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maiji · 6 years

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Thoughts on Grasses of Remembrance (The Tale of Genji through its poetry)

Finally had some time this weekend to sit down with A Waka Anthology, Volume 2: Grasses of Remembrance Part B by Edwin A. Cranston. This book is the last in an impressive and intimidating collection translating a number of major classical poetry anthologies. It’s basically a speedrun through Tale of Genji (if such a thing were possible) filtered through all 795 waka poems written or uttered by the characters over the course of the novel.

Poetry was a Really Big Deal during the Heian era. If you were an aristocrat, not only were you expected to compose decent poetry, you had to be able to do it off-the-cuff appropriate to the occasion. AND to do this properly, you were expected to be able to recognize and respond cleverly to references to a ton of other existing classic poems from memory that people would just mention casually in conversation or writing (kinda like how people quote the Simpsons today lol). This was a prime marker of how intelligent/competent and - no joke - how sexy you were. So not surprisingly, these poems are extremely important to the development of character interactions and themes in the Tale of Genji which has a lot of romance and relationship plotlines.

However. Translating Heian era Japanese into modern Japanese is already challenging. Rendering Heian era Japanese waka poetry into modern English is, as you might imagine, harder for a bunch of reasons. Considering how dense the actual novel already is, it’s super easy to gloss over the poetry, and some modern translations simply integrate the basic intent of the poems right into the main text/dialogue.

I was really interested in finding something specifically focusing on and analyzing the poetry, and this book appeared to fit the bill.

Short review: IT TOTALLY DOES. If you’re into Tale of Genji, Heian era, classical Japanese history, classical Japanese literature, Japanese poetry, or just love reading translators articulating eloquently while sassing characters or flailing through linguistic complexities, I RECOMMEND THIS BOOK

Long review: blah blah blah thoughts follows, including some quotes/poem for reference.

The book starts with a quick 2 page intro setting the context of the Tale of Genji, then goes straight into the poems. TBH I personally found it more flowery and redundant than necessary (it repeats a few poems that are then explained later). But it’s only 2 pages, we’ll live.

Then, the poems. For every poem (or poems, in the case of an exchange - sometimes a flurry of them with multiple characters speaking or dashing letters off to each other) there’s an intro and summary of context followed by an analysis, including notes on meaning, narrator and character intent, structure, symbols and wordplay. The original Japanese is included in romaji alongside the English translation. The commentary also flags known references to other classic poems (WITH those poems in-line! This is awesome because I don’t have the rest of these books!), and even mentions poem and folk song quotations from the rest of the novel where the characters have not composed new poetry, but are reciting other existing known pieces.

Overall, I have only three real “warnings” about Grasses of Remembrance Vol 2b:

1) It’s very academic and flowery in tone. If you’re not used to it, it can be hard to read. But then again, if you’re not willing to get past that, how are you reading Tale of Genji? lol. In any case, I personally thought the commentary was a lot of fun. Cranston definitely has opinions and can get pretty sarcastic in places, which I found hilarious. Here are a few sample quotes:

“Tamakazura has remarked to herself how superior the Emperor [Reizei] was in looks to all the courtiers in his train (It is a principle with this author that superior people be dashingly handsome or ravishingly beautiful).”

“The ruefully witty poems exchanged between Yugiri and To no Naishi [Koremitsu’s daughter, the Gosechi Dancer] are rather more to my taste than the soggy ones Yugiri and Kumoi no Kari exchanged on their wedding night. Might it be the case that a totally sanctioned relationship is literarily uninspiring?”

“The old lady reaches for the melodramatic ultimate and dies just as Yugiri’s letter arrives.”

The overall effect is like an exceedingly well-educated, gossipy and sassy ride through the entire novel hahaha.

2) Minor typos. I noticed some speckled throughout the text every so often (e.g., Tamakazura being rendered Takakazura, Akashi as Asashi, instances of accidental extra letters, etc.). It was pretty clear what the correct spelling was supposed to be, and TBH considering this is the last of a huge-ass series of over 1300 pages I think it’s forgiveable. Maybe a few that spell-check should have caught, but oh well.

3) This book is NOT CHEAP. As I mentioned in a previous post, not only did I not buy the entire collection, I didn’t even buy a complete Volume 2 - I only bought the last half of the second volume lmao. And the Tale of Genji translations are only HALF of this half of a book. The rest is actually the footnotes, appendices, notes to poems, glossary, bibliography and indices (including indices for every poem by author and by first line) for this beast of a translation/compilation project. This includes a lot of additional commentary and other poems and makes for pretty interesting reading itself, even without the rest of the volumes/parts. The price can definitely be scary and an issue for a lot of people, so if you’re interested in it, I suggest try checking it out at your library or on Google Books first. (In fact, Google Books is how I learned of this book in the first place.)

For me, the depth of insight for the poems was fantastic. It gave me a lot more appreciation for the scenes, including the mental state of the characters, plus a million more symbols, metaphors and ideas for my own creative works like the Genjimonogatari illustration series, North Bound and other original stuff.

It also clarified several fuzzy translation questions I had that relied on specific knowledge of Heian culture and history/evolution of the use of the language and wasn’t easily found in Google searches or online language resources. And even if you’re already familiar with common allusions, metaphors and puns/homophones in Japanese poetry, it’s still helpful to see them all summarized. And sometimes lamented by the book’s author too. SO MANY PONIES EATING GRASS. SO MANY PINES. Especially the pines. (It IS an amazing pun though, especially because it works in both English and Japanese. Pine [tree] -> to pine, matsu/pine tree -> matsu/to wait)

In term of the actual translations themselves, you may still find them coming off a bit roundabout in some cases when comparing to the original Japanese. But overall I find Cranston’s translations more direct/flavourful than how they were rendered in the Tyler translation, partly because of how Tyler chose to juggle his set of translator’s challenges for rendering not only meaning but also more technical aspects of the poetic form. So the imagery ends up being, to me, a lot more vivid. The overall effect usually ends up more colourful, more emotional, more erotic, more cutting, more entertaining, and whatnot.

For example, Kashiwagi’s suitor’s poem in the Kocho/Butterflies chapter. When reading the novel, I was like, uh-huh, yah, OK. When I read it here, I was like whoa, dude, that’s a little intense lol. Cranston’s translation amps up the connotation of the heat of the water based on the rest of the line. For comparison:

(The original non-romaji Japanese in the samples following are thanks to the Japanese Text Initiative from the University of Virginia Library Etext Centre and the University of Pittsburgh East Asian Library. Their Tale of Genji page has a FREAKING AMAZING side-by-side comparison of the novel in original Japanese, modern Japanese and romaji. Bless them and the people who had to organize and wrangle that text together.)

Original Japanese: 思ふとも君は知らじなわきかへり岩漏る水に色し見えねば Omou to mo / Kimi wa shiraji na / Wakikaeri Iwa moru misu ni / Iro shi mieneba

Tyler version: You can hardly know that my thoughts are all of you, for the stealthy spring welling from the rocks leaves no colour to be seen.

Cranston version: Hardly can you know / Of the longing that I feel, / For the boiling wave / Is merely colorless water / As it drains away from the rock.

Here’s another example. Oigimi (Agemaki in the book, as Cranston used Wayley’s names for the sisters) telling Kaoru that he’s the only one who’s been actually visiting them and Kaoru is like all riiiight :Db! From Shii ga Moto / Beneath the Oak chapter:

Oigimi’s poem 雪深き山のかけはし君ならでまたふみかよふ跡を見ぬかな Yuki fukaki / Yama no kakehashi / Kimi narade Mata fumikayou / Ato o minu kana

Tyler: No brush but your own has marked the steep mountain trails buried deep in snow / with footprints, while back and forth letters go across the hills.

Cranston: Over the bridges / Clinging to the cliffs along / Our deep-snow mountains / No letter-bearer leaves his trace: / Those footprints are yours alone.

Kaoru’s reply つららとぢ駒ふみしだく山川をしるべしがてらまづや渡らむ Tsurara toji / Koma fumishidaku / Yamakawa o Shirube shigatera / Mazu ya wataramu

Tyler: Then let it be I who firsts ride across these hills, though on his mission, / where ice under my horse’s hooves crackles along frozen streams.

Cranston: In the sheets of ice / Covering the mountain streams / My steed crushes / Such letters as form my reason, / My first, to cross as a guide.

In other examples, Genji’s “*throws hands in the air* I give up” poetic reply to Suetsumuhana about how she keeps using Robes of Cathay/Chinese cloak imagery in her poems in the original Japanese alongside the translation cracked me up even more. And one of my favourites is a pair of poems between the future Akashi Empress (as a child) and her birth-mother the Akashi lady. It’s really sad, sweet and cute all at the same time and completely flew under my radar when I read the novel originally.

The poetry analysis for the Uji chapters is especially intriguing. The plot pointedly pits Niou against Kaoru as opposing personalities with particular similarities and contrasts that drive their relationship with each other and with the woman they’re competing for. Especially in the latter half of the story, a lot of their poems, even ones written independently (i.e., to Ukifune), are specifically composed to highlight those attributes and play off of each other.

Finally, it’s also super interesting to see my experience with the narrative changes through the lens of the poems. Obviously, as I mentioned, some things I easily missed without paying as much attention to the poems in between the rest of the story. But also, some prominent characters have very few poems, so the narrative shifts away from them. Meanwhile, a number of otherwise very minor or usually overlooked characters stand out even more, thanks to the fineness, loveliness, resonance, and sometimes just sheer consistent presence of their poetry. This book definitely gave me a lot of additional perspective on the Tale of Genji, and enhanced my appreciation of the novel and the skill behind its crafting!

#tale of genji #genji monogatary #waka poetry #a waka anthology #grasses of remembrance #edwin a. cranston #royall tyler #japanese #translation #japanese tranlation #heian period #kaoru chujo #oigimi #agemaki #kashiwagi

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toldnews-blog · 5 years

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New Post has been published on https://toldnews.com/technology/entertainment/hadestown-leads-tony-award-nominations-with-14-nods/

'Hadestown' leads Tony Award nominations with 14 nods

“Hadestown,” singer-songwriter Anaïs Mitchell’s Broadway debut, earned a leading 14 Tony Award nominations Tuesday, followed by the jukebox musical “Ain’t Too Proud,” built around songs by the Temptations, which received a dozen nominations.

The musical “Hadestown,” which intertwines the myths of Orpheus and Eurydice and Hades and Persephone, bested more familiar names, including stage adaptations of the hit movies “Tootsie” and “Beetlejuice,” which both also got best musical nods. The giddy, heartwarming “The Prom” rounds out the best new musical category.

“Hadestown” also was the only new musical on Broadway directed by a woman, Tony Award nominee Rachel Chavkin, who earned another one Tuesday.

“I’m trying not to swear, but I am so proud of the 14 nominations. There is just not a weak spot on the team. There is no place where we haven’t all been working our asses off to make this show feel as ancient and as ‘now’ as possible, simultaneously,” she said by phone.

The best-play nominees are the Northern Irish drama “The Ferryman,” from Jez Butterworth; James Graham’s “Ink,” about Rupert Murdoch; Taylor Mac’s Broadway debut, “Gary: A Sequel to Titus Andronicus”; Tarell Alvin McCraney’s “Choir Boy”; and Heidi Schreck’s “What the Constitution Means to Me,” a personal tour of the landmark document at the heart of so many American divisions.

Des McAnuff, who directed “Ain’t Too Proud,” pointed to the timeliness of his musical, which charts the rise, sacrifices and challenges facing the 1950s group that sang “Baby Love” and “My Girl.”

“I think when people come to the Imperial Theatre, they’ll find that the story is as pertinent now as it was when they lived it,” he said. “It applies to Black Lives Matter and what’s going on in this country in terms of the tensions today.”

Theater veterans were surprised to see Aaron Sorkin’s adaptation of “To Kill a Mockingbird”; “Hillary and Clinton,” about Hillary Clinton’s 2008 presidential campaign; and the stage adaptation of the media satire film “Network” not getting best play nods, though they did earn recognition in other categories.

McAnuff said it has been a strong season for plays and wildly eclectic. “To me, that’s what the American theater’s about,” he said, adding he was surprised that Sorkin wasn’t recognized for his “brilliant” adaptation but “that speaks to the fact that there’s so many worthy works out there.”

The nomination for “Tootsie” means composer and lyricist David Yazbek could be one step closer to getting back-to-back wins. His show “The Band’s Visit” won best new musical last year.

Laurie Metcalf got an acting nod for “Hillary and Clinton” and if she wins the Tony this year, she will be the first person to win acting Tonys three years consecutively. (She won in 2018’s “Three Tall Women” and “A Doll’s House, Part 2” in 2017).

A sweet “Kiss Me, Kate” and a dark “Oklahoma!” make up the best musical revival category; they were the only eligible nominees. The best play revival nominees are “Arthur Miller’s All My Sons,” ”The Boys in the Band,” ”Burn This,” ”Torch Song” and “The Waverly Gallery.”

Ali Stroker, the first actress who needs a wheelchair for mobility known to have appeared on a Broadway stage, earned a Tony nomination for “Oklahoma!”

Nominees for best actor in a play include Paddy Considine from “The Ferryman,” Bryan Cranston in “Network,” Jeff Daniels in “To Kill a Mockingbird,” Adam Driver from “Burn This” and Jeremy Pope in “Choir Boy.” Pope is also up for a featured role in “Ain’t Too Proud — The Life and Times of the Temptations.”

The category of best actress in a play includes Annette Bening in “Arthur Miller’s All My Sons,” Laura Donnelly in “The Ferryman,” Elaine May in “The Waverly Gallery,” Janet McTeer in “Bernhardt/Hamlet,” Metcalf in “Hillary and Clinton” and Schreck from “What the Constitution Means to Me.”

Those nominated for best actor in a musical are Brooks Ashmanskas from “The Prom,” Derrick Baskin in “Ain’t Too Proud — The Life and Times of the Temptations,” Alex Brightman from “Beetlejuice,” Damon Daunno in “Rodgers & Hammerstein’s Oklahoma!” and Santino Fontana in “Tootsie.”

Patrick Page, who has appeared in over a dozen Broadway shows including “Dr. Seuss’ How the Grinch Stole Christmas!,” ”The Lion King” and “Spider-Man: Turn Off the Dark,” earned his first Tony nomination for playing Hades in “Hadestown.”

“I think I just appreciate it more than I can say really. It’s something I wanted. It’s hard to want something,” he said. “There have been a lot of times where I have been in the mix and haven’t been nominated. So it’s just a wonderful feeling and frankly a bit of a relief. And especially for such a wonderful show.”

Nominees for best leading actress in a musical are Stephanie J. Block in “The Cher Show,” Caitlin Kinnunen and Beth Leavel both in ��The Prom,” Eva Noblezada in “Hadestown” and Kelli O’Hara in “Kiss Me, Kate.”

Leavel, who earned a Tony in 2006 for “The Drowsy Chaperone,” joked by phone that she paced “about 4 miles” waiting for the live announcement: “I got my steps in!” Her musical, about four fading stars whose desperate need for a new stage leads them to protest a small-town prom, earned seven nods. She expects an especially fun performance Tuesday night following the nominations: “It’s just a special evening,” she said. “We get to share this moment. It’s really cool.”

Block, a veteran of Broadway shows such as “The Mystery of Edwin Drood” and “Falsettos,” got her third nomination for playing one of three actresses who portray the title character in “The Cher Show.”

“Stepping into the life of Cher each night and getting to tell her story eight times a week is a one-of-a-kind experience I will always cherish. This show has truly changed me,” she said in a statement.

Hollywood A-listers Cranston, Driver, May and Daniels made the cut but some of their starry colleagues did not, including Kerry Washington, Armie Hammer, Ethan Hawke, Joan Allen, Michael Cera, Lucas Hedges and Keri Russell.

For a few theater veterans behind the scenes, the nominations were doubly good: Ann Roth was nominated for creating the costumes for both “Gary: A Sequel to Titus Andronicus” and “To Kill a Mockingbird,” while William Ivey Long earned nods for both “Beetlejuice” and “Tootsie.”

The awards will be presented June 9 at Radio City Music Hall in New York City, airing on CBS. James Corden, the host of CBS’ “The Late Late Show” and a Tony winner himself, will host.

———

AP National Writer Jocelyn Noveck contributed to this report.

———

Mark Kennedy is at http://twitter.com/KennedyTwits

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doubtsbestfren-blog · 7 years

Conversation

A list of 100 people I would like to meet in order of how important it would be to meet them

1.) Dallon Weekes

2.) Tyler and Josh equally

3.) Billie Joe Armstrong

4.) Frank iero and Gerard Way equally

5.) Pete Wentz

6.) Brendon Urie

7.) Hayley Williams

8.) Jordan Dun and Edwin Costa equally

9.) Mike Dirnt

10.) Alex Gaskarth

11.) Ryan Ross and Spencer Smith equally

12.) Ray Toro

23.) Oli Sykes

24.) Awsten Knight

25.) Will Gould

26.) Aaron Paul

27.) Kellin Quinn and Vic Fuentes equally

28.) Misha Collins

29.) Mikey Way

30.) John Green

31.) Vincent Cyr (prior to 2016)

32.) Patrick Stump

33.) Brendon Urie's Mother

34.) Lynz Way

35.) Tom DeLongue

36.) Jack Barakat

37.) Jensen Ackles

38.) Kurt Cobain :/

39.) Johnny Fox (itch)

40.) Bryan Cranston

41.) Andy Black

42.) Derek Whibley

43.) Tre Cool

44.) Terry Pratchett :/

45.) Dave Grohl

46.) Elton John

47.) Simon Neil

48.) Ben Johnston

49.) James Johnston

50.) Thom Yorke

51.) Lily Allen

52.) Christofer Drew

53.) Mark Hoppus

54.) Travis Baker

55.) Andy Hurley

56.) Miles McKenna

57.) Mike Posner

58.) Brad Heaton

59.) Daniel Howell

60.) John Cozart

61.) Phil Lester

62.) Mikelwj

63.) Sid Vicious

64.) Bryan Adams

65.) Nate Ruess

66.) Ronnie Radke

67.) Derek Sanders

68.) Jake Bundrick

69.) Brooks Betts

70.) Alex Garcia

71.) Jeremy Lenzo

72.) Jason Lancaster

73.) Jared Padaleki

74.) Noel Gallagher

75.) Joey Ramone

76.) Jimmy Chamberlin

77.) Stephen King

78.) Greg Jackson (onision)

79.) Joji

80.) Dodie

81.) Yung Lean

82.) Mick Jagger

83.) Alex Turner

84.) Jamie Campbell Bower

85.) Bo Burnham

86.) Rachael Kelly

87.) iDubbbz

88.) Leafy

89.) pleasntandy

90.) Mark Twain :/

91.) Dr Suess :/

92.) Sui Ishida

93.) Robert Ludlum

94.) Enidd Blyton

95.) Oliver Bowden

96.) Bryan lee O'malley

97.) James Franco

98.) Jason Segel

99.) Neil Patrick Harris

100.) All of the other amazing people that have saved my life and given me reason when i need most, you are not truly ranked you are all equal to me❤️

#anxiety #deoression #Suicide #Bands #Books #Comic books #Series

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laplaylistes · 5 years

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'De la Tierra a la Luna': HBO recupera una interesante aunque irregular miniserie creada por Tom Hanks y Ron Howard

https://www.bloggia.es/de-la-tierra-a-la-luna-hbo-recupera-una-interesante-aunque-irregular-miniserie-creada-por-tom-hanks-y-ron-howard/

'De la Tierra a la Luna': HBO recupera una interesante aunque irregular miniserie creada por Tom Hanks y Ron Howard

Haz click aquí para consultar este artículo en Espinof.

Cincuenta años después de la misión Apolo 11, liderada por Neil Armstrong, Edwin “Buzz” Aldrin y Michael Collins (Tony Goldwyn, Bryan Cranston y Cary Elwes), la épica que rodea a la llegada de la humanidad a la Luna sigue funcionando igual de bien entre el público. Todo lo relacionado con la carrera espacial meteórica que emprendió Estados Unidos en la década de los 60 para superar a la URSS no ha perdido ni un ápice de interés.

Han pasado 20 años desde el estreno de ‘De la Tierra a la Luna‘ (‘From the Earth to the Moon’), la miniserie que crearon Tom Hanks, Ron Howard y Brian Grazer tras el éxito de ‘Apolo 13‘, y el arco de acontecimientos que sucedieron en la época mantiene todo su esplendor.

Un desafío que sigue asombrando cinco décadas después

Aunque en ciertos momentos tiene dificultades al ordenar el contexto, una de las principales virtudes de la ficción es la atención con la que se toma el pulso a la cronología de pruebas, ensayos y misiones con las que se testó si lo de viajar hasta el satélite del sistema solar era realmente viable.

Así, la narración arranca en los inicios de la empresa, llevada a cabo por mandato de Kennedy y por seguirle los pasos a los rusos y adelantarlos, después de que Yuri Gargarin se convirtiera en el primer ser humano en viajar al espacio en 1961. Las prisas que supeditaron desde el principio el proyecto de ir a la Luna muestran lo más interesante en ‘De la Tierra a la Luna’.

El cómo Estados Unidos se embarcó en un derroche económico desmesurado e innecesario durante una década sólo por la rivalidad internacional con la URSS, algo que, de no haberse dado una crisis política en el país, propiciada por las protestas contra la Guerra de Vietnam y los asesinatos de John F. Kennedy y Martin Luther King, no hubiese resultado tan escandaloso.

En Espinof

Las 14 mejores series de 2019 que puedes ver en HBO

En ese sentido, la ficción recoge lo poco que se consideraba la opinión de los astronautas que se lanzaban fuera de la Tierra en naves defectuosas, uno de los puntos de mayor atractivo en la miniserie. El hecho de que los altos mandos de la NASA hicieran oídos sordos, en algunas ocasiones, a los problemas que los astronautas detectaban, estalló con el incendio del Apolo 1, accidente en el que murieron Gus Grissom, Edward White y Roger Chaffe (Mark Rolston, Chris Isaak y Ben Marley).

A raíz de ello, se cuestionó públicamente el plan gubernamental para las expediciones espaciales y evidenció las chapuzas de la estrategia a seguir. El senador Walter Mondale, interpretado en la miniserie por John Slattery, acusó de negligencia a los ingenieros de la NASA por el colapso del Apolo 1 durante un ensayo.

Durante el juicio, es curioso presenciar cómo se le dio la vuelta al asunto y al final se optó por encasquetar las culpas a North American Aviation, la compañía que había fabricado las naves. El escándalo se diluyó a favor de la épica, de la ilusión espacial, que se vendía como un sueño de la ciudadanía estadounidense y no como lo que realmente era, un producto de la cabezonería de quienes estaban al cargo del Proyecto Apolo.

En Xataka

La NASA restauró su histórico Centro de Control y ahora luce el glorioso aspecto retro de cuando el hombre llegó a la Luna en 1969

De hecho, ‘De la Tierra a la Luna’, en su arranque, también muestra cómo los jefes de la NASA despotrican sobre Kennedy al anunciar éste que Estados Unidos llegará a la Luna en los años 60, explicitando verbalmente el calvario que les suponía emprender un proyecto tan arriesgado en un período tan corto de tiempo.

Se necesitaba ganar el relato, poder arrojar a la cara de los contrincantes, internos y fuera de las fronteras, que se habían hecho cosas por los electores. De ahí que, cuando la primera misión tripulada del programa, el Apolo 7, cumplió con éxito su misión, desde el equipo de comunicaciones de la NASA situado en tierra se leyera el siguiente telegrama: “Habéis salvado 1968“. Ese año habían asesinado al senador Bobby Kennedy, que se iba a postular como presidente en las elecciones, y a Martin Luther King.

‘De la Tierra a la Luna’: no termina de despegar a pesar de la historia y el talento implicado

A pesar del morbo que suscitan los hechos biográficos, resulta un poco complicado mantener la atención en ‘De la Tierra a la Luna’. A causa, en primer lugar, de la presentación inicial en cada capítulo del “presentador” del show, Tom Hanks (también director de un episodio), que nos introduce lo que vamos a ver. Ese escenario de falso documental resulta un tanto innecesario, sobre todo porque la dinámica no se explota más allá de la presentación.

Los constantes cambios de perspectiva, la ausencia de un estilo y un montaje que atrape, también dificultan el disfrute del visionado de ‘De la Tierra a la Luna’. En algunos episodios aparecen flashbacks en blanco y negro, que te sacan de la historia, mientras que en otra entrega incluso se llega a mantener esa estética durante todo el metraje, con la excepción de las imágenes que protagonizan los astronautas rumbo al espacio.

La mezcla de recursos transmite una sensación de caos, aunque la curiosidad por saber cuál sería la siguiente imprudencia de la NASA en este increíble desafío es igual de atractivo, y puede ser suficiente para llegar al final de la miniserie.

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Tráiler de ‘A Beautiful Day in the Neighorhood’: Tom Hanks se convierte en el icono de la televisión Fred Rogers

‘Toy Story 4’: Pixar recupera a sus juguetes con la maestría habitual, pero sin la magia que ha hecho grande al estudio

Baz Luhrmann ya tiene a su Elvis: Austin Butler será el legendario cantante en un drama donde Tom Hanks será su mánager

– La noticia ‘De la Tierra a la Luna’: HBO recupera una interesante aunque irregular miniserie creada por Tom Hanks y Ron Howard fue publicada originalmente en Espinof por Sandra S. Guerra .

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ohisashiburi · 6 years

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From the Tale of Genji, t. Edwin A. Cranston

Third Princess to Genji

Yūtsuyu ni Sode nurase to ya Higurashi no Naku o kiku kiku Okite yukuran

In the evening dew Let her wet her sleeve--your wish? I can but wonder, For the drops form as you depart Deaf to the dusk cicada's cries.

Genji to Third Princess

Matsu sato mo Ikaga kikuran Katagata ni Kokoro sawagasu Higurashi no koe

How must she listen She too of the waiting village, I also wonder; On both sides it flutters hearts, The cry of the dusk cicada.

#poems

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stephaniefchase · 7 years

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Bajan Newscap 8/2/2017

Good Morning #realdreamchasers. Here is your daily news cap for wednesday, August 2nd, 2017. There is a lot to read and digest so take your time. Remember you can read full articles via Barbados Today ((BT), or by purchasing a Midweek Nation Newspaper (MWN).

REVENUE COURT IDEA NOT TAKEN UP – Barbados needs a revenue court to deal with tax dodgers and disputes, a special Social Partnership committee recommended in a pre-Budget report to the Government. While not dismissing the importance of tax amnesties, the committee said that in order to supplement such amnesties and improve tax collections “Government should immediately establish a revenue court and evolve it to a full commercial court”. This was one of the recommendations Minister of Finance Chris Sinckler did not implement in his May 30 Financial Statement and Budgetary Proposals. In its April 12 report, the committee called for the immediate establishment of a “self-funding revenue court” to complement Barbados Revenue Authority reforms. It could be funded by penalties from tax arrears and charges on commercial cases, the report suggested. (MWN)

BARBADIAN CONFIRMED AS LIAT CEO - The Board of Directors of LIAT has confirmed the appointment of Julie Reifer-Jones as Chief Executive Officer. In announcing her appointment, Chairman of the Board of LIAT, Jean Holder noted that “Reifer-Jones has served at LIAT in the number two position for some nine years and in that capacity has acted as CEO for extended periods on several occasions. On her appointment, Reifer-Jones stated she is delighted to be taking up this new challenge and is looking forward to delivering an improved level of service from LIAT to the region. Reifer-Jones is the first woman to be appointed CEO of LIAT. She is a graduate of The University of the West Indies, a Fellow of the Association of Chartered Certified Accountants (ACCA) and a member of the Institute of Chartered Accountants of Barbados. Prior to joining LIAT, as Chief Financial Officer in 2008, Reifer-Jones held several senior finance positions and has more than 25 years of experience in the fields of finance and management. (BT)

TRUMP ‘DICTATED’ SON’S STATEMENT ON RUSSIAN LAWYER MEETING – President Donald Trump personally dictated the statement his son gave on his talks with a Russian lawyer during the election campaign, US media report. It said Donald Trump Jr and the lawyer had mostly discussed the adoption of Russian children in June 2016. Trump Jr later revealed he had agreed to meet her after being told he could receive damaging material on Hillary Clinton. President Trump has repeatedly denied any collusion with Russia. The Senate, House of Representatives and a special counsel are all investigating alleged Russian interference in the presidential election which took the form of attempts to undermine Clinton – a claim denied by the Kremlin. The reports about Trump Jr’s statement came in the midst of further turmoil at the White House. White House communications director Anthony Scaramucci was fired on Monday after fewer than 10 days in the post. The former Wall Street financier had drawn criticism after calling a reporter to give a profanity-laced tirade against his colleagues. Reports that President Trump had himself dictated the statement his son issued about the meeting with lawyer Natalia Veselnitskaya first emerged in the Washington Post. It cited multiple sources. The initial plan was that Trump Jr fully disclose what he knew about the meeting, the Post says, but that decision was reversed and his first statement said they had discussed the adoption of Russian children, not campaign issues. Trump Jr later acknowledged that he had agreed to meet after being told Kremlin-linked information about Clinton would be offered during the talks. He also released the email exchange that brought about the meeting. The Washington Post says some of the president’s advisers fear the extent of the president’s intervention could place him and some of his inner circle in legal jeopardy. (BT)

TREE-MENDOUS SHAME AT WELCHES – It is a sight that road users don’t usually see up close. But motorists and pedestrians are manoeuvring around trees which had sprouted up in the road along Highway 2A between Welches, St Thomas, and Warrens, St Michael. The bushy growths are growing out of the jersey barriers and could be a danger to road users on the busy stretch. (MWN)

SHOT TEEN PUZZLED – One minute Jeriel Bynoe was liming with friends listening to music. The next, he was on his knees, disabled with two gunshots. And while he somehow managed to escape with minor injuries, the 18-year-old and his family members are trying to piece together the puzzle which led to him being shot just behind the Survival Bar and Grocery in the Glebe, St George on Monday night. Bynoe, a mechanical student at the Samuel Jackman Prescod Polytechnic (SJPP), was shot in his left hand and left side while at his customary liming spot just after 10 p.m. In an interview with the MIDWEEK NATION from his home in Valley Land, St George – a stone’s throw away – Bynoe recounted the ordeal. (MWN)

BUTTERFLY DANCE – BUTTERFLY, impressively ridden by Antonio Bishop, stunned the Garrison Savannah yesterday at 14-1 odds to claim the 78th running of the Massy United Insurance Barbados Derby over 2 200 metres. Owned by Gay Smith, this daughter of Lion King out of Flying Dove, looked potent approaching the three-furlong marker after tracking the first half-dozen runners from the gates. A confident Bishop positioned Butterfly alongside early stalker Legion and the pair pulled four lengths clear of the field as they fought out the final two furlongs. The chasing pack, led by Oberoi and including Fleurette, Zip Codeand Carbon Copy, could be seen fighting for the minor places. The more Bishop asked of Butterfly the more she gave him before putting away from Legion, who simply had nothing more in the tank. (MWN)

BEAMING BUTTERFLY CONNECTIONS – In the winner’s circle, there was pure jubilation on the faces of both jockey Antonio Bishop and trainer Edward Walcott Jr when Butterfly delivered the 2017 edition of the Massy United Insurance Derby horse race yesterday. “It feels great . . . awesome . . . . It’s very hard to express it,” said Walcott during the post-match interview. Before the race, Walcott had stated matter-of-factly that he was “quietly confident about Butterfly”, who showed her girth among some of the top names in the business. “Her bloodline have always spoken for themselves. We had Meteorite, Zoom and many horses out of this line that have competed at the top class, and this horse was begging for the distance,” he said. (MWN)

WRONG TUNE – Three top calypsonians say they are against any efforts to merge the Party Monarch and the Sweet Soca competitions. Since 2009, the two contests have been held separately under the banner of Soca Royale, one of Crop Over’s biggest events, but the future of Party Monarch, which has a tempo that’s much quicker than Sweet Soca, has come under scrutiny because of declining entries. Cranston Browne, the chief executive officer of the National Cultural Foundation (NCF), hinted recently at a possibility of a merger that would effectively be a return to the original format. Sweet Soca was added as a category eight years ago as a consequence of its then growing popularity. But Red Plastic Bag, TC and Edwin are not keen on the fusion idea. (MWN)

CROP OVER ‘MORE THAN DRINKING, WUKKING UP ’– Grand Kadooment must be about more than mindless wukking up, said director of the Commission for Pan African Affairs, Dr Deryck Murray. During the Bongani Festival at Blenheim, St Michael, yesterday he told the media Grand Kadooment and Emancipation Day took place close to one another so there had to be a greater level of consciousness concerning the former. “We don’t have the luxury of complacency when it comes to our development and freedoms. We have to remember that, first and foremost, Crop Over is about our emancipation, so we have to remind people it’s more than about drinking rum and nakedness,” he said. Murray said Emancipation Day and Grand Kadooment actually coincided every seven years and this made the message of uplifting culture all the more important. He said Government was doing its part “bit by bit” but it was up to the public, as well as the Grand Kadooment bands, to buy in. (MWN)

AFRICAN HERITAGE PLEA – Access to funding continues to stifle the progress of the pan-African movement. Both the chairman of the Pan African Coalition of Organisations, Rev. Onkphra Wells and director of African Heritage Foundation Leah Clarke said money was one of major causes hindering them getting their message out to the community, including schools and churches. They were speaking yesterday at Blenheim Pasture following the annual Emancipation Day Walk. “We could scream as loud as we want but unless we have the resources to make it mainstream in terms of having national policies – in schools, at churches – that won’t happen as yet,” Wells said. (MWN)

BARBADIANS COMMEMORATE EMANCIPATION DAY WITH BONGANI FESTIVAL – Barbadians from all walks of life have begun celebrations to mark Emancipation Day today with a Bongani Festival. The day’s events got started at the Emancipation Statue at the JTC Ramsay Roundabout, Haggatt Hall, St Michael with libations and ceremonial ancestral reverence. The group, which consists of Pan African organizations, Government officials and diplomats, then embarked on the Freedom Walk. To the rhythmic beat of drums, the participants walked through communities in The Ivy and My Lord’s Hill. The walk culminates at the Blenheim Playing Field for the official ceremony. Minister of State in the Prime Minister’s Office, Senator Patrick Todd, other Government and diplomatic officials, and representatives of Pan-African organizations will deliver messages at that ceremony. (BT)

That’s all for today folks there are 151 days left in the year Shalom! #thechasefiles #dailynewscaps Follow us on Twitter, Facebook & Instagram for your daily news. #bajannewscaps #newscapsbystephaniefchase

#The Chase Files #Barbados Today #MID WEEK NATION #Blogs by Stephanie F. Chase

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brookstonalmanac · 1 year

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Birthdays 3.7

Beer Birthdays

Conrad Pfeiffer (1854)

Sean Burke (Commons Brewery)

Chad Kennedy (Laurelwood; Worthy Brewing)

Christian Weber (Common Roots Brewing; 1986)

Five Favorite Birthdays

Luther Burbank; botanist (1849)

Rik Mayall; actor, comedian (1958)

Piet Mondrian; artist (1872)

Henry Purcell; composer (1659)

Townes Van Zandt; singer, songwriter (1944)

Famous Birthdays

Kōbō Abe; Japanese poet, writer (1924)

Milton Avery; artist (1893)

Tammy Faye Bakker; televangelist (1942)

Mahlon Clark; clarinetist (1923)

Bryan Cranston; actor (1956)

Henry Draper; astronomer (1837)

Jenna Fischer; actor (1974)

Janet Guthrie; auto racer (1938)

Franco Harris; Pittsburgh Steelers RB (1950)

John Heard; actor (1945)

John Herschel; mathematician (1792)

Stephen Hopkins; signer of the Declaration of Independence (1707)

Brandon T. Jackson; actor (1984)

Edwin Landseer; artist (1802)

Ivan Lendl; tennis player (1960)

Rob Roy MacGregor; Scottish folk hero (1671)

Laura Prepon; actor (1980)

Paul Preuss; sci-fi writer (1942)

Maurice Ravel; composer (1875)

Peter Sarsgaard; actor (1971)

Willard Scott; television weatherman (1934)

Lynn Swann; Pittsburgh Steelers WR (1952)

Wanda Sykes; comedian (1964)

Daniel J. Travanti; actor (1940)

Rachel Weisz; actor (1970)

Chris White; rock bassist (1943)

Peter Wolf; rock singer (1946)

Lee Young; jazz drummer (1917)

#Birthdays

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maiji · 4 years

Photo

I Heard A Cicada Cry (part 4 of 4) A YYH North Bound story

The end... for now.

A lot (a looootttt) of historical and actual Yu Yu Hakusho series commentary below the cut.

The opening page is based on the “Tsuki no yotsu no o” (The Moon’s Four Strings”) by Tsukioka Yoshitoshi, the piece I referenced for Semimaru’s appearance. I already shared a link to the image in Part 1, but you can see it again at this site alongside all the other beautiful works in the 100 Aspects of the Moon series, which uses the image of the moon to highlight 100 Japanese folktales and famous figures. (Tsuki no yotsu no o is #98.)

Otake’s comment about the bamboo is a reference to his own name (“Great Bamboo”) - more on Otake at the end of this post. Catching dragonflies was done by putting sticky stuff on the end of a bamboo pole so that when the insect lands, it gets stuck. Great fun for kids, probably not much fun for the dragonfly.

The poem is another Anonymous waka sometimes associated with Semimaru. Again, the version here is my attempted rendering for this comic, referencing many other much more skilled translators’ works. This one was really challenging to me. Compared to the two previous waka, there’s so little kanji to reference plus the really old kana, and the translators diverged quite a bit on the rendering of the last two segments.

Kokinshu 989

風のうへにありかさためぬちりの身はゆくゑもしらすなりぬへら也 kaze no ue ni / ari ka sadamenu / chiri no mi wa / yukue mo shirazu / narinu beranari

A speck of dust / Tossed aimlessly / on the winds, / It seems I've become / One with no known future. (Susan Matisoff)

Blown upon the wind, / With no settled place to dwell, / This dust, my body, / Is doomed to an endless journey, / Destination yet unknown. (Edwin Cranston)

I have become a / speck of the dust carried in / helpless flurries by / the dancing winds I who know / no destination no home (Laurel Rasplica Rodd and Mary Catherine Henkenius)

Fate seems to decree / that my wandering must soon / lose all direction -- / I who have no more roots now / than dust floating in the wind. (Helen Craig McCullough)

At last, the introduction of another existing Yu Yu Hakusho character. This is my attempt at Captain Otake from when he was a lot younger and before he grew a mustache!! Otake will (eventually) play a very important part in the creation of Raizen’s territory. I wanted to bring in an existing Yu Yu Hakusho character for this role, and after scouring the cast decided he fit the bill perfectly. He’s interesting - and by interesting I mean scary - because he straddles the line between loyal military man (in some aspects not dissimilar from Hokushin’s loyal retainer archetype) and reasonable-sounding extremist. The latter being IMO one of the most dangerous things in the world, and one of those challenging personalities Togashi seems to love writing. Not that we get to see much character development for Otake in the actual series. His depiction in the manga VS the anime diverge a bit - he’s a little more sympathetic in the latter. But we know he ends up leading that terrorist group in volume 19 of the manga after Enma Daioh is overthrown, and the OVA Noruka Soruka didn’t bother doing anything different. Otake’s age isn’t given in the series, but he comes across as being older than Koenma (it could still go either way, but nothing in the series makes it impossible). He clearly knows more than any of the other SDF members about the situation with the Demon World barrier and what’s really behind it. Sure, maybe he was just briefed about it because he’s the captain, but it’s more fun to imagine he was actually there when it all went down. If it came down to a fight: it’s clear actual series Yu Yu Hakusho Hokushin (S-class) would crush Otake (A-class) easily. But North Bound takes place around 700 years before the modern era, possibly centuries before the Spirit World has even developed its energy classification system! (At the very least, Kuroko didn’t know about it, so it was never used to brief her. Then again, Yusuke wasn’t aware of it ‘till the Sensui arc either so who knows when it came to be... aside from the fact that it uses the roman alphabet lol.) In other words, I have a lot of flexibility for my purposes.

If you recall previous bios I made for Hokushin, you'll notice I’ve lumped Heian-Kamakura era Otake and Hokushin into the same (wide) power class range. I imagine Hokushin being on the lower end. As explained in this post, rokurokubi in the North Bound universe are very weak demons. Hokushin’s unique experiences - thanks to the interventions of his first lord and Raizen in Mirror Most Dark and A House That Holds Long Limbs, respectively - are what enable him to gradually break the common limitations of his type. Until then… we know Hokushin can be formidable even when he’s locked down to D-class. But that might be thanks to several centuries worth of accumulated battle and psychological experience, which he doesn’t have yet.

The final version of Cicada Cry is pretty close to the original script I had years ago, tweaking as I went along and revisited details with a critical/more experienced eye and a better sense of where the rest of North Bound had already gone. Still lots of things to improve on, but I can also see/feel improvement from where I've come from since beginning North Bound and having all those building blocks behind me. This might be the fastest I've ever gotten through a (more) sustained serious story, and I was able to try some new things in terms of art workflow, as well as narrative development and paneling. I really enjoyed getting to blend in many of my favourite things (ukiyo-e, ancient poetry, etc.). I hope it gave off that elegant classical vibe, despite the conclusion.

#yu yu hakusho #hokushin #semimaru #otake #fanart #japanese history #japanese literature #comics #fancomic #art by maiji/mary huang #yyh north bound

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junker-town · 7 years

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ESPY Awards 2017: Time, TV channel, and awards and nominees for Wednesday night’s ceremony

Who will win some of sports biggest honors?

The 2017 ESPY Awards will honor some of the best athletes in the world, as well as athletes and fans who have had an impact of the world and our lives.

This is the 25th year of the awards show and, as always, it boasts some of the biggest names in sports and culture. The show will be hosted by former MVP quarterback Peyton Manning, and will feature presenters like Bryan Cranston, Eddie George and Danica Patrick.

How to watch the 2017 ESPY Awards:

Time: Wednesday, July 12, 2017 at 8 p.m. ET

TV: ABC

Online: Watch ESPN

Awards and Nominees:

BEST MALE ATHLETE

Kris Bryant, MLB

Sidney Crosby, NHL

Michael Phelps, Swimming

Russell Westbrook, NBA

BEST FEMALE ATHLETE

Simone Biles, Gymnastics

Katie Ledecky, Swimming

Candace Parker, WNBA

Serena Williams, Tennis

BEST CHAMPIONSHIP PERFORMANCE

Tom Brady, Super Bowl

Kevin Durant, NBA Finals

Shay Knighten, WCWS

DeShaun Watson, CFB National Championship

BEST BREAKTHROUGH ATHLETE

Giannis Antetokounmpo, NBA

Laurie Hernandez, Gymnastics

Aaron Judge, MLB

Dak Prescott, NFL

Christian Pulisic, Soccer

BEST RECORD-BREAKING PERFORMANCE

Bill Belichick: Most Super Bowl wins by a head coach

Michael Phelps: Extended his own record of most gold medals/most Olympic medals

Diana Taurasi: Broke WNBA career scoring record

Russell Westbrook: Most triple doubles in a season

BEST UPSET

Clemson defeats Alabama, CFB National Championship

Denis Istomin over Novak Djokovic, Australian Open 2nd Round

Mississippi State defeats Connecticut, Women’s NCAA Basketball Final Four

BEST GAME

Cubs vs. Indians, World Series Game 7

Patriots vs. Falcons, Super Bowl

Federer vs. Nadal, Australian Open Final

BEST COMEBACK ATHLETE

Matt Bush, MLB

Roger Federer, Tennis

Jordy Nelson, NFL

Candace Parker, WNBA

BEST PLAY (16 NOMINEES VOTED BRACKET-STYLE)

Julian Edelman Super Bowl catch vs. 16. Noah Brown TD catch around defender

Morgan Williams buzzer beater vs. UConn vs.15. Larry Nance dunk

Aaron Rodgers to Jared Cook vs. 14. Lamar Jackson hurdles defender

Northwestern buzzer beater vs. 13. Edwin Encarnacion walk off HR

Russell Westbrook buzzer beater vs. 12. LeBron James dunk off the backboard

Chris Coghlan leaps over catcher vs. 11. Sidney Crosby one-handed goal

Olivier Giroud scorpion kick goa l vs. 10. Warriors jump ball transition dunk

Mario Mandzukic goal in UEFA Final vs. 9. Jarrod Dyson catch

BEST TEAM

Chicago Cubs, MLB

Clemson Tigers, CFB

Golden State Warriors, NBA

Pittsburgh Penguins, NHL

New England Patriots, NFL

South Carolina Gamecocks, Women’s NCAA Basketball

US Women’s Gymnastics

BEST INTERNATIONAL ATHLETE

Canelo Alvarez, Boxing

Usain Bolt, Track & Field

Katinka Hosszu, Swimming

Conor McGregor, MMA

Cristiano Ronaldo, Soccer

BEST NFL PLAYER

Tom Brady, New England Patriots

Ezekiel Elliott, Dallas Cowboys

Khalil Mack, Oakland Raiders

Aaron Rodgers, Green Bay Packers

Matt Ryan, Atlanta Falcons

BEST MLB PLAYER

Kris Bryant, Chicago Cubs

David Ortiz, Boston Red Sox

Rick Porcello, Boston Red Sox

Max Scherzer, Washington Nationals

Mike Trout, LA Angels

BEST NHL PLAYER

Sergei Bobrovsky, Columbus Blue Jackets

Sidney Crosby, Pittsburgh Penguins

Patrick Kane, Chicago Blackhawks

Auston Matthews, Toronto Maple Leafs

Connor McDavid, Edmonton Oilers

BEST DRIVER

Ron Capps, NHRA

Lewis Hamilton, Formula One

Jimmie Johnson, NASCAR

Simon Pagenaud, IndyCar

Martin Truex Jr., NASCAR

BEST NBA PLAYER

Kevin Durant, Golden State Warriors

James Harden, Houston Rockets

LeBron James, Cleveland Cavaliers

Kawhi Leonard, San Antonio Spurs

Russell Westbrook, Oklahoma City Thunder

BEST WNBA PLAYER

Tina Charles, New York Liberty

Elena Delle Donne, Washington Mystics

Maya Moore, Minnesota Lynx

Nneka Ogwumike, Los Angeles Sparks

Candace Parker, Los Angeles Sparks

BEST FIGHTER

Terence Crawford, Boxing

Gennady Golovkin, Boxing

Demetrious Johnson, MMA

Conor McGregor, MMA

Andre Ward, Boxing

BEST MALE GOLFER

Brooks Koepka

Sergio Garcia

Dustin Johnson

Rory McIlroy

Henrik Stenson

BEST FEMALE GOLFER

In Gee Chun

Ariya Jutanugarn

Lydia Ko

So Yeon Ryu

Lexi Thompson

BEST MALE TENNIS PLAYER

Roger Federer

Andy Murray

Rafael Nadal

Stan Wawrinka

BEST FEMALE TENNIS PLAYER

Angelique Kerber

Jelena Ostapenko

Monica Puig

Serena Williams

BEST MALE COLLEGE ATHLETE

Ian Harkes, Wake Forest soccer

Frank Mason, Kansas basketball

Matt Rambo, Maryland lacrosse

Zain Retherford, Penn State wrestling

DeShaun Watson, Clemson football

BEST FEMALE COLLEGE ATHLETE

Inky Ajanaku, Stanford volleyball

Kelly Barnhill, Florida softball

Kadeisha Buchanan, West Virginia soccer

Kelsey Plum, Washington basketball

Zoe Stukenberg, Maryland lacrosse

BEST MALE ACTION SPORTS ATHLETE

Oystein Braaten (NOR), Ski

John John Florence, Surf

Nyjah Huston, Skateboard

Mark McMorris, Snowboard

BEST FEMALE ACTION SPORTS ATHLETE

Lacey Baker, Skateboard

Anna Gasser, Snowboard

Kelly Sildaru, Ski

Tyler Wright, Surf

BEST JOCKEY

Javier Castellano

Mike E. Smith

John Velasquez

BEST MALE ATHLETE WITH A DISABILITY

Will Groulx, Cycling

Mike Minor, Snowboarding

Steve Serio, Wheelchair Basketball

Brad Snyder, Swimming

Roderick Townsend, Track and Field

BEST FEMALE ATHLETE WITH A DISABILITY

Oksana Masters, Nordic Skiing

Tatyana McFadden, Track and Field

Becca Meyers, Swimming

Shawn Morelli, Cycling

Grace Norman, Triathlon

BEST BOWLER

Jason Belmonte

Francois Lavoie

EJ Tackett

BEST MLS PLAYER

Andre Blake, Philadelphia Union

Stefan Frei, Seattle Sounders FC

Matt Hedges, FC Dallas

David Villa, New York City FC

Bradley Wright-Phillips, New York Red Bulls

BEST MALE US OLYMPIC ATHLETE

Ashton Eaton, Decathlon

Ryan Murphy, Swimming

Michael Phelps, Swimming

Kyle Snyder, Wrestling

BEST FEMALE US OLYMPIC ATHLETE

Simone Biles, Gymnastics

Allyson Felix, Track & Field

Katie Ledecky, Swimming

Simone Manuel, Swimming

As always, the ESPYs look to be an exciting night of honoring the great achievements in sports. Check back here for updates on winners as the night goes on.

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londontheatre · 7 years

Link

Tickets go on sale for Network, with Bryan Cranston making his UK stage debut

John Tiffany directs Pinocchio, with half-price tickets available for under-18s

Casting announced for world premieres of Pinocchio, Saint George and the Dragon and Beginning

Tony Award-winning play Oslo opens in the Lyttelton

Following its current sold out run Barber Shop Chronicles returns to the Dorfman in November

Five new NT Live broadcasts in 700 venues across the UK and 60 countries around the world

Download the pdf

NT entrance Feb 2015 photo by Philip Vile

OLIVIER THEATRE FOLLIES book by James Goldman music and lyrics by Stephen Sondheim Previews from 22 August, press night 6 September, continuing in the repertoire until 3 January 2018

New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as Broadway Baby, I’m Still Here and Losing My Mind, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom).

The cast includes Julie Armstrong (Christine Donovan), Norma Atallah (Emily Whitman), Josephine Barstow (Heidi Schiller), Jeremy Batt (Chorus Boy) Tracie Bennett (Carlotta Campion), Di Botcher (Hattie Walker), Billy Boyle (Theodore Whitman), Janie Dee (Phyllis Rogers Stone), Anouska Eaton (Young Emily), Liz Ewing (Company), Geraldine Fitzgerald (Solange LaFitte), Peter Forbes (Buddy Plummer), Emily Goodenough (Showgirl), Bruce Graham (Roscoe), Adrian Grove (Sam Deems), Fred Haig (Young Buddy), Aimee Hodnett (Young Hattie), Dawn Hope (Stella Deems), Liz Izen (DeeDee West), Alison Langer (Young Heidi), Emily Langham (Young Carlotta), Sarah-Marie Maxwell (Young Solange), Ian McLarnon (Company), Leisha Mollyneaux (Young Stella), Gemma Page (Sandra Crane), Kate Parr (Young Sandra), Philip Quast (Ben Stone), Edwin Ray (Chorus Boy), Gary Raymond (Dimitri Weismann), Adam Rhys-Charles (Young Ben), Jordan Shaw (Kevin), Imelda Staunton (Sally Durant Plummer), Zizi Strallen (Young Phyllis), Barnaby Thompson (Chorus Boy), Christine Tucker (Young DeeDee), Michael Vinsen (Chorus Boy) and Alex Young (Young Sally). Design by Vicki Mortimer, choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, musical direction by Nigel Lilley, lighting design by Paule Constable and sound design by Paul Groothuis. Supported by the Follies production syndicate.

SAINT GEORGE AND THE DRAGON a new play by Rory Mullarkey Previews from 4 October, press night 11 October, continuing in the repertoire until 2 December A village. A dragon. A damsel in distress. Into the story walks George: wandering knight, freedom fighter, enemy of tyrants the world over. One epic battle later and a nation is born. As the village grows into a town, and the town into a city, the myth of Saint George, which once brought a people together, threatens to divide them. John Heffernan plays Saint George; the cast also includes Paul Brennen, Richard Goulding, Tamzin Griffin, Conor Neaves, Amaka Okafor, Daniel Ryan and Grace Saif.

Making his National Theatre debut, Rory Mullarkey creates a new folk tale for an uneasy nation. Directed by Lyndsey Turner (Chimerica, Light Shining in Buckinghamshire), with design by Rae Smith, choreography by Lynne Page, lighting design by Bruno Poet, music by Grant Olding, sound design by Christopher Shutt and fight direction by Bret Yount. Hundreds of Travelex tickets at £15 available per performance.

AMADEUS by Peter Shaffer Previews from 11 January, press night 18 January. On sale up to 17 February, further dates to be announced Following a sell-out run last year, Amadeus returns to the Olivier in 2018.

Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy it. Seized by obsessive jealousy he begins a war with Mozart, with music and, ultimately, with God.

Michael Longhurst’s acclaimed production of Peter Shaffer’s iconic play features live orchestral accompaniment by Southbank Sinfonia. Adam Gillen and Lucian Msamati reprise the roles of Mozart and Salieri. Further casting to be announced.

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, and supported by the Amadeus production syndicate.

LYTTELTON THEATRE QUEER THEATRE: LGBT+ STORIES & SOCIAL CHANGE In partnership with Pride in London To mark 50 years since the partial decriminalisation of homosexuality in England and Wales, the NT looks at how theatre has charted the LGBT+ experience. Events include a debate on LGBT+ rights, talks on Queer Stages, Trans Culture and Drag as an Art Form, and film screenings of Paris was a Woman, Bette Bourne: It Goes with the Shoes and Tangerine. The series features rehearsed readings in the Lyttelton Theatre with full casting to be announced. Post show talks will follow each of the readings.

Neaptide by Sarah Daniels, directed by Sarah Frankcom | Thu 6 July, 7.30pm Wig Out! written and directed by Tarell Alvin McCraney | Fri 7 July, 7.30pm Certain Young Men written and directed by Peter Gill | Sat 8 July, 7.30pm Bent by Martin Sherman, directed by Stephen Daldry | Sun 9 July, 2.30pm The Drag by Mae West, directed by Polly Stenham | Mon 10 July, 7.30pm

OSLO a new play by J.T. Rogers The Lincoln Center Theater production Previews 5 September, press nights 15, 16 and 18 September (under embargo) Continuing in repertoire until 23 September (limited ticket availability) Transferring to the Harold Pinter Theatre in the West End from 30 September – 30 December Winner, Best Play 2017: Tony Awards, New York Drama Critics’ Circle Awards In 1993, in front of the world’s press, the leaders of Israel and Palestine shook hands on the lawn of the White House. Few watching would have guessed that the negotiations leading up to this iconic moment started secretly in a castle in the middle of a forest outside Oslo.

Oslo tells the true story of two maverick Norwegian diplomats who coordinated top-secret talks and inspired seemingly impossible friendships. Their quiet heroics led to the ground-breaking Oslo Peace Accords. Bartlett Sher’s acclaimed production of this new play by J.T. Rogers (Blood & Gifts, The Overwhelming) sets a deeply personal story against an epic historical landscape. This darkly funny political thriller comes to the National Theatre following a sell-out run in New York, prior to a West End run later this autumn. Cast to be announced. Set design by Michael Yeargan, costume design by Catherine Zuber, lighting design by Donald Holder, sound design by Peter John Still and projections by 59 Productions.

JANE EYRE based on the novel by Charlotte Brontë devised by the original company a co-production with Bristol Old Vic Previews from 26 September, continuing in the repertoire until 21 October Following a critically acclaimed season at the National Theatre and a 21 city UK tour, Jane Eyre returns this September to the NT. This innovative reimagining of Charlotte Brontë’s masterpiece is a collaboration between the National Theatre and Bristol Old Vic and is directed by Sally Cookson. The classic story of the trailblazing Jane is as inspiring as ever. This bold and dynamic production uncovers one woman’s fight for freedom and fulfilment on her own terms. Jane Eyre’s spirited heroine faces life’s obstacles head-on, surviving poverty, injustice and the discovery of bitter betrayal before taking the ultimate decision to follow her heart.

Cast includes: Hannah Bristow, Matthew Churcher, Nadia Clifford, Ben Cutler, Tim Delap, Alex Heane, Jenny Johns, Melanie Marshall, Evelyn Miller, Paul Mundell, Dami Olukoya, David Ridley, Lynda Rooke, Francesca Tomlinson and Phoebe Vigor.

Dramaturgy by Mike Akers, set design by Michael Vale, costume design by Katie Sykes, lighting design by Aideen Malone, music by Benji Bower, sound design by Dominic Bilkey and movement by Dan Canham.

NETWORK adapted by Lee Hall based on the Paddy Chayefsky film Previews from 4 November, press night 13 November, continuing in the repertoire until 24 March Howard Beale, news anchor-man, isn’t pulling in the viewers. In his final broadcast he unravels live on screen. But when the ratings soar, the network seizes on their new found populist prophet, and Howard becomes the biggest thing on TV.

Network depicts a dystopian media landscape where opinion trumps fact. Hilarious and horrifying by turns, the iconic film by Paddy Chayefsky won four Academy Awards in 1976. Now, Lee Hall (Billy Elliot, Our Ladies of Perpetual Succour) and director Ivo van Hove (Hedda Gabler) bring his masterwork to the stage for the first time, with Bryan Cranston (All the Way, for which he won the Tony for Best Actor, Breaking Bad and Trumbo for which he was nominated for an Oscar) 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 and sound design by Eric Sleichim.

A very limited number of additional on stage seats will be released in the autumn – see the NT website for more information.

Network is produced in association with Patrick Myles, David Luff, Ros Povey and Lee Menzies. Generously supported by Marcia Grand for the memory of Richard Grand.

PINOCCHIO by Dennis Kelly With songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J Smith adapted by Martin Lowe Previews from 1 December, press night 13 December, on sale until 7 April On a quest to be truly alive, Pinocchio leaves Geppetto’s workshop with Jiminy Cricket in tow. Their electrifying adventure takes them from alpine forests to Pleasure Island to the bottom of the ocean. This spectacular new production brings together the director of Harry Potter and the Cursed Child and the writer of Matilda the Musical.

For the first time on stage, featuring unforgettable music and songs from the Walt Disney film including I’ve Got No Strings, Give a Little Whistle and When You Wish upon a Star in dazzling new arrangements, Pinocchio comes to life as never before.

Cast includes Joe Idris-Roberts (Pinocchio), Audrey Brisson (Jiminy Cricket), Annette McLaughlin (Blue Lady), David Langham (The Fox), David Kirkbride (Coachman), Dawn Sievewright (Lampy), Chris Jarman (Stromboli) together with Stuart Angell, Trieve Blackwood-Cambridge, Stephanie Bron, James Charlton, Rebecca Jayne-Davies, Sarah Kameela Impey, Anabel Kutay, Michael Lin, Jack North, Clemmie Sveaas, Michael Taibi, Scarlet Wilderink and Jack Wolfe.

John Tiffany directs 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 and orchestrations by Martin Lowe, choreography by Steven Hoggett, puppetry and puppet co-design by Toby Olié, sound design by Simon Baker and illusions by Jamie Harrison.

Half-price tickets for under-18s are available for all performances (excluding £15 tickets). Additional family tickets for the run will be released in a ballot closer to the performance dates – see the NT website for more information. There will be a relaxed performance of Pinocchio on 17 March at 1.30pm Presented by special arrangement with Disney Theatrical Productions.

DORFMAN THEATRE MOSQUITOES by Lucy Kirkwood Previews from 18 July, press night 25 July continuing in repertoire until 28 September Alice is a scientist. She lives in Geneva. As the Large Hadron Collider starts up in 2008, she is on the brink of the most exciting work of her life, searching for the Higgs boson particle. Jenny is her sister. She lives in Luton. She spends a lot of time Googling. When tragedy throws them together, the collision threatens them all with chaos. Mosquitoes by Lucy Kirkwood will have its world premiere in the Dorfman Theatre in July. Rufus Norris directs this new play about families and particle physics with Olivia Williams in the role of Alice and Olivia Colman as her sister Jenny. Cast also includes: Amanda Boxer, Cait Davis, Vanessa Emme, Yoli Fuller, Paul Hilton, Joseph Quinn and Sofia Stuart.

Design by Katrina Lindsay, lighting design by Paule Constable, music by Adam Cork, sound design by Paul Arditti and video design by Finn Ross and Ian William Galloway.

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

The production is currently sold out. There are day tickets available and every Friday at 1pm an allocation of £20 tickets will be released for the following week’s performances, as part of Friday Rush. Friday Rush tickets are available to book online only and are limited to two per customer.

THE MAJORITY a new play by Rob Drummond Previews from 11 August, press night 14 August, continuing until 28 August Following the acclaimed run of Bullet Catch in The Shed, Rob Drummond returns to the National with a new one-man show about democracy. The Majority charts Rob’s journey as he navigates the Scottish independence referendum, Brexit, Trump…and whatever today brings. So take your seat and push the button. Yes or No. Can you change the show with your votes? Every night will be different depending on the majority. Directed by David Overend, design by Jemima Robinson, lighting design by Michael Harpur, music and sound by Scott Twynholm, video associate Mogzi Bromley-Morgans. Originally co-commissioned with The Arches, Glasgow.

BEGINNING a new play by David Eldridge Previews from 5 October, press night 12 October, continuing in the repertoire until 14 November It’s the early hours of the morning and Danny’s the last straggler at Laura’s party. The flat’s in a mess. And so are they. One more drink? Polly Findlay directs this new play by David Eldridge (Market Boy, Under the Blue Sky, In Basildon). Tender and funny, it’s an intimate look at the first fragile moments of risking your heart and taking a chance. Justine Mitchell plays Laura, Sam Troughton plays Danny. Design by Fly Davis, lighting design by Jack Knowles, sound design by Paul Arditti and movement by Naomi Said.

BARBER SHOP CHRONICLES by Inua Ellams a co-production with Fuel and West Yorkshire Playhouse Currently in repertoire until 8th July, returning in November Following a sell-out run at the Dorfman this summer, Inua Ellams’ play about stories from barber shops across the globe returns to the National Theatre in November. Tickets go on sale online and by phone from 1pm on Monday 19 June.

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 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 current cast includes Fisayo Akinade, Hammed Animashaun, Peter Bankolé, Maynard Eziashi, Simon Manyonda, Patrice Naiambana, Cyril Nri, Kwami Odoom, Sule Rimi, Abdul Salis, David Webber, and Anthony Welsh.

Casting for November to be confirmed in due course. Directed by Bijan Sheibani, design by Rae Smith, 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.

CURRENT PRODUCTIONS IN REPERTOIRE AT THE NATIONAL THEATRE OLIVIER THEATRE SALOMÉ a new play by Yaël Farber Continuing in the repertoire until 15 July 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.

Designed by Susan Hilferty, 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, Lloyd Hutchinson, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Nefar, Lubana al Quntar, and Raad Rawi. Hundreds of Travelex tickets at £15 available per performance. This production is supported by Laura Pels International Foundation for Theater. Broadcast to cinemas by NT Live on 22 June.

COMMON a new play by DC Moore a co-production with Headlong Continuing in the repertoire until 5 August 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 also includes Ian-Lloyd Anderson, Lois Chimimba, Peta Cornish, Anna Crichlow, John Dagleish, Brian Doherty, Amy Downham, Trevor Fox, Hannah Hutch, Cush Jumbo, Tim McMullan, John O’Dowd, Ian Shaw and Edward Wolstenholme.

Design by Richard Hudson, lighting design by Paule Constable, music by Stephen Warbeck, sound design by Ian Dickinson, movement direction by Joseph Alford, dance by Siân Williams, puppetry by Laura Cubitt and fight Directors Rachel Bown-Williams and Ruth Cooper-Brown of RC-ANNIE Ltd. Hundreds of Travelex tickets at £15 available per performance.

LYTTELTON THEATRE ANGELS IN AMERICA: A Gay Fantasia on National Themes Continuing in the repertoire until 19 August 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 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 Air Lines – hundreds of £20 tickets will be released in the final two ballots, the last closing on 26 July.

Broadcast to cinemas by NT Live – Part One on 20 July, Part Two on 27 July NATIONAL THEATRE LIVE NT Live will be broadcasting five productions to 700 venues across the UK and 60 countries around the world Salomé – a radical retelling of the Biblical story of one young woman’s political awakening. Written and directed by Yaël Farber. Broadcast live from the NT on Thursday 22 June.

Angels in America – Marianne Elliott’s new production of Tony Kushner’s Angels in America will be broadcast live from the NT in two parts. 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 production of Lorca’s achingly powerful masterpiece. Broadcast live from the Young Vic on Thursday 31 August (international screenings from 21 September).

Young Marx – Rory Kinnear plays Marx and Oliver Chris, Engels, in this new comedy about Marx’s time as a 32-year-old revolutionary in 1850 London. Written by Richard Bean and Clive Coleman and directed by Nicholas Hytner. Broadcast live from The Bridge Theatre on 7 December.

Julius Caesar – Ben Whishaw and Michelle Fairley play Brutus and Cassius, leaders of the coup, David Calder plays Caesar and David Morrissey is Mark Antony, who brings Rome back under control after the conspirators’ defeat in this production of Shakespeare’s classic. Directed by Nicholas Hytner. Broadcast live from The Bridge Theatre on 22 March 2018.

Sky Arts is the UK sponsor for National Theatre Live. Find your nearest venue at ntlive.com

NATIONAL THEATRE THROUGHOUT THE UK, IN THE WEST END AND INTERNATIONALLY The NT will tour to 49 venues in 37 towns and cities across the UK in 2017-18 OSLO

Winner of the 2017 Tony Award for Best Play, the acclaimed Lincoln Center Theater production of Oslo transfers to the Harold Pinter Theatre in the West End from 30 September until 30 December 2017 following a limited run at the NT.

This gripping new play by JT Rogers, directed by Bartlett Sher, tells the true story of how one young couple, Norwegian diplomat Mona Juul and her husband, social scientist Terje Rød-Larsen planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organisation, which culminated in the signing of the historic 1993 Oslo Accords. OsloThePlay.com

PEOPLE, PLACES AND THINGS 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 from 19 October to 19 November 2017.

Directed by Jeremy Herrin, Macmillan’s intoxicating new play opened at the NT’s Dorfman Theatre in autumn 2015, and transferred to 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 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).

Set design 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. Costume design 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.

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME The Curious Incident of the Dog in the Night-Time, adapted by Simon Stephens from Mark Haddon’s bestselling book and directed by Marianne Elliott, had its final West End performance on Saturday 3 June 2017, having been seen by over one million people in London. Curious Incident has won seven Olivier Awards, including Best New Play, Best Director, Best Design, Best Lighting Design and Best Sound Design – as well as five Tony Awards during its run on Broadway. Its preferred card partner is American Express.

The Curious Incident of the Dog in the Night-Time continues a major tour of the UK and Ireland until September 2017, with upcoming visits to the Theatre Royal, Plymouth (26 June – 1 July), Birmingham Hippodrome (4 – 8 July), Venue Cymru, Llandudno (11 – 15 July), Cliffs Pavilion, Southend (18 – 22 July), Liverpool Empire Theatre (25 – 29 July), Alhambra Theatre, Bradford (31 July – 5 August), His Majesty’s Theatre, Aberdeen (8 – 12 August), King’s Theatre, Glasgow (14 – 19 August), Theatre Royal, Norwich (29 August – 2 September) and Milton Keynes Theatre (4 – 16 September 2017). curiousonstage.com

The Curious Incident of the Dog in the Night-Time will continue on an international tour, visiting the Koninklijk Theater Carré in Amsterdam, Holland (20 September – 1 October 2017) and the Princess of Wales Theatre in Toronto, Canada (10 Oct – 19 November 2017), with further dates and venues to be announced.

MY COUNTRY; A WORK IN PROGRESS My Country; a work in progress, created by Rufus Norris and Carol Ann Duffy and based on the words of people from around the UK, will complete a UK tour at Theatre Royal, Stratford East, London on 24 June. It has been adapted for TV by the BBC and is due to be broadcast in the autumn.

JANE EYRE Jane Eyre, Sally Cookson’s energetic and imaginative new adaptation of Charlotte Brontë’s masterpiece, a co-production between the NT and Bristol Old Vic, continues to tour until 23 September, with upcoming visits to the Marlowe Theatre, Canterbury (19 – 24 June), Wales Millennium Centre, Cardiff (27 June – 1 July), Theatre Royal, Newcastle-upon-Tyne (3 – 8 July), Milton Keynes Theatre (10 – 15 July), Theatre Royal, Norwich (17 – 22 July), Brighton Theatre Royal (24 – 29 July), Grand Theatre, Leeds (31 July – 5 August), Grand Opera House, Belfast (21 – 26 August), His Majesty’s Theatre, Aberdeen (28 August – 2 September), Birmingham REP (4 – 16 September) and Hull New Theatre (18 – 23 September) before returning to Lyttelton Theatre from 26 September to 21 October. janeeyreonstage.co.uk

WAR HORSE The NT’s acclaimed production of War Horse based on Michael Morpurgo’s novel, and directed by Marianne Elliott and Tom Morris begins its second major tour of the UK on 15 September 2017 at the Marlowe Theatre in Canterbury, where it will run until 14 October 2017. The tour continues its journey around the UK to Bristol Hippodrome (18 October – 11 November 2017), the Empire Theatre, Liverpool (15 November – 2 December 2017), New Theatre, Oxford (13 December 2017 – 6 January 2018), Brighton Centre (25 January – 10 February 2018), Bradford Alhambra Theatre (14 February – 10 March 2018) and the Nottingham Royal Concert Hall (14 March – 7 April 2018), Edinburgh Festival Theatre (18 April – 12 May 2018), Mayflower Theatre, Southampton (16 May – 9 June 2018), The Lowry, Salford (13 – 30 June 2018), Wales Millennium Centre, Cardiff (4 – 28 July 2018), New Victoria Theatre, Woking (1 – 18 August 2018), Plymouth Theatre Royal (29 August – 15 September), Milton Keynes Theatre (19 September – 6 October 2018) and Glasgow SEC (15 January – 2 February 2019). Further dates and venues will be announced. warhorseonstage.com

HEDDA GABLER Following its acclaimed run at the NT’s Lyttelton Theatre, Patrick Marber’s vital new version of Ibsen’s masterpiece Hedda Gabler directed by Ivo van Hove and with Lizzy Watts in the title role, begins a UK tour at Theatre Royal Plymouth (2 – 7 October). The tour will then go to the Edinburgh Festival Theatre (17 – 21 October), Leicester Curve (23 – 28 October), The Lowry Salford (30 October – 4 November), Norwich Theatre Royal (7 – 11 November), Hull New Theatre (13 – 18 November), His Majesty’s Theatre Aberdeen (21 – 25 November), Northampton Royal & Derngate (28 November – 2 December), Glasgow Thetare Royal (15 – 20 January 2018), Grand Theatre, Wolverhampton (23 – 27 January), New Victoria Woking (29 January – 3 February), Nottingham Theatre Royal (5 – 10 February) , Newcastle Theatre Royal (12 – 17 February), Grand Opera House York (20 – 24 February) and Milton Keynes Theatre (27 February – 3 March). Further casting to be announced. heddagableronstage.com

RIVER STAGE Back by popular demand, this summer sees the return of the free outdoor River Stage Festival. The festival runs for five weekends with take-overs from East London’s The Glory, HOME Manchester, WOMAD, Rambert and the National Theatre itself bringing audiences an eclectic mix of performances that include the very best dance acts, DJ’s and outdoor performances.

Rufus Norris, Director of the National Theatre said, ‘It’s brilliant to welcome back the River Stage Festival. I’m delighted that this range of partners from across the country have decided to join us this year, and the assortment of performance, music, dance and workshops free for all ages is a vibrant and vital part of the National Theatre programme this summer.’

The festival is a collaborative partnership showcasing world-class programming and presenting new and diverse artists and acts, with something for everyone to enjoy. It takes place on the River Stage, in front of the NT, with events every Friday evening and all day on Saturday and Sunday from 28 July to 28 August. Join us this summer for theatre, guest DJs, family fun, vibrant dance and the very best in live music acts – this free summer festival is not to be missed.

LEARNING AT THE NATIONAL THEATRE NT Learning opens up theatre to people of all ages and supports theatre education across the UK with a wide range of projects and events.

CONNECTIONS 2017 Connections, the largest youth theatre festival in the UK celebrates brilliant new writing for young people aged 13 – 19. This year’s festival at the National Theatre will see performances by ten companies, chosen from over 250 school and youth theatre companies from 28 June to 3 July.

Over the year 4,000 young people from every corner of the UK have worked with 28 partner theatres and performed ten brand new plays, commissioned from some of the country’s most exciting writers. The result is an unforgettable feast of theatre made by and for young people.

The productions invited to appear at the NT in the culminating week of this year’s Connections Festival are;

Wednesday 28 June the Dorfman Theatre 7pm – The Snow Dragons by Lizzie Nunnery, performed by Lymm High School (Warrington, Cheshire) 8.30pm – Extremism by Anders Lustgarten, performed by Theatre Royal Stratford East Youth Theatre + (Stratford, London) Thursday 29 June the Dorfman Theatre 7pm – Musical Differences by Robin French, performed by NCN Actors (Nottingham) 8.30pm – Three by Harriet Braun, performed by Kindred KYT (Peterborough, Cambridgeshire) Friday 30 June the Dorfman Theatre 7pm – The School Film by Patrick Marber, performed by Kingsley Bideford Community Theatre Company (Bideford, Devon) 8.30pm – The Monstrum by Kellie Smith, performed by The Marlowe Youth Theatre (Canterbury, Kent) Saturday 1 July in the Dorfman Theatre 7pm – #YOLO by Matthew Bulgo, performed by West Glamorgan Youth Theatre Company (Port Tennant, Swansea) 8.30pm – Status Update by Tim Etchells, performed by Rotherham College (Rotherham, South Yorkshire) Monday 3 July in the Olivier Theatre 7pm – Zero for Young Dudes! by Alistair McDowall, performed by Orange Tree Theatre Connections Company (Richmond, London) 8.30pm – FOMO by Suhayla El-Bushra, performed by CASTEnsemble (Shardlow, Derbyshire) To book tickets go to the NT website Be part of Connections 2018 To be part of next year’s festival, sign up now to Connections 2018. The National Theatre is looking for 300 youth theatre and school companies across the UK to take part. Applications are now open http://ift.tt/2rvaD4s

Connections is supported by: The Buffini Chao Foundation, Andrew Lloyd Webber Foundation, Delta Air Lines, Jacqueline and Richard Worswick, The EBM Charitable Trust, Samantha and Richard Campbell-Breeden, The Garvey Family Trust, Susan Miller and Byron Grote, Hays Travel Foundation, Faithorn Farrell Timms and supporters of the Connections Appeal

FREE EXHIBITIONS A changing programme of free exhibitions taking inspiration from the work on our stages, the NT Archive and our national programme. In Visible Ink: Tracing LGBT+ stories at the NT, follows some of the changes for the LGBT+ community over the past 25 years, Lyttelton Lounge from 23 June. We’re here because we’re here – the story of the project as it happened across the UK is in the Wolfson Gallery until 31 August. The project was conceived and created by Turner Prize-winning artist Jeremy Deller in collaboration with Rufus Norris, Director of the National Theatre. National Theatre Posters is in the Wolfson Gallery from October 2017. Curated by design critic and writer Rick Poynor, the exhibition explores poster design from 1963 to the present. From November in the Lyttelton Lounge, The Linbury Prize for Stage Design showcases work by 12 emerging designers working with some of the UK’s leading theatre, opera and dance companies. NEW VIEWS 2017

The NT’s annual playwriting programme and competition for 15 – 19 year-olds.

The 2017 New Views winning play is Dead Don’t Floss, by 17 year-old Beattie Green from St Marylebone School in London.

Beattie Green’s play was chosen out of over 300 entries which came from 62 schools across the UK, as well as a partner theatre programme at the West Yorkshire Playhouse. The winning play was selected from a shortlist of ten by a panel of judges including NT Senior Dramaturg Nina Steiger, playwrights Simon Stephens (The Curious Incident of the Dog in the Night-Time) and Anupama Chandrasekhar (NT writer in residence) and actor Tamara Lawrance. Dead Don’t Floss will be performed in the Dorfman Theatre at 4.30pm and 7.30pm on Tuesday 4 July.

Rehearsed readings of shortlisted plays will take place in the Duffield Studio on Wednesday 5 and Thursday 6 July at 11.30am and 2pm.

For more information, to book tickets or to sign up to New Views 2017/2018 visit http://ift.tt/2seGp2Z

New Views is supported by Old Possum’s Practical Trust, Chapman Charitable Trust, Golsoncott Foundation, The Steel Charitable Trust and Unity Theatre Trust.

The National Theatre’s Partner for Learning is Bank of America Merrill Lynch. ENTRY PASS Entry Pass, the NT’s scheme which offers low-price tickets to under-25-year-olds, is now in its tenth year. To encourage even more young people to see our productions, and with the support of Delta Air Lines, the National has doubled the amount of amount of tickets available to Entry Pass members this year to 25,000. Salomé and Common were the first shows with double the amount of Entry Pass tickets available to book. Tickets are £7.50 for Entry Pass members and £10 for their friends. Entry Pass is part of the NT’s ongoing commitment to offering low-price tickets: this year, 30% of all seats on the South Bank will be available at £20 or under. Entry Pass is supported by Delta Air Lines.

ACCESS The NT is dedicated to making the best theatre and sharing it with as many people as possible. Access facilities include captioned, audio-described, British Sign Language and relaxed performances, as well as touch tours, braille and large print cast lists and infrared audio headsets. For more information visit http://ift.tt/2rvq4tt or call Box Office: 020 7452 3000.

SPONSORS The National Theatre would appreciate an acknowledgement in the body of the text and/or as a separate footnote following editorial copy. Travelex £15 Tickets sponsored by Travelex The National Theatre is working in partnership with American Express The National Theatre’s Partner for Learning is Bank of America Merrill Lynch The National Theatre’s Partner for Connectivity is Cisco The National Theatre’s Outdoor Media Partner is Clear Channel The National Theatre’s Official Airline is Delta Air Lines The Official Hotel Partner of the National Theatre is Edwardian Hotels London The National Theatre’s Workshops Partner is Flints Theatrical Chandlers The National Theatre’s International Hotel Partner is Intercontinental Hotels Group New writing at the National Theatre is supported by ITV plc The National Theatre’s Pouring Partner is Nyetimber The National Theatre’s Partner for Lighting and Energy is Philips Amadeus is generously supported by the Amadeus Production Syndicate Network is generously supported by Marcia Grand for the memory of Richard Grand People, Places and Things is generously supported by Areté Foundation / Betsy & Ed Cohen and Leila Maw Straus MBE Follies is supported by the Follies production syndicate Mosquitoes is supported by Winton Philanthropies and Rosetrees Trust. This play is a recipient of an Edgerton Foundation New Plays Award Sky Arts is the UK sponsor for National Theatre Live The National Theatre wishes to acknowledge its partner National Angels Limited The National Theatre is supported using public funding by Arts Council England

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