#citizens theatre

[kennethbrangh]

TIM CURRY as Macheath in The Threepenny Opera by Bertolt Brecht | Olivier Theatre (1986)

[hiyutekivigil]

cinderella, citizens theatre glasgow, designed by jason southgate.

[cantsayidont]

May 1941. Eight decades on, the deification of CITIZEN KANE as "the greatest movie of all time" is doing it no great favors, at least in terms of persuading people to actually watch it. The title suggests a ponderous art film that will feel like homework, which some of its fans try to counter by claiming that its moody deep-focus cinematography and Bernard Hermann score make it some kind of early film noir. Neither of those things is true: CITIZEN KANE is essentially an impish pastiche of the rise-and-fall-of-the-great-man variety of Hollywood biopics, dressed up with (and held together by) a series of shameless narrative contrivances, some memorably witty dialogue, and as many inventive cinematic gimmicks as Welles could squeeze into the two-hour running time. It is, like the radio shows Welles and his Mercury Theatre company had been doing for about two and a half years beforehand, aggressively middlebrow: As Welles himself later admitted, the story really isn't that deep, but it gives the impression of depth, just as some of the clever framing devices create the illusion of a bigger cast and larger budget.

If you take it seriously, KANE, like a lot of later Welles films, is fun for a while and becomes rather dour toward the end, but taking it seriously is a mistake, and the dourness is itself a contrivance. This is a story about an old man's tragic regrets … as imagined by a 25-year-old in a bald cap and padded suit who'd made his name on the legitimate stage, where no death scene is too final to prevent a star from taking his bows after the curtain falls. It's a game, like a cat losing its mind chasing down and vanquishing a new catnip mouse, and the finale, where the plot's central contrivance comes full circle, has that same tail-in-the-air sense of triumph.

[korbin-arts]

I want friends not bots

My tumblr seems to be getting found by all the only fans bots please interact with this so I can find actual people who like my interests. I’m tagging all my interests so hopefully someone finds this

[do-you-know-this-play]

[nezoid]

The Return of ASSSSCAT at the UCB Theatre - 09/01/23

Featuring D'Arcy Carden, Lisa Gilroy, Mary Holland, Brandon Scott Jones, Lauren Lapkus, Oscar Montoya, Ego Nwodim, and Carl Tart with guest monologist Will Ferrell.

[stairnaheireann]

#OTD in 1967 – Helena Molony, republican and trade unionist, dies in Dublin.

‘I was a young girl dreaming about Ireland when I saw and heard Maud Gonne speaking by the Custom House in Dublin one August evening in 1903… She electrified me and filled me with some of her own spirit.’ –Helena Molony Helena Molony was a prominent Irish republican, feminist and labour activist. She fought in the 1916 Easter Rising and later became the second woman president of the Irish Trade…

[dynamoe]

I’m doing improv at the “New” iO. Anything you miss about your UCB days?

Youth? Sense of infinite possibility on a distant horizon? Status and power over naïve comedy students I could get drunk and convince to return to my bed?

Vaguest answer: being a part of a community with a shared purpose (making comedy) and being able to experiment with ideas because the stakes were so low. No one was watching.

For the uninitiated, "UCB" is the Upright Citizens Brigade (Theatre), a comedy theater specializing in improv and sketch in New York and "iO" is Improv Olympic, a comedy theater in Chicago that trained the 3 of the 4 founders of the UCB. (Walshie was an Annoyance guy.)

Thank you for your question, my first from a non-anonymous in ages.

I was in the first generation of performers (more or less) with the UCB in New York City. The UCB-4 moved to NY from Chicago in 1996; I started going to shows/taking classes in 1998.

I miss having all your collaborators living a subway ride away and you'd see them every week... or multiple times a week. If you had an idea for a show, you could throw it on stage in under a month. You didn't make any money, but you didn't lay out any money either. You probably had no audience, too.

That's probably the influence of improv— your ideas were disposable so you didn't hold onto anything and get precious about it. The downside is there's no record of our output. The few photographs look terrible and there's no video. Nothing was written down.

I learned to design at UCB on the job, too. Someone always needed a flyer and I was the only person who knew/had Photoshop. There were no standards and no oversight so I could do whatever I wanted on a flyer. The quality of promotions before I started was so bad that anything I came up with was a step up. So, the only physical memento of the early UCB is 200ish flyers I designed.

I've been waffling on doing an interview-based history podcast covering those first years, before we had a physical theater of our own when the "community" was maybe two dozen people. I bought the equipment a year ago, but still haven't come up with a decent enough title to COMMIT to it.

(I also have so many regrets from that time, I'm trying hard not to add caveats to all of these points.)

[thepermanentrainpress]

CONCERT REVIEW: FAOUZIA W/ CARMEN DELEON AND GEORGEE AT RIO THEATRE - NOVEMBER 17TH, 2022

Faouzia took to the Rio Theatre to end off her “CITIZENS” tour. The Moroccan-Canadian pop star’s sold-out performance was mesmerizing and magnetic. A culmination of catchy lyrics, powerhouse vocals and Arabic stylings. Faouzia has honed her talent and released an album where each song is worth savouring–and belting out loud.

georgee, the first opening act, brought smooth R&B and funk. He had a chill and humorous demeanor, cracking self-deprecating jokes with the audience before moving into sensual vocal runs. From the lofi-esque “split” to the ironically energizing “sad” and bouncy “baby4u,” georgee’s passionate vocals and playful lyrics instantly drew listeners in: “I’m a baby for you / When you leave me I get nervous / I stay up waiting for you / And I think that I deserve it.”

Next up was Carmen DeLeon, who brought joyous energy and a mighty stage presence. DeLeon, who sang mostly in Spanish, had a soft but fierce voice, always maintaining a Latin elegance. She moved seamlessly from the electro sway of “Mariposas” to the determined “Mala Memoria” and darker, post-breakup anthem “BBB.” DeLeon cultivated an infectious atmosphere, quickly getting everyone out of their seats to dance. She pulled her father, who was also on stage, into a tango and spontaneously ran into the crowd to dance–much to their collective delight.

Faouzia started her set with “Puppet,” a bold celebration of independence: “Little did you know / I’m my own Geppetto / And now you get to watch me go, go, go.” Her strong and angelic vibrato echoed throughout the chorus. Beautiful reassurance followed with “Thick and Thin.” Faouzia had incredible control over her voice and navigated complex vocal runs with ease. A fan favourite, “Born Without a Heart” was also performed. The crowd sung along to lyrics that celebrated boundaries reset.

Faouzia wore a purple shimmering outfit that matched her dreamy persona and was accompanied by a keyboardist, guitarist, and drummer. She moved fluidly on the stage. At one point, she took an audience member's phone and recorded herself singing on it. Faouzia’s newest single, “HABIBI (MY LOVE),” was sung. Its romantic and opulent nature put the audience in a trance.

Her signature Arabic trills shined in the gentle “SoLie” and the fearless “RIP, Love.” Of course, Faouzia performed “Minefields,” a tragic and passionate tune. Lyrics described the strain of forbidden and scarred love: “Now this might be a mistake / We’re broken in so many ways / But I piece us back / together slowly.” One of the last songs of the night was “Tears of Gold,” another classic to mend a broken heart. Faouzia’s fiery vocals complemented clever wordplay: “Don’t you know that I cried tears of gold for you? / I sit here poor for you / Collect my pennies and my dimes / That’s why you love it when I cry.”

Faouzia’s show was a pleasure to experience. Vibrant and interesting opening artists and a captivating main performance. Faouzia has built herself a stellar discography that was elevated on the stage. And while she has racked up millions of streams on Spotify and Youtube, she still remains a relatively underrated talent. Faouzia has flourished on her “CITIZENS” tour and will certainly continue to do so.

Written by: Jenna Keeble

[lifes-commotion]

Happy heavenly Birthday, Agnes Robertson Moorehead (6 December 1900 – 30 April 1974)! She was in films like Dark Passage, Show Boat, The Magnificent Ambersons, Johnny Belinda, Citizen Cane, and All That Heaven Allows. She was famous for her television role as Endora on Bewitched.

[frusciantesque]

i wish all people who talk during lectures a very die die die die die die die die die

[jeannettevillarreal]

11/05/22  Elefante / UCB 

(Post 1 of 2)

[overthegardenwirtt]

funniest things in interview with the vampire:

the fact that we got reverse-queerbaited and there was levitating gay vampire sex in episode 1 and then never again :(

"he ain't white he french!"

lestat showing up to louis' family dinner in the gayest outfit he could wear in 1910, pretending to eat, and hypnotizing paul when he really was trying to make a good impression

florence du lac clocking louis as gay because of his acrylic nails and tinted glasses

"what's wrong with that man?" @ lestat

louis with the "no whites allowed" sign despite lestat being inside the building

"i'm not sure how i feel about that pleated skirt" "it's chiffon it has movement"

grace calling lestat louis' white daddy

louis, lestat, and claudia treating nosferatu like a comedy

louis telling the police they should be ashamed of how they treated "law-abiding, taxpaying citizens" and forgetting that it's illegal to be gay

"we sell...incinerators. to various american cities." "we bring our clients here to demonstrate the product"

louis throwing lestat's coffin out the window

tom anderson not seeing louis and lestat for 17 years but for some reason he has a picture with them in his desk drawer

the fact that rashid was not just a character armand made up but a real employee of theres who was mysteriously absent for a week while seemingly consensually being played by his boss

armand and louis walking up to daniel holding hands like two people who have never held hands before in their life

armand had a threesome with a father and son while watching now, voyager, something louis didn't even know about

armand telling daniel his own armandstat fanfiction, stopping at the scene where they fucked in the theatre box, and daniel wanting more

"are you schizophrenic louis?" "...no"

the insinuation that the real irish playwright samuel barclay beckett was a vampire. not only that, but that his most well-known work, "waiting for godot," was originally written for the theatre des vampires. not only that, but that he is now an unspecified DJ

french man yelling at louis and armand that they should blow each other when they're kissing in the public park

daniel molloy being so unbelievably gay in the 1970s and being immediately into fucking louis in the coffin

daniel molloy having his body comandeered by armand and still offering to suck his dick

daniel molloy trying to escape from armand and immediately running into the wall

armand walking back into the dubai penthouse being the silliest he's ever been, nourished, happy only to find out that his husband and weird gay boy situationship have unionized

armand gaslighting his way out of the situation he gaslit himself into by telling louis he asked him to erase his memories

armand animating the raccoon into the projections during the trial

santiago small dick reveal

lestat still wearing a 150 year old leyendecker robe and playing a wooden piano, but somehow having the money for an ipad, speakers, and wifi

"siri pause"

[brandileigh2003]

I'm so tired of being in pain and my mental health sucks right now.

Like, I can't do the things I want to do.

I want to go see citizen soldier Friday but I don't think I can stand that long (95% I can't) but they say ada seating is first come first serve. And that people line up early. Which is also an issue. So. I'm stuck like--Can I do this? Is it worth it? And I can't stop thinking and stressing about it and feeling frozen with making a decision.

I just want to be able to do something like this without worrying about not being able to have accommodation.

And I've been emailing with the place and they know there is someone concerned and thinking about not coming bc of it and they haven't offered to do anything to ensure that I will be able to. And I know there is only so much that can be done. But also with the setup of what I can see online. I think they could say- come anyways and we'll ensure you have somewhere to sit when you need it. But they haven't.

I'm sorry for the rant and rambling.

And what I'm dealing with mentally I can't talk about but I can talk about this one challenge so I thought I might ramble and see if it helps.

[citizenhullabaloo]

March 29th 2024 - Tom Kane Theatre / bkONE Productions

Went to see Idlehood and The Loneliers. My buddy Tom filled in drums for the opening band Sangre, who I also recorded. I unfortunately had plans last minute made so I dipped after The Loneliers and couldn't stay for Desert Shark, but go follow them anyways!

One of the members of Sangre as I accidently shot a photo while setting up before the show

Idlehood setting up

The Loneliers before their set

[bunn-iiii]

sometimes I think about how I would've been so much more successful by now if my school hadn't pushed me to autistic burn out consistently since i was 13