Jeremy Irons Attends Chickenshed at the Hard Rock Cafe London

Jeremy Irons and Sinead Cusack attended the Chickenshed Theatre event at the Hard Rock Cafe in London, on 5 February 2020.

Photos by Richard Young

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Jeremy Irons Attends CHICKENSHED Fundraiser

Jeremy Irons attended the Chickenshed Rocks the Hard Rock Cafe Fundraiser in aid of the children’s theatre company at the Hard Rock Cafe, 150 Park Lane, London on the 1st February 2017.

Jeremy Irons Attends Gala for Kevin Spacey at The Old Vic

Jeremy Irons was in attendance at The Old Vic, on Sunday 19 April 2015, for a Gala Tribute to Kevin Spacey.

Sinead Cusack and her sister Niamh Cusack were both performers, during the Gala.

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Jeremy Irons Attends ‘Other Desert Cities’ Press Night

Jeremy Irons was in attendance for the Press Night of Other Desert Cities, currently at the Old Vic Theatre in London.

Jeremy Irons and Sinead Cusack attend an after party celebrating the press night performance at Skylon Grill on March 24, 2014 in London, England.

(Photos by David M. Benett/Getty Images and  Photos by Dan Wooller for WhatsOnStage)

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Jeremy Irons Attends Chickenshed Theatre Annual Gala

Jeremy Irons and Sinead Cusack attended the Chickenshed Theatre UK Annual Gala at Guildhall in London on Wednesday 16 October 2013.

Jeremy was this year’s Guest of Honour.

Learn more about Chickenshed HERE.

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chickenshed5 via nocturnalpandabear on Tumblr

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Jeremy Irons Talks about “Shakespeare Uncovered” on PBS

Shakespeare Uncovered premieres on PBS stations on January 25, 2013.

Learn more HERE.

In a unique series of six films, Shakespeare Uncovered combines history, biography, iconic performances, new analysis, and the personal passions of its celebrated hosts — Ethan Hawke, Jeremy Irons, Derek Jacobi, Trevor Nunn, Joely Richardson, and David Tennant — to tell the stories behind the stories of Shakespeare’s greatest plays.

Jeremy Irons Protests Cuts to Arts Spending

from The Observer and guardian.co.uk

Sunday 13 March 2011

The damage caused by cuts to arts spending will affect us all

The return from cultural investment is huge. If we want to rebuild our economy, the arts should not be an easy target.

Before the last election the government promised to usher in a “golden age” for the arts. The reality couldn’t be further from this. With the reductions announced in last year’s Spending Review, the withdrawal of huge amounts of local authority support, the abolition of the UK Film Council and the financial pressures faced by the Arts Councils and the BBC, we are currently facing the biggest threat to funding the arts and culture have experienced in decades.

These cuts are deep and will affect not just those working and training in regional theatre, independent arts, the BBC, UK film, festivals, dance or theatre in education, but also those who access the arts through outreach and education programmes, community and youth groups and social care.

Nationally, the return from cultural investment is staggering. The performing arts and the film industry contribute more than £7bn to the economy each year. If we are serious about rebuilding our economy, culture should not be an easy target for cuts.

We must remember that many of our most internationally recognised artists and creative workers lauded at the Baftas, Oscars and Emmys started in regional theatres and small arts venues.

All those who have a role in taking decisions on cuts must think hard about the potential damage that could be caused to our economy and society.

Lynda Bellingham, Brenda Blethyn, Samantha Bond, Kenneth Branagh, Jo Brand, Rory Bremner, Rob Brydon, Saffron Burrows, Simon Callow, Peter Capaldi, Oliver Ford Davies, Robert Glenister, Sheila Hancock, Miranda Hart, Jeremy Irons, Mike Leigh, Adrian Lester, Roger Lloyd-Pack, Matthew Macfadyen, Patrick Malahide, Miriam Margolyes, Ian McDiarmid, Ian McShane, Dame Helen Mirren, Bill Paterson, Maxine Peake, Timothy Pigott-Smith, Diana Quick, Tony Robinson, Prunella Scales, Martin Shaw, Michael Sheen, Malcolm Sinclair, Imelda Staunton, Alison Steadman, Clive Swift, David Tennant, David Threlfall, Sandi Toksvig, Ricky Tomlinson, Johnny Vegas, Julie Walters, Samuel West, Timothy West, Penelope Wilton, Victoria Wood

Prince’s Trust Gala for Children and the Arts

Scroll down for photos and the text of what Jeremy read at the event…

Actor Jeremy Irons attended a royal charity gala dinner on Tuesday evening (01Feb11) as part of a campaign to encourage children to take an interest in the arts.

The Oscar winner is a supporter of The Prince’s Trust Foundation for Children and the Arts, which aims to give youths more opportunity to develop life skills by participating in poetry, painting and music. And Irons will be mixing with royalty at a gala dinner at Buckingham Palace to raise awareness of the cause.

Irons tells Britain’s The One Show, “We’re having an evening celebrating a charity of the Prince of Wales, a children and the arts charity which encourages and gives opportunity to children who are – either because of geographical… or because of financial reasons – they don’t have any access during their education to do anything artistic. Whether it be painting or theater or poetry or whatever…I was very lucky, I was at school and we had art classes, we had poetry classes, we had music classes, I learnt to do all those things naturally… What this charity does is to bring together local arts organizations and local schools and allow children to learn to paint, to write poetry, to stand on stage and be in a play… I’ve always argued that arts are terribly important for education and we’re foolish to cut them… you’re training them for life.”

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Wizard preview for royal couple

(UKPA) – 2 February 2011

The Prince of Wales and the Duchess of Cornwall have been given a preview of new West End musical The Wizard of Oz.

Star of the show Danielle Hope, who landed the role of Dorothy after winning a BBC talent contest last year, sang Somewhere Over The Rainbow for the Prince and the Duchess.

The Andrew Lloyd Webber musical starts preview shows at the London Palladium next week.

Hope, who performed for the royal couple at a gala for The Prince’s Foundation for Children and the Arts on Tuesday night, said: “It was just magical to perform tonight, it was like the preview of the preview.

“I am really excited about the start of the show.”

The gala dinner, which was held at Buckingham Palace, was attended by supporters of the charity which helps disadvantaged children in the UK to gain access to the arts.

Charles and Camilla also heard a reading by comedian Rowan Atkinson.

Atkinson, who recited Roald Dahl’s “witty and wicked” critique of Goldilocks and the Three Bears, said: “Going to the theatre is a communal experience rather than the singular experience you get on a computer. Self serving content is good but you do not get to share the joy that you do in a theatre.”

Other performers at the black-tie event, which was held in the ballroom of the Palace, included tenor Alfie Boe and actor Jeremy Irons who read Shakespeare’s “Sonnet 128” and DH Lawrence’s “Piano”.

After the performance, Charles met the performers including Alex Jennings – famed for his role as the Prince of Wales in the 2006 drama The Queen. The Prince, who is the foundation’s president, told those gathered for the gala that the charity did an excellent job to encourage young people to experience the arts.

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SONNET 128 – William Shakespeare

How oft, when thou, my music, music play’st,
Upon that blessed wood whose motion sounds
With thy sweet fingers, when thou gently sway’st
The wiry concord that mine ear confounds,
Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood’s boldness by thee blushing stand!
To be so tickled, they would change their state
And situation with those dancing chips,
O’er whom thy fingers walk with gentle gait,
Making dead wood more blest than living lips.
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss.

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PIANO

By D.H. Lawrence

Softly, in the dusk, a woman is singing to me;
Taking me back down the vista of years, till I see
A child sitting under the piano, in the boom of the tingling strings
And pressing the small, poised feet of a mother who smiles as she sings.

In spite of myself, the insidious mastery of song
Betrays me back, till the heart of me weeps to belong
To the old Sunday evenings at home, with winter outside
And hymns in the cosy parlour, the tinkling piano our guide.

So now it is vain for the singer to burst into clamour
With the great black piano appassionato. The glamour
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a child for the past.

1918

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New photos of Jeremy at the Bristol Old Vic

All photos from gallers74’s photostream on flickr:

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Brief Encounter With…Max Irons – from Whatsonstage.com

Brief Encounter With … Max Irons
Date: 10 December 2009

Max Irons is currently making his London stage debut in Tom Stoppard’s Artist Descending a Staircase at the Old Red Lion in Islington.

Born to theatrical parents (Jeremy Irons and Sinead Cusack), 24-year-old Irons has already notched up film credits including Being Julia and Dorian Gray, and earlier this year he appeared on stage in Wallenstein at the Chichester Festival Theatre.

Artist Descending a Staircase, which was written in 1972 as a radio play, was first performed on stage at the King’s Head Theatre in 1988. The current production at the Old Red Lion, under the direction of Michael Gieleta, is its first major revival since then.

What made you decide to become an actor?
I always find that people have these massively romantic reasons for wanting to become an actor. I, unfortunately, don’t. I always wanted to do it, in school while growing up, from being in Snow White and the Seven Dwarfs playing a dwarf onto more serious things. Problem is, I have dyslexia, which is always a bit of a killer on stage. People would hand me a script and say “Read this and act!”, which was a mind-bending idea, and I would start sweating and shaking profusely. As I went on and did more serious things, I would have time to prepare. I did a Neil LaBute two hander, which I enjoyed massively, and I did other bits and pieces at school.

I considered going to drama school, but I wasn’t entirely sure, so I took a gap year and worked with a company in Nepal who taught kids living on the streets – they asked me to teach theatre, which I enjoyed immensely. After that I came home, and over a period of six months I prepared myself for drama school, did my auditions and got offered a place.

You come from an acting family. Was that an encouragement for you or a put off?
To be honest, it was a bit of a put off. It’s a difficult question because I can’t say with a clear conscience that my choice had nothing to do with them. What I mean by that is not that I saw them out there working, making money, having an enjoyable profession, but that I was exposed to theatre and film at an early age. When I saw told my parents that I wanted to be an actor, their first response was “Don’t”. They said “Just because we had a successful career doesn’t mean that the same will apply to you”. I now know, after being in the business for two years and facing rejection, just what they were talking about.

Many actors are going straight to television and film these days, and some are accused of fame-seeking. What’s your take on that?
The business is different to how it used to be. My Dad said “do rep”, and I had to explain to him that it’s hard to come by these days. Celebrity culture, seeking fame and fortune and all that, is definitely out there. To be honest, to be an actor for life requires for steely stuff. You have to have a lot of conviction. If you’re only looking for fame and fortune, you won’t survive.

You’ve done some modelling.
Unfortunately.

How did that come about?
Burberry was the first to approach me. I got a phone call on a Saturday morning from a man saying “we want to photograph you with Kate Moss, and we’ll pay you a bit”. And I thought, ‘well it’s a good experience to cross off your to do list’. And more recently, I worked with Mango, which is another great company. So I put a little bit of money in the bank for when times are bad, and God knows times are bad now.

Are you keen now to mark your territory as a serious actor?
Well, ideally I still need to learn a lot. And the best place to do that is in theatre where you can do it night after night after night. To be honest, I enjoy theatre more than film, but then again, if an interesting part were to come along, I don’t think I would hesitate too much. Beggars can’t be choosers!

What attracted you to Artist Descending a Staircase?
I quite like intimate spaces, and the project seemed really interesting, so with that combination I couldn’t help myself. I worked in Chichester for a while, which I adored. It was in the round, but not nearly as intimate as the Red Lion.

Can you provide an overview of the play?
It’s about three artists who share a studio together and much of their lives together, and still in their 70s are exploring what modern interpretive art can offer. In the middle, there a three scenes when you see the same artists when they were in their 20s, which is where I come in. Mainly I would say it’s about the way these three personalities view the world artistically, but then there’s also a whodunnit element, as two characters pass away during the course of the play. I don’t want to give too much away.

Which character do you play?
I play Beecham, who is the mousiest of the three artists. I think he’s the best at keeping his mouth shut and his eyes open, and seeing the world truly for what it is – which is in stark contrast to many other artists.

What particular challenges are posed by the fact it was originally a radio play?
Well, in terms of staging, there’s a lot of trial and error. Tom’s an incredibly skilled writer, so there aren’t any holes to be plugged, so it’s basically a case of improvising and trying different ways of playing it. Our director Michael (Gieleta) has left a huge amount to us, which is really nice, but what’s also nice is that he’s got a very clear vision of how it should be done. He’s very good at sketching the picture in our heads, and then letting us fill in the gaps.

Why do you think it hasn’t been revived for so long?
I think primarily because it’s a radio play. Plus, a lot of the subject matter is quite hard to handle. I struggled with it at first, because it has a lot of references to various artistic schools of thought. If you don’t know what they’re talking about, it can be very tricky.

What have you got lined up next?
Well, ideally I’d like to do some Chekhov, who is probably my favourite writer. I also hear that David Hare might be doing a production of Ghosts, which is very exciting and another great play. There are various possibilities, but primarily I just want to keep working.

– Max Irons was speaking to Theo Bosanquet

Artist Descending a Staircase, which also stars Jeremy Child, Olivia Darnley, Ryan Gage, Edward Petherbridge, Alex Robertson and David Weston, continues at the Old Red Lion until 31 December 2010.