#shakespeares rose theatre

[inmyworldblr]

Dame Peggy Ashcroft as Margaret of Anjou in “The Wars of the Roses” (1963)

[the-tenth-arcanum]

honestly shakespeare really went off when he wrote the scene in which richard murders henry vi in the tower. it's so so good

[shakespearenews]

William Shakespeare is headed back to the big screen again. Bernard Rose (Immortal Beloved) is writing to direct Lear, Rex…, a new adaptation of Shakespeare’s King Lear. Al Pacino will star as the title character, and Jessica Chastain will star as Goneril. Other cast to follow soon.

[infinitelytheheartexpands]

alright henry vi: house of lancaster (english shakespeare company) let’s go

thank you @shredsandpatches

[twistedtummies2]

Since you're now familiar with "Requiem of the Rose King" too, have you thought of doing a ranking for your favorite potrayals of the Richard III?

Yes and no. The chances are good I'll do some lists related to Shakespeare in the future - I've had the idea in my head for a while - but if I do one for Richard III as a character (which is likely), I don't think I'd include the version from "Requiem of the Rose King" there. Why? Because Requiem's Richard is REQUIEM'S Richard, not Shakespeare's. That's kind of the point. XD Requiem is inspired by and reimagined from the Bard's treatment of Richard's story, but the way it depicts the characters is entirely its own. So it doesn't seem fair to me to count that one, much as I wouldn't count Vincent Price or Basil Rathbone from the two versions of "Tower of London." Again, those movies are influenced by Shakespeare, certainly, but I don't think either really can be counted as proper adaptations/productions of the famous playwright's work.

[frogshunnedshadows]

Meticulous archaeology of The Rose playhouse, circa 1590 to 1600, just outside London, used to make some very elaborate 3D modeled interiors, exteriors, and environs. With stills and a short movie.

[willstafford]

So Lear, So Far

KING LEAR Crescent Theatre, Birmingham, Saturday 16th November 2024 When I heard the Crescent’s production of King Lear was going to have an LGBTQ+ flavour, I thought, This could go either way.  So to speak.  As it turns out, the production has very little that is obviously queer about it.  I wasn’t expecting Regan and Goneril to be bitter drag queens – although that would bring them closer to…

[vidavalor]

A thought just popped into my head: What if Good Omens was set with Shakespearean language?

Would be quite beautiful! You've given me reason to mention a little suspicion about Aziraphale & Romeo & Juliet that I've had for a little while. Remember when we learned that one of the most romantic lines in all of Shakespeare was actually some of Crowley's love poetry?

As we know, this line winds up in Antony & Cleopatra, which was first performed around 1607, about six years after this scene. The first performance of Romeo & Juliet, though, is thought to have been in 1597, about four years prior to the Globe Theatre scene in GO.

In S2, there are some allusions to Romeo & Juliet in ways that might suggest that Aziraphale wrote part of Romeo & Juliet for Crowley-- specifically, the 'a rose by any other name' bit of Juliet's dialogue. Do we think they've been doing this in other plays and songs throughout history?

[haru-dipthong]

Ep 13 of my Utena fansub is out! (end of the first arc)

Since this is a summary episode that’s essentially a clip show, there isn’t too much for me to comment on translation-wise. I did notice while I was copying lines from older episodes though, none (or almost none) of the recorded lines in this episode are recycled from older episodes. They say the same words, but they’re all alternate takes. I wonder why it was done like this… surely it would have been easier to just recycle the exact clips. Sometimes they don’t even say the same words! On my first watch, I remember being surprised that I didn’t feel bored watching this clip episode, and I think that might be part of the reason - none of the audio is exactly the same as the actual episodes.

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ついに彼女は七番目の試練、自分という名の決闘にも勝ち抜いたわけだ。

It seems she has passed the seventh trial, the Duel by the name of Self.

I find the phrasing of the Japanese in this line a little bit strange - the grammar という is often used to say that something is called a particular name, but when translating to English it sometimes makes sense to ignore this particular grammar and just say “the X of Y” or something similar instead of “the X called Y”, which can sound a bit verbose at times. In this case though, the verbosity is warranted, because Akio is literally saying that the duel is titled “Self”, with the word 名.

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勝てば官軍、負ければダボハゼ、歩く姿は百合の花！

The shadow girls are having fun with proverbs here. They’re intentionally getting the proverbs all mixed up and wrong.

One of the original proverbs they’re referencing is 勝てば官軍、負ければ賊軍 — literally “if you win, you’re the loyalist army, if you lose, you’re the rebel army”. Or as we say in English “history is written by the victors”. They substitute 賊軍 (”zokugun” lit. rebel army) for ダボハゼ (”dabohaze” lit. goby, the species of fish, which is also an insult like “worthless”) for a gag and to indicate that they’re not remembering the proverbs correctly.

The other proverb they’re mixing up is 立てば芍薬、座れば牡丹、歩く姿は百合の花 — “When she stands she’s like the shakuyaku (Chinese peony), when she sits she’s like the botan (tree peony), when she walks she is as the lily”. If you can read Japanese, you can see that these two proverbs have a similar structure and ring to them which makes it plausible yet funny that the girls have crossed a war proverb with a poetic line about beauty.

So, when translating this, how are you meant to do it? Well, one option is you could translate everything literally.

If you win, you are loyal. If you lose, you are a goby. And if you walk, you are as the lily!

or

The victor writes the record, the loser is a flop, and when she walks she is as the lily!

But I don’t like this approach. The actual meaning of the proverbs isn’t the main point of this line. The point is that it’s funny that they’re mixing up two very different lines, and that the references to proverbs are meant to induce a particular feeling, rather than a particular meaning. In order for it to land, the audience needs to be at least passingly familiar with the references, and they definitely won’t be familiar with a foreign proverb translated into English.

I decided to use Shakespeare, since the girls often reference theatre tropes and are themselves “on stage” within the narrative. I took two lines from Romeo and Juliet:

These violent delights have fishy ends. And a rose by any other name would smell as sweet!

This fulfils my requirements, and it even keeps the flower references in the second half (and I got to make it a ROSE instead of a lily!!). I spent an hour on this bloody line so you better appreciate it! T_T

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Thanks as always to @dontbe-lasanya for their editing!

Follow the blog if you'd like to stay updated with new releases! See below for all episodes released so far.

[theholmwoodfoundation]

THE HOLMWOOD FOUNDATION PILOT EPISODE CAST/CREW - PART ONE

REBECCA ROOT - MADDIE TOWNSEND/MINA HARKER

Rebecca trained at Mountview Academy of Theatre Arts. Theatre credits include A Midsummer Night’s Dream at Shakespeare’s Globe, The Curious Incident of the Dog in the Night-Time for the National Theatre (UK and Ireland tour); Rathmines Road for Fishamble at the Abbey Theatre, Dublin; Trans Scripts at the Edinburgh Festival Fringe and American Repertory Theater in Cambridge, Massachusetts; The Bear / The Proposal at the Young Vic; and Hamlet at the Gielgud Theatre and Athens International Festival. TV, Film and Video Game credits include Monsieur Spade, This Is Christmas, Irvine Welsh’s Crime, Hogwarts Legacy, Horizon Forbidden West, Heartstopper, Annika, The Rising, Sex Education, The Gallery, The Queen’s Gambit, Finding Alice, Creation Stories, Last Christmas, The Sisters Brothers, Colette, The Danish Girl, Flack, The Romanoffs, Moominvalley, Hank Zipzer, Boy Meets Girl, Doctors, Casualty, The Detectives, and Keeping Up Appearances.  Radio credits include Clare In The Community, Life Lines, The Hotel, and 1977 for BBC Radio 4. Guest appearances include Woman’s Hour, Front Row, Loose Ends, Saturday Live, and A Good Read.  She plays Tania Bell in the award-winning Doctor Who: Stranded audio dramas. Rebecca has also recorded numerous documentary narrations, audiobooks, and voice-overs. Rebecca is also a voice and speech coach, holding the MA in Voice Studies from Royal Central School of Speech and Drama.

SEAN CARLSEN - JEREMY LARKIN/ JONATHAN HARKER

Born in South Wales, Seán trained at the Royal Welsh College of Music & Drama. He has worked extensively in audio drama, television, theatre and film.  Seán is perhaps best known to Doctor Who fans as Narvin in the Doctor Who audio series Gallifrey and has appeared on TV in Doctor Who - The Christmas Invasion and Torchwood. Recent TV credits include Mudtown (BBCiplayer/S4C), Dal y Mellt (Netflix), His Dark Materials (BBC1), All Creatures Great and Small (Channel 5), A Mother's Love (Channel 4) and Series 5 of Stella (Sky1).  Films include supporting leads in Boudica - Rise of the Warrior Queen, cult horror The Cleansing,  the lead in Forgotten Journeys and John Sheedy’s forthcoming film ‘Never Never Never’

SAM CLEMENS - ARTHUR JONES

Samuel Clemens trained at the Drama Centre London and is an award-winning director with over twenty years’ experience. Samuel has recently written and directed his debut feature film ‘The Waterhouse’ with Take The Shot Films & Featuristic Films and represented by Raven Banner Entertainment, which is due for release this coming year.  In addition, he has directed fourteen short films, winning awards all over the world including shorts ‘Surgery (multi-award winning), A Bad Day To Propose (Straight 8 winner 2021), Say No & Dress Rehearsal’. Samuel also directs critically acclaimed number one UK stage tours and fringe shows (Rose Theatre Kingston, Swansea Grand, Eastbourne, Yvonne Arnaud, Waterloo East Theatre) and commercials include clients JD Sports, Shell and Space NK. Samuel is also a regular producer and director for Big Finish Productions & Anderson Entertainment. He has cast, directed, produced and post supervised numerous productions of ‘Doctor Who – (BBC), The Avengers (Studio Canal), Thunderbirds, Stingray (Anderson Entertainment), Callan, Missy, Gallifrey’& Shilling & Sixpence Investigate’ and many more. Samuel has directed world class talent such as, Sir Roger Moore, Ben Miles, Tom Baker, Sylvester McCoy, Alex Kingston, Frank Skinner, Rita Ora, Rosie Huntingdon-Whiteley, Rufus Hound, David Warner, Celia Imrie, Samuel West, Youssef Kerkour, Sophie Aldred, Ian McNiece, Colin Baker, Olivia Poulet, Stephen Wight, Jade Anouka, Mimi Ndwendi, Michelle Gomez, Peter Davidson, Paul O’Grady and many more. Samuel is one of the founding members and directors at Take The Shot Films Ltd and is Head of Artistic Creation and Direction. Lastly, Samuel is a regular tutor at The London Film Academy, The Giles Foreman Centre for Acting & The Rose Youth Theatre and is a member of The Directors Guild UK. As for upcoming projects, Sam is currently in pre-production on his next feature film “On The Edge of Darkness”, which is based on his dad’s stage play “Strictly Murder”.

ATTILA PUSKAS - DRACULA

Attila Puskás is a native Hungarian Voice Actor born in Transylvania – Romania, so Romanian is in his bag of tricks too, but most of his work is done in English, in a Transatlantic Eastern European Accent, but is quite capable of Hungarian, Romanian and International Eastern European accents, plus Standard American. His voice range is Adult to Middle Aged (30-40+) due to his deep voice. Vocal styles can range from authoritive, brooding to calming and reassuring and much more. He’s most experienced in character work, like Animations and Games, but his skills encompass Commercials to Narration as well. He’s received training through classes and workshops, pushing him to the next level to achieve higher standards. Now on a journey to perfect these skills and put them to good use!

PART TWO: HERE

PART THREE: HERE

[valenfangs]

Valenfangs is very happy to announce . . . VamPride!

transcript and prompts under the cut

We are inviting any fans of the Vampire Chronicles and its derivative works (books, show, movie, that other movie, play – and every colour in between) to have some fun with us in June as we celebrate pride!

Show your colours through a variety of mediums - fics, art, moodboards, playlists, headcanons, edits, cosplays, we want to see it all!

Fill as many prompts or as little as you like! You have three prompts per day, and you can use just one as inspiration or combine multiple prompts into one work

This is a month of celebration and we want to celebrate everything you do! Make sure to tag us @valenfangs so we and all our followers don’t miss your awesome contributions

We're here for you! If you have any questions, our ask box is open!

PROMPTS:

1 - San Francisco // gay bar // sunshine

2 - beach // ice cream // tough love

3 - drag queen/king // butterflies // asexual

4 - rose garden // Roaring 20s // threesome

5 - rule 63 // art museum // haircut

6 - Omegaverse // sunglasses // stuffed animals

7 - Renaissance // blood-red lipstick // crushed velvet

8 - Greek mythology // handwritten letters // grey hair

9 - glitter // lollipop // ghosts

10 - free day

11 - coffee and cigarettes // impact play // musical theatre

12 - butch/femme // bondage // leather

13 - rainstorm // dom/sub drop // Shakespeare

14 - pirate AU // worn-out sneakers // candlelight

15 - free day

16 - tattoos and piercings // fishnet // hair dye

17 - Old Hollywood // hoop earrings // Hawaiian shirt

18 - high school/college AU // pet play // pearls

19 - gloves // labyrinth/maze // love triangle

20 - free day

21 - apples and pears // stained glass windows // double penetration

22 - burger and fries // Coca Cola in a glass bottle // antique shop

23 - tiara // driving lessons // reality TV

24 - silk pajamas // acrylic nails // enemies to lovers

25 - costume party // black nail polish // waterfall

26 - pencil skirt // smoothie // blind date

27 - murder mystery // slumber party // high-heeled boots

28 - black cat/golden retriever // ballet // sex shop

29 - the zoo // Oscar Wilde // reading glasses

30 - pride parade // daddy/mommy kink // brat

[imkazz]

Rent?! No one ever talks about rent. Tell me rent things.

AUGHHHH RENT!!!!

i went to watch it at the stratford festival like three days ago!!!

(press for better quality)

I LOVE RENT! FROM SO MANY PERSPECTIVES! IT TALKS ABOUT THE AIDS CRISIS AND TRANS PEOPLE AND GAY PEOPLE AND DEATH AND GRIEF AND HOMELESSNESS AND SO MANY IMPORTANT TOPICS IN JUST ONE MUSICAL

keep reading if you want to see my theatre nerd side, i basically swoon over set design, backstage, lights, model choices, etc.

AS SOMEONE WHO LOVES THEATRE PRODUCTION A LOT MORE THAN ACTING, THE STAGE THEY USED TO CONVEY THIS MUSICAL HAS SO MUCH AS WELL!

LIGHTS, SOUND, PROPS AND MANAGEMENT OF SPACE WENT SO WELL AT THE FESTIVAL THEATRE!

its something called a thrust stage at the festival theatre, which is different than your usual type of stage, aka the proscenium stage. the thrust stage thrusts to the centre of the room, making it so that you can watch the play from all angles, and not specifically need to get centre, front row seats. you can see with the second photo below that even the people at the edge get an interesting perspective.

the actors and designers also have a fun time with thrust stages! you have to act with your entire body, as all pov seats can watch you, and designers have to be careful about props and use space wisely, especially since its a much smaller space than your usual, and theres no curtains meaning that scene changes have to be imaginative as well.

as you can see with the photo i took, i did in fact get centre front seats, only because a huge tour group backed out last seconds and my mom was able to snag the tickets.

(i actually watched it twice! first time at the festival was with the theatre group where i was looking at all the lights and cues and analyzing shit, but second time was bc my siblings wanted to watch it live and i could sit back and enjoy the show, looking at some things i wanted to rewatch that other campers had talked about that i missed (the first photo i took of the stage is from camp, on the balcony, while the second is the most recent and from in front of the stage))

from theatre camp, i also got the absolute privlage to get a tour of the festival theatre, and watch a changeover. since the festival theatre goes through multiple plays a day (richard III for a matinee, rent as a night show just as an example) they change the entire set.

i dont care about shakespeare, so were here to talk about the changeover to rent. they expanded the stage and made it much denser material, since people will be dancing on it, and changed the sudden drop to stairs, so the actors wouldnt trip on stage or while dancing. they also added that small platform to the centre of the stage, and did so much with it!

at first, that small platform was used as mark and rogers apartment, and there were metaphorical walls that everyone could see. even though collins was standing RIGHT NEXT TO THEM, he wasnt on the platform and was looking upwards, while mark was looking downwards, signalling they were on different floors.

for the 'la vie boheme' dance scene, they used it as a huge table to seat all the people around it, on the ground. they simly laid a cloth on the edges to make it a table, and the audience could take it as a table.

there was also a trapdoor in the centre of that thing, so for one musical number involving rogers and mimi, they were brought up, being the centre of attention while everyone else danced around them. it also became a small table for one scene.

the next thing the trapdoor did. it went down under the stage, where angel would climb onto it, and 'today 4 u' song, she rose out onto the stage in a puff of smoke and a badass christmas fit!!! so cool!

trapdoor was then used as a makeshift bed for angel, where collins helped her lie as she died of aids. they covered her with a huge cloth, which each of the group threw in and yelled 'im done!' and walked away, leaving collins still clutching it with angel underneath, the trapdoor going inwards as her grave.

let me tell you. they transitioned so well. the trapdoor went back into the trap room, where collins would also let go of the cloth and got it to sink into the hole. id assume the actor got out, the people down there would take the cloth, and while everyone on stage was doing the funeral scene, the people down there would put angels bucket with a bouquet inside and place it on the trapdoor.

theyd then let the trap back up onto stage, replacing the cloth and angel with her bucket and a bouquet in it. that made me sob the first time i saw it. holy shit.

now, away from the sad stuff and back to set design.

if you look at the photo, you can see windows in the backgrounds. they look like normal windows, until you look closer to see silhouettes in them. men and woman.

those were used A LOT to convey the scene. i cant remember the orders, but the main examples that stuck out to me:

for the 'tango maureen', the windows lit up red and you could see the people a lot better, which implies all the people shes slept with/cheated with

when they got together for the aids meeting, the windows lit up in rainbow colours to signify all the people who suffer to aids and the general lgbtq colours

when they were talking about homeless people with benny, the lights shone in different cold hues, showing all the people in tent city and how they must be freezing in the winter

'rent' the song, the windows were flashing with the song, and when the power got cut, all the lights went out except a faint blue from the lights above so the audience could still somewhat see what was happening

sound. all the cast used mics, id guess that the chorus would trade mics based on who had huge lines. before it started, you could hear general city sounds, cars, beeping, general business that you would get from new york that i found a bit cool. i think you can tell im not that passionate about sound.

alright, what else? costumes. costumes, costumes. I LOVED ANGELS FITS. HOLY FUCK, HER NEW YEARS EVE DRESS WAS SORTA TRANSPARENT BUT HAD A RAINBOW SHIMMER TO IT?! I LOVED IT SO MUCHHHHH AAAAAAAAA other than that i have little to no things about costumes... they were all wearing basic fits that were usual for the 80's, all sorts of hip-hop, t-shirts, jeans, your usual.

found some from the web! first photo is that outfit i scream about up there, and the second is her coming out of the trapdoor for 'today 4 u'!!!

okok now actors... I MET THE GUY WHO PLAYED COLLINS FOR THIS SEASON AT THE FESTIVAL!!! or, me and my entire theatre production camp did. we all got autographs, and got to speak to him bc we waited for everyone else to leave the theatre before we could go as a group, so all the actors had the time to change out of things and stuff. it turns out that someone he knew died of aids not too long ago, so his reaction to angel's death is pretty spot-on. he was so cool! the name's Lee Siegel if you wanted to look more into that.

last thing (i think). at the end, after an amazing scene where the cloth used on angel to lower her down the trapdoor was used to present all the little clips mark got over the year they all had together, angel came out of the centre door draped in this blanket, which all the cast would lay onto the stage.

and everything would go to applause.

in all, rent is amazing! <3 especially after watching tick tick boom!

(sorry for ranting i love theatre (realised i should probably save this to talk about in drama class when school starts...))

[the-tenth-arcanum]

btw the streaming platform marquee.tv currently has a "99p for 3 months*" deal. they have theatre plays, operas, ballet, etc.

*(99p for each month. might be UK only I've not checked.)

[shakespearenews]

“In a sense, we’re still fighting the Wars of the Roses,” smiles Philippa Gregory, the bestselling historical novelist, of this enduring factionalism. There is even a Richard III Society, dedicated to rehabilitating his reputation. “That’s a very unusual thing for a historical figure to have.”

Devoted Ricardians will no doubt be thrilled by her latest work: Richard, My Richard is Gregory’s debut play, and sees Richard III rising from his grave in a car park in Leicester, and arguing with the embodied figure of History, in an attempt to clear his name. It opens at Shakespeare North Playhouse this week.

[infinitelytheheartexpands]

alright henry vi: house of york let’s get it

@shredsandpatches

[black-is-beautiful18]

I'm a white theatre person in a mostly white theatre community and you are spot on with them being lightyears behind - pretty much every theatre company I know of locally will have on their website and also on the audition postings that they 'accept anyone etc' but will continue to cast white/able bodied/skinny near exclusively.

No cuz everyone must be everyone.

Take Wicked for example. The West End is the first to have both a Black Glinda and Elphaba. Broadway has only had a Black woman play Elphaba as a swing, which is just as important, but they have yet to cast a Black performer in any prominent role outside of Brittney Johnson as Glinda a few years ago and Taye Diggs as Fieryo in their early years of being on Broadway despite said character literally being a POC in the books! Nessa Rose is always played by an able bodied performer as if there aren’t disabled performers who are very talented and very capable of playing the character. It makes no sense. It’s ok for a Black man to play the Phantom but it takes literal YEARS for a Black woman, or any woman of color for that matter, to play Christine only for Broadway to end its 20+ year run a freaking year later. Then they say “Well we should be able to play whoever we want” but when you get a Black Juliet, a Black Macbeth, a Desi man playing the Green Knight, a Black woman playing King Edward, etc we get called every slur they can think of because that statement is truly only meant for them. It is an excuse for them to disregard the importance of Black and Brown performers and everyone who works in theatre including the fans. Cuz why do you think you have the right to play TiMoune when we can’t even play a freaking fairy in a Shakespeare play without someone saying it’s unrealistic for us to have the role due to the color of our skin???? We can’t even get proper representation in freaking Hadestown which is a show that prides itself on being “diverse”. The audiences are just as much at fault too. Their racial bias is the exact reason why ticket sales plummet as soon as a Black or Brown performer is casted in a lead role. I can’t even find videos of Yola and Phillip Boykin as Hades and Persephone for god’s sake! Two dark skin and plus size performers! Grammy and Tony award winners! We have to prove ourselves to everyone including directors despite our credentials and it’s sickening.