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Gay culture is rapidly becoming less isolated in the UK, and gay men are now starting to play a defining role in areas such as art, the media and politics. This is mainly because of Aids, which has led to much greater media coverage of gay issues and has also led to the deaths of a number of major gay artists. However, many ordinary gay men still feel that to be openly gay would be to endanger their career and their friendships.

Songwriter Cy Coleman feels that the famous song 'Hey, Big Spender,' which he wrote when he was seeking a point of entry into the musical 'Sweet Charity,' has a raucous feel but is also humorous. He is currently in London, England, to oversee rehearsals for a production of the musical at the Victoria Palace. He partly devised 'Hey, Big Spender' as a way of ensuring that choreographer and director Bob Fosse could not put actions in places that he regarded as inappropriate. He has always sought to ensure that his work is produced in a way he feels happy with, and sometimes produces his own work.

Theatre company Cheek by Jowl was created in 1981 by Declan Donnellan and Nick Ormerod, who met as law students at Cambridge University, England. Their first production was Wycherley's comedy 'The Country Wife,' and they have subsequently produced an adaptation of 'Vanity Fair' and Shakespeare tragedies and comedies. Their latest venture is 'Much Ado About Nothing,' which they have set in 1900 and made into a costume piece. Donnellan and Ormerod are now putting the company to one side as they take on freelance work.

Michael Grandage's new production of George Bernard Shaw's 'The Doctor's Dilemma' at the Almeida theatre in London, England, disproves the widely-held view that Shaw's plays are uninteresting. Grandage believes that much of this play's spirit derives from Cornwall, England, where it was written. He has wanted to produce the play for a long time, but this does not mean that he has hesitated to make changes to the text. He has kept to the play's original period, but has removed unnecessary details.

Theatre company Gloria, made up of director/choreographer Leah Hausman, producer Simon Mellor, composer Nicolas Bloomfield and writer/performer Neil Bartlett, was created in 1988 to produce shows its members were unable to do elsewhere. It is now to be dissolved, with its members pursuing individual projects but still working together in various combinations and other contexts. Gloria has been particularly characterized by its choice of venues, which have been theatres rather than arts centres.

Actress Deborah Findlay only takes work that interests her, and for this reason has not become a well-known public figure, even though her acting abilities are widely acknowledged. She did not train formally as an actress, but was recognized for her acting talent while studying English at Leeds University, England, in the late 1960s. She has a very noticeable stillness that draws audiences to her, and is able to form a still centre within a complete and contradictory character.

Bob Fosse, who created the extremely successful musical 'Chicago,' loved women but had problems with them, according to dancer Ann Reinking. She is choreographing the London, England, production of the revival of 'Chicago.' He placed strong emphasis on sexuality, but expected dancers to go beyond mere sexual gesture. Reinking feels that his dances have a very distinctive character, having a thumping sensual beat and being very percussive.

Mixed views have been expressed about the BBC's plans for the future of Radio 3. Some observers are concerned that Radio 3 may be trying to attract a more general audience, rather than people who have a specific interest in classical music. Radio 3 controller Nicholas Kenyon denies that there will be a process of popularization, but he admits that he is seeking presenters who can attract larger audiences. There is also concern about the use of independent production companies. Kenyon believes that using independent companies, which often offer very high quality programmes, would be a positive move.

There has been a dramatic revival in the fortunes of musicals over recent years. Hits have included 'Damn Yankees,' 'Rent,' 'Carousel' and 'How to Succeed in Business Without Really Trying.' The most successful musical recently has been the theatrical version of the Walt Disney film 'Beauty and the Beast.' Directed by Robert Jess Roth and designed by Stan Meyer, this is a vast production which is very technically demanding. There are also plans for a stage version of Disney's 'The Lion King' later in 1997, while Phil Collins is working on songs for 'Tarzan.'

There are many psychological advantages associated with working with a long-standing collaborative team, according to theatre director Phyllida Lloyd. The team members are fully aware of each others' good and bad points, and are less likely to become anxious when problems emerge. However, this does not mean that there are no tensions or frustrations within a well-established collaborative team. Furthermore, some actors can find it hard to work in an extremely collaborative production environment.

The revised version of the musical 'The Goodbye Girl' which director Rob Bettinson has written is of extremely high quality, according to composer Marvin Hamlisch. The production draws the audience in, making people care very deeply about what happens to the family it portrays. The Bettinson version gives great reality and also benefits from shifting the emphasis to the male lead character. Hamlisch has gained great respect for his work on musicals, but is also musical director of the Pittsburgh Symphony Pops.

The play 'Lady in the Dark,' which features music by Kurt Weill and lyrics by Ira Gershwin, was first performed on Broadway in Jan 1941. It was extremely influential in the development of music theatre, being very unusual both in form and subject matter. It is made up almost entirely of three dream sequences where fantasy and reality mix and the seductive and dramatic power of the music works to great advantage. The play has now come to London, England, in a production by Francesca Zambello.

Editing a film is part of the writing process, according to screenwriter and director Anthony Minghella. His film 'The English Patient,' which has been very successful in the US and is soon to be released in the UK, was over four hours long in its original version, but has now been reduced to two hours 45 minutes. He is regarded as having dealt extremely well with Michael Ondaatje's multi-layered novel, but admits that it was a very challenging task. Editing focused particularly on transitions of time and place.

Working in the theatre involves many very important elements, according to actress Harriet Walter. However, she feels unable to put these adequately into words, and fears that for this reason she may come across to people who do not know her very well as rather uninteresting and too involved in her work. She is in fact extremely perceptive about her work, and understands her talent even though she has a natural reticence. Most recently, she has been appearing in Chekhov's 'Ivanov' at the Almeida Theatre in London, England.

Robert Hamer's 1949 film 'Kind Hearts and Coronets' was loosely based on the 1907 novel 'Israel Rank' by Roy Horniman, but differs in a number of significant ways from the novel. Most significantly, the hero of the novel is haunted by guilt, but this element does not feature at all in the film. The film was subject to strict censorship, and this also made it further removed from the novel. A stage version of the film is now being performed at the Palace Theatre in Watford, England. This has been produced by Giles Croft, who has combined dark and humorous elements.

Truthfulness and dedication to text is a key element in successful acting, according to actress Penelope Wilton. She has appeared in many different roles on television, in film and in the theatre, but has worked with only a relatively small number of directors, including Peter Gill, Jonathan Miller and Harold Pinter. She expresses particular admiration for Jonathan Miller, especially for the way in which he can get to the very core of a text. She has experienced several tragedies in her personal life, but her career has generally been very successful.

A production of an Ibsen play in the West End of London, England, must receive very favourable reviews if it is to be successful, according to theatre director Anthony Page, whose production of 'A Doll's House' opened there recently. He is determined to remain in close contact with the production, ensuring that the actors and actresses stick to the very high standards which have now been set. He has gained experience from working in Hollywood, and now has more confidence in his own abilities.

Writing prolifically is not necessarily a very good situation to get into, according to screenwriter, film director and playwright Christopher Hampton. Some observers have expressed a lack of trust in him because he has been involved in so many different projects and has not produced a distinctive body of work. However, all his work shows a sense of responsibility. In 'Art,' which is currently previewing, this sense of responsibility is that of the artist.

Many people have expressed opposition to plans to demolish Sadler's Wells theatre in London, England, and to replace it with a new theatre at a cost of 38 million pounds sterling. They see it as a historic building which should be preserved, even though modern audiences find it extremely uncomfortable. Some observers are concerned about the plans devised by Ian Albery, the theatre's chief executive, claiming that there has been insufficient consultation with users of the theatre.

Thorough training is vital to the success of a theatre director, according to Mike Alfreds, who is almost unknown outside the profession but is highly respected by actors. He places great emphasis on the essential 'live' quality of theatre, and believes that it is important to work on actors' vivacity and immediacy in order to allow them enough freedom. It is vital to push actors, allowing them to change and progress.

Writing a play is an extremely difficult task, and media reaction makes no real difference to this, according to Sarah Kane, who was widely criticised for the strong images in her first play, 'Blasted.' Her latest play is 'Phaedra's Love,' which deals with love and faith against a background of serious depression. This is a very personal subject to Kane, who has a considerable vulnerability which is usually disguised with a mask of strong self-confidence.

Doris Day is generally remembered for her singing, having at one time been the top-selling female vocalist in the world. She has a wholesome, rather bland image that overshadows the performance in which her talent really shows through. These include 'The Man Who Knew Too Much,' a remake by Alfred Hitchcock, and 'Midnight Lace,' in which she is outstanding as a tormented, terrified woman. Her career began to decline in the 1950s, when teenagers became more cynical and her image was inappropriate.

The Royal Shakespeare Company retains a positive image among businesses, but is actually experiencing a number of serious difficulties. It has suffered from being associated with the Barbican, an unwelcoming and ugly building, and has staged a number of unsuccessful productions recently. It has a considerable number of writers on commission, but many of these plays have not yet reached the point of being performed. There was particular controversy following the decision to reappoint Adrian Noble as artistic director.

Jonathan Kent is currently director of the Almeida theatre, but is regarded as a possible candidate to succeed Richard Eyre at the National Theatre. This could be undertaken in partnership with Ian McDiarmid, his fellow artistic director at the Almeida. They have certainly had some high-profile achievements, making the Almeida a key cultural centre. Other possible candidates include Jude Kelly, Sam Mendes and Stephen Daldry.

The attractions of actress Judy Garland in the film 'Meet Me in St Louis' are discussed. This film offers a tight combination of music and drama, and Garland gives its subject matter, adolescent yearning, an element of adult depth. Her reserve is in sharp contrast to the power of her voice.

The various roles in which actress Joan Crawford appeared are considered. She was particularly impressive in 'Mildred Pierce' and 'Johnny Guitar.'

Issues concerning theatrical activity in New York, NY, are discussed. The most popular production at present is a musical version of 'The Fully Monty' at the Eugene O'Neill Theatre.

Playwright Bryony Lavery states that she welcomes being regarded as a prolific writer. She does not support the view that her work has become more serious since her parents died.

Raked floors help present a picture to the audience, according to stage designer Richard Hudson, whose visual aesthetic is strongly characterized by raked floors. He emphasizes that visual simplicity has been the key concept guiding his work on the stage version of Disney's 'The Lion King.' He feels that his work has changed substantially during the 1990s. He still works with the same general aesthetic of dividing space and altering the shape of things, but believes that his approach has become more refined.

Saxophonist and composer John Harle feels that he has now reached the age where he is not really concerned about impressing people. His schedule is extremely busy, but he only becomes involved in projects he believes he can undertake well. He does not regret the fact that, as a performer/composer, he will never be regarded as belonging to the elite of English music. His forthcoming projects include 10 hours of music for Simon Schama's BBC 'History of Britain.'

It is important for directors to be willing to take advice from actors, according to theatre director Max Stafford-Clark, who has gained a strong reputation for his work with new playwrights. He feels that directors must have a firm belief in their own work, although they can never really be sure whether they will be able to attract audiences. He is optimistic that the status of theatre will improve.

Dancer Chita Rivera does not feel that she has the talent to be a choreographer, even though her years of experience have given her all the necessary information for this role. She prefers to continue dancing, even though she is now 66. She is willing to talk about her experiences, but prefers to remain silent about her private life. However, she plans an autobiography in the form of a show entitled 'Chita's jazz and all that.'

The 1999 Edinburgh Festival offers an extremely wide range of attractions. Inevitably, the quality of the performances will vary considerably. It is worth spending some time studying the free Edinburgh Fringe Programme and the International Festival Guide and booking early for performances that are likely to attract large audiences. It is worth taking advice from other festival-goers about the most interesting performances.

It is vital to encourage new writing, according to theatre director James Macdonald, who since 1993 has worked almost exclusively on premieres from living writers. However, he is now moving in another direction with his production of Marivaux's 'The Triumph of Love.' He is strongly attracted to Marivaux's compassion, and regards Marivaux as a fully-fledged humanist. He firmly believes that the theatre is about acting.

Playwright Tony Kushner regards himself as a comic writer. He enjoys the way humour creates a community in an audience very rapidly. He is also strongly aware of humour's other purposes, including focusing the audience's attention. He has enjoyed the success of his two-part epic 'Angels in America,' but also feels that anonymity is very valuable for a writer. He is concerned that his future plays will be produced simply because of the popularity of 'Angels in America,' even if they are not very good.

Opera composer Jonathan Dove feels that he is constantly seeking ways of telling a story through melody. He finds it hard to describe his style, and reveals that it took a long time for him to discover how to write the music he had in his head. He has always felt the need for melody, and acknowledges his attraction to regular pulse and clear rhythm. He feels that a good dramatist is able to focus a story so that everything any of the characters says is significant and thus singable.

The English version of Werner Schwab's play 'Die Prasidentinnen' by playwright Meredith Oakes is excellent, according to theatre director Robert Jones. He believes this version, entitled 'Holy Mothers,' is modern in the sense that it is not redemptive. He regards this play as dealing with a world with no moral stamina. He has been strongly influenced by painting and music, and his approach is very similar to that of a musician. He is not yet sure how audiences will react to 'Holy Mothers.'

The gift of 3 million pounds sterling by the Jerwood Foundation to the Royal Court Theatre in London, England, has attracted considerable controversy in artistic circles, especially with regard to the impact of sponsorship on artistic freedom. The contract between the theatre and the Jerwood Foundation contains detailed conditions regarding the selection of playwrights, and this seems to compromise the theatre's independence and identity.

The plays of Oscar Wilde remain popular, both as plays and as musical versions. There have been several unsuccessful attempts to turn 'The Importance of Being Earnest' into a musical, and 'After the Ball,' the 1954 musical of 'Lady Windermere's Fan' by Noel Coward, was also unsuccessful. However, the Covent Garden Opera Festival is to stage a one-off performance of Coward's original version as part of the Coward centenary celebrations. There are also two current revivals of 'The Importance of Being Earnest.'

The National Lottery has had a very negative impact on arts funding in the UK. Arts organizations have been forced to employ arts consultants, who charge very high fees and often know very little about the relevant art form, in an effort to gain Lottery funding. Furthermore, the Lottery provides only 75% of the funding for any arts scheme, and in many cases arts organizations fail to raise their share, thus forcing them to undertake projects with insufficient funding. The Lottery has funded some new buildings, but in some cases these have not been successful artistically because of a shortage of funds to run them.

Some of the best acting of 1998 in the UK came in roles that received little media attention. Jessica Turner brought both depth and humour to 'What You Get and What You Expect' at the Lyric Hammersmith in London, England, while Hayley Carmichael was outstanding in 'Mr Puntila and His Man Matti.' Michelle Fairley, Sheila Fish and Anthony Calf were all excellent in 'Never Land' at the Royal Court in London, while there was great warmth in the musical 'Dr Dolittle.'

Marketing plays a significant role in the success of West End and Broadway musicals. Many different methods are used to sell tickets, including offering incentives for group bookings, which in the US can account for between 25% and 35% of capacity. Group bookings allow tickets to be sold a long time in advance, which means that investors are less nervous about obtaining a return on their money. Taking bookings well in advance also creates an impetus, ensuring that tickets are sold more quickly than they would otherwise have been.

Singer-songwriter David McAlmont is very proud of his first solo album, 'A Little Communication.' He always feels very confident on stage, but finds it difficult to become fully involved in studio work. He began singing at his Pentecostal church in the West Indies at the age of 13, but feels that the ability to express himself vocally really came from listening to singers such as Shirley Bassey and Dusty Springfield. He believes that a lot of what he has expressed so far in his career has been related to a hatred of men that stems from his father leaving home when he was young.

Most playwrights are unwilling to become involved in musicals because they do not wish to be subservient to the music, according to playwright Arthur Laurents. He did not take this view, and was very successful with 'West Side Story,' the first musical he wrote. He is now 80 years old, but does not intend to stop working. He has recently finished his memoirs, and has at least two plays opening shortly. He no longer writes musicals, but has become involved in a revival of 'West Side Story' because he promised Jerry Robbins, the musical's producer, that he would do so.

Actress Penelope Wilton was extremely flattered to be asked by Alan Bennett to appear in 'Nights in the Gardens of Spain,' one of his second 'Talking Heads' series. She feels strongly that for monologue performances of this kind, the actor or actress must feel that there is another person there. It is important to really take the camera in, otherwise it becomes disengaged. She found Bennett very encouraging, even though she was nervous about him being there while she was recording the piece.

Cookery programmes have become a key element of television scheduling in the UK. The first celebrity television cook was Fanny Cradock, who appeared on many programmes on both ITV and BBC for many years. Today, the most popular television cooks are Delia Smith, Gary Rhodes, Madhur Jaffrey and Ken Hom, among others. Broadcasters favour cookery programmes because they are very inexpensive to produce and offer considerable potential for related merchandising.

There are a number of key elements required for a really effective theatre. The seating must be sloped to allow those sitting at the back a good view of the stage, but the slope must not be too great. Generally, small theatres are more effective than large ones, with the ideal size being around 400 seats. However, the costs of staging some productions can be very high, and this means that a larger audience is required if the production is to be cost-effective.

An important theme and good dialogue are not sufficient, according to theatre director Vicky Featherstone. She is drawn to plays with an image at the centre, even though it can be hard to produce these plays properly. Her attachment to imagery means that she is particularly well matched with playwright Sarah Kane. She is currently directing 'Crave,' a new play by Kane, at the 1998 Edinburgh Festival. She hopes that her approach to this play will allow the audience's relationship with the characters to change constantly.

Solo work is not really very appealing, according to cabaret singer Liz Callaway. She prefers to perform duets, sometimes with her sister Ann Hampton Callaway. Her sister admits that cabaret singing is quite unusual in modern times. It is a very revealing type of performance, and the singer cannot lie. Her vocal style has jazz inflections, while Liz Callaway's sound is more fresh and hopeful. The sisters are shortly to appear together in 'Sibling Revelry.'

The annual arts festival in Edinburgh, Scotland, will run for five weeks in 1998. It is best to read the 'Fringe Guide' and the 'International Festival Guide' in advance, as it will be impossible to visit every single attraction. Some shows are extremely popular, so it is advisable to book early. It is worth listening to other visitors to find out which shows are the most interesting, and it is also wise to seek free ticket offers.