#∷『 THREADS 』— cressida e. ∷

[obeisnce]

@chrrythrill

A Faithful Man (2018) dir. Louis Garrel

[pensbridge]

S3 First Reactions 🪞🐝🦋🪶

❤️ Already fangirled about the whole engagement night - the hugs, Hyacinth!!!

Colin not being able to stay away for that long after their engagement announcement and immediately excusing himself at Anthony's suggestion is exactly what I'd expect of him. ×

❤️ Colin calling out Portia. "out of love." 😢

❤️ "OUR BRIDGERTON NAME" is so important, because it's reiterating that Penelope's getting to choose her family when the one she was born into is so awful

He was so nervous when she didn't respond to their new home.

"Because I love you...Pen." 😢

"Are you sure?" PEN, no 😭😭😭

❤️ That mirror moment (i love how he said "the way your eyes shine when you look at me..." callback to her complimenting his eyes) "...And other things..."

bxtch they stuck with the thread of Colin not opening his eyes to stay in the dream and Pen checking to see if it's real when they kiss

The eye acting of Nicola and Luke! (they are being doe eyes x the intensity of his gaze or w/e it is)

The gulp <3 Nicola

"You are so beautiful."

❤️ The first time!!!

"I hope my husband.." - Fran, AND John -"I would not dream of it" 😯 asdfjgkglyl

Kate & El (got their s2 vibes)

Ahh, the "Do I look a mess?" "You are my mess" was delivered so perfectly.

cute, cute, cute riding through town in carriage (no personal space)

The hand kiss in front of portia!

Colin handing Eloise the spoon 🤣

❤️ the charades game - the cutest thing (they're holding hands)

Also, fuckin Anthony being tooo competitive 😆

Peneloise rights! The back 'n forth in the game 😬

The panic attack was high-octane; the concern in the scene was cute xxx

❤️ Fran looking at John & Violet hating this story lol.....and then, me noticing her realization to another child in love

❤️ The look & collar tug in the church (polin is so dorky & domestic already)

❤️ Soooooo....the spontaneous dance in the church is better than I thought it was gonna be...their goofy footwork, spinning in a multitude of circles "dancing with MY FUTURE WIFE in THE CHURCH WHERE WE WILL BE MARRIED" bye

Part 1, the ton jokes and bullies them and Part 2, we just see people that can't help but get happy and giddy when they see their young love. Violet and Lady Danbury awwing at polin and embracing them in the park!!!

❤️ "I am going to look at the very fine wainscoting" -John, please! 😅

"Not every attachment must be dramatic and hard-fought." - Francesca 😢 bby, you're right

I legit went from this man has the crazy eyes ppl talk about to *tired eyes Wide-Open*... Bi Benedict?! ..I'm getting Bi Benedict?! (I was like: Why?Is?He?Staring?at?him?Like?That? (i knew i sensed the vibes! The Best Surprise!!!)

"This dance does not compare to a private waltz in the church where we'll be married." She's SO cute! "Well perhaps we shall have to add some flourish." Stop. km now (that's so him! he is so dumb; they're married already and dumb as they should be! ×)

Props again with the deaf representation & the sass when Miss Cressida enters the ball

"A scandal writer for a daughter. Can you imagine?" - Portia (i'm sorry i love this whole sequence)

Polin gets more perfectly dork w/stepping on feet being included during their dance at The Mondrich Ball (that's very them)

Thank god for Bridgerton giving us hour long episodes in this 2nd part.

❤️ Eloise admitting she's wrong (and so casually) 😢 ps i think they both have faults but i just love this

❤️ "The column began because I felt powerless in my own home." - Pen (well, i'm glad she said it!)

ok, now Pen admits her faults. all is right again

❤️ Irish accent again

"You are Lady Whistledown." This reveal was everything

omg, was this the scene where he wasn't supposed to cry, but did?! What would I have done without this reaction in such an important moment?! 😢

I love how Penelope highlighted the voiceless as she said she should with Eloise in her new edition of Whistledown

Violet to Agatha - "..but I hope you know that my care for you is not contingent on your aid." 😢 (she sees her)

This whole fight outside the modiste's. 😭

"I have been careful. You have been foolish.."

❤️ "I LOVE YOU" and he was shocked (an 'ily for you' moment) [i was not expecting the follow up to his line to go like that]

❤️ They deserve a hot passionate makeout before they are married where they get completely caught up after fighting.

"What am I chopped liver?" yes Anthony in this situation you are.

❤️ Violet calling in Kanthony for Colin marital advice

❤️ Yellow

The look at each other down the aisle.

❤️ Vows. Weddings on this show are usually so unhappy, but I appreciate that Colin is still so reassuring & clearly beaming about this when there is residual upset/confusion.

❤️ Eloise cryyinng

Ben's line to El- "..The friendship you have with Penelope... As the one you have with Colin." xxx (she doesn't wanna lose them)

"OUR child will always be a Bridgerton, but I should like them to know that they are a Sharma as well." fxck 🥲

"I should like to dance with my husband.."

The disappearing people in the wedding dance. like they're the only 2 ppl in the room! (Bridgerton either has it out for me [to cry] or loves me so much)

ANTHONY 👁👁 Marcus & Violet

Colin's hand caressing on Pen's face at the end of the dance they're really coming for me (bro did he almost kiss her?!??? i freaked out; had to rewind)

The queen excusing all non-Bridgertons + "Penelope, you are a Bridgerton now."

I kind of love that "Everyone except the Bridgertons are to scatter," but Lady Danbury's just there

GOD (I knew it as soon as it was coming) Eloise hugs Pen <3 🥲

ohmygodohmygodohmygodohmygod bi Ben

❤️ The hair grab!

This printer's assistant is on my shit list

SCOTLAND!!! JOHNCESCA

"It is not up to you what we do." 🤭❤️🤣 Colin mad but still ready to defend his wife (as it should be)

"I know my father was a good man and you are a good friend." Violet-Agatha feels

🙀He kept the letters!

💛John's words to Mama Bridgerton (her children's traits)

She said she was a fumbling mess in front of Edmund like 5 minutes before she is fumbling in front of Marcus

"Then how am I meant to help you?" ❤️ "By loving me."

❤️ Pen's love confession

"....to be a young lady to whom no one listens." - Pen!~Eloise shared look

Philippa + her "bugs"

😲 Lady Danbury x Pen (she knew! ❤️)

❤️ Colin's love confession (them crying together x)

El traveling with Johncesca

Mi-MICHAELA Stirling ... Bridgerton I swear if you are queerbaiting

OH MY GOD! Mama Bridgerton's words -FRANCESCA is fumbling her words.

❤️ Colin focussing on the hands in bed

Pen on top!

"Your father is always trying to distract with a clever word &..." "You think my smile is beguiling?" x "I could not have written without the help of Auntie Penelope." They are so obsessed with each other

Philomena?! did i hear that rt? omg Philippa

Yay we got confirmation of Colin's book! (I can only hope they're sitting in bed reading next season).

[atvrvxia]

&. @fervour​

      “WOULD IT be too much for me to ask you if you can model the prototypes of some of the outfits i designed for my boss? i think you’d look really beautiful in this pantsuit in particular...” 

[lucreciafalco-blog]

Of pain you can wish only one thing—that it will stop.

DATE: Thursday, January 12th TIME: 9:37 PM LOCATION: The Cathedral (sub-basement) STATUS: Closed to @celesteduval

Cigarette secured between the slender fingers of her right hand, she paced back and forth behind the table, her body restless with anticipation. While the echo of stilettos on tiled floor was normally music to her ears, this time it was deafening. As if each step took her closer and closer to the edge of a cliff far too high with a fall sure to kill.  Her chest was tight with an unfamiliar ache, one in the shape of a dark shadow, venomous and wicked to its core, intent on engulfing any small sliver of goodness found within her already obsidian-ridden soul. Many times the same qualities have been attributed to Lucrecia—poison coursing through her veins and corruption pouring from her lips—but she was positive whatever this was, whatever creature Rafaella had summoned when she asked for this, was far, far worse.

It’d been nearly a half hour since they’d brought her in and the girl was still unconscious. Lucrecia knew what needed to be done, but still, she hesitated. She was actually quite grateful for the silence, for the calm before the storm. She thanked the menthol for easing the tiny tremors taking over her hands and for calming the pit of nerves scrambling within her gut. She wasn’t completely sure if she was actually excited to do this—it would honestly be a first, perhaps something to check off one’s own twisted bucket list—or if she was full of absolute dread over what was about to happen. 

Either way she needed to focus on the task at hand; she had a job to do.

One last drag and she tossed the butt of the cigarette to her feet, stomping it out with the toe of her boot and headed toward the seat opposite Celeste. Her hands were secured to the table, palms forcibly flattened against the wood, fingertips resting mere centimeters from the sharp end of six-inch needles. Ten of them, to be exact—one for each of her digits—secured that close to guarantee any movement would be met with a sharp and very painful prick. 

A heavy sigh spilled through her rouge-stained lips as she settled into the seat, but she shoved down all the mind-numbing uncertainty and the feeling gnawing irritably at her gut, compartmentalizing them away deeply and leaned forward across the table to tap the girl on the shoulder. She didn’t budge. 

“Per l'amor di dio,” she cursed, scooping up the girl’s chin with ease before winding her hand back to slap her across the face. 

“Time to wake up.”

[diveronaevents]

DATE: August 27th, 2018

TIME: 0:00

LOCATION: Outer edges of Verona, northern grove

    The August air is thick and sweltering, coating one with an inescapable heat as well as coaxing from each individual a heady sort of desire to bask in the balmy light of the moon. But they who appeared at the outer edge of the grove, mere flickers and shadows now truly flesh and blood, were not here for a bacchanal engagement, no. Though the ABODE in the center of the grove seemed to be laid out for such a night -- what with its decadent wines and liquors, its sweetly laced desserts and hors d’oeuvres, and servants clad in satyric masks and impish wings -- no one could forget what this garish TRIAL was meant for; it was meant for the repayment of blood. It was meant for the just vengeance of a man who was six feet under. 

    This was no celebration for Bacchus, no. This was an offering to bellicose Minerva. 

    The servants stepped out from under the domed roof, their feet shifting from a rug-laid floor to that of dirt and grass, feet flying to fetch the guests as the appeared out from under the tree line. Their masks were as ETHEREAL and IMPISH as that of the butlers and maids, gold dusting their finger-tips, silver etched across their brow, painting their face. Tonight, they were what their hosts -- the three witches -- bid them to be; they were pixies and fae, imps and brownies. Some were blessed, some were fallen. All were under scrutiny, surrendering themselves to the judgment of the witches, who sat at the high table. Do not be fooled by the wings and the moonlight overhead, nor by the soft lights that seemed to float in the air or the ambrosia and faerie’s blood that dusted every treat. 

    This is no Midsummer’s Night Dream. This, onlooker, is the beginning of Verona’s darkest N I G H T M A R E. 

                                                              Dio sia con noi.

    The servants lead their guests into the sanctuary of the domed, open building. Their masked superiors are quiet as they do, the breaking of silence a costly mistake while under the eyes of the starry night sky. None dare breathe a word so long as the witches’ watch. An oculus highlights the dimmed constellations in the sky, but what catches the eye of all who enter is the ceiling. All Veronans knew about this building, the abandoned dilapidated thing that sat by the end of the large pond in the northern forests. But under the witches’ careful ministrations, the graffiti was covered with gilded classical art. It looked as though LUCA SIGNORELLI himself had risen from the grave in order to let the Veronans know that their own chapter of Revelation was being written -- and his dead hands had commemorated it with art. The dilapidated building was now bedecked with Persian rugs whose yellow threads looked as if they were gilded with real gold. Chandeliers hung from the skeleton of the roof, sparkling tauntingly from above, their imperfect light bedazzling the eyes that dared glance up. 

    But what truly stole the show were the figures that the THREE WITCHES’ cut.

    In contrast to all the golden colors and warm moonlight, they were voids of deepest black, sitting at the HIGH TABLE, like judges from Hades’ palace, risen to deliver their verdict. Were it not for the movements of their shoulders and the deliberate movements of their hands, one might have mistaken them for STATUES. Or gargoyles -- their masks being as grotesque as they were. Facing the high table were two podiums and rows and rows of pews, padded with cushions of the deepest reds. But the servants did not motion for any of their guests to sit. Instead, they bid them to gather towards the far end -- where the goods and spirits awaited them. 

    The party waited, stirring nervously like the beginnings of an ominous wind before the breaking of a storm. 

    Two more figures entered into the domed building, each from opposite ends of the grove. But there was no mistaking them -- each person at the gathering knew the figures better than they knew their reflections in the mirror. Damiano and Cosimo have arrived.

    A man with ram’s horns curling above his head takes a sharp breath in. A servant who has effervescent wings on their back finds their fingers twitching towards a book tucked into their side. A figure lazily flicks their lighter on and off, on and off. The two bosses stare at each other before nodding and turning to the witches’, all now waiting for a word, a nod, a single look to tell them what the night shall entail. They rise from their seats as one, always as one. Circe raises their arms towards the heavens (to God?), their voice carrying as their lips part to deliver the speech. 

    The crowd seemingly moves as one, heads bowing, shoulders hunched as they bare the weight of the oncoming words. Their deities, equal parts flesh and equal parts divinity, have yet to speak and already they can feel the convictions of their sins making them bend. 

    “Welcome, Veronans,” they say, voice soft but making all who hear it tremble nonetheless.

    “We gather here at this trial,” Medea continues, lip curling, “because it has come to our attention -- “

    “--that a crime of the utmost gravity has been committed.”  Hecate hisses. 

    Circe’s hands lowered, the expression on their face as devoid of any color or emotion as a blank canvas. There was no scolding, no judgment. It was as if they were staring at an unmoving piece of art. The expression was mirrored, almost exactly, by each of their siblings in turn. Justice without emotion was the only justice allowed in Verona. 

    “But before the trial commences, we bid you to have this one night of revelry -- “

    “ -- this one night of debauchery. For after this one night -- “

    “ -- you will know nothing but the severity of the punishment that we will inflict --”

    “-- for, though Verona has always been at war, we have also appreciated the cyclical nature of -- “

    “ -- the battles that have been fought. Such harmony has been tarnished and we -- “

    “ -- will not allow this spark of anarchy to grow into the fire that will burn Verona down.”

    “So eat, drink, and be merry on this one night. Revel like the Seelies that we know of so well -- “

    “ -- for this shall be the last time the gods of Verona will have this chance to do so unfettered.”

    The three witches sat upon their thrones, unmoving once more -- content to watch the revelry commence. Music began to stream into the air, slow and coaxing, strings plucking away as the Capulets and Montagues stirred from their shock, murmurs of disbelief and foreboding following. Never before had there been need for the witches’ to intercede so openly, never before had they been scolded by the deities of Verona. Never before had they had a need for judges, for juries, and for executioners of an Underworld law. They wanted their subjects to have one last night of merriment, they said. One last night before someone was put to death like a DOG. Suddenly, all had the need to consume the elixirs and ambrosia that was offered to them for the night. They certainly did not need to be sober for what future the stars above planned for them on this night. 

    Servant bedecked as imps and brownies carried trays of food and drink towards the uneasy groups of masked Montagues and Capulets, who plucked away at it with little thought to what they were consuming. 

    They would revel as the Seelies and Unseelies they dressed as often do. They would revel without inhibition preceding this trial of blood and death. They would revel..for it is likely that some might not survive this night.

OVERVIEW: And with that, our first event for DiVerona begins! This is merely a prelude to the climax of the scene, so take heart and try to enjoy yourself while you can. Your character has been given specific fae-like costumes that either tell of their greatest VIRTUE  or their greatest VICE. Or, better known in this particular setting as SEELIE and UNSEELIE. Oh, and they have unwittingly ( or wittingly ) consumed either AMBROSIA or FAERIE’S BLOOD. You can all thank the THREE WITCHES for being so courteous and delivering the costumes to your character the morning of SUNDAY, the 26TH.

SEELIE: JULIANA, MIRANDA, VIOLA, ROMEO, OBERON, CORDELIA, HORATIO, SEBASTIAN, OPHELIA, CELIA, VOLUMNIA, BENVOLIO, TITANIA, CRESSIDA, BEATRICE

UNSEELIE: TYBALT, ROSALINE, MERCUTIO, DESDEMONA, REGAN, LADY MACBETH, PORTIA, EDMUND, BRUTUS, HIPPOLYTA, ANTONY, GONERIL

While some guests are more surreptitiously clad than others, it is at your discretion to decide whether or not your character is aware of who they’re interacting with. It is fairly plausible since the witches tend to be rather THOROUGH about costuming their guests. Don’t forget that Alvise Vernon’s rather violent demise is still fresh in many Montagues’ minds, so should any exchange take place between where a Montague and Capulet become aware of each other...it is not likely to end well. Perhaps allow your character to venture outside of the party area and towards the pond just outside. It can be rather bewitching under the moonlight. The trial will take place at 3 AM -- a rather fitting time -- so timestamps for threads may not be anytime after then. 

TASK: Enjoy this while you can dear players – the mystery and intrigue of it all is only the first taste that precedes the main course. So why not have fun with it? Show the outfit that the witches (most likely Cinead) picked for your character. The outfit most likely gives a material idea of the personality of your character – no doubt the mask does too. Have fun with it and elaborate as little or as much as you want! For example, is your character more likely to wear Marc Jacobs or Ellie Saab? Vera Wang or Valentino? Slacks or skirts? Why or why not?Please tag your character’s ensemble/ensemble descriptions as #diveronatrial and #diveronatalk and your event interactions as event: trial. There is no deadline to complete the task, so take as much time with it as you feel necessary. Have some run in, some mishaps – but remember, there will no bloodshed or bruised limbs tonight. Save that for the future, hm? Buona notte mi amici.

[carameliise]

maia mitchell, josefine frida pettersen, tom holland, kaya scodelario, harry styles

send me an fc and i’ll tell you my experience rping with them

maia: a maia le agarré más amor del que ya le tenía gracias a @melanchxoly​ y su cressida. teníamos un ship de bill + maia que fue muy bello mientras duró, ah. 

tom: Q U I E R O. apenas inicié un thread con él de opposite pero todavía no tenemos replyssssssssssssssss así que estoy a dos segundos de hacer un pj con su fc sólo para rolearlo. 

kaya: omg, creo que nunca he roleado con ninguna ?? y si lo hice fue en un rp pero super poco así que no cuenta (?

harry: amo todos los harrys que me han dado aunque ahorita no rolee con ninguno!!! suelten sus harrys para mí 8). 

[londontheatre]

Sienna Miller and Jack O’Connell – Photo by Charlie Gray

Lisa Palfry (Big Mama), Hayley Squires (Mae) and Brian Gleeson (Gooper) with Richard Hansel (Doctor) and Michael J Shannon (Reverend) join the previously announced Sienna Miller (Maggie), Jack O’Connell (Brick) and Colm Meaney (Big Daddy) for the Young Vic production of Cat On A Hot Tin Roof directed by Benedict Andrews. The younger members of the Company will be announced at a later date.

The twelve-week run in the West End at the Apollo Theatre begins previews on 13 July 2017 with press night on 24 July. The last performance is 7 October 2017. Set designs are by Magda Willi with costume designs by Alice Babidge, lighting by Jon Clark and sound design by Gareth Fry. Music is by award-wining composer and musician Jed Kurzel.

The truth hurts. On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday. The scorching heat is almost as oppressive as the lies they tell. Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

Lisa Palfrey’s theatre credits include Junkyard for Headlong, Much Ado About Nothing for Theatre Clwyd, The Seagull for Regent’s Park Open Air Theatre, The Kitchen Sink for the Bush Theatre, Red Bud, Ingredient X and Under The Blue Sky all for the Royal Court Theatre, Festen and The Iceman Cometh both for the Almeida Theatre and Cardiff East and Under Milk Wood both for the National Theatre. Her film credits include Pride, The Englishman Who Went Up a Hill But Came Down a Mountain, House of America, Under Milk Wood and Guest House Paradiso. Her television credits include Hinterland, The Line of Duty, Green Hollow, Casualty, and Family Tree.

Hayley Squires’ theatre credits include The Pitchfork Disney at Shoreditch Town Hall and As Good a Time as Any at The Print Room. For the role of Katie in Ken Loach’s Palme d’Or winning I, Daniel Blake she won the British Independent Film Award for Most Promising Newcomer, the Evening Standard British Film award for Best Supporting Actress and also received a BAFTA nomination for Best Supporting Actress. Her other credits include Giantland, Away, Polar Bear, A Royal Night Out and Blood Cells. Her television credits include The Miniaturist, Collateral, Philip K. Dick’s Electric Dreams, The Commuter, Murder, Southcliffe, Complicit and Call The Midwife.

[See image gallery at http://ift.tt/1FpwFUw] Brian Gleeson was most recently seen on stage in The Weir at the Lyceum Theatre, Edinburgh. His other theatre credits include The Walworth Farce at the Olympia Theatre, Dublin and the Donmar Warehouse production of The Night Alive, which also ran at the Atlantic Theatre in New York. His film credits include Assassin’s Creed, The Flag, Tiger Raid, History’s Future, Standby, Darkness on the Edge of Town, Stay, Snow White and The Huntsman. His television work includes the lead role of Jimmy Mahon in the RTÉ series Rebellion, Quirke and Stonemouth. His film work due for release this year includes Steven Soderbergh’s feature film Logan Lucky, Darren Aronofsky’s Mother!, and Paul Thomas Anderson’s Phantom Thread.

Richard Hansell’s more recent theatre credits include Lazarus at the King’s Cross Theatre, the Young Vic’s production of A View From the Bridge which transferred to the West End and then to Broadway and Macbeth at the Trafalgar Studios. His other theatre credits include Tonight at 8.30 for Chichester Festival Theatre, The Madness of King George III at the Apollo Theatre, The Bridge Project at the Old Vic and the Brooklyn Academy of Music, Troilus and Cressida for Shakespeare’s Globe, Rosencrantz and Guildenstern Are Dead, School for Scandal and Hamlet all for English Touring Theatre and A Patriot For Me and Two Gentlemen of Verona for the Royal Shakespeare Company. His television credits include And Then There Were None, Downton Abbey, Spooks, The Royal, Miracle Landing on The Hudson and E=MC2, and on film his credits include Shine, The Wolfman and Hamlet.

Michael J Shannon’s theatre credits include The Dining Room and The Glass Menagerie, both at Greenwich Theatre, Artichoke for the Tricycle Theatre, Totally Foxed at the Theatre Royal Bath, The Price at the Leicester Haymarket, The End of the World at Nuffield, Southampton, A Thousand Clowns at the Palace, Watford and A Delicate Balance at the Nottingham Playhouse. His television credits include We’ll Meet Again, Boston Legal and Brothers & Sisters.

For this Young Vic production, there are seats available at £10 for under 25s for each performance booked through the Young Vic Box Office. Cat On A Hot Tin Roof is the Young Vic’s first production to debut in the West End and is presented by the Young Vic and The Young Ones. Previously the Young Vic have transferred A View from a Bridge, Golem, Romeo and Juliet, The Scottsboro Boys, Simply Heavenly, Tintin and A Doll’s House.

Tennessee Williams’ Pulitzer prize winning play received its world premiere in 1955 on Broadway with Barbara Bel Geddes and Ben Gazzara as Maggie and Brick. The UK premiere, directed by Peter Hall, opened at the Comedy Theatre in 1958 with Kim Stanley and Paul Massie. The 1958 Academy Award nominated film starred Elizabeth Taylor and Paul Newman.

Finn den Hertog is Assistant Director. He previously worked with Benedict Andrews on A Streetcar Named Desire.

Natalie Denton is Jerwood Assistant Director, supported through the Jerwood Assistant Directors Program at the Young Vic.

The Young Vic produces new plays, classics, forgotten works, musicals and opera. It co-produces and tours widely in the UK and internationally while keeping deep roots in its neighbourhood. It frequently transfers shows to London’s West End and invites local people to take part at its home in Waterloo. In 2016 the Young Vic became London’s first Theatre of Sanctuary. Recent productions include Simon Stone’s multi award-winning new version of Lorca’s Yerma which returns to the Young Vic with Billie Piper reprising her performance in July, the premiere of Charlene James’ multi-award-winning play Cuttin’ It and Ivo van Hove’s multi award-winning production of Arthur Miller’s A View from the Bridge (West End & Broadway transfers), as well as Horizons, a season of work exploring the lives of refugees. David Lan is Artistic Director, Lucy Woollatt is Executive Director. www.youngvic.org

About the Jerwood Assistant Director Program The Jerwood Assistant Director Program at the Young Vic supports directors in the early stages of their careers by providing a vital opportunity to obtain professional on-the-job development. The programme is supported by Jerwood Charitable Foundation and was set up in 2010 to give emerging talent the chance to work alongside some of the most talented and experienced directors in the world. The partnership was set up in 2010 to give emerging talent the chance to work alongside some of the most talented and experienced directors in the world.

In 2014, the Program was expanded to include an international dimension, and this continues in 2017. The Program draws upon the vast expertise of our theatre colleagues across the world and will for the fourth time offer a professional practice visit to the seven Jerwood Assistant Directors. Travelling as a group to a major European theatre capital they will have the opportunity to see work and develop relationships with international practitioners with a view to generating new ideas and future collaborations.

The Jerwood Assistant Director Program has become a successful springboard. Past participants include: Sam Pritchard, who assisted Carrie Cracknell on A Doll’s House, appointed International Associate at the Royal Court. He will direct Pygmalion for Headlong in 2017; Craig Gilbert, who assisted Natalie Abrahami on Ah, Wilderness!, appointed New Works Associate at the Liverpool Everyman and Playhouse and Kate Hewitt, who assisted Sacha Wares on Wild Swans, winner of the inaugural Royal Theatrical Support Trust Director Award in 2016. In the Young Vic 2017 season, Jerwood Assistant Directors will have worked on Young Vic productions including: A Midsummer Night’s Dream, See Me Now, Life of Galileo and Wings.

Jerwood Charitable Foundation is dedicated to imaginative and responsible revenue funding of the arts, supporting artists to develop and grow at important stages in their careers. The aim of its funding is to allow artists and arts organisations to thrive; to continue to develop their skills, imagination and creativity with integrity. It works with artists across art forms, from dance and theatre to literature, music and the visual arts. For more information visit http://ift.tt/1qsP3BO

LISTINGS INFORMATION Theatre: Apollo Theatre, 31 Shaftesbury Avenue, London W1D 7ES Dates: 13 July – 7 October 2017

http://ift.tt/2mkfWxw LondonTheatre1.com

[atvrvxia]

&. @smittenhearts​

                “SO TELL me: did you like what i got for you? or, actually, did you see the little wrapped present i left for you this morning?”

[lucreciafalco-blog]

THAT’S WHAT I ADMIRE MOST ABOUT  YOU— THE BLOODINESS OF  YOUR HEART

DATE: Tuesday, December 27th TIME: 10:09 AM LOCATION: Secure location, Capulet Territory CLOSED TO: CELESTE

“It is unwise to not answer your phone, mio caro,” she huffed, pushing herself out of the black SUV in front of Celeste’s newest residence. Not a single Capulet soul trusted the girl, especially after the events that transpired last night. It was one thing to watch her openly defy Rafaella and Vivienne, but to watch how gracefully she had seized the moment while chaos ensued not only once, but twice? Lucrecia was shocked—impressed—that the Duval girl had the nerve to make a break for it.

‘How far did she really think she’d get? What would she have done if she’d successfully slipped from the Capulet’s view? Did she have a plan, or merely saw an opportunity and went for it?’

Those were the nagging questions on her mind, put there by her superiors, as she left Celeste the third voicemail of the morning and unfortunately Lucrecia couldn’t let another go unheard. Answers were needed; it was demanded. She’d been tasked with briefing (questioning) and updating (lying to) the girl—exactly how she wanted to spend her day. She rolled her eyes at the thought, wishing she was still in bed beneath her plush comforter, atop her 1800 thread count sheets, a cup of coffee in her hand and a warm body—one that did not resemble her husband in the slightest—beside her, actually enjoying her winter holiday.

Rummaging through her large, black Givenchy bag, she muttered thanks to her driver and told him to wait for her call. Lucrecia didn’t plan on spending any more time with Celeste than deemed necessary. As her fingers hooked around the metal ring of keys at the bottom of her purse, she let out a heavy, frustrated sigh.

‘Why must this girl make everything so difficult?’

“Tu bambina ingrato!” She hissed and ended the call, tossing her phone back in as she reached the main door of the apartment building. She thought about simply ringing the buzzer, letting Celeste choose to do the right thing, making Lucrecia’s life somewhat easier and more tolerable, but in what world would Celeste Duval lift a finger for Lucrecia Falco? Not this one.

Ultimately she decided against it and instead used the keys she’d been given and walked right in, heading directly for the elevator. Once inside, she turned to face the controls, raising the second key on the ring and inserting it next to the number eleven. Security on the Duval girl had been increased, obviously, but Lucrecia thought this was a bit much. ‘What could the five-foot-one, skin and bones, damsel of a girl possibly do?’ The lift hummed to life as she turned the key, gaining altitude within the building quite fast, yet she still tapped the toe of her heels impatiently.

The ding that followed came like an answered prayer and she exited immediately, dropping the second key and placing the third between her fingers. She had no intention of knocking, not after the elusive and disrespectful attitude she’d been given this morning. Moments later she approached the guards, shooting both of them a generous smile before unlocking the door and entering—welcome or not.

“Celeste?”

She called out for her, slipping out of her coat and tossing it onto a nearby chair, followed by her bag. She took a tentative step, attempting to assuage her own anger and frustration when she spoke, but Lucrecia was not known for a soft, gentle and soothing voice, no, she was known for her intense, gravelly and rasping tone.

She roared; she intimidated; she ruled.

“Would you care to explain why you thought it necessary to waste so much of my time today?”

[atvrvxia]

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