#jatinder

[jatindersinghdurhailay]

The brothers from Leeds 2023 30x22cm Watercolour on handmade hemp paper

[mizgnomer]

Photos from the Macbeth London Press Night after party - October 2024

With thanks to Moyo Akande, Brian James O'Sullivan, Jatinder Singh Randhawa, and the rest of the Macbeth cast

[literatemisfit]

Awwww gentle razzing on Doctor Who Day

[tonydaddingham]

watching this and making those sad little sigh noises that dogs make sometimes

[sconesfortea]

Thrilled to have finally seen this production! So so good!

[fanstantic]

I did. It was amazing 🔥🔥🔥

Like every actors are good, the scene with the porter is incredible. I loved each bit of the play

Is it a common experience to feel the urge to see it again ?

[thewingedwolf]

cory, jag, meme, & felicia were guessing each other’s mother’s names and then jag goes “guess my mom’s name” and cory goes “i…shouldn’t be guessing” and jag laughed, but then meme & felicia gave up immediately and he said “jatinder” and cory goes “oh i could have gotten there” in the most annoyed voice

[denimbex1986]

'*****

This is the second starry adaptation of Shakespeare’s Scottish play within the month, both boasting high concepts. Simon Godwin’s show premiered in a warehouse with Ralph Fiennes and Indira Varma as the crown-usurping couple. This production is just as celebrity-driven, with David Tennant and Cush Jumbo as its leads. But where Godwin’s show flirted with immersive theatricality, half successfully, Max Webster’s concept combines immersion in sound with a fantastically creepy filmic expressionism.

We channel the sounds of the play through binaural headphones. The use of aural three-dimensionality here, designed by Gareth Fry, is incorporated with live folk music, which brings Celtic sounds while the action takes place on a central stage and glass box behind it.

As fanciful as that sounds, there is an intensely focused vision behind it. Superbly directed by Webster, it is full of wolfish imagination and alarming surprise. The action takes place at under two hours’ traffic yet it is not a classically fevered Macbeth but coolly creepy, and horrifying.

Sound, in Shakespeare’s text, has great disturbing significance. That is made manifest here. The 3D headphones magnify every creak and whimper. We hear the cold clink of metal as Lady Macbeth snatches the daggers with which Macbeth has killed Duncan (Benny Young) to return them to the crime scene.

The witches take the concept a step further and appear in sound rather than form. They are sinister in their absence, invisibly roaming in the vapour and smoke around the stage, present as a sibilant chorus of whispering voices played by the entire cast – an ingenious way to suggest that they represent the ever-present murderous voice in Macbeth’s head. They moan, giggle and flap crow-like in our ears, bringing an uncomfortable intimacy.

The headphones allow Tennant and Jumbo to talk in low conspiratorial tones. Tennant is a wiry, austere, self-righteous warrior who turns his intelligence into calculating outrage. He makes this Shakespearean role look effortless as he murmurs his soliloquies and we hang on his every word. There is steel and cunning to Jumbo’s Lady Macbeth, dressed in virginal white throughout, and a sense of purity remains around her despite her plotting.

Paradoxically, hearing the dialogue through headphones brings intimacy but one reminiscent of film with an augmented Dolby sound, as if these characters are not talking in real time...

The horror and tragedy hit all the marks too, from the killing of Lady Macduff (Rona Morison) and children, taking place in pitch darkness and capturing every sound of their last gasps, to Macduff’s (Noof Ousellam) disbelief at the news and the terrible sense of fate in the final fight scene.

The production is so focused, and so self-assured, that it seems to throw a bizarre meta-fictive curveball, straight after Duncan’s murder in which the Porter (Jatinder Singh Randhawa) breaks out in broad modern Glaswegian vernacular in what seems like his own standup routine. Yet the production has such command that it somehow pulls it off.

It’s a cool, cocky and utterly arresting production. Tennant’s Macbeth is vicious and yet he makes us feel his character’s tragedy acutely.'

[lyricsssdotin]

5911 Lyrics

Singer:Jatinder GagowalAlbum:Aman Jaluria Aye yo the kidd! Ho nit pichle pair nu bambi teYaara da tola40 takk ne hathi de sir warge niFull paisa dhela Organic chakke khuladi tonGatte aa gud de Jatt 5911 teJatt 5911 te jhota niMode na mudd deJatt 5911 te jhota niMode na mudd de Oh shaunki jatt shikara daSaada passion khetiHaan dabba de naal rehnda aePolymer 80 Saadi royal poshak aa kurta…

[fordhampr]

INTRODUCING THE INTERNATIONAL FILM FESTIVAL OF AUSTRALIA

The International Film Festival of Australia aims to recognize and honor exceptional artists, directors, producers, and the commendable works of feature films, short films, and documentaries from around the globe. The IFFA reaches out across all continents, unites cultures, and celebrates the power of storytelling. So after seeing numerous Instagram and Facebook posts (you know I love anything…

[jatindersinghdurhailay]

Sidhu Moosewala 2023 Natural stone pigment heightened with gold on handmade wasli paper 34.5x24cm

[bollyhollybaba]

Jatinder Kaur Interview (65 ਸਾਲ ਤੋਂ ਹਸਾਉਣ ਵਾਲੀ ਦੀ ਕਿਵੇਂ ਬੀਤ ਰਹੀ ਜ਼ਿੰਦਗੀ 🙏...

[akultalkies]

Sargun Mehta, Ajay Sarkaria, B.N. Sharma, Prince Kanwaljeet Singh, Amar Noorie, Iftikhar Thakur, Jatinder Kaur, Prit Aggarwal, Joty Kay

[ingravinoveritas]

This past week, I traveled to London to see Macbeth. Everything I had heard and seen about David, Cush Jumbo, and the overall production convinced me that it was not to be missed, and so I took the crazy chance of purchasing a ticket months ago, and it was the first time I've ever gone to another country just for a play.

Ever since I was a kid, I have been going to Broadway shows, and the experience of live theatre has always been something incomparable and incredibly meaningful to me. Seeing something beyond Broadway, however, never felt possible until now. This opportunity arose at a moment when I was finally able to seize it, and now that I have attended the play not once, but twice (thanks to a lovely person who was able to help me obtain a £25 day ticket), I can say that Macbeth was, without question, the most amazing thing that I have ever seen on stage.

What follows is my review/thoughts on the production, and I will try my best to avoid spoilers (though fair warning that one or two may arise, so proceed with caution).

In high school, Shakespeare was something we were taught. It was an assumed part of the curriculum, labeled as a classic. Yet it seemed to exist in a time capsule--a product of its era, and of an English language barely proximate to the one we speak today. We learned Macbeth on the page, in annotations and themes and meter, rather than something pulsing, beating, living. Something that makes us feel. And for nearly two hours in a beautiful Victorian theatre in a little corner of the West End, all I did was exactly that.

I felt. And after seeing this play, I am not the same person on a molecular level that I was before.

Everything about this play--from David's mesmerizing portrayal of Macbeth to Cush Jumbo's wrenching turn as Lady Macbeth to the entire ensemble cast to the staging choices (light, sound, and so on)--is extraordinary. It is breathtakingly ruinous. It is so fully immersive that by the end you somehow feel bruised, viscerally disgusted and wrung out in equally beautiful measure.

It's almost misleading to say that we the audience are simply watching the play, because thanks to the binaural audio design (headphones), we are in Macbeth and Lady Macbeth's minds, and become accomplices to the characters' wicked deeds. When the porter (Jatinder Singh Randhawa) comes on to provide comic relief at exactly the perfect moment, it soon becomes clear that it is a distraction from our own discomfort at what has just happened. But it is a short-lived respite, as we are soon plunged back into the action and the characters' spiraling descent into madness.

In terms of David specifically, seeing him on television or on any screen profoundly pales to seeing him on the stage. In much the same way that the stage is Michael's natural habitat, it is also David's. The way he moves, the way he holds himself when he's not even speaking--which I got to see up close when he knelt directly in front of me on several occasions--is meticulous. David becomes the character he is playing, down into the pit of his soul. He disappears so thoroughly that I very quickly forgot that I was even watching him.

So many people can recite Shakespeare, but there is a marked difference between recitation and what David does. Together, David and Cush make Macbeth and Lady Macbeth feel like the Bonnie and Clyde of the Elizabethan age (only hornier). And the themes the play invokes--greed, fear, jealousy, power--are shown to be themes not of a particular era, but of humanity. David especially is so preternaturally good at making all of that unbearably real. He not only makes Shakespeare accessible to the modern world--an already difficult feat on its own--he makes it timeless.

For the last ten minutes of the play, I felt like I stopped breathing. The evil that Macbeth perpetrates, and the realization that he has not become like this, but rather that this is who he has always been, hits full force. As much as this play is very definitely an ensemble piece, David is the standout. He commands the stage, and at no point is he more powerful than when Macbeth is falling apart near the end.

(On a purely aesthetic level, this is also when David looks most beautiful--the wild hair, the form-fitting shirt heaving with the rise and fall of his greyhound lean chest, and the majestic sweep of the kilt with every frenzied movement. The complete erosion of the line between sanity and insanity, but also showing us how tenuous that line was to begin with. And he is utterly gorgeous while doing so.)

It's also at this moment in the play that we see how skillfully David has manipulated the audience. Where Michael uses a character's emotions much more overtly and aggressively--sniffing the audience out, stalking around the stage, feeling as if he's about to pull you up with him--David is far more controlled. He draws you in slowly, carefully, and it's only when we see the depths of Macbeth's depravity (notably killing Young Siward) that we realize the truth:

He got us. He made us the witnesses to Macbeth's malice, made sure we couldn't look away. And now we are complicit.

If I had to pinpoint any negatives about the play (which is extremely difficult to do), it's that there is only a brief moment where the pacing lags just slightly, and it's because David is off stage for a considerable period of time. The cast is absolutely incredible, bar none, but the energy doesn't quite maintain that high level when he is not there.

Also, from a sensory standpoint, this is very much not a sensory-friendly production. There are several instances of sudden loud noises in the headphones (which I found especially jarring), as well as the use of flashing lights, and considerable use of smoke at multiple points. All of these were more acute because I was sitting in the Stalls (second row), so I can only speak to it from that vantage, rather than from other locations in the theatre. But for anyone who is autistic (as I am) or has sensory-processing challenges, be advised that this play is definitely inaccessible in those respects.

When I left the Harold Pinter Theatre that night, I felt as though my entire central nervous system had been rearranged. There genuinely is no way to be normal about this play, because it is not a normal play. It takes apart everything you know about Macbeth and puts it back together in the most unexpected, electrifying way. It is the beauty of destruction, and no one embodies that more perfectly than David. Even days later, I can still feel the buzzing of my skin, the blood rushing through me, fingertips tingling from some heady combination of arousal and fear. (Or as Dr. Frank N. Furter once put it: "A mental mind fuck can be quite nice...")

The moment the lights went to black, every single person in that theatre was on their feet in a standing ovation. The applause was thunderous, and seemed even louder in the wake of the complete silence that preceded it.

I had sat in that silence--awestruck, captivated--and thought to myself that I could watch this production forever. And I would go back and do it all over again right now if I could. If you have the means, the opportunity, it is an experience I cannot recommend highly enough.

David is truly a master of his craft, and yet performs without a hint of ego. He gives everything he has and leaves it all on the stage. And what he and this team of people have come together to give us is something I will remember for the rest of my life.

(Pictures taken on 10/12/2024.)

[eurevision]

EUREVISION ROUND TEN (last preliminary round): BHANGRA

We got so many submissions at the last second. I'm glad we extended the solicitation time. Thank you to everyone who wrote in. If given the choice between a remix and original song, I went with the remix. If an artist was cited twice, I chose the song I personally liked more. Some songs had ambiguous artists-- there was a 'music' credit as well as a 'singing' credit. I listed the artist as whoever was named in the former, not the latter, credit.

Here are your bhangra bop choices:

"Oh Ho Ho," by Sukhbir

"Ari Ari," by Bombay Rockers

"Bolo Tara Ra Ra," by Daler Mehndi

"Chandi Di Dabbi," by Jatinder Shah

"Forever," by Tegi Pannu feat. Prem Lata

"Chandigarh," by B21

"Boliyan," by Lehmber Hussainpuri

"Botlan Sharab Diya," by Bally Sagoo

"Mundian To Bach Ke (Beware Of The Boys)," by Panjabi MC

"Bhangra Knights vs Husan," by Bhangra Knights

The elaborate dance number ends Monday night.