#martin holec

[adridoesstuff]

Třetí Galaxie (performed by Pavel Klimenda, Dušan Kraus, Pavel Režný and Martin Holec for the concert Michael Prostějovský Superstar)

I was having a sad moment, so I had to revisit this instant good mood video

[themorning-news]

Finálové kolo letošního ročníku dějepisné soutěže gymnázií se blíží

Dějepisná soutěž gymnázií pořádaná Nadačním fondem Gaudeamus při gymnáziu Cheb je již řadu let významnou událostí středoškolských studentů z České a Slovenské republiky. Tato soutěž nejenže podněcuje zájem o historii, ale také poskytuje útočiště mladým nadšencům do dějepisu, aby ukázali své znalosti a vášeň pro studium minulosti.

Letos proběhne již 31. ročník. Vzhledem k mimořádnému zájmu o soutěž se od roku 2014 ve všech 22 krajích ČR a SR uskutečňuje krajské kolo, do kterého se zpravidla hlásí 250-330 gymnázií z obou zemí. Z krajského kola, které proběhlo ve středu 5. dubna 2023, vzešel tradiční počet 75 gymnázií, která se utkají 23. listopadu 2023 v Chebu. Studenti budou soutěžit ve znalostech evropských dějin 1945-1975 (od Postupimské konference až po Helsinskou konferenci).

"Dějiny jsou nejen o datech a jménech, ale také o porozumění kontextu a důležitosti těchto událostí v širší perspektivě. Tato soutěž nabízí studentům možnost prozkoumat spletité dějiny 20. století, které zásadně ovlivnily, jak Evropu, tak i celý svět. Soutěžící si nejen memorují prostá fakta, ale také se učí, jak interpretovat a rozumět historickým událostem a procesům," říká organizátor soutěže Mgr. Miroslav Stulák.

Atraktivnost celé soutěže umocňuje i skutečnost, že během vyvrcholení soutěže se do zadávání otázek zapojují  prostřednictvím velkoplošné obrazovky i osobnosti obou republik, v posledních ročnících to byli např. přední umělci Zdeněk Svěrák, Marek Eben, Viktor Preiss, Karel Gott, Jiřina Bohdalová, Emília Vášáryová, Štefan Kvietik, Marián Labuda, Martin Huba, Milan Kňažko, významní lékaři Josef Koutecký, Pavel Pafko, Jan Pirk, Vladimír Krčméry, slavní sportovci Jan Železný, Bára Špotáková, Ivo Viktor, Antonín Panenka, Dominik Hašek, Petr Čech, Jiří Holeček, Jozef Golonka, Miroslav Šatan, Miloš Mečíř, bratři Hochschornerovi, dále prezidenti SR Andrej Kiska, Zuzana Čaputová a předseda vlády SR Eduard Heger.

V roli odborných garantů se XXXI. ročníku zúčastní prof. PhDr. Jan Rychlík, DrSc., PhDr. Petr Blažek, Ph.D. a prof. PhDr. Roman Holec, DrSc., dále pak jako hosté prof. PhDr. Milan Hlavačka, CSc., PhDr. Jiří Plachý, Ph.D., a řada dalších osobností naší země z různých oblastí společenského života.

Na finančním zajištění se kromě desítek firem, podnikatelů a významných osobností ČR a SR, podílejí i ministři vlády České republiky, členové Poslanecké sněmovny i Senátu PČR, zastupitelé Karlovarského kraje a řada zastupitelů města Chebu. Setkání mladých historiků dále finančně podporují desítky městských úřadů České republiky a Slovenské republiky, městských a obecních úřadů Karlovarského kraje a také krajské úřady České republiky. Poslední ročníky finančně podpořily i desítky poslanců Národní rady Slovenské republiky.

Tato významná soutěž chebského gymnázia je připomínkou toho, jak mohou být dějiny inspirací pro budoucnost a jak je důležité uchovávat a sdílet znalosti o minulosti. Cheb je místem, kde se dějiny stávají živoucími a inspirativními.

[coolrahulsarin]

Mountain West Football Recruitment Commitment Interviews 8-14-23

New Post has been published on https://bestcustomjerseys.com/mountain-west-football-recruitment-commitment-interviews-8-14-23/

Mountain West Football Recruitment Commitment Interviews 8-14-23

It’s another week of the Mountain West recruiting roundup.

As the schedule approaches August, recruiting has taken a bit of a back seat as teams focus their time and efforts on fall camp and the start of the season. Because of this, offers are delivered less frequently than they will be during the year. On the other hand, many high school recruits choose to commit to their future school now before the start of the high school season, leading to twelve new commitments to seven Mountain West teams. Several teams had good weeks, including the Air Force, Boise State, Fresno State, San Jose State and Wyoming. The Broncos emerged as the best of the bunch, with one bid, the most commits (3) and one of the best commits of the week. They’ve been on the cover photo for another week.

Class of 2024 Total Cover Photo:

San Diego State: 5

UNLV: 5

Air Force: 3

Boise State: 3

Fresno State: 2

snowfall: 2

Colorado State: 1

Hawaii: 1

San Jose State: 1

Recruitment Calendar:

From now until September (with a brief respite this week where we return to a lull), we are in a dead period. During July, the coaches often go on vacation or do other things to prepare for the season. Then, of course, August brings fall camp.

Upcoming College Athlete says:

The most restrictive of all draft periods is the NCAA dead period. During the dead period, coaches may not have any in-person contact with recruits and/or their parents. In other words, coaches are not allowed to talk to recruits on their college campus, the athlete’s school, an athletic camp, or even in the grocery store.

While the term “dead period” makes it sound like all recruiting stops during this time, it actually doesn’t. Athletes and coaches can still communicate via phone, email, social media, and other digital communication channels. While NCAA Division 1 programs are prohibited from conducting any in-person recruiting, D1 college coaches can still contact student-athletes through digital forms of communication during the dead period.

Air Force Engagement Tracker:

Since the Air Force Academy regularly has by far the most engagements among west mountain recruiting classes, it’s fun to follow them throughout the year.

Number of verbal confirmations from Falcon: 90

Summary of the visit:

Engagement focus:

OL Benjamin Rosa (Air Force)

“While going through my recruiting process, connecting with every school that expressed interest or offered me, AFA continued to be at the top of my list, both from an academic and football perspective. The AFA checked all the boxes for me. All the staff really made me feel at home. I am looking forward to having a great senior season/year and getting to Colorado Springs as soon as I can. I know I will be able to have an immediate positive impact.”

LB Jonah Bowman (Air Force)

“I would say the combination of my relationship with the staff, being able to play on a top statistical defense in the nation, and the educational aspect of the academy is what ultimately influenced my decision.”

K/P Martin Connington (Boise State)

“Growing up in Boise, I always loved Boise State. With the recent hiring of my old kicking coach, Tyler Rausa, and the success of Jonah Dalmas in the last two years, it has become the perfect place for a specialist. The opportunity to replace a Lou Groza Semifinalist and start my freshman year is an incredible opportunity. I’ll be running for the kicker job coming to Boise State on a scholarship. On top of all that, Coach Ávalos has built something special, and the coaching staff really makes him feel at home.”

OL Kai Holec (San Diego State)

“Honestly, San Diego State’s record speaks for itself, basketball and football. A team prepared for a great movement that can compete with the best of the best. I loved San Diego when I was there and honestly, Coach Goff was the biggest factor. His experience is almost unmatched; he’s probably one of my favorite trainers I’ve ever met. He has been coaching for a long time and spent 13 years in the NFL, he understands my goal and believes in me. I loved campus, and it felt good. Your staff, your team, and your overall energy really felt like a place where I could achieve my dreams. I am ready to get to work and show that SDSU can and will be a powerhouse in any conference they participate in. San Diego’s recruiting class of 2024 will be the best they’ve ever had.”

OL Tevita Manukainiu (State of San José)

“I really believe in the show. I believe in the coaching staff and the players. I was born and raised in the Bay, so there’s no place like home. Once I got through those SJSU gates, it felt like a second home. The energy that the coaching staff gives off makes you want to play at SJSU. #SpartanUp”

Recruitment Updates:

Offers:

OL Filiva’a Saluni was offered by Boise State

2025 QB Dash Beierly was offered by Colorado State

2025 WR/DB Dwayne White was offered by Colorado State

2025 WR Trishstin Glass was offered by Colorado

2025 WR Kaleb Mitchell was offered by Colorado State

2027 WR/DB Damani Warren was offered by Colorado State

2025 OL Mataio Aiono was offered by Nevada

2026 WR Kaue Akana was offered by SDSU

ATH Wayshawn Parker was offered by SJSU

2025 OL/DL Colin Banning was offered by UNLV

ATH 2025 Baron Naone was offered by UNLV

2025 TE/DE Blake Bryce was offered by UNLV

Visits:

undertakes:

OL Benjamin Rosa committed to the Air Force

LB Brodie Mitchell committed to the Air Force

WR Cameron Bates committed to Boise State

K/P Martin Connington committed to Boise State

WR Tyrone Jackson committed to Boise State

LB Logan Studt committed to Fresno State

OL Tyler Miller committed to Nevada

OL Kai Holec committed to San Diego State

OL Manuel Serna committed to the State of San José

OL Tevita Manukainiu committed to the state of San José

TE Hunter Kallstrom committed to Wyoming

LB Dash Bauman committed to Wyoming

Deallocations

Follow @Mike_SBN on Twitter for the latest recruiting news and updates.

For recruits and coaches who want to connect and find a good match in the recruiting process, consider downloading the Athletes in the recruiting app.

Read more

#Mountain #West #Football #Recruitment #Commitment #Interviews

[hulkowaaa]

Jan Potměšil jako Martin Holec ve filmu Bony a klid (1987), rež. Vít Olmer

•••••••••••••••••••••••••••••••••••••••••••

Jan Potměšil as Martin Holec in czechoslovakian movie Bony a klid (1987), dir. by Vít Olmer

[goalhofer]

2021-22 H.K. Motor České Budějovice Roster

Wingers

#6 Albert Michnac (Prague, Czech Republic)

#8 Václav Karabáček (Prague, Czech Republic)

#10 Tomas Chlubna (Jihlava, Czech Republic)

#11 Miroslav Holec (Písek, Czech Republic)

#20 Matej Toman (České Budějovice, Czech Republic)

#23 Lukáš Pech (Jihlava, Czech Republic) A

#24 Jindřich Abdul (Vsetín, Czech Republic)

#26 Ondřej Slováček (Prague, Czech Republic)

#56 Martin Beránek (Prague, Czech Republic)

#77 Milan Gulaš (České Budějovice, Czech Republic)

#82 Michal Vondrka (České Budějovice, Czech Republic) C

#96 Daniel Voženílek (Pardubice, Czech Republic)

Centers

#12 Jiří Novotný (Pelhřimov, Czech Republic) A

#19 Matous Venkrbec (Prague, Czech Republic)

#21 Tomas Soustal (Sterbert, Czech Republic)

#22 Jakub Valský (Slany, Czech Republic)

#33 Jiří Ondráček (Havířov, Czech Republic)

#79 Martin Hanzl (Ústí Nad Labem, Czech Republic)

Defensemen

#4 Kris Bindulis (Riga, Latvia)

#7 Jan Štencel (Opava, Czech Republic)

#12 Martin Bučko (Martin, Slovakia)

#17 David Štich (Plzeň, Czech Republic)

#44 Petr Šenkeřík (Zlín, Czech Republic)

#71 Stuart Percy (Oakville, Ontario)

#75 Jan Piskáček (Kladno, Czech Republic)

#90 Roman Vráblík (Písek, Czech Republic)

Goalies

#2 Jan Strmeň (Havířov, Czech Republic)

#49 Dominik Hrachovina (Brno, Czech Republic)

[prazskytankista]

Milion chvilek: Přirovnání, ze kterého se... Zapotí. A výzva kvůli Kellnerovi

Demonstrace Milionu chvilek pro demokracii svolaná na 16. listopadu se kvapem blíží. Nicméně, fráze o trestně stíhaném premiérovi dostaly od státního zastupitelství stopku. Ale už prý nelze couvnout. Komentátor Info.cz Petr Holec varuje, že by Minářův spolek mohl dopadnout jako Martin Konvička. Ale komentátor Aktuálně.cz Martin Fendrych demonstrantům našel nový účel. Dávat pozor na „Kellnerovu“ Novu. source http://www.parlamentnilisty.cz/arena/monitor/Milion-chvilek-Prirovnani-ze-ktereho-se-Zapoti-A-vyzva-kvuli-Kellnerovi-601597

[adridoesstuff]

Pictures from the DJKT Dracula open-air in Lochotín dress rehearsal

Featuring Jozef Hruškoci as Dracula, Lukáš Ondruš as The Priest, Lucie Prágerová as Adriana, Martin Holec as The Jester and Charlotte Režná as Lorraine

[adridoesstuff]

DJKT JCS review (Apr. 2nd 2024)

Here's a short review (for my standards) of just what happens onstage during the recently premiered production of Jesus Christ Superstar in Pilsen. Cut is for length.

The main cast for the show on the day were: Pavel Klimenda (Jesus of Nazareth), Dušan Kraus (Judas Iscariot), Charlotte Režná (Mary Magdalene), Pavel Klečka (Pontius Pilate), Jan Holík (King Herod), Jan Fraus (Caiaphas), Radim Flender (Annas), Jaroslav Panuška (First priest/Company), Lukáš Jindra (Second priest/Company), Roman Krebs (Third priest), Martin Holec (Peter), Jakub Gabriel Rajnoch (Simon Zealotes), Apolena Veldová (Virgin Mary/Jesus' Mother)

Pre-show: The show starts all the way in the theatre lobby, where instead of DJKT’s usual ads for other of their shows, all the TVs show footage of the Roman in-show propaganda posters, which are sometimes interrupted with footage of Jesus and Judas. Once you enter the auditorium, you can see the set fully exposed, lights running left and right through the first few rows, the fog machine softly running and all the screens onstage showing in-show Roman propaganda posters, all of them talk about the strength and glory of the empire, how the empire protects It’s inhabitants and preserves the empire’s culture. On the graffitti covered metal fence are tacked on a few scrunched up posters with Jesus on them. All throughout, you can hear a soft mechanical whirring in the background. As the lights dim, Jesus and Judas slowly come onstage, followed by the apostoles, from the right offstage door and observe the set and the propaganda. Jesus raises his hand in a sudden motion and the mechanical whirring in the background stops and the overture starts.

Overture: During the first notes of the overture, you can hear a few women offstage screaming for help, presumably from Roman guards. Jesus pulls out a tablet from the backpack he’s carrying and starts tapping into it. The propaganda posters start glitching as Jesus evidently starts hacking into the system and are soon replaced with slightly glitchy footage of Jesus, immaculately dressed and presented as the ideal savior, complete with soft rays of sunlight in the background. The apostles start setting up camera equipment and ringlights around Jesus, preparing to shoot more footage. One of them starts fixing Jesus’s hair with a can of hairspray and adjusting his clothes, so that he looks immaculate, just like the perfect savior of the world should look like and not a single hair is out of place. Judas only looks on disdainfully as he once in a while takes a hit from his vape pen. During the middle of the overture, a Roman guard comes in from the other side of the stage with two women and forces them to take down the posters with Jesus from the fence. Jesus once again starts intensely tapping into his tablet, choosing which footage of him gets shown onscreen until the footage shown is without a single glitch and Jesus looks proudly at the work he accomplished.

Heaven on Their Minds: Evidently fed up with Jesus’s entire spiel, Judas takes away his tablet, turns it off and yeets it onto the ground in frustration. Jesus and all the other apostles give him a look of „Bro, what is wrong with you“ before Jesus takes his tablet again and gets back to working on it. All through the number, Judas looks longingly at Jesus and looks like he’s trying to explain and reason with Jesus that his entire plan is getting out of hand and dangerous. Jesus just waves off Judas’s warnings and runs offstage.

What’s the Buzz: Jesus excitedly leads onstage two ensemble women, presumably as new members of his team. He is evidently still innocently really excited about using his built up infuence to change the world for the better. The metal fence is drawn away, revealing the squat/campsite of Jesus’s followers. Mary Magdalene is already waiting there for the group to return. Jesus whips off his coat and gratefully lays his head in Mary‘s lap and croons in delight as she cools off his forehead and cards through his hair.

Strange Thing, Mystifying: As Jesus is lounging, Judas is evidently very fed up with all the attention that is not being given to him, but to Mary. He kneels down to Jesus and tries to reason with him that so openly associating with Mary as a former sex worker will only harm the entire image and brand Jesus is presenting publically. Mary is very hurt by this. Jesus jumps up from Mary’s lap, upset that Judas dares to offend Mary and as he lectures his apostoles that only one who is innocent should throw rocks into those like Mary, Judas picks up a crushed can and wants to throw it into Mary, but one „wtf bro?“ look from Jesus stops him. It’s evident that already here, Jesus is slowly starting to lose hope whether his apostoles truly mean things as seriously as he does

Then, We Are Decided: The apostle gang along with Jesus, Judas and Mary settle down around their tents in the dim further stage. The only thing breaking the dimness is the soft blue light from Jesus’s tablet as he continues scrolling through it. Annas pushes onstage a wheelchair-bound Caiphas and helps him wash up as they scheme how to get rid of Jesus.

Everything’s Alright: Attention back on the group. Mary notices a medicine seller in the background and taking off her silver tassel necklace along with snatching some small thing from the camp, she sells them in trade for an ointment. She takes Jesus away from the main tent camp (much to Judas‘ exasperation), but he still isn’t paying full attention to her, so she takes away his tablet and makes him lay down onto a pillow made out of his coat and backpack, where she can rub the ointment into his face. Judas starts off on Mary for both unwisely spending the group’s money and for being jealous of all the attention Jesus gives her. Despite Mary’s continuous attempts to get Jesus to rest, his attention is constantly drawn elsewhere, either to longingly staring at Judas or to a poor crippled woman upstage, who he runs off to heal with his touch. In the end, Mary gets Jesus to settle down next to the tents, but he still keeps on tapping into his tablet even as the lights go dim.

This Jesus Must Die: Caiaphas and Annas along with the priests appear up on a construction overlooking the tent camp, where Jesus and everyone else rest. They are now dressed in their full uniform and plot their next step as the screens show what looks like security camera footage of the group arriving in the half devastated city

Hosanna: Jesus and co are chilling in front of their tents when excited crowd of Jesus’s followers approaches them and sings praises for him. They take Jesus up on their shoulders and carry him to a pile of old bottle crates and other old stuff to preach to them from higher up, but he kneels down to them. Amid the crowd throughout the entire play can be seen Jesus’s mother, who is an added silent role within the production. She looks on what is happening to her son, offers a distant emotional support to him, but never interferes.

Simon Zealotes: After Hosanna, Simon is evidently not content with how conventional and tame it was, so with the words „You call THIS a hosanna?“ he leads the apostles and Jesus’s followers in a wild and energetic dance, singing about how they want Jesus to make love to them. Simon looks like has the full intent of destroying property as he sings of how Jesus can easily rule over Rome thanks to his influence. Jesus still stands on the spot he was raised up to by his followers and watches them with slowly escalating horror on his face. At first, he looks like he thinks all of Simon’s talk is just fun and jokes, but he slowly starts realizing that Simon is earnest about what he says and that despite all his peaceful and calm intent with only the hope to help perhaps help as many people as he can has started turning against him and his followers have started to radicalize and there is no way to stop them

Poor Jerusalem: Jesus calms down the raging mob of his followers and reflects on how not a single of them will ever truly understand him and the pressure that being known and famous brings with it. Judas wants to offer him consolation, but Jesus walks sadly away.

Pilate’s Dream: Pilate’s bed, full of ornamental pillows, is raised up from under the stage and he wakes up with a sudden jolt and recounts his nightmare, as if slowly recounting it.

The Temple: The set is flooded with the ensemble offering their wares and dancing around. Into this wild scene arrives Jesus, closely followed by Judas, and is evidently horrified at the scene. Jesus pulls out his phone to document what is happening. Judas tries to reason with him, try to make him put down the phone and lead him away from the scene, but Jesus is firmly set on what he wants to do. He starts filming the sellers, running around the set to get each of them on video in detail before he yells them out. After everyone leaves, Jesus looks very guilty over what he did, both because he broke his principles of being the kindest person he can be, but also because this might hurt his reputation by not aligning with the persona he and his team created. Slowly, the sick people slither onstage from the shadows and beg Jesus to touch and heal/help them. Jesus tries to ignore them and emptily stares into the audience with a sad gaze, but as the pleas get more insistent and he realizes there is no way to Ignore them, but also no way to help all of them, he starts breaking down into tears and desperate screams. He runs away from the crowd far stage right after he yells at them to heal themselves and flops down onto the ground, evidently holding back tears and trying to hide them from anyone seeing them.

Everything’s Alright (reprise)/I Don’t Know How to Love Him: Mary, now with a shawl wrapped around her shoulders, tries to console Jesus, but he only hollowly answers her as he continues being huddled in the corner of the stage, hugging his knees. Mary Is evidently conflicted about her emotions towards Jesus, because she does visibly care deeply for him, but sees that he might never reciprocate her feelings. But, she bursts out into dance and appears to find happiness that she can be near him and his friend, and that thanks to Jesus, she has found a more fulfilling version of herself.

Damned for All Time/Blood Money: Judas looks very reluctant over his decision, pacing left and right over the set and looks rather scared of Annas and Caiaphas as they crowd around him. Annas holds out a red pouch of money in offer to Judas and only very reluctantly, Judas, with an outstretched hand under the pouch, but not touching it, tells them where to find Jesus.

Entr’acte: Jesus has one of his apostoles bring onstage a plastic foot basin and a gas can with water. He leads an apostole and then Peter to the basin and washes their feet. He then approaches Mary and helps her take off her shoes and stockings, while a few of the apostoles hoot as Mary takes the stockings off, and also washes her feet. Then, he approaches Judas, gently helps him remove one of his shoes and washes one of his feet.

The Last Supper: Judas helps set up a makeshift dining table out of crates and a wide board. The apostles sit around it and Jesus sits at the head, breaking up a loaf of bread into twelve chunks with his hands as the apostles pour one another wine. However, as Jesus sees his apostles eagerly bite into the bread as soon as it’s handed to them, without stopping to pray or discuss, a wave of melancholy goes over him. He sees that he himself is the only person there who actually cares about helping people and the world. He leaves the table to collect his thoughts, but even then, he is followed by Peter with a voice recorder, who is trying to catch everything that could  be used for their campaign. He nervously paces around the set and throws off his coat as he says how he knows none of the apostles truly care for him, before quickly snatching up his tablet and to the protest of all the apostles deleting all files from it. When he says that he knows one of them will betray him, Judas steps forward, at first talking to Jesus very matter-of-fact-ly, as if he is trying to get this conversation over and done with as soon as possible, but he starts loosing his composure as the argument continues. Jesus is very hurt by the betrayer being Judas, seemingly berating himself for not realizing sooner that Judas would be the one to do this, and is trying to hold back tears all through their argument. Jesus tearfully yells at Judas to go away, but immediately clings to and embraces him. Judas embraces him in return and they sink to the ground, looking like they just want to stay in the embrace. Judas slowly separates himself and turns to leave, but as if trying to prove a point and justifying his decision, he paces around Jesus, who is still sitting slumped on the ground, eyes watery and unfocused. He tries to reason that Jesus was already hurling towards his demise and the broken state he’s now in is only a proof of that he Is not humankind’s savior, as if he’s trying to drive the knife deeper to mask that he doesn’t want to do this. Jesus once again brokenly yells at Judas to go and Judas reluctantly complies. The apostles lay down to sleep in their tents, leaving a broken Jesus alone onstage, who has been tearfully gazing in the direction Judas left.

Gethsemane: There are two stops intentionally included in the music. One as Jesus is about to start singing and the other before the first „Then I was inspired…“. Each time, the music stops as Jesus looks back towards where the orchestra is situated behind the set and he looks back almost in a plea that he doesn’t want to do this, that he doesn’t want to go through with the story and become a perhaps pointless victim all for wanting to help people. He starts almost pleading with God, but quickly turns spiteful and angsty over God deciding for him how his life will go. As he questions God what is the reason for him having to die, he climbs up the set structure, as If trying to get closer to him. Once he decides that he will do as God wants it and he will die, he screams in spite for God to watch on the destruction he’s about to cause. He ends the song bitterly resigned with tears in his eyes.

The Arrest: Judas arrives with guards in tow and approaches Jesus alone, talking to him in an almost mocking manner to mask his pain over what he’s about to do. The kiss is a gentle and brief one on the lips, as if Judas wants to get over with it as quickly as possible, but Jesus visibly leans into it with teary eyes. Jesus’s delivery of „Must you betray me with a kiss?“ with an emphasis not on the betrayl, but on the kiss and him putting a little pause before the kiss part, as it it’s hard to say out loud. The guards step forward and Jesus willingly offers them his hands to tie up. Peter tries to interfere and hits one of the guards on the head. Jesus immediately takes away his weapon while berating him and turning to the guard, he touches the wound to heal it. Annas and Caiaphas arrive. Through the scene, Judas has been trying to hide in the left corner of the stage, trying to look as if he had no part in this, until Annas directly thanks him for helping in arresting Jesus, upon which he frightfully departs.

Peter’s Denial: A few ensemble members are warming by a trashcan fire, when Peter goes by them, trying to hide his face with the hood of his yellow raincoat. He tries to play off the first denial with a smile and energy of „this Is just a stupid coincidence“, but his third denial is really angry and desperate. Mary appears at the back of the stage, worried over what Peter just did, but tries to comfort him when she sees how much it hurt him to deny knowing Jesus.

Pilate and Christ: The set changes to Pilate’s palace, complete with two green wall chandeliers made out of used bottles. Jesus is brought forth in front of Pilate, who is in his full opulent fur trimmed costume. For the questioning, Jesus is tied to the bars of a cage, which looks to be connected to electricity and made for torture via electroshocks, the guards bring forth. Mary and Peter can be seen in the background, being held back by guards. Jesus is unbound from the cage as Pilate sends him off to Herod.

King Herod’s Song: Into the earlier entry door of Pilate’s palace backs in a beaten up car with Herod sitting on the smashed in car hood. The entire song, Herod relishes in the destruction and chaos he’s causing and in traumatizing Jesus. Specifically, he pulls out the cut off head of John the Baptist from a fridge they have on set and throws it around with his minions like a ball, before rolling it onto the ground. Jesus immediately recognizes John in the head and breaks down onto the ground crying and whispering John’s name, as if trying to apologize to his spirit for being a contributing factor in why Herod executed him. Herod also very roughly slaps Jesus across the face before leaving.

Could We Start Again Please: The graffiti covered metal fence is drawn back over the set as Mary, Peter and the apostles come forth. Mary has her shawl drawn up over her hair and leads the group in a collective prayer, seemingly filling in Jesus’s place as the spiritual leader of the group. The motions the group pray with are similar to the way early Christians prayed, with both their hands raised to the sky. Mary is close to tears by the end of the number.

Judas’s Death: Judas runs onstage as the screens show footage of Jesus getting brutally beaten up by the guards, with repeated close ups on his bloodied and bruised face with tears pooling in his eyes. Judas looks very remorseful over what happened, but he tries to hold himself together all through the „I Don’t Know How To Love Him“ part. By the end of the number, he is bitterly and manically laughing up at God as he is about to hang himself. God might have had control over the narrative, but this way, Judas feels like he is taking his fate into his own hands.

Trial before Pilate: Jesus is once again brought forth, visibly weak and beaten up. Pilate circles him as a guard with a turned on phone walks in front of him and „livestreams“ the entire trial onto the big screens onstage. Mary can once again be seen in the background, being held back by the guards and looking on in worry. The crowd in the back part of the stage demands Pilate sentence Jesus to crucifiction, even when Jesus is visibly barely managing to stand and brutally beaten up. To calm the crowd, Pilate has Jesus flogged, where the guards drag him into the cage, tear away all his clothes and tie him to the bars facing away from the audience. With each hit, the lights in the room flicker. After 39 times of being hit, Mary manages to fight her way through the guards and as Jesus’s ties are loosened, she gives him a loin cloth to cover himself. As Jesus turns back towards the audience, his chest and face are visibly bloodied. Pilate tries to empathetically reason and come up with a way to somehow save him. Jesus barely, but chillingly whimpers the „Everything is fixed and you can’t change It“. The cross, which looks to be made of old iron, gets dragged onstage, with a blank cardboard plaque above the head. Pilate is handed a can of blue spray paint and paints on the Initials JC as he tells his verdict.

Superstar: A red cloth is placed around Jesus’s shoulders and a crown of thorns is forced onto his head as Judas, now wearing a red turban/headwrap instead of the previously gray one, and the soul girls, dressed as angels all in red and with giant wings, are rolled in onstage. Judas and the angels dance around and sing as the entire carrying of the cross Is recreated. Jesus falls under the cross three times, he is followed by a crowd of weeping women where he notices his mother, one of the apostles tries to help him carry the cross, he is offered a cloth to wipe his face into by Veronica. At one point, as Jesus is carrying the cross, Judas starts dancing in front of him and sort of leading him where he should go. During the final chorus, Jesus falls a third time, but away from the audience’s gaze.

Crucifiction: The cross is raised up, Jesus hanging on it with bright stage lights behind him. He whimpers on it, sometimes almost incoherently through the pain. He calls weakly his mother, who has to only watch from down below and can’t save him. All she can do is calm a weeping Mary in her arms. Jesus dies with a final whispered „Father, into your hands a commend my spirit“ and remains limply hanging on the cross.

John Nineteen:Forty-One: The cross is lowered and Peter with one other apostle take Jesus’s body off of the cross. They lay him into his mother’s arms in a pose similar to Pieta sculptures, so she can say her goodbye and then lay him on the ground, letting Mary say her goodbye. They cover up Jesus’s body with a sheet, but after they remove it after a few seconds, but Jesus’s body has disappeared. Everyone onstage lokes into the skies as they sing out the last notes.

[adridoesstuff]

New production photos of DJKT Dracula (Act 3)

Cast:

Jozef Hruškoci (Dracula), Lucie Prágerová (Sandra), Dušan Kraus (Nick), Martin Holec (Professor), Charlotte Režná (Lorraine) and Soňa Hanzlíčková/Eva Staškovičová/Kateřina Herčíková (Nymphs)

[adridoesstuff]

Something Rotten! played it's final show in Pilsen today

Portraits of Jozef Hruškoci (Nick), Martin Holec (Nigel), Dušan Kraus (Shakespeare), Soňa Hanzlíčková (Bea), Lukáš Ondruš (Nostradamus), Pavel Klimenda (Minstrel) and Karolína Krausová (Portia).

[adridoesstuff]

New production photos of DJKT Dracula (Act 2)

Cast:

Jozef Hruškoci (Dracula), Charlotte Režná/Natálie Dvořáková (Lorraine), Martin Holec (Servant), Pavel Klimenda/Petr Špinar (Steven) and Soňa Hanzlíčková/Eva Staškovičová/Kateřina Herčíková (Nymphs)

[adridoesstuff]

New production photos of DJKT Dracula (Act 1)

Cast:

Jozef Hruškoci (Dracula), Lukáš Ondruš (Priest), Adam Rezner (Monk), Lucie Prágerová (Adriana) & Martin Holec (Jester)

[adridoesstuff]

Elisabeth das musical Plzeň production review

Date: April 28th 2023

Cast: Michaela Štiková-Gemrotová (Elisabeth), Pavel Režný (Smrt/Death), Martin Holec (Lucheni), Jozef Hruškoci (Franz Joseph), Renáta Podlipská (Archduchess Sophie), Pavel Klimenda (Rudolf), Tadeáš Prokop (little Rudolf), Jan Ježek (Max), Stanislava Topinková-Fořtová (Ludovika/Frau Wolf)

Review and thoughts below the page break:

• We don't start with a hanged Lucheni puppet, the entire time it's actually the actor, who's hanging off of the noose

• And he stays that way for most of the Prolog

• Death lurks in the background for a moment during Alle tanzen mit dem Tod before Lucheni notices him

• And Death cuts Lucheni down from his noose

• During Death's verse, we get to see how Death works in this production's world: he kills on merely touch, which is demonstrated by the dead flying at him with outstretched arms and he just gets rid of them

• Death does give Lucheni a dirty look after "she loved Heinrich Heine"

• Little Sisi comes in in a short skirt and bloomers and during the second verse of Wie Du, her governess comes in and to Sisi's displeasure puts a long skirt onto her

• We also get a glimpse of Helene in Wie Du (she is very blonde in this version) and that she and Sisi at this point have a good relationship

• Everyone in Schön euch alles zu sehen gets a tea cup with saucer and a spoon and they do a collective spoon drop when Ludovika announces Helene is to be empress

• We get a shadow play of Sisi balancing on a tightrope with an umbrella

• After she falls, they carry her out onto a sofa and everyone groups around her, only for her to come out from the wings, so KKOG is done with the context of Sisi's soul already separated from her body and her literally being a touch away from dying

• And she does get really close, but at the last moment, Death pulls away

• As she sings "Ich erkenn dich schwartzer Prinz", Sisi goes towards Death with outstretched arms ready for a hug and Death just gets this mini panic as he backs up

• I don't like KKOG as a song, but the mutual fascination Pavel and Michaela showed here was *chef's kiss*

• During Jedem gibt er das seine, Franz and Sophie are almost shrouded behind the austrian flag colored curtains, separated from everyone around them

• And once Franz rises from his table, he moves strictly in straight lines and 90° angles

• Also, the entire show, Lucheni watches what is happening onstage from the side, sitting huddled up next to one of the set pieces, so the Lucheni actor has very little break time

• And since we're here, Martin Holec as Lucheni is so wonderful. He is a sarcastic asshole, but an extremely sympathetic one with an underlying remorseful side to him. Like, you can't help but laugh and nod along with him

• And he gets some alternate costumes for So wie man plant und denkt: a coat, tophat and fishing rod for verse 1 and an apron for verse 2

• And he hands out tea for everyone during the second verse

• Franz and Sisi see one another before the family meeting and Franz just keeps on looking at her from the moment they meet

• Sophie: "What, her?" Franz, while holding onto Sisi's hand as he was instructed to do and completely visibly in love with her, with the proudest look plastered onto his face: "Yes..."

• Nichts ist schwer has Sisi and Franz act shy at first and they slowly warm up to one another, coming closer to eachother

• Sisi being extremely shy once she is put into her wedding dress

• Death observes the wedding from the side and once Sisi says yes, you can hear the sound of a bird taking flight and Death says yes back to her three times

• Sie passt nicht has Sisi and Franz taking audience with the nobles after the wedding and Sisi is trying to be nice and friendly to them but they progressively just start behaving more rudely and dismissively towards her and she just progressively wilts on spirit until Franz takes her to dance

• Also, Helene just straight up walks by Elisabeth and ignores her when she's supposed to congratulate her

• Lucheni strutting through the dancing ballroom crowd until Death shows up

• Death strutting in flanked by all the death angels was a serve

• Der letzte Tanz had Death dance around with some of the ballroom guests, thus slowly killing them and provoking Sisi with it

• Sisi does defend Franz by hugging him in front of Death

• And Death does have some telepathic powers in this version, so that's how he dances around with Sisi

• Liebe mit Gaffern got the ensemble grouped up and obsessively staring at Sisi from the side

• Sisi has a gorgeously long wig in Eine Keiserin muss glänzen

• Sisi rising on a hydraulic platform during the last part of Ich gehör nur mir

• We get Sisi doubles in the background during Stationen eine Ehe during Lucheni's parts, showing her current life situation

• Franz just straight up leaves on Sisi when she asks him to give her back her child

• When they come to Hungary, Sisi and Franz are followed by a lady in waiting carrying the bundled up little Sophie and Death slowly stalks towards them, killing the child by gently touching her forehead

• So far, with every person Death has taken, he was rather rough with them, either throwing them, strangling them or just roughly pushing them away, even if with one finger, but little Sophie is the first time we see a more gentle side to how he takes lives

• I got literal chills during Pavel Režný's Act 1 Shatten

• As the café guests keep on talking about the rumors about Sisi and gazing into their newspapers, her very visibly sad shadow can be seen passing along the backdrop and Lucheni tries to make some of the people notice her, but they keep on ignoring him

• Lucheni jumping through the café guests and leaping off of the tables when he talks about how Rudolf was born

• The playout for Fröhliche Apokalypse got some super interesing newspaper choreo, which ended with the newspapers being left tossed all over the stage

• The kid playing little Rudolf was super adorable

• Also, he is forced into the blue austrian uniform jacket and the poor little kid says "ouch" as he is forced into it

• Sisi in her room looks like she is trapped in it and only when she stands her ground, she leaves it

• So far, Sisi was the one to draw back once Death starts approaching her/he pushes her around the stage, but once she says no to him here, she intentionally pushes him back for the first time and Death just completely shook

• Milch had the ensamble come in from the sides of the audience

• And there was plenty of very agressive banging with the milk cans onto the stage

• Schönheitspflege has a Sisi double with her back to the audience in a bath up on a pedestal and the maids are brushing her hair and taking care of her

• Once Franz comes in, they draw a changing screen closed in front of her and it kinda looks like a triptych altarpiece

• And then it opens and she is there in her Star dress

• Death appears for the Act 1 finale on ground level and Elisabeth is higher than him

• Also, some of the ensemble angrily come in at the end of Act 1 finale in their Milch costumes, but they stop in admiration when they see Elisabeth

• Lucheni gets a black glittery frockcoat and tophat for Kitsch

• And he tries to sell his kitsch souvenirs to both the hungarian ensamble and the front row

• We don't see Franz and Elisabeth during Éljen, the focus is purely on the happy hungarian populace

• Wenn ich tanzen will has Elisabeth giving one massive fictive middle finger to Death with her teasing him by dancing with whichever man she pleases in front of him, while he can't touch her

• And Death is just so upset/infuriated by not being able to dance with her and he is just left alone on stage completely upset

• Also, paralel scene to Der letzte Tanz!

• Little Rudolf trying to hide underneath his blanket was so precious

• Death is just so fascinated by Rudolf wanting him to stay and he also looks at him kinda weirded out like this is his first time interacting with a child

• Also, Death does almost touch Rudolf's head to take him, but he holds himself back

• The mad woman in the insane asylum scene being carried around on the shoulders of other of the patients

• Elisabeth in this scene is so compassionate and trying to be so patient with everyone

• Wir oder sie had Sophie and the court men huddled around a dimly lit table to discuss

• Nur kein genieren was lit very red and the way they tilted the lighting rig was so interesting

• The ensamble for this scene was very stripy with a lot of colored tulle ruffles

• Also, Stanislava Topinková Fořtová as Frau Wolf? Slayed and ate

• Lucheni doesn't have as much chemistry with Frau Wolf as in the original, but he did get to fool around with some of the ensamble ladies

• Elisabeth falls down when she's attempting to excercise on rings, but she climbs up on a vault to get to them and falls down from there, so pretty big fall

• And they included a lot of coughing from Elisabeth's side

• Death gets a nice cloak and tophat as his doctor disguise! And it suprisingly had little gaping and the way he threw it off was so effortless

• Death and Elisabeth circling around the vault during Maladie

• Elisabeth ends up on the ground and Death goes down onto the ground to her, offering her his hand for her to take

• Elisabeth doesn't throw the necklace at Death, but onto the ground

• Death does come for Sophie in this production, but we don't see him touch her, just her visibly acknowledge him and he follows her offstage

• The passage of time in Rastlose Jahre was shown by little Rudolf first coming out and Elisabeth just breezes past him and then he went offstage and the next time, Rudolf came onstage as an adult

• We get a Fanny Feifalik namedrop from Lucheni!

• At the end of Rastlose Jahre, Lucheni holds up a picture of young Elisabeth next to her, but she snatches the picture from him, agressively stares him down while tearing the picture up and then she stuffs to torn up pieces into Lucheni's mouth

• Rudolf does give himself a dose of morphine on the side of the stage during Rastlose Jahre, so I'm guessing Shatten here is partially a drug induced fever dream

• Other than that, Pavel Klimenda's Rudolf is so goddamn tragically sad, desheveled, sopping wet, traumatized and affection starved, like, you just want to give his Rudolf a hug

• At the end of Rastlose Jahre, there is a tiny moment when Sisi notices Rudolf looking like a complete mess and he cries out to her, but she looks back at him with disgust and leaves him alone, crying

• Shatten had Death come in with a whip and kind of invite Rudolf onto a ride on his carriage (I'm saying kind of because it was very minimalistic in set)

• At one point, Death touches Rudolf with his whip by lifting up his chin and Rudolf snatches the whip from him, prompting a very "what is this weird kid doing now" look from Death

• Death gives Rudolf a gun at the end of Shatten and Rudolf does consider using it, he even puts it to his head while surrounded by the death angels, but he reconsiders and hides the gun

• Strait Vater und Sohn has Rudolf more upset than angry

• Hass was lit very starkly and dimly, so for a lot of the scene, you couldn't make out their facial features

• Death does appear during Hass, not directly involving himself, but banging a drum to the rhythm of the song in the background

• During Wie Du reprise, Elisabeth writes with a quill that looks like one of Death's feathers

• I almost cried during Wenn ich dein Spiegel wär

• Rudolf comes in with some papers, looking kind of ready to discuss his worries with his mother, but as soon as he is faced with her, he falters and lets go of the papers

• The entire time Rudolf begs Elisabeth for help, he is on his knees in front of her

• And she lashes out at him before leaving him alone

• Before Mayerling, Rudolf faces the audience and says "so, you will leave me alone in this", and he starts sobbing and curls up on the ground as the death angels come in and he cries out for his mom to help him

• Mayerling at first has the angels throw Rudolf around before Death starts dancing with him

• At the end, they touch/embrace and Rudolf ends his life

• Rudolf gets surrounded by the death angels, who create his grave with their wings

• Death looks very remorseful after Rudolf dies. This production doesn't really give us feral Todolf like the original and 1st revival, but Tod here is more like a guardian to Rudolf.

• Death remorsefully observes Elisabeth as she comes to lay flowers onto Rudolf's grave

• At the end of Totenklage, both Franz and Death are offering Elisabeth an embrace and Elisabeth starts leaning towards touching Death until he pulls away

• During Totenklage, Lucheni photographs the picture of Elisabeth weeping by Rudolf's grave, that he shows in Kitsch reprise

• And he tears the picture up during the song

• Boote in der Nacht had Elisabeth smoking a cigarette

• They reused the Achilleon set from Wie Du reprise/Spiegel and she had a ton of books lying around the set, which she kept on flipping through as a distraction from Franz

• Am Deck den sinkenden Welt literally had the stage looking like a stormy sea of waves just by using the hydraulic platforms in the stage and Franz was on the only stable part of the stage

• We actually got one of the ensamble ladies set on fire during the scene

• Death screaming at Franz from up on the hanging lighting rig!!

• Death doesn't throw the file at Lucheni, but the angels pass it to him across the stage

• The ensamble in their afterlife costumes stay on scene during the assasination

• Also, Death keeps on watching the scene from the lighting rig

• Once she is stabbed, Elisabeth stumbles offstage for a while and stumbles back in only to be surrounded by the ensamble as she dies

• And suddenly, she appears on the other side of the stage in her white nightgown

• The death angels drag Lucheni down and he tries to triumphantly laugh, but he is clearly conflicted and a little remorseful

• That moment when Elisabeth and Death finally touch and embrace <3

• The Der Schleier fällt kiss here was so full of mutual respect

• After Death kisses her, Elisabeth doesn't fall down dead, but she walks downstage and looks out into the audience as the curtain falls

• Meanwhile, Death through all this looks at her with such a loving and fascinated expression

• So, in this production, Elisabeth and Death stay together in the afterlife

• For the curtain call, everyone of the main cast got one of their character's songs played as they took a bow

• With Lucheni and Death getting to sing a bit of Kitsch and Der letzte Tanz each as they took a bow

• CONCLUSION: Holy shit, everybody in this cast was splendid. I honestly can't even decide who's would be the standout performance of the evening, because everyone was amazing.

[adridoesstuff]

Elisabeth das musical Czech production appreciation pt. 10

Milch and Ich will dir nur sagen/Ich gehör nur mir (reprise) with Martin Holec as Lucheni, Soňa Hanzlíčková & Michaela Štiková Gemrotová as Elisabeth and Jozef Hruškoci as Franz Joseph

[adridoesstuff]

Since the Czech production of Elisabeth will be closing at the beginning of June this year, I want to make these little highlight posts for pictures of the production.

Prolog/Alle tanzten mit dem Tod with Pavel Režný as Smrt/Death & Lukáš Ondruš and Martin Holec as Lucheni (and Pavel Klimenda as Rudolf in the background)