Sparkleshark Natasha Descriptive Essay

1. The Storyteller Sequence – The Storyteller Sequence is a series of one act dramas written for young people by Philip Ridley. The plays, all set in east London, use fairytale stories, to date there are five plays in the sequence, although Ridley has intimated there will eventually be seven. An anthology bringing together the plays so far in the sequence was published by Bloomsbury Methuen Drama in late 2015, karamazoo is a fifteen-minute monologue from an east London teenager called Ace. Two versions of the play exist, for male and female actors respectively, Ace is the most popular boy/girl at school, waiting at a bus stop for a date. Hes a scruffy boy with rat tails for hair, together by the cathasis of storytelling they entre the magic world of karamazoo and search for the luminous butterfly. Finally finding it in themselves to see their problems in a new light, the story ends seeming as though they are about to kiss. Sparkleshark is a play about a boy called Jake. At first he is abusive and defensive but lightens to her when she compliments his work, more people come up to the roof for different reasons. Natasha, the girl, goes up to find Polly, Carol. She then calls up Russell, the school Bully and his two friends Buzz and Speed Follow, as well as emo Shane, Natashas ex-Boyfriend. The story has an ending with all being resolved and the play ends with all the group promising to meet up on a regular basis to read. Moonfleece is the story of Curtis, a young right-wing activist in East London who arranges a meeting in a flat in a tower block where he grew up. Years ago, when he was a child, Curtis lived happily here but, then, tragedy struck, now Curtis is seeing his brother’s ghost. With the aid of Gavin and Tommy, fellow members of the right wing party of which he is a leading figure. Things, however, do not go as planned, for a start, there are two squatters now occupying the flat. And one of them has a story to tell, a story that will change Curtis’s life forever. The production stars Sean Verey as Curtis and is directed by David Mercatali, the controversial play has been banned in Dudley, but afterwards was performed in Greenwich. Its poster was designed by photographer Adam Levy Brokenville has had the longest gestation period of all Ridleys plays and it was first performed as Cavesongs and was part of Ridleys performance art work while he was a student at St Martins School of Art

2. Bullying – Bullying is the use of force, threat, or coercion to abuse, intimidate, or aggressively dominate others. The behavior is repeated and habitual. One essential prerequisite is the perception, by the bully or by others, of an imbalance of social or physical power, behaviors used to assert such domination can include verbal harassment or threat, physical assault or coercion, and such acts may be directed repeatedly towards particular targets. If bullying is done by a group, it is called mobbing, Bullying can be defined in many different ways. The United Kingdom of Great Britain and Northern Ireland has no definition of bullying. Bullying is divided into four types of abuse – emotional, verbal, physical. It typically involves subtle methods of coercion, such as intimidation, Bullying in school and the workplace is also referred to as peer abuse. Robert W. Fuller has analyzed bullying in the context of rankism, a bullying culture can develop in any context in which humans interact with each other. This includes school, family, the workplace, home, in a 2012 study of male adolescent American football players, the strongest predictor was the perception of whether the most influential male in a players life would approve of the bullying behavior. Bullying may thus be defined as the activity of repeated, aggressive behavior intended to hurt another individual, the Norwegian researcher Dan Olweus says bullying occurs when a person is exposed, repeatedly and over time, to negative actions on the part of one or more other persons. He says negative actions occur when a person intentionally inflicts injury or discomfort upon another person, through physical contact, individual bullying is usually characterized by a person behaving in a certain way to gain power over another person. Individual bullying can be classified into four types, collective bullying is known as mobbing, and can include any of the individual types of bullying. Physical, verbal, and relational bullying are most prevalent in primary school and it is stated that Cyber-bullying is more common in secondary school than in primary school. Individual bullying tactics can be perpetrated by a person against a target or targets. This is any bullying that hurts someone’s body or damages their possessions, stealing, shoving, hitting, fighting, and destroying property all are types of physical bullying. Physical bullying is rarely the first form of bullying that a target will experience, often bullying will begin in a different form and later progress to physical violence. In physical bullying the main weapon the bully uses is their body when attacking their target. Sometimes groups of adults will target. This can quickly lead to a situation where they are being taunted, tortured, physical bullying can lead to a tragic ending and therefore must be stopped quickly to prevent any further escalation

3. Fantasy – Fantasy is a fiction genre set in an imaginary universe, often but not always without any locations, events, or people from the real world. Most fantasy uses magic or other elements as a main plot element, theme. Magic and magical creatures are common in many of these imaginary worlds, in popular culture, the fantasy genre is predominantly of the medievalist form. In its broadest sense, however, fantasy works by many writers, artists, filmmakers. Fantasy is studied in a number of disciplines including English and other studies, cultural studies, comparative literature, history. The identifying trait of fantasy is the reliance on imagination to create narrative elements that do not have to rely on history or nature to be coherent. This differs from realistic fiction in that whereas realistic fiction has to attend to the history and natural laws of reality, an author applies his or her imagination to come up with characters, plots, and settings that are impossible in reality. Fantasy has often compared with science fiction and horror because they are the major categories of speculative fiction. Fantasy is distinguished from science fiction by the plausibility of the narrative elements, a science fiction narrative is unlikely, though seeming possible through logical scientific and/or technological extrapolation, whereas fantasy narratives do not need to be scientifically possible. The imagined elements of fantasy do not need an explanation to be narratively functional. Authors have to rely on the suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment. Despite both genres heavy reliance on the supernatural, fantasy and horror are distinguishable, horror primarily evokes fear through the protagonists weaknesses or inability to deal with the antagonists. Beginning perhaps with the earliest written documents, mythic and other elements that would come to define fantasy. MacDonald was an influence on both J. R. R. Tolkien and C. S. Lewis. The other major fantasy author of this era was William Morris, lord Dunsany established the genres popularity in both the novel and the short story form. Many popular mainstream authors also began to write fantasy at this time, including H. Rider Haggard, Rudyard Kipling and Edgar Rice Burroughs. Indeed, juvenile fantasy was considered more acceptable than fantasy intended for adults, nathaniel Hawthorne wrote fantasy in A Wonder-Book for Girls and Boys, intended for children, though works for adults only verged on fantasy. Political and social trends can affect a societys reception towards fantasy, in the early 20th century, the New Culture Movements enthusiasm for Westernization and science in China compelled them to condemn the fantastical shenmo genre of traditional Chinese literature

4. Storytelling – Storytelling is the social and cultural activity of sharing stories, often with improvisation, theatrics, or embellishment. Stories or narratives have been shared in every culture as a means of entertainment, education, cultural preservation, crucial elements of stories and storytelling include plot, characters and narrative point of view. Storytelling predates writing, with the earliest forms of storytelling usually oral combined with gestures, in addition to being part of religious rituals, some archaeologists believe rock art may have served as a form of storytelling for many ancient cultures. The Australian aboriginal people painted symbols from stories on cave walls as a means of helping the storyteller remember the story. The story was then using a combination of oral narrative, music, rock art and dance. People have used the trunks of living trees and ephemeral media to record stories in pictures or with writing. Complex forms of tattooing may also represent stories, with information about genealogy, affiliation, with the advent of writing and the use of stable, portable media, stories were recorded, transcribed and shared over wide regions of the world. Modern storytelling has a broad purview, in addition to its traditional forms, it has extended itself to representing history, personal narrative, political commentary and evolving cultural norms. Contemporary storytelling is also used to address educational objectives. New forms of media are creating new ways for people to record, express, tools for asynchronous group communication can provide an environment for individuals to reframe or recast individual stories into group stories. Games and other platforms, such as those used in interactive fiction or interactive storytelling. Documentaries, including web documentaries, employ storytelling narrative techniques to communicate information about their topic. Self-revelatory stories, created for their cathartic and therapeutic effect, are growing in their use and application, as in Psychodrama, Drama Therapy and Playback Theatre. Albert Bates Lord examined oral narratives from field transcripts of Yugoslav oral bards collected by Milman Parry in the 1930s, Lord found that a large part of the stories consisted of text which was improvised during the telling process. Lord identified two types of story vocabulary, the first he called formulas, rosy-fingered dawn, the wine-dark sea and other specific set phrases had long been known of in Homer and other oral epics. Lord, however, discovered that across many story traditions, fully 90% of an epic is assembled from lines which are repeated verbatim or which use one-for-one word substitutions. In other words, oral stories are built out of set phrases which have been stockpiled from a lifetime of hearing and telling stories, the other type of story vocabulary is theme, a set sequence of story actions that structure a tale. Just as the teller of tales proceeds line-by-line using formulas, so he proceeds from event-to-event using themes, one near-universal theme is repetition, as evidenced in Western folklore with the rule of three, Three brothers set out, three attempts are made, three riddles are asked

5. East End of London – The East End of London, also known simply as the East End, is an area of Central and East London, England, east of the Roman and medieval walls of the City of London, and north of the River Thames. The relevance of Strypes reference to the Tower was more than geographical, the East End was the major part of an area called the Tower Division, which owed military service to the Tower of London. Later, as the East End grew and the Tower Division contracted, the area was notorious for its deep poverty, overcrowding and associated social problems. This has led to the East End’s history of political activism. Another major theme of East End history has been that of migration, Irish weavers, Ashkenazi Jews and, in the 20th century, Bangladeshis. The East End lies east of the Roman and medieval walls of the City of London, Aldgate Pump on the edge of the City is the symbolic start of the East End and, on the river, Tower Bridge is also sometimes also described in these terms. Beyond these references though, the East End has no official or popularly accepted boundaries, a common preference is to include the modern borough of Tower Hamlets, together with the former parish and borough of Shoreditch. This version makes the East End conterminous with the Tower Division of Middlesex under the borders that area had in the 19th century when the East End completed the process of urbanisation, an alternative definition is based solely on the modern borough of Tower Hamlets. Parts of the old parish and borough of Hackney are sometimes included, while others include areas east of the Lea such as West Ham, East Ham, Leyton, knew not the way to the East End. The East End began with the growth of London beyond the walls, along the Roman Roads leading from Bishopsgate and Aldgate. Building accelerated in the 16th century, and the area that would become known East End began to take shape. The relevance of Strypes reference to the Tower was more than geographical, the East End was the major part of an area called the Tower Division, which had its roots in the Bishop of Londons historic Manor of Stepney and owed military service to the Tower of London. Later, as the East End grew and the Tower Division contracted, for a very long time the East End was physically separated from the Londons western growth by the open spaces known as Moorfields. Shoreditchs boundary with the parish of St Lukes ran through the Moorfields countryside becoming, on urbanisation and that line, with very slight modifications, has also become the boundary of the modern London Boroughs of Hackney and Islington. From the beginning, the East End has always contained some of the poorest areas of London, the main reasons for this include the following, the medieval system of copyhold, which prevailed throughout the East End, into the 19th century. Essentially, there was little point in developing land that was held on short leases, the siting of noxious industries, such as tanning and fulling downwind outside the boundaries of the City, and therefore beyond complaints and official controls. Historically, the East End is arguably conterminous with the Manor of Stepney and this manor was held by the Bishop of London, in compensation for his duties in maintaining and garrisoning the Tower of London. Further ecclesiastic holdings came about from the need to enclose the marshes, Edward VI passed the land to the Wentworth family, and thence to their descendants, the Earls of Cleveland

6. BT Group – BT Group plc is a holding company which owns British Telecommunications plc, a British multinational telecommunications services company with head offices in London, United Kingdom. It has operations in around 180 countries, BTs origins date back to the founding of the Electric Telegraph Company in 1846 which developed a nationwide communications network. In 1912, the General Post Office, a government department, the Post Office Act of 1969 led to the GPO becoming a public corporation. British Telecommunications, trading as British Telecom, was formed in 1980, British Telecommunications was privatised in 1984, becoming British Telecommunications plc, with some 50 percent of its shares sold to investors. The Government sold its stake in further share sales in 1991 and 1993. BT has a listing on the London Stock Exchange, a secondary listing on the New York Stock Exchange. BT controls a number of large subsidiaries, BT announced in February 2015 that it had agreed to acquire EE for £12.5 billion, and received final regulatory approval from the Competition and Markets Authority on 15 January 2016. The transaction was completed on 29 January 2016, BTs origins date back to the establishment of the first telecommunications companies in Britain. Among them was the first commercial service, the Electric Telegraph Company. As these companies amalgamated and were taken over or collapsed, the companies were transferred to state control under the Post Office in 1912. These companies were merged and rebranded as British Telecom, in January 1878 Alexander Graham Bell demonstrated his recently developed telephone to Queen Victoria at Osborne House on the Isle of Wight. John Hudson, with his premises in nearby Shudehill. As the number of installed telephones across the country grew it became sensible to consider constructing telephone exchanges to allow all the telephones in each city to be connected together, the first exchange was opened in London in August 1879, closely followed by the Lancashire Telephonic Exchange in Manchester. From 1878, the service in Britain was provided by private sector companies such as the National Telephone Company. In 1896, the National Telephone Company was taken over by the General Post Office, in 1912 it became the primary supplier of telecommunications services, after the Post Office took over the private sector telephone service in GB, except for a few local authority services. Those services all folded within a few years, the exception being Kingston upon Hull. Converting the Post Office into an industry, as opposed to a governmental department, was first discussed in 1932 by Lord Wolmer. In 1932 the Bridgeman Committee produced a report that was rejected, in 1961, more proposals were ignored

7. Royal National Theatre – The Royal National Theatre in London is one of the United Kingdoms three most prominent publicly funded performing arts venues, alongside the Royal Shakespeare Company and the Royal Opera House. Internationally, it is known as the National Theatre of Great Britain, from its foundation in 1963 until 1976, the company was based at the Old Vic theatre in Waterloo. The current building is located next to the Thames in the South Bank area of central London, in addition to performances at the National Theatre building, the National Theatre company tours productions at theatres across the United Kingdom. Since 1988, the theatre has been permitted to call itself the Royal National Theatre, the theatre presents a varied programme, including Shakespeare and other international classic drama, and new plays by contemporary playwrights. Each auditorium in the theatre can run up to three shows in repertoire, thus widening the number of plays which can be put on during any one season. In June 2009, the theatre began National Theatre Live, a programme of simulcasts of live productions to cinemas, first in the United Kingdom, the programme began with a production of Phèdre, starring Helen Mirren, which was screened live in 70 cinemas across the UK. NT Live productions have since been broadcast to over 1,000 venues in 35 countries around the world, the NT had an annual turnover of approximately £87 million in 2012–13, of which earned income made up 80%. Support from Arts Council England provided 20% of income, and the remaining 7% came from a mixture of companies, individuals, trusts, in 1847, a critic using the pseudonym Dramaticus published a pamphlet describing the parlous state of British theatre. Production of serious plays was restricted to the patent theatres, at the same time, there was a burgeoning theatre sector featuring a diet of low melodrama and musical burlesque, but critics described British theatre as driven by commercialism and a star system. There was a demand to commemorate serious theatre, with the Shakespeare Committee purchasing the playwrights birthplace for the nation demonstrating a recognition of the importance of serious drama, the following year saw more pamphlets on a demand for a National Theatre from London publisher Effingham William Wilson. The situation continued, with a renewed call every decade for a National Theatre, attention was aroused in 1879 when the Comédie-Française took a residency at the Gaiety Theatre, described in The Times as representing the highest aristocracy of the theatre. This still left the capital without a national theatre and this work was interrupted by World War I. The play was part of the campaign to build a National Theatre. Still, the Government tried to apply unacceptable conditions to save money, attempting to force the amalgamation of the publicly supported companies. In July 1962, with agreements reached, a board was set up to supervise construction. The National Theatre Company opened on 22 October 1963 with Hamlet, the current building was designed by architects Sir Denys Lasdun and Peter Softley and structural engineers Flint & Neill and contains three stages, which opened individually between 1976 and 1977. The construction work was carried out by Sir Robert McAlpine, the Company was to remain at the Old Vic until 1977, when construction of the Olivier was complete. The National Theatre building houses three separate auditoria, additionally, a temporary structure was added in April 2013 and closed in May 2016

8. Kellie Bright – Kellie Bright is an English actress. She is known for playing Linda Carter in the BBC soap opera EastEnders, for which she won the 2015 British Soap Awards for Best Actress and her other television roles include Joanna Burrows in The Upper Hand, Cassie Tyler in Bad Girls and Joan Trotter in Rock & Chips. In 2015, she was the runner-up in the 13th series of the BBC One show Strictly Come Dancing, Bright has been acting since she was 11, appearing on stage in shows such as Annie and Les Misérables, before landing a place at The Sylvia Young Theatre School. As a child actress, she appeared in different series on British television in the late 1980s. In 1990, at the age of 13, Bright was cast as Joanna Burrows in TV series The Upper Hand alongside Joe McGann, Diana Weston, after The Upper Hand had finished, Bright has said that she struggled to make ends meet. She says, I didnt have any acting work, so I got a job waiting on tables to pay the mortgage, next thing I know, a customer had called a newspaper saying I was there and some photographers appeared out of the blue snapping away. She also worked as a receptionist at a nightclub in London. She continued, I was getting rejected from one job after another and no matter how much I tried not to take it personally, Bright played Kate Madikane in Radio 4s The Archers, and was with the series from 1995 until 2014. Bright has also had roles in Bad Girls and BBC radio programme The Archers. She has also guest starred in Da Ali G Show and made an appearance in the film Ali G Indahouse, Bright has made several guest appearances on British television programmes, her credits include Holby City, Casualty, The Catherine Tate Show and Vera. Bright also starred as Joan Trotter in the Only Fools and Horses prequel, Rock and Chips, in October 2013, Bright was cast as Linda Carter in the BBC soap opera EastEnders. Linda made her first on screen appearance on 19 December 2013, the Carter family were created by the shows executive producer Dominic Treadwell-Collins who planned to completely revamp the show. Since her arrival, Brights character Linda has been a part of some of the shows biggest storylines such as struggling to accept that her son Johnny is gay, in October 2014, Linda was involved in a controversial storyline where she was raped by Dean Wicks. On filming this particular storyline, Bright stated that It is a challenging storyline, Bright was praised for her performance during this storyline. Bright won the 2014 Digital Spys Readers Award for Best Female Soap Actress, along with Dyer, Bright was nominated for Best On-screen Partnership at The British Soap Awards 2014 for the relationship between Mick and Linda. In 2015, she was nominated for the Serial Drama Performance award at the National Television Awards and she has been nominated for Best Actress and Best Dramatic Performance at The British Soap Awards 2015. On 12 March 2015, Bright revealed that she had received letters from rape victims who had been affected by Lindas story. In September 2015, Bright joined the series of Strictly Come Dancing on BBC One

9. Chiwetel Ejiofor – Chiwetel Umeadi Ejiofor, CBE, is a British actor. Ejiofor portrayed the characters Solomon Northup in 12 Years a Slave, Karl Mordo in Doctor Strange, Dr. Vincent Kapoor in The Martian, Okwe in Dirty Pretty Things and The Operative in Serenity. For 12 Years a Slave he received Academy Award and Golden Globe nominations and he was nominated for a 2014 Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie for his performance in Dancing on the Edge. In 2008, he was awarded an Officer of the OBE by Queen Elizabeth II for services to the arts and he was elevated to Commander of the Order of the British Empire in the 2015 Birthday Honours. Ejiofor was born in Londons Forest Gate, to Nigerian parents of Igbo origin and his father, Arinze, was a doctor, and his mother, Obiajulu, was a pharmacist. His younger sister is CNN correspondent Zain Asher and his father was killed, and Ejiofor was badly injured, and received scars that are still visible on his forehead. Ejiofor began acting in plays at the age of fourteen at Dulwich College. He got into the London Academy of Music and Dramatic Art but had to leave after his first year, after being cast in Steven Spielbergs film Amistad. He played the role in Othello at the Bloomsbury Theatre in September 1995, and again at the Theatre Royal, Glasgow in 1996. Ejiofor made his debut in the television film Deadly Voyage in 1996. He went on to become an actor in London. In Steven Spielbergs Amistad, he gave support to Djimon Hounsous Cinque as interpreter Ens, in 1999, he appeared in the British film G, MT – Greenwich Mean Time. In 2000, he starred in Blue/Orange at the Royal National Theatre and that same year, his performance as Romeo in William Shakespeares Romeo and Juliet was nominated for the Ian Charleson Award. Ejiofor was awarded the Jack Tinker Award for Most Promising Newcomer at the Critics Circle Theatre Awards in 2000, Ejiofor had his first leading film role in 2000 playing Nicky Burkett in Jeremy Camerons It Was An Accident. In 2002 he starred in Dirty Pretty Things, for which he won a British Independent Film Award for best actor. In the following year, he was part of the ensemble cast of Love Actually, starred in a BBC adaptation of Chaucers The Knights Tale and he starred alongside Hilary Swank in 2004s Red Dust, portraying the fictional politician Alex Mpondo of post-apartheid South Africa. He played Mike Terry, in the cult film Redbelt that received favourable reviews and he also received acclaim for his performance as a complex antagonist The Operative in the 2005 film Serenity. Ejiofor played a revolutionary in the 2006 film Children of Men and his singing and acting performance in Kinky Boots received a Golden Globe Award and British Independent Film Award nomination

10. The Pitchfork Disney – The Pitchfork Disney is a 1991 stage play by Philip Ridley. It was Ridleys first professional work for the stage, having produced work as a visual artist, novelist, filmmaker. The play premiered at the Bush Theatre in London, UK in 1991 and was directed by Matthew Lloyd, the play was a controversial hit and is generally regarded as kick-starting a new, confrontational In-yer-face style and sensibility of drama which emerged in British theatre during the 1990s. The play is the first entry in Ridleys unofficially titled East End Gothic Trilogy, being followed by The Fastest Clock in the Universe, in 2015 the published script was reissued under the Methuen Drama Modern Classics range, recognising the plays impact on modern British theatre. The play opens with the characters of Presley and Haley, two adults living alone in the East End of London and they lead a childish fantasy existence, living mainly off chocolate. Their parents died a decade before, although their fate is not described. They tell each other stories and discuss their dreams and fears, from their window, they see two men, one of whom is apparently sick. Agitated, Haley sucks on a dummy and goes to sleep. Despite their fear of outsiders, Presley brings the man in. The man introduces himself as Cosmo Disney, and explains that he and his sickness is caused by the fact that his particular talent consists of eating insects and small animals. Cosmo emotionally manipulates Presley who tells Cosmo about a dream he has. Almost immediately after Presley finishes his story, Cosmos partner arrives and he is a huge, masked and apparently mute figure named Pitchfork Cavalier. His act is taking his mask off to reveal his hideously deformed face. He sings a song, dances with the unconscious Haley. Cosmo convinces Presley to accompany Pitchfork to the shops, promising friendship, as soon as they leave, Cosmo performs a sexual assault on Haley by inserting one of his fingers soaked in medicine into her mouth. Presley unexpectedly returns and realises Cosmos true motives, and breaks his finger which he used to assault Haley, Pitchfork briefly returns, terrifies Presley and then leaves. Haley awakes, and the two express their fear, the play is a dreamlike piece with surreal undertones. It primarily deals with fear, particularly childhood fears, dreams and stories are also explored, and indeed, the entire play can be interpreted as a dream in itself

11. The Fastest Clock in the Universe – The Fastest Clock in the Universe is a two act play by Philip Ridley. It was Ridleys second stage play and premiered at the Hampstead Theatre, London on 14 May 1992, the production was the second collaboration between Ridley and director Matthew Lloyd, who would go on to direct the original productions for the majority of Ridleys plays until 2000. Nevertheless the play was a success, winning a variety of awards. The play is the entry in Ridleys unofficially titled East End Gothic Trilogy, preceded by The Pitchfork Disney. In a flat above an abandoned fur factory in the East End of London lives Cougar Glass, at thirty years of age he is obsessed with his self-image, doing all he can to appear young. He lives with his partner Captain Tock who he often makes wait on him, as Cougar has an intense fear of ageing he regularly holds birthday parties where he pretends to be only nineteen years of age. He also uses these parties to invite young people whom he has falsely befriended to his flat, the victim of todays party is Foxtrot Darling, a 15 year-old schoolchild who Cougar has manipulated by becoming a new role model for him in wake of his brothers death. However when Foxtrot arrives he has brought along Sherbet Gravel. As the play progresses the atmosphere gradually intensifies as Sherbet takes control of the party, Cougar Glass - A thirty year old man, he appears to be very narcissistic, caring little about others and instead being fixated with his own appearance. He also becomes hysterical and feels physically ill whenever he is reminded of his real age, Captain Tock - A heavily balding 49 year old man. He has a job running a shop and has an obsession with birds. He is very wary of his health, taking vitamins and refraining from eating unhealthy food, Foxtrot Darling - A15 year-old school child. He has found a new model in Cougar after the loss of his brother. Sherbet Gravel - A streetwise 17 year old girl and she originally was the girlfriend of Foxtrots brother until his death. She since has become Foxtrots girlfriend and claims to be pregnant with his child and she yearns to have a more normal life, having previously been involved with gangs. Cheetah Bee -88 years of age, she is the landlady as her husband owned the fur factory below years before, whenever Cougar gets distressed from being reminded of his real age she arrives and coaxes him by showing how old and unattractive she is by comparison. Premiere 14 May 1992 at Hampstead Theatre, London, directed by Mathew Lloyd, ghosts from an Imperfect Place, Philip Ridleys Nostalgia Rebellato, Dan. The Methuen Drama Guide to Contemporary British Playwrights, Modern British Playwriting, The 1990s, Voices, Documents, New Interpretations

12. Mercury Fur – Mercury Fur is a play written by Philip Ridley which premiered in 2005. Set against the backdrop of a dystopian London, the focuses on a party at which the torture. It is Ridleys fifth adult stage play and premiered at the Plymouth Theatre Royal, moving to the Menier Chocolate Factory in London, in 2005. The original production was directed by John Tiffany as part of the This Other England season of new writing by Paines Plough and Theatre Royal, Plymouth in England. The part of Elliot was played by Ben Whishaw, who had become famous the previous year as the youngest modern Hamlet in Trevor Nunns production at the Old Vic Theatre in London. The play is the first entry in Ridleys unofficially titled Brothers Trilogy, being followed by Leaves of Glass, Ridley dedicated the play to his agent Rod Hall before he was murdered in May 2004. Mercury Fur is set in a version of Londons East End. The protagonists are a gang of youths surviving by their wits and they deal the butterflies, selling them to their addicted customers from locations such as the now burnt-out British Museum. Their main source of income, however, is holding parties for wealthy clients in which their wildest, most amoral fantasies are brought to life. The play, during nearly two uninterrupted hours, centres on a party which revolves around the murder of a child. The gang ultimately has to face the question of how far they are willing to go to save the people they love. Elliot - Aged 19, he is the facilitator in preparing the parties as well as being the chief dealer in butterflies which he sells in an ice cream van. He however has only taken one, meaning he has retained all his memories from before the butterflies arrived. He hurls a great deal of abuse at Darren but also shows genuine love for him. Darren - Aged 16, he is Elliot’s brother and assistant and he is addicted to the butterflies which have resulted in him having memory loss. Naz - A young looking 15-year-old orphan who is a customer of Elliots. He like many of the characters has severe memory loss through butterfly addiction. He happens across the party by accident and wants to help the gang, Party Piece - A ten-year-old Pakistani boy

13. Piranha Heights – Piranha Heights is a one act play by Philip Ridley. It is Ridleys seventh stage play for adults and premiered at the Soho Theatre, the production was the second collaboration between Ridley and Soho Theatre Artistic Director Lisa Goldman whom Ridley dedicated the play to in his preface of the published text. Piranha Heights serves as the third and final instalment in Ridleys unofficially titled Brothers Trilogy, having been preceded by Mercury Fur, the play was later revived at The Old Red Lion Theatre in 2014 for which Ridley substantially revised the script. The play takes place on Mother’s Day where Alan is in his mother’s flat, unexpectedly his brother Terry turns up, having been missing since after their Mother’s death several weeks before. Terry has brought along with him a girl called Lily who lives in a squat below the flat. Tension mounts while the anger builds between the two brothers as they argue over who should inherit the flat, as well as argue their conflicting memories of their deceased mother, eventually Lilly’s partner The Medic arrives. He is a boy who frequently swings from being overly grateful to extremely angry. He along with Lilly look after a baby doll called Bubba which they treat as if it is their own child. Taking place in real-time and spanning approximately ninety minutes in length, premiere 15 May 2008 at the Soho Theatre, London. Alan - Alex Lowe Terry - Phil Cheadle Lilly - Rebecca Boey Medic - Ryan Gerald Garth - Jassa Ahluwalia The original production received positive reviews. Philip Fisher of British Theatre Guide gave a review, stating that the play “is the theatrical equivalent of a gigantic Jackson Pollock splatter painting. It is shocking with little surface meaning but is addictive and, to some, inexplicably attractive. ”The Guardian critic Lyn Gardner, though giving a positive review, only awarded the play three stars, saying that it is “not a show for everyone and definitely not for the faint-hearted. ”On seeing the original production actor Ben Whishaw. It put me in a kind of trance, I love the way he writes about fantasy, truth, honesty and lies with such courage, passion, humour and poetry. I think hes a true original However, the play was not greeted with praise from all reviewers. ”

14. Krindlekrax – Krindlekrax is a thriller childrens novel by author Philip Ridley. It was first published in 1991 by Jonathan Cape and republished in 1992 by Red Fox, the book won the Nestlé Smarties Book Prize in 1991 in the 9 -11 age category and was chosen by children as an all-time favourite. It also won a WH Smith Mind-Boggling Book Award in 1993, in 2000, to celebrate the new millennium, Hachette Childrens Group published Out of this world, a collection of extracts from the best in 20th century childrens literature. Krindlekrax was one of the books featured and appeared alongside such as Roald Dahls Matilda. Rowlings Harry Potter and the Philosophers Stone, the story takes place in a street called Lizard Street, located in a town with cracked pavements, scorched brickwork and bumps and holes in the roads. It centers around a boy named Ruskin Splinter who is small and thin with thick glasses, red frizzy hair, knock-knees. He wants to be the hero of a play, but everyone criticizes him for his appearance and voice. Later Ruskin finds out from his dad that everyone in Lizard Street was responsible for the monster getting into the sewers in the first place. Suddenly Corky unexpectedly dies and everyone suspects it to be a heart attack, but Ruskin knows that Krindlekrax was responsible and is angry with all of Lizard Street for allowing it to happen. Ruskin is so upset with Corkys death, that he cant get out of bed, after this Ruskin decides to save the street from the wrath of Krindlekrax once and for all. Later that night Ruskin lures the monster out of the sewers and tames it by throwing Corkys medal in its mouth, Ruskin stops Elvis window smashing by bursting his ball and after a long talk, they become friends again. The story ends with Ruskin saying how much he now loves his street, Ruskin Splinter, The main character who may look small and dorky, but proves to be quite a hero. Krindlekrax, The monster who lurks under the sewers of Lizard Street and it was once an infant crocodile but grew into a fierce fire breathing monster. Wendy Splinter, Ruskins mother who loves toast and tea and says Polly Wolly Doodle all the Day, winston Splinter, Ruskins father, a fired zookeeper who is always complaining and saying Its not my fault. Elvis Cave, The big and loud school bully who wears an American footballers outfit and breaks windows, he was once Ruskins friend, sparkey Walnut, A timid boy who wears a baseball players outfit. He was once Ruskins friend but became Elvis follower after he grew so tall, Corky Pigeon, An elderly man who was once a sewer maintenance man, but later became the caretaker at St Georges school. He loved chocolate biscuits and shared a lot in common with Ruskin about plays, mr. Lace, The school teacher who enjoys sucking pencils and gets hysterical whenever William Shakespeares name is mentioned. Dr. Flowers, A man who always has his pockets full of tissues to help with his hay-fever, mr. Flick, A smart suited man who owns the cinema in Lizard Street

Facing adulthood is a tough, furious and confusing ride. For Sparkleshark's teenage characters, however, the big, serious world is rushing to meet them.

Written by English playwright Philip Ridley and commissioned by the National Theatre of Great Britain as part of a youth theatre project, Sparkleshark ponders the fractious speedway to maturity and the facades we use to get there.

The play's nine characters share a school but none are real friends. They hover in a world of bullying, peer rejection or quiet quests of self-discovery. Behind one character's mask of playground superiority is a home life rife with loneliness. Another's apparent street-smart savvy hides a desperate search for individuality.

Amid this the gifted story-teller Jake prefers to avoid the daily melee. Perceived as a geek by his classmates, he escapes beatings from the school bully and spunk Russell by writing stories while on the roof of his urban apartment block. There, among rubbish bags, rotting newspapers and abandoned shopping trolleys, Jake recasts surrounding buildings as castles or mountains, imagines TV aerials as forests and dreams up shark-headed dragons. His peace is shattered one afternoon by a new schoolmate and neighbour, Polly, a secret devotee of his stories, having secretly read several left on the rooftop.

"When I read them, I tingle," she tells an astonished Jake. "As if a thousand Russells had revealed a thousand six-pack stomachs."

But a steady stream of intruders crashes the conversation - cool-girl Natasha, doppelganger Carol, king of the patch Russell, brooding Shane. In minutes Jake is dangled over the building's edge by Russell's bully boys and only Polly's frantic urgings to hear his magical story stop a fight.

From there, from desperate beginnings, a fertile fairytale is hatched as tormenters and followers alike join in spinning a tale of dragons, evil kings, princes and princesses.

Using their real problems as the basis of an imagined world, Polly confronts emotional isolation at home, Carol finds her own beauty and Jake becomes a heroic leader. Polly's imposing baby brother, Finn, is no longer feared.

Director David Berthold and his young cast have skilfully realised very Australian characters. Emma Terracini as Natasha is a true Aussie chick - loud-mouthed, feisty and indignant - strutting around in high heels with a tiny gold handbag. Melissa Shiell's Carol is a beautiful mixture of longing and insecurity, Chad Armstrong revels in Russell's "turbo dream-boat" profile and Jacinta Byrne is adept at leading Polly through fantasy and reality. Nick Dare's set design is cleverly versatile and Gordon Hamilton's score is effective and evocative.

Sparkleshark delves powerfully into the difficult traps and tests of being a teenager and it does so without earnest analysis, without brow-beating anxiety and without patronising "yoof" talk.

Until May 3.

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