‘Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.’

The mention of ‘glass’ in the title of Tennessee Williams’ 1944 memory play, set in the Deep South, is a supreme example of a hauntingly vivid use of imagery to communicate the pure essence of a piece of literature, and to take the reader on a discovery of a character’s existence.

The character Laura possesses a collection of glass, which symbolises her state of intricate delicateness in an environment of a consuming and overwhelming world which is almost dictated by the over-caring nature of her mother, Amanda, and conveys the mental aggravation she experiences, fairly and honestly inflicted by her brother and the play’s narrator, Tom. I find that the production notes and stage directions perfectly resemble Laura’s character of self-loss and despair – it is impossible to read the descriptions of her emotions and not picture a touching vision of this character, struggling so much that the reader will feel immense sorrow and empathy for her situation and life.

The play’s background and context relates to Williams’ early life as a young adult in St Louis, and it is clear that a certain extent of the play is autobiographical, enriching the particular persona of the character of Tom. In addition, Laura bares resemblance to Williams’ sister, who underwent a lobotomy due to a diagnosed disability. Once again, the traits of Williams’ experiences ring true in the play’s exploration of the human condition and are hugely responsible for the transition of developing intense human emotion, when exploring the realms of general experiences of Southern life.

Another major reworking of a perennial staple for page-to-screen adaptations had its unveiling at the Venice Film Festival this week. The latest film version of Wuthering Heights is the imagining of acclaimed British director Andrea Arnold and its take on the enduringly popular story of passion and obsession is considerably gritty, closer-to-the-bone than its many predecessors and perhaps even brusquer than Brontë; if Jane Eyre can be likened to a rich, sumptuous but sweet soft-centre then the new Wuthering Heights is surely a dark and chunky chocolate with a nut at its core: precarious and tough but ultimately extremely satisfying.

Speaking before the film’s premiere, Arnold said she wanted to honour Emily Brontë and the book’s “strange, dark and profound” spirit in her version. Certainly the notorious wildness of the moors, as much a key ‘character’ in the novel as Heathcliff, Cathy and Edgar, are brought to life not only through the setting and naturalistic approach to the narrative – much like the recent Radio 3 adaptation of the book, the new film contains a smattering of coarse and profane language, holding nothing back – but most impressively, through the use of hand-held camerawork and shots that are rough around the edges, placing the characters deep within the wild and windy landscape and emphasising their tumultuous emotion.

Another fairly unique take comes in the casting; instead of being subconsciously distracted by superstar names, the two leads are played by up and coming actors. Kaya Scoledario (previously of Skins) takes on Cathy, while the role of Heathcliff – pictured here as a runaway slave picked from the Liverpool streets – is played by Solomon Glave, whose portrayal of Heathcliff as a a boy is being especially praised, and James Howson, in his first acting role; James himself being plucked from the job-centre to attend open-call auditions.

The production of the new Wuthering Heights has proved to be a long journey, almost as tortuous as the novel’s story, but well worth it for its brutal but brave portrayal. Lovers of the book will have to wait a little bit longer for the film’s release at the start of November – but that provides the perfect amount of time to curl up and give it a good re-read.

The enduring appeal of the Earnshaws: a timeline of Wuthering Heights in the spotlight

• December 1845-July 1846 – Emily Bronte pens the novel.
• July 1847 – A year after completion and initial rejection, Wuthering Heights gets a publisher.
• 1939 – The seminal film adaptation of the novel appears, starring Laurence Oliver and Merle Oberon as Heathcliff and Cathy. It is nominated for Best Film at the 1939 Academy Awards.
• 1970 – First colour film version stars Timothy Dalton and Anna Calder-Marshall.
• 1978 – The story of Wuthering Heights takes on a lyrical form when Kate Bush releases her musical imagining of the classic tortured love story as her debut single. It tops the UK singles chart.
• 1992 – Another film adaptation stars Ralph Fiennes and Juliette Binoche.
• 2008 – Wuthering Heights is reinvented musically once more as a dramatic musical, narrated by Ray Winstone.
• 2009 – A two-part television adaptation for ITV features Tom Hardy (who stars in the new adaptation of Tinker, Tailor, Soldier, Spy) and Charlotte Riley.
• 2011 – The latest film adaptation, directed by Andrea Arnold, is to be released.

On 30^th and 31^st July an ambitious and extraordinary performance about Climate Change is coming to Liverpool.

Combining dramatic film and visuals with breathtaking aerial performance from Liverpool’s own Wired Aerial Theatre, ‘As The World Tipped’ confronts one of the most pressing issues for people and the planet with spectacle, humour and emotion. Suspended above the audience in the night sky, the performers struggle to control their increasingly precarious world as they do battle with the effects of environmental catastrophe.

The Stage Online described it as:

an epic and stunningly realised portrait of the full-scale disaster we may be facing

Commissioned by Liverpool City Council and Liverpool Primary Care Trust as part of the Decade of Health and Wellbeing ‘As The World Tipped’ is written and directed by international director Nigel Jamieson, best known in Liverpool for creating the opening of Liverpool European Capital of Culture in 2008.

The free show takes place at Liverpool Anglican Cathedral on Saturday 30th and Sunday 31st July. The Cathedral will be open to explore all day with activity from 7pm leading up to the main performance at 10pm – this will be outdoors so no tickets are needed, just make sure you don’t miss what promises to be a thrilling performance!

What could possibly go wrong?

The Wedding is not an opera as we think of it, but a modern musical about a Scouse wedding, where all the audience are invited as guests. The two families are colliding, and some have secret bombshells waiting to drop. There is even a table reserved for arguments – it’s called the Top Table. Fasten your seat belts – it’s a roller coaster journey. And you’re invited to join in the celebration –every ticket includes a free meal and your first drink!

Inspired by real-life stories drawn from the experiences of former workers at Price’s Candle Factory, Bromborough, The Wedding is a brand new show produced by the Aspire Trust in association with the Royal Court Theatre and Wirral CVS and scripted and directed by Parrabbola – who make community plays all over the world. The Wedding is performed by a community cast drawn from all over the Wirral and from further afield.

Dates: 1st – 5th of March, 2011
Times: 7:30 pm and 5th March 2:00 pm
Venue: Hulme Hall, Port Sunlight, Bebington
Tickets: £15 / person – includes a meal and a drink! (Discount: Family: (4 people) £50 or Table: (10 people) £100)

For further information and for ticket bookings contact Clare at Aspire: cbentley.aspire@btconnect.com, or call the Aspire Trust on 0151 639 9231

To help celebrate the momentous occasion, the Cathedral in partnership with the Everyman & Playhouse theatres are putting on what promises to be a thrilling, as well as educational, promenade theatre performance commemorating the lives of some of the Noble Women featured in the Lady Chapel windows.

Walking Through Windows relays the stories of local heroes of Liverpool such as Josephine Butler and Kitty Wilkinson, as well as other courageous and celebrated women including poet Christina Rossetti, through dance, music and theatre. Directed by Thea Soltau, the production features input from a number of leading dramatists including Heidi Thomas (Cranford, Lilies). All the action will take place in Liverpool Cathedral itself, utilising some of its most spectacular spaces in grand fashion.

Walking Through Windows runs from 29th June to 3rd July. Tickets for the exclusive performances are priced at £8 and are available now from the Everyman & Playhouse box offices (0151 709 4776). More information on the event can be found at the Liverpool Cathedral website.

The Lady Chapel Centenary celebrations start on 21st June and conclude on 8th July, featuring special exhibitions, workshops and services.

Other special events include a book signing by local author Mike Kelly of his book The Life & Times of Kitty Wilkinson on Saturday 19th June and a lecture by Dr. Jane Jordan from Kingston University on Josephine Butler on Wednesday 2nd June.

It’s not just Romeo and Juliet that we’re looking for either. We want to hear from anyone, from all walks of life, ages, and experience, who would like to be a part of this unique production at the fire station.

If you want to be involved, you will be. People are needed to work back-stage, to paint scenery, and to design costumes. You can even make the tea if you’d like! It’s a bit like ‘Merseyside’s Got Talent’, and it’s a great opportunity to showcase the extraordinary talent Merseyside has to offer. There will be a few surprises along the way, too.

Neil Caple, Director, says:

The production will be aided by a sprinkling of professionals, who will help and guide performers from the community.

I can think of one name in particular that is going to surprise a few people with her involvement. She’s never done anything quite like this before, and I can’t wait to start working with her. But we’ll tantalise everyone for a little longer with that one.

Romeo and Juliet will rehearse in Croxteth throughout July and August 2010. Auditions for speaking parts will be held 28^th June – 9^th July at Croxteth Lifestyles Gym.

If you are interested in taking part in any way, whatever your level of experience, please contact Neve for more information: mct@thereader.org.uk, or call 07807 106814.

MCT is coordinated by The Reader Organisation and has been made possible thanks to the support of: Arts Council England, Cobalt Housing, Mersey Care NHS Trust, Merseyside Fire and Rescue Service, Merseytravel, Neighbourhood Management Services (Alt Valley), University of Liverpool and 2010 Year of Health and Wellbeing.

At the poem’s end Browning warns that, like the Duke’s painting of his ‘last Duchess’, his new bride is already his ‘object’: a source of admiration and praise, who will no doubt meet the same untimely end as the Duke’s previous wife. The Duke’s preoccupation with how the painting of his Duchess stands ‘as if alive’ suggests that he is only able to appreciate her beauty once it has become lifeless and no longer threatening, emphasised by the Duke’s boasting of ‘Neptune […] taming a sea-horse, thought a rarity / Which Claus of Innsbruck cast in bronze for me!’, and showing that the painting of the Duchess no longer represents her life, but is merely another work of art that the Duke can claim ownership and control over.

My Last Duchess

That’s my last duchess painted on the wall,

Looking as if she were alive. I call

That piece a wonder, now: Frà Pandolf’s hands

Worked busily a day, and there she stands.

Will’t please you sit and look at her? I said

“Frà Pandolf” by design, for never read

Strangers like you that pictured countenance,

The depth and passion of its earnest glance,

But to myself they turned (since none puts by

The curtain I have drawn for you, but I)

And seemed as they would ask me, if they durst,

How such a glance came there; so, not the first

Are you to turn and ask thus. Sir, ’twas not

Her husband’s presence only, called that spot

Of joy into the Duchess’ cheek: perhaps

Frà Pandolf chanced to say “Her mantle laps

Over my lady’s wrist too much,” or “Paint

Must never hope to reproduce the faint

Half-flush that dies along her throat”: such stuff

Was courtesy, she thought, and cause enough

For calling up that spot of joy. She had

A heart how shall I say? too soon made glad,

Too easily impressed; she liked whate’er

She looked on, and her looks went everywhere.

Sir, ’twas all one! My favor at her breast,

The dropping of the daylight in the West,

The bough of cherries some officious fool

Broke in the orchard for her, the white mule

She rode with round the terrace all and each

Would draw from her alike the approving speech,

Or blush, at least. She thanked men good! but thanked

Somehow I know not how as if she ranked

My gift of a nine-hundred-years-old name

With anybody’s gift. Who’d stoop to blame

This sort of trifling? Even had you skill

In speech which I have not to make your will

Quite clear to such an one, and say, “Just this

Or that in you disgusts me; here you miss,

Or there exceed the mark” and if she let

Herself be lessoned so, nor plainly set

Her wits to yours, forsooth, and make excuse,

E’en then would be some stooping; and I choose

Never to stoop. Oh sir, she smiled, no doubt,

Whene’er I passed her; but who passed without

Much the same smile? This grew; I gave commands;

Then all smiles stopped together. There she stands

As if alive. Will’t please you rise? We’ll meet

The company below, then. I repeat,

The Count your master’s known munificence

Is ample warrant that no just pretense

Of mine for dowry will be disallowed;

Though his fair daughter’s self, as I avowed

At starting, is my object. Nay we’ll go

Together down, sir. Notice Neptune, though,

Taming a sea-horse, thought a rarity,

Which Claus of Innsbruck cast in bronze for me!

Robert Browning, 1842

Since February, the festival has been working with 30 young writers from our partner-schools in both Sefton and Halton in a weekly programme of workshops designed to develop 15-minute plays for performance. From our workshop base in Formby, our writers have had the opportunity to meet industry professionals such as playwright Michael McLean and film-maker Paul Dawson, who have provided stimulating workshops and Q&A sessions; they have studied modern, aggressive works by writers such as Caryl Churchill and Duncan MacMillan; attended contemporary theatre productions in Liverpool for inspiration; and have worked weekly with the playwright Chris Fittock and actress Keri White on developing and honing their ideas into a finished script.

The sensitivity of the writing and the breadth and depth of subjects covered belies the age of the writers: from the idea of the redemption of ambition on a Merseyrail train halted by a suicide to a comedic tour of Sefton written entirely in Shakespearean rhyming couplets, the work has proven to be diverse, surprising and challenging. For young people of whom most have never before written for the theatre, neither age nor inexperience has been used as an excuse for playing it safe: these plays aim to provoke in their language, their theme and their form.

Theatre in the Rough ’09 takes place at the Southport Arts Centre on 19 & 20 May at 7.30pm, £5/£4, Box Office: 01704 540 011, and at The Brindley, Runcorn, on 26 May at 7pm, £5/£4, Box Office: 0151 907 8360.

Much more information, including galleries and videos for all the plays, can be found at www.theatreintherough.com

The Theatre in the Rough Festival is funded by Express Sefton and Awards for All.

Any entries of poetry, stories, lyrics, essays, mini-dramas, plus any other forms of writing will be accepted, as long as they are on the theme of JOURNEYS.

Current Poet Laureate Andrew Motion writes that,

The Sefton Writing Competition is a very welcome event: it celebrates an exciting variety of new voices.

The Judging panel will consist of Brian Wake, Philip Wroe, and David Eddy.

Please click here for more information on terms and conditions, and how to submit your entry. The closing date for entries is 9th October 2009.