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Leave to Remain

Set during the political upheaval following Ayatollah Khomeini's rise to power in Iran, Les Blair's gripping work tells the story of Shahin Mohamedi, a young Iranian woman studying in London. When the cheques her father sends from home are intercepted by the Khomeini government, she is threatened with repatriation by vicious British immigration officers. To remain in England she must be granted 'Leave To Remain'. Enter Jimmy Johnstone, an English wide-boy strapped for cash and willing to perform the paper marriage that will ensure Shahin's freedom. Jimmy wants to build on the relationship, but Shahin's heart is a thousand miles away with her old fiance.

Leave to Remain

7.0 1989
Waiting for Alan

WAITING FOR ALAN is about a woman whose marriage is dead. Trapped in the rich but sterile environment of a lavishly appointed country house, MARCIA is a microcosm of society – a victim of, and partner in, someone else's routine. It’s not the housework or the cooking (MRS BETTS looks after those), but the daily monotony of waiting for ALAN – her newspaper-reading, TV watching husband. To him, she's just the emotional central heating switched on and off in return for paying the bills and expected to operate as smoothly and regularly as the washing-up machine or the gardener. But MARCIA has waited long enough… WAITING FOR ALAN is a humorous but critical 'tale of the unexpected' (and expected) in classical, three-movement sonata form. It was screened at least twice on Channel Four television in the late eighties and both times received a very positive audience response as well as praise from weekly pre-viewers in the newspapers

Waiting for Alan

NR 1984
The Goddess and the Computer

For centuries, rice farmers on the island of Bali have taken great care not to offend Dewi Danu, the water goddess who dwells in the crater lake near the peak of Batur volcano. Through an analysis of ritual, resource management practices (planting schedules, irrigation vs. conservation, etc) and social organization, anthropologist Steve Lansing and ecologist James Kremer discover the intricacy and sustainability of this ancient water management agricultural system.

The Goddess and the Computer

NR 1988
The Damnation of Faust

This live recording was made at the Royal Albert Hall during one of Londons famous Promenade Concert seasons. Sir Georg Solti conducts the Chicago Symphony Orchestra and Chorus in a magnificent performance of Berliozs concert cantata. This feast of Berlioz launched Soltis farewell tour with the orchestra he had directed for twenty years and was described by The Times as the unsurpassable culmination of two decades of music-making...one that summarised all that has been most admirable about Soltis long reign in Chicago. Like reading the book by flashes of lightning was how one writer described the relationship of Berlioz to Goethe in this Dramatic Legend, his way of shaping twenty scenes selected from the story into a narrative in four parts. Though it has sometimes been staged, the works drama is to be found within the music itself, which illuminates the incidents with what the conductor Sir Thomas Beecham once called a bunch of the loveliest tunes in existence.

The Damnation of Faust

NR 1989
Before Water Lilies

For various reasons, a number of people have come see the painting Water Lilies by Claude Monet in the Museum of Modern Art in New York. Two businessmen caught up in office politics discover the truth about themselves and their situation. Angie and Marcia, two elderly matrons, find a place to rest their weary feet. David, a shy English student, meets a young student museum guide, and a married couple find the peace of the room gives them the strength to talk truthfully about their relationship.

Before Water Lilies

NR 1981
Prisoners (Skin Ritz)

’25 years ago I was asked by Chiatt Day Advertising in Los Angeles to cover the making of ‘1984’ for Apple Computers. This commercial was to be directed by Ridley Scott to introduce the Macintosh to the world. ... The message of the whole enterprise was: ‘If you miss this, then you’re going to be at a disadvantage’. This sentiment in itself set the tone for the definition of the self at the end of the 20th century, when the self was to be defined by its likes and its dislikes. Prisoners as a work derived from the footage shot during the making of the commercial deals with the problem of ideology, the potential manipulation of meaning and the hotness or coldness of the medium as expressed by McLuhan as well as several other issues. ... So therefore those people depicted in my work, the capitalists, the neo-Nazis, Thatcherites , communists, corporatists and us the anarchists video crew, were all held Prisoner by our own set of beliefs.’ – Terry Flaxton

Prisoners (Skin Ritz)

NR 1984