#joseph kloska

[ken-branagh]

King Lear curtain call

William Shakespeare's King Lear (directed and played by Sir Kenneth Branagh) at Wyndham's Theatre in London's West End, October 22 - November 2 2023.

Playing from October 21 - December 9 2023, 50 performances only. Ken (King Lear) is joined by Mara Allen as Curan, Deborah Alli as Goneril, Raymond Anum as Burgundy, Melanie‑Joyce Bermudez as Regan (RADA graduate 2023, professional debut), Doug Colling as Edgar, Dylan Corbett‑Bader as France, Eleanor de Rohan as Kent, Chloe Fenwick‑Brown as Oswald (RADA graduate 2023, professional debut), Joseph Kloska as Gloucester, Corey Mylchreest as Edmund, Hughie O'Donnell as Cornwall, Caleb Obediah as Cornwall, Jessica Revell as Cordelia / The Fool (RADA graduate 2023).

Source: Jenny_McShane, theothersophiet (via coreymbrasil), zerrintekindor, core_mylchreest

[insanityclause]

LONDON, ENGLAND - OCTOBER 31: (L to R) Tom Hiddleston, Playwright Lolita Chakrabarti, Eleanor de Rohan and Joseph Kloska attend the press night after party for "William Shakespeare's King Lear", directed and played by Kenneth Branagh, at Browns Covent Garden on October 31, 2023 in London, England. (Photo by Matt Keeble/Dave Benett/Getty Images)

[movies-to-add-to-your-tbw]

Title: The Little Vampire 3D

Rating: NR

Director: Richard Claus, Karsten Kiilerich

Cast: Rasmus Hardiker, Amy Saville, Jim Carter, Joseph Kloska, Phoebe Givron-Taylor, Tim Pigott-Smith, Alice Krige, Julia Rhodes, Kevin Otto, Diane Wilson, Graham Clarke, Miriam Margolyes, Matthew Marsh

Release year: 2017

Genres: family, comedy, fantasy

Blurb: Tony, a 13-year-old boy on vacation in rural Germany, is fascinated by the idea of vampires. Meanwhile, Rudolph, a vampire of similar age, encounters trouble when his clan is threatened by a dangerously-obsessed hunter. Fate brings these two boys together as Tony and Rudolph set off to stop the villain, save Rudolph’s family, and learn the power of friendship.

[mariacallous]

Every generation gets the King Lear it deserves. Kenneth Branagh, who stars in a precipitate production that recently opened at the Shed, has given us an Ozempic-thin rendition of Shakespeare’s sprawling tragedy, one that privileges aerodynamic efficiency over depth. At the heart of this staging—directed by Branagh, Rob Ashford, and Lucy Skilbeck—is the strikingly hale actor, who struggles to embody “a very foolish fond old man, Fourscore and upward, not an hour more nor less.” In a recent interview, Branagh said that “the starting point for this new version was to have an emotional immediacy, to have youth and the impatience of youth at the center of things.” He could have been describing the buzzy new Broadway run of Romeo + Juliet, which boasts a clubby aesthetic and features a constellation of spirited stars. To underscore youth in Lear, though, is to look through the wrong end of the telescope. Its last lines, as spoken by Edgar, are a paean to “the oldest,” who “hath borne most.”

The current show, presented by the Shed, KBTC, and Fiery Angel, transports us to a Neolithic Britain sparsely populated by fur-clad characters wielding spears. Designed by Jon Bausor, the set features massive slabs of stone that link up in a semicircle and calve apart, while a circular screen (or is it a lidless eye?) hovers above the stage, displaying swirling galaxies, star systems, and planets. Ironically for a play presided over by a vaguely celestial donut, the script’s commerce with the supernatural is downplayed: in his fury, Lear does not call upon “Hecate and the night” or invoke “the operation of the orbs.” The Game of Thrones–like costumes may be period-appropriate but are something of a liability: on the day I was in the audience, the actors’ fur coats seemed to occasionally muffle their microphones, resulting in uneven sound quality. So much for Dolby Atmos’s immersive audio technology.

The greatest handicap, however, is not the youth-centric vision or the spotty sound but the cuts to the text. A director who makes drastic reductions to a Shakespeare play should be prepared to compensate for the elisions through gestural or subverbal means. Unfortunately, that never happens in this production, which is reduced to two intermission-less, complexity-killing hours. The opening scene bypasses the original prologue—which helpfully adumbrates many of the play’s central themes—and leaps directly to Lear commanding his three daughters to take turns professing their love for him. Regan’s (Saffron Coomber) overture is reduced by half, rendering her protestations of adoration less fulsome, more Cordelia-like in their brevity. Gone too are the youngest daughter’s asides: in the original, Cordelia ruminates that “I am sure my love’s more ponderous than my tongue.” Absent such internal quibbles, here she verges on mere tactlessness. Any sympathy one may feel for Lear’s favored child is bullied into us by prior acquaintance with the story—not by Jessica Revell’s by-the-book performance. Omissions accrue apace. Where lines are not redacted, they are, in many cases, reordered, misappropriated by different speakers, or unwisely edited so they are leached of Shakespeare’s unusual imagery. Thus—in a subplot about a nobleman in Lear’s court and his two sons, Edgar and the bastard Edmund—instead of lamenting that Edmund “did bewray [Edgar’s] practice,” the Earl of Gloucester (Joseph Kloska) tonelessly utters, “He did expose the evil.” The result is a kind of poetic vitiligo.

A treasonous letter, allegedly written by Edgar (Doug Colling), in which he plots to overthrow his father, is read silently rather than aloud, depriving the audience of a greater sense of Edmund’s villainy. The “bastard” (Dylan Corbett-Bader) is more of a brute than an Iago-like schemer; he doesn’t offer his father the chance to obtain “auricular assurance” of Edgar’s disloyalty and is overly hasty in assenting to Gloucester’s negative impression of his brother. Lear’s eldest daughter, Goneril (Deborah Alli), and his second, Regan, are even less realized and fatally fungible in their lust for Edmund.

With other productions of Lear, it has often crossed my mind that the tragedy of the tale is raveled up in the notion that one’s children are biological prostheses of oneself. When Lear deputizes Regan and Goneril as his “guardians” and “depositaries,” he scarcely expects them to defy his requests for superfluities. Whether out of benignant paternalism or not-so-benign blindness, he anticipates that they will gladly countenance all his desires, no matter how reasonable. What accounts for the harshness of his subsequent pronouncements—Lear calls upon Nature to dry up Goneril’s “organs of increase” and “into her womb convey sterility”—has partly to do with the terrible realization that his daughters have their own spheres of existence. The interpretation only tenuously applies to this British import.

Throughout, Branagh and his codirectors have prioritized action over interiority, and the pacing intensifies the feeling of hollowness at the show’s core. When Branagh’s Lear curses Regan and Goneril for having the temerity to ask him to reduce his retinue by fifty men, then seventy-five men, his feelings come not from the marrow of his bones but from pique. “Reason not the need,” the king chastises his daughters, yet his need, especially in the context of this austere production (Lear’s train of rowdy men is as notional as the play’s deluges and “hurricanoes”), comes across more as greed. The scene on the stormy heath—which ought to be a showcase for Lear’s headlong descent into lunacy—fails to strike the right note of pathos. A platform at the center of the stage tilts up at an acute angle for Lear’s meltdown in the maelstrom (the same platform is later used for the Dover cliff episode), but rather than evoking an “extreme verge,” the awkwardly inclined surface recalls a utilitarian loading dock. Equally prosaic, this Lear never calls on thunderbolts to “singe my white head,” but does suffer from some ill-timed aneurysms.

An excellent comedic actor, Branagh is fitfully compelling in his declamations. A lighthearted tone too often prevails where gravity should; the moment when Lear meets a raving Poor Tom and asks him, “Didst thou give all to thy daughters?” should not elicit a big laugh from the audience. On more than one occasion, Branagh’s Lear is fogged by a forgetfulness redolent of Lockhart, the milk-livered professor the actor played in Harry Potter and the Chamber of Secrets. Even in his final moments, as he cradles Cordelia’s lifeless body, his presentation feels frustratingly recitational, a mere quotation of more lived-in performances. To quote a line originally spoken by Regan and excised from this mutilated play, this Lear “hath ever but slenderly known himself.”

[ilovekbranagh]

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First-look Photos: King Lear starring Kenneth Branagh – in pictures | West End Theatre 👏👏🔥💯❤️

[nqbuddy]

Richard III: Anti-racist Shakespeare, or the casting of our discontent?

Joseph Kloska, Adjoa Andoh and Liz Kettle in Richard III (Photograph: Manuel Harlan) In Britain and America today, there is a culture in media criticism (an industry that is largely white) that still does not see Black-lead creative projects as relatable. Stories that are not “Black stories” but simply stories that feature Black people in many ways are not seen as “human” because our stories are…

[wcatradio]

In this episode of The Heart of Fiat Crucified Love, Catholic evangelist and missionary Mary Kloska takes the listener through a prayerful reflection of the traditional seven sorrows and seven joys of St. Joseph. She also adds a few more sorrows and joys to the list! By contemplating the great love, suffering and joy of Joseph, the listener is able to enter his heart in a way and see our Savior Jesus with Joseph's eyes, loving Him with Joseph's heart.

[mariocki]

Kaleidoscope (2016)

"Don't you remember? How happy we were... Happiness to kill for."

[elizadoolittlethings]

(via Dracula - Starring Mark Gatiss (trailer))

[fermencja]

E. M. Forster’s Maurice - an audio dramatised version is now available on BBC website, as a part of Gay Brittania!

Go and listen to this :) 

Dramatised By: Philip Osment Maurice: Alex Wyndham Clive: Bertie Carvel Alec: Joseph Kloska

[steggybabe]

abdkajsk as much as Phillip’s reaction was uncalled for, I must say that Matt does such an adorable job being a jealous ahole

Elizabeth:  ヾ(●⌒∇⌒●)ﾉ Philip:            ( ⇎︿⇎ ) 

[spotlightsaga]

Kevin Cage of @spotlightsaga reviews... The Crown (S01E09) 'Assassin' @netflix Airdate: November 4, 2016 Score: 8.25/10 *****SPOILERS BELOW**** No matter what kind of work you're in... Whether it's dangerous, hard on your body, taxing on your mind, your relationships, or whatever it may directly effect within your life... There is always something that we all share... Something that comes for us all in the end... The assassin known as 'Mortality'. It shows its face in many ways, but it always promises to come, to take you, to wherever we go after everything is said and done... It doesn't matter if you are Royalty, a white collar WallStreet tycoon, or a humble blue collar worker. You are not immortal. You never know what you're going to get with 'The Crown', mainly these are deep rooted character pieces that merely recall events as best they can, without taking sides or slanting facts. Just glancing at the name 'Assassins' led me to believe we might get another intense look back at a major event in history, like the 4th episode, 'Act of God', that was the very episode that changed the way that I saw 'The Crown' as a whole of a series. It brought an understanding of the inner working of The Monarch and The British Parliament as well as opened my eyes to the high stakes involved in these people's lives. 'Assassins' instead brought us a cold look at a man who once stood at the very top of The British Empire, who ruled with both kindness and an iron fist... Not to mention got away with all kinds of terrible things because he was quick on his feet when it came to PR. He could no longer hold on to those things, they had passed, they were now part of his history... And it was his time to step down and give someone else a go, whether he liked it or not. It was beautiful and terribly sad as the show parallels his political and military career with a painting, one that finally made him face his true self. Winston Churchill is no Dorian Grey... He may have done great things, he may have done horrible things, but he made his mark and now his time was coming to an end. Accepting this was accepting his mortality, and it was an incredibly effective and moving piece of television. John Lithgow has been nailing it the entire series, but this episode, this is his crowning achievement.

[theonlydramailove]

Empire Without End ♦️ Caesar series on BBC Radio 4 (2007)

"An unlikely group of kingmakers gathers together to select the Roman Emperor, as the forces of Attila the Hun threaten the Empire's stability. Drama by Mike Walker based on Suetonius's work, with Tom Hiddleston, David Collings, Adjoa Andoh, George Baker, Sam Dale and Victor Sobchak."

Series 3, Episode 3

Duration: 57 minutes

Director Jenny Mortimer Romulus ...... Tom Hiddleston Priscus ...... David Collings Barbaria ...... Adjoa Andoh Emperor Leo ...... George Baker Maximinus ...... Sam Dale Attila ...... Victor Sobchak Orestes ...... Mark Straker Odo ...... Joseph Kloska Ricimer ...... Christian Rodska Other parts played by Saikat Ahamed and Paul Richard Biggin

All rights go to BBC Radio 4 and all its contributors.

[cultfaction]

Doctor WHo- The Comic Strip Adaptations Volume 01

Doctor WHo- The Comic Strip Adaptations Volume 01

From Big Finish, The Fourth Doctor is travelling back to his comic days in a brand new box set. Adapted from well-loved comic strips, the Doctor encounters one of the deadliest and most adorable villains ever, Beep the Meep.

You can listen to the trailer HERE.

Synopsis

1. Doctor Who and the Iron Legion adapted by Alan Barnes

1979 AD! Led by the terrible General Ironicus, the mighty Iron Legion –…

[engmohamed1982]

The Little Vampire 2017 480p x264-mSD

The Little Vampire 2017 480p x264-mSD

The Little Vampire 3D (2017) Animation, Adventure, Comedy Ratings: 5.3 / 10 Votes: 394 People The story of Rudolph, a thirteen year old vampire, whose clan is threatened by a notorious vampire hunter. He meets Tony, a mortal of the same age, who is fascinated by old castles, … Actors: Rasmus Hardiker, Amy Saville, Jim Carter, Joseph Kloska, Phoebe Givron-Taylor, Tim Pigott-Smith, Alice Krige,…

[thecrownnet]

Which episode is Claire Foy entering as her Emmy submission for Best Drama Actress?

Gold Derby can exclusively reveal that Claire Foy is entering “The Crown” episode “Assassins” as her Emmy submission for Best Drama Actress. This installment streamed November 4 and was the 9th and final episode of the 1st season for the Netflix show. In this segment, Queen Elizabeth II (Foy) pretends to be asleep when her husband Phillip (Matt Smith) comes home drunk. With her marriage possibly on the rocks, she turns her attention to Porchey (Joseph Kloska) at the racing track. Retiring Prime Minister Winston Churchill (John Lithgow) and the queen have their final audience together and it’s quite sentimental (“However will I cope without you?”). The royal couple has an intense fight.

Foy is a rookie contender at the Emmys. Just one past Emmy winner is in her category this year — Viola Davis (“How to Get Away with Murder”) — with Tatiana Maslany (“Orphan Black”) taking a break with no new episodes this past season. They are contending against previous nominees Elisabeth Moss(“The Handmaid’s Tale”), Keri Russell (“The Americans”), Evan Rachel Wood(“Westworld”), and Robin Wright (“House of Cards”).

She has already won a Golden Globe and SAG Award earlier this year for her role as the queen. She was also nominated at the BAFTA TV Awards, where she contended in 2016 for the limited series “Wolf Hall.” - Golden Derby, Claire Foy (‘The Crown’) has an intense fight and has royal marriage possibly on the rocks [Exclusive Emmy Episode] July 31, 2017