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ELT News Japan interview

ELT NEWS, JAPAN
INTERVIEW, 2000

On the Profession

ELTN: How has the ELT field changed since you started in the profession?

PV: I started teaching at the end of my first year at university, teaching German summer vacation students. I was about three years older than the students. In those days the materials were total rubbish, and I discarded them and taught from Simon and Garfunkel and Beatles records instead. I started teaching full time in 1971, and materials quickly started getting better. Robert O’Neill’s Kernel lessons Intermediate was the first fully-satisfying course book I taught. By the late 70s, things were getting vastly more professional. The RSA exams were a major influence on that. Things took a dive after 1980, with teachers in a worse position than they had been in the late 70s.

American English courses have changed from a ‘So you want to immigrate into the USA’ approach to an American English as an international language approach that brought it closer to British ELT.

When I started, there were a small number of textbooks available, and the number then increased hugely, though it appears to be contracting as publishers merge.

In twenty years of travelling, I’ve seen the standards of non-native speaker teachers improve most dramatically. Their English is better, their skills far greater.

On Teaching

ELTN: Some of your course books have accompanying videos. How effective is the use of videos in language learning? Will they become more widespread?

PV: This is my hobby-horse. If I were running a language school now, I’d have a TV in every classroom, and I’d use it in most lessons. Short courses would be based entirely on video materials. Most video books provide a great deal of work that is inspired by the video students have watched, but don’t require the use of video in the later lessons. English Channel is already being used as the only coursebook on some short courses. On longer courses, video would still be a vital element. It’s insane that audio-cassettes and CDs are used so much more widely than video. There are all sorts of listening comprehension, pronunciation and mechanical activities that require the use of audio, but for providing a context and embracing communication skills work, video is unbeatable.

There are now a decent number of video courses available. Our stuff leans heavily towards fiction and comedy, but you can get songs, documentary material, “vox pop” material, news based material and so on as well. The technology is improving. We’ve been using the original version on of “A Close Shave” DVD rather than videotape in working on an ELT adaptation this year. The access to points in the video is so much easier, the tape isn’t going to wear out and the picture is sharper. DVD won’t be the perfect answer yet. The “jog/shuttle” control on video machines makes it much easier to play around repeating words or sentences than with DVD machines. You can easily locate single frames with video. It’s slightly more hit and miss with DVD on a computer, with a nasty tendency for digital break-up to intrude when you keep going over the same few frames. They say that Apple have corrected some of the problems with DVD playback and it will run better in system OS.X. Whatever, it’s going to be perfect very soon indeed.

Once we’d finished the adaptation and re-recorded the soundtrack, we were back to video anyway as we need a time-coded copy (where you have an index number for every frame – remember there are twenty five frames a second on PAL, thirty on NTSC) to locate stills for use in the accompanying book.

A good teacher doesn’t even need a blackboard, but video is such an asset that it has to become universal in the classroom, and the sooner the better. Teachers always quote prices as prohibitive, comparing them with (e.g.) a store-bought copy of “The Phantom Menace.’ As with hard disk space and microchips, video will get cheaper. Do you realize that CDs and DVDs are cheaper to manufacture than cassettes and videotapes? Nonetheless, manufacturers get away with charging a premium for them. But ELT videos will always be far more expensive than movies or concerts. The formula is simple: production cost divided by likely sales. ELT videos sell a few thousand. The Phantom Menace sells many millions. I know how much these ELT videos cost to make, and believe me the publishers aren’t ripping anyone off. And in “Only in America”” you even get to have Edward Norton in your classroom. “Only in America” is the title that gets most hits on our ELT website (www.viney.uk.com) I was thrilled because it’s my favourite of our videos. Then we analysed the hits and found that many of them came from within the USA (where we haven’t sold many copies). We followed some links and found that it’s linked from several Edward Norton fan websites.

ELTN: The use of multimedia and the Internet is becoming increasingly popular in ELT. What are your views on this?

PV: Dull exercises on a computer are nearly as dull as dull exercises in a book or on a tape. The problem with computers is material. The internet is a huge resouce and it’s largely in English. Everyone’s been trying to create useful ELT computer materials, then web materials for years, and we’ve wasted many hours on aborted projects. I suspect really good purpose-made material will only arrive once publishers have discovered a foolproof way of getting paid for their efforts in small increments. Does the student want to pay $5 by credit card to download some activities? Probably not. But say it becomes 10 cents an exercise? Possibly, but then there has to be a system for paying in 10 cent (or one cent) blocks and for collecting lots and lots of tiny sums of money. And they haven’t worked one out yet. I can’t see the necessary investment being made until they’ve found a solution.

You’ll need enough fast connections in the country to allow video and audio to be delivered at a better speed (which is coming). You’ll need improvements in video (which are just about there already). Download time for video may have been the single factor that’s been slowing this all up. Storage space was next, but with recordable DVD drives it’s all getting more feasible.

On Japan

ELTN: What do you think of the ELT scene in Japan? What changes have you seen since you first arrived here?

PV: The first time I was in Japan was 1979 or 1980, and I came every alternate year until about six years ago. I haven’t been at all recently. I felt the country changed enormously in that period of time. Things became more westernized, but the West changed to. I can get sushi at my local supermarket in Britain (not as good as the real thing, I hasten to add. I think tinned tuna wrapped in rice rather loses the point!) On my first visit I seemed to be at colleges or universities far more. Actually, a surprising number of faces stayed the same – my first meal in Osaka way back then was with OUP and Jack Richards. Robert O’Neill was at the same book fair in Osaka. I remember we foolishly volunteered to help carry the book exhibition tables downstairs together. As with everywhere else in the world, the students have changed more than the methodology. This generation has a different attitude to the more widespread education system. There is more incentive to learn English too.

ELTN:
 Do you remember your first experience of teaching a Japanese student?
(Michael – I’ve amended the question!)

PV: Not specifically. It would have been on my first day at Anglo-Continental, where we always had a significant number of Japanese students. I would have taught my first all-Japanese class there too. That was one year when they did an “English + Golf” course with English lessons in the mornings. After I’d left home, my mother used to be a “landlady” for students from Eurocentre, and she’d had a lot of Japanese students staying with her before I ever started teaching full-time, so the accent and problem areas were already familiar. What was good, in retrospect, was that my first meetings with Japanese people were in a social setting not a teaching situation. I still remember private lessons from 1971. One gentleman from Sony presented me with a tiny radio that was the envy of all my friends for about three years. Then of course everyone had them.

On Publications

ELTN: How did you get into writing course textbooks?

PV: The same way that everyone else does. I was dissatisfied with the material I was teaching. I was teaching at Anglo-Continental in Bournemouth, England. When I started there in 1971, the school already had a research and development department and its own recording studio. My first boss was Colin Granger (Generation 2000 author) and he used to write stuff, we’d record it at lunchtime and use it in the afternoon. His material was always funny and lively. So I always expected to write material. This policy continued when Bernie and I were testing ideas for Streamline. We’d write it, have it typed, letrasetted and illustrated. We’d record it the next day, duplicate tapes, and teach it. Our brief was to prepare something that could be used both by very experienced teachers and by very inexperienced teachers. The first pilot version was heavily illustrated (there’s lots about the original version on our website). Streamline spawned so many other projects – higher levels, the graded reading scheme, then eventually the videos – that it became a full time occupation just after Connections was published.

ELTN: You’ve been writing course books since the 80’s. What aspects of course design has remained the same? What changes have you experienced?

PV: I’ve been through plenty of changes myself. The materials I was writing just before Streamline were functionally-arranged, and Streamline was a return to a careful structural progression after trying it in other ways. We’ve seen trends come into ELT, and they don’t then “go”, they leave a mark and become absorbed into the broader concept we have of the syllabus. By the time we started on Grapevine, and Main Street, we were bringing in a more balanced skills approach. The “back to grammar” trend in the late 80s influenced us into having fuller grammar summaries and more explicit focus. Learner autonomy ideas were influential on Grapevine, and even more so on Main Street. Video materials were important too. In the 90s we became convinced that communication skills could shape the syllabus, and the result was Handshake, which hasn’t had the world-shattering success we’d hoped for. I still think it’s just ahead of its time.

The structural syllabus hasn’t changed that much overall. Books look better, but I so often see splashy photos from CD-ROM royalty-free photo collections all over textbooks. There’s a German CD-ROM of business people in photos that gets into every book I pick up. The point is that these stock photos don’t do much. Illustrations are a vital resource. They should be rich in exploitable detail and should explain as well as look pretty. So you have to commission art and photography. We used professional actors in photos in Survival, Basic Survival and Handshake. It might not be the prize-winning artistic photo, but it shows what you want it to show. I shake my head when I see things like a huge photo of a bee taking up 70% of the page with six questions about work below. The illustration has done nothing except create a good initial impression. If I need to explain “bee” to a class, I only have to say “buzz.”

Textbooks are unjustly maligned by some teacher trainers, which does no one, teachers or students, a service. Students spend a precious and finite number of hours in an English course, and it’s only by having some kind of carefully thought out procedure and progression that the effect can be maximised. Trainers encourage trainees to “do their own thing” and they should … sometimes. But too often topical material that is taken into the classroom results in the teacher explaining vocabulary most of the time. You need to assess your own material in comparison with a textbook. The textbook will (or rather should) be recycling vocabulary and structures in a way that can’t happen with one-off pieces of material. Eventually, you might gather a selection of great one-off lessons that you can present in a logical order, but then you’ve already started writing your own book.

ELTN: Streamline is the core text for one of the biggest conversation schools in Japan. Are you surprised that a book written in the 80’s is still being used today?

PV: “American Streamline” was written in the early 80s, but it’s based on the British “Streamline English” which was actually written in the late 70s. “Streamline English” is still being used in its British edition in Europe too, and its older. I’m gratified and honoured that “American Streamline” is still being used, yes. Surprised? No. It works. No one goes up to a singer and says “I’m surprised the radio is still playing your hit song from 1982”. The original book was tested over two years with 3000 students, in monolingual and multilingual situations with many language groups. That’s why it works. I spend my days trying to think of new contexts and ways of teaching things, but when it comes down to a context for the simple past of regular verbs, while including all three pronunciations of the –ed endings and all the spelling rules, I still can’t come up with anything as complete and neat as “Willy the Kid.” It’s a timeless context which hasn’t dated.

Because we used a lot of fiction / media based contexts, they haven’t aged too badly. Elton Kash can still be used with a smile, while later “hot musicians” used in other books at the time have dated themselves out of existence. Contexts on groups like ABC, Ultravox, New Kids on The Block or whoever are of no interest to a new generation. An over-the-top sitcom figure survives much better.

The thing about Streamline is that the student was provided with what they needed for that lesson and no more. The meat of the course was in the Teacher’s Book. This left the teacher free to choose how to present the material. Teachers are not left slogging through exercises A1.1 (a) to D8. 3 (e) in the order they’re printed in the textbook. The Streamline Teacher’s Book is prescriptive in tone, because that saves a lot of space. But the students can’t see the Teacher’s Book. You can teach it however you want. I’d happily teach from it tomorrow.

“New American Streamline” was a thorough update in 1995, and I was delighted with the results. I wish OUP would do the same to the British version, but they won’t.

I’m so heavily identified with “Streamline” that it’s sometimes good to be asked about something else. Recently I was in a bookshop, and was introduced by name to a young teacher. I was delighted when he said, “Oh, yes! The author of Handshake!”

ELTN:
 What advice would you give to prospective textbook/material writers? What essential points must be covered before submitting proposals and ideas to publishers?

PV: Never discuss contracts in a place where alcohol is served? That’s probably unfair. I did and I wasn’t ripped off. The fabled publishing lunches of days gone by no longer exist, if they ever did. It’s all much harder than it used to be. The ten or twelve significant international publishers who were operating when I started writing are now down to just four mega international publishers. That’s an extremely bad thing for writers, editors, students and teachers. All of us in this profession suffer from the resultant MacDonaldization of ELT. There are not enough markets for your material.

First, be original, use stuff that you know works. People have often told me what the next major coursebook might be. Whatever is it, it’ll be different from the last one. It won’t be a clone of Streamline, Cambridge Course, Interchange or Headway. Avoid “Me too!” writing. Don’t plagiarize. I could fill a book with stuff that’s been “lifted” from Streamline, Grapevine, Main Street and Handshake, particularly Handshake in recent years.

When you meet with publishers, get outside advice about contracts. They are not fixed, they’re just word processed to look like it. The Society of Authors in Britain will provide guides to contracts, copyright etc. The guides are free to members, and available at a small charge to non-members. See http://www.writers.org.uk/society. If you get a deal, or look like getting one, join a writers organization. It’s worth it. We’ve been professional writers for twenty years, and we still make mistakes because of our trusting nature. Ask for a contract early on, and failing this ask for a letter of intent to publish. Be aware that there’s a very long gap between writing something and earning money from it. I’m talking years here! A single level of a coursebook can take two years to write with a further two or three years of piloting, reports, editing and production. It’ll be at least two years after publication before it earns anything sensible, and then the publisher sits on the money for six months before they pay the author. That’s just the way it is.

Submitting ideas: Look at the catalogues, find out who publishes which coursebook. It might not be important to you, but it’s important to them. Then speak to the ELT representatives from the publishers when they call at your school. Get the name of an editor interested in your area. Ask the rep to mention that you’ll be writing to them, so your letter doesn’t come out of the blue. Write an introductory letter with c.v. and a brief synopsis of your idea. They’ll probably ask to see a rationale, approximate syllabus / chapter list and two sample completed units. Write a full art brief for any pictures you need. Volunteer to read and pilot material for the publisher. Once the publisher gets to know you, through (say) writing good reports for them, you might be offered work on materials for courses they already have. This might be teacher’s guides, or resource packs or workbooks. It’s going to be easier to get a foot in the door with smaller-scale projects, like photocopiable resource packs, readers, supplementary titles than with a six year course. For minor projects, publishers might suggest a fee rather than a royalty. That’s OK if it’s a test pack or photocopiables that are being given away by the publisher. Once you’ve committed to a major project, always stick out for a royalty, and whenever possible an advance.

Prospective authors often ask me about copyright and clearly harbour fears that publishers will rip off the material. I don’t think this is a realistic fear with the vast majority of publishers.

Can I use the opportunity to be cruel to be kind? We must have seen five or six suggestions for Monopoly-style board games based on Streamline, and another couple on Grapevine. None of them have been published because the market for such a game would never, never cover production costs. Do think this through if you have an elaborate and unusual project.

On Peter

ELTN: What has been your greatest satisfaction from working in the ELT profession?

PV: It’s been a privilege to meet so many people of different nationalities. I’ve travelled a great deal, and had the chance to be introduced to countries by the people who live in them. That’s the deepest personal satisfaction.

The most fun I’ve had has been filming the videos. It rarely feels like fun when you’re standing in freezing fog on Exmoor at the end of a 15 hour filming day, but there are enough magic moments to compensate. Writing is a lonely activity and it’s great to get outside and work with a video production crew. You have twenty or twenty five people focussed on a common purpose.

ELTN: What do you see yourself doing in 5 years time? Is another course in the pipeline?

PV: There’s always another one in the pipeline. We’re currently working on the Student Book to the ELT adaptation of Wallace and Gromit in “A Close Shave”, which should be out by the start of 2001. Video activity books are much faster than standard coursebooks, because you don’t start writing until the video is finished, which means the text is set, and the source of illustrations is set. Five years is not that long in main course book writing. For example, that’s how long Grapevine took for three levels.

We’ve been working hard on a full new course for eighteen months, but its destiny is still unsettled. It’s time for us to start on a major series again. We’ve had time to accumulate new ideas and contexts.

Five years time? Hopefully, the new course will be finished (and published) and we’ll be working less. I expect that the internet will have had sufficient impact by then to change the means of distribution of material. The positive scenario sees this as a way of authors connecting directly with users. The more negative view (or “The Microsoft Belief”) suggests that there will be even less choice with the big publishers dominating everything. Pearson and AOL are working together already. The Internet should have allowed more choice, but think about it, how many web browsers are there? Effectively just the two.

I’d like to be writing more of the things I haven’t had time to work on, such as mainstream fiction, and books on rock music. I’d like to be doing more ELT videos. Karen and I keep working on ideas for non-ELT sitcoms between things

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      • Theorem (Teorema)
      • Tom Jones
      • What A Crazy World
      • Wonderful Life
      • Work Is A Four Letter Word
    • It was fifty years ago in May …
    • John Wetton Tribute
    • music
      • 45 rpm records …
        • Leon Rosselson
      • Anglicana … and Americana
      • Anti songs
      • Broadside: Bellowhead
      • Concerts
        • 70th Party …
        • ABBA Tribute / BSO
        • Al Stewart
        • Albert Lee
        • Allen Toussaint
        • American Queen Ensemble
        • Andy Williams
        • Animals & Friends / Steve Cropper
        • Art Garfunkel
        • Bap Kennedy
        • Bellowhead 2.2013
        • Bellowhead 2014
        • Bellowhead 2016
        • Bellowhead 7.2013
        • Bellowhead 7.2015
        • Bill Wyman’s Rhythm Kings 2011
        • Bill Wyman’s Rhythm Kings 2013
        • Bob Dylan – 2022
        • Bob Dylan 2002
        • Bob Dylan 2006
        • Bob Dylan 2017
        • Bonnie Raitt, Hyde Park 2018
        • Brian Wilson
        • BSO: Coming to America
        • BSO: Triumphal Elgar
        • Carole King – Hyde Park
        • Chris Rea
        • Chuck Prophet & Stephanie Finch
        • Cliff Richard 2018
        • Crosby, Stills & Nash
        • Dave Kelly, Maggie Bell, BBQ
        • Don Henley – Hyde Park
        • Dr John
        • Eliza Carthy
        • Emma Swift
        • Emmylou Harris
        • Fay Hield 2013
        • Fay Hield 2014
        • Fay Hield 2016
        • Fleetwood Mac 2003
        • FLIT
        • Garth Hudson 1999
        • Garth Hudson 2007
        • Glen Campbell
        • Glenn Tilbrook
        • Gospel in West Helena
        • Grupo Lokito
        • Hal Wilner Leonard Cohen Project
        • Hall & Oates
        • Ian Felice 2018
        • James Taylor 2014
        • James Taylor, Hyde Park 2018
        • Jimmy Cliff
        • Joan Baez
        • John Cale Paris 1919
        • John Cale, Brighton 2011
        • John Lydon
        • Johnny Flynn, Hyde Park 2018
        • Jon Boden & The Remnant Kings
        • Jonathan Wilson
        • Joni Mitchell’s Hejira and Mingus
        • Joyce Cobb
        • Judy Collins – 2020
        • Judy Collins 2010
        • Judy Collins 2013
        • k.d. lang
        • Kiefer Sutherland
        • King Crimson – 2018
        • KT Tunstall
        • Legends: Joanna Lumley, Twiggy, Lulu
        • Leonard Cohen Aug 2013
        • Leonard Cohen July 2009
        • Leonard Cohen Nov. 2008
        • Leonard Cohen O2 2008
        • Loudon Wainwright III
        • Louise Goffin – Hyde Park
        • Lulu
        • Margo Price
        • Martha Reeves & The Vandellas
        • Martin Carthy & Dave Swarbrick
        • Michael Kiwanuka – Hyde Park
        • Michelle Shocked 2001
        • Natalie Merchant
        • NKOTB
        • P.P. Arnold 2019
        • Paul Simon & Sting 2015
        • Paul Simon – Hyde Park 2018
        • Paul Simon 2016
        • Paul Simon Nov. 2006
        • Paul Simon Oct. 2000
        • Preston Shannon
        • Raghu Dixit
        • Raghu Dixit
        • Ralph McTell 2016
        • Richard Thompson 2017
        • Rita Coolidge
        • Rodriguez
        • Roger Chapman
        • Roger McGuinn
        • Rufus Wainwright
        • Sam Lee & Friends
        • Sandy Denny Tribute
        • Saving Grace
        • Seth Lakeman 2014
        • Shawn Colvin, Hyde Park Review
        • Simi Stone
        • Simon & Garfunkel 2004
        • Simone Felice – Oct 2015
        • Simone Felice 2011
        • Simone Felice April 2012
        • Simone Felice April 2014
        • Simone Felice July 2013
        • Simone Felice November 2014
        • Simone Felice Sept 2012
        • Simone Felice- Oct 2016
        • Sly & The Family Stone
        • Spiers & Boden 5.13
        • Spiers & Boden, 6.13
        • Spiers and Boden 2014
        • Steeleye Span
        • Suzanne Vega
        • Symphonic Pink Floyd
        • Taj Mahal
        • The Australian Pink Floyd
        • The Band
        • The Bleedin Noses
        • The Bootleg Beatles 2018
        • The Bootleg Beatles 2022
        • The Cactus Blossoms
        • The Civil Wars
        • The Decemberists
        • The Delines
        • The Demon Barbers
        • The Foundations
        • The Full English
        • The Grand Ole Opry
        • The Imagined Village
        • The Manfreds – 2016
        • The Manfreds 2011
        • The Manfreds, P.P. Arnold 2003
        • The Manfreds, P.P. Arnold, Zoot Money, Nov 2016
        • The Mastersons, Hymn For Her
        • The Mavericks
        • The palmer james group
        • The Platters
        • The Searchers
        • The Transports
        • The Unthanks 03.11
        • The Unthanks 04.2012
        • The Unthanks 10.2012
        • The Unthanks 12.11
        • The Unthanks 2.2015
        • The Unthanks 2019
        • The Unthanks 2022
        • The Unthanks 5.2017
        • The Waterboys
        • Thea Gilmore
        • Tom Jones
        • Van Morrison
          • Van Morrison 1998
          • Van Morrison 1999
          • Van Morrison 2000
          • Van Morrison 2001
          • Van Morrison 2002 Jan.
          • Van Morrison 2002 Oct.
          • Van Morrison 2003 Jul.
          • Van Morrison 2003 Sep.
          • Van Morrison 2005 Mar.
          • Van Morrison 2005 Nov.
          • Van Morrison 2007
          • Van Morrison 2012
          • Van Morrison 2013
          • Van Morrison 2019
        • Ward Thomas, Hyde Park
        • Zawinul Syndicate
        • Zoot Money
      • Gigs, venues and prices
      • HMV. His Master’s Voice silenced?
      • Lost Notebooks of Hank Williams
      • Music From Big Pink – 50th anniversary
      • Names, Scribble & Numbers
      • Nancy Sinatra
      • Note of Hope (Woody Guthrie)
      • Phil Everly RIP
      • Rock pictures
      • RoseAnn Fino
      • Shadows In The Night
      • Thank You For The Muzac
      • The Band reviews & pictures
      • The Beautiful Old
      • The Village Green Preservation Society
      • The Weight – covers
      • Twelve Songs For Christmas 2013
    • rants
      • 100 Days Plus and Counting …
      • Driving Me Mad …
      • A Fishy Story
      • A Legal Matter
      • A Post-Brexit Vision
      • Agatha Christie: Deduction in a dell’arte mask
      • Allergies … and lawyers
      • Baby Boomer v Wokeperson
      • Barcodes
      • Beaujolais Nouveau …
      • Best of 2011
      • Best of 2012
      • Best of 2013
      • Best of 2014
      • Best of 2015 – music
      • Best of 2015 – Theatre
      • Best of 2016 – Music
      • Best of 2016 – Theatre
      • Best of 2017 – Music
      • Best of 2017 – Screen
      • Best of 2017- Theatre
      • Best of 2018 – Music
      • Best of 2018 – theatre
      • Best of 2019 – Concerts
      • Best of 2019 – Theatre
      • Best of 2019- Music
      • Best of 2020
      • Best of 2020- Music
      • Best of 2022 – Music
      • Best of 2022- Theatre
      • Cars are cars
      • Chorizo is Vile
      • Christmas Markets
      • Christmases long past …
      • Civil Wars & Statues
      • Climate Change: my rant
      • Communication skills: Leaders TV debate 2015
        • Opposition Leader’s Debate, 16 April 2015
      • Crisis at the Cash Register
      • Culture Shock Bourbon Street
      • Cycling in London (and elsewhere)
      • Encounter: Saul Bellow
      • Eurovision 2022
      • Fawlty Towers and Tall Poppies
      • Flags and anthems
      • Football nicknames
      • Free Broadband in Every Packet!
      • Guilt and innocence
      • Hail, hail, the first of May
      • Howards End is a blur
      • In the April Garden …
      • In The Days of Covid-21
      • In the May Garden
      • Jangle Bells: shopping for Christmas
      • Jumble Sales
      • Land Of My Mother’s
      • London-centric theatre
      • Mail v Guardian
      • Major Brylcreem or My adventures in the CCF
      • Matinees
      • Not an amazing grace
      • On The Road: Information overkill
      • Parent and child spaces
      • Poppies
      • Princely Names
      • Quaint hotels
      • Remember, remember …
      • Secondhand Christmas
      • Shrink wrapping albums
      • Sloppy fiction?
      • Someone will call you back …
      • Sound … and Fury… at The Globe
      • SS-GB – Mumbling soundtracks
      • Supermarket check-outs
      • Surveys
      • Testing in schools
      • The “Poldark” Effect
      • The 2019 watershed?
      • The 70s were crap
      • The Building Behind Me …
      • The Cheerful e-bay seller
      • The Curse of The Crawleys: Downton Abbey Series 10
      • The Decline of Bournemouth
      • The End of Deference …
      • The Famous Five – by Paul F. Newman
      • The four day week?
      • The Great War
      • The Hacking Cough
      • The Long & The Short Of It
      • The March of The Halloumi Fries
      • The Shakespeare Cod-Piece
      • The Stitch Up
      • View From The Queue
      • What happened to car CD players?
      • What’s happened to air travel?
    • stage
      • ‘Tis Pity She’s A Whore – Cheek by Jowl
      • ‘Tis Pity She’s A Whore – Wanamaker
      • 8 Hotels
      • A Damsel in Distress
      • A Little Hotel On The Side
      • A Mad World My Masters
      • A Midsummer Night’s Dream – BBC TV 2016
      • A Midsummer Night’s Dream – Bridge 2019
      • A Midsummer Night’s Dream – Filter 2011
      • A Midsummer Night’s Dream – Globe 2013
      • A Midsummer Night’s Dream – Globe 2016
      • A Midsummer Night’s Dream – Grandage 2013
      • A Midsummer Night’s Dream – Propellor 2013
      • A Midsummer Night’s Dream – RSC 2011
      • A Midsummer Night’s Dream – RSC 2016
      • A Midsummer Night’s Dream – Selladoor 2013
      • A Midsummer Night’s Dream – Watermill 2018
      • A Midsummer Night’s Dream – Watermill Tour 2019
      • A Midsummer Night’s Dream – Young Vic
      • A Midsummer Night’s Dream, Bath 2016
      • A Midsummer Night’s Dream, Globe 2019
      • A Midsummer Night’s Dream- Bristol Old Vic Theatre School
      • A Midsummer Night’s Dream- Headlong
      • A Midsummer Night’s Dream- Sh!t-Faced Shakespeare
      • A Midsummer Nights Dream – Handspring 2013
      • A Midsummer Night’s Dream RSC 2016 Revisited
      • A Number
      • A Streetcar Named Desire NT Live
      • A Taste of Honey
      • A Very Very Very Dark Matter
      • A View From The Bridge
      • A Woman of No Importance
      • Abigail’s Party 2013
      • Absolute Hell
      • Ah, Wilderness!
      • Albion
      • All My Sons
      • All New People
      • All’s Well That Ends Well – RSC 2013
      • All’s Well That Ends Well- 2018
      • All’s Well That Ends Well- RSC 2022
      • Amadeus – 2014
      • Amadeus – NT 2017
      • American Buffalo
      • An Enemy of The People
      • An Ideal Husband 2018
      • An Ideal Husband- 2014
      • Antony & Cleopatra – RSC 2013
      • Antony & Cleopatra – RSC 2017
      • Antony and Cleopatra – Globe
      • Antony and Cleopatra 2012
      • Arcadia
      • Arden of Faversham
      • Around The World in 80 Days
      • As You Like It – Globe 2015
      • As You Like It – Globe 2018
      • As You Like It – National 2015
      • As You Like It – RSC 2019
      • As You Like It RSC 2013
      • Awful Auntie
      • Bakkhai
      • Balletboyz: The Talent
      • Barber Shop Chronicles
      • Bartholomew Fair
      • Beauty & The Beast (Ballet Theatre UK)
      • Before The Party
      • Birthday
      • Bitter Wheat
      • Black Comedy
      • Blithe Spirit
      • Blithe Spirit – Bath 2019
      • Blood Wedding
      • Blues For An Alabama Sky
      • Boudica
      • Bring Up The Bodies
      • Broken
      • Candida
      • Cardenio
      • Carmen Disruption
      • Caroline or Change
      • Comedy of Errors – Globe
      • Comedy of Errors – RSC, 2021
      • Comedy of Errors NT 2012
      • Comedy of Errors RSC ’12
      • Communicating Doors
      • Comus
      • Copenhagen
      • Coriolanus – NT Live
      • Coriolanus – RSC
      • Crazy For You
      • Curiosity Shop
      • Cymbeline – RSC
      • Cymbeline – Wanamaker
      • Dancing At Lughnasa
      • Death Of A Salesman
      • Deathtrap
      • Dedication
      • Dido, Queen of Carthage
      • Dinner With Saddam
      • Doctor Faustus
      • Don Carlos
      • Don Juan in Soho
      • Don Quixote
      • Doubt – a parable
      • Dream
      • Dunsinane
      • Echo’s End
      • Educating Rita
      • Edward II
      • Electro Kif
      • Endgame / Rough for Theatre II
      • Eyam
      • Fallen Angels
      • Fantastic Mr Fox
      • Far
      • Farinelli and The King
      • Fences
      • First Light
      • Flare Path
      • Follies
      • For Services Rendered
      • Forests
      • Fortune’s Fool
      • Forty Years On
      • Fracked! Or Please Don’t Use The F-Word.
      • Frankenstein – NT Encore
      • French Without Tears
      • Funny Girl
      • Future Conditional
      • George’s Marvellous Medicine
      • Girl From The North Country
      • God of Carnage
      • Gypsy
      • Hairspray, The Musical
      • Half A Sixpence
      • Hamilton
      • Hamlet – Cumberbatch
      • Hamlet – Globe 2014
      • Hamlet – Maxine Peake
      • Hamlet – NT 2010
      • Hamlet – RSC 2016
      • Hamlet RSC 2013
      • Hamlet- Almeida / BBC 2017
      • Hamlet- Young Vic 2011
      • Hangmen
      • Harlequinade / All On Her Own
      • Harlequinade / All On Her Own – review
      • Hay Fever
      • Hecuba
      • Hedda Gabler
      • Hedda Tesman
      • Henry IV Parts 1 & 2 RSC
      • Henry V – 2018
      • Henry V – Jude Law
      • Henry V – RSC 2015
      • Henry VI – Rebellion
      • Henry VI – Wars of The Roses
      • Henry VI: Three plays
      • Hobson’s Choice
      • Hogarth’s Progress
      • Home
      • Home, I’m Darling
      • Hysteria
      • Imogen (Cymbeline) – Globe 2016
      • Importance of Being Earnest 2010
      • Importance of Being Earnest – Suchet, 2015
      • Importance of Being Earnest – Watermill
      • Importance of Being Earnest 2014
      • Importance of Being Earnest- 2018
      • Inala
      • Institute
      • Into The Hoods – Remixed
      • Ivanov
      • Jack Absolute Flies Again
      • Jeeves and Wooster
      • Jerusalem
      • Jerusalem – 2018
      • Jitney
      • John Gabriel Borkman
      • Julius Caesar – Globe 2014
      • Julius Caesar – RSC 2012
      • Julius Caesar – RSC 2017
      • Ka
      • King Charles III
      • King John – Globe 2015
      • King John – Rose, 2016
      • King John – RSC 2019
      • King Lear Frank Langella
      • King Lear – Antony Sher, RSC 2016
      • King Lear – Barrie Rutter
      • King Lear – David Haig
      • King Lear – Globe 2017
      • King Lear – McKellen 2017
      • King Lear – Russell-Beale
      • Kiss Me Kate
      • Kunene and The King
      • La Bête
      • Lady Windermere’s Fan
      • Leopoldstadt
      • Life of Galileo
      • Little Shop of Horrors
      • Local Hero
      • Long Day’s Journey Into Night
      • Love
      • Love For Love
      • Love’s Labour’s Lost
      • Love’s Labour’s Lost – 2018
      • Love’s Labour’s Lost- 2016
      • Love’s Labour’s Won
      • Love’s Sacrifice
      • Love, Love, Love
      • Macbeth – Globe 2016
      • Macbeth – McAvoy 2013
      • Macbeth – National Theatre 2018
      • Macbeth – Tara Arts
      • Macbeth – Young Vic
      • Macbeth RSC 2018
      • Macbeth, RSC 2011
      • Macbeth, Watermill 2019
      • Macbeth- Chichester 2019
      • Macbeth- Wanamaker 2018
      • Mack & Mabel
      • Malory Towers
      • Man and Superman
      • Mary Poppins
      • Me and My Girl
      • Measure for Measure – Globe 2015
      • Measure for Measure – Young Vic
      • Measure for Measure RSC 2012
      • Measure For Measure- RSC 2019
      • Medea NT live
      • Miss Julie / Black Comedy
      • Miss Littlewood
      • Mojo
      • Monsieur Popular
      • Mrs Warren’s Profession
      • Much Ado About Nothing – Globe 2014
      • Much Ado About Nothing – Globe 2017
      • Much Ado About Nothing – NT 2022
      • Much Ado About Nothing – Old Vic 2013
      • Much Ado About Nothing – Rose 2018
      • Much Ado About Nothing – RSC 2014
      • Much Ado About Nothing- Northern Broadsides
      • Much Ado About Nothing- RSC 2016
      • Much Ado About Nothing- RSC 2022
      • Much Ado About Nothing- Wyndhams 2011
      • Murder On The Orient Express (stage)
      • Murder, Margaret and Me
      • My Brilliant Friend (play)
      • My Night With Reg
      • Neighbourhood Watch
      • Nell Gwynn
      • Nice Fish
      • No Man’s Land
      • Noises Off
      • Obsession
      • Oklahoma! – Chichester
      • Once
      • One Man, Two Guvnors
      • Othello – Globe 2018
      • Othello – RSC 2015
      • Othello NT 2013
      • Othello- ETT 2018
      • Othello- Wanamaker 2017
      • Othello- Watermill 2022
      • Our Ladies of Perpetual Succour
      • Our Man in Havana (musical)
      • People
      • People Like Us
      • Pericles
      • Peter & The Starcatcher
      • Peter and Alice
      • Peter Gynt
      • Peter Pan (pantomime)
      • Peter Pan Goes Wrong
      • Photograph 51
      • Pitcairn
      • Plastic
      • Platonov
      • Playing Cards 1: Spades
      • Plenty
      • POSH
      • Present Laughter – Chichester 2018
      • Present Laughter – Old Vic 2019
      • Present Laughter- Bath 2003
      • Present Laughter- Bath 2016
      • Pressure
      • Private Lives
      • Privates On Parade
      • Punishment Without Revenge
      • Punk Rock
      • Pygmalion
      • Quatermaine’s Terms
      • Queen Anne
      • Quiz – James Graham
      • Racing Demon
      • Ralegh: The Treason Trial
      • Relative Values
      • Richard II – Globe
      • Richard II – RSC
      • Richard III – Almeida
      • Richard III – Apollo 2012
      • Richard III – Freeman
      • Richard III – RSC 2012
      • Richard III – RSC 2022
      • Richard III – Spacey, 2011
      • Robin Hood (panto)
      • Romantics Anonymous
      • Romeo & Juliet – Globe 2017
      • Romeo & Juliet – RSC 2018
      • Romeo & Juliet 2014 – Box Clever
      • Romeo & Juliet, Headlong 2012
      • Romeo & Juliet- Branagh 2016
      • Romeo and Juliet – NT, 2021
      • Romeo and Juliet- Globe 2015
      • Romeo and Juliet: Tobacco Factory
      • Rosencrantz and Guildenstern Are Dead
      • Ross
      • Rules for Living
      • Salomé – RSC
      • Same Time, Next Year
      • School nativities
      • Secondary Cause of Death
      • Separate Tables
      • Shakespeare in Love
      • She Stoops To Conquer – Bath 2015
      • She Stoops to Conquer – Rain or Shine
      • Sing Yer Heart Out For The Lads
      • Skylight
      • Slava’s Snowshow
      • Snow in Midsummer
      • South Pacific
      • Spring Awakening
      • Stepping Out
      • Strife
      • Swan Lake
      • Sweet Bird of Youth
      • Switzerland
      • Tamburlaine
      • Tangomotion
      • Tartuffe- RSC
      • The Alchemist – RSC
      • The Argument
      • The Beauty Queen of Leenane
      • The Beauty Queen of Leenane – 2021
      • The Beaux Stratagem
      • The Birthday Party
      • The Book of Mormon
      • The Broken Heart
      • The Canterbury Tales
      • The Captive Queen
      • The Caretaker
      • The Chalk Garden
      • The Changeling
      • The City Madam
      • The Constant Wife
      • The Country
      • The Country Girls
      • The Country Wife
      • The Cripple of Inishmaan
      • The Crucible, NT 2022
      • The Crucible, Old Vic 2014
      • The Deep Blue Sea – 2019
      • The Deep Blue Sea-NT live, 2016
      • The Doctor
      • The Dresser
      • The Duchess of Malfi – 2012
      • The Duchess of Malfi – 2014
      • The Duchess of Malfi – RSC 2108
      • The Entertainer
      • The Famous Five: A New Musical
      • The Fantastic Follies of Mrs Rich
      • The Ferryman (Acts 2 & 3)
      • The Flying Lovers of Vitebsk
      • The Four Seasons: A Reimagining
      • The Game of Love and Chance
      • The Ghost Train
      • The Height of The Storm
      • The Homecoming
      • The Hot House
      • The Hypochondriac
      • The Hypocrite
      • The Jew of Malta
      • The Knight of The Burning Pestle
      • The Ladykillers
      • The Lie
      • The Lieutenant of Inishmore- 2018
      • The Lieutenant of Inishmore-2001
      • The Lock In
      • The Lock In Christmas Carol
      • The Magistrate – NT Live
      • The Magna Carta Plays
      • The Man In The White Suit
      • The Merchant of Venice – Almeida
      • The Merchant of Venice – Globe
      • The Merchant of Venice – RSC
      • The Merry Wives – Northern Broadsides
      • The Merry Wives of Windsor – Globe 2019
      • The Merry Wives of Windsor – RSC 2012
      • The Merry Wives of Windsor- RSC 2018
      • The Misanthrope ETT
      • The Miser
      • The Narcissist
      • The Nightingales
      • The Norman Conquests
        • Living Together
        • Round & Round The Garden
        • Table Manners
      • The Odyssey
      • The Painkiller (2016)
      • The Play That Goes Wrong
      • The Play What I Wrote
      • The Price
      • The Provoked Wife
      • The Recruiting Officer
      • The Rehearsal
      • The Resistible Rise of Arturo Ui
      • The Rivals
      • The Roaring Girl
      • The Rover
      • The Ruling Class
      • The School for Scandal
      • The Seagull
      • The Seagull- Chichester
      • The Seven Year Itch
      • The Shoemaker’s Holiday
      • The Silver Tassie
      • The Southbury Child
      • The Spire
      • The Storm
      • The Syndicate
      • The Taming of The Shrew – RSC 2012
      • The Taming of The Shrew – RSC 2019
      • The Taming of The Shrew- Globe 2016
      • The Taxidermist’s Daughter
      • The Tempest – Bath Ustinov
      • The Tempest RSC 2012
      • The Tempest RSC 2016
      • The Tempest- Wanamaker
      • The Truth
      • The Two Noble Kinsmen- 2018
      • The Two Noble Kinsmen- RSC
      • The Unfriend
      • The Upstart Crow
      • The Wars of The Roses
        • Edward IV
        • Henry VI
        • Richard III
      • The Watsons
      • The Way of The World
      • The Weir
      • The Whale
      • The White Devil – Globe
      • The White Devil – RSC
      • The Winter’s Tale – Branagh
      • The Winter’s Tale – Cheek by Jowl
      • The Winter’s Tale – Globe 2018
      • The Winter’s Tale – RSC 2013
      • The Winter’s Tale – RSC 2021
      • The Winter’s Tale- Wanamaker
      • The Witch of Edmonton
      • There and Back Again – An Odyssey
      • Thérèse Raquin
      • This Happy Breed
      • This Is My Family
      • Timon of Athens
      • Timon of Athens – RSC
      • Titus Andronicus – RSC 2017
      • Titus Andronicus- Globe 2014
      • Totem
      • Travels With My Aunt (musical)
      • Travesties
      • Tristan and Yseult 2017
      • Troilus & Cressida RSC 2018
      • True West
      • Twelfth Night – Apollo 2012
      • Twelfth Night – Globe 2017
      • Twelfth Night – Globe, 2021
      • Twelfth Night – NT 2017
      • Twelfth Night – RSC 2017
      • Twelfth Night – Watermill
      • Twelfth Night – Young Vic
      • Twelfth Night RSC 2012
      • Twelfth Night- ETT 2014
      • Two Gentlemen of Verona – 2016
      • Two Gentlemen of Verona – RSC
      • Two Gentlemen of Verona- 2013
      • Uncle Vanya (Hare)
      • Uncle Vanya (McPherson)
      • Venice Preserved
      • Vice Versa
      • Volpone
      • Vulcan 7
      • Watership Down
      • Way Upstream
      • What The Butler Saw
      • While The Sun Shines
      • Wolf Hall
      • Woman in Mind
      • Women On The Verge of A Nervous Breakdown
      • wonder.land
      • Worst Wedding Ever
      • Woyzeck
      • Yerma (2017)
      • Young Chekhov Season
      • Young Marx
    • video
      • A Weekend Away, A Week By The Sea
        • Sections: Weekend Away / By the Sea
      • Dennis Cook: A history
      • Drama, dialogue and video
      • Teaching with video: techniques
      • Video: non-authentic
      • Video: on location
      • Video: Peter Viney Interview
      • Video: What happened?

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