#Winter Troupe Ensemble Cast

[mydictionary-yume]

Bf on stage tomorrow YAYYYYYYYY

[viziblecreator]

QUICK GUIDE FOR THE OFFICIAL A3 SERVER

Last Updated: July 2nd, 2023 JST

Detailed Doc Guide: (Document Link) Twitter Version: (Link)

Due to Twitter’s instability at the moment, I’ve decided to post my A3! Discord server guides on Tumblr too. Above is the light mode version of the updated channel reference image that anyone is free to save. I’ll be updating this as much as I can as the server updates too.

Text only and dark mode versions can be found below:

TEXT ONLY VERSION:

【Official】 A3! (As of July 2, 2023. Version 2.0)

Introduction • 🔰 Rules/Terms of Service • 📗 User/Server Guide • 💖 Role Selection • 📩 Inquiries • 📣 Notices and Announcements

Community • 🗨 Self-Introduction • 💬 General Chat | Japanese Chat • ❔ Questions and Advice • 🔰 Rookie Director Questions • 👥 Looking for In-Game Friends • ⁠📔 Album/Roster Completion Help • 🎫 Event Team Building and Strategy • 📷 Custom Photos • 聊天(中文) | Chinese Chat • chat (english) | English Chat

Story • 📖 General Story Discussion • 📕 Main Story (Spoilers OK) • 📘⁠ Event Story (Spoilers OK)

Related to A3! • 🎼 Music

Opinions and Requests • Game System • Event • Design • Story • Bugs and Glitches • Other

Favorite Character Chats • 🔴 Spring Troupe • 🟡 Summer Troupe • 🟠 Autumn Troupe • 🔵 Winter Troupe • 🟢 Backstage Crew • ⁠🔷 God-Za • ⚪ Ensemble Cast • 🟣 Other Characters

Favorite Troupe Chats • 🌸 Spring Troupe Fans • 🌻 Summer Troupe Fans • 🍂 Autumn Troupe Fans • ⛄ Winter Troupe Fans Please Note: Favorite Troupe Chats are locked behind roles selected in the "💖 Role Selection" channel.

DARK MODE VERSION:

[necroyasha]

🍛~Happy Birthday, Kantoku! - From Autumn and Winter Troupes' Ensemble Cast~🍛

[alice-revolution]

🔈Ensemble Cast Autumn & Winter Troupe’s voices🔈

Who’s voice is your favorite among them all? 👀

¤ Admin Bunny

[acrosstimeandspace]

The Ensemble Cast’s Home

i just wanted to write a small drabble about the ensemble cast and their own dorm (aka, my self insert’s place), so here it is!

To the Ensemble cast of the Mankai Company, the second dormitory is their own paradise. 

This is not to say that their own homes, which most of them often stayed in, were bad. But there was a different feeling to being in these dorms. For some, it felt like a break away; the younger members certainly felt it was like a step into adulthood, imagining what their own college dorms would be like. The older members grew to understand the actions of those in the main cast, such as Tsuzuru or Omi, always acting like older siblings. They were family, just as much as family as the main cast. 

Iku’s troupe was his family as well, that was true, but there was something about Mankai’s ensemble cast that felt right. His troupe didn’t have a dorm, so perhaps that added to his closeness to his fellow ensemble members. But entering the door of the dorms after school or a play was electrifying. It was home, plain and simple, and he wouldn’t give it up for anything.

“There’s an atmosphere around here that’s always calling me back. I wouldn’t change it for the world.”

Arata was one of those who was most often with everyone in Mankai. He attributed it to his thirst for knowledge, wanting to learn as much as he could from his fellow actors. Helping sew a few costumes with Yuki here, learning new recipes from Omi for the ensemble dorm there, and picking up an editing program from Kazunari for fun. And showing these skills off to those at the dorm was fun, watching their eyes light up as he whipped up a new meal for them to enjoy together. He’d always wanted to learn more for himself, but now it was more fun to help the others within the company. 

“I want to learn as much as I can, and I’ve never felt more motivation than when I’m here with you all.”

It was honest to say that Eiji joined Mankai because of the costumes. Being able to wear such interesting clothes was such a call to action. But, he found that it was much more fun to get into costume with his troupe. The looks of anxiety and excitement that passed over their faces was exhilarating. The only feeling that beat that was coming back to the dorms with them, the laughter filling the air as they settled into their beds. 

“Being here is more than just costumes, it’s a sense of family! I’m so grateful to have met you all!”

Miki was confident in many aspects of his life. His path for his future high school, his passion for acting, his ability to be persuasive and charismatic. But he was most confident in the fun he had at the dorms. Sure, he had close friends, but his troupe members in the ensemble cast brought out a new side of mischief in him, made him feel free and happy. He’d found such a close friendship, it was so dear to him. He’d be happy to be in the ensemble cast for as long as they’d have him.

“This place has a sort of carefree vibe you can’t find anywhere else. I’m glad that I found acting, and you all.”

You could ask the local guitarist, Akito, how amazing it was to sit under the gazebo out back and write songs under the stars. Maybe it wasn’t the recording studio most artists dreamed of, but nothing was better than having his troupe mates come out back to see what he was doing. There always was, mysteriously, a scarf waiting for him on the colder days, a gentle reminder to take care and bundle up. He remembers fondly the day he spotted Micaiah knitting his, and the other’s resting snugly in his knitting bag.

“The dorms are warm, like a scarf gifted on a cold winter's day. I know I’ll carry this warmth with me forever.”

Takuya had no plans to act until watching the summer troupe practice. His search to try something new had opened up to a world of wonder, like a summer’s day off exploring wonderland when he was just a kid. Everything felt so freeing, and being able to laugh with the others and feel the excitement of putting on a performance made him feel like he was soaring. Sure, he wasn’t a part of the main cast of the Summer Troupe, but they were his friends and troupe members either way, he couldn’t have wished for anything more. 

“Being here feels nostalgic in the best way, you know? It’s the breath of fresh air I was searching for.”

There were many good things Ichiro could say about the Mankai company. Perhaps he was influenced by the fact others from his group also worked there, but it was truly a home. It didn’t hurt that he had convinced some of the other members to work out, bonding together with the others in his own way. He’s still honestly startled by Muku’s strength, but to him, the kid really showed what the Mankai company was really like. It seemed small, ambitious, but the company could really pack a punch.

“A roof’s a roof, and a home’s a group of people you can trust. That’s exactly what’s here under this roof.”

There wasn’t really anything that had made Kengo want to act, despite being swept up by Citron and Kazunari. He didn’t understand what they saw in him, what the others see in him now. But it was undeniably fun, being with everyone, acting together. It was nice too, to come to this dorm with a delicious meal waiting for him and friends to hang out with. Plus, it was easy to snack on new foods with Micaiah always experimenting and cooking for them. 

“There’s always something new to experience here, something crazy happening. It’s fun.”

Julian had no need to read any fortune to tell that this home he had found was something special. It was meant to be, to be a part of the Mankai’s ensemble cast. And it was fun to read the fortunes of the other members, though he could always know for success in their plays. All their efforts pointed towards it, no fortune could prove otherwise. This place, this troupe, is something great. At least, it’s something great to him.

“I feel like I’m the luckiest man in the world to be here, with you all.”

Determination is what pushed Yuichi through to becoming such a well renowned model, and now to polishing his acting. Whatever had pulled him to this stage specifically was perhaps one of the best gut feelings he had followed. It was nice, warm, in a cheesy way. But who would he be to complain when he enjoyed that feeling? The nice record player in the living room didn’t hurt either, often sweeping up whoever came through the door into a dance on happier days, and finding solace in the music it played other days as he sat by the fire on worse ones. There was comfort and effort in being here.

“Our effort shines through in our work here, I’m glad I saw that casting call. There’s something about this place that makes it feel special.”

It was true that Tsubasa, like Iku, was primarily part of another troupe. He had heard from countless people, particularly Yuzo, that he ran them ragged with his active imagination. But it was fun, to get the others in the dorms to play along. There was something fun about embracing the drama of theater, and he was glad to find such kindred spirits within these halls. 

“Perhaps what I say is perceived as enthusiastic, but these buildings are more important than many others. At least to us, to me, they are, for they are our homes.”

It would be unfair to talk about the older brother figures of Mankai without mentioning Keita. It surprised him that he has such a brotherly side. But he loved the other members of Mankai like family, and became elated when they relied on him for something. Maybe he couldn’t act full time, but being able to stand on the stage in any way he could, and find a family along the way? Well, that was something special. 

“I’m glad I can walk back on to the stage with you all. Being here has brought me so much happiness, I don’t even think I really realize how much this means to me some days.”

Micaiah watched from the kitchen with a smile, tapping the spoon he had used to stir tonight’s soup with a smile. The ensemble cast was small, maybe not as well noticed as his friends in the main cast. But they were with his dorms, and his family. And to see them all gathered around the table and talk about how happy they were to be here made him feel all warm and happy. There was a place for all of them, and Micaiah was glad to provide it.

[lardosducks]

hello check please fandom i want to talk about ford and theatre. i have authority to do this because she’s a lesbian getting a theatre degree at a small liberal arts college and i am also doing that. 

samwell is an LAC which means her degree would have to be interdisciplinary with a lot of different areas of theatre. this means the possibilities are ENDLESS

i like to think she started as a high school freshman joining tech crew to have something to do in the evenings that fed her gay little artsy soul. she was probably on set crew because it’s the easiest place to kinda get ur foot in the door

she ends up doing tech and performance stuff because she’s just that cool. like, kids who switch between both are easily the coolest kids in any theatre department. her first show she acts in is the spring musical her freshman year, she’s in the ensemble but she has a solo and it’s very exciting 

she was DEFINITELY an officer in her thespian troupe. if her troupe has the same rules mine did she couldn’t join until the end of her sophomore year so she’s probably secretary as a junior and president as a senior.

her senior year she gets the lead in little shop of horrors because FORD AS AUDREY CAN EVERYONE PLEASE OPEN THEIR THIRD EYES AND APPRECIATE THIS WITH ME!!!!!

we know she ASMs for sweeney in the spring as a freshman, i am going to assume that she was on set or light crew for one or two shows her fall semester

she acts in a student-produced show the next fall. she doesn’t tell the team about it except whiskey and tango who, upon finding out that she didn’t tell everyone, advertise everything she works on to anyone who will talk to them 

(tango is very emphatic and loud, whiskey just drops it in conversation and looks at the other person expectantly until they agree to go) 

she auditions for and gets into her first show through samwell’s theatre department her sophomore winter and there’s like, a whole section of audience filled by the smh. a lot of them have very poor theatre etiquette and nursey and dex (into theatre and into not embarrassing themselves, respectively) give them a lecture outside the building on when it is appropriate to cheer/yell/clap/etc. 

she probably reads plays for fun and discusses them with nursey on roadies AAAHHHHhhhhhh

she’s hindered somewhat by the schedule of roadies but she probably keeps working on crews as much as she can and does a lot of student theatre since those tend to be way more flexible

also she’s so smart and responsible and talented that her theatre professors probably love her which means they’ll keep casting her even if she’s busy lol 

i love ford and i love theatre and i could scream about this forever

i’m also a history major so wait til i make one of these about jack

[mangolover]

A3! Act! Addict! Actors! Masterlist

Last updated on: 7.7.2021.

"What does each emoji in the title mean?"

🥀 - angst

🌻 - fluff

🌼 - crack

🌷 - comfort

💐 - series or multiple parts

🌺 - personal favourite

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Autumn Troupe

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Winter Troupe

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Spring Troupe Ensemble Cast

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Mankai Company

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[beyondtheborderridiculous]

Mankai Stage Autumn 2020 Part 2

It starts with all of Mankai Company acting like the Yakuza, and it’s pretty entertaining. I was NOT expecting Azuma to come out and talk in a hella deep voice though. LOL, that caught me off guard.

After Sakoda slips up and reveals that Sakyo is looking for an apartment, the rest of Akigumi are sooo noticeably flustered and awkward around Sakyo. It was hella funny. But as the play went on, it became heartbreaking.

The contrast between Sakyo acting really good, while the others don’t have their head in the game, was really sharp. And you can just see the mounting frustration within Sakyo.

Each Akigumi member paired up with someone outside of their troupe to confide in, and I thought that the pairings were really sweet.

Sakyo confides a lot in Azuma. Ever since the Adult Onsen event, I really dig their friendship. Before Guy, these two are the oldest out of the whole company. And I’m happy that Mankai Stage nurtures this dynamic really well. Them drinking sake together was real sweet.

Tenma and Banri pair up, since they’re the leaders.

Juza confides a lot to Muku, and I think that’s really cute. In Summer 2019 Juza had a lot of interactions with Muku, and I’m really happy that they carried that over to Autumn 2020. Truly the sweetest cousins.

Omi and Tsuzuru pair up, which makes sense. Since they both go to the same university. It took me a minute to realize that though since I hella forgot, lol.

And that left Taichi with... Matsukawa. LOL

There’s a moment where Muku is carrying a huge stack of DVDs (I think) and when it topples over, Tenma helps him out. Except Tenma is hardcore struggling, lololol. YAS Mankai Stage, please continue to showcase the strong, athletic Muku.

The whole company scrambling to look for Sakyo was really sweet. I just love that they love him! Sakyo deserves all the love~

Aside from the comedic parts though, this play was really really somber.

I lied earlier, the play starts with Sakyo getting mugged by the Ginsekai and then the boss inviting him to join them. And that tone kind of carried itself to the rest of the play.

Even onto the stage play. Their’s a section where Sakyo just monologues the whole time, but it’s hella intense. He’s constantly getting shot at, struggling to stay afloat and keep fighting. He’s coughing up blood (I was hella shocked when this happened)! But I think the contents of his monologue was how he gave up on his dream but now, even though he’s “old” he now has the chance to pursue his dream and he’s never going to give up on it. He’s trying to prove himself to Yuzo, to Yukio, to everyone, that he can.

And it’s hella intense, that even the other Akigumi members are overwhelmed. As someone who’s nearing Sakyo’s age, I too feel like sometimes I’m too old to pursue the things I want to do. So watching this was super emotional for me.

As a Taichi fan, I did wish they had a scene where he was shadowing Sakoda, but since he had a lot of stage time not he first half, I guess they cut it out.

But Sakoda and Ryo fanboying over Akigumi was sooo adorable and hella funny. Especially with Matsukawa allowing them to join the staff so that he has less work to do. LOL

AKIGUMI GROUP PHOTOOOOO

Apparently Autumn 2020 was the first time they hired an ensemble cast, but I have no idea what they did???

So far, out of all of the performances, Tsuzuru is the only character that has appeared in all of them. Like, if Sakuya was the face for the A3! Game, then Tsuzuru is the face of Mankai Stage. LOL.

The finale was amazing as always. Especially when they performed One x One. Omi said “motherfucker” lololol

But usually, the cast would go out to the audience, but they didn’t this time. And it’s most likely due to Covid. It was kind of sad to see, but I’m glad that they’re trying to be safe.

AND I’M SO THANKFUL THAT AT LEAST MANKAI STAGE 2020 WINTER ISN���T COMPLETELY CANCELLED BUT WILL BE LIVE-STREAMED!!!!

For those of you guys who don’t have access to a VPN, nor want to buy the DVDs, some accounts on bilibili post the stage play portion of Mankai Stage, if anyone is interested. I think someone just uploaded The Wandering Warrior one. I know I saw Alice and the Skye Pirates one too.

[currywaifu]

← want something else? “what would you like for brunch?” ╰──➢ all of my presentations, from first to most recent

˗ˋ A3! song ppt that nobody asked for ˊ˗ ➳ 86 slides

˗ˋ Gamer! Yuki: a hot take on Yuki’s descent to gaming hell ˊ˗ ➳ 9 slides

˗ˋ Youtuber! Azami ˊ˗  ➳ 7 slides

˗ˋ Yeah I’m a massive nerd: Sorting A3! Bois in Hogwarts houses ˊ˗ ➳ 25 slides

˗ˋ NathYona Inc. Fashion Course 101 ˊ˗ ˗ˏ Lesson 1 ˎ˗‍‍‍‍ ➳ Roasting Rating Troupe Summer 2019 Fits ➳ Part 1: Spring & Summer ➳ Part 2: Autumn & Winter w/ @animaniachan​

˗ˋ Ensemble Cast Appreciation ˊ˗ ➳ 13 slides 

[animaniachan]

RETURN TO MAP...

『🍡』: Wallpapers 『🍧』: Icons 『🍰』: Banners 『🍩』: Miscellaneous

『🌸』: Spring Troupe  『🌻』: Summer Troupe 

『🌼』: Autumn Troupe『🌹』: Winter Troupe

Day 1: Fave version of A3! theme song 『🍡🌼』

Day 2: Fave lead skill 『🍡🌸』

Day 3: 3 fave home screen lines 『🍡🌻🌹』

Day 4: 3 fave practice lines 『🍡🌸🌻🌼』

Day 5: 3 cards I want to have 『🍡🌸🌻🌹』

Day 6: A character I’m looking forward to “meeting” in-game 『🍡🍧🌼』

Day 7: 3 fave character songs 『🍡🌻🌼』

Day 8: 3 fave event/play songs 『🍡🌼🌹』

Day 9: Fave ensemble cast member 『🍡🌼』

Day 10: Fave non-actor character 『🍡』

[blackkudos]

Ivan Dixon

Ivan Nathaniel Dixon III (April 6, 1931 – March 16, 2008) was an American actor, director, and producer best known for his series role in the 1960s sitcom Hogan's Heroes, for his role in the 1967 television film The Final War of Olly Winter, and for directing many episodes of television series. Active in the civil rights movement since 1961, he served as a president of Negro Actors for Action.

Early life and career

Ivan Nathaniel Dixon III was born in Harlem, the son of a grocery store owner. When he was young, Dixon lived in the brownstone at 518 West 150th Street in Harlem, on the same block with Josh White, Ralph Ellison, and the Hines brothers, Gregory and Maurice. He graduated from the Lincoln Academy in Gaston County, North Carolina, and went on to earn a drama degree from North Carolina Central University (NCCU) in 1954, where the theater troupe is now known as the Ivan Dixon Players. While at NCCU, he joined the Omega Psi Phi fraternity.

In 1957, Dixon appeared on Broadway in William Saroyan's The Cave Dwellers, following this in 1959 with an appearance in Lorraine Hansberry's A Raisin in the Sun. In 1958, he was a stunt double for Sidney Poitier in the film The Defiant Ones. He was cast in two episodes of The Twilight Zone: "The Big Tall Wish" – as the lead, in a then-rare instance of a primarily black cast in a TV drama – and a key supporting role in "I Am the Night—Color Me Black". In 1962, Dixon co-starred with Dorothy Dandridge in the "Blues for a Junkman" episode of Cain's Hundred, which was the highest-rated episode of the series. An expanded version was released as a feature film in Europe entitled The Murder Men, and became Dandridge's last screen appearance.

On September 25, 1962, he portrayed Jamie Davis, a livery stable groom, in the episode "Among the Missing" of NBC's Laramie western series. In 1963, he played the role of John Brooks, alias Caleb Stone IV, in the Perry Mason episode "The Case of the Nebulous Nephew."

In 1964, Dixon starred in the independent film Nothing But a Man, written and directed by Michael Roemer; it was Dixon's performance in this film he was most proud of. He also appeared in an episode of ABC's The Fugitive entitled "Escape into Black".

Hogan's Heroes

In his best-known role, Dixon appeared as POW Staff Sergeant James "Kinch" Kinchloe in the ensemble cast of the television sitcom Hogan's Heroes. "Kinch" was the communications specialist, a translator of French, and Hogan's default second in command. Dixon played Kinchloe from 1965 to 1970, the only one of the series' long-time cast not to remain for the entire series. Kenneth Washington replaced Dixon for the last year of the show's run, as a different character filling a similar role.

Film work and directing

From 1970 to 1993, Dixon worked primarily as a television director on such series and TV movies as The Waltons, The Rockford Files, The Bionic Woman, The Eddie Capra Mysteries, Magnum, P.I., and The A-Team. Dixon's first feature film as director was the blaxploitation thriller Trouble Man. He also directed the controversial 1973 feature film The Spook Who Sat by the Door, based on Sam Greenlee's 1969 novel of the same name, about the first black CIA agent, who takes his espionage knowledge and uses it to lead a black guerrilla operation in Chicago. The New York Times wrote in 2008:

Although The Spook caused controversy and with suppression facilitated by the F.B.I., was soon pulled from theaters, it later gained cult status as a bootleg video and in 2004 was released on DVD. At that time Mr. Dixon told The Times that the movie had tried only to depict black anger, not to suggest armed revolt as a solution.

Occasionally returning to acting, Dixon played a doctor and leader of a guerrilla movement in the 1987 ABC miniseries Amerika, set in post-Soviet invasion Nebraska.

He also served as Chairman of the Expansion Arts Advisory Panel of the National Endowment for the Arts in 1978.

Personal life

In 1954, the same year Dixon graduated from North Carolina Central University, he married theater student Berlie Ray. The couple had four children, sons Ivan Dixon IV, N'Gai Christopher Dixon and Alan Kimara Dixon, and daughter Doris Nomathande Dixon.

Later life and death

After his career as an actor and director, Dixon was the owner-operator of radio station KONI (FM) on Maui. In 2001, he left Hawaii for health reasons and sold the radio station in 2002.

Ivan Dixon died on March 16, 2008, aged 76, at Presbyterian Hospital in Charlotte, North Carolina, of complications from kidney failure. He was predeceased by sons Ivan Dixon IV and N'Gai Christopher Dixon

Berlie Ray Dixon, born on April 5, 1930, in Badin, North Carolina, died on February 9, 2019, in Charlotte, at age 88.

[mankai-storage]

posted!

backstage story for Keita

N - [Winter Troupe Ensemble Cast] - "Return to Theater"

has been added to the spreadsheet! (check pinned post)

[therealvagabird]

Confrontation in the Faerie Court

A short story about fey folk, by C. Christiansen.

           The murmur of the great hall was like the rustling of fresh leaves—soft, smooth, though full of vigor and debauched joy. Wine, sap, the dampness of morning, and other pleasing smells flowed among the gathered fey like so many rain-fed streams, swelled with joy at the coming springtime. In the court of the deep-woods, where the spirits and elves of the Green gathered in reverie, all was painted in the fresh hues of new life. Soil rich and black, sprouting forth a soft and verdant bed of clover upon which the courtiers strode with treads lighter than dewdrops, the green of the floor blending up through new moss-growths and ivy to the hearty trunks that supported and sheltered the hall, their bark hard and their limbs stiff, as the ancient and massive arboreals shook off the last grasps of winter. Even those elements of the hall which bled no green or showed no sway seemed rich with life, as the very boulders and walls of the building stitched themselves together by the cracks with fresh creepers, and their glittering surfaces reflected back the beaming light that filtered through the canopy in a dazzling display of so many gemstone raindrops. Were one not of the woodfolk, it could be troublesome telling where the bounds of wild nature ended and the intricate architecture of the fey began. Harmony was the heart of the overgrown artistry—more ruin than building, yet more a gilded frame for their festive gathering than a necessary shelter.

           Above the mingling of tree-bloods and masked faeries, of sprites and nymphs and beastkin, sat the royal couple, on their thrones of root and horn—though such distinctions blurred amongst the green-elves, who were neither flesh nor fiber. They were two the lords of these deep woods, which they called Aill na Oltu, the king and queen of those lands and people they knew and cared for. Fresh-faced, young, radiant sat the Lady Ljos, first daughter of the King Aulberros of the northern marches. Her crown was adorned with the white blooms of spring, and her antlers grew small but sturdy, already freed of the down of late-winter, when she was but a child once more. Beside her, dwarfed on the very throne he had filled with grandeur but a season before, sat her husband, Lord Carnayn, who’s childlike form lounged in forgone resignation, so far was it from the image he had gathered in his broad Hunts. To the far south he was the Dhul-Siad, the Horned Hunter, who rode across the skies of the northern grasslands in the high summer whenever the want took him, and to the far north as the Ded Boreos, or Morozkh, who brought the chill of winter to the highlands and fields, to mont and steppe alike.

           Such titles were meaningless in truth—loans from myths of mortals that the ancients adopted with pride. Lord and Lady alike were but one facet of the Great Mother and Father—of whom the hills and dales of Aill na Oltu were but one holding amongst many.

           “M’Lady! M’Lord!” an elf-kindred strode up the stone steps to the foot of the thrones, his strides long and birdlike, an image furthered by the grand mask of feathers he wore, and the troupe of songbirds that fluttered about his mantle. “Have you no requests? The choir, the orchestra, they wish to lift the spirits of the Reborn Lord.” He bowed to Carnayn, who scratched at one of his mossy horn-stubs. Still as early in the spring as it was, the woodsie royal looked nary older than a human child of eight, as his re-coronation was but a month past.

           Ljos, who resembled more a woman of ripe marrying age, beckoned forth the maestro, past the high guard, who stood stoic amongst the party with legs of wood and pikes of jet. The lady whispered something into his ear, the feathers that grew from the point of which plucked up at the sound.

           “If that should please him. I’ll inform the hornists.” He bowed, swirling back as his cape fanned and he glided down back into the fray of the bacchanal, coasting to his parapet above the assemblage of musicians, outfitted with the bizarre and mystical instruments of the woodland coterie. Glass-stringed harps of horn; violins looking as though they’d not be carved, but plucked from a branch; cornets and flutes of ivory bone, all inlaid with amber, charcoal engravings, or hung with colorful feathers. Drums sounded, resonant and unmeasured, formed of hollow stones, fallen logs, and yet more bones—removed from their grim appearance by the sheer craftsmanship and reverence of those creatures who had provided the fate-given gifts.

           The conductor whistled like a trilling frog, gathering the attention of the band, who’d been ambling on with loose improvisation. With a flick of his baton—one of the talons on his own finger—he parted the air like water, magic rippling out through the green light about him. At the wave of his other hand, twinkling lights like swirling fish issued forth and scattered amongst the ensemble, the glowing pixies whispering in ears the next song to be played. Hornists’ chests swelled, and the branch-waifs of the choir lilted and grinned in anticipation.

           The audience looked on, aware of the sudden silence that announced the beginning of a proper song.

           “To the springtime, M’Lord!” the conductor called back to the throne, “And to the summer it will issue! May your anticipation for the Great Hunts to be held begin today!” he snapped his finger, and the booming declarations of horn-trumpets and drums reverberated in a grand opening, as the wistful, valkyrian sopranos floated out over the invigorated crowds.

Upon the hawkish wings of wind, he flies

Between the thundering rains of summer’s heat!

With bow of gleaming white he sees his prize

Upon hart-back he leads the hunters fleet!

Thunder signs the Wild Hunt!

Lightning signs the Wild Hunt!

Singing signs the Wild Hunt!

All the bonds of nature

The rains of justice of the Hornèd King

Hail to freedom! Hail to the Faerie King!

           Carnayn looked to his bride with an admission of pleasure. He continued to lounge in silent enjoyment, however, than risk any more dramatic motion coming off as childlike bouncing. The subjects of his court were happy, they were nourished and watered, and he still had the whole of spring to drink deep of the waters of new life, and prepare himself for rides and revelries to make the summer his.

           As the music swelled to its finish, in a suitable and dramatic fashion for the lord, a dissonance pierced in amongst the sopranos just before their climax, persisting onwards into the orchestral finish, howling out amongst the strings and drums. A voice, a clear vocal tone that moved forward, cutting through the air just as the figure who carried it cut through the crowd that had but now realized it was barging through them in the first place.

           “eeeEEEYAAAAA—BUM BAM—barumda baddum BAM—BAAAAAA—” his screech cut off at the song’s premature ending, the haughty musicians insulted in the highest at the disharmony. The conductor himself swirled around with all the fury of a ruffled owl, to stop—pale faced and wide-eyed—at the sight.

           Standing like a pillar of ivory amongst the much more diminutive wood-fey was as jagged and discordant a form as the note he’d held. Dwarfed only by the tree-kin, the creature’s face was the sole part of its form not encased in its bonelike coat of plates, its skin a blackened shade offset from total pitch by the faintest hint of green, while its hair—though long and formed into elegant cascades—was yellow-grey and stringy. Its eyes peered out from the void of its dark face like two pink embers. Close observation could see that lining the lids of its burning eyes seeped a burgundy liquid in place of tears—a similar liquid that seemed to be crusted amongst the joints of its armor, and ran in the occasional rivulet like thickened wine. Over his harsh and bladed mantle, he wore a robe of a black-green to match his skin, crafted of fine silk, though frayed and burnt at the very edges, just as his ivory boots were stained by a mixture of soot, and his own ichor. The creature’s scent preceded him, aroma like sweetened rot; and behind him the faint wither of his passage stained the otherwise immaculate clover.

           “You dare enter my hall?” Lord Carnayn hissed down from his dais, delicate hands clutching at the carved wolf-visages that were set into his armrests.

           “I was quite enjoying that stupid little symphony. Did you not approve of my additions?” the creature’s bemused smile was razor sharp, as its eyes traced between the conductor and the king.

           “In spring? Upon this festival?” the Lord of the Hunt spat again.

           The figure seemed to roll his eyes, casting them up to the black horns upon his own forehead. These were not the noble antlers of the royalty—but two spiral-knives protruding from his brow, ridged with bizarre spikes. “I was informed of a conjunction.” He sneered back, nose upturned, “You should know of such an event, should you not? Here? Beneath the sky, better than one who spends his days deep beneath the blackest stones?” his grin returned, foul and painful, “I understand you tree-hoppers are uncultured, but please! Look up for a change—treetops and sunlight can’t be much more boring than stalactites.”

           “What do you want, Exile? Why have you intruded upon our hall? Who do you answer to?” Ljos’ imperious gaze was ireful and stern. The Exiles, the deepest-fey, were not welcome in any court—not even those they kept themselves, such was the prevalence of their trickery and foulness. She pitied the very soil that had to support its charred boots.

           “Answer to? Why myself, first and foremost—” his eyes drifted off, wistful, “Oh, but you must mean who has told me to come here, and stain my boots with deer shit.” His look was midway between a grimace and a sneer as he looked to a pairing of fauns—clad in as immaculate a garb as any other courtier. “That would be Lord Alkhayt the Vile, the sovereign of the Spider’s Halls, Duke of the Long Wail and the Bloody Purl; and commander of the wrought fanes of many a coven.” The creature coughed for a moment, wiping the burgundy liquid from its mouth, “Other titles as well, though they cannot be spoken here.” He looked to a dwarfish sprite, who’s wide eyes were fixed on his sharp movements, “Or maybe yes? How strong is your stomach?”

           “Then who is the sycophant we’ve been sent?” Carnayn glared.

           “I am Dokk’Seqer, foremost speaker of the War-Coven of Azdahag.” His bow was high and elaborate, “Here upon the soon-eve of this grand astral event to offer you colloquy on matters most pressing.”

           “We will grant no time nor audience to the ravings of the exiles. Leave now, before you spoil the bed of undergrowth itself, and sour our guest’s wine.” Ljos commanded, her olive hands drifting out of long, mint-silk sleeves to grab for her stave—a branch of living cypress.

           “I think you’ll find things far more sour in your beds and cups if you do not heed my words!” Dokk’Seqer jabbed a blade-digit of his gauntlet forward, “Perhaps it won’t be me!” He hissed some broken laugh at his own attempted humor, looking around for any minor snicker to compliment his own. His disappointment fell on one random elf-maiden among the crowds, “I’ll bite out your heartstrings, you humorless kashir—” though his curse was left unfinished as the utterance of the word prompted another spurt of burgundy from his lips.

           Ljos just shook her head. The creature was unsettling even to look out, like all of the dark kin. It’s every adornment given over to the elegance of inflicting pain, and announcing its own superiority—its appearance straddling the line between unnatural and beautiful—a trait shared by all the fey folk, though in the case of the exiles, it was by the harsh touch demonic.

           “I need no help from deep-forged war machines or black magics upon my Hunts.” Carnayn called down from his seat, “And lest you seek the threaten me beneath the very boughs of my own court, there is no threat which the peoples of the Green cannot fight themselves. Neither you, nor your masters, have any power within my wood.”

           “Well—” Seqer chuckled, “Somewhat true. But tell me, lest I blow you away with my enlightenment prematurely: how have the last years been out on the Hunt? Many blasphemers dragged off? Defilers shot down? How often have you heard the strum of harps and the call of flutes—next to how many times you’ve heard the trundle of mills and the clang of—church bells?” he spat, the spittle sizzling upon the poor clover.

           Carnayn squinted at him, youthful face trying its hardness to match the ancient fury that lied within its golden-green eyes.

           “You’re had boy-king!” Seqer laughed, “Your forests dwindle and the realm of mortals grows like so many delicious rats swarming over the rotting corpse of a voluptuous maiden.” It drooled, “The grand empires of humanity, so taken with purity and civilization care nothing for your power. Soon they’ll be tramping through these deeplands—for good this time!—and be having you like they have their altar boys back home.”

           The arm of the spring-lord flexed with hidden muscle as he went for his greatbow, midway through nocking an arrow when Ljos, of all, put her hand up to stop her husband’s wrath.

           “What do you know of these things? Do you think the humans and their kind would be so foolish as to forget where they’ve come from? Or do your lords and ladies and—other fiends—fear for their own safety, faced with the searing light of the mortals’ faith? Tell me: how many of your ilk have been sent out to pollute the world? What of the northern forests, and the grey-fey?”

           Pointed gauntlets rested on the demon’s chest in a haughty gesture, “You’ll find many of your sap-blooded ilk agree with our attestations and plans. You think I would be so stupid as to point it out as—frankly as I have?”

           “I think you would be so arrogant.”

           “You commune with corruptive forces! Whatever aspirations the mortals harbor, they will fall in time to the balance of nature! You fall outside the Wheel, you would see us all wither, like the once-mortals in the Drained Lands! Or in the Knives of Urs!”

           “Necromancers?” the exile blew a raspberry, waving his arm in a gesture so dismissive his very elbow bent backwards upon itself—a motion he seemed to find of little discomfort, “Please, Lord Catamite, you give us too little credit. Though—” he scratched at his horned chin, “We might have heard rumors that there’s been much blood shed between them and the barbarian tribes. Mmm, to think—with the northern shamans dead, and the southern raiders gone, who would be left to carry on the reverence of the woods? Or to stem the tide of the mortal empire?”

           “Then perhaps you should go parlay with them, if you’re so hell-bent on killing humans.” Carnayn still gripped at his throne, “And then when your blackened machines attempt another crusade we can have a repeat performance of the old wars, and my trees will have bone meal aplenty to feed on, and I can carve the names of another thousand demons onto the horns within my trophy-hall!”

           “I see you are more obsessed with your own traditions than you are in survival.” Dokk’Seqer frowned as if he had smelled something fowler than himself, “You’d turn down your own soul-kin and let the pathetic feet of mortals trod all over you. A dark alignment is coming! You scoff at the power and fear you could command of the mortals, how much you could show them true nature of the world they live in, and the very stars and planets align for you! But no, you think you would just—wait? Wait while a Black Hunt could be yours? Perhaps you have even less sense than the death-mages, it’s true.”

           Ljos stood up, staff held with commanding yet languid grip.

           “I remember the times when our kinds could cavort together, unbothered by the machinations of the primitive humans.” Seqer’s sigh was overemphasized and harsh, “Orgies for weeks, Wild Hunts that actually took captives and didn’t just—parade about the sky for the sake of it, actual bloody craftsmanship.” He sneered around the palace, “And now what? You live in a ruin? The Fane of Azdahag would put this place to shame. The Spider Halls—have you been? They sing more beautifully than the sad screeching of this orchestra.”

           “Leave!” Ljos commanded, her voice darkening, “You have no place nor purpose here. I am not above killing a messenger just for insolence. Tell your lords they can wage war on their own, and expect no harbor in the forests.”

           The demon-kind threw his hands up, shaking his head, “Sad, sad fools. If you insist. But when your woods burn I will be there amongst the Blackened Host, to laugh and cavort like these were the First Days.” He spun around to kick up his cape, proceeding back the way he came, to the enchanted arch of the hall’s entrance, the crowds parting before him. “Mmm, hello.” He stopped for half a moment in front of an elf dancer, “Make my trip less disappointing? The trip to the Slave Pits is an exciting one—”

           “LEAVE!” Ljos boomed after him, sending the creature on his way, and the courtier disgusted.

           The air shimmered with a crackling snap as the dark-fey moved under the arch of the exit, dissipating back to whatever wayshrine he had come from.

           Awkward silence reigned in the court for a good few minutes, interspersed by distressed murmuring as the royal couple overserved in spirit.

           It is never a good sign when the exiles seek audience. I expect foul play. Carnayn posited.

           The only play of the demon-breeds is foul play. We will protect our lands as we always have. We’ve no other foes, and the dark ones are alone in their fight. Ljos assured her consort.

           I will be sure to raze the imperial lands that lie upon the marches. The Hunt will be a long one this year. If a dark conjunction does occur, I will take advantage of it. It is only an exile who thinks such events can only be used by fell sorcerers.

           Be cautious, my love.

           Ljos stood again, and waved her staff in conjuration of a warming light.

           “Not even the foul words of one such as that will spoil the celebrations of the Green!” Ljos smiled, and none could see what little concern flickered in her eyes, “Our power watches over you, and your love shall shield yourselves. Dance again, and cast off the worries of winter and the deep. It is spring!”

           Laughs arose as drinks were raised yet again, and the conductor smoothed out his feathers to begin a new tune. The hall of the faerie lord was alive again, as the harmony of nature once more took hold of the courtiers’ hearts, as only it could with the forest-children.

—

           With the conclusion of the chant, the roiling black subsided, and the pool within the center of the room grew glass-still once more, as the dark smoke dissipated across the floor or up into the high vaults of the ribbed ceiling. The black-cloaked forms of the Council of Seven sat back into their ebony chairs, each one unique and hideous in their own way—both the councilors and their thrones.

           “We may now begin.” The head of the horseshoe-shaped table—Lord Muvad—announced, pale hands crossed. Everything about him was sharp, from his pale and inhuman face, to his filed and dirty nails. “I believe that Councilor Krex has many things to say about progress on his Black Chariots, but first, if Councilor Vomengro would update us on the findings of his northern spies?” The figure invited another of the black-cloaks around the table, the one known as Vomengro, distinguished by hiding even more of his flesh under black, silken gloves, and a white death-mask formed as a bird-like face.

           “As you should all know; I have many eyes—especially in the lands of Urs.” The gaunt-masked councilor began, his nasal and rasping voice in opposition to the smooth baritone of the council head, “The forces of the Ancient One are entangled with the shamans of the northern tribes. With its hunger sated on the blood of barbarians, we will be free to maintain our own order until such time as we can take advantage of the imminent conjun—”

           “GENTLEMEN!” A voice rang out through the dingy assemblage, snapping the heads of the gathered necrocracy, “And—ladies?” the demon-elves, in tandem, stepped from the shadows, the one in a green cloak holding a quizzical tilt in reference to the two slighter figures among the thrones—one necromancer so old and withered as to be either crone or codger, and the other’s flesh concealed under armor of dark iron.

           “What foolish deep-dweller dares intrude upon this council?” Muvad railed.

           “You have not been permitted entry! This is against all ritual!” one of the men, with sagging white skin and black lips, spat out.

           “Oh pardon us.” One of the two fey mocked, this one marked by a red cape, “It’s just we felt there were matters at hand that were less soul-rapingly dull.” It looked around, “You do realize colors exist other than black?”

           “State your allegiances, elves! And do not commit mockery within our own domain!” the vampiric Muvad speaker ordered.

           “Why should we grant audience to such petulant demons, when there are important matters at hand?!” Vomengro hissed.

           “You can talk about idiotic schematics, and cowering from you dread father later. We bear actual news on this astral eve. News of mortals and fey-kin.” Dokk’Seqer spoke up, “That I believe would be of interest to your rotting old ears.”

[jessicakehoe]

ICYMI: These Were the Highlights From the Stronger Together Concert

The largest single-show broadcast in Canadian history, Stronger Together, Tous Ensemble brought together the biggest names in the country, from actors and athletes to musicians, authors, activists and more. The special event honouring healthcare workers and raising money for Food Banks Canada featured musical performances, messages of hope and solidarity, and also told the stories of frontline workers and COVID-19 survivors. Now, we’re reliving some of the highlights from the show.

Canadian rocker Sam Roberts kicked off the show with an uplifting acoustic rendition of his 2014 single “We’re All In This Together,” with his three children accompanying him on music. Celine Dion addressed viewers in French and English, praising the “heroes out there around the world who are going to work every single day.” Other celebrities who made an appearance include author Margaret Atwood; dance troupe Cirque du Soleil’s Kevin, Andi and Gasya Atherton; actors Mike Myers, Will Arnett (with a special appearance by Amy Poehler) and Kiefer Sutherland; and the entire cast of Schitt’s Creek.

The goal of Stronger Together, Tous Ensemble was to raise money for Food Banks Canada’s $150 million campaign to provide immediate support to food banks across the nation during the pandemic, and over the course of the 90-minute event, so many Canadians sent in donations that they broke the internet. “Canada, you’re amazing,” organizers of the event tweeted. “The @foodbankscanada website has crashed under the weight of your generosity.” For those who still wish to donate, there’s plenty of time. Text COVID to 30333, call 1 (877) 535-0958, or head to Foodbankscanada.ca to make whatever contribution you can afford.

In case you missed it last night, check out some Stronger Together highlights below:

Alessia Cara

Before performing Randy Newman’s “You’ve Got a Friend In Me” with her band, Grammy-winning Brampton native Alessia Cara shared a personal message to viewers about the importance of human connection and friendship, especially in the most trying of times.

“I want to play you guys a song that I really loved growing up, that I feel is pretty important and fitting in this crazy, weird, difficult time we’re going through right now,” she said. “And I think if there’s anything we can learn from it, it’s that there’s nothing we can’t get through together. In fact, everything’s always a little bit easier when we have each other. So hopefully this gives you a little bit of hope or joy.”

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Shania Twain

From her home in British Columbia, Shania Twain shared a special message for Canadian frontline workers—healthcare workers, drivers transporting food and health supplies, cleaners and first responders. “Thank you from the bottom of our hearts for putting yourself out there, putting yourself at risk,” she said, tearing up. “We couldn’t do this without you, we would be in a much bigger mess without you.”

She then went on to perform—with her labrador Melody by her side—a couple of verses of the title track “Up!” from her 2002 album, providing a slight coronavirus twist to the lyrics.

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Barenaked Ladies, Michael Bublé and Sofia Reyes

Michael Bublé and Barenaked Ladies performed a song titled “Gotta Be Patient” with Mexican singer-songwriter Sofia Reyes, tweaking the lyrics with coronavirus references. “I just want to see my friends / I want to walk the street again / But I gotta be patient / So let’s enjoy this confination,” began the song, leading into: “I just wanna feel your love / Coz Instagram is not enough for me / So I gotta be patient / Let’s enjoy this confination.”

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Ryan Reynolds and Eric McCormack

The two actors provided some moments of levity, with Ryan Reynolds quipping that the day marked “the 10-year anniversary of the quarantine we’ve been on for the last six weeks.” Eric McCormack spoke of how Canadians can get through anything, sharing an anecdote from his youth, before going on to introduce Sarah McLachlan as “one of Canada’s most precious natural resources.”

“I spent my 20s in theatres from Vancouver to New Brunswick,” he said. “And let me tell you, if Canadians can brave a three-hour production of Henry IV Part Two in the dead of the Winnipeg winter, they can do anything.”

Thank you @EricMcCormack for the message of love ❤️. #StrongerTogether #TousEnsemble pic.twitter.com/qyt3BpiotI

— Stay At Home TV (@GlobalTV) April 26, 2020

A tribute to Nova Scotia

Canadian singer Anne Murray took a moment to speak about the tragic shooting that took place in Portapique, Nova Scotia, last week.

“A week ago, the unthinkable happened, right here in my beloved Nova Scotia,” she said. “To the families, friends and communities of those affected, we want you to know that we are grieving with you and we send prayers for courage and strength as you try to make sense of this horrific tragedy.”

She went on to say, as she thanked healthcare workers across the country: “We as a nation are being put to the test right now as we face the unknown, but we’re facing it together and that’s the way we want to remember this. Here’s a song that’s become an anthem for times like this and one that I’ve actually sung a few times. Here are Voices Rock Medicine, a choir made up entirely of women physicians.”

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A message from Canadian athletes

Some of the top performing athletes in the country (and the world) joined forces to share a message of team spirit, unity and perseverance, including tennis player Bianca Andreescu, swimmer Penny Oleksiak, Toronto Raptors Serge Ibaka and Pascal Siakam, soccer player Christine Sinclair, sprinter Andre de Grasse, former hockey player Hayley Wickenheiser and ice skater Tessa Virtue.

“With a focus on physical and mental health, let’s remember to stay in touch, stay strong, stay brave, and stay united,” said Virtue. “Thirty-seven-million strong, this is the most important Team Canada I have ever played on,” said Wickenheiser.

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Lean On Me

Canadian singers Tyler Shaw and Fefe Dobson, founders of an initiative called ArtistsCAN, brought some of the country’s biggest musicians together for a moving collaborative performance of the late Bill Withers’ “Lean On Me.” Justin Bieber, Michael Bublé, Avril Lavigne, Bryan Adams, Buffy Sainte-Marie, Jann Arden, Sarah McLachlan and others performed the special ensemble piece, proceeds from which will go directly to Red Cross Canada’s COVID-19 relief efforts. Canadians can contribute to the initiative by simply streaming the song, viewing the official music video, or downloading the single.

Prime Minister Justin Trudeau closed out the video with a message to the nation, saying: “We’re going to get through this together, by leaning on each other and protecting our frontline workers. Stay home, stay safe.”

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Drake

In a move that raised a lot of eyebrows on Twitter, Drake closed out the show, getting the last word after Prime Minister Trudeau. His three-minute-long closing message thanked the artists who had performed for a good cause that evening, the frontline workers and first responders, and those who have to leave their families everyday and go to work amidst this crisis. “They’re the glue holding all this together so thank you very much for that,” he said. He also addressed the mental health challenges that people across the world are facing right now, whether they have been directly affected by coronavirus or not.

“I want to urge everybody that’s in their own space to find the silver lining in the times that we’re living in right now,” he said. “If you have a craft that can be worked on from home, it’s an amazing thing to continue working, keep your mind stimulated, get better at that thing that you’re passionate about. Better yourself mentally, physically, if you can stay active, if you can make a change you’ve always wanted to make in your life, right now is the time. Nurture your personal relationships… or decide which personal connections aren’t for you. Now is a time of self-reflection.”

“I hope we all emerge better people, more unified people, and I hope we are able to show each other the same amount of love we’re showing now.”

https://twitter.com/etalkCTV/status/1254561506504646656?s=20

The post ICYMI: These Were the Highlights From the Stronger Together Concert appeared first on FASHION Magazine.

ICYMI: These Were the Highlights From the Stronger Together Concert published first on https://borboletabags.tumblr.com/

[londontheatre]

Claudia Jolly (Katherine Draper) and Sam Reid (Gene Laine) in GFTNC at The Old Vic. Photo by Manuel Harlan

Bob Dylan’s music is like a favourite old overcoat which warms you, comforts you, soothes you as you retrieve it from the coat-rack and wear it again to ward off the approaching winter chill. But it has surprises. You reach into the pockets and discover forgotten memorabilia languishing: the jingle-jangle of some coins, a dog-eared shopping list, that pen you’ve been searching high and low for and the neatly folded order of service from a funeral. And there are other, unknown, objects left, perhaps, by someone else to whom you lent your coat: yes, Dylan’s music always surprises; always tugs at the heart strings; and it always grabs your soul.

Of course, I understand that not everyone is an aficionado. But it would be difficult to come away from Girl From The North Country without acknowledging that Bob’s got rhythm, Bob’s got melody and Bob’s got the lyrics to go with them.

We have folk, we have gospel, we have Judas-music (folk-rock), perhaps not played as “f***ing loud” as Dylan would like, but performed by an on-stage band of exquisite musicality, directed by Alan Berry, with songs delivered by some exceptional voices, top-notch singers who are experts at their craft and who demonstrably know and feel the songs.

And those songs: those lonesome, haunting American anti-dream polemics depicting the lives of the downtrodden, the struggles of the oppressed, the lost values of a rampant commercial world. And there are love songs, too: unashamed eulogies to lost soul-mates and faded dreams. It’s poetry, poetry set to music and the underlying theme has always been – from Dylan’s early Ballad of Hollis Brown, through Joey, right up to Duquesne Whistle, featured in this show, – is pathos: the poetry is in the pathos.

So – how do you turn all this into a play. You call, naturally, for the Grand Master of dramatic story-telling – which is, apparently, exactly what Bob Dylan did. One assumes, but one doesn’t know – he likes to maintain the mystique around his persona – that Dylan had come across – and liked – Conor McPherson’s work at some point. Perhaps he appreciated the edgy, discomfiting, unapologetic story-telling that we see in McPherson’s The Weir and the recent television play Paula. Whatever the route into the writing partnership it became possibly the strangest theatrical collaboration since Andrew Lloyd Webber got together with the deceased T.S. Eliot to produce Cats. Dylan told the playwright to “use any song in any way you like” and that was it. McPherson doesn’t even know if the Great Troubadour is going to come and see the play that he has lovingly created.

[See image gallery at http://ift.tt/1FpwFUw]

  When the playwright set to work he realised the timeless quality of Dylan’s songs and thus set his play in 1930s Depression-riven, rust-belt America, in Dylan’s birth-place, Duluth Minnesota. Nick Laine (Ciarán Hinds) is the impoverished owner of a guest house with a myriad of family problems, foreclosure looming and a collection of quite weird and wonderful guests. From this rich seam of possibilities a wealth of individual stories emerge and meander like tributaries from the main river and the songs, mirroring the various characters’ dreams and disappointments and motives are woven in by McPherson like a living tapestry, a knowing dialogue with the audience that seems to be saying: OK, this is a story, this is a play and these are songs: sit back, breathe in and enjoy. Helping this, McPherson, who also directs, makes the inspired decision to have the songs sung directly to the audience with retro mikes on stands so that we feel that although we may be interested voyeurs of the intricate lives that are being bared before us we are also invited in to the brittle warmth of this diversely peopled gust house.

Joe Scott (Arinzé Kene) is the former boxer, wrongfully imprisoned, who gives us a stirring rendition of Hurricane. The superb Bronagh Gallagher, as platinum-rinsed blonde not-quite-bombshell Mrs Burke, has that dark, husky slightly slurred intonation of the archetypal Country and Western singer, often whilst tapping away on the drum-kit. Nick Lane’s unmarried but pregnant adopted daughter, Marianne, is empathetically portrayed by Sheila Atim who is the real deal as a vocalist and brings a vibrant, bluesy realism to her interpretations of Dylan’s more mournful compositions: great singer. But best of all is Shirley Henderson as Nick’s demented wife who’s apparently mad and provocative observations contain a certain knowing child-like wisdom: her vocals are raw but cultured; haunting but tangible; distant but close-up and personal. Henderson performs the numbers as if her very existence depended on it and that pathos in Dylan’s words is never more evident.

There are no weak links in this troupe of singers and McPherson’s inspired use of the ensemble for backing vocals and chorus – getting an authentic gospel feel to some of the numbers – is testament to his innate understanding of how music can be used to enhance, to underscore and to develop the narrative. It must have been quite something for the cast to have a director who strummed his guitar and sang along with them in rehearsals. Credit, too, to Musical Supervisor Simon Hale for his arrangements and orchestration.

Clever framing of the action by Designer Rae Smith gives the show that wistful, desolate look of an Edward Hopper painting, complemented by Mark Henderson’s subtle and effective lighting. And Simon Baker’s Sound ensures that we get the very best resonance from these sublime singers.

Matthew Warchus, Artistic Director of the Old Vic, is searching for a word to describe this type of show – neither bona fide “musical” or typical “play with songs”. It’s a “Dylanesque”, Matthew. It’s bound to set a trend. There will be more Dylanesques – though not necessarily with Bob Dylan’s music. And it will be difficult to replicate the atmosphere and melancholy of Girl From The North Country.

Review by Peter Yates

Duluth, Minnesota in the midst of the Great Depression. A family adrift, their future on a knife edge. Lost and lonely people drifting through the rooms of their guesthouse. But Nick Laine thinks he’s seen a way out…

The full cast list includes Sheila Atim, Ron Cook, Bronagh Gallagher, Shirley Henderson, Ciaran Hinds, Claudia Jolly, Arinzé Kene, Debbie Kurup, Jim Norton, Sam Reid, Michael Shaeffer, Jack Shalloo, and Stanley Townsend.

GIRL FROM THE NORTH COUNTRY Booking Period: Until 7 October 2017 The Old Vic 103 The Cut, London, SE1 8NB

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[janabarros-blog]

Bio

Jana Barros is the name of a rapper and hip hop artist. Jana Barros packed houses and sold out performances in American theatre for the past fourteen years. At age 16, Jana Barros made her national film debut in Reckon 7 Down. The movie starred Dirk Benedict, and was directed by William Cheney.  

Jana Barros trained over a decade at the Grandstreet Theatre in Helena, MT. The department of English at UM awarded Jana Barros for writing while she was simultaneously completing her Sophomore and Junior year in Honors English. In three years, Jana Barros completed graduation from the four year curriculum. American Legion Auxilliary Award recipient Jana Barros attended the Savannah College of Art and Design on substantial scholarships. In 2008, Jana Barros unveiled The Barbie Chair in the Capital City of Montana. The art works of Jana Barros have been featured in the Holter Museum of Art. For Paola Hernandez, in 2011, Jana Barros exhibited her drawings in the Presentation of Fashion at "A Look Within" in the H Hotel during {A Dove's Flight} New York Fashion Week. Jana Barros's art has been described as "controversial," and "distasteful."  While in school, Jana Barros's drawings and poems were selected for publications including  Writings On the Wall and Pen and Ink.

August 2007, Jana Barros won the title of Montana's Junior Miss 2008, at which point she was awarded satellite scholarships for fitness, elocution of wit in interview, and unquestionable or indescribable poise. Two years in a row, 2007 and 2008, Jana Barros received recognition by the National Endowment for the Arts for her genius command of language and was awarded as a poetic orator.

June 2010, Jana Barros was invited by Mike Beaty to attend the MB Talent Expo. November 2010, Jana Barros competed for a spot in the MB Dallas show. Winning one of fifteen coveted spots, Jana Barros performed in the Dancer, Singer, Songwriter show for Producers, Agents, and Talent Scouts from across the United States. Though the New York Film Academy offered Jana Barros a scholarship, she continued to work on her rap music. In 2010, Jana Barros joined with The Texas Band and performed night after night on songs such as "Cowboy Sweetheart" by Patsy Montana, "Jackson" by Johnny Cash, and "Walking After Midnight" by Patsy Cline, to name a few. In February 2009, Jana Barros performed with the Broadway Artist Alliance Master Class Winter Workshop Series. November 2010, Jana Barros performed with the Broadway Artist Alliance in New York City for the Pop Genre workshop with Kyle Dean Massy of Tony Award Winning Next to Normal. Jana Barros walked the runway for four designers during Mercedes Benz Fashion Week in February, 2011.

Jana Barros has voluntarily supported organizations including Habitat for Humanity, Big Brother's Big Sisters, Girl Scouts of America, Y.M.C.A., and the Spay and Neudor Task Force.

Performances include: 1999-2000 Bugsy Malone Jr. (U/S Lena, Lena's Girl, Down and Out) (1999) MainStage Directed by Marianne Adams Bugsy Malone Jr. Tour (U/S Lena, Lena's Girl, Down and Out) (1999) MainStage Directed by Marianne Adams Spring Showcase (2000) (Jill) Directed by Martha Sprague Anne Frank (2000) Directed by Matt Flanders

Jana Barros performed with Grandstreet's Improv Troupe (2000) A Christmas Carol (Dancer), (2000) MainStage Directed by Marianne Adams and Choreographed by Martha Sprague Words by Kids  (Company Player) (2001), Directed by Marianne Adams Words by Kids Tour (Company Player) (2001), Directed by Marianne Adams The Rainbow Connection (as herself) (2001) Directed by Sarah Louise Hannah Showcase (Class of 2001) Directed by Sarah Louise Hannah

Jana Barros performed with Grandstreet's Improv Troupe (2001) Jana Barros performed for Hometown Helena. Charlie and the Chocolate Factory (Veruca Salt) (2001), Mainstage Directed by Marianne Adams and Choreographed by Blair Bybee Grandstreet Kids Sing Broadway (as herself) (2002) MainStage Directed by Blair Bybee Dearly Departed (2002) Maintstage Directed by Marianne Adams The Crucible (Beth) (2002) MainStage Jana Barros performed shadow box with the Last Chance Stampede & Fair. Summer Showcase (2002) Directed by Romyl Mabanta of the Montana Shakespeare Company.

Jana Barros performed with Grandstreet's Improv Troupe (2002) Once Upon a Mattress (Lady Barros) (2002) MainStage Directed by Martha Sprague Pinocchio (2002) Mainstage Directed by Marianne Adams The Lion, the Witch, and the Wardrobe (Unicorn) (2003) Mainstage Show Me What's On, Stage Manager (2003) Directed by Marianne Adams Summer Showcase (2003) Directed by Retta Leaphart

Honk! (Basset Hen) (2003) Mainstage Directed by Marianne Adams Footloose (Girl 5, Ensemble) (2004) MainStage Directed by Blair Bybee Spring Showcase (2004) (Directed by Martha Sprague) Summer Showcase (2004) (Gameshow Announcer) Directed by Tanner Cosgrove

The King and I (2004) MainStage Directed by Blair Bybee Grandstreet Treat (as herself) (2004) Directed by Blair Bybee Disney's Beauty and the Beast (Silly Girl) (2004) MainStage Directed by Marianne Adams Seussical (Gertrude McFuzz) (2005) MainStage Directed by Blair Bybee Aladdin Jr. (Ensemble) (2005) Mainstage Directed by Blair Bybee Spring Showcase (2005) Directed by Marianne Adams School House Rock (Interplanet Janet) (2005) Directed by Blair Bybee A Chorus Line (2005) (at the age of 15 Jana was cast as Wrong Arms Rachel, but when the director Blair Bybee was unable to find a dancer to play the role of Larry, the dance captain, the role was assigned to Jana Barros and the name was changed to "Laurie" (after the Director's first wife). Jana Barros was also cast as one of three swing's for the entire cast of female performers. Annie (Jana Barros was cast as the Star to Be and performed for four weeks. She was also cast as the U/S for Grace,  a lead role which she performed. Jana Barros was the Dance Captain for Annie as well.) (2005) MainStage Directed by Marianne Adams A Chorus Line Revival (Maggie) (2006) RMTA Festivention Mainstage Directed by Blair Bybee Cheaper by the Dozen (Anne Gilbert) (2006) MainStage Directed by Dawn Lee Kangas Crazy for You (Tess) (2006) MainStage Directed by Blair Bybee Spring Showcase (2006) Directed by Marianne Adams Summer Showcase (2006), Assistant Director (Directed by Tanner Cosgrove)

Lucky Stiff  (Dominique DuMonaco, The Roulette Wheel, Subway Passenger, Server) (2006) MainStage Conservatory Directed by Jeff Downing Bat Boy (Bud, and Daisy) (2006) MainStage Directed by Blair Bybee The Wizard of Oz,  Light Board Operator (2006) MainStage Directed by Marianne Adams Showcase (2006) Directed by Marianne Adams Alice in Wonderland, Director (2006) "Short Shorts" Produced by Erin Ortman Words by Kids, Assistant Director (2007) Directed by Marianne Adams In 2007, Jana Barros was nominated as Vice President to the board of choir for Ambiance. At the Western Music Festival of Montana, Jana Barros was awarded by the highest achievement for her perfect singing performance in a sola aria titled "Voi Che Sapete" from the Marriage of Figarro.

The Sound of Music (Nun) (2007) MainStage Directed by Katy Strote-Wright As Montana's Junior Miss, Jana Barros represented Montana at the Miss Montana Convention in 2007. In December 2007, Jana Barros performed on the Diamond Block.  Entertaining as Montana's Junior Miss 2008, Jana Barros spoke on behalf of the Be Your Best Self Platform at the Montana Club during a luncheon for The Republican Women's. Jana Barros performed in December 2008 again for the Republican Women. Jana Barros performed at The Festival of Trees in December 2007. Cinderella (Queen Gertrude) (2007) MainStage Directed by Marianne Adams January 2008, Jana Barros appeared on behalf of Helena's Live! @ the Civic. January 2008, Jana Barros performed for the Laurel Jaycees of Montana Awards Gala. April 2008, Jana Barros performed for the Internationally acclaimed Destino Popera Trio. Jeckyll and Hyde (Lucy Harris) (2008) Night to Shine Directed by Manny Lopez Jana Barros directed a fundraiser that Grandstreet Theatre produced on June 3, 2008 for Junior Miss. big! the musical, Dance Captain, Assistant Choreographer (2008) MainStage Directed by Blair Bybee and Choreographed by Lisa Fox June 2008, Jana Barros performed for the National Distinguished Young Woman of America. August 2008, Jana Barros performed for the Distinguished Young Woman of Montana. While hosting the Distinguished Young Woman of Montana 2009, Jana Barros Directed and Choreographed the Little Sister's Performance.

The Secret Garden (Rose) (2008) MainStage Conservatory Directed by Jeff Downing Till We Have Faces (Redival) (2008) Directed by Rachel Jones Jana Barros was selected as a SCAD Student Ambassador for the College. In 2008, Jana Barros was cast for the project  Performance Ensemble whose performances aimed to promote the SCAD's school of Film, Television, Media and Performing Arts. As a member of the group the Performance Ensemble, directed by Kevin Wallace, Jana Barros performed in October at SCAD Day, and in December 2008 at the Winter Concert in the Mondanaro Theatre. In Winter 2009, Jana Barros performed with the Performance Ensemble in the Savannah Squares at a SCAD Day oriented towards Juniors, and in the Spring of 2000, the Performane Ensemble Group performed again with Jana Barros in the Savannah Squares.  Jana Barros performed at the Spring Concert  with the Performance Ensemble Group in 2009. Carousel (U/S Julie Jordan, Ensemble) (2009) Directed by Michael Wainstein Closing Notice (Woman 5 Ensemble) (2009) Directed by Derek T. Pickens All in the Timing (Dawn Divito) (2009) Directed by Mark Tymshyshm Suite Surrender (U/S Athena Sinclair) (2009) (Directed by Michael McKeever) Bye Bye Birdie (Kim MacAfee) (2009) Directed by Michael Wainstein. Mountain Shorts, Co:Director, (Company Player) Directed by the Blowing Rock Stage Company Interns Jana Barros costumed and designed for Time Machine Portrait Studio from 2009 to 2010. Impossible Marriage (2009) (Pandora) Directed by Sharon Ott

"Her performance is over-the-top, but the audience believes the joyous optimism she brings to the stage," according to the District Newspaper. Jana Barros has built costumes for Regional and Community Theatres, and built sets in more than two dozen performances. Jana Barros was hired to play Ingrid Bergman at the Hal Miner Memorial CASAblanca Gala for Amarillo Area Casa in October 2010.

Anderson Model and Talent Agency signed Jana Barros in June 2010.   In January 2011, Jana Barros became a Talent Scout and Coach for classes in Professional Runway and Improvisation at the Anderson Model and Talent Agency.

Awards:              Sarah Louise Hannah's "Marianne Adams Award" (Vocal Scholarship)              Dancer of the Year (Grandstreet Theatre)              MB Expo 1st Runner Up in Adult Female Actor Photography              MB Expo 1st Runner Up in Adult Female Fashion Model Swimsuit              MB Expo 2nd Runner Up in Adult Female Fashion Model Composite Card              MB Expo 2nd Runner Up in Adult Female Fashion Model Runway              Summer Theatre Award 2000, 2002, 2003, 2004, 2005, 2006, 2007              Theatre School Board Festivention Award 2008              Montana's Junior Miss 2008             Nominations:             Best Supporting Actress Ovation 2010

Film Credits Include: Rekon 7 Down (Daughter) (National) Directed by William Cheney b.l.i.s.s (Melanie) (Indi) Directed by Kyler Ernst The Last Five Years (Josie's Best Friend) (Indi) Directed by Joel Wilson Big Time (Picketer) (Indi) Directed by Matt Flanders (Indi) Directed by Errol Koch The Senior Movie (Josie Adams) (Indi) Directed by Errol Koch In 2008 Jana Barros was the lead in an independent Film Noir directed by Robby Silcox. In the Winter of 2009, Jana Barros played the Best Friend in an unfinished independent film directed by Felipe Midieros Lurk Steady All Stars (post production), Jana Barros plays a lead role in this independent film directed by Michael Ellwood Oh, God! (Mary) (Indi) Directed by Tyler Stuart Open House (Jen) (Indi) Directed by Max Golden Through Sames of Am (Lead) (Indi) Directed by Robert Costello The Chopin Study (Lead) (Indi) Directed by Pieter Ribbens Recycle This! (Amber) (Indi) Directed by Matthew Timothy Demarko Hands and Feet (Dancer) (Indi) Directed by Laura Renz Through Haves of Give (Lead), Cinematographer (Indi) Directed by Robert Costello

Commercial Contracts: Webster National Bank The Floor Show Alive @ Five Carlyle & Co., Inc. (2011) 360 Events & Promotions (2011) Adelante Live Inc. (2011) GC Marketing Services (2011) network promotions & events (2011) Talent Tree Staffing (2011) Sunflower Staffing (2011) Deluvia Inc. (2012) Trilogy, L.L.C. (2012) Crossmarks (2012) Extreme Marketing and Promotions (2011)

Modeling Credits Include: New York Fashion Week (2011) Julstar Fashions (2011) BKNS (2009) Tiara Austini (2011) Steven Daniel (2011) Paola Hernandez (2011) The Fashion Bug (2010) Rod Latta (2010) Wyatt Ramsey (2009) Nate Abramowski (2008) Elle Ross Dimitra Renée Williams Martin Battilana Mike Laura (2009) Marcelas Furs (2010) National Sunflower Association (2010) Dannon (2011) Chiquita Banana (2011) Zyrtec (2011) Kellog's (2011) Centrum (2011) Axe (2011) Dr. Pepper Ten(2012) Taste Adventure (2012) Patron XO  Cafe Dark (2012) Rosa Regale (2011) Ashley Spencer Jay Photo