitic hatred. The Holocaust.

When invited to be present, I immediately registered that this would be life-changing. To bear witness to a visual feat, 70 years in the fulfilment, charting the recording, effects and aftermath of torturous barbarism inflicted, human-against-human, could not be anything other.

As I settled back into the cocooned ease of my comfy chair, at Hampstead’s Everyman Theatre, the powerful words of documentary-producer, Sally Angel, echoed around my mind…

“Try not to look away, but bear witness to the courage it took to make the film.”

I silently awaited ‘Night Will Fall’, a digitally-remastered culmination of a creative effort, spanning continents and generations, involving some of the most celebrated names within the film industry and giving names to those courageous, newly-trained soldiers, sent to capture footage.

 Immediately, the opening image of camera number 372574, seemed a subliminal mirror to the tatooed numbers which Jewish people, themselves, would not only be forced to display, but also, become. Shocking visual recollections ensued. From Bergen-Belsen, to Dachau and Buchenwald, the emaciated bodies of babies, children, women, men, in their thousands, bounced like rubber, as they were thrown into tennis-court sized pits. Lifeless, barely recognisable as having ever been human, these mid-distant stills of twisted, physical pile-ups, were followed by close-ups of starving inmates, on-the-cusp of death, existing amongst the stench of rising steam from the decomposing remains of those whom had been their loved-ones. Yet, such was the purpose and necessity of the late Granada Television founder, Sidney Bernstein, then of the Ministry of Infomation, that the ground-breaking usage of the technique, within the context of war, was employed to, literally, pull focus upon this devastating evidence of inhumane cruelty.

A joint film-unit formed, between the U.S.A and the U.K., that would further facilitate this ardent objective to reveal the atrocities of the Nazi concentration camps, as would the assistance of Supervisory Director, Alfred Hitchcock. His participation would add momentum to the implementation of technical methods such as ‘panning’ and ‘tracking’ in one-shot takes, in order to ensure the utmost authenticity of the resultant images. The use of contrast was particularly telling, from German SS officers ‘on leave’, in the idyllic environs of the countryside, to the half-dead prisoners-of-war, staring directly into camera, eyes glazed-over with hopelessness, with the very same countryside as an unreachable backdrop. From municipal ‘visitors’ and ‘upbeat’ local residents, to one woman being carried out, so distressing was the horror she had witnessed. Demonstrating the stark juxtaposition of an ‘out-of-sight-out-of-mind’ attitude, with the abject reality of such a mindset, highlighted “peering into a hell that you could not easily forget.”**

Further, tearstained, eye-witness accounts, recounted the ‘confiscation’ of twin boys and girls, who were subjected to such ‘medical experiments’ as being injected with incurable diseases. Deemed mere numbers, and with 600 Jewish deaths demanded daily, their survival was immaterial. The dark truth of the sheer scale of victims unravels evermore forcibly, through the mountains of personal belongings which were amassed, items which, due to the fallacy that they were moving to a better life, constituted the best of possessions. Finely, hand-made gloves and attire, shoes, glasses, brushes and favoured toys, told a tale of expected optimism…History records that the opposite was to be discovered, with the most brutal twist, being that of having bought their own tickets to an unfathomable fate.

***

“Freedom was chocolate and hugs!”…

Expressed by a survivor, the newfound exuberance, is ushered into the documentary, as Allied troops move in to liberate prisoners from the concentration camps. So palpable is it, that I begin to breathe more easily, now aware of how tense I have become. The theme of catharsis continues to run parallel to the rehabilitation process. Of particular note, is the significance of womenswear being directly correlated with the growing self-esteem of the former female captives, with clothing becoming “a necessary tonic” to faciliate healing. Being, once more, able to choose anything, let alone an outfit, underscored the poignancy of the basic right to freedom of self-expression, the re-personalisation of the decision-making process and the absolute joy of re-engaging with life.

After a 70-year journey, under the leadership of Toby Haggith, (Film and Video Archivist at The Imperial War Museum and the documentary’s Restoration Director), rushes encapsulating the touching clarity of such nuanced moments, within the arc of the turmoil of war, are not the only elements to have been redefined. A historical record of The Holocaust has been re-presented, which goes beyond a cinematographic process, delving deeper into the human bravery required to capture and reveal such heartbreaking visuals. This pivotal footage is profoundly moving and delicately balanced between immeasurable sorrow and the upsurge of liberation and it is the final quote which still echoes…

“Unless the world learns the lessons which these pictures teach, night will fall…But by God’s Grace, you will live and learn.”**

Let us all hope that somehow, we do.

***

REFERENCES:-

*: BBC BREAKFAST 14/09/2014 ~ **: “NIGHT WILL FALL”: CERT: 15 (DIRECTED BY: ANDRÉ SINGER)

NIGHT WILL FALL” OPENS AT BFI SOUTHBANK 19/09/2014

Many thanks to Alex and Julia from the BFI, for organising tickets and hosting, to the Team at Everyman Theatre, Hampstead, for their fine service and hospitality.

Special thanks to Sally Angel, Toby Haggith and all involved, past and present, in bringing this life-changing documentary to light.

©AFROW2014-2019 ALL RIGHTS RESERVED

MARSHALL GOES ‘FACE-TO-FACE’ WITH KATE, AT IMITATE MODERN!

Have you ever wondered what it might be like to be cradled in the arms of a rainbow?

If so, then you’ll find the answer ensconced within the arc-of-screenprints, in “40 A Kate Moss Retrospective”, by ultra-talented artist, Russell Marshall, currently showing at the enchanting ‘Imitate Modern’ art gallery!

On one level, your eyes race to absorb the high-definition, technicolour dreamscapes which coat the walls. Time flits by as fast as you can blink, whilst you remain transfixed by the neon shocks of sherbet-pink and acid-yellow, bouncing like laser-beams from a New Year’s Eve disco-ball! Quick-as-a-wink, you are compelled to follow the spectral-story wherever it leads and begin to register shades which resound like a chromatic scale… Prints in-the-key of shimmering-silver and incandescent-pearl are laden with outlines of indellible impressions…

Fully-acquainted with the cornucopia of exceptional colour-charts, you then begin to focus-pull onto the subsequent layer of visual stimulae, present in the undoubted recognition of, not only a face, but ‘The Face’ of Kate Moss, staring back, as if to guide you from one incarnation to another.

It is at this point, that your heart-rate evens out…

 The ‘pop’ which Russell has told me he would like the palette to have, has been achieved and so begins a new narrative, of taking a visual tour around Kate’s career, through the viewfinder of the former journalist and editor. The immediacy of being subjectively engaged at such a rapid rate, yields to a futher immersion, into a state of ‘objectivity’, yet it is neither stereotypically cold nor separate. It is, in fact, replete with a distinct clarity, founded in true warmth and admiration for a woman of real character, who has eclipsed the notion of ‘celebrity’ and, rather, redefined and revalued it. This facilitates a deeper connection to the potent colour-combinations, which serve to highlight the myriad facets to her own, vibrant personality. Furthermore, Russell’s editing sensibility is masterfully employed, in exhibiting specific screenprints which, at once, reveal the wide-eyed potential of a young girl, spotted at the age of 14, whilst also uncovering her scintillating, Bardot-èsque vulnerability, her ethereal elegance, swathed in full-length gowns and floral-sprays and an haute couture-regality, resplendent in Vivienne Westwood!

An added spin to the retrospective, it that of the journalistic element, for as the walls have Kate’s eyes, they also have her words! Quotes such as “Never complain, never explain” quietly indicate a certain pragmatism, whilst others celebrating the ‘girl-about-town’, like “I haven’t partied since last Friday”, positively scream from the rafters! Displayed alongside columns of biographical copy, by Amy Watts, the twist of presenting silk-screens, which constitute a statement as to the real definition of celebrity, in a 3-D newspaper format, is both witty and entirely evocative of the wondrous days of the old-fashioned handprinting-press! Encompassed by musical soundwaves dripping with Britpop, the White Stripes and Primal Scream, the audio-visual, launch-night mind-meld, completes the journey!

In essence, “4o A Kate Moss Retrospective” is a startling adventure with the ability to engage the viewer, by transporting them through the career life-cycle of a living legend. From the girl-next-door, whose diminutive stature should have ruled her out of the modelling industry, but which actually set her apart, to the celebrated Mother, Supermodel and Designer, Russell Marshall is a maestro of multi-dimensional expression. The single plane of a screen is doused in prismatic vibrance, which facilitates an optical appreciation of beautiful images…Yet, in accompanying them with written and quoted content, Kate’s joie-de-vivre becomes even more apparent. What with each of the ten works being a limited edition of one (the variations of which can be chosen from ten unique colourways), the concept of honouring individuality, is perpetuated. According to the artist, himself, there might even be a gentle ‘tap’ of the frame during its production, just to add a perfect imperfection, which is undetectable to the naked eye, of course, yet, intrinsically embedded within each wonderful work!

It is this eloquence of embracing the idiosyncratic and the courage to express it, which, almost a week after the private viewing, still echoes within. Whether or not you find yourself in the spotlight, the truth of who you really are, will always enable you to shine. Such an enduring and empowering message was shared by Russell Marshall on Kate Moss’s 40th birthday and I wholeheartedly encourage you to do the ‘grand tour’ for yourself, because the writing’s on the wall… this incredible show is an undeniable hit!

“40 A KATE MOSS RETROSPECTIVE” RUNS FROM: 17TH JANUARY > 15TH FEBRUARY 2014 AT: IMITATE MODERN, 27A DEVONSHIRE STREET, LONDON, W1G 6PN ~ MON>FRI: 10a.m > 6p.m ~ FREE!

www.imitatemodern.com ~ www.beautifulcrime.com

©AFROW2014-2019 ALL RIGHTS RESERVED

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FACEBOOK FEEDBACK FROM RUSSELL MARSHALL!

‘Great review by Afrow… thanks..’

MARSHALL GATHERS MOSS AT IMITATE MODERN? ‘I’M’ IN!

To many, the mere mention of Marylebone conjures up one of two things… One, being the waxworks of Madame Tussaud’s, the other, being Mr Sherlock Holmes! However, make your way, on foot, via a concentration of Oxford Street shoppers, across, oft, car-clustered roads, along a, mainly-residential, thoroughfare, in the direction of this Fitrovian district and you will soon happen upon another reason to become well-acquainted with the area. The new name to add to your cerebral rotary-filing system, is that of the “Imitate Modern” Art Gallery.

First impressions of the building are that this is not your usual exhibition space. Then again, being situated amidst some of the finest chocolate-box environs of London, you would expect nothing less! In fact, it is akin to an ‘open house’, of the most elegant, listed ilk! Modest, classic, it is a mirror of its curator, Jaqui Pittack, with a warmth and effervescenct energy, which disseminates throughout her amazing team of Imitate Modern-angels and radiates out into the ambience. That it is situated without earshot of  the blaring horn-orchestra of motor-vehicles further facilitates the pleasing exchange which stillness affords, as you take in the array of modern-artistic talent, fastidiously hung upon the walls.

I have first-hand experience of this, since I had the distinct pleasure of attending two back-to-back events last December, spanning the worlds of altruism and art-inauguration. The former, part of of the ‘Christmas Wish List’ evening, not only served to toast the season, but also helped the homeless, by auctioning an original canvas by the incredible ‘Stik’, and raising a truly healthy sum for ‘The Big Issue’. The latter, unveiled the unswervingly dynamic collaborations between urban pop-artist Rich Simmons with, both, zeitgetist power-photographer, Tyler Shields, and inspirational street-artist, ‘Parlee Erz’.

In high-spirited accompaniment, were pieces from thought-provoking, statement-artist ‘Cartrain’, the relentless, Jackson Pollock-esque abstracts by George Morton-Clark, adroitly-complemented by a witty series of signature, monochromatic works from ‘The London Police’ and skilfully-balanced by the intense, yet, uniquely delicate, sepia-toned goddesses from the accomplished hands of Rosie Emerson. Yet, this group form only a tranche of the distinguished talent comprising the Imitate Modern collective.

Little wonder, then, that with such a diverse creative roster, the gallery has consistently caught the attention of the media, including such publications as “Tatler” and “Vogue”. Even less, that it is this beautiful West-London location, which has been chosen to house the imminent arrival of its latest exhibition by gifted artist, Russell Marshall, entitled “40 A Kate Moss Retrospective”. Presented in collaboration with Urban/Contemporary Art-brand, “Beautiful Crime”, it is in dedication to and celebration of the supermodel’s 40th birthday, featuring ten screen-printed canvases, in a selection of ten hues, themselves, available in ten variant colour combinations! Sourced from Marshall’s own photographs, each canvas captures the model at differing stages of her career, from the new-face, spotted at an airport, through to her meteoric rise to entrepreneurial/iconoclastic status… and the anticipation has set the world’s media on fire!

They’re right to be excited!

Imitate Modern is the perfect backdrop in which to showcase the visual journey of Kate Moss, who  has been a fearless and bold protagonist within the Fashion Industry. Her ability to encapsulate and inspire trends has seen her career catapult her into the upper-echalons of her field, yet she has maintained an inner poise, which has infused each campaign with greater depth and authenticity. So, here’s to you at 40, Kate…and to being 25 years, strong, in the one-off world of la mode….

…..Long may your fashion-forward meteor continue to rise!

“40 A KATE MOSS RETROSPECTIVE” RUNS FROM: 17TH JANUARY > 15TH FEBRUARY 2014 AT: IMITATE MODERN, 27A DEVONSHIRE STREET, LONDON, W1G 6PN ~ MON>FRI: 10a.m > 6p.m ~ FREE!

www.imitatemodern.com ~ www.beautifulcrime.com

©AFROW2014-2019 ALL RIGHTS RESERVED

LCM: THE HEAVENS OPEN AT TOPMAN’S AW2014 SHOW!

Dark. Dank. Devoid of sound.

Booooom!!!

The edgy power of John Cooper Clarke cuts through the ether…His weighty words, doused in a Lancashire accent, darting rhythmically about like vocal strobes.

The spoken word hits a crescendo, his last line held in the air, embraced by nothingness.

Within seconds, action ensues, as mist-for-lighting announces the dawn in Topman’s LCM showspace. An industrial location is revealed, with a concrete catwalk, dressed, intermittently, in pools of water and as deep, electronica replaces the solo, the first model, with already-drenched hair, turns the corner into this brick-clad world of ‘Wuthering Heights’, breaking the modern-day barrenness with an opening AW14 look.

Black literally set the tone, represented by substantial, single-breasted, over-sized, overcoats, such as the duffel, with a popular toggle-fastening and their double-breasted counterparts in waist-hitting jackets. PVC bonded to ‘notch’-lapels, patch-pockets and block-hems, added textural impact to the round-shouldered silhouettes, which skulked the pass. ‘Wet-look’ variations-on-the-theme would be presented in high-shine, lacquered-leather separates, impressively accentuating apparel in shape, form and line, whilst also defining details through such simple, yet effective, techniques as piping. Within this section, the colour propostions mirrored the autumnal palettes of moss-meadow green and mushroom, with red-based plaid shirts and tassled jackets (echoing the cowboy-themed SS14 motif), acting as the flash of sunlight, breaking free upon the moorland.  Knitwear was rugged. At times, no-nonsense, with exaggerated, chin-cupping roll-necks, in open, cable and honeycomb weaves, resembling stylised fishing-nets…At others, given lozenge-beading and bouclé, to revisit pops-of-colour and to add surface characteristics.

Yet stronger spectral statements flooded onto sumptuous, full-length coats, in blazing orange, with matching, ‘jazzed-up’, ‘zoot-suit-style’ pants, voluminous and billowing against the strength-of-momentum with which the models strode through the venue. The pieces were also to be reprised in baby-blue pastel, a further homage to the tonal story, which has played a starring role in the sartorial spring/summer repertoire of many a design-house. The next seasonal trend-transition to be encapsulated, was the see-through mac, of long and short dimensions. Layered alongside these key advents into eye-catching shades, they complemented the story, with a revealing twist. Signature tailoring, for which the brand has become so higly-recognised and revered, featured in juxtaposed fashion to the drop-shouldered, full-pant ensembles, instead shown as straight-lined, straight-legged, suiting, in shipyard-slate and charcoal-greys, ever-echoing the ‘working-men’ of the past.

With the last look of black roll-neck, oversized, three-quarter length, matt, PVC coat and glistening liquid-look trousers, the Topman AW14 Collection had brought us to the end of our tour-of-the moors….or so it seemed…The last hurrah was an indoor downpour of rain, which fell upon the models as they walked the finale! It was an other-worldly end to a show which was typical of a collaboration, headed by the ebullient Gordon Richardson, and backed by an amazing design-team who know exactly who their ‘man’ is. To me, he’s a powerful, passionate, hardworking, salt-of-the-earth, modern-day Heathcliff and he wants his clothing to express that!

In the inimitable words of John Cooper Clark, ‘There’s apparel, Jim, but not as we know it!’* and when this distinctive collection hits the stores, you’ll see exactly what he means!

  http://www.londoncollections.co.uk/ ~ http://www.topman.com/

*Excerpt from ‘TOP MAN’ by John Cooper Clark

©AFROW2014-2019 ALL RIGHTS RESERVED

LAUNCH: LAUREN BAKER ART WILL ‘BLOW YOUR MIND’!

Imagine it…You alight with me at a Dalston Junction, which is giving birth to commuters, running-before-they-can-walk, to get to the already-distorted buses, distended, from overcrowding. We navigate our footsteps to the next available anaconda-queue, in anticipation of another modern-day Routemaster, to whisk us from Kingsland to Stoke Newington High Street and, arrive at contemporary art gallery-come-hang-out, of Hang-Up Pictures. Well, imagine that’s exactly what we did, as I take you on a tour through the mind-altering world of East-London, city-girl-turned-super-artist, Lauren Baker!

Owned by uber-curator, Ben Cotton and run alongside his wonder-woman sidekick, Carla, and their happening Hang-Up team, the gallery is a never-ending space whose walls change, chameleon-like, with the intense turn-around of incredible artists. Only a few winter-weeks had wound their way forward through the calendar, since Radiohead collaborator, Stanley Donwood had graced the walls with scenes from his ‘Apocalypse Boutique’, with ‘Karma Police’ being sonically speaker-piped into our waiting aural canals. Now, it was a decedent, two-tiered boudoir, with animal skulls of all dimensions, proudly-protruding along the vertical, with their human crania on the horizontal. Parallel uprights were replete with starburst relief-work and mirror-lightning bolts, complementing the intermittent thunderclap applause from beneath your feet in, enticing you to follow them below-deck.

What had been a second exhibiting room, had now become a night-sky-muralled, fog-smoke-filled, neon-flashing, lightning installation, which was all-encompassing, in swallowing you whole, whilst itself, spitting out rays of incandescent intensity. An homage to the power of Nature, it was, to me, a welcome riot-to-the-senses, which made my heart beat through my chest, like the bassline of the best dub-plate special!

En route upstairs, your eyes are seized upon by a golden sculpture of DNA, which has been drawn, 3-D printed, re-shaped and re-made into a thought-provoking representation of the precious fragility of the unique, human being. Yet, there was no point in trying to shift gear, since you could do all of that over the days to come (which I have been doing!)…All that was necessary, was to open the pores, accept the nourishment of Lauren Baker’s creations and release the sweat-inducing effect of sweltering multi-media art! Doingso was a lamp unto my neuro-processing-pathways, hitting me with the supreme potencies of Life, Death and the Afterlife, succinctly-presented via the stunningly poignant ‘White Light’. A mirrored infinity-coffin is leant, perpendicular fashion, as if propping up some celestial bar, daring viewers to come face-to-face with their own mortality/ immortality, dependent upon their respective perspective. Baker also points-the-finger at reflecting on existence, through clusters of projectile digits, protruding from a mini-fridge and 3-D wall-art, challenging the observer to ponder disillusionment in life’s journey and yet, not dwell on it. Why? Well, my thought is that one finger pointed in your direction, leaves the remainder pointing back at someone else. I assimilated them as a host of sat-navs, indicating the true-north of my authentic creative direction.

It was pointless to linger, either, as the gallery was soon heaving with well-wishing guests, apt for drowning in hip-hop, whilst making sequential moves around encased, hyper-embellished skull-art, made in collaboration with Sequin Kay, herself a rising-art star. in addition, the crystallised touch was applied to those of rodents, showing an acute attention-to-detail. Antlers were also bedecked in gold-leaf, or high-visibility flourescent pink paint, with my favoured set, adorned in amethyst crystal and the most stunning magpie plumage. Pieces doused in Mexican-styled paint-techniques showed Baker’s innate sensibilty to both, transforming and translating global culture, in an extremely audacious and masterly manner.

For many, the showstopper was a beating ferrofluid heart, blackened through the acrid, magnetic, influence of one lover’s presence upon another. The narrative is fulfilled in the melancholic hope that, still beating, life-after-loss can and does go on. Being the last exhibit I saw, on exiting, it left me with an essence of stoicism. Indeed, compounded by my enthusiastic admiration of such gargantuan and eclectic dynamism from Lauren Baker, the artisan, I have come to realise a deeper wealth of learning, which is that of appreciating the skeleton anew. After all, it offers us all support, in different ways, and whilst it lies beneath, it is no less beautiful because it is unseen.

I thank Lauren for sharing her distinct ability to encapsulate the meaning of the cycle of life with such raw emotional prowess and the Hang-Up curators for, once again, ensuring that a journey around their gallery is, not only utterly mind-blowing, but highly recommendable and totally unforgettable!

‘You Blow My Mind’ is on now until 24th January!

 www.hanguppictures.com  ~ www.laurenbakerart.com

http://www.sequinkay.co.uk/

©AFROW2013-2019 ALL RIGHTS RESERVED

AFROW SAYS: ‘WE ARE TRULY A-MUSE-D!’

A revolution was televised.

Doing what it does best, the BBC delivered an epic of drama, comedy, fear, doubt, exhileration, madness, anger, joy, success, truth. A small-screen offering, so vast in ambition, that, at any other point in the multi-media new-age, it might have remained engulfed within the ether of ideas. However, it seemed that the country was ready to be gripped by the hands of a vivid voyage of emotional discovery and overcome by a tidal-wave of reality and revelation, in the guise of two actors, Dan Poole and Giles Terera, and embark on the ultimate Shakespearian road-trip!

Entitled ‘Muse Of Fire’, the premise revolved around a long-running issue with regard to the assimilation, or not, of, quite possibly, our most exceptional playwright, The Bard of Avon… Investigating exactly why, for some, his entire body of work is so unapproachable… Why, for others, the language is so, utterly fearinducing, as to inspire pyjama-drenching night-sweats! It was a bold attack upon this trepidation and through raw and honest show-and-tell, on the part of the two actor-protagonists, themselves, and a wealth of  notable thespians of all vintages, we were enticed to, part-ransack, part-coax, memories of relationships with Shakespeare, to our own frontal lobes.

It quite got me to thinking back to my first remembrance of language, let alone, plays…and my earliest recollections start from hearing poetry recited around the house, both to me and during such activities as washing the dishes! Hearing ‘The Boy Stood On The Burning Deck’ or ‘Elegy Written In a Country Churchyard’ delivered with the passion of artists who have graced any world-renowned stage, whilst attempting to scour a pot, served to turn such a quotidien task (often to the detriment of the item being cleaned!), into a surreal foray around the realms of one’s imagination…

Thus, when time came to become better acquainted with William Shakespeare, I was already accustomed to cadences, wordplay and verbal soundscapes…even though I did not formally know of the terminology. I devoured the energy of phrases, which danced along my tongue, at times gliding as a ballroom-dancer in the hallowed halls of Blackpool’s ‘Tower Ballroom’, at others, popping like an old-skool, free-styler, at ‘Ministry of Sound’! I revelled at falling-in-love through Juliet and agonised through the stoic melancholy of Cleopatra, as she regaled Mark Anthony post his demise. How the memory of he who was no more, should have been more vital than those who were still alive, further to the peerless gift of its articulation, led me to an acutely profound plateau of emotive reasoning, which, in turn, facilitated my understanding, before I could process fear. I now realise that, for me, the visceral route of the subtext of ‘feelings’, fleshed-out my cognitive response to the motivation in the text, itself… Of course, back then I was simply caught up in the relentlessly sublime drama of it all!

Thankfully, I was encouraged to run headlong into Shakespeare. Not understanding was never frowned upon, but instead, utilised as a splendid spark for deciphering a message… Hitching oneself to the emotional-wagon, focusing upon the landmarks, absorbing every ounce of scenic suggestion, as to the narrative, and putting the clues together to make a picture, was the ultimate in ‘Sherlocking’! Never were my thoughts decried, and if they were wildly off-track, then that was fine as, with guidance, the dots were joined. Sounds perfect. Well, it was…in that my understanding of perfection is not that everything is correct all of the time, but that there is a sense of completion which can be had, in connection.

Sometimes, I’d connect with Shakespeare on a guttral level and, to experience that, was all there was to be had. The assimilation was complete, no less engaging and, therefore, perfect. At other stages upon my journey, I have experienced a ‘stillness’. No feeling, per sé, but no doubting that I had received content that would emerge, in the fullness of time. That was perfect, too! I have, since, continued to learn that accepting a new definition of perfection was the key to my true enjoyment of the rigours of, not just Shakespeare, but any style of writing or artistic endeavour, and the ‘approach’ has been a dear companion, to this day!

This week, ‘Henry V’ arrives at ‘The Noël Coward Theatre’. I have a distinct feeling that, since ‘Muse of Fire’ so powerfully broke through the glass ceiling of fearlessly embarking upon a Shakesperian exploration, there will be an even quieter ‘hush’ as the curtains go up and a lion’s-roar of applause, at its conclusion. I also believe that, in no small measure, it will be at the crux of an upswell of all-age, theatrical re-engagement and interraction. To me, it was the fulfilment of one, particular viewpoint of The Bard and the beginning of an exponentially, expanding vista, by cleverly incorporating and perpetuating the fact that showing-and-telling-the-emotional-working is wonderful!

So whether you think you get it, feel you get it, aren’t sure whether you get it, at all…rest assured that it’s not about judging the response, rather, connecting, in the way which is, not only bespoke to you, and/or speaks to you..but which truly sets the muse of your heart on fire…

©AFROW2013-2019 ALL RIGHTS RESERVED

http://www.museoffirefilm.co.uk/ ~ http://www.delfontmackintosh.co.uk/Tickets/HV/HV.asp

http://www.theblackpooltower.com/ ~ http://www.ministryofsound.com/

***

TWITTER-TESTIMONIAL FROM GILES TERERA!

‘Amazing piece, by the way!’

SPOTLIGHT ON: ‘THE 24 HOUR PLAYS CELEBRITY GALA’… A SENTIMENTAL RETROSPECTIVE!

Dearest Afrow-Family, as I compose this, my newest post, somewhere, there is ensuing, a hive-of-activity, a buzz-of-excitement, a thrill-of-the-theatrical-chase! The location for the epicentre of this explosion-of-anticipation, is one of the cornerstone venues of the UK, if not global, Theatrical Arts arena, namely, our beloved Old Vic!

Yes, this weekend, will see well-known faces of stage and screen, join artistic forces and flex creative muscles with a tantalisingly team of writers and directors, themselves amongst the industry’s finest emerging and established talent, to produce ‘The 24-Hour Plays’, one of the most exhilerating, multi-discplinary rollercoaster-rides upon the Cultural/Creative Arts mustsee list!

Past years have seen a plethora of stars, old-guard and new, showcasing the best of edge-of-your-seat collaborations, somewhat metamorphosing into a combined vanguard, for the elemental nature of stagecraft. Such names as Josh Hartnett, he of the melifluously Robeson-esque tones, Sally Phillips, she of the razor-sharp witticims and Mackenzie Crook, he, the rascal of genuis comedy-timing, have deigned to take the bull that is the ’24 Hour Plays’ event, by the horns and subdue it over an evening of live performances, so palpably immediate, as to be ignited by raw flint!

This year’s participants, who will include the indefatigable, Clive Rowe, the understatedly sublime Tom Ellis, the creative powerhouse, who is Catherine Tate and a rising-star, with quite the most captivating screen-presence, Douglas Booth. The list of celebrities does not tail off and, consistent with the unpredictability of the process, will surely serve-up some of the most delightfully unusual casting combinations that the audience in-attendance might ever have the pleasure to see!

To compound the hub-bub, akin to that of a Hollywood premiere of a hotly-tipped, award-winning movie, is the fact that this year also marks the 10th Anniversary of the fundraising gala. No pressure then!

So what if, as an actor, you have to sit in a room with a prop, share it with other new faces, except that they’re not new faces, because you already know who they are, having racked-up, between them, a C.V the likes of which you couldn’t dream-up?! So what if, as a writer, you are to take that prop and reversecram a vignette, which will, hopefully, interlock seamlessly with all of the other five scenes?! What of the fact that you have to pull an all-nighter, in order to release said work-of-written-art?! Or even that there’ll barely be enough time for writer’s block?! Who cares, that it is all to be nursed-and-rehearsed, then presented infront of a kindly-donating audience of savvy theatre-going witnesses?! Oh and why should it be in-the-slightest bit bothersome that the Social Media-Readers can ride, side-saddle, with every second of progress?!

Forming, storming, norming and performing in a 24 Hour group-dynamic, for one night only?!

NO. PRESSURE. AT. ALL!!!!!

Well, having attended, myself, I know that it was pressure-filled, but that, evidently, this was the kind of pressure which caused the artists to yield control, dig deeper than ever before and share the journey towards the birth of theatre-like-no-other! I had the privelege of seeing the entire arc-of-vision, from backstage tours which allowed we band-of-happy-guests to see the performers working through scripts on their own, as well as being face-to-face with the very boards upon which so many greats had trodden, and which would soon become the home of skilfully-crafted creativity, with an intensely off-the-cuff edge!

The very year I attended, I remember walking with other guests, extremely gingerly, past an actor, himself, sat staring into the distance, as if in his own incredible world of moment-to-moment brainfreeze, interspersed with absolute recognition of his lines! It was, right then, that the realisation dawned upon me of being an honoured party to the condensed version of this ‘artist’s way’… and although, prior to the day, I had been enthusiastic about what was to burst its way into my psyche, it rapidly stepped onto my mental-plane and took subsequent flight!

My chosen outfit of a floor-length, champagne-coloured, spaghetti-strapped, ballerina dress, with draped bodice and an acreage of tulle skirt, had also flown all the way from New York City, and was accompanied by a matching pair of crystal-embellished high-heels, an iridescent, sheer pashmina, matching oyster-shell satin purse, with gold chain, a selection of pearl jewellery and a shower of Coco Chanel! My hair was gently encouraged into a delicate chignon, with a few wisps and tendrils, teased for texture… My chosen transport? A good old London Cab!

The show, itself, was…well…out-of-this-world! Filled with emotional highs, lows and turning points…and that was just the introductionEvery excited synonym, possible, sat upon the lips of the adrenaline-fuelled audience. We all knew what the rules of the ‘game’ were, but the improvisational quality of the experience meant that all of the rules had been jettisoned out of the fourth-wall window.. We all knew that too! No longer were we ‘audience members’, but, fellow participants.. Co-creative-cathodes, emitting empathetic energy! Thus, when one actress forgot her lines, looked out at us, declared, ‘Oh, I can’t do this’ and proceeded to retrieve the script and read, verbatim, through the scene, she received rapturous applause, not, as one might think, because she had been defeated, in any way, shape or form…but because she had made an absolute triumph of the moment, and enjoyed the freedom of being able to do so! In this context, it all made utter sense and gave rise to a certain bonding, such as I haven’t experienced in quite the same way since. The post-show party was an entirely relaxed, yet, highly elegant affair, with artists and guests mingling and dancing away until way into the wee, small post-24-hours hours!! I have no doubt that 10th anniversary celebration of this uniquely glitzy gala will be even more impressive, especially being held at the luxurious 5* Rosewood Hotel!

 Whilst embraced by glamour, The 24 Hour Plays model, is an ingenius medium, through which we are blessed to see expressed, what I believe to be at the foundation of all great experiences… At the root, is the courage to fly-by-the-seat-of-one’s-pants (be they of the exquisite YSL cigarette-silhouette, or a nonchalantly loose-legged, denim-flared DKNY variety), and to have faith that, not only is there potential for all of those experiences to come together for the good, but also, that these combined episodes, en-route, will contribute to an amazing ‘mosaic-of-moments’, which we, with true feeling, can all call ‘real life’.

I wholeheartedly encourage you to support The Old Vic by snapping up one of the few remaining tickets, getting your best bib ‘n’ tucker on and going… Black Cab, optional, of course!

©AFROW2013-2019  ALL RIGHTS RESERVED

http://www.oldvictheatre.com/the-24-hour-plays-celebrity-gala/

www.rosewoodhotels.com