#ambassadors theatre

[batnbreakfast]

For everyone, who’d like to see Catherine Tate in something sinister:

The Hodgsons had no idea what a poltergeist was when, in the summer of 1977, furniture and toys started moving of their own accord. An ordinary, working-class family, who lived in a north London council house became the centre of one of the most famous poltergeist events in the world. This is the story of one night in the spring of 1978 when events were approaching a climax.

Based on the first-hand accounts of one of the ghost hunters, The Enfield Haunting is the true story of what happened when a dedicated single mother, tries to protect her three children from something that is incomprehensible, deeply disturbing and is hurtling to a terrifying conclusion.

There’s a sale on at londontheatre.co.uk right now.

[willstafford]

Unwelcome Geist

THE ENFIELD HAUNTING Ambassadors Theatre, London, Thursday 8th February 2024 Inspired by the notorious real-life events that supposedly took place in an Enfield council house in the 1970s, this new play by Paul Unwin has had something of a mixed reception, by all accounts.  If you go in expecting a Woman in Black to show up at 2:22, you’re going to be sorely disappointed. The action plays out…

[aidanturner]

'One Woman Show' - Press Night - VIP Arrivals (19 December 2022) [x]

[emcgoverns]

elizabeth mcgovern attends the ATG summer party hosted by ambassador theatre group (september 2021) | 📸: dave benett

[petricorah]

#dramatic bit hes having their portrait done via @gayhistoryperson

yess（≧∇≦）i love this interpretation

maybe it's a metaphor. maybe it's not. you can decide (wip) [id in alt]

[bdzonthareel]

The Color Purple (2023)

So I’m a theater kid not just any type of theater kid though, I am the least favorite of the general public… I am a musical geek!

I am all in on this medium, whether on stage or as an audience member; so I often get super trepidatious over movie musicals, especially adaptations. So the prospect of a remake of one of the most prolific stories in Black Culture terrified me.

I can say this was definitely an experience, so let’s get into it.

The Color Purple is the tale of Celie as she navigates the 1920s as a constantly disrespected woman of color. After being separated from her beloved sister Nettie, she has to learn how to love and stand up for herself.

Something to keep in mind is that this is more of a reimagining than a full-on remake, and your mileage may vary on that statement.

The casting is a mixed bag, my favorites were Danielle Brooks as fan favorite character, Sophia; who I feel killed it. And Fantastia Barrino reprises the role of Celie from her stent on Broadway, It’s a role near and dear to her heart and you can feel the passion in her overall performance. And H.E.R. in the role of “squeak” was delightful, she convinced me of her acting chops long before this role though. Colman Domingo brought his own level of malevolence to the role of Mister and I was impressed.

And some of the casting that made me scratch my head a bit were the likes of Corey Hawkins and Taraji P. Hanson. Neither was bad by any means, but they’re just safe choices, polished and conventionally attractive.

Speaking of head scratching, I have a lot of feelings on most of the dance choreography; it doesn’t fit the era. In a time when there were dances like the Charleston and ragtime, choreographer Fatima Robinson made the questionable choice to do contemporary dance. It breaks the immersion and I could do without it.

Director Blitz the Ambassador, who also worked on Beyonce’s “Black is King” is a master at visual storyteller, I found myself astounded by set pieces and the camerawork. I would be saddened if it didn’t receive some sort of award.

Composer Kris Bowers created some amazing music for the score, more befitting of the era than the dancing. However, the movie tries too hard to fit as many songs from the show in as possible and this works to the film's detriment at certain points. Songs like “God is trying to tell you something,” are whittled down for the sake of more elaborate numbers.

The movie is a mixed bag, I enjoyed certain aspects but a lot of it falls flat. The acting and vocal performances are solid and I couldn’t get enough of either, but I stand my view of the film’s negatives.

When it comes to musical theater to movie reimagminings , less is more and this movie added a little bit too much to the plate.

I give the Color Purple a 3 out of 5.

[staticsnowfall]

michaela mabinty deprince (1995-2024)

🩰˚✧₊⁎

today, september 13th, 2024, the ballet world lost an extraordinary dancer and woman.

michaela mabinty deprince was born on january 6th, 1995, as mabinty bangura, in sierra-leone. she was orphaned, her parents passing to due to both direct and indirect causes of the civil war in her home country. she was demonized by her caretakers for her vitiligo, being called a “devil’s child”, and suffering from other forms of neglect and abuse. in 1999, deprince was adopted by an american couple along with another girl, and they were taken to new jersey, united states of america.

her hopes of becoming a ballerina had been planted when she found a ballerina on a magazine cover in her home country. she didn’t know of ballet at the time, but treasured the picture and dreamed of dancing. this dream blossomed into truth when she moved to the states, being put into ballet lessons soon after her arrival. deprince was a four-time participant in youth america grand prix, one of the largest ballet competitions in the united states. she was awarded a scholarship to study at the jaqueline kennedy onassis school of ballet, the associate school of american ballet theatre.

despite facing racial discrimination and other hardships in and out of the industry, deprince persisted in her dream of becoming a professional ballet dancer. in 2012, at the age of 16, she became the youngest member of dance theatre of harlem, and the next year, she joined the junior company of the dutch national ballet. she soon rose through the ranks, joining the main company and attaining the rank of soloist. she was the first dancer of african origin to ever join the company, and a shining advocate and role model for black women in ballet.

her other accomplishments include being an ambassador for war child holland, a dutch organization working to improve the wellbeing and resilience of children directly affected by war. she visited uganda and lebanon through the organization. she also appeared in beyoncé’s 2016 music video for ‘freedom’.

she will dance among all the stars in the sky. rest in peace beautiful michaela mabinty, you are already so missed. ♡

[k-star-holic]

'Hyoja' Lim Young-woong buys 'LA souvenir' for mother + Grandma's Boy

Source: k-star-holic.blogspot.com

[m0chisenpai]

Could you consider doing a fwb reader who refuses to be with them because she thinks that they are so toxic (but they are pinning over her HARD because i like my men obsessive over me)

(also i said "they" because i didnt knew who to pick 😭 but this just screams lestat or armand)

The hunt

˚｡⋆ lestat de lioncourt x black!fem!reader x armand

in which neither lestat nor armand can keep their eyes off box one

You joined the theatre after watching your maker burn to a crisp. Truth be told you would have done him in yourself had they not stepped in. He was ancient and delirious, you were a pretty face plucked from the slums. You posed as his distant relative, some nights you were his niece, other's his heiress bastard.

And in return you lived a comfortable life of luxuries.

Though you had to bear his unwarranted advances, his unwanted pet names, it all made your skin crawl. Sharing his bed was a rare occassion, but you made sure he was drunk on blood to manage those nights better.

Tonight he said he needed to attend to his affairs, leaving you to explore the city. You made unnecessary purchases on his account. New gowns, shoes and fans, head pieces for the upcoming season and gatherings to come.

When you arrived to your Paris manor to find it in shambles and the man burning amidst it all, all you could do was sigh and use his flames to light the cigarette while you watched him turned to ash. They were a gift from an ambassador. New unlike the tobacco pipes which you hated. You hardly flinched when the carriage boy screamed for help.

What were you to do now? His accounts were already settled in my name, but I liked this home. Now I'll have to replace my belongings, find new lodging, how burdensome.

"Your maker is no more fledgling," his presence startles you but you stand your ground against the elder. Honeyed eyes watching you concealed behind false glasses but he is amused by how you stand your ground. How you stand with some air of regality illuminated by the dying flames.

"I can see," you tap the ashes into the flames.

"He violated the ancients laws. He disrespected my coven and reaped the consequences of his choices."

"Coven?" Now he has your attention. You step up to him careful if you were next on this vendetta. "He never told me about laws, or others. Just said to tell him if I saw any more of us in the shadows. I smelled them, but I was too bored to tell the pig."

He knows. He searched your mind fromt he shadows. Watching you shed no tears for your maker. All you could think of was no longer having to deal with him anymore. No longer were you forced to share his coffin, feel his disgusting hands. Armand felt your disgust, it churned his stomach.

He saw himself in your eyes. You and him were one in the same. Two broken souls forced into this life, yet you adapted well just as he. A hunger to learn more is clear in your thoughts. He holds his hand to you, "come. Join us. And I can guarantee you will not suffer the same fate."

You stare at his hand, discarding the cigarette next to you. "Will I truly?"

"Yes, come." There was a softness to his voice. You brought a nurturing side out to him he never knew was there. As he guided you back to the theatre, not once did his hand leave yours. You would spend the first night in his coffin, just in case he did try and kill you.

Armand presents you in front of the coven the next night. You found them off putting, but you would grow used to their presence.

"Lestat De Lioncourt, one of our actors and founding members," you bow your head to him but he takes your hand in his pressing a kiss to your hand.

"Will this beauty be joining us on stage Armand?"

"No, she will observe with me for the time being until she finds her place."

"Ah maitre, it is sin to hide such a beautiful face." He flashes you a cheky smile which you quickly brush aside.

"And I hope you put that charm to use on stage Mr Lioncourt" you retort stepping back beside Armand.

"You have a bite in you fledgling, don't lose it."

French boys. You can only shake your head.

They were all the same. Flowery words, thoughts of lust and poetry. Philosophy. Bu this blonde beauty, this one was different. No thoughts of heaven or hell, evil and good. No his thoughts intrigued you.

The first year you find yourself being a production assitant of some sort to Armand. You have your own quarters in the theatre. Filled with your gowns, jewels, your riches. You offer him input in changes, or adjusting scenery his scripts when need be. Always sitting in box one of the performances.

He won't admit it outloud but he felt you were the fledgling he was meant to make. Not your old maker.

His affections grew into something else. Was it romantic? No, vampires felt more than just human emotion. This was supernatural. Primal. As he sat in the box, he watched your gaze upon Lestat. You sat up straighter eyes wide with pride.

He wanted you to look at him like that.

"He's off script again," Armand clicks his tongue, he looks over to you.

"Yes, but don't you think it sounds bette this way."

"It would had he done it during rehersal." His eyes watch as your fiddle with the cuffs of your gown. He takes your hand into his own, now he has yoru eyes which look up at him.

"Yes?"

"Nothing, I just wanted to see your eyes for a moment fledgling."

"Are you growing soft Armand?" You smirk up at him, sitting up and tilting your head as to suggest you were to kiss him which he anticipates.

"The next act is starting" you whisper situating yourself to watch the performance. His eyes open, looking now to the stage, where Lestat bows smirking up at the box as you stand to join the applause.

You pace back and forth in front of Lestat who reads from his script. The coven look as dead as their hearts, the poor diva couldn’t get his line. He had been slacking lately as death, and he needed to improve for the upcoming performance.

You wouldn’t admit it, but he played death well. He was as vicious as death. But you needed death to have romance to it. Death was as beautiful as he was fearsome.

"Come now Lestat as though you are in love!" you exclaim. He reads the lline again but it sounds more...harsh than loving.

"Lestat surely you bedded enough women to know how to speak sweet love. Speak as though you wish to lure her, to drink her lust and her blood." You look up at him, he looks down upon you and in one big swoop pulls you to the stage.

"My bounty is as boundless as the sea," he whispers it tenderly, his hand cups your cheek the other srill holding the script in hand.

"My love as deep; the more I give to thee,The more I have, for both are infinite." He is closer now. "How was that?"

"Better, now do it with your bride of death tonight." You whisper Walking past him into the wings.

Armand can't help but watch as you write at your desk, beside the new set of perfumes and fans he gifted you. He watches your lips move slowly. Your french has improved with hsi assistance. bUt you slip up, speaking in oor dialect as he calls it.

He feels a presence all too familar behind him.

"Shouldn't you be practicing your lines, puce."

"My apologies maitre," Lestat speaks in false humility bowong his head. "I wished to practice them with-"

"Unnecessary. I will be speaking with her performances and coven matters.”

“Ahh yes,” Lestat hums. Taking a bold step to stand beside Armand, who continues to watch your hand move with quickness across one of his scripts.

They don’t know, but you listen. You hear their thoughts. Desires to have you as their own. You know it. Felt it the moment both men entered your lives.

But no longer will you be held captive by another man’s desires. No, the fates of their hearts shall be in the palm of your hand this time. You give them your eyes looking at them now.

You smile, Lestat happily returns it. Armand merely bows his head to enter. He clearly has told Lestat something because he is gone in an instant.

For now, you’ll indulge them. Let them think they are winning. t’s fun when your food is unaware. That is what Armand tells you during one of your hunts. It makes the blood sweeter, and the hunt more invigorating.

Thus begins the hunt.

[mercurygray]

Friends, I have failed you all. I've seen a lot of posts over the last week with a lot of great biographical detail about many of the flyers and aircrew who've been name-dropped so far in Masters of the Air - and I haven't seen a single thing about the one name that is directly in the center of this blog's lane.

In Part 2, returning from their mission to Trondheim, Cleven and Egan walk into the Interrogation hut and Egan accepts a cup of coffee from a woman he thanks as Tatty. Later on, at the dance, James Douglass remarks that he will be 'coming in hot' on one of the American Red Cross women on the other side of the room, and one of his friends asks "General Spaatz's daughter? Or the other one?"

Katherine "Tatty" Spaatz was a member of the American Red Cross Clubmobile service and the daughter of General Carl "Tooey" Spaatz, who commanded the Eighth Air Force on its move to England. (General Spaatz later moved to overall command of the entire Army Air Forces in the Europe Theatre of Operations, or ETO. He is, as the kids say, rather important.)

But we're not talking about him here. We're talking about her.

Katherine was 22 years old when she arrived in Europe with the Red Cross. (One of her traveling companions that trip was Kathleen Kennedy, daughter of former U.S. Ambassador Joseph P Kennedy Sr., also coming to serve overseas with the ARC.)

The American Red Cross's mission in Europe had many facets during the Second World War - in addition to activities we might think of today, like collecting blood, providing disaster relief at home and running first aid seminars, they were responsible for collecting and distributing packages for Prisoners of War.

They also operated large canteens like the Rainbow Corner club, a recreational facility in London where soldiers on leave could get a room for the weekend, a bite to eat, and a number of other amenities. Smaller clubs called Donut Dugouts provided a space where a serviceman could always be assured of a cup of hot coffee, a donut, and a pretty girl to talk to, specially recruited for being friendly, fair, approachable, and specially trained to be the girl next door overseas. In addition to these more permanent installations, they also operated the Clubmobile service, a mobile version of their popular Dugouts that moved operations into retooled Green Line Bus Company buses to take donuts and a taste of home to the front line.

Tatty, as she was called, worked on the Clubmobile "North Dakota" along with Julia "Dooley" Townsend, Virginia "Ginny" Sherwood, and Dorothy "Mike" Myrick. Life Magazine did a full article on their clubmobile in February of 1943, which you can read online at the link. There is another lovely blog post with pictures here. She also worked for a time in a more permanent post at the USAAF base at Snetterton Heath, and was later sent to France. You can read a little bit more about her and see more pictures at her bio page at the American Air Museum in Britain website.

If you'd like more information about Tatty, Helen, and women like them, as well as the Clubmobile service, consider reading the following:

Slinging Doughnuts for the Boys by James H. Madison Battlestars & Doughnuts: World War II Clubmobile Experiences of Mary Metcalfe Rexford War through the Hole of a Donut, by Angela Petesch Goodnight, Irene (fiction) - Although this is a novel, it is based on Luis Alberto Urrea's mother's time as a Clubmobile worker and her personal papers.

[cumberbatchcom]

Benedict is the new ambassador of KOKO Foundation, a charity based in the UK and part of the KOKO Theatre in Camden, focused on environmental issues and providing opportunities for disadvantaged young people in the creative field.

Benedict's the new global ambassador for environmental advocacy.

"I am honoured to be a KOKO Foundation Ambassador with a special focus on the environment. It’s been so inspiring to witness first-hand, the amazing impact that the Foundation has quietly had over the past few years, making real and lasting change in Camden. I’m excited, inspired and committed to help bring awareness to the special work being done and continue to help improve the local area and scale the foundations work around the country, and the world.” - BENEDICT CUMBERBATCH.

"The foundation was born out of a desire to create something really special, to contribute to the community that KOKO is a part of; its environment, young people, and the next generation of essential artists. I have deeply moved by the impact our initiatives are already making, and it's a privilege to lead our Foundation on this next journey. I am beyond grateful for Benedict’s integrity and authenticity, he's incredibly inspiring and having him on board to help amplify our work is a true honour“ - SOPHIA PASETTI (CEO of KOKO Foundation)

To celebrate their partnership, KOKO Foundation is partnering with Letters Live to host a special fundraising edition “A Night In The Theatre”, on Thursday 7th November at KOKO.

Benedict Cumberbatch is already confirmed to attend.

[mikashisus]

GET HIM BACK — wasted bitches!

YN — 19. creative writing major. excessively burnt out. big earthcore and goblincore girlie. has plants on her windowsill and her entire dorm is cottagecore themed. vice president of the theatre club. roommates with kuni and sethos, who she's known since childhood. works in admissions as an ambassador.

MUALANI — 19. business major. knows literally almost everyone on campus, it's kinda terrifying. co-captain of the girls volleyball club. captain of the surfing club. involved with four other clubs that she's the vice president for. loves talking with people and very lively. also works in admissions as an ambassador. tour groups absolutely adore her.

XILONEN — 21. engineering major. captain of the girls soccer club. captain of the girls volleyball club. likes to be involved with sports, but doesn't like socializing all that much. a part of the dance club for funsies. loves to party and dragging her friends out to parties. has a high tolerance. high half the time. met yn in middle school.

LUMINE — 18. psychology major. burnt out 24/7. always too busy working on assignments to go out to parties, but tries her best to go to club meetings and fun events on campus. when she does get to go to a party, she gets shitfaced and then complains about having to go to class with a hangover the next day.

KUNI — 19. history major. has a love/hate relationship with his major. dating sethos. one of yn's childhood best friends. owns a black cat named sharkie but he endearingly calls him 'fuckface'. president of the alternative music appreciation club. was coerced (forced) to join the theatre club.

SETHOS — 19. communications major. another person who works in admissions. very much a people-person, and loves talking with anyone and everyone. not really involved with any clubs, but he has considered joining the theatre club because yn begged him to. dating kuni. loves going to parties with xilonen.

masterlist

[ortofosforico]

If different vampire worlds were connected and we didn't know just because they don't like eachother part 2.

Part one

Part 3, Nadja.

The Vampire Viago Von Dorna Schmarten Scheden Heimburg.

Your maker? Ya, I met the Vampire Armand in 1845. I was a young 200 something vampire full of hope and juvenile disillusionment, and I wanted to be a star. I auditioned at the Theatre des Vampires as a musician and he, Armand, said to me and I quote "I didn't know there was a way to put a face to mediocre music, Viago. Thank you for the inspiring glimpse of what my troupe would sound like if they were performing for pennies and fighting the rats living under the bridges of the Seine for a place to sleep."

It was quite embarrassing to go back to my coven in Germany after I'd told them to get fucked. He's been trying to get a spot in the vampiric council as ambassador for Dubai for the last ten years or so... guess I should consider it, bury the hatchet like the responsible 389 year old vampire I am.

Not in Dubai anymore you say? Oh... Oh that is quite the news. No Daniel this is my normal smile, nothing devious whatsoever about it. Now excuse me, I have to make a call. No not through the ether, through the Skype.

[aidanturner]

‘One Woman Show' at The Ambassadors Theatre (19 December 2022) [x]

[fdelopera]

Welcome to the 19th installment of 15 Weeks of Phantom, where I post all 68 sections of Le Fantôme de l’Opéra, as they were first printed in Le Gaulois newspaper 115 yeas ago.

In today’s installment, we have Part III of Chapter 8, “Où MM. Firmin Richard et Armand Moncharmin ont l’audace de faire représenter « Faust » dans une salle « maudite » et de l’effroyable événement qui en résulta” (“Where MM. Firmin Richard and Armand Moncharmin Have the Audacity to Have ‘Faust’ Performed in a ‘Cursed’ House and the Horrifying Event Which Thereby Ensued”).

This section was first printed on Friday, 22 October, 1909.

For anyone following along in David Coward's translation of the First Edition of Phantom of the Opera (either in paperback, or Kindle, or from another vendor -- the ISBN-13 is: 978-0199694570), the text starts in Chapter 8 at, “Moncharmin, ever a man for a joke, said, ‘Actually, quite a good house for a theatre which has a curse on it!'” and goes to Chapter 8, “But a few, who seemed slightly better informed, agreed that 'they'd kick up a storm' at the start of the ballad of the King of Thule, and hurried off to the subscribers' door to tell La Carlotta.”

Please note, however, that a large portion of this section was omitted from Leroux’s First Edition.

There are some significant differences between the Gaulois text and the First Edition. In this section, these include (highlighted in red above):

1) This section in the Gaulois was sadly cut from the First Edition:

The Persian was a living enigma who was beginning to annoy Paris. He spoke to no one. He never smiled. He seemed to love music since he attended all of the musical productions, and yet he was not enthusiastic, he did not applaud, and he never became impassioned.

Here is how M. A.D…, a former journalist who had been the Opéra’s secretary, spoke of the Persian:* “For many years, he has been sneaking his way through our Parisian lives, always alone, always silent, but loving and seeking out the crowds, displaying in broad daylight and by lamplight a stone-faced countenance and a slightly hesitant gait, and well, appearing at every performance with his perpetual attire, a Persian hat and a great, black houppelande coat,** in the sleeves of which he continuously wrings his unceasingly nervous hands.”

That evening, like every evening, our Persian was thus dressed in Persian attire; but the new Ambassador of Persia himself was dressed in the latest Parisian fashion, and there was nothing surprising about this, since he had come directly from London.

The seat occupied by the Persian was located right below the Ambassador’s box. At the close of the curtain, the Persian rose and remained standing, turning his back to the box. But certainly he would soon turn around, and the Ambassador would see him. What would he do? Would he recognize him? Was there even anyone in Persia who knew the Persian? There were those who said that he was a very important figure; well, they were going to see!

They saw nothing at all. M. Moncharmin relates in his Memoirs that the Persian appeared before the Ambassador of Persia without even acknowledging him and that there was in the demeanor of the former more aloofness and quiet disdain than usual. In this regard, M. Moncharmin writes that the Persian was one of the most handsome men that one could see, “of average height, with even features, an expressive and masculine face etched with a profound melancholy, with black eyes*** that are intense and sad, a jet black beard, and an amber colored complexion made golden by the sunlight of the Orient.” M. Moncharmin recounts that when the public’s attention turned to the Persian, one heard in the house the discrete sound of rattling keys. The spectators were wary of the “evil eye.” And he says nothing more about that incident.

When the Managers were once again alone in their box, M. Moncharmin said to M. Richard, still with a light-hearted air: (this is where the First Edition picks back up)

*NOTE: As revealed by Raj Shah in his article, “No Ordinary Skeleton" (read more about his research here), "M. A.D…" was M. Adolphe Dupeuty. He described a real incident which happened at the old Opéra Le Peletier in 1857, in which the Persian Ambassador attended a performance at which the "Persian" (Mohammed Ismaël Khan) was also present. This article was published in "La Vie parisienne à travers le XIXe siècle: Paris de 1800 à 1900 d’après les estampes et les mémoires du temps,” edited by Charles Simond.

In his “factional” style (fact+fiction), Leroux “borrowed” heavily from this article in writing his fictional account of the Persian and the Persian Ambassador. The quote from “M. A.D.” was taken verbatim from Dupeuty’s article.

**NOTE: This image below possibly depicts the outfit that Dupeuty was describing, and that Leroux copied into Le Fantôme de l'Opéra (Leroux described the Persian wearing a houppelande and an Astrakhan cap in his narrative).

This image is from Les Célébrités de la rue, by Charles Yriarte, published in 1864, a book that listed notable figures in Paris in the early to mid 1800s. It was published seven years after the incident described in Dupeuty's article, and so is reasonably contemporary with his account. It was also published during Mohammed Ismaël Khan's lifetime, as M. Khan passed away in 1868.

It is worth noting that the Opera House that M. Khan frequented was the Salle Le Peletier, which was destroyed in a fire in 1873 (five years after M. Khan's death). Two years later in 1875, the Paris Opera was moved to the newly opened Palais Garnier (aka Erik's Opera House). So, M. Khan never actually frequented the Palais Garnier, contrary to what Leroux depicts in Le Fantôme de l'Opéra.

***NOTE: Throughout the rest of the narrative, the Persian’s eyes are described as being “jade” rather than black. This was a case of internal inconsistency. In the Gaulois text of the chapter, "The Vicomte and the Persian" (as well as in the First Edition), Leroux described that the Persian had ebony skin and jade-green eyes (instead of bronze-colored skin and black eyes).

It is also worthy of note that the Persian as a character is an example of Lerouxian trope subversion. The Daroga is a foreigner and an outcast. The Parisian operagoers make no attempt at hiding their prejudice against him. And yet he is one of the heroes of Leroux’s novel, and he puts his life on the line to save the very Tout-Paris who rattle their keychains at him.

2) This sentence was cut from the First Edition:

Yes, this was the appointed replacement for the old madwoman, and with her in place, they would see if Box 5 continued to cause a sensation.

3) These paragraphs were cut from the First Edition:

None of the sounds of the sort that are heard at séances and which, as everyone knows, are generally attributed to interference from the beyond, resounded against or within the partition walls, the ceiling, or the floor; the chair upon which Richard was sitting behaved itself in the most admirable way possible, and the voice, the notorious voice, still remained silent.

The Managers were busy noting this, when the door of their box was abruptly flung open by the panic-stricken stage manager.

4) This sentence was cut from the First Edition:

They would see to this in a little while.

5) Sadly, this section in the Gaulois was cut from the First Edition, and replaced with a brief summary:

At this time, MM. Moncharmin and Richard descended from their box. The wings were already overrun. Having arrived on the stage, they headed immediately to the right, towards La Carlotta’s dressing room, whose windows overlooked the administrative courtyard. They then ran into La Sorelli, who was rushing to see the Comte de Chagny before he returned to his box.

They gestured to her, which she understood, for she straightaway left the Comte and came over to the two Managers who begged her to discretely ask the Comte about what might be the basis of the rumors of a cabal organized against La Carlotta.

While they awaited La Sorelli’s reply, they entered La Carlotta’s dressing room. The room was full of friends and comrades, and high above all the various conversations, one could hear the singer’s voice, which proclaimed a thousand threats against La Daaé.

Of Spanish origin, La Carlotta had retained an accent of a very particular flavor, and when some excessive emotion, like anger, hurried her speech, she expressed herself in such a way that it was difficult for those listening to refrain from smiling. And so despite the gravity of the situation, there were many smiles that evening in La Carlotta’s dressing room.

The two Managers approached the singer, who was in the process of placing upon her magnificent tresses, blacker than the night, another no less magnificent coiffure, paler blonde than the dawn’s first light. It was the wig with two thick plaits worn by the gentle Marguerite. The twinkling of La Carlotta’s jet black eyes stood out even more within this golden frame. She rose when she saw “these gentlemen,” and placing a hand upon her heart, she professed her sincerest feelings to the new management so passionately that certainly MM. Moncharmin and Richard would have been moved to tears if they had been able to understand a word of that astounding gibberish. Finally, she handed them a piece of paper whose writing in red ink had the effect of thoroughly commanding the interest of the two Managers. They had no difficulty recognizing it.

6) Minor differences in punctuation and capitalization.

Click here to see the entire edition of Le Gaulois from 22 October, 1909. This link brings you to page 3 of the newspaper — Le Fantôme is at the bottom of the page in the feuilleton section. Click on the arrow buttons at the bottom of the screen to turn the pages of the newspaper, and click on the Zoom button at the bottom left to magnify the text.

[elennemigo]

31 (August. I thought this one was on sept 1st by I was wrong so here it is.)

★ Benedict arrived at the Venice Film Festival.

4

★ Benedict attended Miu Miu Women’s Tales event in Venice. x x

★ He also assisted to the Aston Martin Vanquish launch event in Venice. Gallery / clips (my post)

7

★ Benedict´s toast and speech during a special gala for Sophie´s Salt of the Earth film. (more here)

9

★New Benedict pic.

12

★ National Theatre Live announced their plays will come to Latin America (and Spain) with Spanish subtitles. Including Hamlet and Frankestein.

13

★ Benedict and Sophie attended a dinner event to celebrate Naomi Campbell.

24

★ Benedict and Sophie participated in the Earthshot Prize Innovation Summit. (my post)

26

★ Benedict and Sophie Hunter attended an event at the British Embassy in NYC, during the United Nations General Assembly Week. (video and pics x, x)

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★ Benedict became ambassador for the KOKO Foundation.

★ And he will be attending a special fundraising edition of Letters Live.

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