Polly Kemp

A group of women hatch a plan to disrupt the 1970 Miss World beauty competition in London.

Mr. Hoppy is a shy old man who lives alone in an apartment building. For many years, he has been secretly in love with Mrs. Silver, a woman who lives below him. Mr. Hoppy frequently leans over his balcony and exchanges polite conversation with Mrs. Silver, but he is too shy to disclose how he feels. Mr. Hoppy longs to express his feelings to Mrs. Silver, but he can never bring his lips to form the words. Mrs. Silver has a small pet tortoise, Alfie, whom she loves very much. One morning, Mrs. Silver mentions to Mr. Hoppy that even though she has had Alfie for many years, her pet has only grown a tiny bit and has gained only 3 ounces in weight. She confesses that she wishes she knew of some way to make her little Alfie grown into a larger, more dignified tortoise. Mr. Hoppy suddenly thinks of a way to give Mrs. Silver her wish and win her affection.

Peter Mannion's speech on immigration, leaking the PM's policy, did not have the effect Tucker desired and now the PM is resigning, leaving the way clear for the Nutters and their leader Tom. Ollie has been promised a job by young Nutter Ben Swain, Tucker's assistant has encouraged Hugh's predecessor Cliff to stand as a stalking horse and Glenn is keen to keep Hugh in the frame whilst his boss is in Australia. Fortunately Tom has a dark secret which is just what Tucker is looking for but will it be enough?

The camera turns, slowly; we are near a hill, in a world where everything is absurd. The "voice actors" recite a banal script overlapping, in perfect synchrony, the actors' mouths and gestures. The setting and costumes have no relation to the scene. A voice actor recites Shakespeare instead of the script; the confusion continues when the scene ends.

Anthony Sher and Harriet Walter star in a highly-acclaimed screen version of William Shakespeare's classic story of tyranny and ambition. On the stage this Royal Shakespeare Company presentation was universally lauded. Following sell-out seasons at Statford's Swan Theatre and in London, the production played Japan and in the United States, where The New York Times praised director Gregory Doran's interpretation as a "harrowing and disturbingly funny parable for the dawn of the 21st century". To make this compelling screen version, Gregory Doran worked with all of the original cast and filmed at London's Roundhouse. Brilliantly shot by director of photography Ernie Vincze, the production uses the edgy techniques of fly-on-the-wall documentaries. The effect is raw, intimate and strikingly dynamic.