#Onstage

[youngveinsworld]

ryan onstage at the crowbar in tampa, florida on 9 july 2010

[lhma]

Shhh 🤫 let him rest

[original photo by @tiiaohman]

[sourcesos]

malum during older @ royal albert hall

[imgdmp]

[moonlitdark]

📷 Fabio Izzo | Fabrique (Milano) | 29.04.2016

(3 of 3)

Part one

Part two

[shakespearenews]

As Paris in “Romeo and Juliet: Love is a Fire” at the Santa Monica Playhouse, Gavin Mulcahy had to weep over Juliet’s corpse. To do so, he went to a different place. “I take several minutes of solitude before entering and I bury my face in my arms, simulate unsteady breathing, and embrace despair,” he says. While he has typically relied on his character’s “dramatic stakes,” for this show, he has drawn on personal triggers to find those emotions. “It’s more effective, but also more taxing.”

[internatlvelvet]

[yudgefudge]

personally I think the ballon d'or should go to victor osimhen and he shares it with khvicha kvaratskhelia and then they kiss

[mleyton]

GABBA GABBA HEY

[youngveinsworld]

ryan onstage at the canal club in richmond, virginia on 28 march 2010

photographs by Flickr user ashleyinwonderland

[lhma]

Glowing 💚

[original photo by @tiiaohman]

[archercamden]

gracie abrams icons

like and/or reblog if you save.

[moonlitdark]

📷 Fabio Izzo

Fabrique (Milano) | 29.04.2016

(1 of 3)

Part two

Part three

[aaliyahunleashed]

#OnThisDay, January 13th, 1995

Aaliyah appears at Wicomico Youth and Civic Center in Salisbury, MD alongside R&B group, BlackStreet. @teddyriley1

Looking at her shirt, it appears this may have been the same night as her surprise (16th) birthday party.

Some of the photography in this post is from Ernie Paniccioli (@erniepaniccioli)

[shakespearenews]

Playing Richard III for the Royal Shakespeare Company last year, Arthur Hughes found himself hyperventilating from the “headrush” of his death scene, surrounded by the ghosts of men he has murdered. “The end is a real acceleration,” Hughes says. “I was barefoot, covered in armour, ranting, raving, running, fighting. It ratchets up and up until he’s dead – and then it just stops.”

Later, the play’s abrupt ending would catch up with him. “Some nights we’d go to the Dirty Duck, the pub over the road, and I’d be like, ��God, I really need a pint after that.’ But I soon found out that wasn’t the thing to do.” His head was too noisy. “I’d never played a character where I needed to ‘de-role’ before, but I had to create a ritual to take it all off.” He would sit on a cushion repeating gentle mantras to himself, shedding the angst that builds to Richard’s death. “I just needed some stillness. I found that if I didn’t do that, I wouldn’t sleep well.”

...

For Josette Simon, getting into the role of Cleopatra at the RSC in 2017 was a far longer and more involved process than getting out of it: she found her mindset would change daily at around 3pm. Cleopatra takes her own life with a poisonous asp. “She’s right in the middle of the line,” Simon says. “So I thought she should die with her eyes open.”

Doing so upright in her throne, directly facing the audience, was not the easiest dramatic choice. “I made a rod for my own back,” she admits, “because I then had to spend the whole of Charmian’s speech with my eyes open, not blinking.” In rehearsal, her eyes would start streaming in seconds. “But I trained the muscles around my eyes. Every day, I would sit incrementally longer with my eyes like that. Occasionally in production I would feel a tear coming and I’d think, ‘Come on Charmian, get on with the speech!’” Today, Simon says with a sly smile, she believes she could still win any staring contest. “I’ve got it down to a fine art.”

[internatlvelvet]