I really find receiving xmas cards annoying - every time the post arrives I think its something important - and its cards!

I stopped sending anyone cards some three years ago, in fact it was a card we recieve every year to the people who lived here before us - who have long been dead, from some people who have to include a liitte update on their life(just got one again this year) - it made me think how pointless sending all these cards are if you dont even know someone isnt alive any more!

I love reading snippets from people I know and have not seen foer a while. It's a nice way to stay in touch.

I think with the oldies, the Xmas card is the proof that old friends and acquaintances are still alive, and still think of them, even

if they themselves have become housebound, thus losing touch.

People from the Darius community still being in touch with me, I love. I haven't sent Helen's family a card as I don't want to upset them and yet I'd like them to know that she wont be forgotten.

I think they might appreciate a card Meg. They will already be upset about so many things with it being the first Christmas. If you do send one, please let them know that I also remember her every day and say a prayer. Sue

I think she's the kind of person we just wont forget. I'll post it tomorrow, Sue.

I think her family will appreciate her friends thinking of Helen.

I think she's still in most of our minds.

I wish I had met her..........I only 'talked' with her on BJ.

She's not someone you forget. Down to earth and kind.

Yes, a really lovely person. Sue

thanks for your card, meg LOL - after my rant.

I know where I stand. How does it feel to be annoyed? Happy Xmas, pip, believe me, the rant didn't bother me at all.

This is a quote from an interview in the Telegraph when Trevor Nunn was talking to Dominic Cavendish (end oF November 2008)

 

Even so, the brutal dispatching of Gone with the Wind - gone in an acrid puff of critical derision after only 79 performances in the summer - must have been a particularly testing experience. At the New London Theatre, former home of his first blockbuster Cats - a long-runner outstripped only by his other monster hit Les Misérables at the time of its final performance in 2002- Nunn suffered the ignominy of a fully fledged flop. How do you pick yourself up after a fiasco like that?

 

With remarkable ease, by the sound of it. Sitting in the Chocolate Factory's snug bar area, Nunn declares, in the quietish, thoughtful tones of a learned vicar, that he doesn't read reviews. So he wouldn't for example, have read this paper's stream of adjectival put-downs: "dreary", "lacklustre", "unspectacular"? He shakes his head. "In common with many people who work in the theatre, I've discovered it's better not to read those responses. You get to know about them pretty quickly in any case."

 

That's one way of protecting the fragile artistic ego, but when it dawned on him that the show didn't have commercial legs, was that not hard to deal with? "When large amounts of investment are involved, then, of course, you feel guilt and distress on behalf of the people who've put money into the project and lost it all. That feels burdensome. You have to toughen yourself quite consciously to deal with that. It's hard. A lot of people have given in the belief that it will work and then something lets them down."

 

What that "something" is, though, he's fairly at a loss to identify. You don't get any sense that he feels the piece had artistic shortcomings. It was long, yes, but then the film was longer, he points out. If there's one thing he would have done differently, he suggests, it would be to make it much more explicit that this was "a play with music" rather than a musical. "We were doing a large-scale bit of 'story theatre', which is, by its nature, quite rough and it's a close relative of 'poor theatre'. There's a different expectation about the term musical, which sets up all kinds of notions of what must be slick and spectacular."

 

As he talks about the commitment of the cast, their loyalty and enduring morale, tipping the chat perilously close to archetypal luvvie soliloquising, that famous line from King Lear - "Never, never, never, never, never!" - springs to mind. I realise he's never going to concede that the project, which sounded on paper frankly unfeasible, was misconceived.

 

"Audiences at the final five previews were giving it standing ovations," he says. "It obviously connected with some people and not others. Look, it's the business I'm in. I did an adaptation of Nicholas Nickleby with John Caird, and the reviews were stinking. It changed the fortunes of the RSC. But enough on this," he concludes, firmly.

 

 

I certainly connected with it and, while I was really impressed with Darius and Jill, I'd have gone to see it again after they left if they found replacements anywhere near as good.

Oh dear - World-renowned director Trevor Nunn is rumoured to be bringing Holly Golightly to the West End with a stage adaptation of cult film Breakfast at Tiffany’s. Originally released in 1961, the film version is based on Truman Capote’s 1958 novella of the same name and stars Audrey Hepburn in arguably her most memorable role. Reports claim that Nunn is about to secure a deal which will bring a musical version to the London stage in 2009.

 

Worryingly for Nunn, David Merrick’s 1966 New York production of Breakfast at Tiffany’s remains one of the most notorious disasters in the history of Broadway musicals, closing after just four nights. It remains to be seen whether Tiffany’s famous diamonds will prove more profitable for Nunn, who recently had a high-profile flop of his own when his stage adaptation of epic film Gone with the Wind closed on 14 June 2008 at the New London theatre after only 79 performances.

 

And that is not all Nunn has to worry about. The mystery surrounding who will don Holly Golightly's iconic shades and cigarette holder is sure to set tongues wagging all over the West End for months to come.

 

 

 

 

I enjoyed the film. What has Holly done before?

Sorry meg Im, not really with you, b it thick after xmas. Audrey hepburn played Holly golightly and george peppard played the male lead in the film. I enjoyed the film at its time but when it wa on again recently felt it was dated and felt the storyline was pretty fragile but its just a rumour at the moment.

Bit more from broadwayworld - Trevor Nunn is to direct a musical version of the classic Audrey Hepburn movie 'Breakfast At Tiffanys' which is posed to open in October 2009.

He wants to bring together the same team s he had for this years wondrously disastrous 'Gone With The Wind'- without the Dr who wrote the music we can only hope!

He is quoted as saying that he can't let 'Gone with The Wind' ruin his reputation as a director of musicals!!! 'CATS' anyone?

He's bound to leave the ill fated 1960s Broadway bound version alone as that has such a bad history he really should start afresh if he's going to try and carry this off.

 

me thinks trevor nunn will bring anything to the theatre, he is paid on his reputation..I expect he got paid for the three or so years of the gwtw project. it was the sponsers and investors who took the rap. he just wants to make a living as a paid producer etc