#joel horwood

[origami-butterfly]

Fucking hell.

I've just seen the stage adaptation of @neil-gaiman 's Ocean at the End of the Lane and it has changed my brain chemistry. The symbolism in the lighting, the sound, the costumes, it was all amazingly thought out, the suspense was built up so well, the PRACTICAL EFFECTS!!! Adapting fantasy is always difficult, because there will be things that don't exist normally, but GODDAMN, that was amazing!!! If you can, I highly recommend going to see it, because that 2-3 ish hours felt like a spiritual experience. It has awoken emotions in me that I never knew I had.

[bcakesbaxter]

If you have the opportunity to see Ocean at the End of the Lane, don’t miss it. It is fantastic💕

[downthetubes]

Neil Gaiman’s “The Ocean at the End of the Lane” tour dates announced

Neil Gaiman’s “The Ocean at the End of the Lane” tour dates announced

Tour dates for the National Theatre’s major stage adaptation of The Ocean at the End of the Lane by Neil Gaiman have been announced, taking in venues in the UK and Ireland. The show, adapted from the best-selling novel by Neil Gaiman, has just ended its run at the Duke of York’s Theatre in London’s West End. Directed by Katy Rudd (Camp Siegfried) and adapted by Joel Horwood (Skins, I Want My…

[randimason]

This review for The Ocean at The End of the Lane is very frustrating.

Not that it isn’t detailed, positive, and clear about how wonderful the play is - the review is all those things and more.

But I don’t know what it would take for it to transfer to Broadway, or if that’s even part of the plan.

So frustrating if you’re a New Yorker; otherwise, a brilliant review.

[willstafford]

Memory Lane

THE OCEAN AT THE END OF THE LANE The Alexandra Theatre, Birmingham, Tuesday 23rd May 2023 Neil Gaiman’s gothic fantasy novel is brought to the stage in this hugely impressive adaptation by Joel Horwood.  When a man returns to his childhood home for a funeral, he visits the local pond, which he used to call an ocean; here, he encounters a former neighbour and memories of a wonderful if traumatic…

[ainadelothwen]

Thank you @neil-gaiman for your stories and to Joel Horwood and Katy Rudd for the beautiful adaptation. We wept, we gasped, we laughed, and we had lots of thinky thoughts afterwards. It was magical and it captured something truly universal about childhood. (Also, as we toured around London, I heard Neil's voice narrating everything in my mind due to having recently listened to Neverwhere on audio book...)

[voguemadrid]

The Ocean at the End of the Lane Review [The Curve, Leicester]

The five star thunderous spectacular Review. (The Curve, Leicester)

The Ocean at the End of the Lane | Photography: (c) Brinkhoff-Moegenburg The five star thunderous spectacular by The National Theatre’s Neil Gaiman adaption is hauntingly memorable. Neil Gaiman, adapted by Joel Horwood and directed by Katy RuddNational TheatreThe Curve, LeicesterJanuary 31 to 11 February 2023 Tickets available:…

[frontmezzjunkies]

The Ocean at the End of the Lane Ripples Out Grief and Bravery for All

#frontmezzjunkies #reviews: #TheOceanAtTheEndOfTheLane @oceanwestend #WestEnd transfer from @NationalTheatre based on the novel by #NeilGaiman @neilhimself adapted by #JoelHorwood directed by #KatyRudd #OceanWestEnd

Nia Towle and James Bamford in The Ocean at the End of the Lane. Photograph: Manuel Harlan The In-Person West End Experience: National Theatre’s The Ocean at the End of the Lane By Ross They wander out from the side in black, heads down, umbrellas against the rain, in a state of mourning that instantly draws us deep into the dark and complicated waters of the National Theatre‘s West End…

[neil-gaiman]

I had the great fortune of seeing Ocean at the End of the Lane tonight in London and there was not a single dry eye by the end of the second act. Thank you for gifting us with your magic.

You are so welcome. What director Katy Rudd and writer Joel Horwood and the amazing team of wizards backstage and the cast and puppeteers have made is real, actual magic.

[justzawe]

https://youtu.be/H3PO2UT8N0c

A Bloody Muddle is a comedy that suggests that love can be found in the most unlikeliest of places...

Written by Joel Horwood

Directed by Destiny Ekaragha

Produced by Emily Man

[picolin]

Barberian Sound Studio

Based on the film by Peter Strickland

book. Joel Horwood

dir. Tom Scutt

2019年3月2日　Donmar Warehouse

『The Duke of Burgandy』のピーター・ストリックランド監督の2012年の映画『バーバリアン怪奇映画特殊音響効果製作所』を舞台化した作品。原作でトビー・ジョーンズが演じた主人公ギルデロイを、今回は『プリーチャー』『ボディガード』のトム・ブルックが演じる。舞台美術デザイナー、トム・スカットの演出家デビュー作品。

1970年代、英国人映画音響エンジニアのギルデロイは、自分が手がけた映画の仕事を気に入ったというイタリアのジャロ（厳密にはエログロ犯罪映画だが、ここで扱われているのはむしろ怪奇映画である）映画監督サンティーニに招聘される。英語はほとんど通じないしプロデューサーは威圧的、会計処理もうまくいかない。そもそも映画そのものがどこか怪しい...。

セットは一貫して録音スタジオのみ。背後にコントロールブースとヴォーカル録音ブースを控え、全面で映画でも描かれた奇天烈な音響効果の録音が実演される。と同時に、映画ではホテルの描写だったものが照明を変えて描かれる。何よりも鮮烈でメリハリの効いた照明と、録音スタジオを舞台にした作品だけあって音響効果がすばらしい。今まで見た舞台の中でもベストのひとつではないだろうか。音響の距離の遠近を変えることで、ギルデロイの精神の揺れと変容をビビッドに語る。

登場人物とプロットは若干変更があり、原作の現実と映画の境目がなくなっていく感覚以上に、映画製作における男性製作陣が女性のキャストを威圧的に利用する権力構造をより強調した作りになっている。ここ数年の映画界における権力を笠に着た虐待やハラスメントの実態が明らかになってきている過程を知っていると、大変説得力のある脚色となっている。しかしこの告発のトーンが作品そのものの持つ奇妙さや、英語がよく通じない環境にひとりいる英国人の孤独と困惑をスポイルすることは全くない。そこで「すべては芸術のためなのだ」とギルデロイを説得する「鬼才」監督。映画に限らず、今あちらこちらで問い直されている構造ではないだろうか。クレバーな映画をクレバーに脚色した素晴らしいプロダクション。

[wolfinthethorns]

Enzo Cilenti fans! Our lad is treading the boards again for the first time in longer than he'd care to admit (to paraphrase his tweet on the subject), along with Tom Brooke and Tom Espiner in Peter Strickland's "Berberian Sound Studio"

Italy, 1976.  Gilderoy is a long way from home. His work as a sound designer for Dorking-based nature documentaries has not gone unnoticed. He has swapped the foley table of his garden shed for the glamour of the Berberian Sound Studio. Here, at the height of giallo horror, cabbages become corpses, your own voice can be over-dubbed and silence speaks louder than screams. Peter Strickland’s acclaimed subliminal horror film is adapted for the stage by Joel Horwood and Director Tom Scutt in this darkly comedic, sonic experience.

8th February to 30th March 2019.

Tickets go on sale tomorrow, 2nd October, click through the link above for further details & booking.

[ginoskotv1]

week without reduced pay. Photograph: Matthew Horwood Welsh government urged to trial four-day week for public sector Hair stylist Joel McCauley had seen too many colleagues burn out after a perpetual cycle of work, eat and sleep, so when he opened his own salon in Cardiff he was determined to do things differently. Staff at Slunks in Morgan Arcade now work a four-day week for no less pay than…

[ourworldmalarkey]

💥 @mkmalarkey in "Inches Apart" 2OO9. Theatre 503, Londres. By Rachel Briscoe. • • • •》"Inches Apart, a new devised piece of theatre, has won this year’s Old Vic New Voices Theatre 503 Award. The show will receive a full production at Theatre 503 in London, from May 12 to June 6 with press night on May 14. The work focuses on the lives of individuals and asks what it means to be on the margins of society. The production is directed by Rachel Briscoe, with Joel Horwood as story consultant. The cast features Alex Gatehouse, Michael Malarkey, Tom McCall, Adam Slynn, Sophie Steer and Sara Templeman. It is designed by Joanna Scotcher with lighting design by Emma Chapman." 《• • • • #michaelmalarkey #mkmalarkey #michaelmalarkeyedit #malarkeyfam #malarkeyconcert #malarkeyfbf #mongrelstour #mongrels #wearemongrels #singer #songwriter #concert #music #musician #actor #captainmichaelquinn #projectbluebook #enzostjohn #thevampirediaries #lorenzostjohn #captainsolitaire #damnmalarkey #malarkeynews #malarkeytheactor #malarkeyevent #uncomfortablynumb #tvdfamily #malarkeyfm #MalarkeyinBr2020 https://www.instagram.com/p/B1op5z3hm_m/?igshid=1crd7ssf9pn0k

[20playsin10days]

January 3rd- The Little Matchgirl (and Other Happier Tales) and Saint Joan

Hello again! Today was a good day, let’s dive right in shall we?

The Little Matchgirl (and other Happier Tales) written and adapted by Joel Horwood:

 This was our 4th and final “children/family” show. There was a small use of puppets but this was nothing like A Very Hungry Caterpillar. Knowing that The Little Matchgirl was written by Hans Christian Anderson makes that kind of obvious. The Little Matchgirl is a puppet who doesn’t speak except for every now and then would sing a few notes. She’s cold and alone but she runs into a traveling theatre troupe called the Shuteyes. Every time she lights a match, they tell her a story and she is warmed. The tell the story of Thumbalina, The Emperor’s New Clothes, and the Princess and the Pea before they finally get around to telling the Matchgirl’s story. A story that is really quite heartbreaking. I did not escape dry eyed. 

Each story was very well done and there was original music. I still wouldn’t call this a musical, but it was very close. The song that was basically the entirety of the Princess and the Pea story was very good- it’s repeating line and what I am calling it’s title was “Can You Still Call It Pain”

What I really liked about this show was that it wasn’t afraid to get dark (I mean with the little matchgirl how can you not get dark) with these fairytales. In Thumbalina, Thumbalina is practically sold to the Mole. In other adaptations I’ve seen, the Don Bluth in particular, this is kind of glossed over for how creepy it is. But in this show, the mole character was most definitely an abusive figure and Thumablina was scared and unhappy until she managed to escape from him with the swallow character. As Thumbalina became more and more confident in herself, the puppet got bigger until the actress- who was super tiny!- played Thumbalina without being a puppet. But over all this story seemed to be a commentary on unhealthy and abusive relationships, which I thought was interesting. 

The Princess and the Pea was also “darker” than usual. The prince decides on his own to test the princess with the pea, and the princess seems to be in genuine pain throughout the night. And when she learns that the prince put him through this pain, she leaves him. That’s not anything I’d ever seen done before.

This was in the Sam Wanamaker Theatre at the Globe. It’s designed to be an indoor version of the Globe to be used during winter months when the outdoor theatre is too risky. It’s only lit with candles and the songs sung served the same purpose that songs in Jacobean and Elizabethan times would have served.  I really liked it, even if the little matchgirl is one of the saddest children’s stories imaginable.

Moving on to

Saint Joan by Bernard Shaw:

(Side note before we start- did you know that George Bernard Shaw didn’t like to be called by three names? He much preferred Bernard Shaw.)

So I think this is what my father was most excited for me to see, and it did not disappoint. 

When Bernard Shaw wrote this play in the late 1920′s, he wanted to highlight the themes in Joan’s story that still rang true in modern times, so it was written in language that would have been used in the 20′s, not the 1400′s. And in that vein, this show was brought forward to our times. Everyone was in modern dress and instead of the Hundred Year War as the main conflict- it seemed to be stock markets and rival companies fighting. It was a very minor change, all the words were kept as Shaw wrote them, but the scenery and costumes were all modern- except for Joan, she was dressed as Joan of Arc would have been dressed. It was very, very striking. Like Leonardo DiCaprio’s Romeo and Juliet but less absurd. Joan was stunning. Bold and daring and 1000000% sure that what she was doing was right and just and ordained by God, but still a teenager who struggled with authority and thinking things through. And she was played by Gemma Arterton, one of my favorite actresses who has been a real talent and a bright spot in very bad movies (Hansel and Gretel Witch Hunters for one) Gemma was outstanding and a real delight to watch.

The set was one glass table with office chairs in front of a tv screen that had stock market reports and new stories that would blur into medieval paintings. The glass table looked like an alter before the show started- Joan was kneeling on it, praying in full armor as we all walking into the theatre. But for most of the show is was a table that would be found in board rooms and CEO’s offices. The table was on a spinning circle, and it spent most of the show spinning very very slowly as the scene went on. When ever Joan was on stage there was almost always a spotlight on her. And if she got particularly passionate, all the other lights would dim. It was visually very effective. 

Joan is so so sure of herself for all of the play its really remarkable- I wasn’t so sure of myself when I was 16. Which makes the scene where she realizes that she’s going to be burned at the stake even more heartbreaking and Gemma did it fantastically. She so quickly shifted from confidence to disbelief to despair and then right back to confidence when she retracts her confession. This was really an amazing story that was very gratifying to watch. 

I’m glad I watched this tonight instead of Mary Stuart first. I’ll get to see it tomorrow, but I am so glad that I saw Saint Joan today.

Well that’s all for now, I’ll write again tomorrow.

[remixinc]

The Charge from Lester Jones on Vimeo.

The Charge poetically explores the notion of isolation and containment, and the need for expression that burns within us all.  

No matter how far we are pushed there is always a human compulsion to join together and break free, themes that may be more relevant now than ever before.

Shot in Sydney on 16mm film, the project was written in 2019 about the notion of isolation than can affect and see many suffer, but the project has added poignancy in light of the world's events in 2020 which is seeing isolation and containment now affecting us all.

CREDITS - CREW

WRITER & DIRECTOR: Lester Jones PRODUCER: Benjamin Flaxman DOP: Campbell Brown EDITOR Lucas Vazquez COLOURIST Fergus Rotherham (with thanks to The Editors) COMPOSER Ryan Walsh SOUND MIX Georgia Collins MUSIC & SOUND DESIGN Electric Sheep Music AD: Mike Green 1st AC: Jani Hakli 2nd AC: Charlie Slessar and Luke Tysoe STEADICAM: Justin Besser GAFFER: Mat Wilson BEST BOYS: Nicholas Gascoine and Nathan Grant GRIP: Moose RICKSHAW OPERATORS Tom Brooks and Jack Levanes PRODUCTION MGR: Leilani Tomaszewski PRODUCTION ASSISTS Max Bibby, Minh Nhat Pham, Jack Rockliffe ART DIRECTOR Ben Garvey ART ASSIST: Coen Horwood @coenhorwood MAKEUP: Victoria Anderson and Cherry Cheung CATERING: The Catering Dept UNIT DEPARTMENT: Cato Logistics ATTACHMENTS: Matthew Simmons, Danielle Payne

CREDITS - CAST MALE #1 Makhosi Mpofu MALE #2 Thabani Mpofu NARRATOR: Aiden Harmitt-Williams EXTRAS Coen Horwood, Oscar Doane, Jett Farkas, Miller Brand, Justin Lim Wei Hang, Emmanuel Peters, Ben Mitchell, Gabe Wahl, Zac Panyar, Mitchell Craig, Cameron Walker, Thamid Chowdry, Joel Appleby, Samuel Passmore, Kyle Coad, Cameron Nicholls, George Collins, Ali, Varmich Dulleh