Maxine Peake is an English stage, film and television actress known for playing Veronica in Channel 4's Manchester-based drama series Shameless, Twinkle in Victoria Wood's sitcom Dinnerladies, and, most recently, barrister Martha Costello QC in BBC legal drama Silk.
Voices for the Five
Voices for the Five is an international coalition of campaigners fighting for freedom and justice for the Cuban Five, unjustly imprisoned in the United States for 15 years. More information here
'How To Hold Your Breath' at Royal Court Theatre in London
'Hamlet' UK cinema release
Manchester International Film Festival 2015
It tells the story of a troubled girl at the centre of a mysterious fainting epidemic, who is determined to discover the cause of the malady spreading through her British all-girl school in 1969, a year when the whole world seems poised on the brink of change.
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Friday 6 March, post-show
Jerwood Theatre Downstairs
Conversation with playwright Zinnie Harris about ‘How To Hold Your Breath’, led by Royal Court Artistic Director, Vicky Featherstone. With actors Maxine Peake, Michael Schaeffer, Christine Bottomley, Danusia Samal and Neil D’Souza.
Maxine narrated a BBC One documentary called ‘Call Security‘ last night. You can (re-)watch it by following this link.
Cuts to public spending mean there are far fewer police on the streets than before, and the public’s obsession with security is on the rise. Over 7000 private security firms in the UK are stepping in to fill the gap – and business is booming. People are terrified by threats – some real, some imagined – and are willing to pay big bucks for everything from bodyguards to cutting-edge security equipment. Using a mix of CCTV footage, point-of-view narratives from security personnel and moving testimonies from victims, Call Security gets to grips with one of modern society’s fastest-growing industries.
Maxine’s latest film ‘The Falling‘, which will be released nationwide on 24 April, will be shown as part of the Dublin Film Festival next Saturday. You can book tickets for it here.
Carol Morley is best known for her documentaries Dreams of a Life and The Alcohol Years; her second narrative feature (after Edge) is a dark, twisted and thoughtful coming-of-ager set at a British girls’ school in the late 1960s, partly inspired by a recent case of psychogenic illness, or mass hysteria, in the US.
Maisie Williams (Game of Thrones) and newcomer Florence Pugh star as two teenage friends, Lydia and Abbie. When an unexpected tragedy occurs, Lydia begins twitching and fainting at school. Her malady infects fellow pupils and teachers but stern headmistress, Miss Alvaro (Monica Dolan), thinks it’s all down to their overactive imaginations.
Mixing supernatural elements with drama, choreographed dance with original music, The Falling is its own beast yet has hints of Heavenly Creatures, The Craft and even The Woods. Terrible secrets hide in the grounds of this school and the deterioration of Lydia’s mental state is strikingly rendered by cinematographer Agnès Godard (Beau Travail).
The Moonlandingz EP is out digitally in the UK/Europe today..
Get it here(and other online shops)
The MOONLANDINGZ EP will also come on 12″ vinyl as part of The ERC’s ‘double’ concept album ‘Johnny Rocket, narcissist & music machine….Im Your biggest fan!!’ Which is about a woman(narrated by Maxine Peake) stalking the lead singer of the Moonlandingz.
Released on Fat Whites family’s Without Consent Records on May the 18th(across Europe).
An expanded 10″ vinyl version of The Moonlandingz EP will get a release in America via Sean Lennon’s Chimera Music label in the early summer too.
The Eccentronic Research Council. Practical Electronics Duo behind ouija concept records with actress Maxine Peake & The MOONLANDINGZ with The Fat White Family.
In the mid-1960s, Joan, not long married to comic actor John Le Mesurier, meets and is mutually attracted to comedian Tony Hancock, married to the long-suffering Freddie. Hancock’s most successful period is in the past and he has become depressive and alcoholic, recently emerging from a stay in a rehab centre. Joan tells him that if he can remain sober for a year she will leave John for him. Hancock goes to Australia to film a comedy series there but it does not work out and he commits suicide. Joan stays with John until his death in the 1980s.
Late last year Maxine Peake starred as Hamlet, Shakespeare’s tortured prince, in a production staged at Manchester’s Royal Exchange Theatre. Peter Bradshaw explains why the filmed version of the stage show, which showcases Peake’s brutal, angry performance, is worth your time this week
Cross-dressing as the prince of Denmark is no gimmick: it brings a fresh edge of alienation and anger to the role
The Manchester Royal Exchange production of Hamlet with Maxine Peake cross-dressing in the lead has been produced for the cinema. It’s a terrifically fast, fluent, attacking production and Peake’s Hamlet is like a page-boy gone bad, relying on mates for a supply of drugs, sporting a aggressive short haircut that comes from prep school or the army: blond, but unlike the Byronic crop of Olivier’s Hamlet. Her casting isn’t a gimmick. Peake looks like a stowaway, or a French resistance fighter in disguise: her femaleness gives a new edge of differentness and alienation and anger, although turning Polonius into “Polonia” was a bit self-conscious and didn’t illuminate the text much. This is a truculent and lairy Hamlet; Peake really lets rip with Hamlet’s bipolar delirium, and the production intelligently preserves the eternal mystery around the relationship of the usurper Claudius (John Shrapnel) and Gertrude (Barbara Marten): does the Queen actually know that Claudius killed her first husband? Or does she think their shame merely consists in a sudden, insensitive and unseemly remarriage? Interestingly, Maxine Peake’s delivery of the “To be or not to be” speech (while covered in blood) brought home a great truth for me: it is not simply an abstract discourse, but an agonised self-harming rant, triggered specifically by his grotesque accidental homicide of Ophelia’s foolish parent. And Katie West is really excellent as Ophelia: intelligent, wounded and passionate.