Studio 1919

Studio 1919
Studio 1919

Studio 1919 is a creative and commercial partnership founded by

Thomas Everchild and Philippa Hammond

Thomas Everchild

Writer, Director and Illustrator [thomaseverchild.com]

An acclaimed writer and director of many theatre and film projects

Thomas’ technical skills also encompass set design, DOP / camera, sound and lighting design, editing and post-production

Philippa Hammond

Actor, Writer and Trainer [Spotlight]

As an actor and voice artist, Philippa’s performances have won superb reviews from the press

Founder of Speaking Well in Public and Management Creative business services, she offers a unique combination of experience in performance, training for business and tough corporate and public service environments

The work of Studio 1919

[under construction]

News: The Dan Leno Project features at the British Music Hall Society’s 50th Anniversary celebrations

Television

Broadcast Radio

Graphics, Special Effects and CGI

Film

Theatre

Writing

Training

 

Speaking Well In Public at City Business Club (PDF)

Speaking well In Public at City Business Club (PDF)

Speaking Well In Public at City Business Club: Open PDF
SPEAKING WELL IN PUBLIC is the topic at the next Breakfast Club, with Philippa Hammond who is a professional actor, trainer and learning and development consultant. With her own business, Speaking Well in Public, she teaches public speaking skills for business, performance and social occasions.
Find out why we get nervous, what nerves do to us and how we can develop the confidence ,voice and body language we need to power any business presentation.

Glimpse

Glimpse by Thomas Everchild. Originally produced by Afterthought Theatre Productions. The plays are now available to other companies.

Glimpse
by
Thomas Everchild

Originally produced by Afterthought Theatre Productions.

The plays are now available to other companies.

It is a sequence of one-act plays / monologues for women, the plays were originally performed as a single 120minute show (including interval) by Philippa Hammond, but they have since been performed together by different performers and as individual 25minute plays.

The Glimpse plays are flexible enough to be performed in large or small venues and at varying lengths.

Glimpse has an excellent track record and reviews.

Glimpse consists of separate one woman pieces which can be performed separately, or together in any combination.

Each play is 25 minutes, so a production may be mounted from a single segment up to a full 100 minutes plus interval.
A full production may be mounted with a single voice or up to four performers.

The plays glimpse the lives of four characters from different points in history.

The plays:

An Honorary Man (Drama based on a tragic historical story of Hypatia in 450AD)

Turning The Handle (Vintage Naughty Romantic Comedy that gives an unusual twist to a story set in the early days of cinema)

Little Girls Like To Kiss (Thriller in the Film-Noir style, but told from a very different point of view)

Backstage Whispers (Comedy Of Catastrophe set backstage at an Edinburgh Fringe show)

The Scotsman (Glimpse; Part One)

“Hammond is served well by two three-dimensional, literate and dramatic scripts written by Thomas Everchild and she displays brilliant talent in interpreting them for us.”

“It is spellbinding and entertaining, heart rending and humorous. An hour was all too short.”

Glimpse; Part One (Edinburgh Production)

An Honorary Man
Turning the Handle

Philippa Hammond delivers two glimpses in this show, separated by 1,500 years but linked by a theme of women bowing to the will and needs of men. In the first she is Hypatia of Alexandria, a director of the library there. Or a pagan whore, if you believe the Christian hierarchy. Hypatia is, however, a full-blooded and beautiful woman, aware of the pleasures of her body and the delights of her mind. So much so that her students have voted her “an honorary man”. She accepts this dubious accolade with gentle irony. As she accepts her murder and mutilation with the inevitability of the conflict between pure intellect and religious dogma.

In the second piece, we are in Edwardian England and she is married, against her parents’ will, to a prototype film maker whom she supports in everything, even stripping for his “what the butler saw” movies. After losing her husband, she continues her career to support her children, having stoically traded her home life of Hampshire parties and Home Counties ease.

Hammond is served well by two three-dimensional, literate and dramatic scripts written by Thomas Everchild and she displays brilliant talent in interpreting them for us. It is spellbinding and entertaining, heart rending and humorous. An hour was all too short.

Roderick Graham
The Scotsman

The Scotsman (Glimpse; Part Two)

“…Hammond’s best – understated and impressively controlled.”

“Glimpse is impressive, and well-named; fleeting moments of subtle theatrical insight.”

Glimpse; Part Two (Edinburgh Production)

Little Girls Like to Kiss
Backstage Whispers

Glimpse is a collection of four solo shows presented by Philippa Hammond, two at a time on alternate evenings. In this case it’s a smoke-filled 1940s private dick yarn and a take on life at the shallow end of the theatrical talent pool. And very good they are too.

The first, Little Girls Like to Kiss, shows the gumshoe’s ubiquitous breathy secretary in her own right. Marcia Blouse is long-suffering, pouting and wisecracking. She is also fragile – lost without the defining influence of her absent boss? Not likely – more afraid that others are about to discover her guilty secret.

Cracks in the cool, sassy facade grow and meet, forming a portrait of paranoia. Hammond herself twists with the plot her character reports; first manipulative and catty, then desperate and cornered. Ultimately Marcia survives, and takes control again. Fittingly, this brings out Hammond’s best – understated and impressively controlled.

The second vignette, Backstage Whispers, has the same sense of command in script and acting. Hammond excels as the aspiring actor and skirts around the pitfalls of self-indulgence with admirable restraint. Even the “behind the curtain” jokes are sharp and entertaining.

Again the writing is taut, wry and understated. At best reminiscent of Alan Bennet’s Talking Heads, this is a touching tale of a call-box tart who lives and dies in 18 lines. Glimpse is impressive, and well-named; fleeting moments of subtle theatrical insight.

James Kirkup
The Scotsman