#Annie Considine

[papermoonloveslucy]

DORIS SINGLETON

September 29, 1919

Dorthea ���Doris’ Singleton was  born in New York City in 1919. She trained as a ballerina but began her career in show business as a vocalist in the late 1930s. Singleton worked as a guest star and in regular roles on numerous hit radio shows. 

During a guest appearance on the radio show “My Favorite Husband” in 1948 she met Lucille Ball and this began their long professional relationship. 

When she first appeared (in a sweater coveted by Lucy) in “The Club Election” (ILL S2;E19) in 1953, her character was named Lillian Appleby but it was decided that she should go by Caroline Appleby in all future episodes. In “Lucy Gets Into Pictures” (ILL S4;E18), Desi Arnaz made an error and called Caroline Appleby “Lillian” but the error remained in the final print. 

Caroline and Marion Strong (Shirley Mitchell) turn up for the club meeting when “Lucy and Ethel Buy the Same Dress” (ILL S3;E3).

A game of cards in “Lucy Is Matchmaker” (ILL S2;E27) brings out Caroline and Pauline (Peggy Rea). 

In “The Camping Trip” (ILL S2;E29), the card game has swapped out Pauline for Sally (June Whitely Taylor). 

The card game is moved to the Appleby apartment (Chinese Modern) in “Lucy Tells The Truth” (ILL S3;E6), with ‘cackling’ Marion Strong wearing a statement hat!

Caroline Appleby with her son Stevie (Steven Kaye), one of Little Ricky’s best friends. 

Caroline with her husband, local TV station manager Charlie Appleby (Hy Averback) in “Baby Pictures” (ILL S3;E5) . The next (and last) time we see Charlie Appleby he will be played by George O'Hanlon (inset photo).

The Wednesday Afternoon Fine Arts League calls an emergency meeting to address the deficit in the budget in “Lucy’s Club Dance” (S3;E25). Caroline Appleby turns up in a black dress with Peter Pan collar and hat!

Visiting Hollywood, Caroline was suddenly near-sighted!  To convince Caroline that she was hob-nobbing with celebrities, Lucy and Ethel scheme to get her glasses off her in two related episodes, “The Dancing Star” (ILL S4;E27) and  , “Lucy Meets Harpo Marx” (ILL S4;E28).  

In 1953, Singleton made her television TV debut as Gloria Harper in the episode "Jungle Devil" on “The Adventures of Superman.” Coincidentally, Singleton's final appearance on “I Love Lucy” was in an episode with Superman (George Reeves), "Lucy and Superman" (ILL S6;E4). 

In 1966, Singleton was teamed again with Ball on “The Lucy Show” in the episode, "Lucy and Art Linkletter", in which she plays Ruth Cosgrove, an actress whom Linkletter hires to help Lucy with a stunt on his television series. Coincidentally, Ruth Cosgrove is the name of Milton Berle’s real-life wife, who will also guest star on “The Lucy Show” as herself. 

Her second appearance on “The Lucy Show” was in “Lucy Gets Her Diploma” (TLS S6;E5) in 1967.  Note: Doris has very little to do with the main plot of this episode.  Her one scene might have been originally meant for Mary Jane Croft but reassigned due to a conflict in Croft’s schedule or illness.

Singleton said that she had originally been hired to be a regular on Ball's third series, “Here's Lucy” in 1968. Ball would have played a dumb secretary and Singleton the more intelligent one, but the premise was dropped when Ball decided to cast her own children in the show. She did, however, appear in the series premiere episode, "Mod, Mod Lucy" (HL S1;E1). 

In 1971, Singleton was featured on an episode of ABC sitcom, “Make Room For Granddaddy” which had Lucille Ball as the guest star. In this installment, titled "Lucy Carter, Houseguest", Singleton played Grace Munson, another character from “I Love Lucy,” although she is listed in the credits as Sylvia. 

In a 1973 Bob Hope Christmas Special, Lucille Ball, Gary Morton, Hope and Doris Singleton all played themselves in a sketch that finds Lucy believing Bob has a secret crush on her and buying her expensive gifts. Singleton is not given a character name but drops by to Ball’s home. 

Her final appearance on “Here's Lucy” was as Lucille Ball's studio secretary in  "Lucy Carter Meets Lucille Ball" (HL S6;E22) in 1974. Her character was named Doris.  (If Lucy was Lucy and Lucille was Lucille, then why shouldn’t Doris be Doris?)

Singleton and Ball were reunited one last time, again as Ball's studio secretary, in the 1980 special “Lucy Moves to NBC.”  She played Wanda Clark, who was Lucille Ball’s real-life secretary. 

DORIS at DESILU (SANS LUCY)

Singleton did an episode of Desilu’s helicopter series “Whirlybirds” in 1957. She played Jan Revere in an episode titled “Lady Luck.”

In 1954 and 1958 she was at Desilu for two episodes of “The Danny Thomas Show”. In 1958, to symbolize the show’s move to CBS, the Williams family moved into the Ricardo home in Westport. In return, Lucy and Desi guest-starred on “The Danny Thomas Show” as the Ricardos. 

In February 1960, Doris played Mavis on Desilu’s “The Ann Sothern Show” directed by “Lucy’s” James V. Kern. In a 1959 cross-over episode of “The Ann Sothern Show”, Lucille Ball guest starred as Lucy Ricardo.

In 1960, Singleton became a regular character of Desilu’s new series “Angel” about a young woman who has moved to America from France after getting married to her sweetheart, John. Singleton played Susie for 26 of the show’s 33 episodes. It last just one season. Above, Lucille Ball attends a kick-off event featuring Jess Oppenheimer (creator), Annie Fargue (Angel) and Marshall Thopmson (Johnny). Singeton shared the soundstage with “Lucy” alumni Shirley Mitchell, Gale Gordon, Madge Blake, and many others. 

In 1960 and 1962 she was back at Desilu for two episodes of “The Real McCoys”. 

Singleton was in three episodes of “The Dick Van Dyke Show” between 1962 and 1965.  

In Fall 1967, Singleton did a day on “Gomer Pyle: USMC” filmed at Desilu Studios. A year earlier, Gomer Pyle (Jim Nabors) made a cameo appearances on “The Lucy Show” (TLS S5;E9) in which Lucy Carmichael is mistaken for Lou C. Carmichael and drafted!

“My Three Sons” - on which she played two different characters - was filmed on the Desilu backlot. Her first character was Helen Morrison (two episodes in 1964 and 1965), the mother of Sally Ann (Meredith MacRae)—the woman who married the eldest of the Douglas sons, Mike (Tim Considine), and both left the series shortly after the start of the 1965-66 season. Doris was pressed into service again in the 1970-71 season to play the mother (Margaret) of Polly Williams (Ronnie Troup), a girl who also nabbed herself a Douglas boy—this time eloping with youngest son Chip (Stanley Livingston).  She played the character for six episodes. 

Her final screen appearances was a small role in the ABC TV film Deadly Messages in 1985. 

Singleton married Charles Isaacs in 1941, and they remained married until he died on December 13, 2002. She died in 2012, aged 92, from complications of cancer. She had no children and left no immediate survivors.

[aliveandfullofjoy]

2019 Tony Awards Trivia

This is the stat that I’ve seen get the most attention, and it’s a really cool one: Jeremy Pope, who’s nominated in Leading Actor in a Play for Choir Boy and Featured Actor in a Musical for Ain’t Too Proud, is the sixth actor in Tonys history to be nominated in two different categories in the same year. Pope is only the second to be nominated for both a play and a musical in the same year, the first actor of color to achieve this distinction, as well as the first member of the LGBTQ+ community. The others are: Amanda Plummer (Leading Actress in a Play nominee for A Taste of Honey and Featured Actress in a Play winner for Agnes of God in 1982), Dana Ivey (Featured Actress in a Musical nominee for Sunday in the Park with George and Featured Actress in a Play nominee for Heartbreak House in 1984), Kate Burton (Leading Actress in a Play nominee for Hedda Gabler and Featured Actress in a Play nominee for The Elephant Man in 2002), Jan Maxwell (Leading Actress in a Play nominee for The Royal Family and Featured Actress in a Play nominee for Lend Me a Tenor in 2010), and Mark Rylance (Leading Actor in a Play nominee for Richard III and Featured Actor in a Play winner for Twelfth Night in 2014).

A few notable firsts: Ali Stroker (Oklahoma!) is the first actor who uses a wheelchair to be nominated for a Tony. Paddy Considine (The Ferryman) is the first actor with autism to be nominated for a Tony. 

Heidi Schreck (What the Constitution Means to Me) is the third person in Tonys history to be nominated for Best Play and Best Actress for the same show in the same year. She joins Anna Deavere Smith (Twilight: Los Angeles, 1992) and Claudia Shear (Dirty Blonde). 

Oklahoma! is one of the landmark American musicals and, as of yesterday’s nominations, has received a total of seventeen competitive nominations and a special award in 1993. The only competitive award the show has ever won is for Featured Actor in a Musical in 2002 for Shuler Hensley. 

Director Rachel Chavkin only has two Broadway credits to her name, but both shows led the nomination count in their respective Tonys ceremonies: Natasha, Pierre and the Great Comet of 1812 received twelve (eventually winning two), while Hadestown scored fourteen nominations. 

Anaïs Mitchell (Hadestown) is the 41st woman nominated in the Best Score category. If she won, she would be the seventh woman to win (joining Betty Comden, Lynn Ahrens, Lisa Lambert, Cyndi Lauper, Jeanine Tesori, and Lisa Kron), and she would be only the second woman to win the award as a solo composer, following Lauper in 2013.

Dominique Morisseau (Ain’t Too Proud) is the first black woman nominated for Best Book since Lita Gaithers in 1999, who was nominated for It Ain’t Nothin’ But the Blues. 

If either Kiss Me, Kate or All My Sons wins their respective Best Revival category, they would join The King and I, La Cage aux Folles, Death of a Salesman, and A View from the Bridge as the only shows to win Best Revival twice. 

Some of the roles nominated this year have previously been nominated for or won Oscars. These roles include Scout Finch (To Kill a Mockingbird), Michael Dorsey (Tootsie), and Sandy Lester (Tootsie), while the roles Howard Beale (Network), Atticus Finch (To Kill a Mockingbird), and Julie Nichols (Tootsie) have all won Oscars. 

A few actors are back with a returning Tony nomination after a lengthy gap: Annette Bening (All My Sons) received her second nomination, her first coming in 1987 for Coastal Disturbances; Fionnula Flanagan (The Ferryman) also received her second nomination, with her first coming from further back in 1974 for Ulysses in Nighttown. Mary Testa and André De Shields both received their third nominations (she for Oklahoma!, he for Hadestown), the first for each of them since their last nomination in 2001 (she for 42nd Street, he for The Full Monty). 

Some roles that received nominations this year that have previously been nominated or won: Chris Keller in All My Sons (Benjamin Walker in 2019, Jamey Sheridan in 1987), Larry in Burn This (Brandon Uranowitz in 2019, Lou Liberatore in 1988), Lilli Vanessi in Kiss Me, Kate (Kelli O’Hara in 2019, Marin Mazzie in 2000), Curly in Oklahoma! (Damon Daunno in 2019, Patrick Wilson in 2002), and Aunt Eller in Oklahoma! (Andrea Martin in 2002, Mary Testa in 2019).

Ain’t Too Proud is the first jukebox bio-musical nominated for Best Musical since Beautiful in 2014, and the sixth ever nominated, joining The Boy from Oz (2004), Jersey Boys (2006), Fela! (2010), Million Dollar Quartet (2010), and Beautiful (2014).

With his double nominations for Tootsie and Beetlejuice, William Ivey Long remains the most nominated costume designer in Tonys history, with 17 total. This is also his second year with two nominations, having also been nominated for both La Cage aux Folles and A Streetcar Named Desire in 2005. 

This is the first time ever that there are six nominees in the Best Score category. To Kill a Mockingbird is the eighth non-musical play to be nominated in this category, joining Much Ado About Nothing (1973), The Song of Jacob Zulu (1993), Twelfth Night (1999), ENRON (2010), Fences (2010), Peter and the Starcatcher (2012), One Man, Two Guvnors (2012), and Angels in America (2018). This is the first time a non-musical play has been nominated in this category in consecutive years.

Kelli O’Hara received her seventh Tony nomination for Kiss Me, Kate, her sixth in the Leading Actress in a Musical category, tying her with Sutton Foster and Bernadette Peters. Chita Rivera still reigns supreme in that category, with eight nominations.

The Prom is the 14th musical to get multiple Leading Actress nominations. The others: New Girl in Town (1958), Company (1971), Follies (1972), Chicago (1976), Annie (1977), Dreamgirls (1982), The Rink (1984), Black and Blue (1989), Guys and Dolls (1992), Side Show (1998), Urinetown (2002), Wicked (2004), and War Paint (2017). 

If Tootsie wins Best Musical, David Yazbek will be the fourth person to work as composer on back-to-back Best Musical winners, joining Richard Adler and Jerry Ross (The Pajama Game and Damn Yankees) and Cy Coleman (City of Angels and The Will Rogers Follies). 

With both Ain’t Too Proud and Hadestown, This is the fifth time that two shows received at least two nominations in Featured Actor in a Musical. The others are Fiorello! and The Sound of Music (1960), The Producers and The Full Monty (2001), Hairspray and Movin’ Out (2003), and Something Rotten! and An American in Paris (2015).

Scott Ellis (Tootsie) has broken his tie with James Lapine to become the director with most nominations for Direction of a Musical without a win.

With his nomination for Kiss Me, Kate, orchestrator Larry Hochman is a nine-time Tony nominee and is now second behind Jonathan Tunick as the most nominated orchestrator of all-time.

Peter Nigrini is the first person in Tonys history nominated for both Scenic Design of a Musical and Lighting Design of a Musical in the same year. He’s nominated for Ain’t Too Proud’s set with Robert Brill and for Beetlejuice’s lights with Kenneth Posner.

Some stats on how many times the ten nominated directors have been nominated before: this is the tenth directing nomination for Gary’s George C. Wolfe (previously won for Angels in America: Millennium Approaches in 1993 and Bring in ‘da Noise, Bring in ‘da Funk in 1996, and previously nominated for Jelly’s Last Jam in 1992, Angels in America: Perestroika in 1994, Caroline, or Change in 2004, The Normal Heart with Joel Grey in 2011, Lucky Guy in 2013, Shuffle Along in 2016, and The Iceman Cometh in 2018); this is the ninth directing nomination for Tootsie’s Scott Ellis (previously nominated for She Loves Me in 1994, Steel Pier in 1997, 1776 in 1998, Twelve Angry Men in 2005, Curtains in 2007, The Mystery of Edwin Drood in 2013, You Can’t Take It With You in 2015, and She Loves Me in 2016) and To Kill a Mockingbird’s Bartlett Sher (previously won for South Pacific in 2008, and previously nominated for The Light in the Piazza in 2005, Awake and Sing! in 2006, Joe Turner’s Come and Gone in 2009, Golden Boy in 2013, The King and I in 2015, Oslo in 2017, and My Fair Lady in 2018); this is the fifth directing nomination for Ain’t Too Proud’s Des McAnuff (previously won for Big River in 1985 and The Who’s Tommy in 1993, and previously nominated for How to Succeed in Business Without Really Trying in 1995 and Jersey Boys in 2006) and The Prom’s Casey Nicholaw (previously won with Trey Parker for The Book of Mormon in 2011, and previously nominated for The Drowsy Chaperone in 2006, Something Rotten! in 2015, and Mean Girls in 2018); this is the second directing nomination for Hadestown’s Rachel Chavkin (previously nominated for Natasha, Pierre and the Great Comet of 1812 in 2017), Ink’s Rupert Goold (previously nominated for King Charles III in 2016), The Ferryman’s Sam Mendes (previously nominated with Rob Marshall for Cabaret in 1998), and Network’s Ivo van Hove (previously won for A View from the Bridge in 2016); this is the first directing nomination for Daniel Fish (Oklahoma!).

[larryland]

Fall Festival Of Shakespeare Final Performances Begin November 15th

Fall Festival Of Shakespeare Final Performances Begin November 15th

Shakespeare & Company Celebrates 30 Years of Festivals bringing Students Together

(Lenox, MA) – Celebrating its 30th Anniversary this year, the annual Fall Festival of Shakespeare will bring hundreds of teenagers from ten different high schools to the Tina Packer Playhouse at Shakespeare & Company. Beginning on November 15th, the four-day festival marks the culmination of the nine-week program…

[houseofthedragon1x08ita]

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Nel trailer dell'episodio 8 di House of the Dragon, è stato anche chiarito che Viserys I Targaryen (Paddy Considine) non sarà in grado di governare Westeros per qualche tempo a causa di problemi di salute. Il Trono di Spade sarà conquistato da Otto Hightower (Rhys Ivans), che gestirà gli affari del regno mentre Viserys è via.

Apparentemente Vhagar dà anche ad Aemond una spinta alla fiducia o, a seconda di come la guardi, una lobotomia. L'ex addomesticato Targaryen è ora uno stronzo di altissimo rango, unendosi al fratello maggiore Aegon nel pantheon di Terrible TV Tots. Il furore di Baela e Rhaena per Vhagar è giustificato: hanno appena perso la madre e ora questo pezzo di lei volerà via con un piccolo principino viziato che non conoscono particolarmente bene. Inoltre, c'è il fatto aggiuntivo dello stato senza drago di Rhaena; potrebbe aver creduto che Vhagar le sarebbe passato naturalmente. E la colluttazione trasformata in squarcio nelle viscere di High Tide è decisamente istigata da Aemond, nonostante sia in inferiorità numerica e non abbia un'arma. Jace potrebbe tirare fuori un coltello, ma l'espressione sul viso di Aemond mentre tiene quella roccia sopra la testa di Luke ha una strana somiglianza con quella sul viso di suo zio Daemon quando ha colpito la testa di Rhea. È un'espressione di trionfo, come se dovesse infliggere crudeltà a qualcun altro per assicurarsi il suo nuovo senso di sé.

La coreografia qui è impeccabile, con le vibrazioni di Lord of the Flies che rimbalzano da ogni direzione e una chiara comprensione di come i bambini graffiano e prendono a pugni. La scena è anche uno specchio intelligente di come gli adulti gestiscono le stesse accuse e offese.

Come suo figlio, Alicent è cresciuta una spina dorsale delle dimensioni di quella di Vhagar. Quando Viserys insiste affinché Rhaenyra ripeta il "vile insulto" che Aemond ha scagliato contro suo figlio, Alicent presume che metterà Rhaenyra alle strette, che una volta che la principessa avrà detto ad alta voce che il lignaggio dei suoi figli è stato messo in dubbio, Viserys dovrà fare i conti pubblicamente con questo crisi di legittimità. Ma il re ora non è altro che una pedina; Alicent lo spinge in una direzione, e poi Rhaenyra lo respinge di nuovo. La sua soluzione è chiedere a tutti loro di stringere la mano, fare pace, lasciare che il passato sia passato, come se l'apice del potere terreno non fosse il premio in gioco in questa lotta. Rhaenyra può regolare le sue vele di conseguenza; può avere il sangue del drago, ma può rinfrescarsi. Alicent ha dieci anni di rabbia nel suonare il secondo violino immagazzinato dentro di lei, e sarà dannata se in questa lotta non avrà almeno la parità - il che significa, ehm, l'occhio di un bambino.

E oh come vola a Rhaenyra! Dopo la pudica, quasi spettrale Alicent che gli showrunner hanno dato a Emily Carey per interpretare, è magnifico vedere Olivia Cooke aprire la bocca e scatenare una tempesta. Per un breve momento la telecamera ingrandisce il pugnale d'acciaio di Valyria che ha strappato dalla cintura di suo marito, lo stesso che Viserys ha mostrato a Rhaenyra e usato per imprimerle il requisito che solo i Targaryen detengano il trono, perché solo loro possono produrre il principe Quello era promesso. Alicent ignora le implicazioni più ampie, ma non è difficile tracciare un collegamento tra lo sguardo di Rhaenyra sul pugnale e la sua proposta frettolosa a Daemon. Per i Targaryen solo il sangue puro è sangue reale e Daemon non solo può aiutarla a proteggere la sua successione, ma anche a mantenere pulita la dinastia della sua famiglia.

Dopotutto, legano letteralmente il loro sangue. La cerimonia del matrimonio dei Targaryen - inserita in questo episodio, a suo detrimento - richiede ferite multiple e scambi saguinali. La saga di Daemon-Rhaenyra-Voleranno-o-non-vogliono volge al termine, con la più delicata delle scene di sesso tra le dune e la più sanguinosa delle cerimonie sulle rocce. Ma il vero brivido della loro unione è come ce l'hanno fatta, e la vera opportunità persa dell'episodio è la rapidità con cui rivelano la svolta.

Immagina se non avessimo saputo che il corpo carbonizzato nel camino non era Laenor, ma il tizio senza pretese che trotterellava giù per le scale a High Tide a cui era storto il collo. Immagina se non avessimo visto Laenor e Qarl remare verso Essos, dove vivranno felici dell'oro di Daemon. Immagina se House of the Dragon rallentasse, solo un po', e ci lasciasse vivere nell'incertezza.

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[houseofthedragon1x05streaming]

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House of the Dragon 1x05 Stagione 1 Episodio 5 - https://hotd-1x05-ita.blogspot.com/

Il trailer del quinto episodio dello show è uscito dopo la premiere del quarto episodio e anticipa un altro matrimonio fallito. Alla fine dell'ultimo episodio, a Rhaenyra viene detto che dovrà sposare Laenor Velaryon per rafforzare le loro case. Riunendo questi due, le casate più potenti del regno avranno un altro legame tra loro e la pretesa al trono di Rhaenyra diventerà ancora più forte.

Il Trono di Spade, se si astrae dalla sua disordinata stagione finale (e dagli ultimi tre episodi abissali), è una delle più grandi serie fantasy di tutti i tempi. La serie ha un profilo generale così forte che prepara il terreno per future serie fantasy nonostante alla fine armeggi con la palla con un tale rigore da definire anche il terreno per "armeggiare con la palla", non solo tra le serie fantasy ma tra la totalità di serie televisiva stessa. Allora come lo segui?

House of the Dragon ha un compito non invidiabile in almeno due modi. È il primo progetto di Thrones ad emergere dopo la fenomenale serie complessiva di quella serie principale, ed è il primo ad emergere dopo il sospiro di morte collettivo di così tanti fan in seguito al monumentale crollo della serie (grazie principalmente a David Benioff e D.B. Weiss che sono stati sopraffatti da guidare la nave e voler passare ad altre cose). Non è proprio un contesto fruttuoso in cui si inizia una serie… ma eccoci qua.

House of the Dragon è una serie prequel ambientata duecento anni prima di Thrones, incentrata sulla Casa Targaryen e sulla sua famigerata guerra di successione. Paddy Considine è re Viserys Targaryen, la cui primogenita, la principessa Rhaenyra (Emma D'Arcy), si aspetta di essere la prima regina reggente quando i suoi piani vengono sconvolti contemporaneamente dalla nuova moglie del re e da suo fratello, il principe Daemon Targaryen (Matt Smith), un -sii conquistatore che non amerebbe nient'altro che il trono. In Thrones, siamo stati catapultati in una situazione politica tenue fin dall'inizio. In Dragon non abbiamo ancora visto il fuoco di un conflitto politico aperto, ma stiamo vedendo i carboni ardenti del conflitto: è un'atmosfera diversa, ma chiaramente nel mondo di Thrones. Vediamo anche i fattori emergenti che fanno presagire una massiccia serie di conflitti tra le case, insieme a una serie di caratteristiche che distinguono Thrones dalle altre serie TV fantasy: draghi, sesso, violenza e così via.

Paddy Considine è un eccellente, anche se smorzato, King Viserys. La virtuosa, in crescita e intrigante Rhaenyra di Emma D'Arcy è un'aggiunta complessa in molti modi buoni, e la sua traiettoria morale finale è particolarmente misteriosa: come lei individua, si potrebbe vederla diventare un'eroina con la stessa facilità di un tiranno. Nel frattempo, Prince Daemon di Matt Smith è eccezionale. Ad essere onesti, questo recensore non l'ha visto davvero lavorare nel ruolo, e sono il primo ad ammettere quando mi sbaglio: in quanto Daemon è astuto, poliedrico, ambizioso e simpatico pur essendo al limite del male a volte. È un mistero e precede la concorrenza. È un ruolo divertente e lui chiaramente si diverte.

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House of the Dragon Episodio 2 - https://house-of-the-dragon-episodio-2.blogspot.com/

Il trailer di due minuti e tredici secondi racchiude un sacco di filmati dal resto della prima stagione di House of the Dragon. Inizia con una ripresa di Rhaenyra su Syrax che arriva a Roccia del Drago, con grande shock di Otto Hightower (Rhys Ifans) e dei suoi uomini. voce fuori campo della giovane Rhaenyra. Poi otteniamo alcune scene inquietanti di cameriere che si affrettano, qualcuno che "si fa da solo libero" e figure avvolte nell'ombra. Nella voce fuori campo, il giovane Rhaenyra dice lentamente: "Dal mio sangue viene il principe che era stato promesso, e la sua volontà sarà il canto del ghiaccio e del fuoco".

La Casa Targaryen è conosciuta per una manciata di tratti, inclusi i capelli argentati; il loro temperamento pungente; il loro atteggiamento rilassato nei confronti dell'incesto; la loro tendenza alla follia; e, naturalmente, i loro draghi. Il pensiero popolare può supporre che potremmo fare a meno di tutto tranne che di quei terrori sputafuoco, ma "La casa del drago" mette alla prova questa teoria.

Quando inizia il prequel "Il Trono di Spade", la terra è pessima con i Targaryen, la cui casata ha 10 draghi sotto il loro comando, assicurando il loro dominio dinastico per un secolo. Ma avere una mandria di carri armati volanti non li rende particolarmente eccitanti essere in giro. Non che i regni abbiano molto di cui lamentarsi sotto Re Viserys I (Paddy Considine), l'attuale occupante del Trono di Spade, e, in una svolta off-brand, un ragazzo ragionevole (cioè noioso).

Ciò non significa che la sua regola sia inattaccabile. Suo fratello Prince Daemon (Matt Smith, "Doctor Who") è impetuoso, violento ed egocentrico, credendo di essere molte volte più un drago che suo fratello. Nello spazio di un episodio, Daemon controlla quasi tutte le caselle dell'elenco delle qualifiche di Evil Targaryen tranne che per l'amore grossolano della famiglia, ma resta sintonizzato. Sua cugina Rhaenys (Eve Best) è stata abbandonata dal vecchio re nonostante fosse benvoluta e sposata con Lord Corlys Velaryon (Steve Toussaint), capo della casata più ricca del Continente Occidentale. Il titolo non ufficiale di Rhaenys, la regina che non è mai stata, è un riconoscimento ambiguo della sua idoneità a governare – e lei lo accetta, anche se con un sorriso teso, sapendo che suo marito ha la più grande Marina del mondo.

Il primo adattamento della HBO delle saghe di Westeros di George R.R. Martin ha resistito all'introduzione dei suoi draghi fino all'ultimo momento della prima stagione. Poiché "House of the Dragon" è ambientato 172 anni prima del rovesciamento del Re Folle e della nascita di Daenerys, gli avvistamenti sono molto più comuni; quando uno stride su Approdo del Re nell'episodio di apertura, la gente comune a malapena sbatte le palpebre. Ciò corrisponde all'energia prevalente dei primi episodi, poiché Martin e il suo co-creatore e showrunner Ryan Condal riforniscono un palcoscenico familiare con nuovi giocatori. Ma riavvolgono anche l'orologio alla versione più lenta del ribollente intrigo di palazzo, richiedendoci di acclimatarci a nuove poste in gioco. In passato, il Re della Notte è un'ombra e un mito, e i Lannister sono una famiglia di tentatori. L'intero King's Landing sembra fresco e, a dire il vero, un po' semplice; il budget degli effetti visivi sembra aver subito un duro colpo. Tra i lati positivi, il gioco della parrucca dello show è un miglioramento rispetto a dove è iniziato "Il Trono di Spade".

Anche altri elementi dell'approccio dei produttori migliorano rispetto all'originale, fondamentale è il focus narrativo su Rhaenyra Targaryen, la primogenita di Viserys e una cavalcadradraghi come suo padre e i suoi cugini. Rhaenyra è più giovane quando la incontriamo per la prima volta (e interpretata da Milly Alcock), con una corporatura esile e una calma che smentiscono una feroce dignità di governare.

Il suo punto di vista informa il modo più equilibrato in cui gli scrittori presentano le donne in una società programmata per cancellarle. È tanto una reale quanto un aspirante generale, abile nel cavalcare i suoi draghi e nel resistere al suo pericoloso zio Daemon, che apprezza la sua caparbietà.

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[multiverseofseries]

House Of The Dragon

House Of The Dragon la serie spinoff di Game Of Thrones, che si basa sul libro "Fuoco e Sangue" di G.R.R.Martin, che è dedicato interamente alla dinastia Targaryen negli scorsi giorni ha fatto il suo debutto nel mondo con la sua prima puntata.

Ambientato quasi 200 anni prima della serie madre ci narrerà la lotta intestina che affliggerà la casata del drago per la successione al Trono di Spade. Il primo episodio infatti si apre con un breve prologo narrato dalla voce di Emma D'Arcy, interprete di Rhaenyra da adulta che vedremo più avanti nella serie, che informa lo spettatore sui fatti accaduti precedenti alla serie. (mia personalissima opinione, non richiesta, Emma D'Arcy narrami la vita la sua voce ad inizio episodio da brividi).

House Of The Dragon è riuscita, in questo primo episodio, ad unire ciò che ha reso Game of Thrones una serie epica con nuovi particolari che renderanno la storia molto più affasciante e gettando un pò di luce su quella dinastia che nella serie principale ci è solo stata narrata superficialmente.

Le scenografie con le musiche, l'ottima caratterizzazione dei personaggi e l'immensa bravura del cast attoriale, non mi soffermo sulla bravura di Paddie Considine o Matt Smith perché sarebbe rimarcare l'ovvio, ma ci tengo sottolineare l'impeccabile interpretazione delle due giovani attrici Milly Alcock e Emily Carey, che interpretano rispettivamente Rhaenyra e Alicent da adolescenti, che accompagnano lo spettatore in questa nuova narrazione di un mondo già conosciuto, dando così a chi era già fan della serie madre di ritornare dopo un lungo viaggio a casa.

Posso dire che personalmente mi sono ritrovata a partire molto prevenuta nei riguardi di questa serie vista la bruciante delusione provocata dal finale di Game of Thrones, ma House of The Dragon sembra avere tutte le carte in regola per superare la serie originale, (beh, almeno per quanto riguarda questa serie il finale della storia nei libri è già stato scritto e quindi gli sceneggiatori avranno una linea guida da seguire e non ci sarà spazio per improvvisazioni volte solo a scioccare il pubblico).

Per il momento siamo solo alla prima puntata ma ci aspettano grandi cose, quindi prepariamoci ad affrontare con indomito coraggio intrighi, tradimenti (sentite la citazione a Xena ci stava tutta XD) e grandi battaglie ma sopratutto prepariamoci al Fuoco e al Sangue.

[showtellerdramaaddicteduniverse]

Scelto primo attore per il prequel di Game of Thrones

Ecco chi è il primo attore scelto per il prequel di #GameofThrones , House of the Dragon

Articolo preso e tradotto da tvline.com

Entra uno dei draghi.

Ecco chi è il primo attore scelto per il prequel

Il protagonista di The Outsider, Paddy Considine avrà un ruolo regale nella serie HBO prequel di  Game of Thrones, House of the Dragon.

L’attore britannico interpreterà King Viserys Targaryen nella prossima serie, ambientata 300 anni prima della serie originale di Game Of…

[hadarlaskey]

How to Build a Girl

Beanie Feldstein is the closest thing we have to a modern day Molly Ringwald. She continues a run which started with a scene-stealing supportive role in Ladybird and co-lead in the whip-smart Booksmart. Now Feldstein has moved across the pond, travelled back to the early ’90s, stuck on a frumpy school uniform and adopted a (sometimes dodgy) Brummie accent in Coky Giedroyc’s How to Build a Girl.

Adapted from a semi-autobiographical bestseller by journalist Caitlin Moran (who is also on screenwriting duties), the film sees Feldstein as Johanna, a lonely 16-year-old girl who hasn’t quite figured out who or what she wants to be yet. Growing up in a cramped council house in Wolverhampton with four siblings, a puppy farm, a past-his-sell-by-date rock drummer dad (Paddy Considine) and a mum struggling with postnatal depression (Sarah Solemani), Johanna is left to her own devices – which includes an overly zealous imagination.

She chats to her wall of heroes (including Sylvia Plath, the Brontës and Jo March) and her best friend is Bianca, the border collie. Bursting with creativity but with no outlet to speak of, Johanna enters a journalist competition for a London music magazine with a review of the Annie soundtrack and somehow gets hired as the office pet.

The first half of How to Build a Girl, when Johanna is falling in love with rock, running after big city lights and figuring out her sexuality, is full of magical moments. Giedroyc playfully makes posters come alive and they become Johanna’s confidants, a highlight being Bjork on a magazine cover telling her to get up and fight for space in the magazine because, “room’s like that needs girls like you.” Fighting fire-with-fire in the hostile boys’ club office, Johanna is told she needs to be tougher to get commissions and she reinvents herself as the red-haired, top-hat donning Dolly Wilde, “pop’s gatekeeper,” a critic on a rampage to destroy as many bands’ careers as she can get her hands on.

Feldstein is clearly having the time of her life in the lead, getting to play both the film’s goodie two shoes and the villain in a performance reminiscent of Emma Stone’s good-girl-goes-bad role in Easy A. It’s a shame, then, that the second half of How to Build a Girl loses momentum before screeching to a stand-still with a concluding monologue that is, at best, mildly sweet and, at worst, utterly cringe-inducing.

Johanna is emphatic that her story is not one defined by a boy, which is laudable, but the film also struggles to flesh out any meaningful relationships for its protagonist. A short scene between Johanna and her mum in bed is perfectly pitched, and it’s a shame their relationship isn’t covered in more depth. Yet despite narrative flaws, it’s hard not to find Giedroyc’s film charming — a bit like looking back at old school photos of yourself. So, how do you build a girl then? By trial and error the film suggests, not unlike the filmmaking on display here.

The post How to Build a Girl appeared first on Little White Lies.

source https://lwlies.com/reviews/how-to-build-a-girl/

[creativinn]

See your favourite actors playing their dream roles at this new art exhibition in Stockport - I Love MCR®

It might seem like actors are living their dream, but most of them will be harbouring secret hopes of playing a character that’s so far eluded them.

This is the inspiration behind Joe Simpson’s latest exhibition ACT, in which the visual artist asked some of his favourite actors what role they’ve always wanted to play but never had the chance to make a reality.

Actors including Olivia Colman, Mark Gatiss, John Simm, Paddy Considine, Charlie Cox, Warwick Davis, Matt Lucas, Gugu Mbatha-Raw and Eleanor Tomlinson all got involved.

“The only stipulation was that it’s something they haven’t done before, so that it’s totally new,” says Joe, who’s been working on the series of fictional scenes for five years.  

Before embarking on each of the oil on canvas paintings, Joe spent time with each actor, discussing their ideas about the role and why they chose it, and then collaborated on what would be included in the finished piece.

“I then took the original photographs of the actor in costume and used these as references to create the painting with an imagined background and setting, like a film still from a film that doesn’t exist,” explains Joe.

“I wanted to re-invent the role they have chosen, imagining my interpretation of how that could look.

“These are the most researched pieces I’ve worked on, where I study each role and create a scene from scratch – which includes making costumes, referencing cinematography, genre conventions and character profiles and visiting authentic locations – all to build a single frame story.

“I spent over two months on each piece and filmed a time lapse of the process.”

As part of the touring exhibition, which will be stopping off at Stockport War Memorial Art Gallery from 25th January, Joe will also be displaying moments from behind-the-scenes, with concept sketches, time lapses and insights into the motivations behind the actors’ choices.  

“For example, Matt Lucas chose Singin’ in the Rain as he grew up loving musicals and his first screen crush was Gene Kelly. Initially, he was going to pick the role of Annie (the 1982 film) – which would have been a very different painting,” says Joe. 

“Olivia Colman chose the Lars Von Trier movie Breaking the Waves, which she’d only seen once, but it made such a profound impact on her she’s never stopped thinking about it.

“Michael Sheen said he’d pretty much played every role he wanted to play, but he was in love with Maurice Sendack’s book Where the Wild Things Are, from reading it as a child to reading it to his daughter.

“He even owns his own costume to wear at home.

“Gugu Mbatha-Ra’s first professional role was a background character in the stage play of Cleopatra at Manchester Royal Exchange Theatre and said it’s her ambition to play the lead role.”

Joe, whose paintings have been shown both nationally and internationally including The National Portrait Gallery, The Royal Albert Hall and Manchester City Art Gallery, also created black and white acrylic studies of each actor that will be shown in the exhibition.

“This project draws threads from all my previous work, including portraiture of notable subjects and exploring the narrative potential of the still image, into a more complex and realised vision,” he says.

“It’s the most ambitious and challenging project I’ve ever attempted.”

Catch ACT at Stockport War Memorial Art Gallery from 25th January to 3rd March 2020.

This content was originally published here.

[larryland]

A public reading of the winning works will be held October 3rd at 7 pm.

(Dorset, VT – September 25, 2018) Dorset Theatre Festival provides opportunities for regional middle and high school students to learn about playwriting and create a play of their own through its annual Jean E. Miller Young Playwrights Competition. A public reading of this year’s winning works will be held on Wednesday, October 3 at 7 pm.

This event will be held at the Manchester Community Library, located at 138 Cemetery Ave., Manchester, VT. This event is free and open to the public. Seating is general admission, and no ticket is required.

The Jean E. Miller Young Playwrights Competition is an annual collaboration between Dorset Theatre Festival and local schools. Each spring, visiting playwrights and Bennington College mentors teach a series of playwrighting workshops at participating schools, after which students are invited to submit a short play for adjudication by a panel of nationally recognized playwrights. Winners are chosen in autumn, and their works are then given a public reading.

Twelve Vermont schools participated in this year’s workshops, from which 54 plays were submitted to panel of 12 judges.

This year’s high school winners are Katie McCartney from Arlington Memorial School (faculty mentor: Gayna Cross) and Max Harvey Wilson from Long Trail School (faculty mentors: Anna Bean and James Gallen). This year’s middle school winners are Cristina Gregory from Stratton Mountain School (faculty mentor: Mary Mangiacotti) and Meredith Haber and Mackenzie Morgan, who co-wrote their submission, from Maple Street School (faculty mentor: Conor Welch).

Annie Considine and Maizy Scarpa were this year’s visiting playwrights. Considine is a playwright, director, and actor based in Lenox, Massachusetts, where she is a teaching artist with Shakespeare & Company. She has directed over seventeen educational productions of Shakespeare’s plays. Scarpa, whose plays include Pandora Shakes Things Up and Cirque du Dismay, is also a teaching artist at Shakespeare & company, in addition to having taught at Hampton Shakespeare Festival and English as a Foreign Language in Erbil, Kurdistan.

“I was delighted by the creativity and dedication of the students and teachers I met while leading workshops in Vermont schools. I met keen observers, kind people, and talented writers,” said Scarpa, adding, “Those who attend the culminating event will no doubt be impressed and inspired.”

For more information on the Jean E. Miller Young Playwrights Competition, visit dorsettheatrefestival.org.

ABOUT DORSET THEATRE FESTIVAL

Dorset Theatre Festival’s mission is to create bold, innovative, and authentic theatre that engages a diverse, multi-generational community, and economically diverse region: enlightening, entertaining, and inspiring our audience through the celebration of great plays. We aim to redefine the landscape of theatre by presenting thought-provoking productions drawn from the new and classic canon, as well as through the development of new plays, new audiences, and new artists for the future of American theater. We produce theatre that matters.

The Dorset Theatre Festival will return to the Dorset Playhouse in June 2019 for the 42nd annual summer season.

  Announcing the Winners of Dorset Theatre Festival’s 5th Annual Jean E. Miller Young Playwrights Competition A public reading of the winning works will be held October 3rd at 7 pm. (Dorset, VT – September 25, 2018) …

[aion-rsa]

How To Build A Girl Review: a Grungy British Answer to The Devil Wears Prada

https://ift.tt/eA8V8J

Caitlin Moran is kind of a big deal. A multi-award winning journalist, a highly influential feminist after her non-fiction book How To Be A Woman, and now a successful movie screenwriter as her novel How To Build A Girl Comes to the big screen. Or rather it would have, were it not for COVID19, instead the movie lands on Amazon Prime after it premiered at the Toronto Film Festival last year.

How To Build A Girl is the semi-autobiographical story of Johanna Morrigan, a 16-year-old from a big family growing up in Wolverhampton in the ‘90s. With How To Be A Woman and the TV series Raised By Wolves Moran has told stories of her childhood before but this particular version is centred on her early career as a music journalist. Johanna, played with considerable charm by Beanie Feldstein, is an idealistic teenager who is close to her musician father (Paddy Considine). She’s a gifted writer too and after she enters a reviewing competition writing about the Annie soundtrack she bags a role writing for music weekly D&Me – a stand-in for Melody Maker, which Moran herself began reviewing for when she was just 16.

A lone girl in a world of men, Johanna decides to reinvent herself as Dolly Wilde, a more confident and outrageous version of herself. Dolly learns quickly that in her field passion, honesty and enthusiasm aren’t anywhere near as prized as snark and mockery, churning out one liners like “Jump Around by House of Pain is the kind of music testicles would make” until Dolly becomes a celebrated a-hole.

How To Build a Girl is as much a love letter to the heyday of print entertainment journalism as it is a coming of age tale. Almost like a grungy Brit alternative to The Devil Wears Prada, it’s easy to see how anyone, not least a hard-up teenaged girl, would get seduced by the heady world of parties and awards, access all areas and screaming fans of your own. The dresses get more elaborate, the egos get bigger and something’s got to give.

This is way more than a tale of hubris though. Moran’s script is sharp and funny and peppered with some of her favourite themes – family, class, sex, wanking – and there’s a love story here too. Johanna’s first interview becomes her first major crush in the form of Alfie Allen’s John Kite – not the damaging rock star diva but a genuinely sweet musician played incredibly sympathetically by Allen.

It’s a positive female coming of age story in the vein of Booksmart, which Beanie Feldstein also starred in, and while How To Build A Girl doesn’t have quite as much quirk and flair as that film, director Coky Giedroyc has fun and ups the cameo count via the images of her heroes that adorn Johanna’s walls and offer her sage advice. Sue Perkins and Mel Giedroyc play the Bronte sisters, Michael Sheen is Sigmund Freud, Lily Allen is Elizabeth Taylor, while Gemma Arterton is an adorable Mari Von Trapp. What she also nails is the very specific intoxicating danger of being a young woman in a world of powerful blokes.

For the most part How To Build a Girl is a good-natured bit of wish fulfilment but where it’s at its strongest is in its absolute refusal to allow Johanna/Dolly, to ever accept a victim role. Her mistakes are her own and she will take responsibility for them in her own way, and the toxic posh boys who run the paper and think they own the world don’t get to define and objectify her in the way they think they can. Feldstein sells the role absolutely. Johanna is joyful and exuberant, arrogant but self-aware (there’s a great bit where she finds herself left off a guest list and exclaims “Don’t you know who I thought I was six weeks ago?!”), and Feldstein even manages to nail the Wolves accent. As a coming-of-age comedy, How To Build A Girl is sweet and funny but as a look at how Moran began to construct the woman she wanted to become, this could have been called Caitlin Begins.

The post How To Build A Girl Review: a Grungy British Answer to The Devil Wears Prada appeared first on Den of Geek.

from Den of Geek https://ift.tt/3jBlyRr

[muslim-library]

Insegnamenti del Profeta Muḥammad riguardo la prevenzione

https://is.gd/Ohaojk

Insegnamenti del Profeta Muḥammad riguardo la prevenzione

Insegnamenti del Profeta Muḥammad riguardo la prevenzione e la protezione dalle malattie e dalle epidemie

Insegnamenti del Profeta Muḥammad riguardo la prevenzione  Più di quattordici secoli fa, e prima della comparsa di quella che oggi chiamiamo medicina preventiva, il Profeta dell’Islam, l’ultimo dei Profeti, Muḥammad ﷺ, ci ha guidati con l’esempio delle sue azioni e con i suoi detti, i quali sono in linea con il Messaggio contenuto nel nobile Corano, che Dio definisce guida, misericordia, luce e guarigione. Questa guida conferisce felicità e tranquillità, prevenzione e protezione dalla preoccupazione, dal male, dalle malattie e dalle epidemie, come il Coronavirus (COVID-19). In un articolo pubblicato il 17 marzo 2020 su Newsweek, il Professor Craig Considine chiede: «Sapete chi altro ha consigliato di curare l’igiene, di rispettare la quarantena e il distanziamento sociale durante una pandemia?» E la sua risposta è: «Muḥammad ﷺ, il Profeta dell’Islam, più di 1300 anni fa.

Nonostante non fosse un esperto nel campo della medicina, Muḥammad ﷺ ha dato indicazioni su come prevenire e combattere situazioni come quella causata da COVID-19».

Il dr. Considine fa riferimento ai seguenti detti del Profeta Muḥammad ﷺ: «Se venite a sapere che in un determinato territorio c’è un’epidemia, non recatevi in quel territorio. E se vi trovate in un territorio in cui è scoppiata un’epidemia, non uscite da esso.» (Saḥìḥ al-Bukhàrì) «Chi è malato non deve stare con chi è sano.» (Saḥìḥ Muslim)

La pratica religiosa islamica inoltre prevede dei comportamenti che oggi sono universalmente raccomandati per minimizzare le infezioni e i contagi. Ad esempio i musulmani devono lavarsi accuratamente le mani e altre parti del corpo durate l’abluzione che precede le cinque preghiere quotidiane, devono lavarsi le mani prima e dopo aver mangiato, dopo essere andati in bagno, e in molte altre occasioni; ai musulmani è raccomandato anche di tagliarsi le unghie e di farsi il bagno almeno una volta in settimana, e di coprirsi la bocca quando starnutiscono o tossiscono.

Source: islamhouse

[newyorktheater]

The choices below are personal favorites; the ranking is somewhat arbitrary.

Paddy Considine as Quinn Carney (center, standing) and the company of The Ferryman

Guillaume Gallienne as the scheming Friedrich Bruckmann and Elsa Lepoivre as the ambitious widow Baronne Sophie Von Essenbeck in Ivo van Hove’s The Damned, after Sophie’s son as tar and feathered her.

Lucas Hedges and Elaine May in The Waverly Gallery by Kenneth Lonergan, directed by Lila Neugebauer.

Glenda Jackson

: Steven Skybell and Male Ensemble in “To Life” (“Lekhayim” ל ‘חיים)

Noah Robbins and Edmund Donovan in Clarkston

In the Body of the World

Dance Nation

In a political atmosphere that is at the very least fractured, and has often felt just a few steps away from something even worse, I am grateful for theater in 2018 in a way that transcends any strictly aesthetic assessment. I am grateful for: …the many shows confronting New York theatergoers with the issue of police shooting unarmed black, ranging from “Black, White & Blue” a ten-minute play by William Watkins at the Fire This Time Festival to Scraps, Geraldine Inoa’s playwriting debut Off-Off Broadway, to Christopher Demos-Brown’s American Son on Broadway …the welcome revivals of gay plays to remind us how far we’ve come and how much we could lose, especially Angels in America, Boys in the Band and Torch Song; and such Broadway entertainments as The Prom and especially Head Over Heels , which though primarily giddy musicals, seamlessly endorse of love and acceptance in all its contemporary forms, especially gay/queer/gender-fluid. …the plays and musicals that offer a glimpse into the culture, struggles and humanity of individual immigrants and immigrant communities, including Miss You Like Hell, An Ordinary Muslim, Pale India Ale, queens.

None of these specific titles are in my top 10 list, a tradition that this year seems even hoarier than usual, but that I am nevertheless putting together because it’s a proven way of getting more attention to shows that deserve it. As of this writing, there are only nine on the list below. I’m looking forward to at least a couple of shows in December that, if any live up to their promise, will be added here. There are drawbacks in putting forward a list before the very end of the year. I wrote my top 10 in 2017 before seeing “A Room in India,” devised by Théâtre du Soleil and presented at the Park Avenue Armory, which was definitely one of my favorite of the year. But Thanksgiving weekend seems the most apt time to express one’s gratitude.

1. The Ferryman

By the time “The Ferryman” has ended, we have been treated to a breathtaking mix of revenge action thriller, romance, melodrama, family saga, and a feast of storytelling – ghost stories, fairy stories, stories of Irish history and politics, stories of longing and of loss. Jez Butterworth’s play about farmer Quinn Carney and his sprawling, colorful family is rich, sweeping entertainment — epic, tragic….and cinematic. climax of “The Ferryman.” But its underlying themes (such as the wages of hatred) also add heft to what seemed merely to be the most thrilling play of the Broadway season.

2. The Damned

“The Damned,” Ivo van Hove’s intense, extraordinary stage adaptation of Luchino Visconti’s 1969 film, offered pivotal turning points in the story of the corruption, perversion and destruction of the wealthy German industrialist family at its center. Van Hove directed a remarkable cast from the 338-year-old Comédie-Français, who perform in French with English subtitles in the cavernous Wade Thompson Drill Hall of the Park Avenue Armory. The real-life events dramatized from 1933 felt like lessons not just in the creep of fascism, but in stagecraft from the avant-garde Belgian director – stagecraft that is ferociously inventive, unrelenting, and unsurpassed.

3. The Waverly Gallery

Elaine May is back on a Broadway stage after more than 50 years, and making the most of it in The Waverly Gallery, Kenneth Lonergan’s meticulously observed, funny and sad play about a woman’s decline and its effect on her family. May is not alone. She is one of five stellar cast members, notably Lucas Hedges making a splendid Broadway debut. They turn this 18-year-old play into…if not required, certainly well-rewarded viewing.

4. Three Tall Women

It is hard to imagine a better production of Edward Albee’s humorous, caustic, secretly compassionate look at a life – and a death. It felt a fitting homage to the playwright, who died in 2016. Glenda Jackson returned to Broadway after an absence of three decades The play, which debuted in 1994 Off-Broadway and revived Albee’s reputation after 20 years of critical drubbing, had never been on a Broadway stage before.

5. Fiddler on the Roof, in Yiddish

The first Yiddish-language production of the hit 1964 musical was only supposed to run (at the Museum for Jewish Heritage) for two months. It kept on getting extended, and will now transfer Off-Broadway in January. This is surely proof that the production appeals to way more than just speakers of Yiddish. (Indeed, some fluent in Yiddish have commented that the pronunciation by some of the performers needs work.) It’s as entertaining as any Fiddler I’ve seen, and it’s something of a revelation as well. This makes sense: The musical, after all, is based on the 19th century short stories by Sholom Aleichem, who wrote in Yiddish about Tevye the Dairyman, his family and his neighbors.

6. Lewiston/Clarkston

“ Lewiston/Clarkston” are two powerfully affecting plays by Samuel D. Hunter about 21stcentury descendants of the 19thcentury North American explorers Meriwether Lewis and William Clark. The plays are being presented one after the other in a single evening, separated by a communal dinner during the half-hour intermission, in a production at Rattlestick Playwrights Theater that one might consider an experiment in stagecraft. The theater has been completely reconfigured for the show, with the removal of its decades-old proscenium stage and of its raked stadium seating. Now, just 50 members of the audience sit in a row of folding chairs on either side of a plain playing space only 13 feet wide. As a result, the two dramas play out in close-up. The small playing space feels especially appropriate thematically, reflecting the circumscribed lives of the plays’ six characters, who reside in two nearby towns, named after Lewis and Clark, in what was once America’s wide-open frontier.

7. In the Body of the World

Perhaps you would have thought it chutzpah that in “In The Body of the World, Eve Ensler merged her story of her fight against uterine cancer with world crises such as mass rape in the Congo and the deadly oil spill in the Gulf of Mexico. Maybe you would have been squeamish at her graphic storytelling of her illness, treatment and recovery, during which she literally bared her physical scars, and exposed her emotional ones, which were more disturbing. You could well have disapproved of her self-defeating and dubious speculation about what might have caused her cancer – from tofu to Tab to bad reviews. You could grapple with all these reactions to Eve Ensler and her show – I certainly did at one time or another during its 90 minutes – and still have found “In The Body of the World” (as I did) eye-opening, entertaining, and one of the year’s most satisfying works of theater. Now a fan of Ensler’s, I rushed later in the year to see her play The Fruit Trilogy, which featured one of the most memorable performances I’ve ever witnessed in the theater.

8. Dance Nation

Like Sarah DeLappe’s The Wolves, and Annie Baker’s Circle Mirror Transformation, Clare Barron’s play was about something deeper than just a team of 13-year-old competitive dancers from Liverpool, Ohio aiming to win the Boogie Down Grand Prix in Tampa Bay. It was a funny, sharp and very blunt look at adolescent girls – portrayed by a terrific cast made up of actors as old as 60. For all the satirical touches, there are spot-on explorations of the sensitivities and insecurities but also boastfulness and bold curiosities of children who are developing into adults

9. The Mile Long Opera

The Mile-Long Opera: a biography of 7 o’clock,” featured 1,000 performers singing lyrics or reciting monologues along the entire 30 block length of the High Line. It was an astonishing, spectacular, moving, and deeply odd work of theater – the sort of the experiment for which you say, in wonder and in pride, “Only in New York.”

Top 10 New York Theater in 2018 to be Grateful For The choices below are personal favorites; the ranking is somewhat arbitrary. In a political atmosphere that is at the very least fractured, and has often felt just a few steps away from something even worse, I am grateful for theater in 2018 in a way that transcends any strictly aesthetic assessment.

[malte1mj-blog]

2005 Movie Awards

Best Picture: Brokeback Mountain Capote Mysterious Skin The New World Pride & Prejudice HONORABLE MENTION: Downfall, Good Night and Good Luck, Match Point, The Three Burials of Melquiades Estrada, Grizzly Man, Cache, Me and You and Everyone We Know, Munich, Broken Flowers, Millions, The Constant Gardener Best Director: Oliver Hirschbiegel, Downfall Ang Lee, Brokeback Mountain Terrence Malick, The New World Bennett Miller, Capote Joe Wright, Pride & Prejudice HONORABLE MENTION: Woody Allen, Match Point; Gregg Araki, Mysterious Skin; Danny Boyle, Millions; George Clooney, Good Night and Good Luck; Michael Haneke, Cache; Werner Herzog, Grizzly Man; Jim Jarmusch, Broken Flowers; Tommy Lee Jones, The Three Burials of Melquiades Estrada; Miranda July, Me and You and Everyone We Know; Fernando Meirelles, The Constant Gardener; Steven Spielberg, Munich Best Actor: Bruno Ganz, Downfall Joseph Gordon-Levitt, Mysterious Skin Philip Seymour Hoffman, Capote Tommy Lee Jones, The Three Burials of Melquiades Estrada Heath Ledger, Brokeback Mountain HONORABLE MENTION: Daniel Auteuil, Cache; Nicolas Cage, The Weather Man; Steve Carell, The 40 Year-Old Virgin; Russell Crowe, Cinderella Man; Jeff Daniels, The Squid and the Whale; Romain Duris, The Beat That My Heart Skipped; Ralph Fiennes, The Constant Gardener; Terrence Howard, Hustle & Flow; Tony Leung, 2046; Matthew Macfadyen, Pride & Prejudice; Viggo Mortensen, A History of Violence; Bill Murray, Broken Flowers; Joaquin Phoenix, Walk the Line; David Strathairn, Good Night and Good Luck Best Actress: Joan Allen, The Upside of Anger Juliette Binoche, Cache Claire Danes, Shopgirl Keira Knightley, Pride & Prejudice Reese Witherspoon, Walk the Line HONORABLE MENTION: Toni Collette, In Her Shoes; Rosario Dawson, Rent; Judi Dench, Mrs. Henderson Presents; Felicity Huffman, Transamerica; Miranda July, Me and You and Everyone We Know; Q’orianka Kilcher, The New World; Lisa Kudrow, Happy Endings; Radha Mitchell, Melinda and Melinda; Gwyneth Paltrow, Proof; Charlize Theron, North Country; Naomi Watts, King Kong Best Supporting Actor: Brady Corbet, Mysterious Skin Jake Gyllenhaal, Brokeback Mountain Terrence Howard, Crash Mickey Rourke, Sin City Donald Sutherland, Pride & Prejudice HONORABLE MENTION: Gary Beach, The Producers; George Clooney, Syriana; Clifton Collins Jr., Capote; Kevin Costner, The Upside of Anger; Bob Hoskins, Mrs. Henderson Presents; Owen Kline, The Squid and the Whale; Jesse L. Martin, Rent; Clive Owen, Sin City; Barry Pepper, The Three Burials of Melquiades Estrada; Peter Sarsgaard, Jarhead; Alexander Siddig, Syriana; Jeffrey Wright, Syriana Best Supporting Actress: Amy Adams, Junebug Maggie Gyllenhaal, Happy Endings Laura Linney, The Squid and the Whale Rachel Weisz, The Constant Gardener Michelle Williams, Brokeback Mountain HONORABLE MENTION: Maria Bello, A History of Violence; Anne Hathaway, Brokeback Mountain; Taraji P. Henson, Hustle & Flow; Scarlett Johansson, Match Point; Diane Keaton, The Family Stone; Catherine Keener, Capote; Gong Li, Memoirs of a Geisha; Shirley MacLaine, In Her Shoes; Rachel McAdams, The Family Stone; Frances McDormand, North Country; Idina Menzel, Rent; Thandie Newton, Crash; Rosamund Pike, Pride & Prejudice; Tracie Thoms, Rent; Faye Wong, 2046; Zhang Ziyi, 2046 Best Original Screenplay Broken Flowers - Jim Jarmusch Good Night, and Good Luck - George Clooney & Grant Heslov Match Point - Woody Allen Me and You and Everyone We Know - Miranda July The Three Burials of Melquiades Estrada - Guillermo Arriaga HONORABLE MENTION: Cache, Cinderella Man, The Family Stone, The 40 Year-Old Virgin, Happy Endings, Hustle & Flow, Junebug, Millions, The New World, Nine Lives, The Squid and the Whale, Syriana Best Adapted Screenplay: Brokeback Mountain - Larry McMurtry & Diana Ossana Capote - Dan Futterman Downfall - Bernd Eichinger Mysterious Skin - Gregg Araki Pride & Prejudice - Deborah Moggach HONORABLE MENTION: The Constant Gardener, A History of Violence, Munich, Proof, Serenity, Shopgirl, Wallace & Gromit: The Curse of the Were-Rabbit Best Ensemble: Brokeback Mountain The Family Stone Good Night, and Good Luck Nine Lives Syriana HONORABLE MENTION: Broken Flowers, Crash, Downfall, Happy Endings, Harry Potter and the Goblet of Fire, Hustle & Flow, Junebug, Match Point, Me and You and Everyone We Know, Munich, Mysterious Skin, Pride & Prejudice, Rent, Sin City Best Limited Performance - Male: Paddy Considine, Cinderella Man Christopher Guest, Mrs. Henderson Presents Levon Helm, The Three Burials of Melquiades Estrada William Hurt, A History of Violence Jason Isaacs, Nine Lives HONORABLE MENTION: Chris Cooper, Jarhead; Ralph Fiennes, Harry Potter and the Goblet of Fire; Rupert Friend, Pride & Prejudice; Rutger Hauer, Sin City; Michael Lonsdale, Munich; Bill Nighy, The Constant Gardener; Bill Sage, Mysterious Skin; Ray Wise, Good Night and Good Luck Best Limited Performance - Female: Lynn Cohen, Munich Judi Dench, Pride & Prejudice Corinna Harfouch, Downfall Jane Hogarth, Millions Robin Wright Penn, Nine Lives HONORABLE MENTION: Anna Faris, Brokeback Mountain; Annie Girardot, Cache; Carla Gugino, Sin City; Lisa Gay Hamilton, Nine Lives; Holly Hunter, Nine Lives; Gong Li, 2046; Roberta Maxwell, Brokeback Mountain; Sarah Paulson, Serenity; Miranda Richardson, Harry Potter and the Goblet of Fire; Chloe Sevigny, Broken Flowers Breakthrough Performance: Alex Etel, Millions Miranda July, Me and You and Everyone We Know Q’orianka Kilcher, The New World Owen Kline, The Squid and the Whale Tracie Thoms, Rent HONORABLE MENTION: Georgie Henley, The Chronicles of Narnia; Ashton Holmes, A History of Violence; Michelle Monaghan, Kiss Kiss Bang Bang; William Moseley, The Chronicles of Narnia; Brandon Ratcliff, Me and You and Everyone We Know; Kelly Reilly, Mrs. Henderson Presents Best Film Editing: Brokeback Mountain - Geraldine Peroni & Dylan Tichenor Match Point - Alisa Lepselter Mysterious Skin - Gregg Araki The New World - Richard Chew, Hank Corwin, Saar Klein & Mark Yoshikawa The Three Burials of Melquiades Estrada - Roberto Silvi HONORABLE MENTION: Batman Begins, Cache, Capote, Cinderella Man, The Constant Gardener, Downfall, Good Night and Good Luck, Grizzly Man, Harry Potter and the Goblet of Fire, Hustle & Flow, King Kong, Munich, Pride & Prejudice, Red Eye, Serenity, Sin City, Syriana, 2046 Best Cinematography: Brokeback Mountain - Rodrigo Prieto The Constant Gardener - Cesar Charlone Good Night, and Good Luck - Robert Elswit Munich - Janusz Kaminski The New World - Emmanuel Lubezki HONORABLE MENTION: Batman Begins, Cache, Capote, Downfall, Jarhead, King Kong, Memoirs of a Geisha, Millions, Nine Lives, Oldboy, Pride & Prejudice, Sin City, The Three Burials of Melquiades Estrada, 2046 Best Original Score: Brokeback Mountain - Gustavo Santaolalla Memoirs of a Geisha - John Williams The New World - James Horner Pride & Prejudice - Dario Marianelli Syriana - Alexandre Desplat HONORABLE MENTION: Batman Begins, The Beat That My Heart Skipped, The Chronicles of Narnia, Cinderella Man, The Constant Gardener, Corpse Bride, Harry Potter and the Goblet of Fire, King Kong, Mrs. Henderson Presents, Munich, Sin City, 2046, Wallace & Gromit: The Curse of the Were-Rabbit Best Original Song: Brokeback Mountain - "A Love That Will Never Grow Old" - Gustavo Santaolalla & Bernie Taupin Corpse Bride - “Tears to Shed” - John August & Danny Elfman The Hitchhiker's Guide to the Galaxy - "So Long and Thanks for All the Fish” - Christopher Austin, Garth Jennings & Joby Talbot Hustle & Flow - "It's Hard Out Here for a Pimp" - Paul Beauregard, Cedric Coleman & Jordan Houston Transamerica - "Travelin' Thru" - Dolly Parton HONORABLE MENTION: The Chronicles of Narnia - “Can’t Take It In”; The Chronicles of Narnia - “Wunderkind”; Corpse Bride - “Remains of the Day”; Elizabethtown - “Same in Any Language”; Howl’s Moving Castle - “The Merry-Go-Round of Life”; Hustle & Flow - “Hustle & Flow (It Ain’t Over)”; Rent - “Love Heals” Best Art Direction: Good Night, and Good Luck - James D. Bissell & Jan Pascale King Kong - Simon Bright, Dan Hennah & Grant Major Mrs. Henderson Presents - Hugo Luczyc-Wyhowski, Claudia Parker & Robert Wischhusen-Hayes Pride & Prejudice - Sarah Greenwood & Katie Spencer 2046 - William Chang & Alfred Yau HONORABLE MENTION: Batman Begins, Brokeback Mountain, Capote, Charlie and the Chocolate Factory, The Chronicles of Narnia, Cinderella Man, Downfall, Harry Potter and the Goblet of Fire, Memoirs of a Geisha, Munich, The New World, Serenity, Sin City, Wallace & Gromit: The Curse of the Were-Rabbit Best Costume Design: Cinderella Man - Daniel Orlando Memoirs of a Geisha - Colleen Atwood Mrs. Henderson Presents - Sandy Powell The New World - Jacqueline West Pride & Prejudice - Jacqueline Durran HONORABLE MENTION: Batman Begins, Brokeback Mountain, Capote, Charlie and the Chocolate Factory, The Chronicles of Narnia, Downfall, Good Night and Good Luck, Harry Potter and the Goblet of Fire, King Kong, Munich, Serenity, Sin City, 2046, Walk the Line Best Makeup: Capote The Chronicles of Narnia: The Lion, the Witch and the Wardrobe Harry Potter and the Goblet of Fire The New World Sin City HONORABLE MENTION: Batman Begins, Brokeback Mountain, Charlie and the Chocolate Factory, Cinderella Man, King Kong, Memoirs of a Geisha, Mrs. Henderson Presents, Pride & Prejudice, Rent, Serenity, Star Wars Episode III: Revenge of the Sith, 2046 Best Sound Mixing: Good Night, and Good Luck King Kong Rent Serenity Walk the Line HONORABLE MENTION: Batman Begins, Brokeback Mountain, The Chronicles of Narnia, Cinderella Man, Corpse Bride, Harry Potter and the Goblet of Fire, Hustle & Flow, Jarhead, Munich, The New World, Oldboy, The Producers, Red Eye, Sin City, Star Wars Episode III: Revenge of the Sith, 2046, Wallace & Gromit: The Curse of the Were-Rabbit, War of the Worlds Best Sound Editing: Batman Begins Harry Potter and the Goblet of Fire King Kong Munich Serenity HONORABLE MENTION: The Chronicles of Narnia, Corpse Bride, Downfall, Jarhead, Mr. & Mrs. Smith, Oldboy, Red Eye, Sin City, Star Wars Episode III: Revenge of the Sith, Wallace & Gromit: The Curse of the Were-Rabbit, War of the Worlds Best Visual Effects: Batman Begins Harry Potter and the Goblet of Fire King Kong Serenity War of the Worlds HONORABLE MENTION: Charlie and the Chocolate Factory, The Chronicles of Narnia, Mr. & Mrs. Smith, Sin City, Star Wars Episode III: Revenge of the Sith Best Foreign Film: The Beat That My Heart Skipped - Jacques Audiard Cache - Michael Haneke Downfall - Oliver Hirschbiegel Oldboy - Park Chan-wook 2046 - Wong Kar-Wai HONORABLE MENTION: Howl’s Moving Castle Best Documentary: Enron: The Smartest Guys in the Room - Alex Gibney Grizzly Man - Werner Herzog Mad Hot Ballroom - Marilyn Agrelo Murderball - Henry Alex Rubin & Dana Adam Shapiro Twist of Faith - Kirby Dick HONORABLE MENTION: March of the Penguins, Sarah Silverman: Jesus Is Magic Best Animated Film: Corpse Bride - Tim Burton & Mike Johnson Howl’s Moving Castle - Hayao Miyazaki Wallace & Gromit: The Curse of the Were-Rabbit - Steve Box & Nick Park HONORABLE MENTION: Chicken Little, Robots Every 2005 Film I've Seen: Ranked

[magliecalcio18-blog]

Aberdeen 2-1 Apollon Limassol: Il fulmine di Graeme Shinnie Europa League dà il vantaggio di Dons

Lo skipper di Dons ha coperto un display ispiratore spostando uno sforzo di 25 yard nell'angolo superiore nel 78 ° minuto della terza tappa di qualificazione.

Ryan Christie ha guidato i Dons in un quintetto prima di Apollon - che hanno raggiunto due volte gli scalini di gruppo negli ultimi quattro anni - livellato attraverso il brasiliano Jander, ma ha visto il loro manager e altri back-back, Esteban Sachetti, Dons prese il controllo. maglie calcio sunderland Christie ha aggiunto l'obiettivo che ha inciso nel turno precedente contro la Siroki Brijeg di Bosnia quando è salito più in alto per soddisfare la consegna di Gary Mackay-Stevens.

Le traverse dell'eccellente Mackay-Steven e Shay Logan presto avevano il lato cipriota rimescolare per Andrew Considine che aveva una intestazione salvata.

Shinnie era stato prenotato presto per una sfida difficile, ma la palla, ma l'arbitro finlandese Mattias Gestranius ha mostrato diversi attacchi di leniency verso Apollon, specialmente quando mostra solo una carta gialla per Sachetti argentini dopo un attacco molto tardivo e due piedi su Greg Stewart.

Aberdeen rimase in cima immediatamente dopo l'intervallo. Mackay-Steven non è riuscito a trovare un compagno di squadra dopo due volte liberarsi e l'onnipresente Shinnie ha costretto un salvataggio dopo aver esploso nella scatola.  nuova maglietta sunderland poco prezzo

Tuttavia, Limassol ha postato parecchi avvertimenti prima di livellare quando Santana incontrò un cross Antonio Jakolis (56) sul palo posteriore e si presentò davanti a Mackay-Steven per finire in rete. Christie presto ha costretto una fermata decente prima di essere preso dal braccio di Sachetti nel 71 ° minuto per consegnare il difensore ad una seconda carta gialla.

I Dons hanno preso l'iniziativa e Stewart si è avventato molto bene dopo un paio di persone con Christie prima che Shinnie (78) prese le cose in mano con uno sciopero a terra.

I visitatori erano soddisfatti per mantenere il punteggio a 2-1 e Stockley è capeggiato largo da una opportunità decente nell'ultimo minuto.