Newly listed on eBay, a press photo of Michael Kitchen as Michael Faraday in Faraday’s Dream.
Category Archives: Publicity Photos
(Why was MK’s mirror image used on the DVD cover?)
Gorgeous Alibi production stills on Acorn Media’s pre-order page for the DVD.
The DVD runtime is 2.5 hours, so it seems Acorn’s release is the uncut version! It’s also in widescreen and hopefully remastered with better picture quality. Preview here.
From the New York Times, Nov. 13, 2017:
The infallible drama fodder of betrayal, love and murder gives this mini-series its edge.
If only a new Michael Kitchen project were being featured in the current NYTimes rather than a film that’s 14 years old. Sigh.
Newly listed on eBay, a press photo of Michael Kitchen as Dick Foster, who joins a biker gang in Hell’s Angel (1971), one of the episodes in the first series of BBC’s Play for Today.
Excerpted from a review by Leonard Buckley for the Times, Jan. 22, 1971:
So if your adopted son takes to a motor cycle as Dick did, and becomes a Hell’s Angel you will think him a cuckoo in the nest. Though with his anti-glare glasses and his rearing handlebars he looks more like a praying mantis. And if you are the rich widow, Cynthia, doting on your real son, Conrad, you will find him an absolute menace.
But these are arbitrary attitudes. You, your politician friend, Sir Geoffrey, and the others of your generation are all intent on your own selfish conventions. Dick needs love. You are lonely. Conrad is delinquent. But nobody really communicates. And when the Hell’s Angel and his companions beat up your stately home during the dinner party from which you have excluded him, you tell your guests that it is the gardener’s son.
This was an engrossing bitch of a play in which Mr. Agnew exposed the generation gap, the social divisions of our times and much that was disquieting besides. Katharine Blake as Cynthia, Richard Morant as Conrad, Michael Kitchen as Dick and André Morell as Sir Geoffrey sustained the unlikeable characters they were given to complete conviction and Angharad Rees as the one honest girl among the hypocrites provided the right sounding-board for our conscience.
The same generation gap and social divisions that can be seen in Ken Burns and Lynn Novick’s Vietnam.
Acorn Online (@AcornMedia) October 31, 2017
Peter Hall was also co-director, albeit a mostly absent one, with Alan Ayckbourn for the latter’s hit comedy play, Bedroom Farce, in which Michael Kitchen was one of the six original castmembers. In this marvelous video from the National Theatre Ayckbourn talks of rehearsing the play and how all the actors doubted their own abilities in the weeks leading up to the premiere:
*Ralph Richardson and Peggy Ashcroft were on the original wish-list.
Hard to imagine that Michael Kitchen with his superb comic timing once thought he couldn’t do comedy. It hadn’t occurred to me that Bedroom Farce was indeed his first major foray into comedy. Thank goodness the Birmingham audience went barmy on opening night and Michael Kitchen went on to many more roles that showcased his comedic talents.
I wonder what the winning caption for this photo was:
From the DVD bonus feature, Michael Kitchen chatting with Alison Elliot on the set of The Buccaneers.
Dancing the Virginia Reel in the ballroom scene.
Pity no behind-the-scenes footage of the negotiation scene.
One of the many celebrities who guest starred on Inspector Morse as noted in this Daily Mail article.
The endless lies and misdeeds perpetrated by the Trump administration and its enablers are truly head-spinning.
Smiley Face (Michael Kitchen) and Early Bird (Miranda Richardson) in press photos for Ball Trap on the Côte Sauvage.
Listed on eBay, TV Times, October 23-29, 2004 issue with gorgeous cover, Michael Kitchen as DCS Foyle.
The Collection premiering today on Amazon US.
…you’ll notice that this international show has a unique approach to accents. You’ll hear American twangs, the Queen’s English, and French lilts on this show. Tom Riley explained to us that there was a very well-thought-out method behind the accents: “In this it’s a case of the Americans in the show are Americans. They’re from America. Everyone who’s English, who’s speaking with an English accent, is French and then everyone who’s French and speaking in a French accent is from Belgium. So there is a weird logic to it.”
Good thing Michael Kitchen didn’t have to speak with a French accent. 🙂
Video clip of this scene on the PBS Masterpiece site.
In Dandelion Dead (1994), a mustachioed Michael Kitchen plays the real-life figure, Major Herbert Rouse Armstrong, a country solicitor who was hanged in 1922 for the poisoning death of his wife. In the first part of this mini-series, Armstrong comes off as a sympathetic and somewhat humorous character, but then he starts to go off the rails and seals his own fate — a depressing development to watch.
A couple of photos taken during the filming of Casualties of War and All Clear from lastminute.com’s blog post on Hastings.
The scene as it appears in All Clear with Michael Kitchen now walking closest to the street and wearing Foyle’s coat – a must on a breezy day 🙂 :
Wouldn’t mind playing the part of the extra brushing past him.
BBC Shakespeare (@BBCShakespeare) August 09, 2016
BBC Shakespeare (@BBCShakespeare) August 09, 2016
Source: Radio Times
Prior to A&E, Michael Kitchen and Niamh Cusack also co-starred as a couple in The Art of Success, a raunchy play that required MK as William Hogarth to don a Restoration wig almost as big as the one he later wore in Lorna Doone.
From Charles Spencer’s review for the Daily Telegraph (Aug. 28, 1987) extracted at http://www.suttonelms.org.uk:
…But though I normally resent dramatists who appropriate the lives of famous figures of the past only to distort them for their own ends, I found myself increasingly warming to this vital, scatological drama, now receiving an exuberant production by the RSC in The Pit.
It is certainly not a play for the squeamish. The language is persistently and inventively foul and, without a hint of historical evidence, Mr Dear has turned Hogarth into a man of rampant and decidedly esoteric sexual tastes. But the play is so outrageous in its invention, Hogarth’s reputation so secure, that it is hard to imagine the play doing the artist’s memory permanent harm, more profitable to sit back and enjoy an evening of good, dirty and surprisingly thought-provoking fun.
More photos and notes at the Michael Kitchen site.
With Janet McTeer and Jeremy Irons in a photograph published in The Sunday Times (July 6, 1986):