Hull business woman Georgia Allenby has big, personal plans for old Ceruttis restaurant – Hull Live

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Property firm design manager Georgia Allenby’s next project is creating a new home for herself at one of Hull’s best-known former restaurants.

Famous for its fish dishes, Ceruttis closed its doors last April after 45 years.

Its closure came after brother and sister Tony and Tina Cerutti announced plans to concentrate on their other restaurant in Beverley while expanding an existing external catering business.

The property in Nelson Street was previously used by British Rail in conjunction with the operation of the nearby Humber ferry.

Now Ms Allenby is planning to turn the clock back even further by converting the building into a three-bedroom residential dwelling after buying it. It was originally built in 1813 as a family home.

Allenby

She has submitted a planning application to Hull City Council seeking permission to change its use from commercial to residential.

In a design and access statement accompanying the application, she said: “The property was originally built for residential use in 1813.

“The reason for me purchasing the property is to convert it back into a three-bedroom house, which I will occupy myself.

“The property is rich in heritage and any original or historic features, which still exist in the interior and exterior, will be kept and preserved.”

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Ms Allenby is the design and marketing manager at Hull-based family firm Allenby Commercial, which has acquired and refurbished a series of high profile properties in the city centre in recent years.

They include Paragon Arcade, Danish Buildings and Bayles House in High Street, the former Europa House office block at the junction of Ferensway and Anlaby Road and the multi-use Works business and leisure complex in Beverley Road.

Ms Allenby is also a director of the Hideout Hotel in North Church Side, another of the company’s recent city centre conversion schemes.

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Obeya ‘s Death Worries AFN; Gorge Regrets Loss of Talented Coach

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Athletics Federation of Nigeria (AFN) acting president, Honourable Olamide George says the death of another veteran athletics coach, John Obeya has devastated the athletics community in Nigeria.

Coach Obeya died Tuesday in Jos, Plateau state after complaining of stomach ache. He was aged 65.

“This is a very sad day for track and field in Nigeria. When we are still mourning the untimely passing of coach Tobias Igwe, another blow has been dealt our dear sport with the report of coach Obeya’s death in Jos,” said George in a statement.

“Coach Obeya complained of a stomach problem on Monday and was taken to an undisclosed hospital in Jos where he was operated upon, but sadly he didn’t survive,” said George who lamented Nigeria has lost one of her most talented track and field coaches.

Until his death, Obeya was a sprints coach with the Bahrain Athletics Association and was instrumental to the recruitment of reigning world 400m champion, Salwa Eid Naser (formerly Ebelechukwu Agbapuonwu) by Bahrain in 2014.

He trained Eid Naser to win the 400m gold at the 2015 World Youth Championships in Athletics in Cali, Colombia and silver at the 2017 IAAF World Championships in London.

Although Eid Naser struck gold at the 2019 IAAF World Championships in Doha,Qatar under another coach, Dominican Jose Ludwig Rubio, it was Obeya that laid the foundation for her incredible feats in the women’s quartermile where she ran 48.14 seconds, the third fastest time of all time behind (East) Germany’s Marita Koch (47.60 seconds in 1985) and Czech’s Jarmila Kratochvilova (47.99 in 1983).

“Like coach Tobias Igwe, coach Obeya was also in the Nigeria team to the first IAAF World Junior Championships in Athens, Greece in 1986 where he took charge of especially the two jumpers in the team, Beatrice Utondu and Caroline Nwajei and has produced so many top stars for Nigeria. It is on record that he trained Tina Ozoro to the first national triple jump record and top jumper, Chinedu Odozor and Samuel Onikeku,” George further stated.

The AFN acting president says the federation will send a condolence message to the family of coach Obeya and prays that God grants the family the fortitude to bear this great and monumental loss.

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Tom Green Has One Big Regret About Drew Barrymore and SNL

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Tom Green was never more famous than when he hosted Saturday Night Live on Nov. 18, 2000.

Not only was his insanely popular talk show still airing on MTV, he was coming off a scene-stealing performance in the hit comedy Road Trip. Just weeks earlier, Charlies Angels, in which Green appeared opposite his new fiance Drew Barrymore, debuted at No. 1 at the box office.

It was an amazing thing to have gotten to do it, Green says of his SNL experience, 19 years later, on this weeks episode of The Last Laugh podcast. However, he adds, I think if I could go back and do it again someday, I would do it a lot differently.

When producer Lorne Michaels offered Green the chance to host that fall, the comedian insisted that his childhood friends from Canada, whom he had hired as writers on The Tom Green Show, come in for the week and help write sketches. I didnt understand the politics of Saturday Night Live, he says, acknowledging that SNLs writers at the time, including Mike Schur, who would go on to create The Good Place, future Oscar nominee Adam McKay and head writer Tina Fey, may not have appreciated the input.

I was aggressively trying to deconstruct everything that I encountered, Green explains. Just because I was a kid in my twenties and I was like, thats the way you do it. Lets try to take it apart and put it back together upside down and inside out.

I think in hindsight I would have rather just shown up and worked with everybody else and just kind of went with the flow a bit more, he adds. But I was young and passionate. Green says his friends ended up writing about half of the sketches that aired in his episode, including one in which he appeared in a bathtub with Lorne Michaels as well as his monologue and the final sketch of the night.

Greens big idea for the episode was a gag that would be teased at the beginning of the show and pay off in the final moments. His relationship with Barrymore was all over the tabloids and he thought it would be funny if they appeared together during his monologue and announced they would be getting married on live television at the end of his SNL debut.

I try not to have regrets, but that is something that I actually regret, Green says. So Drew and I actually were engaged at the time. So we thought, this will be a funny prank. Well prank the audience. Well tell everyone were going to get married on SNL and then she wont show up at the altar at the end and that will be the punchline. Even though we were still getting married, like a month after. That was the bit.

But the thing I regret about that bit to this day, which Im actually sad about, to be honest with you, is that the way we wrote the bit, we kept teasing that we were going to get married at the end of the showshes out in the hallway in her wedding dress, my parents are there in the audience, he continues. And then at the end of the show, she doesnt show up. And the end of my SNL I have a meltdown on stage. And its a complete meltdown and the band stops playing and the entire cast disappears and Im just standing alone on stage at the very end of the show.

Artistically, Green still thinks it was a pretty awesome way to end the show. But it does sort of ruin my beautiful Saturday Night Live kumbaya moment, he says. At the end of every Saturday Night Live, [the host] is hanging out with the cast and celebrating together. But on his episode, its just Green screaming I thought you loved me! on stage by himself.

In some ways, its kind of a metaphor for the rebellious, naive kid that I was: Were going to go there and were going to try to turn SNL upside down! he says. But in other ways, I think it just sort of ruined my Saturday Night Live experience. He does add that he and Barrymore went to the after party with the cast and had a blast.

Green maintains that it was one of the highest-rated episodes that season because of the prank. It was a massive success in that sense, because we did create a reason to stay up til the end, he says.

According to a Variety item from that week, the cancelation of the wedding was sprung on Lorne Michaels only five minutes before the ceremony was to take place on camera and the show reportedly had a priest and City Hall license on hand. Caroline Kennedy, Tom Hanks, Rita Wilson, Gwyneth Paltrow, Cameron Diaz, and Harvey Weinstein were among the celebrities waiting backstage to celebrate with the newlyweds after the show.

To put it in perspective how crazy his life was at that time, Green tells me that the morning after Saturday Night Live aired, he and Barrymore got on a plane to London to have dinner with Prince Charles at St. Jamess Palace for the royal premiere of Charlies Angels.

Green sat next to Camilla Parker Bowles at the dinner and had a two-hour conversation about stuff like France and organic farming among other topics. Was it a real mouse? Prince Charles asked Green of the infamous scene from Road Trip in which he attempts to feed a snake and ends up putting a live mouse in his mouth. The answer was yes.

Green and Barymore ultimately did get married in July of 2001 and were divorced less than nine months later. Green has called their marriage a crazy whirlwind of a time.

So it was a bizarre time in my life, Green tells me. If he ever gets the chance to host SNL again, which would be nice, he says, I would love to be able to not bring my friends from high school in and not try to make it some crazy, warped episode.

Nearly two decades later, the 48-year-old comedian chalks the whole thing up to the naivety of youth.

I had been so hellbent on causing chaos everywhere I went that suddenly when I was where I was, I still was behaving as if I was living in my parents basement, Green says. I should have probably taken certain opportunities to just be grateful that I was there. And I didnt realize that at the time.

Next week on The Last Laugh podcast: Stand-up comedian and star of ABCs Black-ish and Grown-ish, Deon Cole.

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The truth about comedy writers’ rooms

Grubby banter, sexless flirting and the smell of pizza and ambition … writer Sarah Morgan reveals the funny business that goes on behind the scenes of your favourite shows

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In the recent movie Late Night, Mindy Kaling plays a naive young comedy writer joining the writing team on a late-night US chat show. The staff are exclusively white, male, expensively educated and surly a running gag is that every one uses the womens restroom to defecate because no women work in the office. Kaling, as a perky diversity hire, shakes up the show and drags it into the 21st century. Its a wish fulfilment comedy: what would actually happen, with just one woman or person of colour in the room, is that the lads would carry on being sexist and racist but would then swivel their heads at her like ventriloquist dummies to check that she was cool with it.

US writers rooms have a feral romance to them, as seen in shows such as 30 Rock, which was inspired by Tina Feys real time as head writer on Saturday Night Live, when her male peers would pee into jars on their office window sill and call it sun tea. In the UK, were a little more embarrassed at the idea that comedy is written, and feel it should be hidden away, shamefully and quietly. (When a writing partner and I asked for an office at the BBC in which to write our radio series, we were grudgingly offered The Jill Dando room, an 8ft sq office in TV Centre featuring a King-Kong-at-the-window-scale mural of the tragically murdered TV personality. We laughed. Writers are horrible.)

Recently, ITV announced an initiative to aim for gender-balanced writing teams on its comedy shows, which came as a shock to some people who claim to passionately love comedy but dont know how it is made. People who think Morecambe and Wise came up with all their own material, and Angela Rippon just started doing all that mad stuff with her legs on the day. You know what though? Its sort of OK comedy writers feel deep down we are doing our job properly when you dont know were there, like God. No, not like God: we dont have that level of self-esteem. Were like people who pump out the toilets at music festivals. Thats it. Gag writers are like the portable loo people, quietly keeping your entertainment entertaining. We know that no one at home cares if Simon Cowell is being genuinely spontaneous, or if his quip about David Walliamss trousers was crafted by a sweaty nerd on a 600th of his salary. Were just happy to be in showbiz.

I love my job. Ive worked in more than 50 writers rooms, not including the shows I helped develop that never made it to air. Some days I pinch myself that Im being paid to laugh my head off. On Horrible Histories you get free lectures from historians its like being paid for school, only youre actively encouraged to make fun of the lesson afterwards. Some shows Ive proudly worked on for decades, some were just a fleeting engagement in a production company office that smelled of pizza and ambition. Food is vital to the workings of a writers room. If a producer offers to buy lunch, everyone will immediately order the most expensive thing possible, because comedy writers are tiny children, and also because you know a free lunch means you are working through lunch.

The job has changed a lot in 10 years, but some writers rooms do still feel loud and gladiatorial, as in Late Night. Often in the UK they are dominated by male Oxbridge-educated caucazoids (some of my best friends are male Oxbridge-educated caucazoids, etc, etc). Writers are generally sensitive and insecure. If you put us together in a room we will overcompensate like the advice given to someone on their first day of prison, punch the biggest bloke in the yard.

There was one pop-based panel show writers room so notoriously toxic, the survivors talk as though it has been entombed in concrete like Chernobyl. A half-formed idea would get cut short with a Thats shit or Not funny. The writers assistant would get sent out with a complicated sandwich order and a grave warning that the star would lose his shit if she got the order wrong. (Of course, the sandwich shop didnt exist. She was terrified! Lol!)

Tina
Tina Fey in US sitcom 30 Rock, which was inspired by her time as head writer on Saturday Night Live. Photograph: NBC/NBCU Photo Bank via Getty Images

 

These rooms are raptor pits, according to Andy Riley, co-creator of Year of the Rabbit, who has compiled a glossary of writers room terms on his website How to Talk Comedy Writer. There is loads of secret lingo, such as Die-dia (from Kat Sadler), an idea that you feel dying in your mouth the second you start pitching. A bad room will crush a die-dia dead (thats not funny), a good room will toss it around a bit to see what other ideas it shakes out. A die-dia is from the same family as the bad version, which is a much derided term that a higher-up might use when pitching the shape of a joke, but not the joke itself. We need a funny reveal for what the dog is chewing. The bad version is a dildo? I dunno, youre the writers. Honestly, pitching the bad version is actually really useful, but its a thing that producers say so writers make fun of it. We dont often get to feel lofty.

Sam Bain, co-creator of Peep Show, says: Comedy writing rooms should be like improv Yes, and Rather than Thats shit. When a room is good, its heaven, a sort of sexless flirting where colleagues bat ideas back and forth and nothing is off-limits. A certain amount of inappropriateness is actually vital to the health of a room.

Executives who pop in can be startled by the filth and off-topic banter. Its our way of getting to know each other. Jason Hazeley, co-creator of Cunk on Britain, calls this doing scales the practice gags that warm you up for the real work. Ive also heard it called clearing the pipes or getting the poison out. Its not pleasant, but it is funny, if dead-baby jokes before 10am are your thing. Quite why were allowed to get away with this Im not sure, theres no other job where its expected that you need to be appalling before you can do your job properly. Sure Ill bring in this 747, but I just have to snap the legs off this heron first. Its my process.

When the Times Up movement hit Hollywood there was concern that some people wouldnt feel comfortable with the anything goes approach. There was a famous lawsuit where the writers assistant on Friends (the only female and person of colour in the room) sued because of the eye-wateringly inappropriate conversation among the chief writers (including speculations about a female cast members genitalia). The decision went in the shows favour, with the judge referring to the Friends room as a creative workplace focused on generating scripts for an adult-oriented comedy show featuring sexual themes.

Sarah
Ive been in situations where later Ive pondered the weird nature of my employment Sarah Morgan. Photograph: Karla Gowlett

 

Ive never felt unsafe or intimidated at work, but Ive been in situations where later Ive pondered the weird nature of my employment. There was a day in a small room where the head writer delivered a monologue about inserting Cadbury Mini Eggs in the non-traditional orifice of a lady friend. I didnt feel especially harassed (I almost certainly yes and-ed with egg puns) but I cant speak for the young woman whose job it was to sit and take notes all day. Crucially, Im not sure it was a super-productive way to write in-house sketches for the website of a luxury car brand.

While no one wants to think about how the sausage is made, its a fact that most shows have writers rooms panel shows, award shows, sketch shows, topical news shows, a chat show for a popular fake TV judge they are all team written. Though youd be forgiven for not knowing that if you look at the credits. Writers arent much of a thing in comedy, outside sitcoms. They are credited as programme associates (or additional material). Programme associates are the modest heroes thinking of funny captions for a photo of a puffin, or writing questions about Boris Johnsons hair, or coming up with sketch ideas a talk-show host could do based round a giant papier-mache vulva that had been commissioned by the production company for another show but didnt get used. (These are all things that have happened on programmes I have written on, sorry, been associated with.)

But the title may not be around for ever. The Writers Guild of Great Britain is starting a campaign to scrap positions such as programme associate and credit writers for their writing. Writers should always be credited as writers, says Gail Renard, former WGGB chair and member of the guilds comedy committee, or else they stand to lose their residuals, pension contributions, and other payments theyve rightly earned. Why should we be hidden in the shadows like some dark comedy secret?

Well, theres lots of reasons why comedy writers should be kept a dark dirty secret see above but a reluctance to give proper credit isnt one of them.

Late Night is showing in UK cinemas.

 

 

 

 

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