#rosanna bates

[gutsofgold]

Its probably obvious with my pfp but my favourite character in the witw musical is Cheryl Stoat

I REALLY wish she got more time I love her

She gets barely any dialogue but there's also a lot of personality in her little moments

and she IS more than just Chief's confidant or girlfriend or arm candy (I have seen someone calling her that) or whatever you want to say she is

AND HER DYNAMIC WITH LESSER!!

they don't get a huge amount of time together but they're so obviously close and i love them AND THEN CHIEF WIRH THEM!! the trio ever

Rosanna Bates does such an incredible job at playing her even if she's a less important character (Karli Vale is an incredible actress too!! I think they both do really well <3)

(i could talk for hours but I won't)

CHERYL STOAT SUPREMACY ‼️‼️

[pop-sesivo]

Todo en Domingo cumple 25 años

Por Gonzalo Jiménez

Hace 25 años, un 3 de octubre de 1999, se lanzó el primer número de la revista Todo en Domingo, revista dominical del diario El Nacional. Fue una revista que nació con una vocación ambiciosa: una estructura fija de 64 páginas, a todo color, con secciones que entonces no figuraban de manera regular en las publicaciones encartadas en los diarios venezolanos, como moda, arquitectura y diseño, entre otras. Todo en Domingo también fue ambiciosa en su concepto: quería reflejar las tendencias de la clase media entonces pujante, indagar en los temas que salían a relucir en sus sobremesas, atisbar en sus anhelos, tomar el pulso a la Metrópoli.

La idea nació de Sergio Dahbar, quien fijó los parámetros editoriales e impulsó que la revista fuese mantuviese un nivel de calidad constante. Pablo Antillano concibió cómo sería el lector de Todo en Domingo y escribió un ideario que todos los periodistas teníamos en nuestros escritorios, para tener claro a quién aspirábamos conquistar como lectores. Y Jaime Cruz junto con Myriam Luque se encargaron del diseño gráfico, definieron tipografías, niveles de lectura, cabecera, epígrafes y, en el caso de Jaime, propusieron ideas para secciones. Y se reunió un equipo brillante de jóvenes periodistas, diseñadores gráficos, fotógrafos, editores e ilustradores, que no solo hicieron juntos buen periodismo, sino también dotaron a su redacción del mejor ambiente posible, creativo, respetuoso e inolvidable. Tuve el honor de dirigir la revista desde fundación hasta diciembre de 2005, y a partir de entonces Rosanna Di Turi fue su directora, consolidando a Todo en Domingo como una lectura obligada y en una referencia en temas gastronómicos. Todo en Domingo buscó su propia personalidad, por lo que los nostálgicos de Feriado nunca se sintieron cómodos con ella. Pero, transcurrido un cuarto de siglo de su aparición, veo con satisfacción su coherencia, su consistente “promedio al bate”, su aspiración a registrar temas que otros medios no abordaban, su elegancia y profesionalismo para contar historias. Y, sobre todo, la maravillosa gente que construyó ese proyecto con su talento.

[boxfivetrades]

Three Phantoms China - “A Musical” from Something Rotten!

[maraschinocheri]

Best of 2019 Countdown #14 :: Team Covers in the Les Mis London concert production. [ 15 ]

The cover contingent for this production really was a roll call of mostly previous West End cast members reprising their former roles or fresh, sparky faces who brought something interesting to the show when needed during the concert run. Massive cheers to many. Covers included Adam Bayjou (Valjean), Rosanna Bates (Fantine), Earl Carpenter (Javert, with alternate Valjean John Owen Jones), Katie Kerr (Madame Thenardier), Stephen Matthews (Thenardier), Rosa O’Reilly (Eponine); Craig Mather (Marius), Holly Anne Hull (Cosette), Vinny Coyle (Enjolras) and Ciaran Bowling (Grantaire).

We were blessed, too, by a rare photograph of a full second cover principals cast, to my delight: Oliver Brenin (Grantaire), Ciaran Joyce (Marius), Samantha Dorsey (Cosette), Nicola Espallardo (Eponine), Tamsin Dowsett (Madame Thenardier), Christopher Jacobsen (Valjean), Leo Roberts (Javert), Oliver Jackson (Thenardier), Sophie Reeves (Fantine), Barnaby Hughes (Enjolras), and Andrew York (Bishop).

[francoaaraujo]

Uma das Bissexualidades que Hollywood Escondeu Anthony Richard Perkins (1932 — 1992), o ator norte-americano, imortalizado por seu desempenho como Norman Bates no filme Psicose (1960) de Alfred Hitchcock. O personagem que ele mesmo reviveu nas três sequências distribuídas pela Universal Pictures. Anthony Perkins nasceu em Nova York, em 04 de abril de 1932. Filho do ator de palco, Osgood Perkins. Ainda jovem em inicio da carreira afirmou sentir profunda angústia sobre a morte de seu pai quando ele tinha apenas cinco anos de idade, e que foi criado pela mãe, que ele mesmo definiu como "muito possessiva e bastante problemática". Aos 15 anos, Perkins se juntou aos Actors Equity Association, começou a atuar em peças teatrais eventualmente, e estudou na Faculdade Rollins College e na Universidade de Columbia. Ele fez sua estreia no cinema em The Actress (1953), e passou a participar de produções para a televisão e teatro, ganhando elogios por sua estréia na Broadway em 1954, na peça Tea and Sympathy. Perkins também foi cantor usando o codinome Tony Perkins. Em 1957, ele recebeu uma indicação ao Óscar, na categoria de melhor ator coadjuvante, por sua atuação em Friendly Persuasion de William Wyler, e a partir de então teve uma carreira meteórica chegando a fazer em média dois filmes por ano, atuando ao lado de grandes nomes femininos como Audrey Hepburn, Brigitte Bardot, Ingrid Bergman, Jane Fonda, Shirley Booth, Sophia Loren, Susan Sarandon,e Victoria Principal. Em 1960, Perkins entrou para a galeria dos grandes nomes de Hollywood, ao interpretar Norman Bates (um assassino em série baseado em Ed Gein) no clássico do suspense Psicose de Alfred Hitchcock. O filme foi um sucesso comercial e de crítica, e Perkins ganhou fama internacional. Por seu desempenho, ganhou o prêmio de Melhor Ator do Conselho Internacional de Cinematográficas Revisoras. O filme teve mais três continuações. A partir de Psicose ele passou a interpretar só personagens atormentados ou neuróticos, com grandes problemas psicológicos. Em 1961, Perkins venceu o prêmio de Melhor Ator no Festival de Cannes, por sua atuação em Goodbye Again ao lado de Ingrid Bergman. Ainda naquela década a sua atuação na Broadway também incluiu Neil Simon na comédia The Girl Star-Spangled, Frank Loesser e Greenwillow (1960), para o qual ele foi indicado para o Tony Award de Melhor Ator em Musical. Em 1966 atuou ao lado de Charmian Carr no musical Evening Primrose (1966). Com reconhecimento em alta Perkins partiu para uma carreira de sucesso na Europa. Ao retornar aos Estados Unidos, ele assumiu mais um papel de um jovem assassino perturbado em Pretty Poison (1968) ao lado da atriz símbolo sexual da época, Tuesday Weld. A década de 1970 chegou, e ainda no mesmo ano atuou no filme Catch-22. Perkins escreveu com o compositor Stephen Sondheim o roteiro do filme de The Last of Sheila, pelo qual recebeu em 1974 um Edgar Award do Mystery Writers of America de Melhor Roteiro. Em 1972, ele apareceu em The Life and Times of Judge Roy Bean, e foi uma das muitas estrelas que aparecem no Hit Murder on the Orient Express em 1974. Nesse mesmo ano Perkins interpretou o papel principal no drama romântico Lovin Molly com Blythe Danner e Susan Sarandon. Perkins também sediou na televisão no Saturday Night Live em 1976 e foi destaque em seu único filme de ficção científica, The Black Hole em 1979. Sua atuação na Broadway também incluiu Neil Simon na comédia The Girl Star-Spangled, Frank Loesser e Greenwillow (1960), para o qual ele foi indicado para o Tony Award de Melhor Ator em Musical. Perkins é o único astro que detêm duas estrelas na calçada da fama de Hollywood, uma honra que ele recebeu por suas contribuições influentes e excepcionais para a indústria cinematográfica e televisa. Uma está localizada na 6801, e a outra na 6821 da Hollywood Boulevard. Em 1991, Perkins foi homenageado com o Donostia Lifetime Achievement Award no San Sebastián International Film Festival. Embora ele estivesse lutando contra a AIDS, o ator apareceu em oito produções para a televisão, entre 1990 e 1992. Ele fez sua última aparição em Deep Woods (1992), com Rosanna Arquette. Perkins havia concordado em fornecer a voz para o papel do cirurgião-dentista, Dr. Wolfe, em The Simpsons no episódio Last Exit to Springfield, depois que Anthony Hopkins e Clint Eastwood recusaram, mas ele morreu antes que pudesse gravar. O personagem foi dublado por Hank Azar Anthony Perkins era bissexual, apesar de ser tímido, nunca escondeu a sua sexualidade, mas Hollywood escondia, e ainda hoje esconde a sexualidade de seus astros, foi assim com Montgomery Clift e Rock Hudson. De acordo com uma biografia não autorizada de Charles Winecoff, ele tinha fama de bem dotado, teve casos com o ator Tab Hunter, os bailarinos Grover Dale e Rudolf Nureyev, o dançarino Christopher Makos, e o letrista Stephen Sondheim, antes de seu casamento heterossexual. Ele teve sua primeira experiência intima heterossexual em 1972 com 39 anos, enquanto trabalhava no filme The Life and Times of Judge Roy Bean com uma atriz que também apareceu no filme. Perkins se recusou a identificar a atriz, mas "outras fontes" a identificaram como sendo Victoria Principal. O diretor do filme confirmou o fato em uma entrevista sobre Perkins para a revista People. Certa vez, ele disse que se sentia muito nervoso em torno de mulheres, e resistiu a atrizes como Brigitte Bardot e Jane Fonda, que tinham tentado o seduzir durante sua juventude. Ainda na década de 1970, conheceu e casou com a bailarina Berry Berenson, que era irmã da atriz Marisa Berenson, mas nunca escondeu dela a sua bissexualidade. Tiveram dois filhos, o também ator Osgood Perkins, mais conhecido como Oz Perkins, nascido em 1974, e o músico Elvis Perkins, nascido em 1976. Um dia antes do nono aniversário de sua morte, sua viúva, Berry Berenson, foi uma das vítimas do Voo American Airlines 11, que foi sequestrado por terroristas islâmicos durante os Ataques de 11 de setembro de 2001, lançado contra a torre norte do World Trade Center. Anthony Perkins morreu em sua residência na Hollywood Hills em 12 de setembro de 1992, vítima de complicações em decorrência da AIDS, e pneumonia. Foi cremado.

[esteliel]

Full casting has been announced for the all-star concert production of Les Misérables, which opens in the West End next month.

Joining the previously announced Michael Ball, Alfie Boe, John Owen-Jones, Carrie Hope Fletcher, Katy Secombe, Matt Lucas, Bradley Jaden and Rob Houchen will be Shan Ako and Lily Kerhoas.

Ako will take on the role of Eponine while Kerhoas plays Cosette in the show.

They will be joined by Rosanna Bates, Adam Bayjou, Ciarán Bowling, Simon Bowman, Oliver Brenin, Earl Carpenter, Vinny Coyle, Samantha Dorsey, Tamsin Dowsett, Nicola Espallardo, Celia Graham, Barnaby Hughes, Holly-Anne Hull, Oliver Jackson, Christopher Jacobsen, Gavin James, Will Jennings, Ciaran Joyce, Katie Kerr, Sarah Lark, Joanna Loxton, Craig Mather, Stephen Matthews, James Nicholson, Rosa O'Reilly, Claire Parrish, Sophie Reeves, Grainne Renihan, Leo Roberts, Raymond Walsh, Gemma Wardle and Andrew York.

The production, which will run in the Gielgud while the Les Misérables' customary home at the Queen's Theatre is renovated, will run from 10 August 2019 for 16 weeks until 30 November.

Alain Boublil and Claude-Michel Schönberg's musical, adapted from the novel by Victor Hugo, will return to the Queen's Theatre, which will be renamed as the Sondheim Theatre in December 2019, where the newer 2009 staging of the production will be performed.

[musicalsorwhatever]

“One Swallow Does Not a Summer Make” is the fifth song in the 2017 West End musical: The Wind in the Willows. With music by George Stiles (Honk!) and lyrics by Anthony Drewe (Honk!), the book by Julian Fellowes (Mary Poppins) is based on the 1908 Kenneth Grahame novel of the same name. The original touring production was nominated for two Manchester Theater Awards, including for Best Musical, and won one. This song is performed by Abigail Brodie, Bethany Linsdell, and Rosanna Bates as Swallows.

[jail-pat]

Final cast announced for concert

As rehearsals begin for Les Misérables -The Staged Concert, Cameron Mackintosh introduces Shan Akoand Lily Kerhoas who complete the principal casting as Éponine and Cosette respectively.  They join the previously announced Michael Ball as Javert, Alfie Boe as Jean Valjean, Carrie Hope Fletcher as Fantine, Matt Lucas as Thénardier, Rob Houchen as Marius, Bradley Jaden as Enjolras, Katy Secombe as Madame Thénardier and, for three performances a week, John Owen-Jones as Jean Valjean.

This spectacular staging of the legendary concert, with a company of over 65, will run from 10 August – 30 November 2019 at the intimate Gielgud Theatre, next door to the home of Les Misérables at the recently re-named Sondheim Theatre, previously the Queen’s.

The company also includes Rosanna Bates, Adam Bayjou, Ciaran Bowling, Simon Bowman, Oliver Brenin, Earl Carpenter, Vinny Coyle, Samantha Dorsey, Tamsin Dowsett, Nicola Espallardo, Celia Graham, Barnaby Hughes, Holly-Anne Hull, Oliver Jackson, Christopher Jacobsen, Gavin James, Will Jennings, Ciaran Joyce, Katie Kerr, Sarah Lark, Joanna Loxton, Craig Mather, Stephen Matthews, James Nicholson, Rosa O’Reilly, Claire Parrish, Sophie Reeves, Grainne Renihan, Leo Roberts, Raymond Walsh, Gemma Wardle and Andrew York.

Les Misérables‘’ much celebrated score includes the songs I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more.

Les Misérables is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel with additional material by James Fenton and adaptation by Trevor Nunnand John Caird.

Produced on stage by Cameron Mackintosh, Les Misérables is the world’s longest running musical now in its 35th year in London.  Produced on screen also by Mackintosh (along with Working Title and Universal), Les Misérables is now the most successful movie of an original stage musical.  The new production of Les Misérables, with a separate company, is currently on a sold-out international tour which has recently been extended to Autumn 2020.

[drinkmetmij]

If anyone gets a les mis concert audio (05/10/2019) of Rosanna Bates as u/s Fantine at the they’re trading out, please hit me up!

[thestageyshelf]

SOLD 🎭 Chitty Chitty Bang Bang @ New Wimbledon Theatre 2016 (#37)

Title: Chitty Chitty Bang Bang

Venue: New Wimbledon Theatre

Year: 2016

Condition: Good condition

Author: Music and Lyrics by Richard M. Sherman and Robert B. Sherman. Adapted for the stage by Jeremy Sams

Director: James Brining

Choreographer: Stephen Mear

Cast: Lee Mead, Carrie Hope Fletcher, Shaun Williamson, Michelle Collin, Andy Hockley, Sam Harrison, Scott Paige, Matt Gillett, Ewen Cummins, Thomas Audibert, Kathryn Barnes, Rosanna Bates, Alex Louise Bird, Abigail Climer, Jade Davies, Ewan Gillies, Joanna Goodwin, Christopher D Hunt, Paul Iveson, Nia Jermin, Kelsie-Rae Marshall, Mollie Melia-Redgrave, Perry O'Dea, Matt Overfield, Ross Russell, Craig Turner, Nathan Vaughan-Harris, Robert Wilkes

FIND ON EBAY HERE

[gravaman]

After Weinstein, let’s stop asking women to answer for their sex predator’s crimes

By Laura Bates

In cases of workplace sexual harassment, we are ready to blame almost anybody except the perpetrator. Why didn’t others in the industry blow the whistle? Why didn’t somebody stand up to him? And most of all, the common narrative goes, why didn’t the women do something?

In the wake of a series of allegations of sexual harassment, assault and rape against film executive Harvey Weinstein, all the usual questions have been directed at his victims. Commentators have questioned their stories, their motives, their timing, their responses, their actions, their inaction, their silence and even their clothing.

Three women accuse Weinstein of rape as Paltrow and Jolie allege sexual harassment

Read more

This is exactly why most women don’t report workplace sexual harassment. The result is a barrage of buts, carefully designed to pin the blame on the victim herself. No such corresponding interrogation exists for perpetrators.

We do not ask why, or how, or with what possible motive men sexually harass and assault women. We focus on their victims, as if the abuse befell them by chance rather than by design, and could have been avoided with just a little more effort on their part. “But why didn’t you do this, or that, or the other, which might have prevented or resolved the situation?” women are repeatedly asked. The man at the centre of it all slips out of the frame altogether.

But even if women were to react in the various ways these unhelpful interrogators suggest, even if they followed the retrospective advice to the letter, the problem would remain unsolved. The issue is not one of imperfect victims, but of power imbalance and deeply ingrained misogyny.

As if to prove this point, Harvey Weinstein’s accusers have described a broad array of different responses to similar alleged experiences of being pressured into sexual acts, cornered in hotel rooms or subjected to unwanted advances. Together they prove conclusively, once and for all that it is ridiculous to suggest the “right” victim response could somehow magically solve this problem.

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“Why didn’t she speak out?”

The actress Sophie Dix told theGuardian she did speak out, and loudly. She says: “I was very, very vocal about it at the time. I didn’t want to own it. I wanted people to take it away from me. But I was met with a wall of silence … people in the industry didn’t want to know about it, they didn’t want to hear.” She believes her nascent film career was ruined as a result.

“Why didn’t she say no?”

Rosanna Arquette did just that. She has described Weinstein trying to force her into touching his erect penis when she went to his room to collect a film script. When she told him “I’ll never do that”, she says he warned her she was making a huge mistake, claiming he had advanced the careers of other women who had given in to his advances. She told the New Yorker she feels her film career suffered deeply as a result.

“Why didn’t she deflect the situation?”

Cara Delevingne says she did so when Weinstein tried to make her kiss another woman, starting to sing instead in a desperate attempt to turn the incident into an audition. She got the role and was deeply disturbed by the idea that Weinstein’s advances were the reason why, terrified to tell anyone in case they blamed her and consumed by guilt that she had “done something wrong”.

“Why didn’t she stay away from him?”

Angelina Jolie did, saying she chose never to work with Weinstein again after a bad experience in her youth, a move that probably harmed her career and may have taken her out of the running for a great number of potential roles.

“Why didn’t she report him?”

Rose McGowan has described how she told Roy Price, the head of Amazon’s video content service, that Weinstein had raped her. She says his response was to ignore her complaints, telling her there was no proof, and her show was subsequently dropped by the platform. (Price has been put on leave by Amazon Studios amidst the allegations, with new claims also emerging that he himself sexually harassed the producer of one of its best-known shows).

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“Why didn’t she fight back?”

Lucia Stoller, now Lucia Evans, has accused Weinstein of forcing her to perform oral sex on him in a hotel room at a meeting about film scripts in 2004. She says she tried to get away, telling him over and over “I don’t want to do this, stop, don’t.” She told the New Yorker she was unsuccessful because: “I didn’t want to kick him or fight him…he’s a big guy. He overpowered me.” The failure of her attempt left her blaming herself for what had happened. “I just sort of gave up. That’s the most horrible part of it, and that’s why he’s been able to do this for so long to so many women: people give up, and then they feel like it’s their fault.”

“Why didn’t she just submit?”

The Italian actress Asia Argento says she eventually submitted to Weinstein’s sexual advances in a desperate attempt to end the non-consensual encounter. Though she says she initially repeatedly told him to stop, she explained that the incident became a “horrible trauma” because she later berated herself that “if I were a strong woman, I would have kicked him in the balls and run away. But I didn’t. And so I felt responsible.”

“Why didn’t she get mad?”

When Rose McGowan vented her rage about Hollywood abuse and male complicity on Twitter after the recent allegations came to light, and she found herself temporarily suspended from the platform for violating its rules. While it wasn’t immediately clear what had caused the suspension, Twitter later claimed she had tweeted a private phone number.

“Why didn’t she go to the police?”

The Filipina-Italian model Ambra Battilana Gutierrez immediately attended a police station to report assault when Harvey Weinstein grabbed her breasts and tried to put his hand up her skirt at a meeting in 2015. A resulting NYPD undercover operation obtained an audio recording of Weinstein admitting to the assault, and pressuring her to join him in his hotel room while he showered. Yet Gutierrez was subsequently smeared in the press, and the Manhattan district attorney’s office failed to file charges.

For every person who asks: “Why didn’t she?”, there is a woman who can answer: “I did.” Criticising victim’s responses will never solve this problem. It is time to stop asking: “Why didn’t she?” and start asking: “Why didn’t we?”

Original article

https://www.theguardian.com/commentisfree/2017/oct/14/after-weinstein-stop-asking-women-to-answer-for-sex-predators-crimes

[boxfivetrades]

One Day More - Three Phantoms China - 09/01/20

(x)

[bootlegz]

les miserables audios for trade

All audios recorded by myself.

List of original west end production audios here.

All-Star Les Miserables Concert

19 August 2019 - John Owen-Jones as Valjean - Shan Ako, Michael Ball, Rosanna Bates, Adam Bayjou, Ciaran Bowling, Oliver Brenin, Earl Carpenter, Vinny Coyle, Samantha Dorsey, Tamsin Dowsett, Nicola Espallardo, Carrie Hope Fletcher, Celia Graham, Rob Houchen, Barnaby Hughes, Holly-Anne Hull, Oliver Jackson, Christopher Jacobsen, Bradley Jaden, Gavin James, Will Jennings, John Owen-Jones, Ciaran Joyce, Lily Kerhoas, Katie Kerr, Sarah Lark, Joanna Loxton, Matt Lucas, Craig Mather, Stephen Matthews, James Nicholson, Rosa O’Reilly, Claire Parrish, Sophie Reeves, Grainne Renihan, Leo Roberts, Katy Secombe, Raymond Walsh, Gemma Wardle and Andrew York. 

28 September 2019 Matinee - Shan Ako, Michael Ball, Rosanna Bates, Adam Bayjou, Alfie Boe, Ciaran Bowling, Oliver Brenin, Earl Carpenter, Vinny Coyle, Samantha Dorsey, Tamsin Dowsett, Nicola Espallardo, Carrie Hope Fletcher, Celia Graham, Rob Houchen, Barnaby Hughes, Holly-Anne Hull, Oliver Jackson, Christopher Jacobsen, Bradley Jaden, Gavin James, Will Jennings, John Owen-Jones, Ciaran Joyce, Lily Kerhoas, Katie Kerr, Sarah Lark, Joanna Loxton, Matt Lucas, Craig Mather, Stephen Matthews, James Nicholson, Rosa O’Reilly, Claire Parrish, Sophie Reeves, Grainne Renihan, Leo Roberts, Katy Secombe, Raymond Walsh, Gemma Wardle and Andrew York.

28 September 2019 Evening - Shan Ako, Michael Ball, Rosanna Bates, Adam Bayjou, Alfie Boe, Ciaran Bowling, Oliver Brenin, Earl Carpenter, Vinny Coyle, Samantha Dorsey, Tamsin Dowsett, Nicola Espallardo, Carrie Hope Fletcher, Celia Graham, Rob Houchen, Barnaby Hughes, Holly-Anne Hull, Oliver Jackson, Christopher Jacobsen, Bradley Jaden, Gavin James, Will Jennings, John Owen-Jones, Ciaran Joyce, Lily Kerhoas, Katie Kerr, Sarah Lark, Joanna Loxton, Matt Lucas, Craig Mather, Stephen Matthews, James Nicholson, Rosa O’Reilly, Claire Parrish, Sophie Reeves, Grainne Renihan, Leo Roberts, Katy Secombe, Raymond Walsh, Gemma Wardle and Andrew York.

30 September 2019 - John Owen-Jones as Valjean - Shan Ako, Michael Ball, Rosanna Bates, Adam Bayjou, Ciaran Bowling, Oliver Brenin, Earl Carpenter, Vinny Coyle, Samantha Dorsey, Tamsin Dowsett, Nicola Espallardo, Carrie Hope Fletcher, Celia Graham, Rob Houchen, Barnaby Hughes, Holly-Anne Hull, Oliver Jackson, Christopher Jacobsen, Bradley Jaden, Gavin James, Will Jennings, John Owen-Jones, Ciaran Joyce, Lily Kerhoas, Katie Kerr, Sarah Lark, Joanna Loxton, Matt Lucas, Craig Mather, Stephen Matthews, James Nicholson, Rosa O’Reilly, Claire Parrish, Sophie Reeves, Grainne Renihan, Leo Roberts, Katy Secombe, Raymond Walsh, Gemma Wardle and Andrew York. 

New West End Production

5 March 2020 - (Luke McCall alternate Valjean) - Kelly Agbowu, Shan Ako, Harry Apps, Ciarán Bowling, Gerard Carey, Richard Carson, Rodney Earl Clarke, Matthew Dale, Matt Dempsey, Harry Dunnett, Josefina Gabrielle, Ashley Gilmour, Rachelle Ann Go, Jessie Hart, Bradley Jaden, Cellen Chugg Jones, Jessica Joslin, Lily Kerhoas, Sarah Lark, Georgie Lovatt, Ellie Ann Lowe, Luke McCall, Leo Miles, Claire O’Leary, Shane O’Riordan, Kathy Peacock, Sam Peggs, Mark Pearce, Emma Warren, Sake Wijers, Mared Williams and Samuel Wyn-Morris.  

6 March 2020 (Act One Only) - (Ellie Ann Lowe cover Fantine) - Kelly Agbowu, Shan Ako, Harry Apps, Ciarán Bowling, Gerard Carey, Richard Carson, Rodney Earl Clarke, Matthew Dale, Matt Dempsey, Harry Dunnett, Josefina Gabrielle, Ashley Gilmour, Jessie Hart, Bradley Jaden, Cellen Chugg Jones, Jessica Joslin, Lily Kerhoas, Sarah Lark, Georgie Lovatt, Ellie Ann Lowe, Luke McCall, Leo Miles, Claire O’Leary, Shane O’Riordan, Kathy Peacock, Sam Peggs, Mark Pearce, Jon Robyns, Emma Warren, Sake Wijers, Mared Williams and Samuel Wyn-Morris.

[rootsandflcwers]

It couldn't be but as Rosanna lifts her head to the man's face again, she notices the three place scars that cross his skin. They had not been very noticable at a distant but now that he stands before her, now that she knows to look for them, they have become obvious.

This man is her father.

Dark eyes widen, lips part in disbelief, but she stays silent, simply watching this interaction with bated breath. Will her mother let him inside? Will she let him come back into their lives as though ten years is nothing? Or will she turn him away, making this the first and last time Rosanna saw her father.

She wasn't going to lie to herself. After ten years of waiting and wishing and praying for this moment, the last thought scared her. It sent her heart fluttering in her chest for so many different reasons.

"We're fine," Roxane says and Rosanna's eyes slowly move to her mother again though this time it is with a new hesitancy. "I've actually done quite well for myself and the children."

Finally Home

For @xroots-and-flowersx​; continued from x

[susierpt]

Hi Susie! I was wondering if you could help me with both a grandmother and mother to Selena Gomez? Thanks.

To my knowledge, Selena is half-white, half-Mexican. Please correct me if this is incorrect so I can update with better choices! (I don’t know if you want the grandmother to be related to the mother or if you want her to be related on the father’s side and thus a different ethnicity, so I included a mix of both Mexican and white FCs for them both. Please cast accordingly!)

GRANDMOTHER: Catherine Bach, Sigourney Weaver, Gina Gallego, Jessica Lange, Jennifer Rhodes, Kathy Bates, Rosanna DeSoto

MOTHER: Veronica Falcón, Madeline Stowe, Helena Bonham-Carter, Mariska Hargitay, Paige Turco, Marisol Nichols, Kate del Castillo, Anna Silk, Winona Ryder, Lucero

[londontheatre]

Rufus Hound as Mr Toad in The Wind in the Willows UK tour. Photo by Marc Brenner Jamie Hendry Productions

Production photos have today been released for the new West End musical THE WIND IN THE WILLOWS, featuring Rufus Hound as the amazing Mr Toad, Simon Lipkin as Ratty, Craig Mather as Mole, Neil McDermott as Chief Weasel, with Denise Welch as Mrs Otter and Gary Wilmot as Badger. The show is currently previewing at the London Palladium with opening night on Thursday 29 June.

The full company will include Chris Aukett, Rosanna Bates, Joel Baylis, Jenna Boyd, Abigail Brodie, Jorell Coiffic-Kamall, Nicole Deon, Emilie du Leslay, Joshua Gannon, James Gant, Evan James, Michael Larcombe, Bethany Linsdell, Ryan Pidgen, Adam Vaughan, Georgie Westall and Natalie Woods.

Based on Kenneth Grahame’s treasured novel which has captivated generations of readers for over a century, THE WIND IN THE WILLOWS has been adapted for the stage with a book by Academy Award-winning screenwriter and Downton Abbey creator Julian Fellowes and Olivier Award-winning composer and lyricist duo George Stiles and Anthony Drewe.

[See image gallery at http://ift.tt/1FpwFUw] This riotous comedy follows the impulsive Mr Toad whose insatiable need for speed lands him in serious trouble. With his beloved home under threat from the notorious Chief Weasel and his gang of sinister Wild Wooders, Toad must attempt a daring escape leading to a series of misadventures and a heroic battle to recapture Toad Hall.

Featuring eye-poppingly beautiful design, exuberant choreography and a gloriously British score, The Wind in the Willows brings an explosion of anarchy, humour and heart to the world-famous London Palladium.

Tickets are available from £15, with reduced price preview performances. Kids go free subject to availability, terms and conditions apply. No additional booking fees or charges are applied to tickets booked via http://ift.tt/2kaYgWS.

Produced by Jamie Hendry, MJE Productions and Josh Gilinski, in association with Theatre Royal Plymouth, THE WIND IN THE WILLOWS is directed by Rachel Kavanaugh with choreography by Aletta Collins, set and costume design by Peter McKintosh, lighting design by Howard Harrison, sound design by Gareth Owen, wig and makeup design by Linda McKnight, orchestrations by Chris Jahnke and David Shrubsole and musical supervision by Simon Lee.

LISTINGS THE WIND IN THE WILLOWS The London Palladium Argyll Street, London W1F 7TF

The Wind In The Willows – Kids Go Free Tickets

First Preview: Friday 16 June 2017 Opening Performance: Thursday 29 June 2017 Booking Until: Saturday 9 September 2017

http://ift.tt/2uj4ZiI LondonTheatre1.com