#London Film Festival 2019

[randomluck-ofthe-universe]

some anons should be reminded of what Brian asked fans when timmy told them armie planned to attend the king premiere in London excitedly. clearly Brian was not approve of their bond back then. so today his like could mean something. that's what we're excited about.

THIS.

nothing to add, anon.. thank you ❤️

[world-of-celebs]

Caitriona Balfe attends the "Le Mans '66" Premiere during the 63rd BFI London Film Festival at the Odeon Luxe Leicester Square on October 10, 2019 in London, England.

[eddieredmayneargentinablog]

#tbt The Aeronauts UK Premiere | BFI London Film Festival - AMPAS BAFTA Screening, October 7, 2019.

📸 Source: Eddie Redmayne Net

[thraveenperera]

[popsixsquishcicerolipschitz]

BFI

KASITERIT teaser | BFI London Film Festival 2019

[daisyblog]

Our Story

Summary: YN and Harry have known each other since 2010 when YN's brother, Louis, is put in a band with Harry and three other boys when they auditioned for The X Factor. From the very beginning, YN and Harry were always close, and as time went on feelings grew deeper. This is YN and Harry's story. Faceclaim: Maia Mitchell

YN:

YN Tomlinson An insight into YN's life.

Tattoos YN's tattoos.

Songs Songs (or parts of songs) Harry's written about YN.

Lockscreen Harry and YN's lockscreen photos over the years.

TikTok:

Name a Girl

Doorframe

Couples Quiz

Belong Together

“I’m on SNL and you’re not”

2011:

Will You Go On A Date With Me? YN and Harry spend time together and their feelings start to grow. First Date YN and Harry go on their first date. Caught YN and Harry’s relationship is exposed after a photo of them kissing is leaked. Written in Louis' POV.

Caught: Pt2 How Niall, Zayn and Liam found out about Harry and YN's relationship.

2012:

Trust YN and Harry take the next step in their relationship.

Worried YN is worried after her and Harry take the next step in their relationship, and ends up talking to Anne about it.

2013:

Kiss and Make Up Harry and YN have their first argument.

Happy Birthday YN It's YN's Birthday.

YN in This Is Us YN appears in clips in One Direction: This Is Us. Story Of My Life YN appears in the Story Of My Life music video.

2014:

Team Niall YN at The Niall Horan Charity Football Match.

Where We Are YN appears in clips in Where We Are San Siro.

Late YN realises her period is late.

Mother's Love Anne and Jay can see the love Harry and YN have for each other.

Night Changes YN in Harry's part of the Night Changes music video.

2015:

I Have One Direction play ‘Never Have I Ever’ on The Ellen Show, and the questions target Harry.

Never Have I Ever Harry gets embarrassed playing a game of Never Have I Ever on The Jonathan Ross Show.

2016:

Just Hold On Harry takes care of YN.

2017:

Teddy Harry surprises YN with a new little addition to their family.

2018:

Little Break People find out that Harry and YN have broken up.

Cherry How Cherry was made.

To Be So Lonely How To Be So Lonely was made.

Adore You How Adore You was made.

2019:

Burnout Harry and Louis help YN.

Zach Sang Show Louis discusses a small part of YN and Harry's relationship on a talk show.

Spill Your Guts: Harry Styles & YN Tomlinson Harry challenges YN to a game of Spill Your Guts or Fill Your Guts. Friendship Test Niall Horan and YN Tomlinson Take a Friendship Test.

I'm A Celebrity...Get Me Out Of Here YN is on I'm A Celeb.

2020:

Unexpected Visitor YN has an unexpected visitor.

2022:

Zane Lowe YN is mentioned in Harry’s interview with Zane Lowe.

Uncle Popstar Freddie goes to one of Harry's shows.

Capital FM Interview Harry talks about his new music, My Policeman and Don’t Worry Darling…and of course YN.

Venice Film Festival YN and Louis attend the Venice Film Festival with Harry.

2023:

Proud Sister YN is by Louis side at his London Premiere for All of Those Voices.

YN and Harry Love On Tour YN and Harry's Outfits and Instagrams during Love On Tour.

Love At Wembley Harry asks YN to marry him at Wembley.

"I'm here for your girlfriend" Harry announces he's engaged during a Wembley Show.

“Oh Harry” Anne’s reaction to ‘Keep Driving’ lyrics.

Thank You Harry and YN's Love On Tour thank you posts on their Instagram stories.

Faith In The Future Tour Snippets of YN and Harry supporting Louis on his tour.

Niece YN's reaction to having her first Niece.

Mrs Burton YN's reaction to Lottie getting engaged.

Hair YN's reaction to Harry's new hairstyle.

Pregnancy Follow YN and Harry's journey through pregnancy.

2024:

Uncle Harry Harry and YN meet Gemma’s baby.

Wedding Bells Harry and YN finally say “I do!”.

Mr and Mrs Styles Instagram post from Harry and YN’s wedding.

Love Day Harry and YN celebrate their first Valentine’s Day as a married couple.

Hormones YN gets emotional listening to Louis’ interview.

Birthday Twin YN and Harry welcome their baby girl into the world.

Uncle Louis Louis meets Grace for the first time.

Dad Mode Harry is overprotective of Grace and worries about everything.

Love for Grace Instagram posts about Grace.

[insanityclause]

Tom Hiddleston Says Revisiting Loki Was ‘An Honor,’ Thanks Co-Stars for ‘Chemistry and Inspiration’

Ahead of accepting Variety’s Virtuoso Award at the Miami Film Festival, Hiddleston reflects on previous roles and impactful creative collaboration.

By Jenelle Riley

Tom Hiddleston knows “Miami.” That is, all the words to the Will Smith song titled after the famous city — a video of him reciting the lyrics once broke the Internet (not an unusual occurrence for the actor.) That was in 2012 when he was doing press for “The Avengers,” the movie that would change his life and career. It was also the same tour that last brought him to the city — but that was a whirlwind two days of press. “I do recall promoting ‘Avengers’ in Spanish and the city had a great, unique energy,” he says. “I’m really excited to be back as an explorer.”

The British actor will be returning on April 9 to the Miami Film Festival to accept Variety’s Virtuoso Award for his career achievements and will participate in a Q&A at the Adrienne Arsht Center – Knight Concert Hall. Tickets are available here.

And while Miami is known for its food and culture, the actor has one thing on his mind. “What will the weather be like?” he queries of the town’s famously balmy temperatures. “Because I’m coming from the wettest February on record in London’s history.”

Hiddleston admits it’s somewhat ironic to be receiving the Virtuoso Award there, because “when somebody says ‘virtuoso,’ I think of a dazzling soloist in an orchestra, and I feel about as far from that image as it’s possible to imagine.”

He continues: “I am the opposite of a soloist, actually. I always feel like I’m at my strongest in a team. What we do is a collective creative act and the joy of it is in the shared imagination.”

This might explain why his resume is filled with standout ensemble pieces in every genre. Hiddleston’s worked on stage — he earned a Tony nomination for his 2019 Broadway debut in “Betrayal” — the SAG Award-nominated ensemble of “Midnight in Paris,” up through his most current turn as the God of Mischief in Season 2 of the Disney+ series “Loki.”

The second season’s finale, “Glorious Purpose,” remains the highest-rated episode ever in the Marvel Cinematic Universe and brought a conclusion to an epic character arc that has spanned 14 years of Hiddleston’s life. The actor, who also served as producer on both seasons, says it would have been impossible without his “deep bench” of castmates, which includes Owen Wilson, Sophia Di Martino and Season 2 addition Ke Huy Quan, Oscar-winner for “Everything Everywhere All at Once.”

“I don’t know who said it, but there’s the phrase: ‘If you want to go fast, go alone. If you want to go far, go together,’” he notes. “And it’s never been truer than for this show.”

Community and collaboration are perhaps his favorite aspects of the work. “I truly find the most interesting work I have discovered happens between people. You show up and ready and prepared, but you take that preparation onto the dance floor and see what there is between you. If I’ve done anything of value, it’s because of that chemistry and inspiration I receive from another actor.”

Hiddleston says that team spirit extends to his next project, “The Life of Chuck,” a big-screen adaptation of the Stephen King novella that also stars Karen Gillan, Mark Hamill and Chewitel Ejiofor. “I’m a lifelong tennis fan and I feel like being on set is like playing tennis,” Hiddleston notes. “It’s all about who you’re playing opposite and the energy back and forth between you. And I have some great partners on ‘The Life of Chuck.'”

As for continuing Loki’s story in a third season, it’s a question Hiddleston is asked pretty much every day — several times. “I truthfully don’t know,” he says. “I am so proud of where we landed in Season 2. To go from this lost, broken soul in Asgaard, and be given a second chance and learn so much about life that he actually gives himself to protect other people, has been such an honor.” For tickets to the conversation and Variety Virtuoso Award Presentation to Tom Hiddleston, visit here.

[brf-rumortrackinganon]

Timeline: Part 7 - October 2017

For earlier timeline posts: click here or here.

There are three installments of the "Meghan's PR Timeline" today, which will see us finish out 2017: October 2017, November 2017, and December 2017.

One particularly interesting observation about this period of time is that from mid-October to mid-November, there are actually whole days without a single item or piece about Meghan. It's very strange because from about the end of April 2017 to the end of September 2017, we were being bombarded DAILY by stories about Meghan.

Is the missing coverage because those pages, stories, and articles were scrubbed in 2018/2019 when Meghan's PR was cleaning up her image?

Did Meghan finally get the ring in early October and no longer needed her PR to pressure Harry and force him to propose?

Or is it the quiet before the storm (i.e., the engagement announcement)? Meghan decided to drop coverage to get more bang when the engagement was announced?

10/1/2017: Toronto Invictus Games Closing Ceremony. Meghan, Doria, Jess, and Markus arrive early and are in a box. Meghan arrives first and is caught directing photographers where to go and what angles to use. Harry arrives later. Meghan leaks that Harry and Doria met at the closing ceremony and they get along fabulously.

(For additional context timeline-wise: 10/1/17 is the Route 19 Harvest Festival shooting in Las Vegas)

10/2/2017: Harry returns to London via Heathrow Airport and it's listed in the Court Circular. Meghan teases an engagement to E News and says that her friends have become Harry's family.

10/3/2017: Meghan merches her shoes from a September 2017 papwalk. She also tells Elle Magazine that she and Harry are unofficially engaged, and everyone knows.

10/4/2017: Meghan modernizes the monarchy if she marries Harry. Charles is in Malta.

10/5/2017: Ronan Farrow's Weinstein expose is published by The New York Times. Meghan merches her Invictus Games clothing - Opening Ceremony Outfit, Closing Ceremony Coat.

10/6/2017: Carole Middleton and Doria Ragland are the same.

10/7/2017: Charles's letter to Tony Blair about the hunting ban is published.

October 7th is the first day with no Meghan stories or Harkle coverage since early summer.

10/8/2017: Meghan has moved to London and is being driven by a royal chauffeur.

10/9/2017: Harry's ex Cressida makes the news for being connected to Harvey Weinstein. Jess Mulroney sources an "all about Meghan's bestie, Jess" story.

10/10/2017: Meghan's PR takes a dig at William and Kate, asking why they never hold hands. Kate makes her first public appearance since announcing her third pregnancy, implying that she is on the mend from HG.

10/11/2017: Meghan's 2011 film, Dysfunctional Friends, resurfaces. Her character is a photographer for male underwear models. Meghan tries to be a fashion influencer, gets linked to Julia Roberts, Naomi Watts, and Greta Lee as a major "power dresser". She also merches the nail polish she might wear for the wedding and/or the engagement announcement.

Meanwhile, Harry attends the 100 Women in Finance Gala Dinner. Kate's aide, Rebecca Deacon, receives the Royal Victorian Order. Buckingham Palace announces that Charles will lay wreaths at the Cenotaph for The Queen during the Remembrance Sunday service, and The Queen returns to London, ending her summer Balmoral haloriday.

10/12/2017: The Queen's first day back in London/work following summer holidays. Harry has #1 sexiest celebrity beard. (No, they're not talking about Meghan. They mean the actual hair on his face.)

10/13/2017: Meghan and Harry leak that they're house-hunting in the Cotswolds for a marital home and merch a few properties in the Daily Mail. Meghan also teases wedding speculation and Soho Farmhouse's newest financial report reveals that they lost $34.48 million in 2017 (hence the Harkle sponcon throughout 2018)

10/14/2017: Royals living in the US - forgotten Spencer cousins who call the American Pacific Northwest home.

10/15/2017: Meghan confirms that she is finished with Suits when Season 7 wraps in November. #MeToo movement begins and James Middleton, Donna Air split is revealed.

10/16/2017: Meghan leaks that she and Harry are already engaged but won't announce it until Suits filming has ended. Harry attends the WellChild Awards. Also, Harry tells people that he doesn't want a formal pageanty Cambridge-like wedding.

Meanwhile, Harry accompanies William and Kate to an engagement celebrating the release of Paddington 2.

10/17/2017: No new Meghan or Harkle stories, but Eugenie is papped in Los Angeles; William and Kate announce the baby is due in April; and Camilla gives a landmark speech on osteoporosis.

10/18/2017: Meghan leaks to the Daily Mail that she and Harry had tea with The Queen at Buckingham Palace on October 12th, and it's the first time Meghan met Her Majesty.

Note: This version of events contradicting Harry's claim in Spare that Meghan met The Queen for the first time on Sunday at the Royal Lodge while visiting the Yorks. October 12th is a Wednesday.

10/19/2017: Meghan teases Harry's proposal plan.

10/20/2017: Meghan's copycatting of Diana's outfits and behavior finally gets noticed. Meghan hints about etiquette lessons and teases the engagement.

Samantha Markle sets up a gofundme to raise money for an accessible home as her MS progresses, capitalizing on Meghan's fame.

10/21/2017: No new Meghan or Harkle stories.

10/22/2017: No new Meghan or Harkle stories.

10/23/2017: Harry has an away day in Lancashire.

10/24/2017: Meghan makes a dig at Kate - why she never wears red nail polish.

10/25/2017: Meghan merches her voice (perhaps this is when she starts negotiating for a Disney documentary voiceover gig...).

10/26/2017: DailyMailTV discusses Meghan's ancestry. Meanwhile, Harry and Meghan leak that:

Harry has had a crush on Meghan since 2015 when he saw her on Suits and he did tell friends back then that she was his ideal woman.

KP aides have been instructed to begin wedding planning and are reviewing dates.

The Cambridges announced Kate's pregnancy early because protocol requires the wedding can't take place until after the baby is born.

10/27/2017: Channel 4 broadcasts a "10 Things About Meghan Markle" documentary.

10/28/2017: Meghan and Harry are actually related! They're distant cousins.

10/29/2017: No new Meghan or Harkle stories.

10/30/2017: No new Meghan or Harkle stories.

10/31/2017: Harry is in Chicago to attend the Barack Obama Foundation Summit, and Charles and Camilla are in Singapore for royal tour.

[brian-in-finance]

Any idea(s) as to why Cait hasn't been to any OL functions such as Hublander and the upcoming Land on 6? What was the last event she attended?

Thanks for the message, @dragonflydreams47 😃

She might not have been invited. She might not have been interested. She might have had previous commitments. She might be done with attending cons that aren’t Outlander-sanctioned.

What was the last event she attended?

last publicised: JW Anderson fashion show on the 18th of February in London 😉

last con: NYCC, virtually, in October 2021

last festival: ATX in June 2023

last fan event: Season 7 Premiere in June 2023

I’m able to post only 10 images at a time. Here’s a sampling of fan events she’s attended since 2015:

PaleyFest • 12 March 2015 • New York, USA • Photo: Paley Center for Media

SDCC • 20-23 July 2017 • San Diego, USA • Photo: Outlander-Online

Highlanders 2 • 25-27 August 2017 • Blackpool, England • Photo: StarFury

The Land Con 2 • 30 June -1 July 2018 • Paris, France • Photo: Outlander-Online

NYCC • 6 October 2018 • New York, USA • Photo: Getty Images

The Land Con 3 • 30 November - 1 December 2019 • Paris, France • Photo: RosterCon

WizardWorld Comic Con • 6-8 March 2020 • Cleveland, USA • Screenshot: FANdemoniumNetwork on YouTube

NYCC • 9 October 2021 • New York, USA • Photo: Getty Images

ATX TV Festival • 1 June 2023 • Austin, USA • Photo: Outlander Online

92NY • 8 June 2023 • New York, USA • Photo: Outlander-Online

She’ll be busy, preparing for her directorial debut and, like the rest of the cast, getting ready for Season 8. Assuming Starz promotes the elusive Season 7B, we’ll see her in what are probably long-ago recorded videos, etc. Some fans are wondering if Starz will host another mid-season premiere event like they did for Season 1B in 2015.

I’m looking forward to seeing her promote The Amateur (8 November) and The Cut (TBA), and hope the films are represented next awards season. As much that circus irritates me, I enjoy seeing her and Tony out and about. 👠👞

Remember… I have failed 'Star Wars' trivia tests. People come up to me at conventions and use terms that I've never heard of. — Mark Hamill

Sounds like the Force wasn’t with him. 🤷🏻‍♂️

[randomluck-ofthe-universe]

after four years, I still can't recover from that night.. and I don't think I'll ever be able to get over it.. never, never saw Tim like this again.

he was pure beauty.. pure happiness.. the real essence of love.

#london

#October 3 2019 💙

[foxes-that-run]

People keep saying that HS doesn't go to TS concerts and doesn't support her. But has Taylor ever been to any of Harry's concerts during 1D / solo career to support him? This is why it's interesting that Taylor went and performed a set for 1975 in London when she was still with Joe.

When they dated they were seen watching each other perform *a lot* and they've also been in the audience for a lot of award shows.

Concerts

2012 One Direction at Madison Square Garden - the afterparty is where they danced in NY with no shoes and there's extensive footage of them doing karaoke with Ed and 1D

2013 - Red Tour Wembley - Harry seen backstage

(I have more possible dates below but these are the only sightings)

Other performances

Xfactor USA, Harry watched Taylor perform and carried her to a trailer

Jingle Bell Ball 2012 USA - Both performed, footage of him watching her perform and kissing.

Capital FM Jingle Bell Ball - Taylor watched Harry, footage of him looking her on stage

X-Factor UK - Taylor watched Harry

2014 iHeartRadio music festival- both perform, Harry heart kiss in little things, Taylor performs love story and 1989 songs with pointing

2014 - VS Show - Taylor performed Style for the first time and left with Harry from afterparty (though unclear if he was at show)

Award shows

2012 Kids Choice - they both performed and started dating

2012 Teen Choice BBC1 - both perform, first photographed together

2012 VMAs - both perform, Harry said Taylors name and smiled on TV

2013 Brit Awards - both performed, both watched, footage of awkward upset looks at each other

2014 AMA Awards - Both perform, heart eyes, pointing, Harry whistles for Taylor on film.

2021 Grammy's - Both perform, these were were pre recorded in different groups, but played for the room with them both in it. Footage of them speaking.

2023 Grammy's - Harry performed and Taylor stood up to dance, footage of them speaking

Possible dates

There are a few concerts where the other is rumored to have been there or could have been, but no sightings at these.

2011 - Speak Now - Paris - 17 March - Taylor played the Fearless/Soul Sister mashup for the first time, Harry was MIA. They also both played the O2 Arena in the same week the next month so likely Taylor also saw the One Direction X-Factor Tour

2012 - One Direction Up All Night Tour - January UK leg - One Directions first tour started in the UK and Taylor had a mystery 'holiday' in England on those dates, returning to the US the same day as 1D. She was only seen in the UK on dates the band did not have a show.

2011 - Speak Now -Harry was MIA in the US when Taylor's Speak Now St Paul show (17 June 2011) had the Temper Trap arm lyrics, the next day she wrote a lover journal about meeting people and he got that song tattooed on the anniversary.

2013 - Red and Take Me Home Tours - Harry and Taylor were both playing in Pennsylvania in July. Taylor was MIA for a week after her show and still there, Harry sick backstage

2018 - HS Live on Tour - Chicago June 30 2018 2 days before Taylor had a Reputation AT&T Fan show/event, she told a wild story about new years day and he did his first heart kiss in year, it seems likely they saw each other if not their shows. St Paul, Harry's next show, was also likely a well known Medicine performance and he changed the lyrics of MMITH to 'Running with you'

2018- Last Reputation Tour show in Tokyo - Harry was in Tokyo on this date. Taylor played Wildest Dreams (1 of only 3 times she did on this tour) and So It Goes (1 of 8 times - for the album it was of!) Harry wrote Little Freak and Ophelia.

2019 - Lover Live in Paris - this one is clowning, but Joe was in Toronto, Harry and Taylor at Eds wedding the week before, Harry MIA and Taylor kept pointing/looking at the sound booth.

2022 - HS Love on Tour - Nashville - 1 October - Taylor was in Nashville, Harry wore Peace ring and added To Be So Lonely to the set, he wore all white.

2023 - HS Love on Tour - Wembley - Deux Moi reported Taylor was at Wembley N1

It's highly likely Taylor also saw the One Direction Where We Are Tour as they were dating when this was on, but I don't have dates, probably LA and/or NY.

I think On the Road Again and 1989 are the only tours I don't think they have seen of each others, which was 2015, during Calvin Harris, but even there are plausible UK dates.

I think Harry will see Eras in a box at Wembley, but we may now know about it. He was also playing golf nearby when she was in Florida in 2023.

[lavenderinoz]

Tom Glynn-Carney attending The King UK Premiere as part of the BFI London Film Festival, Oct 2019.

[morfyddclarkdaily]

Morfydd Clark BFI London Film Festival 2019 ◼ Morfydd Daily

[fiercynn]

queer short film: "marco"

queer short cuts is a biweekly newsletter where i share queer & trans short film recommendations. i'm featuring some of my favorite films on tumblr because why not

this film was screened at the 2021 queer cinema for palestine film festival, where filmmakers pledged to boycott the israeli-government sponsored lgbt festival TLVfest. the next queer cinema for palestine, which is a global festival with screenings in many cities and some online, is from november 29-december 10, 2023, and you can sign up for updates here.

united kingdom | 22 minutes | 2019 | narrative short film audio in arabic and english; english subtitles embedded for dialogue in arabic but no closed captions for dialogue in english

marco, written and directed by saleem haddad, opens with omar (zed josef), a lebanese-british banker living in london, refusing a phone call from his mother back home in beirut. he instead focuses on getting ready for a guest: a sex worker (marwan kaabour) who introduces himself as marco, recently arrived in the united kingdom from barcelona. over the course of the evening, omar and “marco” find they have more in common than they initially realized – but that is also not enough for them to make their meeting easy and without conflict. - deepa's full review, including content notes at the end

watch on youtube, and you can find more about creator saleem haddad at his website and his patreon

[eddie-redmayne-italian-blog]

Life Is a Cabaret! The Shimmering Kander and Ebb Classic Heads Back to Broadway Starring Eddie Redmayne

BY ADRIENNE MILLER

PHOTOGRAPHY BY JULIEN MARTINEZ LECLERC

STYLED BY HARRY LAMBERT

March 5, 2024

When I was 15 years old, I saw Cabaret for the first time, at a community theater in northeast Ohio. Though I considered myself sophisticated in important ways (I recall that I was wearing a wide-leg Donna Karan bodysuit that evening), my experience as a theatergoer was then limited to The Sound of Music and Ice Capades: Let’s Celebrate. I wonder if my parents, who had season tickets to the theater, knew that the show wasn’t exactly “family” entertainment. Set in 1931 Berlin as it careens toward the abyss, Cabaret depicts alternating stories. There’s the doomed romance between a fledgling novelist named Clifford Bradshaw and a young singer of supreme charisma (and mediocre talent) named Sally Bowles. And then there’s the seedy nightclub, the Kit Kat Club, which is populated with a highly sexualized cast of misfits and overseen by a ghoulish Master of Ceremonies. The show’s ethos—the glamour and terror, the irreverence, the campiness, the unreality—shaped my taste forever, and I knew that I had just experienced one of the greatest works of art ever created. I would never look at theater, or life, in the same way again.

Over three decades later, I’ve seen more stage productions of Cabaret than any other show, including a revival starring the original Emcee, Joel Grey; I’ve seen the Bob Fosse film version over 50 times. I’ve pretty much always got one of Fred Ebb’s sardonic lyrics jangling around in my head. Today, it’s “You’ll never turn the vinegar to jam, mein Herr,” and I couldn’t agree more.

Youthful exposure to Cabaret also turned out to be a life-changing event for the star of the new production opening this month on Broadway, Eddie Redmayne. “Weirdly, when I was 15, it was the first thing that made me believe in this whole process,” he says. Redmayne was a student at Eton when he first played the Emcee; he had never seen Cabaret when he was cast. On this late-autumn evening, Redmayne is speaking to me from Budapest, where he is shooting a TV series. “It reaffirmed my love for the theater,” he says of his first experience. “It made me believe that this profession, were I ever to have the opportunity to pursue it, was something that I wanted to do.”

Now, as he prepares for the transfer of the smash-hit 2021 London production of Cabaret (in which he also starred), Redmayne is reflecting on the power and durability of the John Kander and Fred Ebb masterpiece. “The show was just so intriguing and intoxicating,” he says, adding that the character of the Emcee posed many questions when he portrayed him for the first time, but provided scant answers. A few years later, when he was an art-history student at Cambridge, he again tackled the part of the Emcee at the Edinburgh Festival Fringe. At a dingy performance space called the Underbelly, he did two shows a night, the audiences getting rowdier and more intoxicated throughout the evening. He’d get up the following afternoon and stand along Edinburgh’s Royal Mile handing out flyers for the show, dressed in latex. “There was just a sort of general debauchery that lived in the experience,” he says. When his parents came one night, they were alarmed to find that their son had turned into a “pale, lacking-in-vitamin-D skeleton.”

Flash forward 15 years. The Underbelly cofounders and directors, Charlie Wood and Ed Bartlam, would approach Redmayne—now with an Academy Award for The Theory of Everything and a Tony for Red under his belt—with the idea of again playing the Emcee. Redmayne was eager to return to the role, but many questions remained—principally, who might direct it. In 2019 he happened to have been seated in front of the visionary young director Rebecca Frecknall at the last performance of her West End production of Tennessee Williams’s Summer and Smoke. It was an emotional evening for Frecknall, who’d been working on the project on and off for a decade. She and Redmayne were introduced, but “I had mascara down my face and probably didn’t make a very coherent first impression,” she tells me from London, where her new show, The House of Bernarda Alba, has just opened at the National Theatre.

Redmayne was astonished by the depth and delicacy of understanding that Frecknall brought to Summer and Smoke, a romance with the classic Williams themes of loneliness, self-delusion, and unrequited love. A few months later, Redmayne asked Frecknall if she’d consider directing a revival of Cabaret. “I said, ‘Of course I’ll do it, but you’ll never get the rights,’ ” she recalls. Those rights were held up with another production but were shortly thereafter released, and Frecknall went to work assembling her creative team—among them musical supervisor Jennifer Whyte, choreographer Julia Cheng, and set and costume designer Tom Scutt. Frecknall’s transcendent production of Cabaret opened on the West End at the tail end of the pandemic and succeeded in reinventing the show anew, winning seven Olivier Awards, including one for Redmayne and one for Frecknall as best director.

When Cabaret begins its run in April at the August Wilson Theatre, starring Redmayne, Gayle Rankin, Bebe Neuwirth, and Ato Blankson-​Wood, it will be just the second major production of the show directed by a woman. (Gillian Lynne directed the 1986 London revival.) In Frecknall’s version, Sally emerges as the beating heart of the show. “I find that most of my work has a female protagonist,” says Frecknall, who has also directed radical new interpretations of A Street­car Named Desire, Chekhov’s Three Sisters, and Romeo and Juliet. “And I have a different connection to Sally,” she says. “I was really drawn to how young she was…and how she uses that sexuality and how other people prey on that as well.” The role of Sally Bowles, originated in this production by Jessie Buckley, who also won an Olivier for her performance, will be played this spring by the brilliant Scottish actor Gayle Rankin.

“When I first met with Gayle, I was blown away by her passion and fearlessness,” says Frecknall. “She’s a real stage animal and brings a rawness and wit to her work, which will shine through. She’s going to be a bold, brutal, and brilliant Bowles.” Redmayne also praises Rankin for the depth of emotion she brings to the part, and for the vulnerable and volcanic quality of her interpretation.

Rankin arrives at a candlelit West Village restaurant on a chilly winter evening in a sumptuous furry white coat that would put Sally Bowles to shame. Her platinum hair is pulled back from her face and her dark blue eyes project a wry intelligence. Rankin lives near the restaurant and mentions that she has recently joined a nearby gym—not that she’s going to have much time for workouts in the coming months. Over small seafood plates (of her shrimp cocktail, she shrugs and concedes, “It’s a weird order, but okay”), she shares her own rich history with Cabaret.

She grew up in a small Scottish village, watching Old Hollywood movies with her mother and grandmother. At 15, she left home to attend a musical theater school in Glasgow; on her 16th birthday, she visited New York for the first time with her family. “It sounds like a cheesy, made-up story,” she says, but when she and her parents took a tour of the city on a double-decker bus, they passed by the Juilliard School. “I thought,” she says, “ ‘I am going to go there.’ ” The following year, she and her father flew from Glasgow to New York for her audition. She would become the first Scottish drama student to attend the institution.

At Juilliard, there’s an annual cabaret night, in which all third-year drama students perform songs. Rankin sang “Don’t Rain on My Parade” from Funny Girl, but she recalls her acute sense that she could have chosen a number from Cabaret. “I think I secretly always wanted to be that girl,” she says of the classmate who did perform those songs.

A couple of years after she graduated Juilliard in 2011, Rankin’s agents approached her with an opportunity to audition for Sam Mendes’s 2014 revival of his celebrated 1998 Broadway version (first staged in London in 1993), with Alan Cumming reprising his Emcee role. She was cast as Fräulein Kost—an accordionist sex worker who is revealed as a Nazi—playing opposite a revolving cast of Sallys, including Michelle Williams and Emma Stone.

Rankin has recently emerged as a fierce presence in films and in television (The Greatest Showman and two HBO series—Perry Mason and the upcoming season of House of the Dragon), but then “it kind of came across my desk this summer to throw my hat in the ring for Sally.” How does Rankin make sense of this fascinating, mystifying character? “Everything is so sort of up for grabs…. People feel as if they have a claim over her or know who she is. And the real truth is, only Sally gets to know who Sally is.” She has been rereading Christopher Isherwood’s 1939 semi-autobiographical novel Goodbye to Berlin—the inspiration for the show—in which the English writer sets the dying days of the Weimar Republic against his relationship with the young singer Sally Bowles. (In 1951, the playwright and director John Van Druten adapted the book for the stage with I Am a Camera; in 1963, Broadway director-producer extraordinaire Harold Prince saw that the play could be musicalized and hired Joe Masteroff for the libretto and the songwriting team of Kander and Ebb.) Isherwood based Sally—somewhat—on Jean Ross, a British flapper and chanteuse who later became a well-regarded film critic, war correspondent, political thinker, and Communist. (He gave the character the last name of writer and composer Paul Bowles.) For the rest of her life, Ross maintained (correctly) that Isherwood’s portrayal of her diminished her reputation as an activist and as an intellectual.

“Ross wanted so badly to write to Isherwood,” says Rankin, “and to condemn him: ‘You slandered my name. You said all these things about me that weren’t true.’ And as far as she got in the letter was ‘Dear Christopher.’ ” As Rankin builds the character, it’s this notion of the real Sally—not the fictive version constructed by Isherwood—that she finds so captivating, and heartbreaking.

The upending of Sally as an “object” is another core conceit behind the production. “I felt that other productions I’d seen had this slightly stereotypical male-gaze idea,” Frecknall says. She views Sally’s musical numbers as describing different facets of female identity. “Don’t Tell Mama” deals with the fetishization of youth and virginity, and in Frecknall’s production, Sally, disturbingly, appears in a sexy Little Bo Peep costume; “Mein Herr,” a song about manipulation, control, and female sexual desire, is in conversation with the cliché of the strong, “dominant” woman. “I think Sally’s very clever at being able to play an identity, and also play it against you,” she adds. The character “has secrets to tell us,” Rankin says. “Important things to share with us. And I think that’s the umbilical cord between her and the Emcee.”

Although Sally and the Emcee share the stage for less than five minutes, the Emcee’s musical numbers can be seen as a kind of meta-commentary about Sally’s actions. “What interested me was the idea that the Emcee was a character created by Hal Prince and Joel Grey,” says Redmayne, referring to the actor who portrayed the Emcee in the original 1966 production. “He doesn’t exist in the book Goodbye to Berlin and was their conceit to connect the story of Sally Bowles.” Rankin believes that there is a kind of mystical bond between the two characters. “As to whether or not he’s a higher power, or higher being, he does have an access to a higher knowledge,” Rankin suggests. “I think Sally feels that too.”

And who is the Emcee? A supernatural being? Puppeteer or puppet? There are no clues in the text. Prince conceived of the character as a metaphor representing Berlin itself. “The idea of him as an abstraction,” Redmayne says, “and so purposely intangible, meant that I actually found a new way of working.” Redmayne built the character from the ground up, starting with big, broad gestures that would be gradually refined. The “very fierce, ferocious intensity” of Herbert von Karajan, the famously dictatorial Austrian conductor of the Berlin Philharmonic and a Nazi party member, served as a particularly fertile inspiration.

Historically, the role of Emcee has been coded as gay, and embodied, in most prominent productions, by gay actors. Frecknall’s production had to address what it meant to cast Redmayne, a straight white male actor, in the role. “Tom [Scutt] and I felt very clearly that, well, it’s not going to be the Emcee’s tragedy,” Frecknall says. A person like Redmayne—given his class, ethnicity, and sexuality—would emerge from the catastrophe unscathed. Redmayne concurs: “As the walls of fascism begin to close in, he has the privilege to be able to shape-shift his way out of it.” The character’s journey is from Shakespearean fool to Shakespearean king.

In Hal Prince’s 1966 production, Grey’s delicate, meticulous performance as the cane-twirling Emcee is pure nihilism—as a representation of Germany’s conscience. In the later Mendes iteration, the Emcee emerges as the central victim: In that production’s chilling last scene, Alan Cumming’s louche Emcee removes a black trench coat to reveal a concentration camp uniform; a burst of bright white light follows, from, presumably, a firing squad. But in Frecknall’s version, the Emcee is exposed not as a victim of the system, but as the chief perpetrator. The show, she notes, “becomes the ensemble’s tragedy.”

“I was really intent that we cast it very queer and inclusive,” says Tom Scutt, Cabaret’s multitalented set and costume designer. We are sitting on a black banquette in the lobby of his hotel, across the street from Lincoln Center, where he’s working on Georges Bizet’s Carmen. To mount a revival of Cabaret in 2024, Scutt contends that “there’s no other way. That was really at the headline of our mission.”

There are two casts in the show: the main company and the prologue cast, which provides pre-curtain entertainment. In general, the members of the prologue cast don’t come from traditional musical-theater backgrounds, but from the worlds of street dance and hip-hop—“dancehall, voguing, and ballroom scene,” Scutt notes—and in the London production, some of the prologue performers have been promoted to the main cast. “There is something deeply, deeply moving about how we’ve managed to navigate the usual slipstream of employment.”

Part of Scutt’s intention with Cabaret has been to “smudge and diffuse’’ the audience’s preconceived notions. Inclusive casting is one mode for change; iconography is another. In this case, that has meant no bowler hats, no bentwood chairs, no fishnet stockings. The aesthetic is less Bob Fosse and more Stanley Kubrick. “We started off in a place of ritual,” he says. “I really wanted the place to feel as if you’ve come into some sort of Eyes Wide Shut temple.”

Scutt has reimagined the 1,250-seat August Wilson Theatre as an intimate club—warrens of labyrinthine new corridors and passageways, three new bars, and an auditorium reinvented as a theater-in-the-round. Boris Aronson, the set designer of the show’s iconic original 1966 production, suspended a mirror on the stage in which the audience members would see their own reflections—a metaphor that forced the audience to examine its own complicity; but in Scutt’s design, the audience members must look at one another. Access to the building is through a side entrance; as soon as you arrive, you’ve already lost your bearings.

In many ways, it’s remarkable that such a weird and complex work of art masquerading as a garishly entertaining variety show has had such longevity. Scutt has an explanation about why this piece—created by a group of brilliant Jewish men about the rise of antisemitism and hate, about the dangers of apathy—​continues to speak to us so profoundly almost 60 years after its Broadway debut.

“I can’t really think of anything else, truly, that has the same breadth of feeling in its bones,” Scutt suggests. “I honestly can’t think of another musical that does so much.” As grave, and as tragically relevant, as the messages of Cabaret are, he and the members of the company have found refuge in theater. Both Scutt and Frecknall grew up singing in their churches as children; theater is to them a secular church, a space where human beings can congregate and share healing. “It was made with such pain and such love,” Scutt says. “Which is absolutely the piece.” 

In this story: hair, Matt Mulhall; makeup, Niamh Quinn. Produced by Farago Projects. Set Design: Afra Zamara.

[colinmorgan-beautifulsmile]

hi! do u still have the benjamin movie q & a on a google drive?

ty! :)

hi! i have video from the ones at the london film festival:

and audio from the curzon soho: