Tag Archives: editorial images

Michael Kitchen and family attend Tom Stoppard’s birthday party at the Chelsea Physic Garden in London on July 1.

He’s gotten his thirty-something figure back.

Michael Kitchen and his wife were also photographed together at the 1994 BAFTA Awards where he was a best actor nominee for To Play the King.

A find via the Foyle’s War Appreciation Society and tumblr, Michael Kitchen and Joanna Lumley, the latter captured in this photo blowing a kiss with The Greatest himself, are among the celebrities in the audience at the taping of Muhammad Ali’s Greatest Hits in London on June 5, 1979.

MK at 5:03 and 14:14.

MK at 6:47, 18:22, and 20:31.

Michael Kitchen sitting with his arms crossed again next to Joanna Lumley and her son at Sotheby’s Stars Auction in 1981.

Bedroom Farce program

Photos above from the app, “50 Years at the National Theatre”, released by the National on the occasion of its half-century anniversary. Alan Ayckbourne’s Bedroom Farce, described by the playwright as having “everything about bedrooms but copulation, something which I believe is hardly practiced in the British bedroom anyway,” premiered at the NT in 1977 with Michael Kitchen in the role of Nick.  A phenomenal hit, the play is credited with reversing the fortunes of the organization during a difficult period:

The National was at one of its low ebbs – it had had a lot of technical problems and a lot of bad press, and people were asking, ‘Why is all the national funding going to this?’ I think what Bedroom Farce did at the time – which was really nice – was to provide the building, if not with its first, certainly with one of its earliest big hits. It certainly lifted the morale: it was during that terrible period of the strikes, and all that business with pickets. There had been a lot of very ugly feeling around.”

– quote by Alan Ayckbourne from his official website

Theater flyer for the play:

Robert Cushman wrote in The Observer (Mar. 20, 1977):

The ritziest room is occupied by the creamily witty Polly Adams, and by Michael Kitchen, not hitherto my idea of a light comedian, who plays a brilliant variation on his usual thrusting young executive, this one being laid up with a bad back. His misadventures (it hurts when he moves and people keep disturbing him) raise the loudest laughs of the evening.

When the play opened on Broadway in 1979, MK was one of two original cast members who didn’t reprise their respective roles, but he did return for the 1980 ITV broadcast, also a huge success.  How fun it would be to watch MK act out the antics of a “self-important businessman” writhing in pain from a pulled back muscle. There are 11 color photos from the TV production on the RexFeatures site.

(In the 2002 London revival, Nick was played by Nigel Lindsay, presumably with a better accent than the pseudo-Texan one he adopted as Clayton Del Mar in High Castle.)

Quite a feat that during the spring/summer 1977 season at the Lyttelton Theatre, Michael Kitchen played Nick in Bedroom Farce while also portraying Trotsky in State of Revolution, two roles that couldn’t have been more different.

From my weekend reading.  First it’s “awkward”, now it’s “not the easiest”. Don’t know how much of the above is exaggeration, but it sure grabbed my attention.  Michael Kitchen (playing another jealous kidnapper) on the verge of storming off a set?  This is a rather more irreverent take than what I’ve come to expect from those who have worked with MK.  The excerpt is from the book, Him & Me, an amusing collection of anecdotes coauthored by comedian Jack Whitehall and his father, Michael Whitehall, who produced LWT’s comedy drama series, The Good Guys, in the early 90’s.  MK appeared in the episode, Old School Ties, and apparently didn’t appreciate having to deal with his young costar’s lack of professionalism.  Perhaps he was annoyed because it was preventing him from returning home sooner to his own own four-year-old Jack.

If Mr. Whitehall’s suspicion is correct, it’s certainly not evident on screen, as some of MK’s most affecting scenes have been with children, and horse riding aside, he’s shared a few pretty memorable albeit brief moments with live animals — the Longhorns in Love Song, the geese in Dandelion Dead:

and, of course, the adorable Westie that his character didn’t find adorable at all in Mobile:

(Is it acting or is it real?)

As for Foyle’s War, there were the couple of dairy cows.  Didn’t cramp MK’s style at all as far as I can tell:

Given MK’s experience with Jack Whitehall, though, I do wonder now whether Foyle’s little chat with Jimmie was another one of MK’s brilliant ideas:

(Interesting that Anthony Horowitz is included in the book’s acknowledgements.)

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British Columbia’s Knowledge Network has posted on its website some publicity stills of MK/Foyle in stunning super high resolution. Also on the site, in response to a viewer’s question, they note that FW S9 won’t be available to them until fall of 2015, hinting at a broadcast date for North America.

Also on the Press Association Images site was this photo, which I have seen before in media outlets but never knew the occasion on which it was taken.  Turns out it is from the 2000 South Bank Show awards at The Savoy Hotel in London.  (You guessed right, pdx144.)

Came across a few photos I’d not seen before of Michael Kitchen filming Sunflower in St. Patrick’s Close outside St. Patrick’s Cathedral in Dublin back in Dec. 2012.

One more showing him ducking from gun shots.

Michael Kitchen looking dapper as ever on the set of Foyle’s War Series 8. More photos from the set here.

Production shot of Angharad Rees and Michael Kitchen in The Picture of Dorian Gray at the Greenwich Theatre, London, 1975 (available as a greeting card at zazzle.com).  More production shots can be viewed here.

The critics were not kind to this misguided adaptation of the famous novel, and unfortunately, MK was not spared.  The review above is from Reuter, while the critic for The Spectator wrote:

The audience is at the disadvantage of not being shown the portrait in which the awful changes are occurring. Even more unfortunately, we are shown Dorian Gray himself, a golden-haired Adonis who is, quintessentially “a young man of extraordinary personal beauty … who looks as if he was made out of ivory and rose petals,” but who materialises in the person of Michael Kitchen, a no more than moderately well-graced lad with a dark and disconcerting Afro haircut. His entrance is preceded and accompanied by a delicate little peal of bells. Nothing spoils a tragedy so much as a sense of humour in a producer.

Foyle’s War candids

HQ photos taken during filming of The Russian House. I’d never seen these before.