#owen horsley

[sometimesiwastetimehere]

[dry-valleys]

A new Etruria decks Britannia's isle. Charm'd by your touch, the flint liquescent pours Through finer sieves, and falls in whiter showers;.

Erasmus Darwin.

All Saints Hanley was built between 1910 and 1913 by Gerald Horsley in the Gothic Revival Style that had become popular in the 19th century, flecked by the Arts and Crafts style that had just come into fashion.

(This is a series; please see here, here, here, here, here, here and here for more).

Horsley, a member of the Art Workers Guild, was, like all Anglicans of the time, mindful of the battle with the Nonconformists for Potteries souls; a battle that was usually lost by the Anglicans, but this is a great bastion of its defence.

I had somehow never been here before the British Ceramics Biennial of 2023; this is the eighth such festival (my fourth), and it brought me to a new place as it did two years ago when I made my first and only visit to the old Goods Yard, which I'm pleased to say is being rebuilt (and perhaps will be ready for the 2025 festival?)

Please see here for earlier BCB visits. It is a celebration of pottery from throughout the world and this year is working with the Indian Ceramics Trienniale. Although as a Keele man it pains me to say this, Staffordshire University has been invaluable through its sponsorship.

Folded in amongst the church architechture and fitting into the arts and crafts theme were works by (7) Steve Dixon (I had no idea this wasn't the reredos and is in fact part of the BCB until a guide pointed out the male nude- it's disguised very well indeed!) (8,9) Emilie Taylor (10) Kieran Harris,(11) Matt Whiting, (12) Elspeth Owen,(13) Copper Sounds, alongside many more which are on their way in the next few posts.

Charm'd by your touch, the kneaded clay refines, The biscuit hardens, the enamel shines; Each nicer mould a softer feature drinks, The bold Cameo speaks, the soft Intaglio thinks.

[willstafford]

Hooray! Henry!

HENRY VI: REBELLION Royal Shakespeare Theatre, Stratford upon Avon, Saturday 7th May 2022 Shakespeare’s history plays – dramatized and fictionalised versions of real events involving real monarchs – inevitably these days draw comparisons with Game of Thrones.  Here there be no dragons, but there’s pretty much everything you’d expect in terms of loyalty and betrayal, honour and dishonour,…

[drew-winchester]

“Who’s There?”

It was great and he was amazing and impressive and so full of talent and so, so kind, I think I left a part of me there.

[scarletpapillon]

I love writing about theatre bc here I am quoting a director for being a fucking genius of queer interpretation then I log on to instagram and his story is him crying over Schitt's Creek

[azamansource]

Assad Zaman as Young Syrian in RSC’s 2017 production of Oscar Wilde’s Salomé, dir. Owen Horsley  

[shakespearenews]

I discovered recently that Richard Wagner liked to spend his evenings at home performing scenes from Henry VI. You can see why Shakespeare’s monumental trilogy would appeal to the creator of the Ring cycle. You could also hardly have a starker contrast than Wagner’s solo efforts – “in the face of which,” said his wife, Cosima, “mortals can only be silent” – and the RSC’s upcoming production of Henry VI Parts 2 and 3, which will feature a total cast of 120.

...

“These plays, whenever they are done – especially at the RSC – invite experimentation. So I’m working with a company of 25 professional actors including eight recent drama school graduates. For Part 2, which we call Henry VI: Rebellion, they will be joined by 74 adults recruited from the length and breadth of England – though, sadly, not Scotland – and 21 young performers from the RSC’s Next Generation company. They will all come together for Jack Cade’s rebellion when there’s a stage direction that says ‘Enter Cade and all his rabblement’.” 

Although, as Horsley says, there is a sense of scale to these plays, these 95 recruits “aren’t simply there to make up the numbers”. Some will have speaking parts, such as the character of Saunder Simpcox, who lays fraudulent claim to a miracle cure. “One way to experience Shakespeare is to see it,” says Horlsey. “Even better is to be in it. We are offering people the opportunity to connect with Shakespeare and hopefully pass on the joy of that experience to others.”

[ralphfiennesblog]

‘Experience Shakespeare by seeing it – even better, be in it’: inside the RSC’s new epic

[cscnextgen]

NEXTGEN MEETING: GUEST OWEN HORSLEY + ENSEMBLE WORK

The most recent NextGen meeting featured a special guest: CSC’s Director in Residence Owen Horsley. Owen has worked extensively with Shakespeare’s texts, having directed productions at the Royal Shakespeare Company (located in Shakespeare’s hometown, Stratford-Upon-Avon), as well as serving as associate director for Cheek by Jowl, an international theater company that focuses on classical works.

As part of Owen’s residency here at CSC, he is teaching several workshops on Shakespeare’s text both for professional actors and for Shakespeare enthusiasts (more info here). For the NextGen meeting, he gave students a preview of his approach to Shakespeare.

Owen started by explaining that many people get tripped up by Shakespeare’s text because we no longer talk that way in everyday life; it can be seen as inaccessible, snobbish, or overly cerebral. While the language is certainly heightened––even in Shakespeare’s time, no one spoke in verse off the stage––that doesn’t mean we should be overly precious with it. Owen likes to emphasize that the language can connect with our bodies as well as our minds: to illustrate that, he led the group in a few physical exercises to break the ice.

Before diving into the text itself, Owen started the group off with a mirroring exercise wherein two partners face each other and try to synchronize movements without communicating verbally. The fast-paced nature of the game helps to get students out of their heads and more in tune with their partner. Albeit simple, the exercise was by no means easy: working together takes work!

Once warmed up, Owen took students through an exercise of physicalizing certain words within a monologue from Twelfth Night. He set the parameters by providing a sort of physical vocabulary of gestures: reaching up high, reaching forward, crouching down, etc. Within this vocabulary, he asked students to act out certain words in the monologue. In keeping with the theme of minimizing any overthinking, students had five seconds to pick a word and then pick a physical gesture to represent it.

Owen (right) demonstrates an action within the physical vocabulary, while Twelfth Night actor David Samuel (left) follows along.

Students look over monologues from Twelfth Night

Owen then transitioned into an exercise that shows the importance of punctuation within the text. To do this, students partnered up again to recite the monologue together, switching speakers with every major change in punctuation (periods, colons, and semicolons), as well as specific gestures for every punctuation mark. This exercise shows how much information can be gleaned just by paying attention to punctuation: whether a character is reflecting on something, changing their train of thought, feeling unsure of themselves, feeling very sure of themselves. Yet, although the exercise pays close attention to details within the text, it is still very physical: more doing than thinking. Owen helped show students how the text can come alive, off the page and into our bodies.

Zola and Spencer demonstrate their version of Viola’s ring speech for the group

After an informative session full of speaking the text, jumping, high-fiving, and more, it was time for Owen to run and for David to take over.

If you’ve read this blog before, you may recall David Samuel from a previous workshop on actor musicianship in As You Like It. David is at CSC once again, playing Fabian and Antonio in Twelfth Night. Since Twelfth Night is a production in collaboration with Fiasco Theater, an ensemble-driven theater troupe, David came to speak to students about building a production as an ensemble.

Ensemble work is an approach to theater that focuses on the group as a whole working together to create a theatrical piece. (It comes from the French word ensemble meaning “together”). Fiasco Theater is an acting troupe founded on that same philosophy. The core group of actors that make up Fiasco all met in grad school at the Brown/Trinity Rep M.F.A. acting program (the same program from which David recently graduated), and have been doing collaborative work together ever since. For Twelfth Night, they use a similar approach to one they learned in the program, where two of the actors in the show also serve as co-directors––in this case, Noah Brody and Ben Steinfeld, who play Orsino and Feste. This approach creates a more equitable environment and gives everyone a chance to contribute their ideas, which often leads to more experimentation and exciting outcomes. You can read more about Fiasco’s philosophy on their website, here.

With that, it was time to wrap up and discuss the Teen Takeover for Twelfth Night, which took place on Sunday, December 17th. Stay tuned to read more about it!

[msclaritea]

Strategy of wolves: UK child care system as sex abuse network

“Tavistock underwrites or has intimate relations with thirty research institutions in the United States, all of which at one time or another have taken a player's hand in the shaping of American schooling.” —John Taylor Gatto, Underground History of American Education

"Is it really possible that Savile's predations of various care homes and psychiatric institutions were facilitated by Lord David Owen, Labour MP, not merely out of some sleazy tit-for-tat, but as part of a decades-long, multinational agenda (related to Owen's former boss William Sargant, and thenceto MKULTRA) involving the deliberate sexual abuse of children as both a form of dark research/experimentation and a fully operational social engineering program, dating at least as far back as Havelock Ellis and the formation of the Fabian Society? If the answer is no, is it really possible that all of this is just “coincidence”? If the answer is again no, what does that leave? Is there a middle ground between “all a plot” and “just coincidence”?"

Jasun Horsley, The Vice of Kings: How Socialism, Occultism and The Sexual Revolution Engineered A Culture of Abuse.

That reference to bluebird tells you all you need to know about Cunter's role as one of Ben's abusers. These inhumane practices have been an open secret for years...

[ivisitengland]

iVisit.... SALOMÉ

Imprisoned by a fearful Herod, the prophet Jokanaan rejects the sexual advances of Herod’s stepdaughter, Salomé. When she is compelled by Herod to dance, Salomé is filled with lust-driven revenge and demands the head of the prophet as payment.

Salomé has fascinated and inspired artists across the ages. Oscar Wilde’s lyrical one-act drama – originally banned in Britain – reinvents Salomé as a powerful and enigmatic figure, both erotic and chaste.

Marking 50 years since the decriminalisation of homosexuality in England and Wales, Owen Horsley (Associate Director on the King & Country season) directs this new, contemporary take on Oscar Wilde’s classic, placing sexual ambiguity at the core. American artist Perfume Genius provides the music for this production, which revels in the beauty of this poetic masterpiece.

Features nudity and scenes of a sexual nature.

[debrakwhite]

Lost at Sea: Fiasco Theater’s ‘Twelfth Night’

Fiasco Theater’s ‘Twelfth Night’ at Classic Stage Company. (Photo: Joan Marcus via The Broadway Blog.)

By Matthew Wexler

A shipwreck. Separated twins. A romantic triangle. Shakespeare’s Twelfth Night has all of the delicious plot points and rich characters that one could hope for. Unfortunately, Fiasco Theater’s production, presented as part of Classic Stage Company’s 50th anniversary season, reduces the play to an egocentric, uninspired staging that left me wondering if anyone outside of the indulgent company of actors watched a run-through before subjecting the audience.

I had great hopes for Fiasco’s Twelfth Night. The ensemble theater company, created by members of Brown University/Trinity Rep.’s M.F.A. program, received critical acclaim for its stripped-down version of Into the Woods as well as its notable production of Cymbeline. Putting past accolades aside, co-directors Noah Brody and Ben Steinfeld have steered the 10-member company towards an unfortunate disconnect that favors shouting and posturing over any emotional connection.

Emily Young in ‘Twelfth Night.’ (Photo: Joan Marcus via The Broadway Blog.)

Off-putting even before the play begins is the company’s prelude as they enter the theater and engage with the audience. I’d been told by a fellow theatergoer that this is a “thing” and part of Fiasco’s ethos, but why I’d want to hear actress Jessie Austrian (Olivia) gasp upon recognizing a friend in the audience and shout to her that they should meet in the lobby after the performance is beyond my grasp.

Mistaken identity is a key factor in Shakespeare’s plot, which follows Viola (Emily Young) as she disguises herself and becomes a page to Orsino (Noah Brody) as he attempts to court Olivia. A subplot involves a feud between Olivia’s uncle, Sir Toby Belch (Andy Grotelueschen) and her steward, Malvolio (Paul L. Coffey), in which Belch and his cronies convince Malvolio of Olivia’s romantic interest. Meanwhile, Viola’s brother, Sebastian (Javier Ignacio) has also washed up on Illyria’s shores and appears to sort things out by play’s end.

Plot twists notwithstanding, Twelfth Night holds some of Shakespeare’s most recognizable monologues, beautifully crafted speeches in iambic pentameter that do the work for themselves if their deliverers need only let them. Young, as the resilient Viola, and Steinfeld as Feste, the Fool, fare best, while the remainder of the cast seems to be caught up in vocal and physical histrionics.

In an interview with Owen Horsley, RSC Director in Residence, Fiasco’s co-directors discussed their approach. Steinfeld states that “we often use a series of games and exercises that help us reveal dynamics, responsiveness, and the architecture of the thoughts. Then we move into a mode of physicality (while still at the table) that lets each actor explore the connection between text, body and behavior before any staging gets introduced.”

The disconnect between process and presentation is painfully evident. What is deeply lacking in nearly every moment of this production is any authentic human connection among its players. Stomping, posturing, shouting, and bafoonish gestures abound, if only occasionally reprieved by an eye-catching stage picture or Steinfeld’s original score. Fiasco’s mission states that “while we hope to avoid on-stage disasters, we do believe that it is only when artists are brave enough to risk a fiasco that the possibility exists of creating something special.”

I applaud the risk, but in this instance, Twelfth Night is, indeed, a fiasco.

Twelfth Night 136 East 13th Street, NYC Through January 6

Matthew Wexler is The Broadway Blog’s editor. Follow him on social media at @wexlerwrites.

Article source here:The Broadway Blog

[willstafford]

Taking the Veil

SALOME

The Swan, Stratford upon Avon, Thursday 22nd June, 2017

  Oscar Wilde’s one-act tragedy is far from a particular favourite of mine.  I prefer his epigrammatic, frothy word play to the heightened, florid language of this retelling of the Biblical story, where the characters speak mainly in similes and declamations.  How refreshing it is when Herodias proclaims, “The moon is like the moon!”…

[twodoorsnotone]

Henry VI Part 1! Specifically the 2021 RSC version dir. Gregory Doran and Owen Horsley! Have watched 2/3 of the Henry VIs now by the same directors and really like them 🙂🙂

Found the first Henriad play I actually like and the ver I watched isn't even on letterboxd BOOOO

[milliondollarbaby87]

Best Feature

Frozen 2 – Walt Disney Animation Studios

How to Train Your Dragon: The Hidden World – DreamWorks Animation

Klaus – Netflix Presents A Production of The Spa Studios and Atresmedia Cine

Missing Link – LAIKA, LLC

Toy Story 4 – Pixar Animation Studios

Best Indie Feature

Buñuel in the Labyrinth of the Turtles – Sygnatia, Glow, Submarine, Hampa Animation Studio

I Lost My Body – Xilam for Netflix

Okko’s Inn – Madhouse

Promare – TRIGGER, XFLAG

Weathering With You – Toho Co., LTD. / STORY Inc. / CoMix Wave Films

Best Special Production

Guava Island, “Titles and Prologue” – Six Point Harness / Amazon

How to Train Your Dragon Homecoming – DreamWorks Animation

Infinity Train, “The Perennial Child” – Cartoon Network Studios

SpongeBob SquarePants, “SpongeBob’s Big Birthday Blowout” – Nickelodeon and Jonas & Co.

Zog – Magic Light Pictures

Best Short Subject

Acid Rain – Animoon

DONT KNOW WHAT – Thomas Renoldner

Je sors acheter des cigarettes – Miyu Productions

Purpleboy – Bando à Parte, Rainbox Productions, Ambiances… asbl, Luna Blue Film

Uncle Thomas: Accounting for the Days – Ciclope Filmes, National Film Board of Canada, Les Armateurs

Best VR

Bonfire – Baobab Studios

GLOOMY EYES – ATLAS V

Kaiju Confidential – ShadowMachine

Best Commercial

Dove Self-Esteem Project x Steven Universe: “Social Media”Cartoon Network / Dove / Chromosphere

Fortnite Season 7 Launch SpotEpic Games / Screen Novelties / iam8bit

The Mystical Journey of Jimmy Page’s ‘59 Telecaster – Nexus Studios

Best TV/Media – Preschool

Ask the Storybots – JibJab Bros. Studios for Netflix

Elena of Avalor – Disney Television Animation

Let’s Go Luna! – Brown Bag Films / 9 Story Media Group

Norman Picklestripes – Factory

Xavier Riddle and the Secret Museum – Brown Bag Films / 9 Story Media Group

Best TV/Media – Children

Disney Mickey Mouse – Disney TV Animation/Disney Channel

Niko and the Sword of Light – Titmouse, Amazon Studios

Rise of the Teenage Mutant Ninja Turtles – Nickelodeon Animation Studio

Tales of Arcadia: 3Below – DreamWorks Animation

The Tom and Jerry Show – Warner Bros. Animation

Best TV/Media – General Audience

Big Mouth – Netflix

BoJack Horseman – Tornante Productions, LLC for Netflix

Harley Quinn – Warner Bros. Animation

Tuca & Bertie – Tornante Productions, LLC for Netflix

Undone – Tornante Company and Amazon Studios

Best Student Film

Con Fuerza – Savannah College of Art and Design

Gravedad – Filmakademie Baden-Württemberg GmbH Animationsinstitut

The Fox & The Pigeon – Sheridan College

Un diable dans la poche – GOBELINS, l’école de l’image

Best FX for TV/Media

How to Train Your Dragon Homecoming – DreamWorks Animation Nominees: Manuel Reyes Halaby, Cristiana Covone, Koya Masubuchi, Jean Claude Nouchy, Dustin Henning

Love, Death & Robots – Blur for Netflix Nominees: Viktor Németh, Szabolcs Illés, Ádám Sipos , Vladimir Zhovna

My Moon – Eusong Lee, Co-produced with Chromosphere Nominees: Stéphane Coëdel, Natan Moura

Star Wars Galaxy of Adventures – Lucasfilm, Titmouse, Inc. Nominees: Araiza Tokumasu Naoki

Tales of Arcadia: 3Below – DreamWorks Animation Nominees: Greg Lev, Igor Lodeiro, Chen Ling, Brandon Tyra

Best FX for Feature

Abominable –DreamWorks Animation Nominees: Amaury Aubel, James Jackson, Domin Lee, Michael Losure, Alex Timchenko

Frozen 2 – Walt Disney Animation Studios Nominees: Benjamin Fiske, Alex Moaveni, Jesse Erickson, Dimitre Berberov, Kee Nam Suong

Missing Link – Laura E Gross Nominees: Eric Wachtman, David Horsley, Peter Stuart, Timu Khodzhaev, Joe Strasser

Toy Story 4 – Pixar Animation Studios Nominees: Alexis Angelidis, Amit Ganapati Baadkar, Greg Gladstone, Kylie Wijsmuller, Matthew Kiyoshi Wong

Weathering With You – GKIDS Nominees: Hidetsugu Ito, Yuko Nakajima, Jumi Lee, Ryosuke Tsuda

Best Character Animation – TV/Media

Ask the Storybots – JibJab Bros. Studios for Netflix Nominees: Chris O’HaraDisney

Rapunzel’s Tangled Adventure – Disney TV Animation/Disney Channel Nominees: Juliane Martin

His Dark Materials – BBC Studios Nominees: Aulo Licinio

How to Train Your Dragon Homecoming – DreamWorks Animation Nominees: Andrew Muir

Robot Chicken – Stoopid Buddy Stoodios Nominees: Scott DaRos

Best Character Animation – Animated Feature

Frozen 2 – Walt Disney Animation Studios Nominees: Andrew Ford

How to Train Your Dragon: The Hidden World – DreamWorks Animation Nominees: Dane Stogner

How to Train Your Dragon: The Hidden World – DreamWorks Animation Nominees: Rani Naamani

Klaus – Netflix Presents A Production of The Spa Studios and Atresmedia Cine Nominees: Sergio Martins

Missing Link – LAIKA, LLC Nominees: Rachelle Lambden

Best Character Animation – Live Action

Alita: Battle Angel – Weta Digital Nominees: Michael Cozens

Avengers: Endgame – Weta Digital Nominees: Sidney Kombo-Kintombo

Game of Thrones – Season 8 Episode 3 “The Long Night” – Dance of the Dragons – Image Engine Nominees: Jason Snyman, Sheik Ghafoor, Maia Neubig, Michael Siegel, Cheri Fojtik

Pokémon Detective Pikachu – Framestore Nominees: Dale Newton, Waiyin Mendoza, Rochelle Flynn, Leila Gaed, Paul Jones

SPIDER-MAN: FAR FROM HOME – Steven Argula Nominees: Joakim Riedinger

Best Character Animation – Video Game

Gears 5 – Cinematic AnimationThe Coalition/ Microsoft Nominees: Brian Whitmire

KINGDOM HEARTS III – SQUARE ENIX Nominees: Munenori Shinagawa, Kayoko Yajima, Koji Hamada, Koji Inoue

Sinclair Snake: Museum Mischief – Chromosphere / Within Nominees: Tommy Rodricks, Natan Moura, Nelson Boles

Unruly Heroes – Magic Design Studios Nominees: Sebastien Parodi, Nicolas Leger

Best Character Design – TV/Media

Carmen Sandiego – Houghton Mifflin Harcourt Publishing and DHX Media for Netflix Nominees: Keiko Murayama

DC Super Hero Girls – Warner Bros. Animation Nominees: Lauren Faust

T.O.T.S. – Titmouse / Disney Junior Nominees: John Jagusak

The Adventures of Rocky and Bullwinkle – DreamWorks Animation Nominees: Chris Mitchell

Victor and Valentino – Cartoon Network Studios Nominees: FABIEN MENSE

Best Character Design – Feature

Abominable – DreamWorks Animation / Pearl Studio Nominees: Nico Marlet

Frozen 2 – Walt Disney Animation Studios Nominees: Bill Schwab

Klaus – Netflix Presents A Production of The Spa Studios and Atresmedia Cine Nominees: Torsten Schrank

Spies in Disguise – Blue Sky Studios Nominees: José Manuel Fernández Oli

The Addams Family – MGM and BRON Creative Nominees: Craig Kellman

Best Direction – TV/Media

Ask the Storybots – JibJab Bros. Studios for Netflix Nominees: Jeff Gill

DC Super Hero Girls – Warner Bros. Animation Nominees: Natalie Wetzig

Disney Mickey Mouse – Disney TV Animation/Disney Channel Nominees: Alonso Ramirez Ramos

Rilakkuma & Kaoru – Dwarf for Netflix Nominees: Masahito Kobayashi

Ultraman – Production IG, SOLA Digital Arts for Netflix Nominees: Kenji Kamiyama, Shinji Aramaki

Best Direction – Feature

Frozen 2 – Walt Disney Animation Studios Nominees: Jennifer Lee, Chris Buck

I Lost My Body – Xilam for Netflix Nominees: Jérémy Clapin

Klaus – Netflix Presents A Production of The Spa Studios and Atresmedia Cine Nominees: Sergio Pablos

Missing Link – LAIKA, LLC Nominees: Chris Butler

Weathering With You – Toho Co., Ltd. / STORY Inc. / CoMix Wave Films Nominees: Makoto Shinka

Best Music – TV/Media

Carmen Sandiego – Houghton Mifflin Harcourt Publishing and DHX Media for Netflix Nominees: Jared Lee Gosselin, Steve D’Angelo, Lorenzo Castell

Love, Death & Robots – Blur for Netflix Nominees: Rob Cairns

Seis Manos – VIZ Media / Powerhouse Animation Studios Nominees: Carl Thiel

She-Ra and the Princesses of Power – DreamWorks Animation Nominees: Sunna Wehrmeijer

The Tom and Jerry Show – Warner Bros. Animation Nominees: Vivek Maddala

Best Music – Feature

AWAY – Dream Well Studios Nominees: Gints Zilbalodis

Frozen 2 – Walt Disney Animation Studios Nominees: Christophe Beck, Frode Fjellheim, Kristen Anderson-Lopez, Robert Lopez

I Lost My Body – Xilam for Netflix Nominees: Dan Levy

Spies in Disguise – Blue Sky Studios Nominees: Mark Ronson, Theodore Shapiro

Toy Story 4 – Pixar Animation Studios Nominees: Randy Newman

Best Production Design – TV/Media

Carmen Sandiego – Houghton Mifflin Harcourt Publishing and DHX Media for Netflix Nominees: Eastwood Wong, Sylvia Liu, Elaine Lee, Linda Fong, Emily Paik

Disney Rapunzel’s Tangled Adventure – Disney TV Animation/Disney Channel Nominees: Alan Bodner, Brian Woods, Steven Nicodemus, Laura Price, Leonard Robledo

Love, Death & Robots – Blur for Netflix Nominees: Alberto Mielgo

Mao Mao: Heroes of Pure Heart – Cartoon Network, Titmouse, Inc. Nominees: Khang Le, Chris Fisher, Gael Bertrand, Deodato Pangandoyon, Howard Chen

The Adventures of Rocky and Bullwinkle – DreamWorks Animation Nominees: Chris Mitchell, Chris Turnham, Tor Aunet, DanBob Thompson, Aaron Spurgeon

Best Production Design – Feature

Abominable – DreamWorks Animation Nominees: Max Boas, Paul Duncan, Christopher Brock, Cecline Da Hyeu Kim, Jane Li

How to Train Your Dragon: The Hidden World – DreamWorks Animation Nominees: Pierre-Olivier Vincent, Kirsten Kawamura, Woonyoung Jung, Iuri Lioi

Klaus – Netflix Presents A Production of The Spa Studios and Atresmedia Cine Nominees: Szymon Biernaki, Marcin Jakubowski

Missing Link – LAIKA, LLC Nominees: Nelson Lowry, Santiago Montiel, Trevor Dalmer

The Addams Family – MGM and Bron Creative Nominees: Patricia Atchison, Maisha Moore, Chris Souza, Jack Yu

Best Storyboarding – TV/Media

Carmen Sandiego – Houghton Mifflin Harcourt Publishing and DHX Media for Netflix Nominees: Kenny Park

Carole & Tuesday – Bones for Netflix Nominees: Shinichiro Watanabe

Love, Death & Robots – Blur for Netflix Nominees: Owen Sullivan

Snoopy in Space – Apple Nominees: Riccardo Durante

Zog – Magic Light Pictures Nominees: Max Lang

Best Storyboarding – Feature

I Lost My Body – Xilam for Netflix Nominees: Julien Bisaro

I Lost My Body – Xilam for Netflix Nominees: Jérémy Clapin

Klaus – Netflix Presents A Production of The Spa Studios and Atresmedia Cine Nominees: Sergio Pablos

Missing Link – LAIKA, LLC Nominees: Julián Nariño

Missing Link – LAIKA, LLC Nominees: Oliver Thomas

Best Voice Acting – TV/Media

Big City Greens – Disney TV Animation/Disney Channel Nominees: Marieve Herington

Bob’s Burgers – 20th Century FOX / Bento Box Entertainment Nominees: H. Jon Benjamin

Steven Universe – Cartoon Network Studios Nominees: Sarah Stiles

Tigtone – Titmouse, Inc., Babyhemyth Productions, Williams Street Nominees: Debi Derryberry

Tuca & Bertie – Tornante Productions, LLC for Netflix Nominees: Ali Wong

Best Voice Acting – Feature

Abominable – DreamWorks Animation / Pearl Studio Nominees: Tenzing Norgay Trainor

Frozen 2 – Walt Disney Animation Studios Nominees: Josh Gad

Invader Zim: Enter the Florpus – CJ Entertainment and Nickelodeon Animation Studios for Netflix Nominees: Richard Horvitz

The Secret Life of Pets 2 – Illumination Nominees: Jenny Slate

Toy Story 4 – Pixar Animation Studios Nominees: Tony Hale

Best Writing – TV/Media

Apple & Onion – Cartoon Network Studios Nominees: George Gendi, Michael Gendi, Deepak Sethi, Eric Acosta, Sean Szeles

BoJack Horseman – Tornante Productions, LLC for Netflix Nominees: Alison Tafel

Pinky Malinky – Nickelodeon Animation Studios for Netflix Nominees: Sheela Shrinivas, Aminder Dhaliwal, Rikke Asbjoern

Tuca & Bertie – Tornante Productions, LLC for Netflix Nominees: Shauna McGarry

Xavier Riddle and the Secret Museum – Brown Bag Film / 9 Story Media Group Nominees: Meghan Read

Best Writing – Feature

Frozen 2 – Walt Disney Animation Studios Nominees: Jennifer Lee

How to Train Your Dragon: The Hidden World – DreamWorks Animation Nominees: Dean DeBlois

I Lost My Body – Xilam for Netflix Nominees: Jérémy Clapin, Guillaume Laurant

Toy Story 4 – Pixar Animation Studios Nominees: Andrew Stanton, Stephany Folsom

Weathering With You – Toho Co., Ltd. / STORY Inc. / CoMix Wave Films Nominees: Makoto Shinkai, Makoto Shinkai

Best Editorial – TV/Media

Big Hero 6: The Series – Disney TV Animation/Disney Channel Nominees: Dao Le, Joe Molinari, Charles T. Jones, David Vasquez

DC Super Hero Girls – Warner Bros. Animation Nominees: Torien Blackwolf

Disney Mickey Mouse – Disney TV Animation/Disney Channel Nominees: Tony Molina

Green Eggs and Ham – Warner Bros. Animation for Netflix Nominees: Margaret Hou

Love, Death & Robots – Blur for Netflix Nominees: Bo Juhl, Stacy Auckland, Valerian Zamel

Best Editorial – Feature

How to Train Your Dragon: The Hidden World – DreamWorks Animation Nominees: John K. Carr, Mark Hester, Mary Blee

Klaus – Netflix Presents A Production of The Spa Studios and Atresmedia Cine Nominees: Pablo García Revert

Missing Link – LAIKA, LLC Nominees: Stephen Perkins

The Secret Life of Pets 2 – Illumination Nominees: Tiffany Hillkurtz

Toy Story 4 – Pixar Animation Studios Nominees: Axel Geddes, Torbin Xan Bullock, Greg Snyder

Awards: 2020 Annie – Nominations Best Feature Frozen 2 – Walt Disney Animation Studios How to Train Your Dragon: The Hidden World…

[maryroxburghetrust]

'Elizabeth (Bess) Throckmorton Raleigh' by June Davey

    Historian June Davey continues her series of essays exploring the fascinating women of West Horsley Place.

FAMILY BACKGROUND

Bess Throckmorton was born in 1565:  she was around 12 years younger than the great Sir Walter, whom she was to marry.  Bess was the daughter of the diplomat Sir Nicholas Throckmorton and Anne Carew. She had family links through both her parents to Henry VIII.  Nicholas was the cousin to Henry’s last wife, Katherine Parr.  Anne Carew’s father – another Nicholas – had been a close friend to Henry, but fell from favour and was executed in 1539.

The great influences in Bess’s life were her mother, and Arthur her elder brother, who paid to install Bess as Lady in Waiting in Queen Elisabeth I’s Chamber.  Sir Nicholas had left a scant inheritance and Bess received just £500, which should have been her dowry, but her mother loaned the money to Henry Hastings, Earl of Huntingdon.  Loans among courtiers were common practice at the time, and repayment often unreliable.  Bess learned to read and write, and she would certainly have approved of plans for phonetic spelling, as hers was to say the least, innovative.  It should be remembered that the standard of literacy for many women in Bess’s day was the same as for humblest levels of society. The Queen, of course, was a brilliant exception. But Bess had character: she was clever, honest, passionate and courageous.

BESS AT COURT

Her first introduction to court came on 3rdMarch, 1579, when Arthur wrote tersely in his diary: ‘My sister and I went to court.’ There was a hiccough in plans to gain her a position, when Francis Throckmorton was accused – rightly – of plotting with Mary Queen of Scots, and executed.  In the summer of 1582, Bess received an offer of marriage from one, Bassingbourne Gawdy,  a connection of Lord and Lady Darcy.  Bess clearly resisted the idea of marriage, and Anne Throckmorton  prevaricated.  She had other ambitions for Bess and regarded the court as the key to Bess’s future. Eventually Anne and Arthur’s efforts succeeded, and on 8thNovember, 1584, Bess was accepted as a Gentlewoman of the Privy Chamber, one of ten or twelve ladies in personal attendance to the Queen.  She was expected to embody virtues such as chastity, modesty and obedience, and absolute loyalty to the Queen.

Elizabeth I

DALLIANCE AND CONSEQUENCES

 At the court, there was entertainment in plenty: masques, plays, dancing and a plentiful allowance of food and ale!  Bess settled into her new life and then in 1587 her dear mother died, and this is about the time that the affair with Walter Raleigh, a favourite of the Queen began, and Bess became pregnant. Elizabeth jealously guarded the virtue of her ladies and equally jealously guarded her favourites!    It was bad enough to marry without the Queen’s consent, but for a maid-of-honour and a favourite captain of the guard to marry without consent was almost suicidal.  To make matters worse, instead of grovelling, the pair tried to brazen it out, with Bess back at court after losing her child and Raleigh planning his voyages. In July, 1592, Elizabeth found out that her ‘Water’- as he was known – had married behind her back, and to the Tower the couple went. Walter had been shamed, but not ruined: he still had Durham House,  Sherborne  Castle, and benefited from his monopolies.  Then, in the September of that year, one of Raleigh’s fleet, the ‘Madre de dios’ arrived in Dartmouth, laden with spoils, and he was released from the Tower to prevent looting,  and to  apportion the riches. By Christmas, Elizabeth had relented and after a spell at Sherborne, Walter was back in good grace with the Queen, and he remained close to her for the rest of her reign.

BESS, LADY  RALEIGH

Bess never apologised after discovery and banishment: she was never allowed to return to court.  But while at Sherborne, where her second child, Walter, was borne, she consolidated her position as Lady Raleigh, enjoying the prestige of being mistress of Sherborne and of Durham House in Town. The 1590s –  those years of exile  – when Sir Walter was organising his Guiana trip, were a decade of relentless rains and atrocious harvests.  Bess, as mistress of Sherborne would have been involved in charitable works to ease the lot of the many less fortunate in the neighbourhood.  She organised the education of young Wat – as he was always called –   also of her nieces.  There were many visitors to both houses.  Durham House had always been a centre of intellectual and philosophical discussions, and Bess became a close friend of Ben Johnson and of the magnificent John Donne, who was her relative by marriage.

Sir Walter Raleigh

SIR WALTER’S HEAD

During the years after Queen Elizabeth’s death, when James I succeeded to the throne, and  Walter was in the Tower, Beth was his lynchpin.  Their love for each other never wavered. When she was excluded from the Tower, her coach sweeping up to the entrance became a familiar sight. She pleaded, not only for clemency for her husband, but also for his sequestered estates, fighting like a tigress for her children’s rights.  Sir Walter was executed at Whitehall, on 29thOctober, 1618, and his body  laid to rest at St. Margaret’s, Westminster.  His head was embalmed and Bess kept it beside her in a red leather bag. During her widowhood she proved herself an astute business woman.

WEST  HORSLEY PLACE

Bess saw her son Carew go from strength to strength, politically and socially. He married a wealthy widow, Lady Philippa Ashley, and purchased a manor in East Horsley near the place where Horsley Towers now stands.  He also owned Lollesworth Farm in West Horsley. In 1642, his uncle Sir Nicholas Throckmorton left him the house that is now West Horsley Place, and Carew spent £2,000 on the house, and may have been responsible for rendering the original timber-framed exterior with warm russet brick.  According to Raleigh Treveleyan – and other sources – Bess spent much of her remaining life with her son at West Horsley Place, keeping Sir Walter’s head, in the red leather bag, in a cupboard near her bed.    Most historians give the date of her death as 1647. Sir Walter’s head remained with Carew at West Horsley Place, where he and Philippa raised their family.  There were two sons, Walter and Carew.  In 1660, when Charles II was restored to the throne, he offered a knighthood to Carew, which he declined, asking that it should be given to his eldest son, Walter.  Sadly, in 1660, this Sir Walter died, together with his baby daughter Henrietta, and his younger brother Carew, probably of a plague related illness. St. Mary’s Church Register for 1660 records the death as follows:

         Sir Walter Ralegh Knt. deceased the Fifteenth day of August

            Carew Ralegh deceased the Seventh of September

                  Henereta departed the Twentieth September.

The burial of the bodies of his sons and baby grand-daughter was the occasion for Carew to finally bury his famous father’s head. He and Philippa were heartbroken, and in 1664, they sold West Horsley Place to Sir Edward Nicholas, Secretary to Charles I and Charles II, and went to live in their house at St. Martin’s Lane, London. Carew died in 1666: according to St. Margaret’s, Westminster Parish Register, he was ‘kilt,’ and is buried with his father’s body there.  In the great three volume  History and Antiquities of the County of Surrey, by Manning and Bray, published between 1804 and 1814, it is recorded that in 1703, the Raleigh grave was opened: William Nicholas was burying his mother Penelope, who died in the Great Storm in November of that year. He writes: ‘I do verily believe that the head I saw dug up at West Horsley in 1703 from the side where a Carew Ralegh was buried was that of Sir Walter Ralegh, there being no bones of a body to it, nor any room for any, the rest of that side of the grave being firm chalk.’

Recent Biographers of Sir Walter refer to the burial of the head in St. Mary’s, West Horsley.  The registry of St. Margaret’s, Westminster, where his body reposes, have recently contacted the Church Office to ask how St. Mary’s, as guardian of the great man’s head, propose to honour the 400thanniversary of Sir Walter’s  death, in October, 2018.

Note:  The family name was spelled in different ways by Sir Walter himself:  there was no fixed spelling at that time.  His usual version was ‘Ralegh,’ and biographers frequently use this.

  Bibliography

Beer, Ann, Bess: The Life of Lady Raleigh, London: Constable, 2004

Dale, Richard, Who Killed Sir Walter Ralegh?, Stroud: The History Press, 2011

Lacey, Robert, Sir Walter Ralegh, New York: Atheneum, 1973

Latham Agnes  & Joyce Youings, The Letters of Sir Walter Ralegh, University of Exeter Press, 1999

Manning, Rev. Owen & William Bray, The History and Antiquities of the County  of  Surrey, London: Nicholls & Son, 1804-1814, p. 4.

Nicholls Mark & Penry Williams, Sir Walter Raleigh: In Life and Legend, London: Continuum International Ltd., 2011

Trevelyan, Raleigh, Sir Walter Raleigh, London: Faber & Faber, 2010

  ‘Elizabeth (Bess) Throckmorton Raleigh’ by June Davey was originally published on West Horsley Place