#Bristol old vic

[puppetdaily]

Mojo from The Grinning Man at Bristol Old Vic and West End

[thisbluespirit]

Bristol Evening Post 5 March 1986 p11, theatre review.

[centrestagereviews]

Review: A Child of Science - Bristol Old Vic

[myfavoritepeterotoole]

Peter O'Toole as Cardinal Maffeo Barberini, later Pope Urban VIII and Joseph O'Connor as Galileo Galilei

Lamp at Midnight Bristol Old Vic Tuesday, October 16th, 1956 / For Three Weeks directed by John Moody

*** https://myfavoritepeterotoole.tumblr.com/post/632475496460009472/plays-and-players-april-1963-charles

[ladyjaneasherr]

May 30, 1966 - Jane Asher captured at the Bristol Old Vic trip to Universal Studios. Shared by actress Judy Matheson, who was in the same stage company through her twitter account.

Jane’s outfit, I believe was one of the many we can say were her favourite to wear because she wore this several times during the 60s, from 1965 to 1968. It has been shared on exhibitions too, a design of the wonderful Mary Quant whom has just passed away. May she rest in peace and her impact continues to create history and more inspiration within the years. 🤍✨

[hamletteprinceofdenmark]

Productions shots from the current run of Hamlet by Bristol Old Vic Theatre

Cast

Hamlet - Billy Howle Ophelia - Mirren Mack Gertrude - Niamh Cusack Claudius - Finbar Lynch Laertes/Rosencrantz - Taheen Modak Ghost/Player King/Gravedigger - Firdous Bamji Polonius/Osric - Jason Barnett Horatio - Isabel Adomakoh Young Guildenstern/Raynaldo/Player Queen - Catrin Stewart

Crew

Director - John Haidar Set Designed - Alex Eales Costume Designer - Natalie Pryce Lighting Designer - Malvolm Rippeth Composer & DSound Designer - Max Pappenheim Video Designer - Jack Phelan Movement Director - Lucy Cullingford Casting Director - Sam Stevenson Fight Director - Bret Yount Costume Supervisor - Zoe Hammond Assistant Director - Elinor Lower

[littlequeenies]

If you could be one of your muses for a day (or for a year), who'd you be and why?

Hi!

These blog is runned by two people, so each of us we're going to give you one muse :)

V:

I think I would choose 1967 Jane, when she went with the Bristol Old Vic to the USA to play two Shakeapeare plays.

I think it must be exciting being a young stage actress and travel all over the world doing what you love most: stage performance. she loved being Juliet. and imagine travelling to the 1960s USA with a bunch of friends, discovering either great cities like New York or amazing landscapes like the Rocky Mountains...

My other option maybe was her 1971 tour with "The Philanthropist", but in the 1967 she also had to wear period clothes so... an easy choice :)

E:

Oh wow, what a difficult choice!! but the question is really cool!!

I would choose Pam Courson maybe. 1969 Pam living in Laurel Canyon meeting all the musicians that lived here such as Joni Mitchell, The Mamas and the Papas, Crosby, Stills, Nash and Young... there was a lot of creativity over that place, and then I would travel to Europe or Morocco just to buy clothes for my beautiful shop Themis...

I think 1969 was a beautiful year for young Pam, she did also the Bronson Caves & the Themis photoshot... both of the sessions are really icons in rock music history...

That was a difficult choice, I was between Pam, Tina (I ADORE her - but is she really a muse? that's why I didn't chose her in the end -, and Marsha Hunt...

Can you see the funny thing about this, we have chosen a muse and both muses we chose are red-haired!!!

[ludmilachaibemachado]

JaneAsher during her Bristol Old Vic tour in North America, 1967💙🌺

[jazzreloaded]

Play On! By Talawa Theatre @Belgrade Theatre 26 / 09/ 24

Review by Vidal Montgomery

The press night performance of Play On! - A Broadway Blues with a twist on "Twelfth Night" - was not undersold in terms of bums on seats ( because it was a full house, and based on this showing it deserves a full house everywhere it goes!), but in terms of spectacle; because for the near-three hours running time, it was thoroughly engaging, spectacularly entertaining and, despite dealing with some serious subject matters ( such as how a misogynistic Harlem resists change, made all the more relevant with the recent revelations around Music Moghul Sean Comb's recent indictment), it was joyful for the audience from start to end, evidenced by the raucous laughter, gasps and applause throughout.

The title "Play On!" may also refer to the four year development process to get a work of this magnitude and depth and craft and intimacy and nuance in front of a live audience; it is no mean feat that this splendid work of Ellingtonian excellence by Liam Godwin and Benjamin Burell is finally in front of an audience, and with a truly magnificent cast from top to bottom:

Although the dramaturgy obviously has its focal characters, the dancers / understudies / supporting cast acquit themselves equally well, and the audience is gifted with over a dozen amazing voices ( of which Lifford Shillingford was my personal favourite ), who perform comparably, shouldering the responsibility of energetic dance, tense drama and soulful song, and carrying the narrative along. This for me is the most captivating thing about this show. Tanya Edwards as Miss Mary and Llewellyn Jamal as Jester deliver stylish and soulful performances late on into the second act just I thought the show had probably reached its peak - boy was I wrong!

The core story of Play On! revolves around the day Duke Ellington loses his muse, and the lengths- and distance! - one lucky lady will go to to help him get it back; Earl Gregory, Koko Alexandra, Tsemaye Bob Egbe, and Cameron Bernard Jones play the four pillars of the love quadrangle that is "The Duke", his old flame ( lady Liv ) , his new muse ( Viola "Vyman" ) and Rev, the manager of the Cotton Club clutching at straws and clasping his hands in his hopes of keeping the four together as exemplars of Ellingtonian Excellence - and also keeping the show on the road...

Sadly the live band - directed by the unassuming Ashton Moore and delightfully driven by the delicate drumming of Empirical's own Shane Forbes - are not featured as characters in their own right - I am sure that later productions in the three month run will attend to this oversight.

Despite this, the mix of moods and blues and beats and grooves from the bandstand become the main character, and for me ( as a musician! ) this is the star of the show: Ellingtonian Classics like Mood Indigo, I got it Bad, It Don't mean a thing, Black Butterfly Rocks In My Bed and In a Mellow Tone are turned inside out and taken back from the trash heap of Abersold Appropriation,and are played in a way that suits the strengths of individual artists, and balances temperaments of their characters as a whole as they play moves towards reaches its climactic reveal; at this moment the only other disappointment was that the band was not as big as, say, the English Touring Opera's for the recent run of "The Rakes Progress" : With this amount of dramatic tension in the stage, and with the audience in the palm of the band's hands the Ellington Big band, really needs to be a BIG band.

As it was, on the night Kaz Hamilton and Alexander Polack acquited themselves very well, making a myriad of moods that were both historically authentic and stylistically de jour. And the commitment to shared seat of Chris Hyde / Josh Vadivello on Double bass ( NO electric big band era please! ) brings gravitas authenticity and sensuality to the greatest american songbook in a way that only a Double Bass can. This show is all about that bass!

Having recently sat through the often turgid and salacious KAOS, a reworking of the mythology of Orpheus and Euridice, ( which was not a patch on Marcel Camus Seminal 1950's classic ) and also attended the afforementioned reworking of Igor Stravinsky's "Rake's Progress" ( often not my sense of humour, albeit markedly less turgid and salacious than Charlie Covell's Netflix Production ) I was far from convinced that , per se, " A reworking of Twelfth Night " was going to as vivacious, contemporary , and nourishing to the soul as it turned out to be. But on this occasion I was rewarded for my bravery ( And by "bravery" I mean only braving the inclement British weather ) , and I will forever regard Play On! as somewhat of a late birthday present - ( or maybe early Christmas gift? )

Ironically, whilst sipping free Prosecco and listening to a(nother) jazz function band in the reception area after the show , I had the good fortune to speak with one the trustees of the Talawa Theatre and we discussed how important it may be to not label Play On! as ( simply ) a "jazz show", because of how many people may miss out on an amazing contemporary socially and culturally relevant human experience, simply because they do not know or have not yet been sold the depth and breadth of the jazz canon.

But Play On! is "Jazz Hands" in safe hands. And I can say with confidence that Talawa Theatre have a winner on their hands; it is Black Joy. And "Black Joy" may turn out to be a better euphemism for the vibrancy we expect "Jazz" to bring to us. Congratulations on the fully immersive experience that Director Michael Buffong brought to the Belgrade Theatre tonight.

PS: As with many theatre shows, the stupidly difficult train schedule doesn't really support the 2+ hour format, but I can only say that on this occasion it was worth missing our last train to catch the "A Train" one more time...

Talawa’s Black Joy season presents:

Play On!

A new Jazz musical

Based on Shakespeare’s

“Twelfth Night”

Conceived by Sheldon Epps

Book by Cheryl L.West

Music by Duke Ellington

Produced by Talawa Theatre Company and The Belgrade Theatre

Co-produced with Birmingham Hippodrome, Bristol Old Vic, Liverpool Everyman & Playhouse, Lyric Hammersmith Theatre and Wiltshire Creative

Artwork by Feast Creative

For the full programme, click or scan the image below:

[thrashntreasure]

Ep115 Unlocking Baldur's Gate 3 w/ Neil Roberts! (Dark Urge)

Resist the urge to fangirl because we're joined by THE Dark Urge, Mr. Neil Roberts! (Say what?! *faints*) This week, the Charming Neil joins AW for an exclusive 1-on-1 deep-dive into the superstar breakout character of Baldur's Gate 3- the Dark Urge! But not before we dig up Soundgarden's 'Louder Than Love'- almost-, before reliving Neil's 'Salad Days', with the classic British musical. Plus, we chat working on 'Charmed', Dream 'Chicago' cast, Baldur's Gate 3's Impact, Video Games, The Gollum Disaster, Nick Fury: Agent of SHIELD, US Vs UK Filming, and heeeaaaps more in this special extended episode that'll give you extra Thrash for your Treasure!

-SOCIALS- Neil on Twitter: https://x.com/NeillyRoberts

Neil on IG: https://www.instagram.com/neilyroberts/

Neil on Twitch: http://twitch.tv/neilyroberts

Book Neil on Cameo: https://v.cameo.com/e/ruB40FGu9Gb

Neil's Website: https://neilroberts.co.uk/

***** Juxtaposing Metal with Musicals - joined by iconic guests from the worlds of Music, Broadway, Hollywood, and more! https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasure https://linktr.ee/thrashntreasure ***** Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time! Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks! https://www.thetonastontales.com/bookstore - TNT20  *****

[stokescroftarchive]

Item No: 151

Item Name: Bristol Jam Improv Flyer

Description: Flyer for improvisation show at the Bristol Old Vic with beatboxer Beardyman

Year: 2012

Box Name: PRSC EPHERMA Aug 2012

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[centrestagereviews]

Review: For A Palestinian @ Bristol Old Vic

Review: For A Palestinian @ @BristolOldVic Reviewed by @georgia_eloise ⭐️⭐️⭐️⭐️⭐️ “One aspect of this play that cannot be understated, is the phenomenal performance of Bilal Hasna.”

⭐️⭐️⭐️⭐️⭐️ Reviewed by Georgia Glasspole For a Palestinian begins with 19-year-old Bilal, preparing for his cousin’s wedding and the prospect of returning to Paelstine for the first time since he was 11. Bilal decides to use the 5 months before the wedding to learn more about his Palestinian heritage and in doing so, discovers the true story of Wa’el Zuaiter – a Palestinian translator.  We…

[myfavoritepeterotoole]

Lamp at Midnight Bristol Old Vic Tuesday, October 16th, 1956 / For Three Weeks directed by John Moody

Peter O'Toole as Cardinal Maffeo Barberini, later Pope Urban VIII

* caption * Bristol Old Vic production, October 16. (Peter O'Toole, second from left, as Pope Urban VIII. Photo by Desmond Tripp)

** Lamp at Midnight is a play that was written by Barrie Stavis.

[areyouwho-ithinkyouare]

i fucking!! love!!!!!!!!! theatre!!!!!!!!!!!!!!!!!!!!!!!!

[hamletteprinceofdenmark]

My internet is so garbage :(((