User:MarnetteD/Sandbox

I plan on using this for future article work but that may take a few weeks to get to.

User:MarnetteD/Userboxes/RedPanda

Hard Questions for those that like the years active section
I have had concerns over this section for some time so thank you for bringing this up.

First off what does this section cover? I mean years active in what? Breathing

Actually,I am joking here. I know that this is the "actors" infobox. But as you start to answer the following questions you may wish that the answer was as simple as breathing.

Beginning date
How are we determining when a person becomes active as an actor?

As we proceed I think that we need to ask which of these terms are we using as they will come up time and again in the sections that follow.

Amateur roles - Virtually every actor begins their performing career quite young. In Helen Mirren's recent book she proudly points to her performance in a school play of Hansel and Gretel as the beginning of her career. Professional roles - Are we using the first time that they get paid for performing as the start date?

Which venue of acting are we using?
Most actors perform in several different venues. Which one do use to determine the start date?

Stage - I start with this one as most (though not all) actors begin their career on stage. The amateur v. professional distinction is paramount here. The Monty Pythoners (except for Terry Gilliam) began their performing careers at either Oxford or Cambridge. This is noted in most of their biographies and autobiographies

At last now I can find this when I need it
The specific MOS section that covers this is Manual of Style (film), which says "Avoid using "award-winning" and similar phrases in the opening sentence to maintain a neutral point of view and summarize the awards in the proper context in a later paragraph of the lead section."

may use someday






Just in case I want to try this one day
The code for mine is at User talk:HJ Mitchell/Editnotice. If you want one, you can just add whatever you want to User talk:MarnetteD/Editnotice

Xmas items for future use


MarnetteD | Talk is wishing you Seasons Greetings! Whether you celebrate your hemisphere's Solstice or Xmas, Eid, Diwali, Hogmanay, Hanukkah, Lenaia, Festivus or even the Saturnalia, this is a special time of year for almost everyone!

Spread the holiday cheer by adding to your friends' talk pages.



Minor edits
Hello. I have noticed that all of your edits are marked as minor yet most of the are not. Please read this Help:Minor edit to understand what a minor edit is. If you have checked the "mark all edits as minor" box in your editing preferences please go in and uncheck it. If, on the other hand, you are clicking the "this is a minor edit" box before you save and edit please only do so when your edit truly is a minor one. Your cooperation in this will be appreciated. Thank you for your efforts here at wikipedia and happy editing.

A brilliant bit if wikiwisdom
One way it happens:
 * Where does Wikipedia content come from?
 * "... I was just reading that page and my mouse slipped and hit the edit button. Then I tripped and as I was falling I hit the keyboard and typed all that content. As I struggled to my feet I was pawing at the desk and the mouse came down and hit save. (Crossmr, December 2010 UTC)"

Possible history page for MoS changes
Somewhere around three or four years ago (though I may have the timeline wrong and that will lead to my eventual question) there was a push to get away from lists, bulleted or otherwise, and turn those sections into prose. Within the last month or so I have started to see this tag show up asking us to turn prose sections back into lists. This brings up questions like a) was there ever a consensus discussion to move away from lists? b) was there a consensus to move back to them?

Now I know that things ebb and flow around here and what was deemed "encyclopedic formatting" at one point in time can fall out of favor and change completely. I also know that some long term editors have great memories and can dig back into the archives to find where the original consensus occurred and where that consensus was changed. Sadly, some of us don't have as accurate memories and those that do might retire. So I am wondering is there any value to creating a "history" page for various sections of the MoS. For example

A treat just for you
MarnetteD
 * Just thought that I would drop off a little treat for you during this anniversary. Here's hoping that the next ten presents more fun than frustration in our editing. ~

Another set of links that are needed from time to time
I know that you will disagree with this Betty but most changes around here occur because small groups of editors have hammered out a consensus. Large discussions rarely happen and they often grind to a halt (as with the image requested placeholders of several years ago) and it is even recommended (as can be seen here Consensus that discussion be kept to a limited number of editors. Also be aware that polls (straw or otherwise) do occur but they are not the final part of the decision making process per the item at the end of this Consensus section.

for copy and pasting
WP:OC

sheesh
this pic is too sweet

The ultimate test of "It Makes Everything taste Better"
This probably needs to be turned into a userbox.

Highlights of my correspondence with John Thaxter
I witnessed a very funny press night with Tony Church playing King Lear in an RSC scaled down version at The Place off Euston Road. The date was 24 October 1974.
 * Tony Church

I was in the back row sitting next to Ken Tynan (plus his wife Kathleen), various other journos were scattered around. But in the front row, then reviewing for The Guardian, was Nicholas de Jongh.

As is Nick's wont, he scribbles in his notebook throughout a performance - I know for a fact he is writing his review - and there he was scribbling away. The actors endured during the first half, but after the interval, when he started again, Tony Church stepped out of character, briefly snatched the ballpoint pen, and said: "For Christ's sake, we are trying to do a play, and you are totally distracting us."

How we laughed and clapped. But more was to follow, as reported in Nick's review the following day:

"This review appears in spite of the fact that members of the Lear company used a little violence to try to prevent me leaving the theatre. As I was leaving I was grabbed, pushed up against a wall, held there and told that I was not leaving.

"I had disturbed the actors by writing notes and turning the pages of my notebook and insulted them by rushing out at curtain call. What was more I had ruined their performances. (Incidentally the play over-ran by twenty minutes. Their postplay diversion in which I figured against my will was lousily acted — I have to add"

24 years later The Stage reported that the director Lou Stein while doing dress rehearsals for Aids Memoire at the Royal Court (back in 1990), shouted at Nick: "For Christ sake stop that scribbling, you are distracting my actors!"

Best wishes John

(On the 1982 Olivier Awards) I also persuaded panel members that the Most Promising award should go to Kenneth Branagh not to Rupert Everett - I argued that Branagh had 'length' while Everett was a gadfly. The two young actors were sharing West End roles as public school boys in ANOTHER COUNTRY. 15 years later I was amused to read in Branagh's memoirs that he and Everett had assumed Everett would win, and so only Rupert prepared an acceptance speech. The result was that Kenneth was literally speechless when he went up to collect the prize
 * Awards for names we know all to well now

I was privileged to be at the very first complete performance of Nicholas Nickleby at the Aldwych Theatre. It was a Saturday preview, starting with Part One and followed by the very first public performance of Part Two, There was a wonderful rapport between the audience and the actors, mingling in the aisles between the acts. I cannot now recall the starting time, but I do know that the final curtain came at half past midnight on Sunday morning.
 * Nich Nick

It was my first encounter with Edward Petherbridge, the knuckle clicking Newman Noggs, who is now a good friend. His wife Emily Richards was to take over the role of Kate when the original actress was diagnosed with cancer,

The last buses and tubes had gone, But luckily I had my car parked right outside and took a few stragglers home before driving myself home!

I immediately wrote a rave review for the Richmond and Twickenham Times, published the following Friday, and later was absolutely amazed to find that my critical colleagues hated the show! Only Bernard Levin in the Sunday Times (and me) stood out from the crowd to acclaim it as a life-enhancing event. Of course they all eventually changed their minds and several even apologised in print - in a half-hearted sort of way.

I went several more times to the day-long performances, taking friends and family, but I was unable to book tickets for the final performance. So I turned up anyway and, by then knowing the Aldwych Theatre like the back of my hand, I snuck into a box, reserved for lighting gear, and saw the whole show form there.

Trevor Nunn was sitting yards from me in the Dress Circle, giving me quizzical looks throughout the day. So I had a congratulatory word with him at the end of the day, and he told me he thought I was Peter Hall taking a sneaky opportunity to see the show without paying. (In those days I was regularly mistaken for Peter Hall so it was no surprise - but nowadays I get mistaken for the ageing Sean Connery, which I think is an improvement if undeserved).

He also sent a memory of seeing these two marvels performing in The Duchess of Malfi (here is a pic ) but I can't find the email so from memory - one of the young actors who played one of the children killed in the last act did not break character and remained prone on the stage at the plays end so, while the audience was clapping, Hoskins came over, picked him up and said "take a bow me son we get to go home now"
 * Mirren and Hoskins

New section

 * Currently blocked - tennis articles - San Fran
 * Blocked indef
 * Mainz Germany
 * also tennis - returned after 4 months of editing and only edits have been to attack RedRose64
 * Sheffield - probably unrelated but just in case

Snowballs in warm climates

 * 
 * 
 * 

Yet another

 * 
 * 
 * 
 * 
 * 
 * has happened b4
 * one of the nest
 * wow. Just wow. Especially when combined with this
 * 
 * 
 * 
 * 
 * 
 * has happened b4
 * one of the nest
 * wow. Just wow. Especially when combined with this

I hope not


and.


 * And


 * And


 * And


 * And

Not the only one

If needed
{| class="toccolours collapsible collapsed" width=100% align="center" ! style="background:#F5DEB3"| If needed part deux
 * I am very sorry to be forced to post here but this has really got to stop.
 * First and foremost we the second sentence of WP:NPA states " Comment on content, not on the contributor'''" Yet this editor does nothing but on me.
 * My last word on the subject was here . You will notice that I actually agreed to the use of the link. Some people just can't take yes for an answer I guess.
 * We are all volunteers here. We are not required to do anything in matters of this sort.
 * My last word on the subject was here . You will notice that I actually agreed to the use of the link. Some people just can't take yes for an answer I guess.
 * We are all volunteers here. We are not required to do anything in matters of this sort.

The British Theatre Guide is a UK-centred on-line website of theatre reviews, news reports, interviews and obituaries. It also reviews opera and dance, as well as books, audio recordings and DVDs.

It has an online archive with articles from 1997.

Background
The British Theatre Guide site was a re-establishment of an earlier website about British theatre. It was launched on 18 November 2001 by former drama teacher, Peter Lathan, who also writes plays and runs a small-scale professional theatre company and has been active in the field of on-line theatre databases since 1996. The editorship was taken over at the beginning of 2012 by David Chadderton, who previously had been in charge of the BTG's coverage since 2003 and is also a member of the Manchester Theatre Awards panel.

As of 2012, the British Theatre Guide has a UK-based team of 60 established theatre reviewers, plus overseas contributors, including correspondents from New York and France.

The London editor is Philip Fisher who runs a small team of critics in the Greater London Area, including three members of The Critics' Circle.

By February 2012 The British Theatre Guide archive, with over 7,000 reviews plus news, interviews and other features and information, was receiving more than 140,000 page views each week. In addition its free weekly newsletter is emailed to around 3,000 subscribers worldwide.

Intute, a university-based service which finds, evaluates and catalogues internet resources for education and research, said:

"The site includes articles on all aspects of British theatre, indexed both by date and by subject. Subjects include, theatre history, Shakespeare, and actors and acting. There are also British theatre reviews from the UK and New York, book reviews, a news section, and a discussion forum. Other resources on this extensive site include a British Theatre Directors' Index, a British Actors' Index, a Directory of Theatres in Britain arranged town by town, a glossary of theatre terms, an amateur theatre index, playwrights' FAQs, and the text of some interviews of relevance to British theatre."