#Edward Baker-Duly | Explore Tumblr Posts and Blogs

mysticalhearth · 4 years

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The King and I - Brazil - 2010 (Pro-Shot's master) FORMAT: MP4 (HD) CAST: Tuca Andrada (Rei), Cláudia Netto (Anna Leonowens), Luciana Bueno (Lady Thiang), Bianca Tadini (Tumptim) The King and I - North Shore Music Theatre - September-October, 2011 (Pro-Shot's master) FORMAT: VOB (with smalls) (SD) CAST: Kate Fisher (Anna Leonowens), Lorenzo Lamas (King of Siam), Lisa Yuen (Lady Thiang), Manna Nichols (Tuptim), Joshua Dela Cruz (Lun Tha), Ron Wisniski (Sir Edward Ramsey) NOTES: Proshot. Performed in the round, one camera on a tripod and sound patched in from the soundboard. The King and I - West End Revival - November 29, 2018 (Pro-Shot's master) FORMAT: MP4 (HD) CAST: Kelli O’Hara (Anna Leonowens), Ken Watanabe (King of Siam), Ruthie Ann Miles (Lady Thiang), Na-Young Jeon (Tuptim), Dean John-Wilson (Lun Tha), Edward Baker-Duly (Sir Edward Ramsey), Jon Chew (Prince Chulalongkorn), Edward Baker-Duly (Captain Orton), Billy Marlow (Louis Leonowens), Takao Osawa (Kralahome), William Michael Lee (Phra Alack) NOTES: Ruthie uses a walking stick throughout to aid her recovery from a previous car accident and loss of her two children. She gives an amazing performance. King Kong - Broadway - August 10, 2019 FORMAT: MP4 (HD) CAST: Christiani Pitts (Ann Darrow), Eric William Morris (Carl Denham), Erik Lochtefeld (Lumpy) NOTES: The full show, recorded from the rear orchestra on a phone. Most of the video is the August 10th recording but occasionally some promotional footage and the February 9th video are edited in to provide other views. The recording starts off with a lot of wandering, shakiness, and washout but gets better somewhat better as it goes on. Still not as good as an actual video filmed with a camera, but it exists. 1920x1080p, 4.29 GB. King Kong - Broadway - October, 2018 (Preview) (House-Cam's master) FORMAT: MP4 (SD) CAST: Christiani Pitts (Ann Darrow), Eric William Morris (Carl Denham), Erik Lochtefeld (Lumpy), Harley Jay (Barman), Rory Donovan (Captain Engelhorn/Chief of Police), Jon Hoche (Voice of Kong) NOTES: Full stage shot with clear audio direct from soundboard. Kinky Boots - Broadway - March 15, 2013 (Preview) (Lanelle's master) FORMAT: VOB (with smalls) (SD) CAST: Stark Sands (Charlie Price), Billy Porter (Lola), Annaleigh Ashford (Lauren), Celina Carvajal (Nicola), Daniel Stewart Sherman (Don), Marcus Neville (George), Jonah Halperin (s/b Young Charlie), Marquise Neal (Young Lola) NOTES: Fun show with a pertinent (but not obtrusive) message, Billy Porter is just amazing. This is somewhat more obstructed than other shows because the person in front was leaning forward and moving a lot, so there's a head in some of the scenes. Some shakiness and wandering in between, particularly at the beginning, but otherwise a good video with nice closeups. Complete show including curtain call. A- Kinky Boots - Broadway - July 17, 2018 (NYCG8R's master) FORMAT: VOB (with smalls) (SD) CAST: David Cook (Charlie Price), Stephane Duret (s/b Lola), Carrie St Louis (Lauren), Caroline Bowman (Nicola), Daniel Stewart Sherman (Don), Marcus Neville (George), Corey Mach (Harry), Eugene Barry-Hill (Simon Sr.), Stephen Berger (Mr. Price), Adinah Alexander (Milan Stage Manager), Cooper Lantz (Young Charlie), Jesús Del Orden (Young Lola) NOTES: Quite a few latecomers that walk in front but nothing too distracting; otherwise very well filmed HD video with clear picture and sound throughout; great video A Kinky Boots - Broadway - May-August, 2017 FORMAT: MP4 (HD) CAST: Brendon Urie (Charlie Price), J Harrison Ghee (Lola), Taylor Louderman (Lauren) NOTES: Starts at Sex is in the Heel Kinky Boots - First National Tour - April 17, 2016 (SJ Bernly's master) FORMAT: VOB (with smalls) (SD) CAST: Adam Kaplan (Charlie Price), J Harrison Ghee (Lola), Tiffany Engen (Lauren), Charissa Hogeland (Nicola), Aaron Walpole (Don), Jim J Bullock (George), Josh Tolle (Harry), Shawna M Hamic (Trish), Horace V Rogers (Simon Sr.), Tom Souhrada (Mr. Price), Zach Adkins (Richard Bailey), Patty Lohr (Pat), Annie Edgerton (Milan Stage Manager), Aidan Passaro (Young Charlie), Jomil Elijah Robinson (Young Lola) Kinky Boots - Netherlands Tour - October 27, 2019 FORMAT: MOV (HD) CAST: Jonathan Demoor (Charlie Price), Naidjim Severina (Lola), Vajèn van den Bosch (Lauren), Linda Verstraten (Nicola), Dennis Willekens (Don), Paul Donkers (George), Jeroen Phaff (Mr. Price) Kinky Boots - Pre-Broadway/Chicago - November 4, 2012 (Closing Night) (SunsetBlvd79's master) FORMAT: MP4 (HD) CAST: Stark Sands (Charlie Price), Billy Porter (Lola), Annaleigh Ashford (Lauren), Celina Carvajal (Nicola), Daniel Stewart Sherman (Don), Marcus Neville (George), Andy Kelso (Harry), Jennifer Perry (Trish), Tory Ross (Pat) NOTES: Another beautiful HD capture of the last performance in Chicago before Broadway, where it would go on to win the 2013 Tony. This performance has many changes from the other Chicago Dvd of the first performance. Includes the new song written towards the end of the Chicago run and many line changes. Also includes curtain speech by Stark! A+ Kinky Boots - UK Tour - December 26, 2018 (Matinee) (shoeroom's master) FORMAT: MOV (HD) CAST: Joshua St Clair (u/s Charlie Price), Kayi Ushe (Lola), Paula Lane (Lauren), Helen Ternent (Nicola), Demitri Lampra (Don), Adam Price (George), Daniel Conway (u/s Harry), Niki Evans (Trish), Fred Smiley (Simon Sr.), Andy Watkins (Mr. Price), George Grayson (u/s Richard Bailey), Lizzie Bea (Pat), Mary Fox (Maggie), Shaun Dalton (Hooch), Alfie Parker (Mutt), Portia Harry (Gemma Louise), Scarlet Gabriel (Milan Stage Manager), John Dempsey (Referee), Connor Collins (Angel #1), Toyan Thomas-Brown (Angel #2), John Dempsey (Angel #3), Chileshé Mondelle (Angel #4), Joshua Lovell (Angel #5), Damon Gould (Angel #6) Kinky Boots - UK Tour - September, 2018 (hitmewithyourbethshot's master) FORMAT: MP4 (HD) CAST: Joel Harper-Jackson (Charlie Price), Callum Francis (Lola), Paula Lane (Lauren), Helen Ternent (Nicola), Demitri Lampra (Don), Adam Price (George), Joshua St Clair (Harry), Niki Evans (Trish), Fred Smiley (Simon Sr.), Andy Watkins (Mr. Price), Daniel Conway (Richard Bailey), Lizzie Bea (Pat), Scarlet Gabriel (Milan Stage Manager), Connor Collins (Angel #1), John Dempsey (Angel #2), Damon Gould (Angel #3), Joshua Lovell (Angel #4), Chileshé Mondelle (Angel #5), Toyan Thomas-Brown (Angel #6) Kinky Boots - West End - November 27, 2018 (Pro-Shot's master) FORMAT: MP4 (HD) CAST: Killian Donnelly (Charlie Price), Matt Henry (Lola), Natalie McQueen (Lauren), Cordelia Farnworth (Nicola), Sean Needham (Don), Antony Reed (George), Jordan Fox (Harry), Anna Stolli (Trish), Robert Grose (Simon Sr.), Graham Kent (Mr. Price), Jonathan Carlton (Richard Bailey), Rosie Glossop (Pat), Emma Odell (Milan Stage Manager), Charlie Underhill (Young Charlie), Temba Mliswa (Young Lola), Jak Allen-Anderson (Angel #1), Jed Berry (Angel #2), Louis Clarke-Clare (Angel #3), Daniel Downing (Angel #4), Jemal Felix (Angel #5), Jon Reynolds (Angel #6), Abbey Addams, Ben Jennings, Ben Larcombe, Christopher Parkinson, David Haydn, Fred Wilcox, Hannah Price, Jude Muir, Kayleb Rene-gray, Keith Higham, Momar Diagne, Olivia Winterflood, Rio Lewis, Robert Jones, Samson Wakayu, Suzie McAdam, Tom Scanlon NOTES: Pro-shot. Filmed live on stage at the Adelphi Theatre (London, England) and distributed commercially. Kiss Me, Kate - British Television Production - April 21, 1964 FORMAT: VOB (with smalls) (SD) CAST: Patricia Morison (Lilli Vanessi / Katharine), Howard Keel (Fred Graham / Petruchio), Isabelle Lucas (Hattie), Millicent Martin (Lois Lane / Bianca), Irving Davies (Bill Calhoun / Lucentio), Eric Barker (Harrison Howell), Danny Green (Gangster / First Man), Bill Owen (Gangster / Second Man) NOTES: This version was rewritten and abbreviated to fit within its 95-minute time slot. A little on the dark side, in black and white with a slight blue tinge, has producer’s counter numbers hard-coded on the screen in the upper third. This version of the show was produced for the launch of a new station in the UK. After months of preparing the launch of the new television station—with it’s brand-new 625 line resolution (until then UK TV’s had a resolution of 405 lines)—the night turned out to be a disaster. 50 minutes before the launch, a fire broke out at a local power station, cutting power to most of London but not the television station. They started the evening’s news show which was to be followed by this broadcast, but it soon became clear that there was no audience, and after a few minutes, the schedule was abandoned. The production was instead shown the next day. The date that’s superimposed on the video is April 20, 1964—the originally scheduled night. It is unclear if this is a fi Kiss Me, Kate - Third Broadway Revival - March, 2019 (NYCG8R's master) FORMAT: VOB (with smalls) (SD) CAST: Kelli O’Hara (Lilli Vanessi / Katharine), Will Chase (Fred Graham / Petruchio), Adrienne Walker (Hattie), James T Lane (Paul), Stephanie Styles (Lois Lane / Bianca), Corbin Bleu (Bill Calhoun / Lucentio), Mel Johnson Jr (Harry Trevor / Baptista), Terence Archie (Harrison Howell), John Pankow (Gangster / First Man), Lance Coadie Williams (Gangster / Second Man) Kruimeltje de musical - The Netherlands - 2012 (Pro-Shot's master) FORMAT: MP4 (HD) CAST: Joes Brauers (Kruimeltje)

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songsofprotestpeacerevolution · 4 years

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President Trump continues to use inflammatory language as many Americans protest the unlawful death of George Floyd and the unjust treatment of black Americans by our justice system. As the protests have grown, so has the intensity of the president’s rhetoric. He has gone so far as to make a shocking promise: to send active-duty members of the U.S. military to “dominate” protesters in cities throughout the country — with or without the consent of local mayors or state governors. On Monday, the president previewed his approach on the streets of Washington. He had 1,600 troops from around the country transported to the D.C. area, and placed them on alert, as an unnamed Pentagon official put it, “to ensure faster employment if necessary.” As part of the show of force that Trump demanded, military helicopters made low-level passes over peaceful protesters — a military tactic sometimes used to disperse enemy combatants — scattering debris and broken glass among the crowd. He also had a force, including members of the National Guard and federal officers, that used flash-bang grenades, pepper spray and, according to eyewitness accounts, rubber bullets to drive lawful protesters, as well as members of the media and clergy, away from the historic St. John’s Episcopal Church. All so he could hold a politically motivated photo op there with members of his team, including, inappropriately, Defense Secretary Mark T. Esper and Gen. Mark A. Milley, the chairman of the Joint Chiefs of Staff. Looting and violence are unacceptable acts, and perpetrators should be arrested and duly tried under the law. But as Monday’s actions near the White House demonstrated, those committing such acts are largely on the margins of the vast majority of predominantly peaceful protests. While several past presidents have called on our armed services to provide additional aid to law enforcement in times of national crisis — among them Ulysses S. Grant, Dwight D. Eisenhower, John F. Kennedy and Lyndon B. Johnson — these presidents used the military to protect the rights of Americans, not to violate them. As former leaders in the Defense Department — civilian and military, Republican, Democrat and independent — we all took an oath upon assuming office “to support and defend the Constitution of the United States,” as did the president and all members of the military, a fact that Gen. Milley pointed out in a recent memorandum to members of the armed forces. We are alarmed at how the president is betraying this oath by threatening to order members of the U.S. military to violate the rights of their fellow Americans. President Trump has given governors a stark choice: either end the protests that continue to demand equal justice under our laws, or expect that he will send active-duty military units into their states. While the Insurrection Act gives the president the legal authority to do so, this authority has been invoked only in the most extreme conditions when state or local authorities were overwhelmed and were unable to safeguard the rule of law. Historically, as Secretary Esper has pointed out, it has rightly been seen as a tool of last resort. Beyond being unnecessary, using our military to quell protests across the country would also be unwise. This is not the mission our armed forces signed up for: They signed up to fight our nation’s enemies and to secure — not infringe upon — the rights and freedoms of their fellow Americans. In addition, putting our servicemen and women in the middle of politically charged domestic unrest risks undermining the apolitical nature of the military that is so essential to our democracy. It also risks diminishing Americans’ trust in our military — and thus America’s security — for years to come. As defense leaders who share a deep commitment to the Constitution, to freedom and justice for all Americans, and to the extraordinary men and women who volunteer to serve and protect our nation, we call on the president to immediately end his plans to send active-duty military personnel into cities as agents of law enforcement, or to employ them or any another military or police forces in ways that undermine the constitutional rights of Americans. The members of our military are always ready to serve in our nation’s defense. But they must never be used to violate the rights of those they are sworn to protect.

89 former Defense officials: The military must never be used to violate constitutional rights

Leon E. Panetta, former defense secretary

Chuck Hagel, former defense secretary

Ashton B. Carter, former defense secretary

William S. Cohen, former defense secretary

Sasha Baker, former deputy chief of staff to the defense secretary

Donna Barbisch, retired major general in the U.S. Army

Jeremy Bash, chief of staff to the defense secretary

Jeffrey P. Bialos, former deputy under secretary of defense for industrial affairs

Susanna V. Blume, former deputy chief of staff to the deputy defense secretary

Ian Brzezinski, former deputy assistant defense secretary for Europe and NATO

Gabe Camarillo, former assistant secretary of the Air Force

Kurt M. Campbell, former deputy assistant defense secretary for Asia and the Pacific

Michael Carpenter, former deputy assistant defense secretary for Russia, Ukraine and Eurasia

Rebecca Bill Chavez, former deputy assistant defense secretary for Western hemisphere affairs

Derek Chollet, former assistant defense secretary for international security affairs

Dan Christman, retired lieutenant general in the U.S. Army and former assistant to the chairman of the Joint Chiefs of Staff

James Clapper, former under secretary of defense for intelligence and director of national intelligence

Eliot A. Cohen, former member of planning staff for the defense department and former member of the Defense Policy Board

Erin Conaton, former under secretary of defense for personnel and readiness

John Conger, former principal deputy under secretary of defense

Peter S. Cooke, retired major general of the U.S. Army Reserve

Richard Danzig, former secretary of the U.S. Navy

Janine Davidson, former under secretary of the U.S. Navy

Robert L. Deitz, former general counsel at the National Security Agency

Abraham M. Denmark, former deputy assistant defense secretary for East Asia

Michael B. Donley, former secretary of the U.S. Air Force

John W. Douglass, retired brigadier general in the U.S. Air Force and former assistant secretary of the U.S. Navy

Raymond F. DuBois, former acting under secretary of the U.S. Army

Eric Edelman, former under secretary of defense for policy

Eric Fanning, former secretary of the U.S. Army

Evelyn N. Farkas, former deputy assistant defense secretary for Russia, Ukraine and Eurasia

Michèle A. Flournoy, former under secretary of defense for policy

Nelson M. Ford, former under secretary of the U.S. Army

Alice Friend, former principal director for African affairs in the office of the under defense secretary for policy

John A. Gans Jr., former speechwriter for the defense secretary

Sherri Goodman, former deputy under secretary of defense for environmental security

André Gudger, former deputy assistant defense secretary for manufacturing and industrial base policy

Robert Hale, former under secretary of defense and Defense Department comptroller

Michael V. Hayden, retired general in the U.S. Air Force and former director of the National Security Agency and CIA

Mark Hertling, retired lieutenant general in the U.S. Army and former commanding general of U.S. Army Europe

Kathleen H. Hicks, former principal deputy under secretary of defense for policy

Deborah Lee James, former secretary of the U.S. Air Force

John P. Jumper, retired general of the U.S. Air Force and former chief of staff of the Air Force

Colin H. Kahl, former deputy assistant defense secretary for Middle East policy

Mara E. Karlin, former deputy assistant defense secretary for strategy and force development

Frank Kendall, former under secretary of defense for acquisition, technology and logistics

Susan Koch, former deputy assistant defense secretary for threat-reduction policy

Ken Krieg, former under secretary of defense for acquisition, technology and logistics

J. William Leonard, former deputy assistant defense secretary for security and information operations

Steven J. Lepper, retired major general of the U.S. Air Force

George Little, former Pentagon press secretary

William J. Lynn III, former deputy defense secretary

Ray Mabus, former secretary of the U.S. Navy and former governor of Mississippi

Kelly Magsamen, former principal deputy assistant defense secretary for Asian and Pacific security affairs

Carlos E. Martinez, retired brigadier general of the U.S. Air Force Reserve

Michael McCord, former under secretary of defense and Defense Department comptroller

Chris Mellon, former deputy assistant defense secretary for intelligence

James N. Miller, former under secretary of defense for policy

Edward T. Morehouse Jr., former principal deputy assistant defense secretary and former acting assistant defense secretary for operational energy plans and programs

Jamie Morin, former director of cost assessment and program evaluation at the Defense Department and former acting under secretary of the U.S. Air Force

Jennifer M. O’Connor, former general counsel of the Defense Department

Sean O’Keefe, former secretary of the U.S. Navy

Dave Oliver, former principal deputy under secretary of defense for acquisition, technology and logistics

Robert B. Pirie, former under secretary of the U.S. Navy

John Plumb, former acting deputy assistant defense secretary for space policy

Eric Rosenbach, former assistant defense secretary for homeland defense and global security

Deborah Rosenblum, former acting deputy assistant defense secretary for counternarcotics

Todd Rosenblum, acting assistant defense secretary for homeland defense and Americas’ security affairs

Tommy Ross, former deputy assistant defense secretary for security cooperation

Henry J. Schweiter, former deputy assistant defense secretary

David B. Shear, former assistant defense secretary for Asian and Pacific security affairs

Amy E. Searight, former deputy assistant defense secretary for South and Southeast Asia

Vikram J. Singh, former deputy assistant defense secretary for South and Southeast Asia

Julianne Smith, former deputy national security adviser to the vice president and former principal director for Europe and NATO policy

Paula Thornhill, retired brigadier general of the Air Force and former principal director for Near Eastern and South Asian affairs

Jim Townsend, former deputy assistant defense secretary for Europe and NATO policy

Sandy Vershbow, former assistant defense secretary for international security affairs

Michael Vickers, former under secretary of defense for intelligence

Celeste Wallander, former deputy assistant defense secretary for Russia, Ukraine and Eurasia

Andrew Weber, former assistant defense secretary for nuclear, chemical and biological defense programs

William F. Wechsler, former deputy assistant defense secretary for special operations and combating terrorism

Doug Wilson, former assistant defense secretary for public affairs

Anne A. Witkowsky, former deputy assistant defense secretary for stability and humanitarian affairs

Douglas Wise, former deputy director of the Defense Intelligence Agency

Daniel P. Woodward, retired brigadier general of the U.S. Air Force

Margaret H. Woodward, retired major general of the U.S. Air Force

Carl Woog, former deputy assistant to the defense secretary for communications

Robert O. Work, former deputy defense secretary

Dov S. Zakheim, former under secretary of defense and Defense Department comptroller

https://www.washingtonpost.com/opinions/2020/06/05/89-former-defense-officials-military-must-never-be-used-violate-constitutional-rights/

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historytaker · 4 years

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King Versus King

Within the first quarter of the 14th century, it would be forgivable to let the king of England seem profoundly on top of the world. The setbacks of his father, Edward II, were crudely mended by his mother, Isabella. England was swelling with military, political, and thereby economic success; So much so that the population had inflated to 4 million. Equally important to the crown, Edward II had a legitimate claim to the French crown. The Capetian dynasty was a long standing rival in European politics with the Plantagenets. The Plantagenets out-bred and out-wed the Capetians, ultimately. What’s more, the long time enemy of the English, the Scottish, had little affinity for their king, David II. To add to the seemingly charmed hand of state, when David II was struck in the head with an arrow and duly kidnapped by the English, the Scottish refused to pay a king’s ransom and had all but formally announced fealty to Edward II. This Plantagenet wore the crown of three kingdoms and ushered in an era of chivalry, fantasy, success, opulence and unrequited love for the dynasty overseeing an economic power that had heretofore been unprecedented in Christendom, save only for the early successes of Eleanor of Aquitaine and Henry II. The king was experiencing the apogee of an age in which the old order was in solid control of the comings and goings of the world. Bishops preached in Latin. Indulgences could be paid. Wealth buffered concerns on Earth and evidently in Heaven. For, one could compel a monastery to pray for your soul with such fervency and continuity that one’s stay in purgatory would be short, and Heaven’s bliss obtained in short order. Wealth could be and was hoarded. The lord of the manor had no reason to ever assume a change in the order.

So sustained was the monarchy in England, Edward II felt it not at all unreasonable to fashion himself a modern Arthur at Camelot. His was a kingdom of gentlemen, of knights, of righteous conviction and marshal prowess. He started the Order of the Garter and created a round table to emulate the notion that the king was first among equals. Indeed, the top of the mountain granted a glorious view. Surprisingly, the view did not grant observation of a great encroacher, indeed a devastator of many kingdoms. In fact, this was a king in a hurry; one that intended on conquering more than England, but the world. His march may have started in the steppes of central Asia, but by 1348, some 20 years after taking the throne, Edward II England was besieged by a rival king, King Death.

The army deployed by King Death was, of course, the plague. It is generally believed that it was transmitted by rodents carrying bubonic infested fleas. The Mongols took their dead infested and lunged them into the city walls of the Black Sea city Caffa. From Caffa and the Genoese merchants who ported there, the disease spread. The contagion was swift. At first, and with devastating swiftness, the cities were eviscerated. The fecal matter of the fleas could be inhaled or the bites from the bugs were death sentences. If the diseases spread to the lungs, the death would take 4 agonizing days of fitful coughs. The blood-laced sputum surely spread to those near, and in its turn spread to whomever inhaled it.

What could Edward III do in the face of such rumors of malady in his realm? At first, not much. There were murmurs of a pestilence in the world by sea-fairing traders. Their contacts in Italy described the condition, its velocity of transmission, and naturally assumptions on what devil-worshiping cult had summoned it. There were even numbers suggesting the dead of Venice reached 100,000. Even so, it would not be until the king’s daughter succumbed to the illness in her turn. The Infante Pedro of Castile was to marry Edward’s daughter, Joan. But by September 2, news had reached him that she was dead from the plague. And in keeping with the stoic nature of the king, he is reported to take the news by first saying, “It is as it is.” Naturally, in a rare moment of looking behind the curtain, we can prize from his correspondence with Alfonso XI a father in morning. He laments with a piety mixed with a familiar grief that Joan had “been sent ahead to heaven to reign among the choirs of virgins where she can intercede for our own offences before God himself.” He is quick to remark that Joan had been his dearest daughter and whom “we loved best of all for all her virtues demanded.” To underscore the pang sorrow the king was enduring and to put a point to how bereft he was of a solution he states “No fellow human being could be surprised if we were inwardly desolated by the sting of this bitter grief for are human too.” Among kings, it is incredibly rare to hear such claims to human emotions.

So what does a king do when wrecked from the inside over a new foe as this? He reaches out to the only people who can have answers for pestilence. Naturally this meant the Archbishop of Canterbury. He needed prayers especially in the southern regions of the kingdom where this seem to be emanating from. Alas, the plague caught him too. There was no Archbishop of Canterbury to pray for the people of Kent. And what a perturbation it must have been when men on horseback would come into the city or village speaking of apocalyptic devastations only to then find themselves one of the dozens, or hundreds, or thousands destined for the mass graves.

Perhaps most jarring to the people, rich and poor, man and woman, young and old, was the remarkable speed at which it worked. People pieced together the transmission method soon enough that heart wrenching moments of furtive relationships occurred. Parents abandoning children, husbands abandoning wives, all watching from a distance the quick death but slow agony of those they loved. A welsh poet Jeuan Gerthin explained what we would have noticed among those struck down with the disease, “ Woe is me of the shilling in the armpit; seething terrible wherever it may come, a head that gives pain and causes a loud cry, a burden carried beneath the arms, a painful angry knob, a white lump. It is of the form of an apple, like the head of an onion; a small boil which spares no one. Great is its seething like a burning cinder, a grievous thing of ashy colour…an ugly eruption. They are similar to the seeds of the black peas, broken fragments of brittle sea coal…a grievous ornament…the peelings of the cockle-weed, a black plague like halfpence, like berries.”

All told, by the end of the plague, nearly half of England would be dead and buried hastily in graves. Recent excavations from the 1990’s shown just how fast and chaotic the scene must have been. Traditionally the buried were oriented toward Jerusalem to rise from their graves upon the return of Christ triumphant. The graves revealed a final statement among the buried, jaws slacked open, limbs pointed jaggedly, a frozen protestation of the inhumanity. As the plague meandered through the realm, it upended more than health of very much alive people from just 4 days prior, it upended the conventions and structures of society. A Franciscan monk in Ireland, John Clynn noted with a sobering view to his own reality: “ Seeing these many ills and that the whole world is encompassed by evil, waiting among the dead for death to come, I have committed to writing what I have truly heard …and so that the writing does not perish with the writer or the work fail with the workman I leave parchment for continuing it in case anyone should be alive in the future.” With the all too familiar tone of understatement in British writing, it followed with a new hand, “Here, it seems, the author died.”

Who do the people go to if the king cannot save them? Who do they direct their frustration and hate to if the benevolent God in heaven is not manifesting through the sermons of the priest? How do people receive Christ for that matter now that there are no more priest to speak on their behalf to God? There were no bakers to bake bread, no physics to make med, no priest to receive the dead. Out of the uncertainty of the moment, truly inspired homespun remedies made the rounds. Whether by trial and error or willing a remedy, one potion is passed down to us by a herbalist; giving us a glimpse at the heavy ask but thoughtful response to what was by then considered a disease due to miasma or noxious air. It logically implies then that good smelling things were a kind of remedy. “If it be a man take five cups of rue, and if it be a woman leave out the rue, five little blades of columbine, a great quantity of marigold flowers, an egg, fresh laid, and make a hole in one end and blow out all that is within, and lay it to the fire and roast it till ground to powder but do not burn it, and take a good quantity of treacle and brew all these herbs with good ale but do not strain them – and make the sick drink it for three evenings and mornings. If they hold it in their stomach, they shall have life.”

The booming 4 million population at the outset of the plague were still 90% agrarian. Among those who worked the land, few actually owned their parcel. And increasingly the population was fighting for a smaller and smaller share of land to fashion subsistence for themselves and their families. The plague, in some respects served as a pressure valve. But the correction was too sudden to accommodate the economic structure of England.

The homes of the people, largely field laborers, lived in modest lime-washed structures made of wood felled from the local forest, with dirt floors. To add to the ambiance of the abode, the owners would have strewn loose straw on the ground mostly to collect the refuse of the fields and manure on their feet. The toiling masses did not have much to begin with. The world around them was hard enough before the plague, but with the plague came a psychological and physical damage that could scarcely be comprehended. Whole villages died. Naturally, the economy collapsed. Out of this collapse came the evolution of manorial economics to cash economics. It would no longer due for the workers to simply work for a subsistence and get whatever graces the lord granted. Work needed to be done, the obligations of the lord still needed to be met, but he now had a shortage in labor. His laborers were demanding, with a level of self awareness scarcely granted to them, that the new economic reality was on the worker’s side now.

Out of the plague did spur an opportunity for toiling folk to rise out of poverties oblivion. It was not fast, nor necessarily in one life-time. Sometimes it took generations, but generations as opposed to never at all, the working poor did have a chance. And it was this seeming conspiracy of the cosmos to upend all the structures that held the people together, their faith in the government, their financial inability to resist the rules or rulers, the unquestioning certainty on matters of God, death, hell and heaven by the priesthood, all went out the window. From the necessity of laypeople having to fill roles that were utterly foreign to their station came a new sense of capability to people who never otherwise would have ventured to change. Unwritten rules governing the village went to the wayside as power was exercised often by those who were in a position to exploit it. Meanwhile, Edward III was aging and his son and heir apparent, Edward the Black Prince, died leaving the succession in untenable uncertainty.

Inevitably the old king died and that left government in the hands of a 10 year old, Richard II. Grant it, everyone that was anyone knew that power ultimately laid in the hands of John of Gaunt, Richard’s uncle and protector. In fact, you might compare John of Gaunt to any of our modern day monopolist or business giants like Jeff Bezos. His wealth and holdings and influence could rival a king’s and in many cases did. Even so, the Lancaster stayed behind the scenes and guided the young Plantagenet through his early years. Richard took to the role of king rather quickly, it seemed. His vows and all the mystique surrounding the trappings of monarchy went to his head. In the early years of his boyhood, perhaps with the structure of fixers behind the scenes, it proved useful and life saving. In time it would be his undoing. Nonetheless, the boy regent was pitted against one of the biggest moments in his career when, at last, a popular uprising threatened to upend government.

If, as John Wycliffe supposed, people could find Christ in their own way free from the needs of the priesthood, this supposition unfettered the people from strict forms of social control or engineering. For as it was, finding Christ and following him meant a steady hand towards an egalitarian model. What concessions were made in the in-between years of the start of the plague and Richard’s reign were in-part at risk by the policies enacted by John of Gaunt. The toiling folk had definitively climbed the social ladder into the ranks of yeomen. They were solidly middle class, to borrow a later colloquialism. By their estimation the government was keeping them suppressed and squeezing them for revenues they earned no thanks to the laxed reactions of government. So it was no surprise that what began first as tax dodging by the villagers by shrinking into the forest soon bloomed into open hostility at the tax collectors or strongmen the king or lord would send. The usual deferential English country yokels were becoming intransigent. Dodging taxes soon became the least of it. The village leaders started violent reactions in the form of collecting the heads of those attempting to collect dues. The so-called Peasants revolt began this way. Not with a written manifesto, but with the gumption of survivors, social climbers, and increasingly self-indoctrinated Christians who took for themselves what bits they could of the point of Christ.

The leaders, in part self ascribed and in others acclaimed to, were primarily Watt Tyler and John Ball. Who was Watt Tyler? Tyler was a charismatic man who was imprisoned for not having the money to buy his manumission. In the New Jerusalem being created in real-time, who could be a better general for this lot of revolters in the service of God and King Richard? The imprisoned Watt Tyler. John Ball for his part understood the egalitarian nature of Christ message. Our riches were not for this world but for our home in heaven. It followed then that the ostentatious life of the bishops was something to disdain and use as proof that these were not shepherds of men for Christ, but shepherds of evil and wickedness for earthly possessions. John Ball was the only bishop the people would need. He was one of them and would remain so. The movement was not to overthrow the king. Instead, with a fatal sense of deference for power and monarchy, the movement sought to save the king from his uncle and all bad advisors surrounding him. They, naturally, would save the king and advise him.

The conflagration congregation indeed set fire to Gaunt’s holdings. Richard beheld a terrible site. The skyline of London was ember red in the evening the group made it to the city gates. The leverage was on the side of the “peasants,” but they fully went the whole way. To his credit, Richard agrees at the age of 14 to ride out to meet them. Tyler asks and evidently receives in word the concessions of ostensibly a new kingdom with a Magna Carta written and affirmed for the common people. The overreaching by such low born and the ability to get a king to capitulate was evidently enough to drive one of the king’s retainers mad. Watt Tyler was sliced down and murdered on the spot.

In a glorious sense of theatrics and prudent wherewithal, to allay the fears and ire of the crowd Richard rides out to them in a life-saving vague claim, “You shall have no captain but me.” It did the trick and bought the king and the other frightened aristocrats time to cut down the people one by one. The devastation was total. Upon retrieving the upperhand, when asked again by impertinent lowborn to be received as a king for them, Richard remarks with Plantagenet fury “You wretches, detestable on land and sea; you who seek equality with lords are unworthy to live. Give this message to your colleagues. Rustics you were and rustics you are still: you will remain in bondage not as before but incomparably harsher. For as long as we live we will strive to suppress you, and your misery will be an example in the eyes of posterity. However we will spare your lives in you remain faithful. Choose now which course you want to follow.”

Evidently it worked. Richard was able to stymie the ferocity of a new social order ready to explode. Regardless if the upstarts were successful or unsuccessful, things had changed. While the plague took a century to run its course, and the slow death rattles of a dying dynasty took 100 years to finalize, and while it took 100 years for a modern sense of Englishness to take hold geographically as well as politically, the plague did bookend an epoch in the organization of labor, ideas, currency, and governance. And as with all moments of crisis and collapse, a germ of creativity can sprout into the first tree within a mighty forest of new possibilities. King Death then was the equalizer. Ultimately, it was that equality and need for it that had been festering for years before Edward’s reign even. It just took a different king to make the way and speed up the process, in this case, by necessity.

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reviewsphere · 5 years

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How The Grinch Stole Christmas @ Festival Theatre

THEATRE REVIEW: How The Grinch Stole Christmas @ Festival Theatre ⭐️⭐️⭐️ @captheatres @GrinchMusicalUK #TheGrinch

Whether it’s a bout of Scrooge-itis or a dose of Brexit-eria, the manic excitement with which the brightly-dressed and shrill-voiced Whovillians celebrate Christmas – think munchkins on crack or to be more polite wind-up dolls on their fastest setting with their volume up to the max – risks infecting the audience with the same bah humbug sentiments espoused by the small-hearted Grinch who after…

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#Edward Baker-Duly #festival theatre #Gregor Fisher #Isla Gie #Mae West #Matt Terry #Steve Fortune #The Grinch

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joaquimblog · 6 years

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De la mateixa manera que l’òpera ha trobat un filó important amb les retransmissions al cinema, el teatre de text o el musical també han començat a obrir una possibilitat de negoci, amb les retransmissions en diferit dels espectacles del West End londinenc i des de fa ja uns anys es poden veure algunes de les grans produccions del Nathional Theatre, de la Royal Shakespeare Company o alguns dels títols del teatre musical. I és en aquesta vessant del teatre musical que ahir vaig anar a veure el The King and I que es va representar aquest estiu passat i per una curta estada al Palladium de Londres i que només ahir es va retransmetre als cinemes

Es tracta de la premiada producció de Bartlett Sher estrebada a New York l’any 2015, amb la gran Kelli O’hara com a Anna Leonowens i Ken Watanabe com el Rei de Siam.

Parlar de The King and I és venir-te al cap Yul Brynner, el rol que va estrenar el carismàtic actor d’origen rus l’any 1951 a Broadway i que a banda de immortalitzar-lo també al cinema cinc anys més tard sota la direcció de Walter Lang i la glamurosa i encisadora Deborah Kerr amb la veu de Marnie Nixon, va representar 4525 vegades al teatre, per tant és més evident que tots els altres actors que interpreten el rei tenen una mica o molt a aprendre i copiar de la grandesa del petit Brynner.

L’actor japonès Ken Watanabe fa un esplèndid rei, però tot i intentar d’allunyar-se del referent no pot evitar en els moments culminants de copiar més que d’imitar els gests si bé no tan exagerats coms els que feia Brynner que semblava que degut a la seva petita estatura exagerava per poder tenir més notorietat. Watanabe canta més que Brynner que recitava sobre música.

Kelli O’hara és una delícia, una joia encisadora que t’atrapa des de la primera escena i té la privilegiada facultat de guanyar-te per la personalitat artística i les grans dots d’actriu, a banda de la veu privilegiada que arrodoneix una de les actrius amb més talent dels darrers anys en els escenaris del teatre musical. Comparable a les grans i motiu sense cap mena de dubte per reposar els grans i mítics títols dels musicals clàssics, perquè amb ella tenen garantit una gran part del triomf.

És evident que tots esperàvem el gran moment del “Shal We Dance?” el punt d’inflexió d’aquesta joia de Rodgers & Hammerstein II en el que la tensió, l’atracció, el sexe i el joc de poders es tensionen al màxim al ritme contagiós d’una polca memorable que fa voleiar al costat de les emblemàtiques faldilles de Miss Leonowens les fantasies de totes les platees. I és en aquest precís i gloriós moment del millor i més genuí teatre musical on O’Hara es creix com a gran protagonista d’aquest constant duel de submissió fingida, que esclata amb aquest triomf absolut que et ha oblidar la veu de Gertrude Lawrence i l’encís de la Kerr. Què gran és O’Hara.

La resta són nimietats al costat dels dos protagonistes.

Vaig trobar a faltar una presencia vocal més rotunda per a la Lady Thiang, ja que Ruthie Ann Miles sembla més una minyona que no pas la primera dama.

Tampoc la parella d’enamorats, Tuptim (anodina veu i presència de Na-Young Jeon) mentre que Dean-John Wilson que interpreta a Lun-Tha, mostra moltes hores de gimnàs i poques de tècnica de cant de, ja que canta a batzegades els dos moments més tendres i ensucrats.

La producció de Bartlett Sher de qui ja havíem vist la reeixida South Pacific, també amb una aclaparadora O’Hara i darrerament moltes produccions pel MET no totes amb el mateix encert, és tot un encert.

No hi ha aquell luxe que hem vist de les fotografies de l’estrena ni de les reposicions posteriors, però sap crear els ambients monumentals amb només suggeriments, cortines i elements escenogràfics determinats.

La coreografia de Christopher Gattelli basada en l’original de Jerome Robbins és elegant, tot i que el llarg ballet de la cabana de l’oncle Tom orientalitzada, es fa massa llarg, tot i que no es pot prescindir d’aquesta escena perquè motiva el desenllaç.

El que em va semblar més lamentablement fluix va ser la part orquestral, tant la direcció tova i poc dramàtica de Stephen Ridley, com l’adaptació de l’orquestració original de Robert Russell Bennet, amb una orquestra que deu ser la meitat de la prevista originalment, treuen notorietat a una proposta digne que en el cas de la protagonista situa aquesta interpretació en un lloc gloriós.

Tots els detalls a:

https://kingandimusical.co.uk/

EL THE KING AND I DEL PALLADIUM DE LONDRES AL CINEMA (KELLI O’HARA-KEN WATANABE) De la mateixa manera que l'òpera ha trobat un filó important amb les retransmissions al cinema, el teatre de text o el musical també han començat a obrir una possibilitat de negoci, amb les retransmissions en diferit dels espectacles del West End londinenc i des de fa ja uns anys es poden veure algunes de les grans produccions del Nathional Theatre, de la Royal Shakespeare Company o alguns dels títols del teatre musical.

#Barlett Sher #Dean John-Wilson #Edward Baker-Duly #Jon Chew #Kelli O&039;Hara #Ken Watanabe #London Palladium #Na-Youn Cheon #Naoko Mori #Oscar Hammerstein II #Richard Rodgers #Ruthie Ann-Miles #Takao Osawa #The King and I

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marleneoftheopera · 6 years

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New Audios and Videos up for trade!

Contact me if you’d like to trade!

Audios

Phantom

- Ian Jon Bourg (u/s Phantom), Clara Verdier (Alt. Christine), Matt Leisy (Raoul), Beverly Chiat (Carlotta), James Borthwick (Monsieur Firmin), Curt Olds (Monsieur Andre), Melina Kalomas (Madame Giry), Thabiso Masemane (Piangi), Kiruna-Lind Devar (Meg Giry)

March 3, 2019; Manila

Matinee. I believe this is the first released recording of the current World Tour. I was not told if this was NFT or not so for now it’s general but if anyone knows of otherwise please let me know.

WakandaNewbieTrades' master

- Quentin Oliver Lee (Phantom), Kaitlyn Davis (u/s Christine), Jordan Craig (Raoul), Trista Moldovan (Carlotta), David Benoit (Firmin), Rob Lindley (Andre), Susan Moniz (Madame Giry), Phumzile Sojola (Piangi), SarahGrace Mariani (Meg), Victor Wallace (Buquet)

February 26, 2019; US Tour

First audio I’ve seen of Kaitlyn Davis as Christine since her return as the understudy!

letitgotrades' master

Evita

- Lucy O'Byrne, Mike Sterling, Glenn Carter, Oscar Balmaseda, Riva Grant (u/s Mistress), Emmanuel Alba, Verity Burgess, Callum Fitzgerald, Samual John Humphreys, Bethan Jacks, Joe McCourt, Benjamin McMillan, Chrissie Perkins, Oliver Slade, Chris Stoddart, Mike Ward, Kristy Whelan, Yuval Zoref

August 9, 2018; UK Tour

Leg-boots master

Videos

Phantom

- Peter Jorde, Teresia Bokor, Tomas Ambt Kofod

2009; Copenhagen

5 video clips and 1 audio clip. The audio clip is of The Mirror. The videos are of the title song, Music of the Night, Wishing, Point of No Return, and Down Once More. The video is shot from further away and is pretty blurry all in all, but sometimes the camera zooms in. But there are still no good close ups or sharp details. MP4. 2:1 ratio.

- Ben Crawford, Eryn LeCroy, Jay Armstrong Johnson, Raquel Suarez Groen, Carlton Moe, Maree Johnson, Kelsey Connolly, Rachel Anne Moore February 7/28, 2019; Broadway Matinee shows. Five clips, featuring Wishing You Were Somehow Here Again, Wandering Child, and Point of No Return and the Final Lair. They are shot from the front row, so sometimes things can be missed. But not as much as you’d expect. It is a nice first visual look at Eryn in action. Also, if you look at the back row on the right, you can spot Rachel Anne Moore in the Sitzprobe scene! The ones shot from the right of the stage are from the 7th, the ones from the left are from the 28th.

- Michael Crawford, Sarah Brightman, Steve Barton

1988; Broadway

About 6 minutes of press reels of the original Broadway cast. Includes the title song, 'Music of the Night', 'All I Ask of You', 'Masquerade', and 'Wishing You Were Somehow Here Again'. A lot of generation loss. Also includes press reels from other shows.

Love Never Dies

- Bronson Norris Murphy, Meghan Picerno, Karen Mason, Sean Thompson, Mary Michael Patterson, Katrina Kemp September 25, 2018; St. Louis Full video of the 1st US Tour. Bronson and Meghan have amazing chemistry and voices. You should all have this video for their voices alone.

King and I

- Kelli O’Hara, Ken Watanabe, Ruthie Ann Miles, Edward Baker-Duly, Jon Chew, Na-Young Jeon, Dean John Wilson, Takao Osawa

2018; London

Pro-shot video of the London Palladium production that was shown in cinemas.

- Laura Michelle Kelly, Jose Llana, Joan Almedilla, Brian Rivera, Manna Nichols, Kavin Panmeechao, Anthony Chan, Graham Montgomery, Baylen Thomas, Darren Lee

December 15, 2016; US Tour

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capsoff2 · 5 years

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Heist

Alarms blaring, two figures dart out of Gotham General Bank, with large burlap sacks on their backs. The first man is Oswald Cobblepot, better known as the Penguin. He’s the mayor of Gotham and one of the most powerful people in its criminal underbelly, and at the moment he is hobbling as fast as he can, hindered only by his limp. The other man is Edward Nygma, a noticeably taller man who is shortening his strides so that Oswald can keep up with him. He is Oswald’s Chief of Staff and his closest and most trusted friend. Normally they send their thugs to do simple jobs such as this one, but they decided to have some fun for once. As they reach the corner, they are met by the sight of four police cars, with their sirens wailing and officers jumping out, yelling at them not to move. They dart quickly around the corner and duck quickly into a side alley. They slow their pace to a jog and then a quick walk, both of the slightly red in the pace and breathing at a fast pace. “I..really..don’t see..the point..in all this,” Oswald states between breaths.

“It’s quite simple really. We need this money for potential partnerships. You can get anything done in Gotham for you, as long as you have enough money. While we already have substantial funds, it never hurts to have more,” Edward explains. They gradually start to speed up their pace again to a brisk jog, as to put more distance between themselves and the bank. Their progress is hindered due to the large amount of money, possibly totaling around $1,000,000, that is being stored upon their backs. As they exit the alley, they quickly look around and the coast seems clear. Then, they hear the sirens and sigh simultaneously. Three police cars round the corner, their progress increasing in speed as they get closer. They pull up besides the two who are sprinting at this point, and start yelling at them to get on the ground and put their hands in the air.

“A bomb is placed on top of a table. Next to it are an apple, a book, and a fishbowl. When the bomb explodes, which one is destroyed first?*” Edward calls out to the cops. Suddenly there is the sound of an explosion from a few streets away. “The bomb!” Edward yells dramatically and with a small, crazed laugh, he grabs Oswald by the arm and pulls him along, as the cops stop to get out of their cars. They speed up as the cops begin to open fire, and duck around the nearest corner, causing the bullets that were meant to hit them to hit the cars that were in front of them. Edward dives into the nearest alcove, dragging Oswald along with him, and clamps a hand over both of their mouths as they hear the cops’ yelling getting louder. Eventually they see the six policemen run past them, and wait until the sounds of their shouting fade into the distance. Then, they exit the alcove and, after looking around, they begin to walk in the direction of where the getaway car will be waiting.

“What building did we blow up anyway?” Edward asks, panting.

“I believe it was an abandoned Cheesecake Factory,” Oswald replies, shaking slightly with an expression of slight discomfort, due to the strain that the chase put on his leg.

“Well then, I guess you could say that there was de brie everywhere**,” Edward quips, chuckling quietly when Oswald groans.

“Really Ed? I think you should stick with the riddles,” Oswald states flatly with exasperation evident in his voice.

“Duly noted,” Edward replies in mock seriousity. They turn onto Baker Street, and seeing the car, they break into a light jog. They reach the car, and opening the door, Edward mockingly bows. “Ladies first,” he jokes, smirking as Oswald gives a slight chuckle and swats his arm playfully.

“Please Edward, if anyone’s the lady here, its you,” Oswald remarks, his tone seeming serious to those who don’t know him, such as his driver, but Edward is able to detect the affection and playfulness in his tone.

“If you insist, Mr. Penguin,” Edward says as he climbs into the car and closes the door behind him. He throws the sack on the floor of the car, before leaning back into his seat with a content sigh.

“Where to, Mr. Penguin,” the driver, a young female with dark blue hair asks.

“The manor please, Dianne,” Oswald remarks in a bored tone. As the car pulls away from the curb Oswald settles back into his seat and closes his eyes. A few minutes later, he falls asleep, his head falling down to rest on Edward’s shoulder. Edward looks down at him in slight surprise, but then smiles and reaches down to brush his Oswald’s hair out of his face. Then, settling in himself, Edward allows himself to fall asleep as well, just enjoying the trip, however brief it may be. Dianne looks in the rearview mirror and smirks to herself, seeing the two men passed out on each other. The car turns onto the road that leads to the manor, and stops in front of a lavish and ornate building. Edward picks up his head as if sensing the stop and, blinking sleepily, reaches over to gently shake Oswald awake. He shoots up before relaxing as he notices that they're home. After paying Dianne $30 for the ride, the two men grab the burlap sacks and exit the car. As soon as they exit they begin walking towards the front door. When they get inside, they head to the living room and collapse on the sofa.

“Well that was exhausting,” Oswald says, closing his eyes.

“Yes, it was. But was it not nice to be able to get out and back into the action a bit?” Edward inquiries. Oswald's eyes snap open.

“Oh no! I did miss the..thrill, of a chase. It also reminded me how much I love your criminal mind.” Oswald stammer, flustered. “Edward? Ed?” But while he was talking, Ed had leaned back and drifted off. Oswald sighs and leans back, and soon he too, is asleep.

#robbery nygmobblepot gotham fanfiction gothamfanfiction #firstfic

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cdaae · 7 years

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Danielle Hope, Michael Crawford, Marianne Benedict, Florence Andrews (u/s), Paul Keating, Edward Baker-Duly, David Ganly, Stephen Scott, Kate Coysten , February 5, 2012

http://www.mediafire.com/file/yk66pkid0dedsc9/The+Wizard+of+Oz+%2805.02.12%29+Danielle+Hopes+last+show.mp3

#the wizard of oz #Danielle Hope #marianne benedict #audio gift #Michael Crawford

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theedinburghreporter · 5 years

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Dr Seuss’ How The Grinch Stole Christmas! The Musical Festival Theatre

To paraphrase Dr Seuss, Mr Grinch takes us “off to great places” from start to finish transporting a big Broadway production to Edinburgh.

The story first released in 1957 has lost none of its bite in the intervening 62 years and retains a freshness due to the cynical nature of the mean, green character played by Edward Baker-Duly for laughs alongside his pet sidekick Old Max (Steve Fortune).…

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witchaki-appreciation · 6 years

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2018.7.2 London Palladium The King and I　 🖤★

初West Endの最初の夜。 2015年にトニー賞リバイバル作品賞を獲った王様と私をここロンドンで観ることができました。しかも、オリジナルキャストで！2016年の9月にBWに行ったのですが６月にCloseしてしまって観れなかったのでとてもラッキーでした。日本人としてはまず謙さんに触れるべきでしょうが、とにかくケリー・オハラが素晴らしくて…納得の主演女優賞です。彼女を生で見たのは今回が初めて、品があってキュートでアンナにピッタリ。そしてその歌声はCDや映像で聞いていた以上にゴージャス。今時のミュージカルには合わないかもしれませんが、包容力のある豊かな歌声は王道のロジャースのナンバーにこれまたピッタリでした。音楽の揺らし方も本当に心地よくてロジャースの馴染み深い曲を、まさにお手本のように歌ってくれました。アグレッシブでエキサイティングなパフォーマンスも大好きだけど、こういう大人で力の抜けたパフォーマンスにもうっとりです。テクニック満載なのに全然いやらしくない、サラリとやってくれちゃうところが本当に素敵でナンバー終わりでは思わず拍手なのでありました。

兼さん、歌は台詞のごとく上手にこなしていらっしゃいました。芝居は謙さん節炸裂…英語なのにです。これって凄いことだと思ったわけです。お客さんは本当によく笑ってたし、最後にはウルっとしてた。そしてなんといっても存在感が半端ありません。世界の渡辺兼ここにありって感じです。日本ツアーの噂がチラホラ聞こえておりますが是非是非凱旋していただきたいと思いました。ついでに言うと大沢たかおさんも歌のない小さな役ではありましたが、堂々たるものでありました。向こうの役者さんと並んでも遜色のない恵まれた体躯ということもありますが、その存在感はやはり主役をやりつづけて来た役者さんだなっと思いました。

さて、私が King and Iを観たかった理由の一つにバートレット・シェールの演出とマイケル・ヤーガンの美術があります。それは2016年にBWで観たFiddler on the Roofにいたく感激してしまったから。King and I の方が一つ前の作品だけど観る前からワクワクだったのです。結論から言うと私が期待したような新しい演出ではなく、とても王道なものだったので、ちょっと残念ではありましたが、やはり舞台は美しく、シャムの宮殿の奥に見える漆喰の白壁がとても印象的でした。６本の可動式の柱を動かしてシーンを作る演出もシンプルながらスピィーディーで効率が良く、遠近法で舞台に奥行きが感じられたり、Shall We Danceのシーンでは横にスライドする柱を縫って踊ることで、宮廷に広がりが感じられ、映画のカメラワークのような効果をもたらしていた。

一つ気になったのは冒頭、幕が上がるとアンナとその息子が乗っている大きな船が現れて「おぉ！」となるのですが（そうそう、この時のバックの夕焼けが本当に南の島の夕焼けで素敵なんです！）、港に着くと船が真っ二つに割れてはけていくところ…。色々な事情が想像できだけに私的には非常にツボだった。重箱の隅をつついてごめんなさい。

あと、遅い時間にもかかわらず子役たちがカーテンコールまで残っていることに、これが本当だよねぇ…と日本の子役事情に思いを馳せてしまった。

なんだか話が変あらぬ方へ向かっていきそうなので、そろそろ締めます。（笑）とにかく、この頃生まれたミュージカルは音楽もスケール感も豊かで、品だとか美徳だとか、現代人が失いかけてる大切なものが沢山詰まっているなぁと思いながら観ておりました。心揺さぶられる激しさの代わりに包み込まれるような優しさでロンドンまでの長旅で疲れた私の心と体を癒してくれました。これを初日に観たのは正解だったなぁ…。

Music - Richard Rodgers Lyrics - Oscar Hammerstein II Book - Oscar Hammerstein II Basis - Anna and the King of Siam by Margaret Landon

CAST Anna Leonowens - Kelli O'Hara （2015 Best Performance by a Leading Actress in a Musical） The King of Siam - Ken Watanabe Lady Thiang - Ruthie Ann Miles （2015 Best Performance by a Featured Actress in a Musical） Lun Tha - Dean John-Wilson Tuptim - Na-Young Jeon Kralahome - Takao Osawa Prince Chulalongkorn - Jon Chew Sir Edward Ramsay/Captain Orton - Edward Baker-Duly, Annalene Beechey

CREATIVE （2015 Tony Award for Best Revival） Director - Bartlett Sher Choreographer - Christopher Gattelli Costume - Catherine Zuber （2015 Best Costume Design of a Musical） Lighting Designer - Donald Holder Set Designer - Michael Yeargan Sound - Scott Lehrer Musical Supervisor - Ted Sperling

2018.7.2　7:00pm London Palladium（Stalls P23 £75.00）

#stage #musical #london2018

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georgiapioneers · 7 years

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Caswell Co. NC Genealogies and Histories #northcarolinapioneers

Caswell County Wills and Estates

1777 to 1783

1783 to 1791

1792 to 1800

Taxable Property

1783 (Inhabitants)

1787 to 1789

1790 (and Fines)

1792 to 1793

1794 (and Accounting)

1795

1797

Accountings of Estates

Oct 1796 Court

Jan and July 1799 Court

Jan and July 1800 Court

Miscellaneous Records

Caswell County Deeds (trancribed)

Browning, John, 1782 deed from the State of North Carolina Plat of Yanceyville (1839)

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