Nicole had been collecting her photographs for some time."He said his only misgiving about taking on the project was that Miller's life bore remarkable parallels to that of the protagonist in his 1978 play Plenty, in which a young woman fights behind enemy lines with the Special Operations Executive during the Second World War and then has problems adjusting to the peace.Miller, who began life as a model, met and inspired Man Ray before moving to England and marrying the English surrealist painter Roland Penrose. She took photographs during the London blitz and went on to follow the Allied forces on their advance into Paris and Germany, before photographing the concentration camp at Dachau."As in Plenty, she was a woman very much empowered by the war and then disillusioned with the peace," said Sir David. "So the only thing that made me hesitate was the feeling that it was a subject that I knew too well. But once I started to work and look at the whole subject, it was fascinating."Antony Penrose, Lee Miller's son and biographer, is said to be delighted.Kidman has won lavish praise from the critics for her part as a Parisian courtesan in Baz Luhrmann's $55m (£38m) musical Moulin Rouge.. Abigail Morris is faced with the least thorny problem of her time in charge of the Soho Theatre in central London.
"How," she agonises, "can I talk about the theatre's first year without sounding cocky?" When Morris inherited Soho Theatre Company in the early 1990s, it was penniless Two years later, it was homeless as well. Now, in receipt of a 130 per cent funding boost and boasting 80 per cent audience capacity throughout the first year in its swish new Dean Street home, it's among London theatre's most remarkable success stories "I feared an anti-climax," says Morris. "I worked so hard to get the building open and raise the money But my expectations have been exceeded". Abigail Morris is faced with the least thorny problem of her time in charge of the Soho Theatre in central London.
"How," she agonises, "can I talk about the theatre's first year without sounding cocky?" When Morris inherited Soho Theatre Company in the early 1990s, it was penniless Two years later, it was homeless as well. Now, in receipt of a 130 per cent funding boost and boasting 80 per cent audience capacity throughout the first year in its swish new Dean Street home, it's among London theatre's most remarkable success stories "I feared an anti-climax," says Morris. "I worked so hard to get the building open and raise the money. But my expectations have been exceeded".Suddenly, in the midst of the bluff Edwardian theatre palaces of the West End, there's a venue that belongs to the future, not the past.
