CAROLYN SEYMOUR (ABBY Grant) will join a three-person panel for an online Star Trek question-and-answer session on 15 July.
Hosted by Wizard World Virtual Experiences, Seymour will appear alongside fellow Star Trek cast members Anthony Montgomery and Alan Van Sprang for an hour-long web session, starting at 21:00 UK time.
The session will be free to view online, although a range of associated merchandise is available to pre-purchase: including signed (and, if desired, dedicated) photos, video chats (scheduled for 18 July) and pre-recorded video messages.
HAMPTON COURT IN Herefordshire, the main filming location for the last seven episodes of the first series of Survivors and a regular travel destination for fans of the show, re-opens to visitors on Wednesday 8 July 2020.
Hampton Court estate has been closed to public access during the Covid-19 lockdown restrictions that were imposed towards the end of March. Lockdown meant that the estate remained shut even as its usual April opening date passed.
From 8 July, the estate will again open to visitors (from Wednesday to Sunday each week).
UPDATE, 7 JULY: Details of exactly which facilities and services will be available, and what social distancing arrangements will be in place, have been published on the Hampton Court site.
In summary, the grounds and main garden will be accessible, and the Orangery restaurant will provide a limited menu of refreshments. However, the castle, the maze, the play areas, sunken garden and gift shop will all remain closed, in order not to conflict with social distancing and safety guidelines.
We are delighted to announce that we are reopening the majority of our gardens and grounds to visitors from Wednesday 8th July. Our new opening hours (until further notice) will be Wednesday – Sunday, 10.30am – 5pm.
To keep within government guidelines, some areas are still closed for the time being, including: the maze, sunken garden, play areas, gift shop and the castle itself. These are areas where we feel that government safety guidance would be challenging to uphold.
Due to this, entry prices in July have been reduced – adults £6, children £3 (4 -15 years) and under 4’s are still free. At present, we won’t be offering any other concessions, accepting discount vouchers or group bookings. We’ll also only be taking card payments and encouraging contactless wherever possible.
We are pleased to be able to open the Orangery Café, albeit with a limited menu and reduced indoor seating. There is plenty of outdoor seating available and visitors are welcome to bring their own refreshments.
With regards to safety measures, we have implemented a one-way flow system in some areas of the gardens and staff have been issued with appropriate PPE. The cleaning of facilities has been increased to every hour and hand-sanitising points are available throughout the grounds. As these are new circumstances for all of us, then we would appreciate visitor feedback. Please speak to a member of staff during your visit or email us on email@example.com
He looks at the interplay between custom and practice, acting theory, evolving technology and other factors in shaping how performance for television is realised. Hewett pays particular attention to the distinction between studio and ‘on location’ production, exploring the influence that ‘place’ exerts on the way that a story is translated from page to screen.
Hewett’s book builds on the research that he undertook for the doctoral thesis, and an academic journal article that he published as one of the outputs of his research findings. Yet it’s clear that the aim of the book is to reach a non-academic as well as an academic audience.
For those interested in the history of British television production, there’s a great deal in Hewett’s book to capture the attention.
Enthusiasts with a particular interest in Survivors will be able to enjoy some fascinating and original reflections on the making of the show, informed by new interviews with cast members (including Lucy Fleming and Denis Lill and Roger Lloyd-Pack), and illustrated with numerous screencaptures from different episodes of the show.
In a Q&A with publishers Manchester University Press, Hewett explains that he enjoyed “every aspect of writing the book, from re-viewing the case studies to poring over archive documents.” He suggests that conducting interviews was the most satisfying part. “It was fascinating to have my theories challenged by the practitioners who originally worked on my case studies,” he says – people who were on set at the time and who were able to offer “their own unique perspectives.”
This book provides a historical overview and then-and-now comparison of performing for British television drama. By examining changing acting styles from distinct eras of television production – studio realism and location realism – it makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium. The book compares the original versions of The Quatermass Experiment (BBC, 1953), Doctor Who (BBC, 1963-89) and Survivors (BBC, 1975-77) with their respective modern-day re-makes, unpacking the effects of the shift from multi-camera studio to single-camera location production. Textual analysis is combined with extensive archival research into production process and reception, alongside interviews with numerous actors and production personnel from more than sixty years of television production.
Richard Hewett. 2020. The Changing Spaces of Television Acting: From studio realism to location realism in BBC television drama. Manchester: Manchester University Press, ISBN 9781526148636.