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Maureen Lipman: ‘I’d have to be stark raving mad to support Boris Johnson’ | Stage

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I met Maureen Lipman in the most old-fashioned way, over the telephone, to talk about her new role. She’s starring in Martin Sherman’s Rose, which will be available for three nights only – to replicate the sense of theatrical occasion – but online, rather than live. “It’s a story of one woman’s recollection, from the Holocaust to the six-day war, and slightly beyond, and how she comes to make a stand herself, rather than just survive. The play begins and ends with her making a statement about humanity, rather than just on being Jewish or a gentile.”

She’s thrilled about the role – originally made famous by Olympia Dukakis – and makes the point that, by the time you hit 74, parts don’t just end up in your lap. She’s also in Coronation Street, of course, and describes fitting the two filming schedules in with the unsociable hours and the midnight taxis of the actor in high demand. She’s so positive about Sherman’s work, however – “it’s as sensitive, clever, deep and profound a piece as I’ve read” – that you can sense a “but …” coming, and there is one.

“I’d done Martin’s other play, Messiah” – this was 1982 – “and I had an unfortunate experience: somebody in Hampstead stood up and screamed at me. It rattled me. I’ve always been a very confident actress and I never really questioned my confidence on stage, but it did unsettle me as a person. And then, of course, the BT adverts happened around the same time, and it suddenly turned me from a jobbing actress to a Jewish actress.”

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That ad had a mysteriously huge impact. Lipman was Beattie, the witty, caustic Jewish grandmother (at one point her son, for reasons I can neither recall nor guess at, refers to her breasts, and she says: “Huh, they moved south about the same time you did”). It was so talked-about that it did rather eclipse her earlier reputation: as a stage talent, a member of both the National Theatre Company and the RSC, Lamda-trained, having grown up in Hull with a tailor father and a fiercely encouraging mother. She was a sitcom favourite in the 70s, early in the genre, and always memorable even in small roles, such as Sylvie in Up the Junction.

‘It suddenly turned me from a jobbing actress to a Jewish actress’ … Lipman as Beattie in the BT advert.



‘It suddenly turned me from a jobbing actress to a Jewish actress’ … Lipman as Beattie in the BT advert.

Lipman isn’t complaining about being typecast – she’s sprightly and pragmatic on that: “You’re bloody glad to have a good part. Because I’m not going to be in Downton Abbey, am I?” It’s a much more complicated point she’s making, which starts with pigeonholes. “In the last few years, we’re all in little boxes, aren’t we? You have to play what you are. The whole purpose of acting is to play what you’re not.” This lands us, arse over tit, if you’ll forgive the phrase (this whole conversation has brought the 80s rushing back), in the trans debate. “They’re saying, now, nobody can play a person who’s trans unless they are. I’m thinking of Scarlett Johansson, she turned down a trans role because she said it wasn’t fair to take it. And that’s a good choice.

“But we’re in a different timeline, because anybody can play Shylock, and they do. Anybody can play a survivor, and they do.” For all that Lipman is famously outspoken, I can’t work out what she really thinks. Should anybody be allowed to play Shylock? Did Scarlett Johansson make a good choice? “I am all for people fighting for their rights. Of course. But if somebody’s playing a Holocaust survivor, and I’m looking at them on the television and know that they’re not and never have been Jewish, have I got the same right to say, ‘They shouldn’t play that because they’re not?’”

To return to the role of Rose, and Lipman’s audience encounter in Messiah, I wonder whether there isn’t another element to her trepidation about taking on another Sherman play – whether creatively delving into a collective trauma is actually quite traumatic to do. “The early Sherman play was 17th century, so that was a different trauma, they were fleeing a pogrom. But yes, collective trauma is something I’m very aware of. I’m very aware, particularly in my business, of the attitude towards the only Jewish state in the world.”

‘I’m not going to be in Downton Abbey, am I?’ … Lipman as Evelyn Plummer in Coronation Street.



‘I’m not going to be in Downton Abbey, am I?’ … Lipman as Evelyn Plummer in Coronation Street. Photograph: ITV/Rex/Shutterstock

What a segue: Maureen Lipman is famous for her defence of Israel. She actually reprised Beattie for a video attacking Jeremy Corbyn at the last election, but her falling out with the Labour party went back to the leader before – she was furious with Ed Miliband for supporting a House of Commons motion to recognise Palestine as a state.

While she remains absolutely caustic about a lot of Labour and its works, she admits quite wryly what her relationship was to this party she has so often renounced. “I was a Labour luvvie, with Blair. I wasn’t really a party member.” She talks about all Blair had to deal with, from foot and mouth disease to the death of Princess Diana, to that other thing to do with cows (mad cow disease, we both realise at once), “and he did it with grace, and style, and he did it with gravitas and statesmanship. You had exactly the same situation with him and Campbell as you did with Boris and Cummings. People in power need advisers.”

Does this mean she supports Boris Johnson? It seems like quite a journey from a Labour-ish luvvie to that, and she is laughingly affronted. “I’d have to be stark raving mad to be a supporter of Boris Johnson. And I’m not. I don’t envy him what he wished for, because he got it.”

Yet in any conversation about politics, she remains principally vigilant about Israel; even when it’s miles from the topic, we somehow end up back there. So we jump from Johnson and what a mess he makes, back to the Labour party and whether or not antisemitism has gone away (“you can see it hasn’t”) and suddenly we’re at the explosion in Beirut, which had happened that day. “As soon as Lebanon happened, I can imagine the types that were ready to say, ‘Israel’s on the border, did they, would they, could they?’ I’m very grateful that Hezbollah said they did it.”

‘He did it with grace and gravitas’ … Lipman with Tony Blair in 2001.



‘He did it with grace and gravitas’ … Lipman with Tony Blair in 2001. Photograph: Rex/Shutterstock

Wait, what? It was an accident resulting from political fecklessness, Hezbollah isn’t even the largest party in the Lebanese parliament, and definitely nobody said they did it. She makes a noise as though we’ll just agree to differ.

Lipman’s hardline stance on Israel, she suggests, means that she won’t work with certain actors who support the Palestinian cause. “I won’t be going on tour with The Killing of Sister George with Maxine Peake and Miriam Margolyes, put it that way.”

Peake, sure, would be an impossible acquaintance, after her recent comments – which she retracted – were deemed anti-Israel enough to get Rebecca Long-Bailey kicked off the Labour front bench for retweeting her. But Margolyes, surely, is different. Yes, she vocally supports Palestine, but they’re two character actresses of the same generation (Margolyes is five years older) – they must have gone up for the same parts, been to the same parties for decades; there must be times when they meet and don’t talk about Israel?

“We’ve seen each other at the odd funeral,” she concedes. “I don’t wish her ill. And she’s a very successful leftwing socialist with several houses. Take my point. Need I say more.” Well, not unless you want to … “Most of the stuff that I say is not that dissimilar to her. We’re opinionated women, we’ve got a platform, we tend to spew out the first thing that comes into our fevered little brains. It’s just that, unfortunately, I’m right.”

Lipman is maybe 5% less implacable than she sounds. Asked what she thinks about Keir Starmer, she launches in: “I put in some article that I’ve never been to Ikea and somebody from a newspaper said, would I go for the first time and write about it?” Uh oh, I thought, it’s going to be quite a scramble to get back to the subject from such an extreme mishearing, but the joke was on me. “And I said, I’d go to eye-Keir, and talk to him eye to eye. I’ve not got round to it. I’m very glad he’s there.”

Give or take a quick drive-by attack on John McDonnell and Diane Abbott, this has a mellowing effect on the conversation, and she reverts to the views of the Blair-era luvvie – worried about the future of theatre (“if the rats are eating the velvet, I’m going to be really sad”), mindful of the other side of the coin (“I do think the West End had become moribund. Shows were running for too long and they were tired”), relaxed and self-aware: “A lot of us, it’s very hard to distinguish between wanting a job and wanting to show off. I don’t know the difference, I never have.”

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RAMMSTEIN @ Estádio da Luz, Lisbon

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Four years have passed since Stadium tour belonging RAMMSTEIN started in Germany. Much more since the itinerary was originally announced, and given the pandemic, it has been just under 365 days since tickets for the Portugal concert went on sale. However, after such a long wait for the return of the German band to the national soil, the day finally came when the titans of industrial metal honored us with their presence again. It was the stadium debut of a band that first visited us with two performances in 1998 at Paradise Garage and Hard Club and the national audience saw it grow step by step. Despite the absence we’ve been left with for the past decade (the last show here dates back to 2013 at the then Pavilhão Atlântico), the arrival of the Germans turned Lisbon into a black sea. In fact, a simple trip to the supermarket in the morning would be enough to realize that people from all over the country (and not only) have gathered there, the Portuguese almost all with backpacks on their backs, converging to host a group that is about to celebrate three decades careers. According to some, recent accusations that Till Lindemannthe band’s lead singer, has become the subject of much conversation on social media and the media in recent months – a story unfortunately repeated in the entertainment world.

Let’s face it, it was the national date for the third route Stadium tour on the Old Continent RAMMSTEIN arrived in Portugal in disgrace rather than grace. Even so, the metro ride to Estádio da Luz was electrifying. Inside, we were greeted by a sea of ​​people all along the useful perimeter, with bars packed to capacity and a cool breeze that began to rise in the late afternoon, chasing away any shadow of a potential stadium elephant. Whether you think about it or not, or realize that the future seems increasingly uncertain for the band (or for the band with Till), the truth is that everything is set to welcome you with open arms. You can understand why if you look ahead. A gigantic stage dominates the stadium with several towers dotted across the lawn. Up there, the gray sky is preparing to receive all the explosives that will be detonated all night. Let’s face it, it’s not every day that we go to a show where we have to spend a few very long minutes to even grasp the size and scope of everything that lies ahead of us. And yes, even though the lineup had been circulating widely since the start of the tour, expectations were still high for it. performance in itself. But let’s start because this scene is really impressive; built to recreate an impressive dystopian cityscape that could very well have emerged straight from the classic silent “Megapolis”from Fritz Lang, which is easily confused with the futuristic structure of the current SLB home. Result with the French ABELAR playing piano versions of the classic headliners (on a dais at midfield left), it was just right for a band with such a penchant for imposing, dramatic gestures to shine in all their glory.

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We could try to distort the text as much as we like, and at times it may even seem pointless to write about a show of force like that RAMMSTEIN. They are a HUGE, fiery band when needed; the choreography is thought out to the smallest detail – and, in truth, they have set the standard for what a great concert can be over the past two decades. with every tour becoming even larger and more imposing than the previous one, by this time nothing will allow them to give anything but an exceptional concert. Despite the restrictions, this unmissable event of the year also proved to be no exception to this rule, and once again the idea that no one represents a live show like these people was strengthened. The main export of German metal became famous for two reasons; they cause more explosions than a fireworks factory fire and play music at such a volume that it can often be heard 17 kilometers from where they play. Well, the same thing happened here, with a powerful and loud sound (perhaps too low in the place where we were present at the concert), well supported by sound towers strategically placed so that everyone can hear everything in loud and clear sound. . With the volume pumped up, you could feel the bass rumble through the foundation of the stadium. Taken into account: nothing much has changed on the stage since we last saw them, but everything has gotten bigger, much bigger.

01. ram song | 02. Links 2-3-4 | 03. Punish me | 04. Poisonous | 05. Yearning | 06. My heart burns | 07. Puppet | 08. angst | 09. Time | 10. Germany | eleven. Radio | 12. my part |13, Do you have | 14. sonne /// Anchor 1 /// 15. Engel | 16. Foreigner | 17. You smell so good | 18. Without you ///Bis 2/// 19. Rammstein | 20. I want | 21. Goodbye

Four minutes late – 9:34 p.m. seems to have been strategically chosen to ensure that the musicians would only take the stage at night – and the stadium went dark. To the sounds “Music for the Royal Fireworks”now made an anthem RAMMSTEIN, the group’s symbol hangs on the screen of the structure’s giant central tower. The stage lights up as we see Lindemann being lowered in the elevator. The first flames appear and RAMMSTEIN start engines, as is known, with the help of “Rama Song”. Cell phones stay in the air, capturing the moment, but bodies move to the sound of always benevolent “Links 2-3-4”with priceless Christian “Doctor Flake” Lorenz to remain unstoppable on the treadmill next to the keyboard, while the audience alternately dances and shakes their heads, lulled by undeniable hooks. Journey into the past withPunish me” e”Yearning“, how in “poisonous” in the middle of the passion subsided a little. This or all approached what he saw. After that there is a feeling “My heart burns” and alivePuppet” they made everyone sing in unison again. For two hours, the sold-out crowd at the Estádio da Luz not only saw the band play some of their greatest hits. It really happened. Played almost all big games hitsA “Germany”A “Do you have”A “My Part”A “Sonne”A “I want” and even the song of the same name, but it was the show itself – performance – which turned out to be completely out of this world.

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The level of pyrotechnics is indescribable: Lindemann wears a wheel on his back, spewing fire in all directions, and the guitarists Paul Landers e Richard Kruspe armed with two huge flamethrowers attached to their guitars and firing huge flames. There are more innocent things like huge guns confetti which envelop the entire stadium with paper tapes. And everywhere there is fire, a lot of fire. At times, heat was felt on the face, anywhere from the lawn to the stands farthest from the main structure, and waves of pyrotechnics lit up not only the stage, but also the four towers that towered above the crowd and left them. dark puffs of smoke hang in the sky. There was literally a feeling that we were among the rubble of some devastated post-futuristic city. Then there were more earthy things, with a small stage arranged in the middle of the hall (slightly to the left of those who are facing the stage), where musicians joined the crowd. ABELAR interpret “Engel”, which opened the first Encore. After that, the band members returned to the main stage in inflatable rubber boats and attacked the luxurious trio, consisting of “Foreigner“,”You smell so good»e«Without you“. in a second bis planned, but still very much in demand) there was still time to listen to “Rammstein“,”I want“and, at the moment of farewell, very appropriate”Goodbye“.

The images in the gallery are from GEORGE BOOTS.

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Exposed. Images Proving Thiago Rodriguez Wasn’t Defeated, He Just Fell

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Exposed.  Images Proving Thiago Rodriguez Wasn't Defeated, He Just Fell

Brazilian actor Thiago Rodriguez, 42, was exposed by CCTV footage near the site where he was allegedly attacked and robbed. After all, he had just fallen from the structure on which he was sitting, and hit his head and face on the ground, which led to injuries.🇧🇷 He ended up lying on the floor for about 30 minutes until he was rescued by two people passing by who helped him. The case angered the Brazilians.

Thiago Rodriguez Injured” data-title=”Thiago Rodriguez Injured – Exposed. Images Proving Thiago Rodriguez Wasn’t Beaten, He Just Fell – MAGG”>

It was the Brazilian Civil Police itself that released the CCTV images showing that the thesis defended by the Brazilian actor, who is currently starring in the TVI soap opera Quero É Viver, is not true. Police Chief Bianca Lima confirmed to Record TV’s Domingo Espetacular that the fall was the cause of the actor’s injuries, not the robbers’ aggression.

The images were captured by cameras at a commercial establishment located in Plaza Santos Dumont in Rio de Janeiro, 200 meters from the Jockey Club where Thiago went to party and was expelled from. According to the records, it was 5:40 in the morning when the actor sat on a metal structure, which is located in the square, lost his balance and fell face down on the ground. Only at about 6:10 am he was rescued by two people passing by. However, it is not clear if these people stole the actor’s mobile phone, which has since disappeared, or if Thiago simply lost it in the fall.

The fall of Thiago Rodriguez” data-title=”The fall of Thiago Rodriguez is a revelation. Images Proving Thiago Rodriguez Wasn’t Beaten, He Just Fell – MAGG”> The fall of Thiago Rodriguez

As a result of the fall, the actor received cuts on his head and was even forced to put a few stitches on his head. After that, Thiago went to file a complaint with the police, claiming that he was attacked and robbed by criminals. But that theory didn’t make much sense as the actor still had the wallet and backpack he had that night. “A backpack with things, a wallet and a rope were with him. And we wondered if anyone who goes for such violence would take only a mobile phone,” the police chief explained.

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After all, Thiago Rodriguez was not beaten. The actor will be left alone – News

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After all, Thiago Rodriguez was not beaten.  The actor will be left alone - News

Brazilian authorities have denied the story of an alleged attack that allegedly targeted Thiago Rodriguez. The police, agreeing with the video, which is already circulating on social networks, indicate that the actor did fall alone.

Security cameras in buildings near where Thiago Rodriguez was found show him sitting on an iron and falling forward moments later.

The G1 website guarantees that the authorities will suspend the investigation into a possible robbery, given that “the investigation has proven the absence of criminally significant facts.”

However, it is still necessary to understand where the actor’s mobile phone is located. The police, according to the same media, are trying to understand if it was stolen when Thiago was lying on the ground unconscious.

Recall that the 42-year-old artist said that he was robbed at the exit of a bar in Rio de Janeiro.

Thiago Rodriguez is part of the cast of the soap opera Quero É Viver currently airing on TVI.

Watch the video below, published by the Brazilian press, in which you can see the fall of the actor.

Read also: First images of Thiago Rodriguez after brutal attack

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