#scott rintoul

[pepper-blood]

“My father...”

Hamlet, Almeida Theatre

Dir. Robert Icke

Juliet Stevenson, Andrew Scott, David Rintoul

[sarcasmoholicbis]

Tribute to Robert Icke’s Hamlet played this year, starring a bunch of amazing actors and actresses.

Reference book for quotation is William Shakespeare, Tragedies volume 1, Everyman’s library

(don’t hesitate to click a numerous amount of times to see a bigger picture)

cheers

[weirdcanucks]

Hi Do you have a timestamp for Murph talking about Petey? Thank :))

Hi!! It starts from 02:09:13. https://podcast.sportsnet.ca/scott-rintoul/sept-17-mannys-moving-on/  Hope it helps!

[paleononnie]

Great interview with Jordie on SN 650 (Vancouver) Scott Rintoul’s show.  He mentions Jamie a fair amount too!

For fanfic writers, there’s some good updated details here so definitely worth a listen!

[milliondollarbaby87]

MOTION PICTURES

Outstanding Performance by a Cast in a Motion Picture Parasite

HYAE JIN CHANG / Chung Sook YEO JEONG CHO / Yeon Kyo WOO SHIK CHOI / Ki Woo HYEON JUN JUNG / Da Song ZISO JUNG / Da Hye JUNG EUN LEE / Moon Gwang SUN KYUN LEE / Dong Ik MYUNG HOON PARK / Geun Se SO DAM PARK / Ki Jung KANG HO SONG / Ki Taek

Outstanding Performance by a Male Actor in a Leading Role Joaquin Phoenix, Joker

Outstanding Performance by a Female Actor in a Leading Role Renee Zellweger, Judy

Outstanding Performance by a Male Actor in a Supporting Role Brad Pitt, Once Upon a Time in Hollywood

Outstanding Performance by a Female Actor in a Supporting Role Laura Dern, Marriage Story

TELEVISION Outstanding Performance by an Ensemble in a Drama Series The Crown

MARION BAILEY / Queen Elizabeth the Queen Mother HELENA BONHAM CARTER / Princess Margaret OLIVIA COLMAN / Queen Elizabeth II CHARLES DANCE / Lord Mountbatten BEN DANIELS / Lord Snowdon ERIN DOHERTY / Princess Anne CHARLES EDWARDS / Martin Charteris TOBIAS MENZIES / Prince Philip, Duke of Edinburgh JOSH O’CONNOR / Prince Charles SAM PHILLIPS / Equerry DAVID RINTOUL / Michael Adeane JASON WATKINS / Harold Wilson

Outstanding Performance by an Ensemble in a Comedy Series The Marvelous Mrs. Maisel

CAROLINE AARON / Shirley Maisel ALEX BORSTEIN / Susie Myerson RACHEL BROSNAHAN / Midge Maisel MARIN HINKLE / Rose Weissman STEPHANIE HSU / Mei JOEL JOHNSTONE / Archie Cleary JANE LYNCH / Sophie Lennon LEROY McCLAIN / Shy Baldwin KEVIN POLLAK / Moishe Maisel TONY SHALHOUB / Abe Weissman MATILDA SZYDAGIS / Zelda BRIAN TARANTINA / Jackie MICHAEL ZEGEN / Joel Maisel

Outstanding Performance by a Male Actor in a Drama Series Peter Dinklage, Game of Thrones

Outstanding Performance by a Female Actor in a Drama Series Jennifer Aniston, The Morning Show

Outstanding Performance by a Male Actor in a Comedy Series Tony Shalhoub, The Marvelous Mrs. Maisel

Outstanding Performance by a Female Actor in a Comedy Series Phoebe Waller-Bridge, Fleabag

Outstanding Performance by a Male Actor in a Television Movie or Limited Series Sam Rockwell, Fosse/Verdon

Outstanding Performance by a Female Actor in a Television Movie or Limited Series Michelle Williams, Fosse/Verdon

STUNT ENSEMBLES Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

AVENGERS: ENDGAME Marija Juliette Abney Janeshia Adams-Ginyard George “Gee” Alexander Derek Alfonso Nate Andrade Christopher Antonucci Randy Archer Brandon Arnold Steven S. Atkinson Ben Aycrigg Jennifer Badger Christopher Balualua Danya Bateman Loyd Bateman Kelly Bellini Joanna Bennett Carrie Bernans Felix Betancourt Gianni Biasetti, Jr. Mike Bishop Tamiko Brownlee Troy Butler Jwaundace Candece Marc Canonizado Janene Carleton Elisabeth Carpenter Sean Christopher Carter Kevin Cassidy Hymnson Chan Courtney Chen Anis Cheurfa Fernando Chien Alvin Chon Tye Claybrook, Jr. Marcelle Coletti David Conk John A. Cooper Brandon Cornell Thomas Joseph Culler Jahnel Curfman Gui Da Silva-Greene Chris Daniels Keith Davis Martin De Boer Robbert de Groot Isabella Shai DeBroux Holland Diaz Josh Diogo Jackson Dobies Justin Dobies Cory Dunson Jessica Durham Justin Eaton Jared Eddo Katie Eischen Kiante Elam Jazzy Ellis David Elson Jason Elwood Hanna Tony Falcon Guy Fernandez Mark Fisher Alessandro Folchitto Colin Follenweider Glenn Foster Simeon Freeman Shauna Galligan Monique Ganderton Johnny Gao Jomahl Gildersleve Denisha Gillespie Daniel Graham Ryan Green Carlos Guity Califf Guzman Dante Ha Akihiro Haga Garrett Hammond Lydia Hand Daniel Hargrave Kandis Hargrave Sam Hargrave Regis Andrew Harrington III Thayr Harris Zedric Harris Jimmy Hart Alex Hashioka Zachary Henry Danny Hernandez Mark Hicks Maria Hippolyte Bobby Holland Hanton JT Holt Crystal Hooks Niahlah Hope Damita Howard Justin Howell Jacob Hugghins Lindsay Anne Hugghins Michael Hugghins Tony Hugghins Scott Hunter James Hutchison III Pan Iam CC Ice Sarah Irwin Mami Ito Duke Jackson Michael Jamorski Kirk Jenkins Preshas Jenkins Floyd Anthony Johns Jr. Richard M. King Ralf Koch Khalil La’Marr Matt LaBorde Danny Le Boyer Matt Leonard William Leong Bethany Levy James Lew Marcus Lewis Jefferson Lewis III Eric Linden Scott Loeser Rachel Luttrell-Bateman Adam Lytle Tara Macken Dave Macomber Julia Maggio Ruben Maldonado Richard Marrero Rob Mars Andy Martin Aaron Matthews Tim R. McAdams Taylor McDonald Kyle McLean Crystal Michelle Mark Miscione Heidi Moneymaker Renae Moneymaker Chris Moore Tristen Tyler Morts William Billy Morts Marie Mouroum Spencer Mulligan Travor Murray Jachin JJ Myers Anthony Nanakornpanom John Nania Nikolay Nedyalkov Carl Nespoli Paul O’Connor Marque Ohmes Olufemi Olagoke Noon Orsatti Rowbie Orsatti Jane Oshita Leesa Pate Natasha Paul Gary Peebles Nathaniel Perry Josh Petro Lloyd Pitts George Quinones Taraja Ramsess Greg Rementer Antjuan Rhames Meredith Richardson Bayland Rippenkroeger Ryan Robertson Christopher Cody Robinson Donny Rogers Carrington Christopher Eric Romrell Michelle Rose Corrina Roshea Marvin Ross Elena Sanchez Maya Santandrea Matthew Scheib Erik Schultz Jordan Scott Joshua Russel Seifert Brandon Shaw Bruce Shepperson Joseph Singletary III Tim Sitarz Dominique Smith Dena Sodano Robert D. Souris Jackson Spidell Daniel Stevens Jenel Stevens Diandra Stoddard Milliner Granger Summerset Phedra Syndelle Mark Tearle Hamid-Reza Thompson Tyler J. Tiffany Aaron Toney Amy Lynn Tuttle Tony Vo Todd Warren Kevin Waterman Amber Whelan Aaron Wiggins Joseph Williams Matthew M. Williams Thom Williams Zola Williams Mike Wilson Tyler Witte Michael Yahn James Young Marcus Gene Young Woon Young Park Casey Zeller Keil Zeperni

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series GAME OF THRONES Boian Anev Mark Archer Kristina Baskett Ferenc Berecz Richard Bradshaw Michael Byrch Andrew Burford Yusuf Chaudhri Nick Chooping Jonathan Cohen David Collom Christopher Cox Jacob Cox Matt Crook Matt Da Silva Levan Doran Dom Dumaresq Daniel Euston Bradley Farmer Pete Ford Vladimir Furdik David Grant Lawrence Hansen Richard Hansen Nicklas Hansson Rob Hayns Lyndon Hellewell Jessica Hooker Gergely Horpacsi Paul Howell Rowley Irlam Erol Ismail Troy Kechington Paul Lowe John Macdonald Leigh Maddern Kai Martin Kim Mcgarrity Carly Michaels Nikita Mitchell Chris Newton David Newton Jason Oettle Bela Orsanyi Ivan Orsanyi Radoslav Parvanov Oleg Podobin Josh Ravenscroft Andrej Riabokon Zach Roberts Doug Robson Stanislav Satko Paul Shapcott Mark Slaughter Sam Stefan Jonny Stockwell Ryan Stuart Gyula Toth Marek Toth Andy Wareham Calvin Warrington Heasman Richard Wheeldon Belle Williams Will Willoughby Leo Woodruff Ben Wright Lewis Young

WINS BY STUDIO Disney – 1 Neon – 1 Netflix – 1 Roadside Attractions/LD Entertainment – 1 Sony Pictures – 1 Warner Bros – 1

WINS BY NETWORK Amazon – 3 FX – 2 HBO – 2 Netflix – 1 Apple – 1

SAG Awards 2020 – Winners MOTION PICTURES Outstanding Performance by a Cast in a Motion Picture Parasite HYAE JIN CHANG / Chung Sook…

[avissalesmckinney]

#HappyAnniversary to Scott and your 2018 #Ford #Explorer from Thomas Rintoul at Avis Car Sales McKinney! by Avis Car Sales McKinney

[shakespearean]

Hamlet (dir. Robert Icke, 2017). All photographs: Manuel Harlan

[lauraxxtennant]

hamlet, the almeida

I went to see Robert Icke’s Hamlet, with Andrew Scott in the title role, at the Almeida last night (free tickets for under 25s all this week! Go if you can!! If not, def try to see it when it transfers to the Harold Pinter theatre later this year)

My god, it was 4 hours long and absolutely stunning.

Some thoughts -

It’s modern dress, and employs the use of CCTV in ways similar to Greg Doran’s production. It’s a simple concept but I really like this.

Andrew Scott is 100% on point. He is made for this role, honestly. The awkward physicality, the simmering emotion in his face and in his gestures, the tears in his eyes, his sardonic smiles when he shares a joke with the audience (usually at Polonius’ expense)...all were top notch. He’s a very depressed but very funny Hamlet. I’ve not seen Andrew Scott in much before, but this performance seriously took my breath away and I’m definitely gonna be looking out for him in other things now. Also I was pleased that he kept his own Irish accent for the role; he’s got such a lovely soft, gentle voice, and when he raises it in a rare explosion of anger it’s incredibly evocative. 

I love the intimacy of the Almeida, it’s such a small theatre which really gave a lot of power to the moment he gave his ‘to be or not to be’ soliloquy. So close to us that we can stare into his eyes and really, properly feel it. He doesn’t shy away from catching people’s gaze and I love that.

The ‘get thee to a nunnery’ scene was one of the most powerful interactions between two characters I think I’ve ever seen on stage. 

Jessica Brown Findlay (who looks so different from her Downton days in this) gives a childlike Ophelia, who is very physically affectionate with Hamlet/Laertes/Polonius (wrapping her arms around them, burying her face in their chests, jumping up into their arms, etc) and very physical in general - in later scenes, she hits herself repeatedly in her anguish. 

I absolutely loved this Polonius (played by Peter Wight - second only to Andrew in terms of best performances in this production, imo.) The spying on Hamlet scenes were hilarious (esp as Hamlet ofc realises what he’s up to.) He’s brilliant!!

The only weak link I felt was the guy playing Claudius (Angus Wright), who rushed through every single line he spoke. He had the authority and the evil glint down well, and what this production did with the ‘play within a play’ scene was an excellent way for us to see his fear/guilt written all over his face, but his actual delivery of the lines was nowhere near the quality of...well, let’s face it, no one is ever gonna live up to Patrick Stewart in this role. 

I also much preferred Doran’s versions of a) the scene where Claudius is revealing his guilt in prayer (as opposed to in this production, where he and Scott’s Hamlet are staring right at each other, the latter holding a gun; I don’t think this had as powerful an impact as Tennant’s Hamlet sneaking up behind him with the knife, iirc) and b) the final scene of the play. But those were the only points I felt this production faltered.

(I also prefer the casting of the Ghost/Hamlet Senior in Doran’s production, being played by Patrick Stewart too, I loved that idea. In this, the Ghost/Hamlet Senior is played by the same actor who plays the Player King (David Rintoul) who gives a really great, authoritative performance tbf. But Patrick...  <3 lol.)

Notable mention: Luke Thompson’s Laertes was great! I really liked him. I think sometimes Laertes can be made to seem pretty unlikeable, but in this production you really feel for him.

Also, Rory Kinnear was in the audience near us :D Love that dude.

4.5 stars!!! So very nearly perfect for me.

[thedreamingdinosaur]

Directed By: Robert Icke

Cast:

Francisco, Gravedigger – Barry Aird. Horatio – Elliot Barnes- Worrell. Ophelia – Jessica Brown Findlay. Player Queen – Marty Cruickshank. Rosencrantz – Calum Finlay. Marcellus – Joshua Higgott. Guildenstern – Amaka Okafor. Reynaldo – Daniel Rabin. Ghost, Player King – David Rintoul. Hamlet – Andrew Scott. Gertrude – Juliet Stevenson. Laertes – Luke Thompson. Polonius – Peter Wight. Claudius – Angus Wright. Bernardo, Player 3, Priest – Matthew Wynn Fortinbras – John MacMillan Voltimand – Lorna Brown Newscaster – Sule Rimi Young Hamlet – Samuel Smith Priest – Father Roy Pearson Reporters – Skye Bennett, Tommy Burgess, Andrew Lewis, David Tarkenter, Pippa Winslow

To be, or not to be, that is the question.

It’s time for me to delve into the world of A-Level Drama review/ University level BA (Hons) English Literature critical analysis. Although my work load is excessive, I feel that it was necessary to share my experiences of another fantastic show with you all.

Shakespeare’s Hamlet is one of the most reenacted plays of all time. With hundreds of renditions being performed all around the UK, each one brings elements of the classical Shakespearean theatre along with new and refreshing ideas.

Robert Icke is the latest member to jump on the band wagon and delve into the world of the Prince of Denmark along with a fabulous cast! With a 8 week run at The Almeida Theatre, Islington, and a newly announced West End transfer from June to September 2017, Icke used the small space of the theatre’s auditorium to his full advantage, adding a 21st century twist to the play.

For those who do not know the story, Hamlet explores the themes of madness, depression, misogyny and death… lots and lots of death. All the death. So. Much. Death.

Synopsis Hamlet is distraught after the death of his father. Two watchmen, and Horatio, witness the ghost of the late king walking through the castle late one night. When Hamlet is informed of this he see’s the apparition for himself and is informed by the spirit that it is indeed his deceased father and that his Uncle Claudius was the one who murdered him. Hamlet is ordered by his father to avenge him and is set on doing so until the very end. Along the way this drives him into deep madness. His mother, Gertrude, and Uncle see this and become increasingly worried about him and consult in Rosencrantz and Guildenstern to watch him. All the while Polonius believes that Hamlet is mad in love with his daughter Ophelia hence his sudden outbursts but this is not the case and is clear when he orders Ophelia to go to a nunnery (dick move Hamlet… dick move…). He soon learns of a group of Actors in town and orders them to perform a scene which closely resembles his image of his fathers death, to draw out a reaction from his uncle. When Claudius runs from the room, Hamlet, along with Horatio, is convinced that he is truly and utterly guilty. Hamlet confronts his mother about this in privacy, or so he thinks. While hearing a noise from behind a curtain he jumps to conclusions and stabs poor Polonius, and instantly setting his own destiny in the form of his dispersal from Denmark to England where Claudius has plans for him to be killed. And so begins the spiral of death…  After Polonius, it is Ophelia who is next to die from grief and drowns in a river. Laertes (her brother) returns from France in pure rage at the death of his father and sister. Claudius convinces Laertes that this is all Hamlet’s doing. Later he soon receives a letter from Hamlet telling him of his immediate return to Denmark due to an incident on his journey to England. Claudius comes up with a plan to put everyones mind at ease and a fencing match out of revenge is arranged between Hamlet and Laertes. The king poisons Laertes blade so when it strikes Hamlet, he will be killed. As a back up plan he also puts poison into his goblet. Hamlet returns at the time of Ophelia’s death and is stuck with even more grief and reveals that he had loved Ophelia all along (awwww) When the match begins between Laertes and Hamlet, the latter scores the first point but refuses to sip from the goblet. Instead his mother does and is quickly dies from the poison. Laertes manages to cut Hamlet with the blade, but he does not die. Laertes is then cut by his own blade (idiot) and while dying, he tells Hamlet that Claudius is responsible for the queens death as well. Hamlet stabs Claudius and then makes him drink the rest of the poison from the goblet (ultimate death!!) and everyone who’s dying finally dies. 

The setting itself was kept very minimalistic with just a ‘L’ shaped sofa, chair, lamp, small coffee table being used as the main set. A set of sliding doors were placed at the back of the stage which allowed us to envisage the layout of the palace. The 4th wall is broken several times throughout the play, with characters using the audience’s seating area for stage entries and also as their own audience when it came to the player’s play. It allowed you to be drawn in and fully included within the play, making you feel as if you were apart of the tragedy. Live action cameras where used to show recordings of certain events including the fencing match between Hamlet and Laertes at the end of the play as well as pre-recording of newscasts to show the events in the world at that time. The recordings bought the 21st century through in the classical play.

Leading the show this time, Hamlet was played by the wonderful Andrew Scott, known most famously for his role as Jim Moriarty in BBC Sherlock. He bought to the stage a fresh rendition of the Prince of Denmark and truly channeled the madness that was meant to be. The elements of humour that he incorporated into the scenes broke away from the underlying seriousness that the play gives. Mocking and teasing characters also allowed us to see that Hamlets outlook on life had completely been effected by the death of his father. Andrew was able to incorporate the near psychopathic elements that he portrays in his role as Moriarty to a controlled yet still effective limit and also where needed, as well as showing a character who his grieving and hurting still.

The most famous speech in any Shakespearean play opens with the line ‘To be or not to be’. It has been recited by thousands over the years, including Benedict Cumberbatch in his rendition of Hamlet back in 2015. This time Andrew Scott took a very simplistic and minimalistic approach on the speech. An empty stage, with just him stood downstage, centre. All lights dimmed except the one spot line, illuminating the actor. Silence filled the entire theatre as the speech began. It wasn’t at all how I imagined. I expected something big and grand, overdramatic and nearly insane, similar to that of Benedict’s. But with this simpler tone, I was pleasantly surprised.

It’s not only Scott who embraces the madness and true identity of their character. Jessica Brown Findlay was able to give us a version of Ophelia which was truly something that I had not seen before. At first we see her lovestruck and smitten by Hamlet’s charming nature. But later we are introduced to her fiery ways. After the death of her father, see seems to sink into herself. Depression overtakes the poor girl and sends her into pure madness. We see her weakened physically with the use of a wheelchair showing us that she in need of support. But also her mental state is shown. While Claudius tries to get through to her she sings ‘Saint Valentine’s Day’ possibly with references to her beloved Hamlet. This contradicts the purity of the outfit chosen as a line reads ‘And opened the door to his room. He let in the girl, and when she left, She wasn’t a virgin anymore.’ We see Ophelia dressed in a simple white dress. The use of white here signifies the purity of the young girl although her mind has been tainted.  Eventually her madness drives her to death as she drowns in the river. An important thing to note with Ophelia’s character is the way that flowers are used with her. Violets are common with the character. When she dies, Gertrude wears a Violet, a symbol of faithfulness and modesty. These are also present at the scene of her death too. Jessica managed to not over work Ophelia’s insanity all the while including enough to show her decline.

One person who we see go through very little emotional change is Claudius, played by Angus Wright. The only time we seem some emotion from him is at the end during his poisoning and death, when we see fear strike the king. Throughout the play, he remains neutral to any form of reaction while the rest of the cast show their grief, sadness, love and joy. This is pivotal for Claudius character. Angus managed to show us someone who is suspicious and suspected throughout the entire play, yet ignore the accusations by others, including the ghost of his late brother.

To contrast we the conflicting emotions that Gertrude, Juliet Stevenson, is force to go through. While wanting to protect her son from the conflicts that he battling with, she is also not wanting to disappoint her new husband and king. Eventually it clearly gets too much for the poor queen as she drinks the poison set for her son. While in versions of the play this may seem harder to pick up on, Juliet was able to give a clear perception on where she stood

Each element and scene of the play was bought to life with some truly amazing talent. The connection between all characters and their relationships with each other was entirely believable and mesmerising. The cast fully immersed themselves into the world of Shakespeare, yet at the same time, keeping us still updated in the modern world by the use of their costumes, sets and technology. The fear with a modern adaptation of a classical piece of art, is that of losing the original effect. This, however, was not to case in Ickes representation.

The final scenes of the play left me on the edge of my seat. A live fencing competition will always be tense despite the knowledge of the excessive safety elements that all actors and crew members go through, and that they have rehearsed and performed the scene more times than you know, does not push the fear away from your mind. Ending the play, Icke chose a beautiful send off for all characters who met an untimely death. As each character heads towards the bright light at the end of the tunnel, we end with Horatio cradling a lifeless Hamlet in his arms.

Robert Icke has truly honoured Shakespeare’s name by directing an outstanding piece of dramatical art. It is clear he has thought long and hard, along with his creative team, about what he wanted to achieve and has done so with great success. It has earned it’s 3 month west end transfer allowing more people to witness this iconic play.

To top the night off however, I was able to meet Andrew Scott himself outside the theatre’s main entrance. The poor man was extremely tired but still put on a huge smile for all of his fans that greeted him with so much pride, praise and excitement. Well done Andrew, you deserve it.

But the big question is; is Andrew’s version better than Benedict’s? While I loved both plays, and regard them as some of the best pieces of theatre that I have ever had the pleasure of watching in my life, I find myself at a place where I am unable to answer that question. Truthfully, both plays had elements in which captured the audience in aww and some which might have lacked ever so slightly. But at the end of the day, all plays have their faults and all have their shining moments.

So is this a play in which I would see again? Absolutely! I am planning on, getting more another ticket to see it in the new theatre. To anyone looking for a night out in London during the summer holidays, I would 100% recommend seeing the show.

★★★★★

By Natalie Midwinter.

Review Time!: Hamlet – 06.04.2017 (WARNING CONTAINS ‘SPOILERS’) Directed By: Robert Icke Cast: Francisco, Gravedigger - Barry Aird. Horatio - Elliot Barnes- Worrell. Ophelia - Jessica Brown Findlay.

[londontheatre]

Hamlet Andrew Scott photographed by Miles Aldridge

Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell-out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June.

Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End.

Rupert Goold, Artistic Director, Almeida Theatre said “We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.”

Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I’m delighted we’re going to continue our work on this play in the West End this summer. I’m also extremely proud to be working with the Almeida and our producers, ATG and Sonia Friedman, to be able to present this play in a way that genuinely throws the doors open to a bigger range of audience members. In an increasingly expensive industry, I can’t tell you how brilliant it is for them to commit to having 300 tickets priced at under £30 at every single show.”

Andrew Scott, playing Hamlet, “I’m so thrilled and honoured to be playing this extraordinary role with these brilliant actors in Rob’s stunning production. We have been overwhelmed with the reaction to our interpretation of Hamlet and I’m so happy that we can share it with a larger audience. This is a play full of heart, compassion and humanity. I’m so happy that we are able to offer 300 tickets for under £30 to every performance in the West End run to allow everybody a chance to see the play.”

The confirmed cast for the transfer of Robert Icke’s production includes Marty Cruickshank (Player Queen), Jessica Brown Findlay (Ophelia), Calum Finlay (Rosencrantz), Joshua Higgott (Horatio), Daniel Rabin (Reynaldo), David Rintoul (Ghost/Player King), Andrew Scott (Hamlet) Juliet Stevenson (Gertrude), Luke Thompson (Laertes), Peter Wight (Polonius), Angus Wright (Claudius) and Matthew Wynn (Bernardo/Player 3/Priest). Further cast will be announced in due course.

Hamlet has design by Hildegard Bechtler, with lighting by Natasha Chivers, sound by Tom Gibbons, and video design by Tal Yarden. The Associate Director is Daniel Raggett. Casting is by Julia Horan.

Multi award-winning Director, Robert Icke, has adapted/directed at the Almeida Theatre Mary Stuart, Uncle Vanya, Oresteia (also West End, and for which Icke won the Critics’ Circle, Evening Standard and Olivier Award for Best Director) and the multi-award-winning 1984 with Duncan Macmillan (also West End as well as playing several UK and international tours, and a forthcoming Broadway run at the newly opened Hudson Theater).

His work as a director includes The Fever at The May Fair Hotel, Mr Burns at the Almeida, Boys and Romeo and Juliet for Headlong. He made his National Theatre debut directing The Red Barn, at the Lyttelton Theatre in October 2016 starring Mark Strong and Elizabeth Debicki.

http://ift.tt/2hOW3hN LondonTheatre1.com

[ivisitlondon]

iVisit.... HAMLET @ Almeida Theatre

As rehearsals begin, the cast for HAMLET at the Almeida Theatre is announced. Barry Aird, Elliot Barnes-Worrell, Marty Cruickshank, Calum Findlay, Joshua Higgott, Amaka Okafor, Daniel Rabin, David Rintoul, Peter Wight, Angus Wright and Matthew Wynn join the previously announced Jessica Brown Findlay, Andrew Scott, Juliet Stevenson and Luke Thompson in a production directed by Almeida Associate Director Robert Icke. 

ghost / devil acting / madness be / not be

HAMLET is designed by Hildegard Bechtler, with lighting by Natasha Chivers, sound by Tom Gibbons, and video design by Tal Yarden. The Associate Director is Daniel Raggett. Casting is by Julia Horan.

Barry Aird’s theatre credits include Hamlet at the Barbican; Othello for Frantic Assembly; The Mousetrap and The Shawshank Redemption in the West End; Measure for Measure; Hamlet for Theatre Royal Plymouth and on tour; The Sons of York at the Finborough Theatre; What the Butler Saw at Salisbury Playhouse; Watership Down at the Lyric Hammersmith and on tour; The Taming of the Shrew at Bristol Old Vic; Speaking Like Magpies; Sejanus His Fall; Believe What You Will; Sir Thomas Moore; Othello; Henry VIII; The Merry Wives of Windsor; Camino Real; and St Erkanwald for the RSC. Television includes Berlin Station; Marcella; Close to the Enemy; Peaky Blinders; Doctor Who; Love and Marriage; Merlin; Lewis; Misfits; Survivors; Dracula; and Being Human. Film includes The Marker; City of Tiny Lights; Avengers: Age of Ultron; Dungeons and Dragons: The Book of Vile Darkness; and Eleven Fifty-Nine.

Elliot Barnes-Worrell’s theatre includes Man and Superman at the National Theatre; Richard II, The Two Gentleman of Verona; and Henry IV, Part I & 2 for the RSC; The Loneliness of The Long Distance Runner for Pilot Theatre at  York Theatre Royal and on tour; and Loyalty at Hampstead Theatre. Television includes Jericho; Poirot and Doctor Who; and film includes Ready Player One.

Jessica Brown Findlay has previously appeared in Uncle Vanya at the Almeida and Oresteia at the Almeida and Trafalgar Studios. Her television credits include Downton Abbey, The Outcast, Jamaica Inn, Labyrinth and Black Mirror: 15 Million Merits. Her film credits include Albatross (nominated for her performance in the Best Newcomer categories at the 2012 British Independent Film Awards and the Evening Standard Film Awards), Winter’s Tale, Lullaby, The Riot Club, Victor Frankenstein, Steven and This Beautiful Fantastic.

Marty Cruickshank’s theatre includes Richard II; The Heresy of Love; Hamlet; and Love in a Wood for the RSC and A Midsummer’s Night’s Dream for the RSC and Garsington Opera; After Electra at the Tricycle Theatre; Exit the King for Theatre Royal, Bath; Early Days; A Fair Quarrel; and The World Turned Upside Down for the National Theatre; Much Ado About Nothing and Two Clouds Over Eden at the Royal Exchange; London Wall at the Finborough Theatre and in the West End; Pygmalion at Chichester Festival Theatre and in the West End; Summer Lightning; Habeas Corpus; Quartermaine’s Terms at the Royal & Derngate; A Delicate Balance at Nottingham Playhouse; and A Flea in Her Ear at the West Yorkshire Playhouse. Television includes Babs; Line of Duty; Lewis; Spooks; Kavanagh QC; Faith in the Future; and Unnatural Pursuits. Film includes London Wall; I, Anna; and The Fool. As a writer, Marty’s credits include The Princess of Cleves for ICA; A Difficult Age for English Touring Theatre; Why Things Happen for Second Stride; and Bathing Elizabeth for Channel 4/Warner Sisters.

Calum Finlay’s theatre credits include The Ghost Train and Too Clever By Half at Manchester Royal Exchange; Dunsinane for the RSC and National Theatre of Scotland and The Merry Wives of Windsor; The Mouse and His Child; Macbeth and Jubilee for the RSC; Tartuffe at Birmingham Repertory Theatre; and The Prince of Denmark for the National Theatre.  Joshua Higgott has previously appeared in Oresteia (also Trafalgar Studios) and 1984 for the Almeida Theatre and in the West End. Past theatre credits include Shakespeare in Love at the Noël Coward Theatre; The Alchemist for Liverpool Everyman; Regeneration for Royal & Derngate Theatre; Birdsong UK Tour; and Twelfth Night at the Cambridge Arts Theatre. His film credits include Darkest Hour; The Mummy; Juliet Remembered; and The Machine.

Amaka Okafor’s theatre credits includes Peter Pan at the National Theatre; I See You at the Royal Court; Hamlet at the Barbican; Mermaid for Shared Experience;  Glasgow Girls for the National Theatre of Scotland, Citizens Theatre and Theatre Royal Stratford East; Flathampton for the Royal & Derngate; Dr Korczak's Example for the Royal Exchange and Arcola Theatre; The Bacchae for the National Theatre of Scotland; Branded and Hitting Heights at the Old Vic; and Meantime at Soho Theatre. Amaka was in the Ensemble at The Unicorn Theatre for two years. 

Daniel Rabin is currently appearing in Mary Stuart at the Almeida and previously appeared in 1984 for the Almeida in the West End. Other theatre includes Pericles; The Winter’s Tale; King John; Tis Pity She’s a Whore; Anthony and Cleopatra; and Holy Warriors at Shakespeare’s Globe; Oedipus for Nottingham Playhouse and the Spoleto Festival; Ignorance at Hampstead Theatre; Blue Remembered Hills at Chichester Festival Theatre; and The Bomb at the Tricycle Theatre. Television includes The Royals; Game of Thrones; Ambassadors; Our Men; Henry - Mind of a Tyrant; The Roman Mysteries; and Money Can't Buy You Love. Film includes Lilac's Laughter; Mind The Gap; and Two's Company.

David Rintoul’s theatre credits include Nell Gwynn for Shakespeare’s Globe and at the Apollo Theatre; Remembrance of Things Past; The World Turned Upside Down; The Trojan War Will Not Take Place; A Midsummer Night’s Dream; and The Rivals at the National Theatre; The Roaring Girl; The White Devil; The Witch of Edmonton; The Taming of the Shrew; Breakfast with Mugabe; The American Pilot; Keepers of the Flame; Henry IV, Parts I & II; Edward III; and Island Princess at the RSC; The Speculator at the Traverse Theatre; As You Like It and Map of the Heart at Shakespeare’s Globe; The Big Fella and Anderson’s English for Out of Joint; Gaslight and Phaedra for the Royal Lyceum Theatre, Edinburgh; Dirty Dancing at Aldwych Theatre; Lady Windermere’s Fan; The Winslow Boy; and Putting It Together  for Chichester Festival Theatre; An Ideal Husband and Macbeth for the Old Vic; and Etta Jenks and Sergeant Ola and his Followers for the Royal Court. Television includes Game of Thrones; Muncie; Silk; Doctor Finlay; The Bible; Injustice; Private Practice; Pride and Prejudice; Taggart; The Cherry Orchard; Hornblower; Poirot; and Sweet Medicine. Film includes The Iron Lady; My Week with Marilyn; Unrelated; and The Ghost Writer. Andrew Scott will play Hamlet. Andrew most recently appeared in The Dazzle at Found111. His other theatre credits include Olivier Award-winning performances in Cock and A Girl in a Car with a Man, as well as Birdland, Dying City, Crave and Playing The Victim at the Royal Court; 50 Years on Stage, Sea Wall, Emperor and Galilean and Aristocrats at the National Theatre; Design for Living and Dublin Carol at the Old Vic; and The Vertical Hour on Broadway. His recent films include Swallows and Amazons; Alice in Wonderland: Through the Looking Glass; Spectre, Jimmy’s Hall, Victor Frankenstein, Locke, Pride (BIFA Award for Best Supporting Actor). Forthcoming films include Denial, Handsome Devil. Television credits include his BAFTA winning role as Moriarty in the BBC’s Sherlock, The Hollow Crown, The Town, The Hour, John Adams and Band of Brothers. He has twice won the BBC Audio Drama award for his work on Radio.‎

Juliet Stevenson is currently sharing the role of Mary Stuart and Elizabeth I with Lia Williams in Mary Stuart at the Almeida, having previously appeared here in Duet for One. Other theatre credits include Winnie in Beckett’s Happy Days at the Young Vic; The Seagull, Private Lives, Caucasian Chalk Circle, Hedda Gabler and Yerma for the National Theatre; Les Liaisons Dangereuses, As You Like It, Troilus and Cressida, Measure for Measure and A Midsummer Night’s Dream for the RSC; The Heretic, Alice and Death and The Maiden (Olivier Award for Best Actress) at the Royal Court. Her film credits include Departure, Mona Lisa Smile, Bend it Like Beckham, Emma, Truly Madly Deeply and the upcoming Let Me Go. Her television credits include The Enfield Haunting, The Village, White Heat, The Accused, The Road from Coorain, The Politician’s Wife and One of Us. She was awarded a CBE in 1999 for her services to drama.

Luke Thompson previously appeared in Oresteia at the Almeida and at Trafalgar Studios. His other theatre credits include A Midsummer Night’s Dream (shortlisted for the Evening Standard Outstanding Newcomer award), Blue Stockings, Julius Caesar and The Broken Heart at Shakespeare’s Globe; Tiger Country at Hampstead Theatre. Television credits include The Suspicions of Mr Whicher and In the Club. Film includes Making Noise Quietly.

Peter Wight’s theatre credits include The Red Lion; Ivanov; Sleep With Me; Murmuring Judges; The Resistible Rise of Arturo Ui; Black Snow; and Waiting for Godot at the National Theatre; Trelawny of The Wells at the Donmar Warehouse; In Basildon; Otherwise Engaged; Chekhov's Women in the West End; The Spanish Tragedy; Much Ado About Nothing; Barbarians; A Clockwork Orange; and Hamlet for the RSC; Mouth to Mouth, The Seagull (also Broadway) , In The Republic of Happiness; In Basildon (also West End); Face to the Wall; and Not A Game for Boys at the Royal Court; The Caretaker for the Globe Warsaw; Edward II at the Royal Exchange Manchester; Dearly Beloved and Grace for Hampstead Theatre. Television includes Brief Encounters;  I Want My Wife Back; Our Zoo; The Mimic; The Paradise; Hit and Miss; Public Enemies; Titanic; Money; Monday Monday; Boy Meets Girl; 10 Days to War; Party Animals; Dalziel and Pascoe; Persuasion; Fantabulosa!; Murder Prevention; Early Doors; Room at the Top; The Security Men; and Uncle Adolf. Film includes The Program; Mr Turner; King of Soho; Another Year; Kon-Tiki; Hard Boiled Sweets; Womb; Atonement; Hot Fuzz; Lassie; Babel; Pride and Prejudice; and Vera Drake. Angus Wright has previously appeared in Oresteia (also Trafalgar Studios), 1984 in the West End, and A Midsummer Night’s Dream for the Almeida. Other theatre credits include The Cherry Orchard at the Young Vic; Twelfth Night & Richard III for Shakespeare’s Globe on Broadway; Privates on Parade in the West End; The Master and Margarita for Complicite; The Cat in The Hat at the National Theatre and Young Vic; Wastwater at the Royal Court; Design for Living at the Old Vic; The Merchant of Venice; Hamlet; Talk of the City; The Theban Plays; The Dybbuk; Henry IV Parts 1 & 2 for the RSC; Measure for Measure for Complicite and the National Theatre, Mrs Affleck; War Horse; Saint Joan; The Seagull; Dream Play; Stuff Happens; Three Sisters; Chips with Everything; and Mother Courage at the National Theatre. Television includes Flowers; Peep Show; Father Brown; Being Human; Breathless; Murder on the Home Front; Above Suspicion; Boudica; Cambridge Spies; The Shooting of Thomas Hurndall; The Way We Live Now; and Between the Lines. Film includes A Little Chaos; Jack Ryan; Maleficent; Closed Circuit; Private Peaceful; The Iron Lady; Affair of the Necklace; Kingdom of Heaven; RKO 281; The Bank Job; Bridget Jones’s Diary; Charlotte Gray; Cutthroat Island; First Knight; Labyrinth; and Frankenstein. Matthew Wynn’s theatre credits include Measure for Measure at the Young Vic; Henry V and A Midsummer Night’s Dream at the Nuffield Theatre, Southampton; The Guardsman at the Albery Theatre; and Bouncers for Wakefield Theatre Royal and Hull Truck. Film includes Interview With A Hitman; Leave To Remain; and Aberdeen. Television includes Silent Witness; Spooks; Man Down; Mount Pleasant; The Real Essex Boys; 55 Degrees North; Harry & Cosh and Byker Grove.

Almeida Associate Director Robert Icke has adapted and directed Mary Stuart, Uncle Vanya, Oresteia (also West End; won the Critics' Circle and Evening Standard Awards for Best Director) and the multi-award winning 1984 with Duncan Macmillan (also West End as well as playing several UK and international tours) at the Almeida. His work as a director includes The Fever at The May Fair Hotel, Mr Burns at the Almeida, Boys and Romeo and Juliet for Headlong. He made his National Theatre debut directing The Red Barn, at the Lyttelton Theatre in October 2016.

[karmatrendz]

Text description provided by the architects. The history of the single-family house in Sydney during the last century is one that fuses an evolving approach to our relationship with the landscape with a history of experimentation in residential house design. These two strands have come together most memorably in the occupation of the steep and often spectacular landscapes around the inner harbour and the modes of habitation made possible in the way these houses relate to their site and Sydney’s benign climate.

This project is sited in one of these classic Sydney contexts, Castle Cove, where steep ravines contain tributaries that flow through angophora bushland down to the harbour. The sandstone geology is omnipresent and takes many forms, from mighty escarpments to minor ripples in the bedrock. These landscape tectonics inform the design, where a concrete shell of irregular geometry steps around outcrops and contours, creating an indeterminate form that is distinctively new but also could equally be a strange object ‘unearthed’ in excavation. Either way, the concrete element reverberates with the site geometry while forming a built escarpment that provides a plateau for habitation.

The concrete escarpment is roofed in a zinc membrane that folds over to form a smaller pocket to the rear containing private rooms. Both materials will patinate over time, moving again from a “new” to “pre-existing” form. The infrastructural nature of this primary gesture has in its counterpoint the means of occupying the house through a series of crafted timber linings that enableoccupation of this concrete landscape with a spirit and glamour reminiscent of the California’s mid-century houses by John Lautner and others. The resulting interior spaces connect inhabitants with the monumental and wonderous nature of the landscape yet still provide intimate moments for occupation that are so necessary for everyday life.

These linings are further embellished with a number of steel, brass and mirror inserts that are like devices or instruments that start in the practical requirements of occupation, given their basis in linings, benches, windows and skylights. The common thread through each instrument is the further diffusion of the concrete container both physically (in fissures and pockets that increase its porosity) and perceptually (through mirrors, skylights passing through all levels, openings that limit acoustic privacy) that serve to mentally expand the scale of the building. In every case, the instruments serve to intensify the relation between occupants and landscape so directly established by the primary concrete form.

This strong connection to place has also led to passive house strategies embedded in and intertwined through the form of the structure. The basement acts as a cold sink that allows for cool air to be constantly drawn through the main living spaces via floor vents and operable skylights purposely tilted north to draw heat and assist in the convection process. Combined with cross ventilation, generous overhangs, thermal mass, double glazing with internal and external blinds and a hydronic under floor heating system these passive strategies have produced a thermally stable environment for the occupants that requires little active power consumption.

Architects: Pascale Gomes McNabb, TERROIR Location: Castle Cove, Australia Area: 510 m² Year: 2018 Photographs: Brett Boardman Photography Manufacturers: AutoDesk, Vitrocsa, Apparatus Studio, CDK stone, Modular, REHAU, elZinc, ATLITE, Earp Brothers, Euroluce, Greene Fire, Internal, Panles, Regipol, Veneer Panels, Vistrosca Lead Architects: Gerard Reinmuth, Chris Rogers, Scott Balmforth Design Team: Robert Beson, Sarah Benton, Josh Lynch, Amanda Clarke, Alex Moore, Kirrill Grigarin Structural Engineer: SDA Hydraulic Engineer Design: Warren Smith & Partners Esd Advice & Thermal Modelling: Beckham Price – SBE Interiors: TERROIR in collaboration with Pascale Gomes-McNabb Design Interior Styling: Pascale Gomes-McNabb Design Lighting Design: TERROIR in collaboration with Pascale Gomes-McNabb Design Builder Concrete Structure: Olding Constructions Builder Exterior And Interior Finishing: Ed Callanan – Callic Constructions Joinery: Rintoul Concreter: GD Concrete Metalwork & Structural Steel Contractor : Salken Engineering Electrical Contractor : CandSnee Plumbing Contractor : Innerwest Plumbing

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Castle Cove House by TERROIR + Pascale Gomes McNabb Text description provided by the architects. The history of the single-family house in Sydney during the last century is one that fuses an evolving approach to our relationship with the landscape with a history of experimentation in residential house design.

[uncleweed]

and I'll vouch for @lyteforce Dude has been here since day one... and having met him in person, he's a really nice guy to boot

— Scott Rintoul (@ScottRintoul) May 6, 2020

[leanpick]

Williams, Wandering & Harrismith collect points

Williams, Wandering & Harrismith collect points

Williams attack routs TownsWilliams’ bowling attack easily held Towns to double digits in their run chase of 206 in Narrogin on Saturday.

Batting first, Williams lost the early wicket of Kim Rintoul (5) in the sixth over — bowled by Scott Fowler.

A 66-run partnership between Rodney Ford (37) and Robert Rose (53) put them back in control, with Roger Gillett (51) and Timothy Sattler (27) also…

[avissalesmckinney]

#HappyBirthday Scott from Thomas Rintoul at Avis Car Sales McKinney! by Avis Car Sales McKinney