#vanya on stage | Explore Tumblr posts and blogs

thepunkmuppet · 7 months ago

Text

costumes / looks I desperately need gerard way to wear on stage (add your own in reblogs!!)

greek statue, he’s fully painted white including his hair with a white toga with a golden wreath thing on his head. I just think that would look sick

police uniform covered in blood

straight up zombie with full on green decaying gory make up

one of the heathers from heathers

either the blue cheerleader outfit from the i’m not okay mv or the iconic red ones from teenagers. then we’d have a little trio!

ghostface. possibly cunty ghostface as a treat

vanya from umbrella academy - young version with the school girl fit and black mask OR the all white comic version of course

also number five from umbrella academy (classic school boy fit)

this sounds weird but I think this would be really cool and meta for wwwy - a stereotypical mcr fan / emo. as in with that one black parade t shirt, heavy eyeliner, black nails, side swept emo fringe, studded bracelets and belts, skinny black jeans, vans or converse. again a very meta concept, after their old person looks in 2022 I can really see them doing this as a whole band this year and I would loooove to finally see gerard in the fashion style that’s so associated with him and his music

howl from howl’s moving castle

possibly also sophie from howl’s moving castle

slenderman

literally just satan. like the most stereotypical devil, give them fully painted red skin, horns, fangs, yellow or black eyes, maybe even goat legs. probably with a majestic black suit or something, or for a succubus vibe a black flowy dress with a slit down the leg. now that I think about it, this would be a SICK wwwy look to shock us all, esp if ray mikey and frank all dressed as other demons or the souls of the damned or some shit.

peni parker - he made her!!

question mark jumper from doctor who

also missy from doctor who omg

jane doe from ride the cyclone, possibly with added marionette or cracked porcelain makeup like in some renditions

classic majestic white-robed angel, with enormous fake wings and maybe even sparkly gold makeup and a big gold halo. also would be cool in all black, or all white but covered in blood (red, gold, or black, all would look cool)

buffy summers in prophecy girl, except he also has blood all over his neck from where the master bit her. I hope he’s watched btvs I think he would very much enjoy it this look would fit with their vampire vibe sooooo well

classic frankenstein’s monster

mothman. not only is he a heartthrob but he’s also a hunched goblin cryptid to me. the duality of man (he/theys)

jane prentiss from the magnus archives. if you don’t know she is a living flesh hive of sentient worms, she’s decaying and full of holes. again with all the nasty decaying rotting prosthetic makeup plus THE RED DRESS!!!

mr darcy vibes, sopping wet regency man with a big puffy white t shirt

opposite side of that, fuck it give him a full on ballroom gown

henry creel from stranger things (pre-vecna, nurse outfit)

any disney princess

crowley from good omens. my man looks GOOD in those anthony janthony aah sunglasses he has

cute flowy summer dress with like a flowery pattern. either go cottagecore with it and have flowers in his hair, or go full white soccer mum and put him in huge cunty sunglasses a massive straw sun hat with a ribbon on it

all-black cowboy!!!! the fact I’ve never seen him in a cowboy hat is actual sacrilege. also would very much appreciate an all-pink sequin studded cowboy

any alice in wonderland character, especially alice herself, the classic disney movie look with the blue dress and the bow in the hair. he would also do a great chesire cat (spooky big grin makeup paired with his weird ass dramatic facial expressions?? inspired) or a super extravagant queen / king / knave of hearts. also 100000% the mad hatter omfg, he was BORN to do a jefferson from once upon a time look!!

#he can just pull anything off #and so many things are just his VIBE like jane prentiss’s whole look and concept is SUCH a swarm tour gerard look like are you kidding me??#gerard way #gee way #my chem #my chemical romance #my chemical fucking romance #mcr #swarm tour #dear god I have too much free time on my hands I think about this more than is necessary or maybe even possible

105 notes · View notes

goodoldcharley · 8 months ago

Text

#alfred molina #uncle vanya #lincoln center theater #steve carell

105 notes · View notes

glorfindel-of-imladris · 7 months ago

Text

The Case of Erestor Half-elven

It’s been a hot minute since my last fandom meta, but this one I accidentally stumbled upon gathering notes for—would you believe it—a Glorfindel meta I intended to write. Man, I’m not even going to question the process, so let’s just get right on to it!

I like to joke around that there are only six instances when Erestor was mentioned in the entire legendarium, and by this I mean in The Lord of the Rings, The Hobbit, and The Silmarillion (in which he does not even appear in the latter two).

But let’s talk about the early draft of him that is often referenced in fandom. If one extends the search, in The Return of Shadow, which details the writing process of what ultimately would be The Fellowship of the Ring, Erestor does get a mention, and is described as follows:

“There were three counsellors of Elrond’s own household: Erestor his kinsman (a man of the same half-elvish folk known as the children of Lúthien), and beside him two elflords of Rivendell.” -- In the House of Elrond, The Return of Shadow

By the final version of The Lord of the Rings, however, there is no more reference to Erestor as Half-elven. The final published version goes:

"Beside Glorfindel there were several other counsellors of Elrond's household, of whom Erestor was the chief..." -- The Council of Elrond, The Fellowship of the Ring

By this final version of the story, the Half-elven trait no longer made sense for Erestor, and was replaced instead by him being Elrond's chief counsellor.

The nature of Half-elves

Tolkien acknowledges three unions of Elves and Men:

“There were three unions of the Eldar and the Edain: Lúthien and Beren; Idril and Tuor; Arwen and Aragorn. By the last the long-sundered branches of the Half-elven were reunited and their line was restored.” –Appendix A, Return of the King

One of the later themes Tolkien came up with surrounding the Half-elven line (which likely did not yet exist at the early stages of the story when he was first forming the fellowship) was how they united and reunited all the houses of the Eldar and the Edain. Beren was a descendant of the three houses of the Edain—the Houses of Bëor, Haleth, and Hador—while Lúthien was the daughter of a Sinda (Teleri) and a Maia. Idril was the daughter of a Ñoldo and a Vanya. Lúthien and Beren had Dior, who then had a daughter, Elwing, who wed Eärendil, the son of Idril and Tuor. Elwing and Eärendil then had Elros and Elrond, and the line was separated for many generations when Elros chose to be counted among Men, and Elrond among Elves. The two lines were reunited with the marriage of Aragorn and Arwen.

One important detail here is that before the “Choice of the Half-elves” that was later gifted to Eärendil, Elwing, and their children, the children born out of an Elf-Man union led lives akin to Men. Dior was able to rule Doriath at age 33, and Eärendil and Elwing married at 22. These, as we know, would have been too young for Elves, given:

“Children of Men might reach their full height while Eldar of the same age were still in the body like to mortals of no more than seven years. Not until their fiftieth year did the Eldar attain the stature and shape in which their lives would afterwards endure, and for some a hundred years would pass before they were full-grown.” -- Laws and Customs of the Eldar, Morgoth’s Ring

and

“The Eldar wedded for the most part in their youth and soon after their fiftieth year […] Those who would afterwards become wedded might choose one another early in youth, even as children (and indeed this happened often in days of peace); but unless they desired soon to be married and were of fitting age, the betrothal awaited the judgment of the parents of either party.” -- Laws and Customs of the Eldar, Morgoth’s Ring

After the events of the War of the Wrath, Eärendil, Elwing, and their sons Elrond and Elros, for their deeds in the war, were gifted with the choice to be counted either among the Eldar or the Edain. Eärendil, Elwing, and Elrond chose to be counted among Elves, and the choice continued on to Elrond’s children: Arwen, Elladan, and Elrohir. Elros chose to be counted among Men, but in his case, the choice no longer extended to his descendants; every descendant of Elros was mortal.

The only thing I can conclude for why Elros’ line did not get to choose is because the Gift of Ilúvatar—that is, a death that transcends the world of Arda—trumps all other gifts. It is a blessing that followed the line of Elros—never mind that the latter Númenóreans did not all agree that this was a blessing at all.

A similar sentiment can be found in earlier versions of the Quenta Silmarillion, where Manwë said to Eärendil:

"Now all those who have the blood of mortal Men, in whatever part, great or small, are mortal, unless other doom be granted to them; but in this matter the power of doom is given to me." -- Quenta Silmarillion, The Lost Road and Other Writings

Although this was no longer included in the published Silmarillion, Christopher Tolkien still considered this in judging that Dior, son of Beren and Lúthien, would have been mortal, regardless of whether Lúthien was Elf or mortal when she begetted him.

Bonus extra: The fourth case of Elf-Man union

Despite the excerpt from Appendix A, there is another case of Elf-Man union that we know: Mithrellas and Imrazôr. This was alluded to in Return of the King when describing Prince Imrahil:

“...and with him went the Prince of Dol Amroth in his shining mail. For he and his knights still held themselves like lords in whom the race of Númenor ran true. Men that saw them whispered saying: ‘Belike the old tales speak well; there is Elvish blood in the veins of that folk, for the people of Nimrodel dwelt in that land once long ago.��” The Siege of Gondor, Return of the King

Although it seems as though this was only a rumor among Men, in the wider History of Middle-earth, Mithrellas is indeed mentioned to have been the spouse of Imrazôr who bore him children, of whom Galador was the ancestor of the princes of Dol Amroth. Of their line, it was said:

“But though Mithrellas was of the lesser silvan race (and not of the High Elves or the Grey) it was ever held that the house and kin of the Lords of Dol Amroth were noble by blood, as they were fair of face and mind.” The Heirs of Elendil, The Peoples of Middle-earth

The princes of Dol Amroth, of course, are mortal, and this does not contradict anything that has already been established. It is easy to imagine how, in a world where Elves and Men co-exist, there could be many other undocumented cases throughout the years. But what we do know is that no other Half-elf outside of Eärendil’s line would have led a long life by choosing the path of Elves. Therefore, if there were any other Half-elves in the Council of Elrond, aside from Elrond himself, they would have been not much older than Aragorn or Boromir.

Erestor’s age and role in Rivendell

We now return to Erestor. One of the clearest things in “The Council of Elrond” is the Elves’ reluctance to take the One Ring. Erestor is one of the most vocal about this, and this is one of my favorite themes to explore about his character in the Third Age.

Given the character's history in Tolkien's drafts, Erestor's narrative role seems to have always been to drive the Council of Elrond to its conclusion. Where people strayed from the topic (which then allowed Tolkien to expound more for world-building), Erestor's purpose even in early drafts was to bring everyone back to the task at hand. In addition to this though, thematically, I think Erestor eventually also represented the fading of the Elves. He is most known for his quick suggestion to give the Ring to Tom Bombadil. This tells us:

The Elves do not want anything to do with the Ring anymore, a sentiment that would be especially potent for one who was there during the Last Alliance, in the Second Age when Sauron was at the peak of his power; and

The time of the Elves is ending, and there is little more they can give to Middle-earth.

Granted, Legolas remained a member of the Fellowship and thus represented the Elves, but by Elven standards, Legolas was young, and did not have the weariness that someone older would have. Erestor reads to me as someone older, even older in spirit in comparison to Glorfindel.

‘We know not for certain,’ answered Elrond sadly. ‘Some hope that the Three Rings, which Sauron has never touched, would then become free, and their rulers might heal the hurts of the world that he has wrought. But maybe when the One has gone, the Three will fail, and many fair things will fade and be forgotten. That is my belief.’ ‘Yet all the Elves are willing to endure this chance,’ said Glorfindel, ‘if by it the power of Sauron may be broken, and the fear of his dominion be taken away for ever.’ ‘Thus we return once more to the destroying of the Ring,’ said Erestor, ‘and yet we come no nearer. What strength have we for the finding of the fire in which it was made? That is the path of despair. Of folly, I would say, if the long wisdom of Elrond did not forbid me.’ -- The Council of Elrond, The Fellowship of the Ring

Erestor has a weariness to him that is even notable especially beside Glorfindel's vitality, whom we know was reborn in Aman as though young again, with "the primitive innocence and grace of the Eldar" (Peoples of Middle-earth). Glorfindel, however, is a special case even among all Elves in the Third Age, while Erestor arguably would have been more representative of them, at least of the ones that remained in Middle-earth.

Another case to be made about Erestor being one of the oldest in Rivendell is by virtue of his status as chief among Elrond’s counsellors. Considering the population of Elves in Rivendell, this is no small feat. As Gandalf told Frodo:

‘Here in Rivendell there live still some of [Sauron’s] chief foes: the Elven-wise, lords of the Eldar from beyond the furthest seas. They do not fear the Ringwraiths, for those who have dwelt in the Blessed Realm live at once in both worlds, and against both the Seen and the Unseen they have great power. [...] Indeed there is power in Rivendell to withstand the might of Mordor, for a while: and elsewhere other powers still dwell.’ -- Many Meetings, The Fellowship of the Ring

So what is he?

The last quote about the Elf-lords of Rivendell is one of the main reasons why I say Erestor is likely of the Ñoldorin Calaquendi. This makes the most sense given his position in Elrond’s household and given the sorts of Elves that dwell there. Fortunately, this still gives us many options: he could be an Elf from Gondolin, from Nargothrond, even among one of the many houses of the Fëanoryn.

Could he have been any other kind of Elf? Sure! I even particularly have a soft spot for Erestor being Sindarin, but again, given his position, I would guess one of the older lines. Doriath, in particular, would make sense. Given how Elves seem to be “ranked” by wisdom defined by their exposure to the Valar and the rest of the Ainur, Doriath, with Melian’s influence, would have been a special kind of place.

Could Erestor still be Half-elven? My easiest answer would be that it’s unlikely. But! Do not despair! With fiction, really anything is possible. Erestor could be an exceptional Half-elf and that is why he is chief counsellor. He could still be a kindred of Elrond’s by some obscure line, such as an unrecorded child in the line of Beren and Lúthien, or as a popular fanon, either Eluréd or Elurín survived. Or he could just be the son of some other Elf and Man. But whatever version it is, Erestor Half-elven would not have had the choice of the Half-elves, and so likely would not have been alive beyond the lifetime of a Númenórean.

#erestor #meta #the way i accidentally churn out meta sometimes is just #i don't know #wow this took up a sunday #but!#i'm glad to have been able to lay down my notes for it #i do love erestor a lot #and i love the challenge that comes with piecing together canon for all fandom character studies #erestor's obscurity and the challenge he gives me is probably why i like this guy a lot #that and because #he stood beside glorfindel at a wedding #LMAO #let's not pretend it started as anything more than that #90's things #tolkien #the lord of the rings #the silmarillion and other histories

80 notes · View notes

itsawritblr · 1 year ago

Text

"Uncle Vanya."

For theatre folks, this version of Anton Chekhov's classic play, Uncle Vanya, aired on PBS earlier this year. I'd never seen it before. For reasons I mostly can't explain I absolutely love it.

One of the reasons I can say is the cast. Especially Roger Allan, who most people know from Endeavour (and who originated the role of Javert in Les Miserables), and Toby Jones, a character actor who's been in so many things you have to look at his IMDB to see them all.

youtube

@victorianwestpiano , in case this might interest you.

#Uncle Vanya #stage plays #plays #theatre #theater #Anton Chekhov #PBS #Roger Allam #Toby jones #Richard Armitage #Youtube

4 notes · View notes

ilikethisacompletelynormalamount · 8 months ago

Text

Before the frenzy of Ripley promo takes over, I wanted to highlight Andrew's beautifully moving acceptance speech and tribute to his mother (who died very recently, March 7th) from the Critics Circle Theater Awards and his Best Actor win for VANYA.

Apologies for any mistakes in the captions (and to the stage crew for not catching their names) I did what I could with the audio and the limitations of the free editing software I was using.

Thanks to Cindy Marcolina for the original video source.

#andrew scott #vanya #the whole vanya crew #simon stephens #sam yates #wessex grove #fight for the arts #my heart 🥺#sending love ❤️

68 notes · View notes

youssefguedira · 3 months ago

Text

cinema trips are so fun sometimes you come out going oh that was a good movie :) and other times you walk out of there a completely new person. and you don't always know which one it's gonna be

#i have died and ascended to heaven. also learned that ANOTHER star has aligned in my favour and proved my theory that i am gods favorite #neon has thoughts #movie tag #it's fleabag. it's fleabag i watched fleabag. the staged version. i'm going to be thinking about it forever #we're 2 for 2 on national theatre live making me feel like someone punched me in the solar plexus with the final few lines of a show #so i'm looking forward to vanya #theatre tag

6 notes · View notes

denimbex1986 · 8 months ago

Text

We are lucky to be alive in the age of Andrew Scott, an actor of extraordinary breadth, skill and sensitivity, who can terrify as Jim Moriarty in Sherlock, make us fall in love (inappropriately) as the hot priest in Fleabag and cry in All of Us Strangers. He can also astonish, last year playing eight parts in a stage adaptation of Chekhov’s Uncle Vanya. He recently became the first actor to win the UK Critics’ Circle awards for best actor on stage and screen in the same year. And his latest project, Ripley, is a beautiful and chilling adaptation of the Patricia Highsmith novel The Talented Mr Ripley, with Scott playing the lead, dominating all eight one-hour episodes. It’s been a wild, crowning year for the 47-year-old Irish actor. But in March his mother, Nora, died of a sudden illness; she is who Scott has credited as being his foremost creative inspiration. His grief is fresh and intense and for the first half of the interview it seems to swim just beneath the surface of our conversation.

“We go through so many different types of emotional weather all the time,” he says. “And even on the saddest day of your life you might be hungry or have a laugh. Life just continues.” We are in a meeting room in his management company’s offices, talking about his ability, in his work, to modulate between emotions, to go from happy to sad, confused to scared, all within a matter of seconds. How does he do it? Scott laughs. “I would say that I have quite a scrutable face — is scrutable a word? — which is good or bad depending on what you are trying to achieve. But my job is to be as truthful as possible in the way that we are, and I don’t think that human beings are just one thing at any particular time. It is rare that we have one pure emotion.”

It’s an approach that is particularly appropriate for the playing of Tom Ripley, an acquisitive chameleon who inveigles his way into the lives of others (in this case Johnny Flynn, as the careless and wealthy Dickie Greenleaf, and his on-off girlfriend Marge, played by Dakota Fanning). “Ripley is witty, he is very talented. That’s gripping, to watch talent. I can’t call him evil — it is very easy to call people who do terrible things evil monsters, but they are not monsters, they are humans who do terrible things. Part of what she [Highsmith] is talking about is that if you dismiss a certain faction of society it has repercussions, and Ripley is someone who is completely unseen, he lives literally among the rats, and then there are these people who are gorgeous and not particularly talented and have the world at their feet but are not able to see the beauty that he can see.”

The show was written and directed by Steven Zaillian, the screenwriter of Schindler’s List. It’s set in Sixties New York and Italy, and filmed entirely in black-and-white, its chiaroscuro aesthetic evoking films of the Sixties — particularly those of Federico Fellini — while also offering an alternative to Anthony Minghella’s saturated late-Nineties iteration that starred Matt Damon and Jude Law. This has a darker flavour. “I found it challenging,” Scott says, “in the sense that he’s a solitary figure and ideologically we are very different. So you have to remove your judgment and try to find something that is vulnerable.”

It was a tough shoot, taking a year and filmed during lockdown. Scott was exhausted at the end of it and had intended to take a three-month break, but delays meant that he went straight from Ripley into All of Us Strangers. “Even though I was genuinely exhausted, it was energising because I was back in London, I was getting the Tube to work, there was sunshine,” he says. “I found it incredibly heartful, that film, there were so many different versions of love … I feel that all stories are love stories.”

All of Us Strangers, directed by Andrew Haigh, is about a screenwriter examining memories of his parents who died when he was 12. In it Scott’s character, Adam, returns to his family home, where his parents are still alive and as they were back in the Eighties. Adam is able to walk into the memory and to come out to his parents, finding the words that were unavailable to him as a boy. Some of it was filmed in Haigh’s childhood home, and there was a strong biographical element for him and his lead. Homosexuality was illegal in the Republic of Ireland until 1993, when Scott was 16. He did not come out to his parents until he was in his early twenties. I ask if he was working with his own childhood experiences in the film. “Of course, so in a sense it was painful, to a degree, but it was cathartic because you are doing it with people that you absolutely love and trust. I felt that it was going to be of use to people and I was right, it has been. The reaction to the movie has been genuinely extraordinary — it makes people feel and see things, and that isn’t an easy thing to achieve.”

The film is also a tender and erotic love story between Scott’s character and Harry, played by the Irish actor Paul Mescal. The two found a real-life kinship that made them a delight to watch on screen and off it, as a double act on the awards circuit. “I adore Paul, he’s so, so … continues to be …” Scott pauses. “Obviously it’s been a tough time recently and he just continues to be a wonderful friend. It’s everything. The more I work in the industry, I realise, you make some stuff that people love and you make some stuff that people don’t like, and all really that you are left with is the relationships that you make. I love him dearly.”

Scott and Mescal were also both notable on the red carpet for being extraordinarily well dressed. Scott loves fashion and has a big, well-organised wardrobe that he admits is in need of a cull. “I don’t like having too much stuff. I really believe that everything we have is borrowed — our stuff, our houses, we are borrowing it for a time. So I am trying to think of people who are the same size as me so I can give some of it away, and that’s a great thing to be able to do.” One of his favourite labels is Simone Rocha. “I love a bit of Simone Rocha. What a kind, glorious person she is. I just went to her show.” Fashion, he says, is in his DNA. “My mother was an art teacher, she was obsessed with all sorts of design. She loved jewellery and jewellery design. Anything that is visual, tactile, painting, drawing, is a big passion of mine, so I have tremendous respect for the creativity of designers.”

Today Scott is wearing Louis Vuitton trousers and a cropped Prada jacket, dressed up because he is collecting his Critics’ Circle award for best stage actor for Vanya. I ask how it feels to have won the double, a historic achievement. “Ah …” he says, looking at the table, going silent, having just been so voluble. “I’m sorry …” His voice cracks a little. “It’s bittersweet.”

At the ceremony Scott dedicated the award to his mother, saying of her “she was the source of practically every joyful thing in my life”. Is it difficult for him to carry on working in the circumstances, I wonder. “Well, you know, you have to — life goes on, you manage it day by day. It’s very recent, but I certainly can say that so much of it is surprising and unique, and there is so much that I will be able to speak about at some point.”

He is looking forward, he says, once promotion for Ripley is over, to taking some time off, going on holiday, going back to Ireland for a bit. He has homes in London and Dublin. To relax he walks his dog, a Boston terrier, dressed down in jeans and a hoodie “like a 12-year-old, skulking around the city” or goes to art galleries on the South Bank — he was considering a career as an artist until he was 17 and got a part in the Irish film Korea. He goes to the gym every day, “not, you know, to get …” he says, flexing his biceps. “More that it’s good for the head.” He is social, likes friends, likes a party. When I ask if he gave up drinking while doing Vanya, which required him to be on stage, alone, every night for almost two hours, he looks horrified. “Oh God, no! Easy tiger! Jesus … Although I didn’t drink much, I did have to look after myself. But we had a room downstairs in the theatre, a little buzzy bar, because otherwise I wouldn’t see anybody, so I was delighted to have people come down.”

Scott was formerly in a relationship with the screenwriter and playwright Stephen Beresford and is currently single, although this is not the sort of thing he likes to talk about. He is protective of his privacy, not wanting to reveal where he lives in London, or indeed the name of his dog — but he swerves such questions with a gentle good humour.

He is famous on set for being friendly and welcoming, for looking after other people. “The product is very important, but most of my time is spent in the process, so I want that to be as pleasant and kind as possible. I feel like it is possible to do that, that it is an honourable goal.” He is comfortable around people, with an easy charm — no one I have interviewed before has said my name so many times. And although when we talk he sometimes seems reflective or so very sad, there are also moments when he is exuberant, silly, putting on accents. “I feel like, as a person, I am quite near my emotions. I cry easily and I laugh easily, and there is nothing more pleasurable to me than laughing.”

Scott was raised a Catholic and is no longer practising, but says his view about religion is “ever changing — I definitely have a faith in things that cannot be proved”. When he was younger and felt overwhelmed, just before or after an audition, he would go to the Quaker Meeting House in central London and sit in silence, something that made its way into the second series of Fleabag, in which Scott’s priest takes Waller-Bridge’s character to that same meeting house. “It’s just around here,” he says, standing up, looking out of the window at Charing Cross Road. “When Phoebe and I first talked, we met at the Soho Theatre. We talked about love and religion, we walked all around here. And I said, ‘This is a place I go,’ so we called in and there was no one there, so we sat in there and we talked. It was a really magical day.”

Scott says he sees all the different characters that he has played as versions of himself. “It’s like, ‘What would this version of me look like?’ rather than, ‘Oh, I’m going to be somebody else.’ You filter it through you, and you discover more about yourself. I think that is a very lucky thing to be able to do, to find out more about yourself in the short time that we are here.”

92 notes · View notes