#Olivia Darnley

[pastedpast]

Elizabeth Stuart, Queen of Bohemia.

Portrait by the Workshop of Michiel Jansz. van Mierevelt, c. 1623.

Elizabeth was known as 'the Winter Queen', and her husband Frederick V as 'the Winter King', due to their brief reign as monarchs of Bohemia. They were officially crowned in 1619, but were driven into exile after just one winter [Note: Henry VII, father of Henry VIII, was also known as 'the Winter King'. See documentary here.]

Her biographical details and regal connections are far too complicated to go into here - I suggest a read on Wikipedia and then further afield if you are sufficiently interested. Essentially, she was the second child and eldest daughter of James VI and I, King of Scotland, England, and Ireland, and his wife, Anne of Denmark, and became second-in-line to the throne when her elder brother, Henry Frederick, Prince of Wales, died at the age of 18 of typhoid fever. However, he was eventually succeeded by his younger brother, Charles, as Charles I, as mentioned in previous post here.

Elizabeth's grandson by her daughter Sophia of Hanover succeeded to the British throne as George I, initiating the House of Hanover, when Queen Anne failed to produce any offspring despite 17 pregnancies (she's the subject of a film released in 2018 starring Olivia Colman, 'The Favourite' - I haven't seen it).

I do find this period of history really complicated. Basically, the line of succession after the death of Elizabeth I is as follows:

James I of England & Ireland, and VI of Scotland - r. 1603 - 1625. Son of Mary Queen of Scots and her second husband Henry Stuart, Lord Darnley (who was later murdered, allegedly by Mary's prospective third husband, James Hepburn, 4th Earl of Bothwell]. He was already James VI of Scotland when Elizabeth I died. His coronation united the two crowns, though I'm a bit confused about the exact details, or where Ireland fits into it all.

Charles I - r. 1625 - beheaded in 1649. The period between his execution and the Restoration of the Crown to his son Charles II was called 'The Interregnum'. It was during this time that Oliver Cromwell became Lord Protector (1653 - 58). After his death followed a brief period unsuccessful leadership by his son until the monarchy was restored in 1660. I find this period of history confusing and not of any real interest to me. It just seems to be about a load of unpleasant men fighting for control (aka The English Civil Wars.)

Charles II - r. 1660 - 1685. I don't know much about him, except he was known as 'The Merry Monarch', liked to party and had loads of illegitimate children, but none by his spouse, the Portuguese Catherine of Braganza. Henceforth, upon his death the crown went to his brother, James.

James II of England & Ireland, and VII of Scotland – r. 1685 – 1688. I know nothing about him other than he was married to a woman called Anne Hyde before he came king (I have mentioned her somewhere in an earlier post) and then Italian princess, Mary of Modena. He was succeed by his daughters Mary (along with her husband, the Dutch William of Orange, a grandson of Charles I, see link here) and then Anne.

Mary II of England co-ruled with her husband, who became William III – I haven’t got the dates of their reign to hand. Again, I’m very sketchy about this period of history, all I know is that their rule came about via the ‘Glorious Revolution’ and Protestant 'King Billy' has something to do with Northern Ireland (yeh, my knowledge in this area is really that slim). She died in 1694 and he ruled alone until his own death in 1702, when he was succeeded by Mary’s sister, Anne.

Anne – r. 1702 – 1714. No offspring despite 17 pregnancies, she was succeeded by George I, a German who spoke no English but who had a claim to the throne on account of him being the grandson of James I’s daughter – yep, back to where we started with the Winter Queen, Elizabeth of Bohemia. He would be the first of four Georges; the last of the Hanoverians were William IV and Queen Victoria.

Wow, quite a history lesson, especially for first thing Sunday morning! I will check it later for any errors. It all started simply, due to one of my scrapbook clippings from last night about Elizabeth of Bohemia, whom I'd not heard of before. It's really an attempt to consolidate my learning of this period after the Tudors, but I doubt I shall venture any further. As I've already mentioned here and in previous blog posts, these centuries don't hold much interest for me - a major reason why is I don't like much of the artworks created during these times, it's mainly all portraits of royals and aristocrats posing about in finery, or dull landscapes. But it's handy to try to commit to memory a timeline of who reigned when and the major political events which occurred in those eras.

[ferryboatpeak]

i miss jackrry. we were so robbed when the dunkirk cast didn't really go to any awards shows. hoping wishing praying that they'll run into each other in some upcoming award season

after this morning's torrid news my fondest wish is for harry and jack to have an earnest conversation in the bathroom at the oscars about their mutual embrace of roles where they get to *** ***** onscreen.

[uwmspeccoll]

Mary, Queen of Scots, Monday 

On this day, the second of May, in 1568, Mary Stuart, aided by her jailor’s family, escaped after nearly a year of imprisonment in Lochleven Castle. 

To commemorate this occasion, we present plates from John Skelton’s 1893 work Mary Stuart, Skelton’s third work on Mary, Queen of Scots, all advocating for a sympathetic view of Mary as a heroic victim. Mary Stuart was printed and published in an edition of 200 copies for Europe (with an additional 100 “with a duplicate series of plates ... for America”) by Boussod, Valadon & Co. in Asnières-sur-Sein, a township in Île-de-France just north-west of Paris. 

The publishing company, formerly Goupil & Cie., is best known for its association with Galerie Goupil and the auction and exhibition of contemporary art. With branches in New York, London, Berlin, Vienna, and Brussels, Goupil was a dominant force in the 19th century art market. The business was initially established in 1827 by Jean-Baptiste Michel Adolphe Goupil as a print publishing firm. Goupil retired from the business in 1884, leaving his partner Léon Boussod and Boussod’s son-in-law René Valadon in charge of the business. In 1886, Boussod established the photographic studio and printing press at Asnières where Mary Stuart would eventually be printed.

Mary’s life was beset with scandal and tragedy. After her betrothal to Henry VIII’s son Edward fell apart, she was sent to France at the age of five to eventually wed the Dauphin, Francis II, two years her junior. They married once the Dauphin came of age, but Francis died of an infection and Mary found herself widowed at 18. Mary returned to Scotland and was eventually married to her cousin, Henry Stuart, Earl of Darnley, generally described as a rageful, alcoholic, syphilitic womanizer. 

Darnley was killed under suspicious circumstances in January of 1567. Mary herself was suspected, as was James Hepburn, the Earl of Bothwell. Bothwell was eventually tried and acquitted in April, but the marriage of Bothwell and Mary only weeks after the trial caused quite a controversy. The Scottish nobility turned on Mary and Bothwell, leading to her imprisonment and the abdication of the throne. Mary fled to England, hoping to find an ally in her cousin Queen Elizabeth. Instead, she was held prisoner (albeit rather lavishly) for the new two decades. She was executed in 1587 after being found guilty of treason.  

View more Milestone Monday posts here. 

-Olivia, Special Collections Graduate Intern

[ladiesoftheages]

Mary Boleyn on Stage and Screen

Louise Platt in the Broadway production of Anne of the Thousand Days – 1949

Valerie Gearon in the film Anne of the Thousand Days — 1969

Natascha McElhone in the ITV TV movie The Other Boleyn Girl — 2003

Clare Cameron in the BBC TV movie Henry VIII — 2003

Perdita Weeks in the Showtime series The Tudors — 2007-2008

Scarlett Johansson in the film The Other Boleyn Girl — 2008

Charity Wakefield in the BBC miniseries Wolf Hall — 2015

Olivia Darnley in both the West End and Broadway productions of Wolf Hall Parts One & Two — 2015

Tiffany Ceri in the documentary Six Wives with Lucy Worlsey (also known as Secrets of the Six Wives) — 2016

Tiffany Ceri in the Six Queens of Henry VIII (also known as Henry VIII and His Six Wives) — 2016

An uncredited actress in the Starz series The Spanish Princess season 1, episode “All is Lost” — 2019

Bessie Coates in The Spanish Princess part 2 — 2020

[aristocraticvision]

Chapter 6: The Coronation Ball (Part 1)

To Stephen, the day had been a blur, but the promise of rest was still hours away. The guests had been arriving since half-past seven, so he barely had time to shower and change into a fresh uniform before making his entrance at the ball, moving quickly from group to group and accepting their deep bows and curtsies with a warm smile.

As the orchestra, hidden in the gold reception room behind screens, played waltzes by Mozart (Stephen’s favorite – indeed, his mother had thought of everything), couples whirled on the dance floor. Stephen had done away with the tradition of the new monarch having the first dance. As a bachelor, he felt it would be unseemly for him to choose a partner, as anyone not chosen would take offense.

To his left, Archbishop Anscom was keeping King Nicholas II and Queen Margaret of Allycia in conversation – God bless the old man for helping keep everyone occupied, Stephen thought. Their Imperial Majesties Emperor George VI and Empress Catherine of Torenth spun blissfully on the dancefloor, seemingly oblivious to all around them. Good, he thought. Perhaps I’ll have a little time to mingle.

Amidst the twinkling lights and fragrant bouquets hand-cut from the royal gardens, Stephen spied Olivia Howes, Countess of Trentham, looking tired and frail. Her son and one of Stephen’s oldest friends, Jason Howes, stood silently next to her, eyeing the festivities disinterestedly.

“My dear friends” Stephen said. “No, countess, please don’t get up. I just wanted to make sure all is well. I’m afraid neither of you look as though you are enjoying the evening. And where is the Earl? After all his hard work planning today’s ceremonies, I was disappointed to miss him at the coronation.”

The countess and her son exchanged an uneasy glance.

“I’m afraid Martin is not feeling well these days,” the countess said. “He sends his best wishes and congratulations, of course, your royal highness.”

Stephen met Jason’s eyes, but looked away quickly when he saw the pain evident there. Obviously, the earl’s condition was worse than the countess let on.

“I’m so sorry to hear that, my dear lady,” Stephen said, taking her hand. “Please, let me know if there is anything I can do. I know your daughter, Elizabeth, is a doctor now. Has she been to see him?”

“Yes, among several,” Jason replied for his mother, who dropped her gaze. “I’m afraid his condition has not improved. But please, do not let us ruin your evening, your royal highness. There is much to celebrate. Your address, for example, was a triumph. It’s all they’re talking about on the news channels.”

Stephen blushed, smiling. “Thank you for saying so,” he said.

After a moment of silence, Stephen smiled again. “Thank you so much for coming. Tell your husband that I will come and see him as soon as I return from my trip abroad. Hopefully, by then, he’ll be much improved.”

As he spoke, Stephen noticed the prime minister, David Darnley, approaching.

“Your royal highness,” Darnley said, with a quick bow. “Forgive me for interrupting, but I was hoping we might have a moment together in private.”

“Of course, prime minister,” Stephen replied, nodding his farewells to Jason and the countess. Please, follow me.”

“Now where is he going?” Dowager Princess Marie muttered to herself before turning back to her guest, HRH Princess Caroline of Corwyn. “I’m terribly sorry, my dear. I had hoped to introduce you to my son, but it seems that matters of state have intruded once again. I’m sure he’ll be back shortly.”

“It’s fine, your highness,” Caroline replied with a smile. “I certainly understand. I’m sure I’ll have the pleasure later this evening. I do want to thank you again for the invitation. While we expected mother would attend, I was surprised to see my name on the invitation as well.”

“Why, my dear?” Marie replied. “You are such a lovely young woman! When we first met at your mother’s mid-winter ball, I said to myself ‘there is a young woman who will do great things.’ Which is why I wanted you to meet Stephen. I think both of you share similar interests.”

“How lovely of you,” Caroline said, politely. “I certainly look forward to making his acquaintance.”

BEGINNING | PREV | NEXT

Continent of Oceana | History of Weston

[qnmry-a-blog]

1, 2, 4, 7, and 15!

1.  What is the biggest headcanon deviation from the canon material that you have incorporated into the way you write your muse? Why did you come up with it?  

I   think    the   biggest   canon   deviation   that  I  came   up   with   was   Mary   being   with   Louis   of  Conde   as   part   of   her   freedom .     that    she   was  “ drowning  &  needed  to  breathe  again “   I’M  SORRY  BUT  THAT’S  BS .      she  kept  saying   that   it   was   francis’s   breathing   that   bothered   her   so  much   &   then  she  proceeds   to  sleep  with  Louis   to    recover  from  her  rape ?????    i’m  sorry  no ??????      while  I  do  acknowledge   their  relationship ,    I   do   not   consider   that   mary   went  into  it   because   of   that   reason .  What  I  don’t  acknowledge  is   mary’s  rape   &   the   conde   affair   in   the   same   line   of   events ;   I  like  to  incorporate   them  both   but   separately .   either  or .      

2.  Do you have any controversial headcanons that go against what is generally accepted by the fandom? Do you incorporate this into writing your muse or keep it to yourself? 

IT’S   NOT   PARTICULARLY  A  HEADCANON  BUT   the   whole   “ I love Francis more ”   being  the   reason   for   Mary   not   marrying   Bash ????    I  think ?????    I’ve   explained   my   reasons   for   doing   this   COUNTLESS  TIMES    &  I  have  incorporated   this   into   my   writing .    I  make   sure   everyone   who   follows   me   is   okay   with   this   &   so   I   keep   reiterating   it   time   &   again   because   Re/ign  has  a   pretty   nasty   fandom .     HERE’S   THE   LINK !       

4.  Have you made any outright changes to the canon material in order to write your muse the way you wanted (entire scenes you chose to omit, chapters you say never existed, things you assume were never said, etc.)? 

HO   BOIIIII ,     TALK   ABOUT    OUTRIGHT  CHANGES .    ok   the    biggest   of   them   would   be   frary  as   a  platonic  relationship  &  not  romantic ?       you   can   refer   to   the   previous   link   for   my   reasons   of  doing   this .   (  I  feel  like   romantic  frary  was  toxic  af .  )   

7.  For movie or TV muses, what is your muse’s favorite scene? Why? Can you show a screenshot?  

I  have   so  many   omg !!!!!!!      ok   but   I’ll   give   you   four ,    gifs   enclosed   are   not   mine .     they   are   my   favourite   seasons   bc   they   show   her   to   be   so  powerful   i  cry .   these   showcase   her   true  spirit ,    which   is   her  love   for   her   country     &    that   nobody   can   take   the   crown   from   her  ,    not  without  a  fight .       &   the   last   gif   is   just   for   me   being   really  really   proud  of   her   for  just   serving   it   to   darnley .

7.   What plots/interactions leave you feeling protective of your muse? 

everything   placed   in    season  one’s   timeline   honestly .    she   was   the   purest   ball   of   joy   &   innocence ,   before   being   dragged   through   hell  &   dirt .    nobody   in   the   french   court   took   her   seriously   &    with   the   constant   death   threats   &   francis   not   wanting   to   marry   her   at  first ,     then  olivia   coming  to  court ,   then   the  pressure   from  henry   to   claim   the   english   throne                     any   interaction   that   thus   involves   these   events   of   season  1 ,    I  start   feeling   all   protective   over  Mary .  

@regiiscrown     /     forever  accepting.  

[princebp1]

Left: Hat worn by Laura Carmichael as Lady Edith Crawley in Season 1, Episode 6 of "Downton Abbey" - (2010) Right: The same hat can be seen again worn by Olivia Darnley as Bessie Allison in Episode 1 of the 2012 "Titanic" TV Mini Series .

[thelishanna]

How is Frary is abusive?

I have answered this like fifty times but let’s do this-Francis is sexist from day one, cheating on her and insulting her country-puts her in a tower-publicly embarrasses her with Olivia-guilt-trips, threatens, grabs her-rolls his eyes at her PTSD-has a baby with her best friend while running the fact she can’t have kids in her face -goes behind her back and lies-belittles her and yet again, makes sexist comments (like all the time - ‘kings do not answer to their wives’) -like no one mentions the parallel of her wedding to Francis and her wedding to Darnley when she looks over to get validation

[tindogpodcast]

TDP 794: Jenny The Doctors Daughter Vol 1 from @BigFinish

@TinDogPodcast reviews the surprisingly good #Jenny The Doctors Daughter #Doctorwho Vol 1 from @BigFinish A brilliant bit of escapism and guaranteed to bring a smile

  Jenny is brand new to the universe. Born a soldier, made for war, she has a Time Lord’s heritage. Luckily, that Time Lord is the Doctor.

She’s ready to save planets, fight monsters, and save the day, using nothing but her bravery, wit and instinct – and an awful lot of running.

1.1 Stolen Goods by Matt Fitton

Jenny is new to the universe and keen to explore – but in unfamiliar spaceships, accidents happen. She’s lucky to have someone on-hand to help. A slippery, fast-talking someone, called Garundel.

Soon, Jenny is mixed up in cons and explosions. But she also finds something strange, inexplicable, and as new to universe as she is. She’ll call him Noah.

1.2 Prisoner of the Ood by John Dorney

Moving into Leafield Crescent, Angie Glazebrook is surprised by an unexpected caller. But not half as surprised as Jenny, suddenly transported to a suburban close on twenty-first century Earth.

And that’s nothing to the surprise of the neighbours when alien visitors start appearing. Visitors with tentacled mouths, carrying death-dealing orbs. The Ood have come for their prisoner…

1.3 Neon Reign by Christian Brassington

The Dragon Lord rules Kamshassa with fear. Half the oppressed population live in an addicted stupor, while the other half are forced into service. Factories belch poisonous smoke, and Dragon Guards patrol the streets, condemning dissenters to the Eternal Fire.

When Jenny and Noah arrive, it’s only a matter of time before they start a revolution.

1.4 Zero Space by Adrian Poynton

Out in deep space, in the middle of – quite literally – nowhere, Jenny and Noah believe they’ve found a safe haven. And, very possibly, some answers. But the space station holds many secrets, and it won’t be long before Jenny’s past catches her up.

Bounty hunter COLT-5000 is on her trail and will stop at nothing to hunt down its quarry… even in Zero Space!

Written By: Matt Fitton, John Dorney, Christian Brassington, Adrian Poynton Directed By: Barnaby Edwards

Cast

Georgia Tennant (Jenny), Sean Biggerstaff (Noah), Siân Phillips(COLT-5000),Stuart Milligan (Garundel), Sarah Woodward (Vesh Taralesh), Clare Corbett (Lukaku), Arabella Weir (Angie Glazebrook), Silas Carson (Ood Leader), Rosalyn Landor(Vanessa Elledge), Olivia Darnley (Emily Cole), John Dorney (John Macguire), Pik-Sen Lim (Old Woman), Arina II (Shoon-Wei), Sara Houghton (Alitta), Paul Courtenay Hyu (Po), Adèle Anderson(Dreyda), Anthony Calf (Cal). Other parts played by members of the cast.

  Producer David Richardson Associate Producer Georgia Tennant Script Editor John Dorney, Matt Fitton Executive Producers Jason Haigh-Ellery and Nicholas Briggs

A new Tin Dog Podcast

[londontheatre]

Ugly Lies the Bone at the National Theatre. Kate Fleetwood (Jess).Photo by Mark Douet

Quite why there’s a long article about NASA in the programme for this National Theatre production of Ugly Lies The Bone, a show that looks at how virtual reality can help treat post-traumatic stress disorder, only becomes clear in the course of the play’s narrative. The concept of virtual reality has been around for some time, and has indeed been explored before by the National Theatre, particularly in a 2016 production called wonder.land. That show did not particularly appeal to me personally, but it did at least give pause for thought about how much influence technology can have over people.

A space expedition launch of some description or other is the only properly earth-shattering thing that happens. It’s not so much that I’m wary of spoilers so much as the details about the said launch are, perhaps deliberately, scarce. The focus is kept on Jess (Kate Fleetwood) and the virtual reality aspect of her medical treatment. I couldn’t quite shirk off the thought that some good old-fashioned physiotherapy would have benefited her, but there was no mention of that, even as Jess’ sister Kacie (Olivia Darnley) went to some lengths to describe to Jess’ ex, Stevie (Ralf Little) the regimen of pills, creams and ointments required to allow Jess’ skin grafts the best chance of success.

The grafts were required following an injury sustained whilst on military operations overseas (again, the details are rather vague). When Jess finally peels off her face mask, I couldn’t help but think of the unmasking scene in The Phantom of the Opera. All things considered, I’m not entirely convinced Ugly Lies The Bone tells us anything appreciably novel. I suspect many people could reasonably deduce, irrespective of having seen this show, that the power of technology can be a force for good as well as destruction, so while of course something like virtual reality can assist with treating PTSD, as with all courses of treatment, it needs to be carefully handled and monitored.

The aim seems to be that, within certain parameters, the patient creates a sort of ‘paradise’ through their own imagination. They articulate what a perfect world would be like, and what I will call the counsellor, only referred to in the cast list as the Voice (Buffy Davis), uses video technology to create a version of what the patient described. Music has a part to play too – apparently playing something unpalatable to the patient helps divert brainpower away from the pain of their injuries. I wasn’t persuaded: it was a theory that smacked of playing Sesame Street tunes in Guantanamo Bay as a form of torture.

[See image gallery at http://ift.tt/1FpwFUw] Jess, however, plays ball and gives it a good go. Later she reveals that her compliance was down to being in the military in the first place, where taking orders and acting on them, unquestioned and without delay, is the norm. While I liked the portrayal of everyday life continuing even as this form of medical treatment continues – the domestic disagreements between the characters are refreshing distractions, more so than the virtual reality scenes – I felt there were too many scene changes. Just as the audience is getting absorbed into a scene, it must snap out of it, and be transported elsewhere. Again. And again. And again.

The videos (Luke Halls) are excellent, bringing much to this production. The script is, to be brutally honest, nothing to write home about, and it is the delivery of the lines that draws out much wittiness, rather than the lines themselves. Thank goodness this excellent cast is able to extricate some (dark) humour out of what would otherwise have been a gloomy evening. The American Dream seems as relentlessly sought after as ever in this moderately intense and somewhat moving production.

Review by Chris Omaweng

A new play which examines the use of virtual reality in treating soldiers experiencing PTSD, Ugly Lies the Bone by Lindsey Ferrentino makes its European premiere in the Lyttelton Theatre this week (press night Wednesday 1 March) ‘Beauty is but skin deep, ugly lies the bone; beauty dies and fades away, but ugly holds its own.’ After three tours in Afghanistan and months in a severe burns unit, Jess (Kate Fleetwood) finally returns to Florida. In a small town on the Space Coast, as the final shuttle is about the launch, Jess must confront her scars, and a home that may have changed even more than her.

Experimenting with pioneering virtual reality therapy, she builds a breathtaking new world where she can escape her pain. There, she begins to restore her relationships, her life and, slowly, herself.

The full cast of UGLY LIES THE BONE is Kate Fleetwood (last seen at the NT in King Lear and in the feature film London Road), Ralf Little (BBC’s The Royle Family, Two Pints of Lager and a Packet of Crisps, recently in Dead Funny at the Vaudeville Theatre and making his NT debut), Kris Marshall (BBC’s My Family, Death In Paradise and the feature film Love Actually), Buffy Davis (BBC Radio 4’s The Archers) and Olivia Darnley who recently toured in Filter Theatre’s Twelfth Night.

Book Tickets for Ugly Lies The Bone

Ugly Lies the Bone a new play by Lindsey Ferrentino Now playing Running Time: 1 hour 35 mins no interval Lyttelton Theatre National Theatre

http://ift.tt/2m9EYlT LondonTheatre1.com

[theatrebubble]

‘Beauty is but skin deep, ugly lies the bone; beauty dies and fades away, but ugly holds its own.’

After three tours in Afghanistan and months in a severe burns unit, Jess (Kate Fleetwood) finally returns to Florida.  In a small town on the Space Coast, as the final shuttle is about the launch, Jess must confront her scars, and a home that may have changed even more than her. US writer Lindsey Ferrentino’s play has its European premiere in the Lyttelton Theatre in February.

Experimenting with pioneering virtual reality therapy, she builds a breathtaking new world where she can escape her pain.  There, she begins to restore her relationships, her life and, slowly, herself.

The full cast of UGLY LIES THE BONE is Kate Fleetwood (last seen at the NT in King Lear and in the feature film London Road), Ralf Little (BBC’s The Royle Family, Two Pints of Lager and a Packet of Crisps, is currently appearing in Dead Funny at the Vaudeville Theatre and makes his NT debut), Kris Marshall (BBC’s My Family 

and the feature film Love Actually), Buffy Davis (BBC Radio 4’s The Archers) and Olivia Darnley who recently toured in Filter Theatre’s Twelfth Night.

Photos by Mark Douet.

#gallery-0-5 { margin: auto; } #gallery-0-5 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-5 img { border: 2px solid #cfcfcf; } #gallery-0-5 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Rehearsal Shots Give A Glimpse At Ugly Lies The Bone ‘Beauty is but skin deep, ugly lies the bone; beauty dies and fades away, but ugly holds its own…

[sdyseob-blog]

Death Defying Acts Downloads

Death Defying Acts movie download

Actors:

Anthony O'Donnell Guy Pearce Ralph Riach Catherine Zeta-Jones Olivia Darnley Billy McColl Leni Harper Timothy Spall Malcolm Shields Saoirse Ronan

Download Death Defying Acts

Death Defying Acts (2008) - Overview - MSN Movies My Brilliant Career and Oscar and Lucinda director Gillian Armstrong explores the final feat of the greatest illusionist ever to deceive a live audience in this. My Brilliant Career and Oscar and Lucinda director Gillian Armstrong explores the final feat of the. . Death Defying Acts - Wikipedia, the free encyclopedia Death Defying Acts is a 2007 supernatural romantic thriller. Kline to Play Two Roles in Kaufman's. Game News: Batman: Arkham City Steel Mill Gameplay. New Movies Fail at the Box Office Again . Starring Guy Pearce, Catherine Zeta-Jones, Timothy Spall. . Death Defying Acts - Trailers, Videos, and Reviews ComingSoon.net. Death Defying Acts would more aptly be titled Houdinis Whirlwind Romance as it focuses less on the famed magicians skills and more on what kind of secret lovers. Death Defying Acts - Movie Reviews, Photos & Videos, Layouts. Actors: Guy Pearce: Harry Houdini Catherine Zeta-Jones: Mary McGarvie Timothy Spall: Sugarman Saoirse Ronan: Benji McGarvie. Death Defying Acts (2007) - IMDb Director: Gillian Armstrong. Arrested Development Plans Television Return. If you want a period magician movie, seek out The Prestige or The Illusionist instead. Death Defying Acts | Moviefone - Movies | Movie Times | Tickets. WordFarm - Books - Death-Defying Acts Book Info; Author Info; Endorsements; Sample Pages; What does the Tattooed Lady fear? "Some day I'll run out of skin." Erin Keane's new book, Death-Defying Acts, is a collection. Death Defying Acts - Rotten Tomatoes Pretty but dull, with unconvincing turns from Zeta-Jones and Pearce. Amazon.com: Death Defying Acts: Catherine Zeta-Jones, Guy Pearce

Hogan's Heroes - Season Two hd

[aristocraticvision]

Chapter 4: Unheeded Warnings

“As you can see, your royal highness, the parade route will follow a meandering course from the palace to the abbey, providing an opportunity for nearly everyone in the city to see their new prince and celebrate your coronation,” Martin Howes, seventh earl of Trentham, said, gesturing to the map. “We are working with the police and your security team to ensure the entire route is carefully screened, but I’m afraid that, given the situation in Grenville Bay, we must recommend that you go by car rather than coach, as it will provide a greater level of protection should some of the protestors decide to travel here.”

Stephen frowned, looking around the table. “Do you really think that is necessary?”

“Absolutely, sir,” Lord Fitzwallace said. “Your security is paramount, and the coronation will provide too many opportunities for anyone wishing to end your reign before it has officially begun.”

Stephen paused, considering, and felt the eyes of his ministers studying him in return. While such measures left him somewhat uneasy, he understood their importance. But he felt it difficult to believe that any of his subjects would attempt to take his life. After all, his father had done his best to improve the conditions in Grenville Bay, and Stephen wished to do even more.

“No,” he said, flatly. “I will go by coach, as tradition dictates.”

“But your royal highness ….” Howes said.

“Lord Howes, I refuse to begin my reign in fear,” Stephen interrupted. “Nor will I offer even the slightest impression of cowardice. I will go by coach.”

“If you insist, sir,” Prime Minister Darnley said, cutting off Howe’s response. “Then let us move on. Following the coronation ceremony, you will go … by coach, as you insist … to the National Assembly Hall, where you will address the people. Again, this act will leave you vulnerable, but I assume you will not consider cancelling your address.”

“You assume correctly,” Stephen replied.

Howes sighed. “I must object, your royal highness ….”

“I know you do not agree with my decision, Lord Howes,” Stephen said, gently. “But I must be seen as a strong ruler. Cowering behind bulletproof glass and soldiers would not support that image.”

“I understand, of course,” Howes said. “But given your current status, I find it difficult to support your decision.”

“My status?” Stephen asked.

“You are not yet married, nor do you have an heir,” Howes said. “Were something to happen to you, your royal highness, Weston would be plunged into chaos.”

Stephen cringed, but accepted the remark as it was intended.

“Understood,” he said. “But please, Howes, let us not speak of marriage now. My mother has already reminded me of my dynastic responsibilities, and I assure you that is quite sufficient.”

A smile crossed Howes’ lips, but it was Darnley who responded. “I am sure she was quite … emphatic.”

“You have no idea,” Stephen said. “Now let’s get back to it.”

“Unfortunately, I will need to cover the remaining plans at a later date, your royal highness,” Howes said, rising. “I am meeting my family for an early dinner, and the countess made me promise to be on time.”

“How is the lovely Lady Olivia?” Stephen asked, smiling. Howes had been a trusted advisor to his father, which is why he had placed the earl in charge of his coronation plans. Over the years, he had come to know the Howes family quite well. Howes’ son, Jason, was an old friend and companion from school.

“Fine, sir,” Howes replied. “She sends her warmest regards.”

“And your children?” Stephen asked. “Will they be joining you?”

“Indeed they will, sir,” Howes said. “Actually, it will be a treat. I see Jason quite often, as he attends to the family estates. Elizabeth I see but rarely, so it will be good to catch up.”

“She is a doctor now, last I heard,” Stephen said, walking Howes to the door.

“Yes, sir,” Howes replied, beaming. “She was top of her class in medical school, and is in her second year of residency at Prince Michael’s Hospital. I’m very proud of her, but then she always did have more ambition than her brother.”

“I’m sure she’s doing well,” Stephen said, shaking Howes’ hand. “The last time I saw her, she was still in prep school. Please give them all my best.”

“Of course, your royal highness,” Howes said with a respectful nod, then exited.

Stephen turned to his council.

“Now … what other business do we have today,” he said, wearily.

BEGINNING | PREV | NEXT

Continent of Oceana | History of Weston

[londontheatre]

A free immersive installation available in the National Theatre’s Lyttelton Lounge for an hour after Ugly Lies the Bone performances.

Ugly Lies The Bone, a new play by US playwright Lindsey Ferrentino, makes its European premiere in the Lyttelton Theatre tonight and runs until 6 June. The production examines the use of virtual reality in treating soldiers experiencing PTSD.

‘Beauty is but skin deep, ugly lies the bone; beauty dies and fades away, but ugly holds its own.’ Jess, a soldier returning home to Florida after three tours in Afghanistan, experiments with a pioneering virtual reality therapy. She builds a breath-taking new world where she can escape her pain. There, she begins to restore her relationships, her life and, slowly, herself.

Thanks to a unique partnership between Firsthand and the National Theatre’s Immersive Storytelling Studio, with technical partner HTC Vive, audiences can experience COOL!, a VR Pain Control Therapy similar to that which Jess experiences in Ugly Lies the Bone in an immersive installation front of house after performances. Firsthand has been working at the forefront of VR pain research for many years, collaborating with leading scientists including Dr. Hunter Hoffman, Dr. David Patterson, and Dr. Thomas Furness to create SnowWorld, the VR pain control therapy which inspired Ferrentino’s play Ugly Lies the Bone.

Studies show that VR can provide effective pain relief, often better than drugs, and immersion is the key to that relief. In experimental trials with SnowWorld it was typical for at least 60% of patients to experience a more than 30% reduction in pain. Comparatively, a dose of morphine is often calibrated to reduce pain by 25%. The more that people feel that they are present in a virtual world; the further it takes them from their pain. Peter Frolund, Vice President of VR (Europe) at HTC said: ‘Jess’s story in Ugly Lies the Bone is really powerful and it is a brilliant way of showcasing some of the amazing things that people are using Vive for right now. It is important that people realise that VR can be and is already used for so many purposes other than gaming. Whether that is in medicine, treatment of PTSD or education, we want people to broaden their horizons and make the most of VR to improve and enrich lives.’

Ugly Lies the Bone at the National Theatre. Kate Fleetwood (Jess). Photo by Mark Douet

The full cast of Ugly Lies the Bone is Kate Fleetwood (last seen at the NT in King Lear and in the feature film London Road), Ralf Little (BBC’s The Royle Family, Two Pints of Lager and a Packet of Crisps and most recently Dead Funny at the Vaudeville Theatre, making his NT debut), Kris Marshall (BBC’s My Family and the feature film Love Actually), Buffy Davis (BBC Radio 4’s The Archers) and Olivia Darnley who recently toured in Filter Theatre’s Twelfth Night.

Award-winning playwright Lindsey Ferrentino’s honest and funny drama was a New York Times Critic’s Pick and played a sold-out run at Roundabout Theater Company. This UK production is directed by Indhu Rubasingham, who last year directed the award-winning ‘The Motherf**ker with the Hat’ at the NT and is Artistic Director of the Tricycle Theatre. Set design is by Es Devlin whose work crosses a wide range of genres: opera, dance, film, theatre, concerts and fashion. Her recent work includes Light Shining in Buckinghamshire at the NT and stage sets in collaboration with Beyoncé, Kanye West, U2, Jay Z and Adele. She designed the London Olympic Closing Ceremony and the Rio Olympic Opening Ceremony; video design is by Luke Halls; costume design by Johanna Coe; lighting design by Oliver Fenwick; music and sound by Ben and Max Ringham; and fight direction by Rachel Brown-Williams and Ruth Cooper-Brown of RC-Annie Ltd.

Book Tickets for Ugly Lies The Bone

About Firsthand Firsthand Technology has been working at the forefront of VR pain research for over 20 years, in collaboration with leading scientists to create VR pain control therapy. They are creators of SnowWorld and VR PTSD therapy that inspired the Lindsey Ferrentino to create ULTB. Firsthand’s evidence-based approach maximizes VR’s high-bandwidth channel to the brain to deliver adaptive, clinically validated solutions for a wide range of health conditions, inspire healthy lifestyles and increase treatment regimen adherence.

Decades of studies underlie Firsthand’s solutions. Our VR applications, like COOL! and GLOW!, maximize VR’s mechanisms of action for health: immersion, interaction, sensory engagement and mental focus. In a recent study with chronic pain patients using Firsthand’s COOL!, patients reported 60-70% pain reduction during treatment, with benefits lasting up to 48 hours post treatment. The company is releasing additional applications for: post-operative recovery, anxiety/stress, flare-ups, PTSD, addiction and other conditions. firsthand.com

About VIVE VIVE is a first-of-its-kind virtual reality platform developed by HTC and Valve for total immersion in virtual worlds. Designed from the ground up for room-scale VR and true-to-life interactions, VIVE delivers on the promise of VR with game-changing technology and best-in-class content. VIVE has been recognised with over 65 awards and wide critical acclaim since its unveiling in 2015. For more information, visit VIVE.com.

About HTC HTC Corporation aims to bring brilliance to life. As a global innovator in smart mobile devices and technology, HTC has produced award-winning products and industry firsts since its inception in 1997, including the critically acclaimed HTC One and HTC Desire lines of smartphones. The pursuit of brilliance is at the heart of everything we do, inspiring best-in-class design and game-changing mobile and virtual reality experiences for consumers around the world. HTC is listed on the Taiwan Stock Exchange (TWSE: 2498). htc.com

About the NT’s Immersive Storytelling Studio The National Theatre’s Immersive Storytelling Studio examines how Virtual Reality (VR), 360⁰ film, augmented reality and other emerging technologies can widen and enhance the NT’s remit to be a pioneer of dramatic storytelling and to ‘enable an audience to stand in the shoes of another’. The studio forms part of the National Theatre’s New Work Department, in collaboration with the NT’s Digital Development Team.

http://ift.tt/2m853Ry LondonTheatre1.com

[londontheatre]

Ugly Lies the Bone at the National Theatre. Kate Fleetwood (Jess).Photo by Mark Douet

A new play which examines the use of virtual reality in treating soldiers experiencing PTSD, Ugly Lies the Bone by Lindsey Ferrentino makes its European premiere in the Lyttelton Theatre this week (Press Night Wednesday 1st March) ‘Beauty is but skin deep, ugly lies the bone; beauty dies and fades away, but ugly holds its own.’

After three tours in Afghanistan and months in a severe burns unit, Jess (Kate Fleetwood) finally returns to Florida. In a small town on the Space Coast, as the final shuttle is about the launch, Jess must confront her scars, and a home that may have changed even more than her. Experimenting with pioneering virtual reality therapy, she builds a breathtaking new world where she can escape her pain. There, she begins to restore her relationships, her life and, slowly, herself.

The full cast of UGLY LIES THE BONE is Kate Fleetwood (last seen at the NT in King Lear and in the feature film London Road), Ralf Little (BBC’s The Royle Family, Two Pints of Lager and a Packet of Crisps, recently in Dead Funny at the Vaudeville Theatre and making his NT debut), Kris Marshall (BBC’s My Family, Death In Paradise and the feature film Love Actually), Buffy Davis (BBC Radio 4’s The Archers) and Olivia Darnley who recently toured in Filter Theatre’s Twelfth Night.

[See image gallery at http://ift.tt/1FpwFUw] Award-winning playwright Lindsey Ferrentino’s honest and funny drama was a New York Times Critic’s Pick and played a sold-out run at Roundabout Theater Company. This UK production is directed by Indhu Rubasingham, who last year directed the award-winning ‘The Motherf**ker with the Hat’ at the NT and is Artistic Director of the Tricycle Theatre. Set design is by Es Devlin whose work crosses a wide range of genres: opera, dance, film, theatre, concerts and fashion. Her recent work includes Light Shining in Buckinghamshire at the NT and stage sets in collaboration with Beyoncé, Kanye West, U2, Jay Z and Adele. She designed the London Olympic Closing Ceremony and the Rio Olympic Opening Ceremony; video design is by Luke Halls; costume design by Johanna Coe; lighting design by Oliver Fenwick; music and sound by Ben and Max Ringham; and fight direction by Rachel Brown-Williams and Ruth Cooper-Brown of RC-Annie Ltd.

UGLY LIES THE BONE IS SUPPORTED BY TRAVELEX WITH HUNDREDS OF TICKETS PRICED £15 AT EVERY PERFORMANCE

nationaltheatre.org.uk @nationaltheatre @NT_PressOffice

Buy tickets from Encore Tickets

http://ift.tt/2m9EYlT LondonTheatre1.com

[londontheatre]

NT entrance February 2015 photo by Philip Vile

Ivo van Hove follows his acclaimed Hedda Gabler with the world premiere of Network, with Bryan Cranston making his UK stage debut

Anne-Marie Duff returns to the National Theatre in Common, and will appear alongside Rory Kinnear in Macbeth in 2018, directed by Rufus Norris

Award-winning playwright Annie Baker (The Flick) returns with the European premiere of her new play John in the Dorfman

John Tiffany directs the world premiere of Pinocchio

Saint George and the Dragon, Beginning and The Majority continue the NT’s commitment to new work and contemporary stories on our stages

12 new plays, 50% of which are written by women, will open in the next 12 months

People, Places & Things transfers to St Ann’s Warehouse, New York

The NT will tour to 47 venues in 35 towns and cities across the UK in 2017-18

Co-productions with Fuel, Headlong, Out of Joint, Improbable, and West Yorkshire Playhouse

Double the number of Entry Pass tickets for young people under 26

NEW PRODUCTIONS ANNOUNCED OLIVIER THEATRE

AMADEUS – photograph by Seamus Ryan, designed by the NT Graphic Design Studio

SAINT GEORGE AND THE DRAGON Rory Mullarkey’s epic new folk play tells of a knight who became a myth, and a country in need of a story. The world premiere is directed by National Theatre Associate Lyndsey Turner with design by Rae Smith, lighting design by Bruno Poet, music by Grant Olding, choreography by Lynne Page and sound design by Christopher Shutt. Opening in October 2017. Hundreds of Travelex tickets at £15 available per performance.

MACBETH Rufus Norris directs Rory Kinnear and Anne-Marie Duff in Shakespeare’s darkest tragedy 25 years after his last Shakespeare production. Opening in spring 2018. Broadcast to cinemas by NT Live in 2018.

AMADEUS Michael Longhurst’s sell-out production of Peter Shaffer’s masterpiece returns to the Olivier. Lucian Msamati and Adam Gillen once again lead the company of actors, singers and musicians. Amadeus is directed by Michael Longhurst with design by Chloe Lamford, music direction and additional music by Simon Slater, choreography by Imogen Knight, lighting design by Jon Clark and sound design by Paul Arditti. Amadeus is produced in association with Southbank Sinfonia, supported by the Amadeus production syndicate. Opening in January 2018.

LYTTELTON THEATRE NETWORK

Ivo van Hove © Jan Versweyveld

Lee Hall’s new adaptation of the Oscar-winning film by Paddy Chayefsky is directed by Ivo van Hove. Cast includes Tony award winner Bryan Cranston (All the Way, Breaking Bad and Trumbo for which he was nominated for both an Oscar and a BAFTA) in the role of Howard Beale. Set and lighting design by Jan Versweyveld, video design by Tal Yarden, costume design by An D’Huys, music by Eric Sleichim and sound design by Tom Gibbons. Network is produced in association with Patrick Myles, David Luff, Ros Povey and Lee Menzies. Production supported by Marcia Grand for the memory of Richard Grand. Opening in November 2017.

DORFMAN THEATRE THE MAJORITY Following the acclaimed run of Bullet Catch in The Shed, Rob Drummond returns to the National with a new one-man show about democracy. Directed by David Overend and opening in August 2017. Originally co-commissioned with The Arches, Glasgow.

BEGINNING In the early hours of the morning, in the aftermath of a party in north London, two people meet. And nothing will ever be the same for them again. The world premiere of David Eldridge’s new play is directed by Polly Findlay. With design by Fly Davis, lighting design by Jack Knowles and sound design by Paul Arditti. Opening in October 2017.

JOHN Following The Flick in 2016, Annie Baker returns to the Dorfman with her new play, John. James Macdonald directs the European premiere, with a cast including Georgia Engel. Opening in early 2018.

UPDATES ON PREVIOUSLY ANNOUNCED PRODUCTIONS OLIVIER THEATRE

Tamsin Greig in Gethsemane (2008)-credit Catherine Ashmore

TWELFTH NIGHT Will now run until 13 May, previews from 15 February, press night 22 February. Simon Godwin directs this joyous new production. Tamsin Greig is a transformed Malvolia, performing alongside Adam Best, Oliver Chris, Claire Cordier, Imogen Doel, Mary Doherty, Ammar Duffus, Daniel Ezra, Phoebe Fox, Whitney Kehinde, Emmanuel Kojo, Tamara Lawrance, Andrew Macbean, Doon Mackichan, Tim McMullan, Brad Morrison, Daniel Rigby, Imogen Slaughter, James Wallace and Niky Wardley. The production will be designed by Soutra Gilmour, lighting by James Farncombe, movement by Shelley Maxwell, music by Michael Bruce, sound by Christopher Shutt, and fight direction by Kev McCurdy.

A ship is wrecked on the rocks. Viola is washed ashore but her twin brother Sebastian is lost. Determined to survive on her own, she steps out to explore a new land. So begins a whirlwind of mistaken identity and unrequited love. The nearby households of Olivia and Orsino are overrun with passion. Even Olivia’s uptight housekeeper Malvolia is swept up in the madness. Where music is the food of love and nobody is quite what they seem, anything proves possible. Broadcast to cinemas by NT Live on 6 April.

Director Yael Farber NT lesblancs 2016 credit Johan Persson

SALOMÉ Previews from 2 May, press night 9 May, continuing in the repertoire until 15 July. Salomé in a new version by Yaël Farber The story has been told before, but never like this. An occupied desert nation. A radical from the wilderness on hunger strike. A girl whose mysterious dance will change the course of the world. This charged retelling turns the infamous biblical tale on its head, placing the girl we call Salomé at the centre of a revolution.

Internationally acclaimed director Yaël Farber (Les Blancs) draws on multiple accounts to create her urgent, hypnotic production on the Olivier stage.

Salomé is designed by Susan Hilferty with lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Niloufar, Lubana al Quntar, Raad Rawi and Stanley Townsend. Hundreds of Travelex tickets at £15 available per performance. Broadcast to cinemas by NT Live on 22 June.

COMMON Previews from 30 May, press night 6 June. A co-production with Headlong.

Mary’s the best liar, rogue, thief and faker in this whole septic isle. And she’s back. As the factory smoke of the industrial revolution belches out from the cities, Mary is swept up in the battle of her former home. The common land, belonging to all, is disappearing. D C Moore’s dark and funny new play is an epic tale of unsavoury action and England’s lost land.

Headlong’s Artistic Director, Jeremy Herrin, (People, Places and Things, This House) directs Anne-Marie Duff as Mary. Cast includes Trevor Fox. Design is by Richard Hudson, lighting design by Paule Constable, music by Stephen Warbeck and sound design by Ian Dickinson. Hundreds of Travelex tickets at £15 available per performance.

FOLLIES Further casting has been announced for Follies, which will be directed by Dominic Cooke, book by James Goldman and music and lyrics by Stephen Sondheim. Joining Imelda Staunton will be Dame Josephine Barstow, Tracie Bennett, Janie Dee, Peter Forbes and Phillip Quast. Design will be by Vicki Mortimer, choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, musical direction by Nigel Lilley, lighting design by Paule Constable and sound design by Paul Groothuis. Opening in August 2017.

LYTTELTON THEATRE HEDDA GABLER – Ends 21 March

Just married. Buried alive. Hedda longs to be free… Ruth Wilson plays the title role in a new version of Ibsen’s masterpiece, by Patrick Marber. Directed by Ivo van Hove, set and lighting design by Jan Versweyveld, costume design by An D’Huys, sound design by Tom Gibbons. Production supported by the Williams Charitable Trust. Broadcast to cinemas by NT Live on 9 March.

UGLY LIES THE BONE Previews from 22 February, press night 1 March Ugly Lies the Bone by Lindsey Ferrentino makes its European premiere. ‘Beauty is but skin deep, ugly lies the bone; beauty dies and fades away, but ugly holds its own.’ After three tours in Afghanistan and months in a severe burns unit, Jess finally returns to Florida. In a small town on the Space Coast, as the final shuttle is about the launch, Jess must confront her scars, and a home that may have changed even more than her. Experimenting with pioneering virtual reality therapy, she builds a breathtaking new world where she can escape her pain. There, she begins to restore her relationships, her life and, slowly, herself.

Award-winning playwright Lindsey Ferrentino’s honest and funny new drama is directed by Indhu Rubasingham, with set design by Es Devlin, video design by Luke Halls, costume design by Johanna Coe, lighting design by Oliver Fenwick, music and sound by Ben and Max Ringham, movement direction by Lucy Hind and fight direction by Rachel Brown-Williams and Ruth Cooper-Brown of RC-Annie Ltd. The cast is Marianne Adams, Katy Brittain, Olivia Darnley, Buffy Davis, Kate Fleetwood, Ralf Little, Kris Marshall, Tom Peters and Siân Polhill-Thomas. Hundreds of Travelex tickets at £15 available per performance.

ANGELS IN AMERICA: A Gay Fantasia on National Themes Previews from 11 April, press day 4 May, continuing in repertoire

America in the mid-1980s. In the midst of the AIDS crisis, and a conservative Reagan administration, New Yorkers grapple with life and death, love and sex, heaven and hell.

This new staging of Tony Kushner’s multi-award-winning two-part play is directed by Olivier and Tony award-winning director Marianne Elliott (The Curious Incident of the Dog in the Night-Time and War Horse). Part One: Millennium Approaches was first performed at the NT in 1992, and was joined by Perestroika in a double-bill the following year. 2017 marks the 25th anniversary of the shows.

Set design is by Ian MacNeil, costume design by Nicky Gillibrand, lighting design by Paule Constable, choreography and movement by Robby Graham, music by Adrian Sutton, sound design by Ian Dickinson, puppetry direction and movement by Finn Caldwell, puppetry design by Finn Caldwell and Nick Barnes, illusions by Chris Fisher, aerial direction by Gwen Hales and fight direction by Kate Waters.

The cast is Stuart Angell, Mark Arnold, Arun Blair-Mangat, Susan Brown, Laura Caldow, Andrew Garfield, Denise Gough, Kate Harper, John Hastings, Claire Lambert, Nathan Lane, Amanda Lawrence, James McArdle, Becky Namgauds, Nathan Stewart-Jarrett, Russell Tovey, Paksie Vernon, Stan West and Lewis Wilkins.

The Angels in America ballot presented by Delta – each week hundreds of £20 tickets will be released in a ballot for the following week’s performances. Broadcast to cinemas by NT Live – Part One on 20 July, Part Two on 27 July

John Tiffany, credit Tony Rinaldo

PINOCCHIO John Tiffany directs the world premiere of Pinocchio by Dennis Kelly, with songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J. Smith newly adapted by Martin Lowe. With design and puppet co-design by Bob Crowley, lighting design by Paule Constable, music supervision, orchestrations and additional music by Martin Lowe, choreography by Steven Hoggett, puppet co-design and puppetry direction by Toby Olié, sound design by Simon Baker and illusions by Jamie Harrison. Presented by special arrangement with Disney Theatrical Productions. Opening in the Lyttelton in December 2017.

DORFMAN THEATRE SHAKESPEARE FOR YOUNGER AUDIENCES Following highly successful schools performances, these productions can be seen in the Dorfman.

Macbeth 6 – 20 February Amid bloody rebellion and the deafening drums of war, Macbeth and his wife will stop at nothing to fulfil their ambition. Witchcraft, murder, treason and treachery are all at play in this murky world. A bold contemporary retelling of one of Shakespeare’s darkest plays. Suitable for 13yrs+

Romeo and Juliet 11 – 24 February Set against a vibrant urban backdrop bursting full of excitement, colour, dancing and live song, a company of eight tell the most famous love story of all time. Join us for this swift, contemporary celebration of Shakespeare’s masterpiece as we bring Romeo and Juliet to life for a new generation. Suitable for 8 – 12yrs

Shakespeare for younger audiences is supported by: The Ingram Trust, Archie Sherman Charitable Trust, Behrens Foundation, Cleopatra Trust, The Ernest Cook Trust, Jill and David Leuw, Mulberry Trust, The Royal Victoria Hall Foundation and the Topinambour Trust.

MY COUNTRY; A WORK IN PROGRESS 28 February – 22 March, prior to national tour, see p10 for details Britannia has called a meeting, to listen to her people. Form an orderly queue.

In the months following the Brexit vote, a team of interviewers from the NT spoke to people nationwide, hearing their views on Britain, the community they live in, and the referendum. Poet Laureate Carol Ann Duffy and Director of the NT Rufus Norris put those conversations centre stage in this new production, which opens in London before playing at venues around the country. Designed by Katrina Lindsay, lighting design by Paul Knott, Music by David Shrubsole and sound design by Alex Caplen. The cast for My Country; a work in progress are Seema Bowri, Cavan Clarke, Laura Elphinstone, Adam Ewan, Penny Layden, Stuart McQuarrie and Christian Patterson. Created in collaboration with eight UK arts organisations in association with Cusack Projects Limited.

The NT today announces a new behind-the-scenes BBC Radio 4 documentary, which will track the development of Rufus Norris’ new play My Country: a work in progress. The Radio 4 programme captures the development of the creative process for the NT’s production My Country: a work in progress. It follows the rehearsal process as Rufus Norris, Poet Laureate Carol Ann Duffy and designer Katrina Lindsay work with the interviewers, their material and the cast to bring to life this current and compelling verbatim play.

LOST WITHOUT WORDS 4 – 18 March A co-production with Improbable. Imagine older actors in their 70s and 80s, actors who have spent their lives being other people, bringing life to other people’s words. Imagine they were on stage with nothing but themselves and no worlds but their own. No script, no map, a different show every night, all they have is a lifetime of theatre to help them find their way.

Lost Without Words is co-directed by Phelim McDermott and Lee Simpson with design by Katrina Lindsay, lighting design by Colin Grenfell and music by Steven Edis. The cast is Georgine Anderson, Caroline Blakiston, Anna Calder-Marshall, Lynn Farleigh, Charles Kay and Tim Preece.

CONSENT Previews from 28 March, press night 4 April, playing until 17 May A co-production with Out of Joint. Consent by Nina Raine will receive its world premiere in the Dorfman Theatre. Why is justice blind? Is she impartial? Or is she blinkered? This powerful, painful and funny play sifts the evidence in a rape case from every side and puts justice in the dock. Directed by Roger Michell with set design by Hildegard Bechtler, costume design by Dinah Collin, lighting design by Rick Fisher and sound design by John Leonard. Cast includes Priyanga Burford, Pip Carter, Ben Chaplin, Heather Craney, Daisy Haggard, Adam James and Anna Maxwell Martin.

BARBER SHOP CHRONICLES Previews from 30 May, press night 7 June, in repertoire until 8 July A co-production with Fuel and West Yorkshire Playhouse. A new play by Inua Ellams, directed by Bijan Sheibani.

Newsroom, political platform, local hot-spot, confession box, preacher-pulpit and football stadium. For generations, African men have gathered in barber shops to discuss the world.

This dynamic new play journeys from a barber shop in London, to Johannesburg, Harare, Kampala, Lagos and Accra. These are places where the banter can be barbed and the truth is always telling.

Barber Shop Chronicles is Inua Ellams’ third play at the National, following the exhilarating The 14th Tale and Black T-shirt Collection.

The production is designed by Rae Smith with lighting design by Jack Knowles, movement direction by Aline David and sound design by Gareth Fry.

Barber Shop Chronicles will play at West Yorkshire Playhouse 12 – 29 July.

MOSQUITOES Mosquitoes by Lucy Kirkwood will have its world premiere in the Dorfman Theatre in July. Rufus Norris will direct this new play about families and particle physics, with a cast that includes Olivia Colman. Designed by Katrina Lindsay, lighting design by Paule Constable, music by Adam Cork, sound design by Paul Arditti and video design by Finn Ross & Ian William Galloway.

Mosquitoes is generously supported by the Edgerton Foundation, the Winton Charitable Foundation, and Rosetrees Trust. This play is a recipient of an Edgerton Foundation New Plays Award.

NATIONAL THEATRE LIVE NT Live has a season of ten new broadcasts to the UK and 55 countries across the globe

Amadeus by Peter Shaffer. Lucian Msamati plays Salieri, with live orchestral accompaniment by Southbank Sinfonia. Broadcast live from the NT on Thursday 2 February.

Saint Joan Josie Rourke directs Gemma Arterton as Joan of Arc in Bernard Shaw’s electrifying classic. Broadcast live from the Donmar Warehouse on Thursday 16 February.

Hedda Gabler by Henrik Ibsen in a new version by Patrick Marber. Ruth Wilson plays the title role in Ivo van Hove’s production. Broadcast live from the NT on Thursday 9 March.

Twelfth Night by William Shakespeare. Tamsin Greig plays Malvolia in Shakespeare’s comedy of mistaken identity. Directed by Simon Godwin. Broadcast live from the NT on Thursday 6 April.

Salomé A radical retelling of the biblical story of one young woman’s political awakening. Directed by Yaël Farber. Broadcast live from the NT on Thursday 22 June.

Peter Pan, Sally Cookson’s wondrously inventive production recorded live during its run at the NT will be broadcast on Saturday 10 June.

Rosencrantz & Guildenstern are Dead by Tom Stoppard. Fifty years after the play premiered at The Old Vic, David Leveaux directs Daniel Radcliffe and Joshua McGuire as Rosencrantz and Guildenstern alongside David Haig as The Player in this iconic mind bending situation comedy. Broadcast live from The Old Vic on Thursday 20 April, this marks the Old Vic’s first collaboration with NT Live.

Angels in America, Marianne Elliott’s new production of Tony Kushner’s two-part play will be broadcast live from the NT. Part 1: Millennium Approaches on Thursday 20 July and Part 2: Perestroika on Thursday 27 July.

Yerma – Billie Piper stars in Yerma as a woman driven to the unthinkable by her desperate desire to have a child. Simon Stone creates a radical new production of Lorca’s achingly powerful masterpiece. Broadcast live from the Young Vic on 31 August.

Macbeth with a cast including Rory Kinnear and Anne-Marie Duff will be broadcast by NT Live in 2018. Find your nearest venue at ntlive.com

NATIONAL THEATRE THROUGHOUT THE UK, IN THE WEST END AND INTERNATIONALLY The NT will tour to 47 venues in 35 towns and cities across the UK in 2017-18

PEOPLE PLACES AND THINGS TRANSFERS TO NEW YORK AND TOURS THE UK THIS AUTUMN The National Theatre, Headlong and St Ann’s Warehouse in association with Bryan Singer Productions will present the National Theatre/Headlong production of People, Places and Things by Duncan Macmillan at St Ann’s Warehouse in New York in October 2017. Directed by Jeremy Herrin, Macmillan’s intoxicating new play opened at the NT’s Dorfman Theatre in autumn 2015, and transferred to the Wyndham’s Theatre in March 2016 where it became the ‘must see’ show of the season. Denise Gough will reprise her award-winning role as Emma. Gough’s raw and heart-breaking performance as an actress whose life has spun recklessly out of control because of her addiction to drink and drugs was unanimously acclaimed by critics and audiences alike, earning her the 2016 Olivier Award and the Critics’ Circle Award for Best Actress. Further cast details and dates to be announced.

Generous support to the National Theatre for People, Places and Things from: Areté Foundation / Betsy & Ed Cohen and Leila Maw Straus MBE.

Duncan Macmillan’s People, Places and Things will also begin a major UK tour with a new cast this autumn, in a co-production between the National Theatre, Headlong, HOME and Exeter Northcott Theatre. Full casting to be announced shortly. The tour begins at HOME, Manchester (22 September – 7 October), and continues to Oxford Playhouse (11 – 14 October), Theatre Royal Bath (17 – 21 October), Bristol Old Vic (24 – 28 October), Exeter Northcott Theatre (31 October – 4 November), Nuffield Southampton Theatres (7 – 11 November) and finish at Liverpool Playhouse Theatre (14 – 18 November).

The set is designed by Bunny Christie, the Olivier and Tony Award winning designer of the NT’s production of The Curious Incident of the Dog in the Night-Time. Costumes are by Christina Cunningham, lighting by James Farncombe, video by Andrzej Goulding and music is composed by Matthew Herbert with Olivier award-winning sound design by Tom Gibbons. Original production sponsored by Neptune Investment Management

http://ift.tt/2kALxcw LondonTheatre1.com