#phyllida francis

[shoreslippery]

[ilthit]

OC-tober 17: Phyllida Winiger Francis

Week 3: Various sources.

Portrait done in Artbreeder.

Lady Phyllida Winiger Francis was born near London in January 1775 to second generation German immigrants. Her parents manufactured machinery for weaving; their parents manufactured the steel for it. As an only child, Phyllida has expectations of great personal fortune. While her father still lives she has her husband’s to spend.

Baron Charles Kentworth Francis (“Chucks”) is a small and taciturn man who never comes to London. He and Lady Phyllida are practically separated, but neither wishes to divorce or remarry. He is very happy in the country, and she is very happy in the city. They have one son, Lord Alfred Francis, who is somewhat foolish and inexplicably tall.

Phyllida believes she has an artistic soul, and expresses herself through painting, mostly vases. She adores music and musicians, of which she has seduced many. She has a political bent: she is passionately anti-slavery, but does not like the religious fervour that is driving the cause; she is in favour of freedom of religion, and has been known to voice nearly atheistic sentiments; she is in favour of social mobility, but has also always believed herself to be a “soul sister” to Marie Antoinette.

She adores lively conversation and tiny dogs, of which she has seven.

[thisisjamaica]

Forthcoming exhibition: “In the Black Fantastic”

In “The best exhibitions to see in 2022 from Stonehenge to Surrealism,” Ben Luke (Evening Standard) announces “In the Black Fantastic,” to take place at the Hayward Gallery (Southbank Centre) from June 28 to September 18, 2022. He underlines Hew Locke’s work in this exhibition and also for the Tate Britain’s Duveens Commission (Mar 22 to Oct 23), stating that “his long track record of dramatic installations and sardonic yet glittering takes on the history of imperial statuary make him the ideal artist for this space right now.” Luke writes:

You know it’s going to be a good year for art when choosing even your top 12 shows is agonising. We are in for a huge art treat in 2022, and a pleasingly diverse one, too. So while there are plenty of timeless crowd pleasers like Van Gogh and Raphael, we’ll also be introduced to new faces and less  few related exhibitions snuck in), but there are glories beyond.

Take one cluster of related shows: Francis Bacon’s obsession with animals is revealed in Man and Beast at the Royal Academy in January, while yet another exhibition of Bacon’s old mucker Lucian Freud opens in October, this time at the National Gallery. [. . .]

When I spoke to Sarah McCrory, the director of Goldsmiths CCA, in October, she told me excitedly about this show, which reflects a hugely topical subject: as McCrory puts it: “It’s considering, after the Black Lives Matter protests, after a pandemic, after Brexit, with a climate crisis, how can we look at monuments? How do we rethink history?” Among the artists are Alvaro Barrington, Phyllida Barlow, Jeremy Deller and Oscar Murillo.

Expect everything from sardonic reflections on the government’s “retain and explain” policy on statues of slavers and imperialists to fantastical futuristic constructions. I can’t wait.

In the Black Fantastic

Curated by Ekow Eshun, this mouthwatering exhibition looks at how contemporary artists across the African diaspora are creating a new form of Afrofuturism. Drawing on elements of myth, spiritual tradition, speculative fiction, carnival and folklore, they address the histories of slavery and colonialism and contemporary inequities and build what Eshun has described as “new narratives of Black possibility”.

The list of 12 artists immediately suggests that it will be spectacular: Ellen Gallagher, Hew Locke, Wangechi Mutu, Chris Ofili and Kara Walker, to name a few, are making some of the most visually and conceptually rich art of our time. Earlier in the year, Locke will take on Tate Britain’s Duveens Commission (Mar 22 to Oct 23) – his long track record of dramatic installations and sardonic yet glittering takes on the history of imperial statuary make him the ideal artist for this space right now. [. . .]

Hayward Gallery, June 28 to Sep 18, southbankcentre.co.uk              

[lemonsterwatchesfilms]

2022 Film List

January

Sakaling Maging Tayo (JP Habac, 2019)

Kalel, 15 (Jun Robles Lana, 2019)

Ang Henerasyong Sumuko sa Love (Jason Paul Laxamana, 2019)

Isa Pa With Feelings (Prime Cruz, 2019)

LSS (Jade Castro, 2019)

Distance (Percival Intalan, 2018)

Sakaling Hindi Makarating (Ice Idanan, 2016)

1-2-3 (Carlos Obispo, 2016)

Zombadings 1: Patayin sa Shokot si Remington (Jade Castro, 2011)

A Star is Born (Bradley Cooper, 2018)

Apocalypse Child (Mario Cornejo, 2015)

Water Lemon (Lem Lorca, 2015)

Quezon’s Game (Matthew Rosen, 2019)

Sundalong Kanin (Janice O’Hara, 2014)

February

Ang Babae sa Septic Tank Movie Cut (Marlon Rivera, 2019)

Rakenrol (Quark Henares, 2011)

Pagdating sa Dulo (Ishmael Bernal, 1971)

Ang Babae sa Likod ng Mambabatok (Lauren Sevilla, Faustino, 2012)

Genghis Khan (Manuel Conde, 1950)

White Slavery (Lino Brocka, 1985)

Zamboanga (Eduardo de Castro, 1937)

Mga Anak ng Kamote (Carlo Enciso Catu, 2018)

Bwakaw (Jun Lana, 2012)

Glorious (Connie Macatuno, 2018)

T’yanak (Peque Gallaga & Lore Reyes, 2014)

March

Babae at Baril (Rae Red, 2019)

Die Beautiful (Jun Robles Lana, 2016)

Historiographika Errata (Richard Somes, 2017)

Insiang (Lino Brocka, 1976)

Ang Pambansang Third Wheel (Ivan Andrew Payawal, 2018)

The Gifted (Chris Martinez, 2014)

Ned’s Project (Lemuel Lorca, 2016)

Extremely Wicked, Shockingly Evil and Vile (Joe Berlinger, 2019)

Bridesmaids (Pau Feig, 2011)

Through Night and Day (Veronica Velasco, 2018)

Lorna (Sigrid Andrea Bernardo, 2014)

Adela (Adolfo Alix, 2008)

April

Delia and Sammy (Therese Cayaba, 2018)

Ang Larawan (Loy Arcenas, 2017)

Belle Douleur (Joji Alonso, 2019)

Elise (Joel Ferrer, 2019)

Yellow Rose (Diane Paragas, 2019)

Never Not Love You (Antoinette Jadaone, 2018)

Ang Damgo ni Eleuteria Kirchbaum (Remton Siega Zuasola, 2010)

Ocean’s 8 (Gary Ross, 2018)

Ocean’s 11 (Steven Soderbergh, 2001)

Ocean’s 12 (Steven Soderbergh, 2005)

Ocean’s 13 (Steven Soderbergh, 2007)

May

Iska (Theodore Boborol, 2019)

Miss Congeniality (Donald Petrie, 2000)

ABNKKBSNPLAko! (Mark Meily, 2014)

Pokémon: Mewtwo Strikes Back - Evolution (Kunihiko Yuyama, 2019)

Shazam! (David Sandberg, 2019)

MOMOL Nights (Benedict Mique, 2019)

Sonata (Lore Reyes, Peque Gallaga, 2013)

Magic Temple (Lore Reyes, Peque Gallaga, 1996)

Tatlong Taong Walang Diyos (Mario O’Hara, 1976)

Turumba (Kidlat Tahimik, 1981)

FRIENDS: The Reunion (Ben Winston, 2021)

Lapu-Lapu (Lamberto Avellana, 1955)

June

Bar Boys (Kip Oebanda, 2017)

Kuya Wes (James Robin Mayo, 2018)

I Love You. Thank You. (Charliebebs Gohetia,2015)

Buy Bust (Erik Matti, 2018)

Best. Partee. Ever. (Howard Yambao, 2016)

Ma (Tate Taylor, 2019)

Blue Bustamante (Miko Livelo, 2013)

Fan Girl (Antoinette Jadaone, 2020)

Loving Vincent (Dorotea Kobiela & Hugh Welchman, 2017)

John Tucker Must Die Betty Thomas, 2006)

T-Bird at Ako (Danny L. Zialcita, 1982)

Someone Great (Jennifer Kaytin Robinson, 2019)

July

Dolly Parton: Here I Am (Francis Whately, 2019)

Trixie Mattel: Moving Parts (Nicholas Zeig-Owens, 2019)

Music and Lyrics (Marc Lawrence, 2007)

The Mummy (Stephen Sommers, 1999)

Easy A (Will Gluck, 2010)

Burlesque (Steve Antin, 2010)

The Show Must Go On: The Queen + Adam Lambert Story (Christopher Bird & Simon Lupton, 2019)

Taylor Swift: The 1989 World Tour - Live (Jonas Akerlund, 2015)

Bohemian Rhapsody (Bryan Singer, 2018)

The Interview (Seth Rogen & Evan Goldberg, 2014)

The Mummy Returns (Stephen Sommers, 2001)

Allegiant (Robert Schwentke, 2016)

Gameboys: The Movie (Ivan Andrew Payawal, 2021)

August

Captain Barbell (Jose ‘Pepe’ Wenceslao, 1973)

Rocketman (Dexter Fletcher, 2019)

Walk the Line (James Mangold, 2005)

Mamma Mia (Phyllida Lloyd, 2008)

Ulam: Main Dish (Alexandra Cuerdo, 2018)

Mahal Mo, Mahal Ko (Elwood Perez, 1978)

Tar-San (Efren Jarlego, 1999)

Sunday Beauty Queen (Baby Ruth Villarama, 2016)

Biyaya ng Lupa (Manuel Silos, 1959)

Only Yesterday - The Carpenters Story (Samantha Peters, 2007)

Memories of a Murderer: The Nilsen Tapes (Michael Harte, 2021)

Austin Powers: The Spy Who Shagged Me (Jay Roach, 1999)

Dolly Parton: A MusiCares Tribute (2021)

September

Cinderella (Kay Cannon, 2021)

Folklore: The Long Pond Studio Sessions (Taylor Swift, 2020)

Spiderman: Far From Home (Jon Watts, 2019)

Yesterday (Danny Boyle, 2019)

Luca (Enrico Casarosa, 2021)

Coldplay: A Head Full of Dreams (Mat Whitecross, 2018)

Freddie Mercury: The King of Queen (Jordan Hill, 2018)

The 40-year-old Virgin (Judd Apatow, 2005)

Barber’s Tales (Jun Robles Lana, 2013)

Respeto (Alberto Monteras II, 2017)

Manila by Night (Ishmael Bernal, 1980)

Cleaners (Glenn Barit, 2019)

October

Star Na Si Van Damme Stallone (Randolph Longjas, 2016)

Class of 2018

Mahal Kita With All My Hypothalamus (Dwein Baltazar, 2018)

Thy Womb

Rak of Aegis (Maribel Legarda, 2021)

Fuccbois

Britney vs Spears

Ang Hapis at Himagsik ni Hermano Puli (Gil Portes, 2016)

Citizen Jake

The Amazing Praybeyt Benjamin

November

Reputation

The Map of Tiny Perfect Tings (Ian Samuels, 2021)

Love and Monsters

The Fabulous Filipino Brothers

Jonas Brothers Family Roast

Rent Live

A Boy Named Christmas

Tick Tick Boom

Klaus

School of Rock

December

I’m Drunk I Love You

The Princess Switch

Single All the Way

Grease Live

Detective Pikachu

Scenes from a Gay Marriage

Don’t Look Up

Baby Driver

Don’t Look Up

Birdbox

[asfaltics]

some about

  the New-Eealism       1   eealism had destroyed. And so dealing with the “construction site”       2 now n Whigiem meant fer med [     ] withdrew from the Eealism of a later       3 grammar, composition, and literature. b Eealistic studies       4 the Hedonistic, Idealistic, and Eealistic in Literature.       5 Some Eealism About Realism       6 accompanied the decline of Eealism, and   which gave occásion to       7  

sources

1 ex snippet/preview, “Inhalt,” Archiv für systematische Philosophie 27:3 (1923) : 96 (hathitrust), pointing to “Is the New-Realism new?” by Jane Sprunt Hall (Wellesley College, Mass.: B.A., 1908, M.A., 1912) : 119-126 2 “...of fresco painting, waking up early with you to be ready,” ex Giuseppe Caccavale. In giardino, a buon fresco. Text by Laura Cherubini; Annotations Chiara Bertola, Claudia Gian Ferrari, Giuseppe Caccavale (Milan: Charta, 2009) : 79 aside — in this instance, the initiating error was in ink, on page. 3 OCR error, column bounce to out-of-focus facing page... involving entries on Francis I, King of France (1494-1547) and Francis I., Emperor of Germany (1708-65), at Chambers’s Encyclopædia : A Dictionary of Universal Knowledge for the People, illustrated with maps and numerous wood engravings, Vol 4 (London, 1868) : 485 4 OCR misread at Chapter 26, “Courses of study in German schools,” in Report of the Commissioner of Education for the year 1903, Volume 2 (Washington, 1905) : 1221 5 OCR misread, yielding “On the Hedonistic, Idealistic, and Eealistic in Literature.” In Phyllida, January 22, 1897, pp. 3-4 ex “A list of the published writings of Charles Mills Gayley” in The Charles Mills Gayley Anniversary Papers (festschrift, celebrating 30th year at UC, 1889-1919), University of California Publications in Modern Philology 11 (1922) : 288 6 OCR misread of footnote 217, yielding Llewellyn, “Some Eealism About Realism” (1931) 44 Harvard Law Rev. 1222, at (2000 reprint of) Roscoe Pound, Jurisprudence vol. 2 (1959) : 275 7 from — “and more generally in the rise of a spirit of independence which accompanied the decline of Eealism, and which gave occasion to the Councils of Constance and Basle, at which the great Nominalists, Pierre d’Ailly and Gerson, were present” — ex John Henry Blunt (1823-1884 *), entry for “conceptualism”, in his Dictionary of Doctrinal and Historical Theology (1870) : 134-138 (138)

—

all tagged about all tagged e all tagged error  

[filmscult]

movies i watched during quarantine so far:

• inglorious basterds (2009), dir. quentin tarantino

• mamma mia! (2008), dir. phyllida lloyd

• the godfather: part ii (1974), dir. francis ford coppola

• the godfather: part iii (1990), dir. francis ford coppola

• inception (2010), dir. christopher nolan

• white chicks (2004), dir. keenen ivory wayans

• the imitation game (2014), dir. morten tyldum

• how to lose a guy in 10 days (2003), dir. donald petrie

• hurricane (2018), dir. david blair 'mission of honor' in the united states

• the zookeeper's wife (2017), dir. niki caro

[nothing-ventured]

Solo, tying with the Trash Timeline of @mr-henry-lascelles

Phyllida breathes in the steam of her cup of tea. What a sweet scent—and it will make her face attractively rosy without resorting to blush. Her cheeks dimple as she looks across the coffee-shop table at the unmarried man she is shockingly having tea with in public. Or, well, it would be shocking, if Jane wasn’t sitting in the next table over. Her sour, respectable face the best guarantee of virtue any lady could wish for, even if she does sit out of range. In any case, Phyllida is nearly forty—another year and she will be practically immune to scandal.

They have had quite enough preliminary chitchat. “My dear Henry...” She sets the cup down in front of her without having taken a sip. “Would it be terribly rude of me to assume this is all about our mutual friend, Captain Merivel?”

“Astute as ever, your ladyship.”

“Oh, don’t try to sweeten me ladyships and compliments. That stiff neck of yours isn’t impressing anybody. I can tell you right now, you will not get what you want today. That dreadful man is holding my poor dear Magda prisoner, insisting she put up with whatever he wishes or he will take her son away from her. It’s simply unbearable!”

“It’s marriage, your—Phyllida.”

“Not my marriage.”

Lascelles inclines his head. “Your marriage is, I dare say, an exception in many ways.”

Phyllida lets out a frustrated puff of air. “I really don’t see why you insist on interfering on behalf of that man. He is no Mr Norrell. That was the most natural thing in the world. I understand he brings you stories and curiosities from exotic places, but I know you have nothing to do with Liverpool smugglers. You would consider it beneath yourself; besides, merchants tend to be Whigs. So either he has something on you, or you simply… like the man. Which would be very unlike you, I must say.”

Lascelles has a specific way of sighing which Phyllida knows very well, and which even at this moment she can not help but find endearing. It is a world-weary sigh, a sigh of loathing—his gaze drifts away as if he were deathly bored, and the air puffs out sharply as if his anger is only just about to boil over, only he can’t be bothered to act upon it. Like a pot of water beginning to steam. He lounges in his chair, resting his cheek on his fist. “Leaving aside the matter of my motivation for the moment, isn’t there anything I can say to persuade your heart to harden in this one case? Shall I remind you she is penniless and friendless, foreign, barely civilized? Many women in her position would do almost anything for the protection of a man of Merivel’s means. Furthermore, he assures me he does not intend to interfere with her life, so long as she stays in the house he set up for her and lives a quiet life. And there is the boy—he is very much interested in Newton’s future. And there simply isn’t one if the woman has her way.”

“Money is no excuse for tyranny.”

“And so you would replace it with a different kind of tyranny? Allow the mother to dictate when the father sees his son, or whether, and let him have no say in his education?” He clucks his tongue. “This is a family affair. Neither of us should be getting involved at all.”

Her eyes dart to the side. He has a point. It isn’t the done thing, especially on a slight acquaintance. Jane had told her as much. “I only wish to see my friend happy. To allow her to enjoy freedom, to a certain extent, and control her own destiny.”

He sits up and leans over the table, joining his hands in front of him. “None of us do that. Happiness? Why shouldn’t she be happy in the country, in a house he has given her and rarely visits? They quarrel—so let them live apart, but not separate entirely. Isn’t that precisely the arrangement you have with Lord Francis?”

Her temper flares. “Chucks would never talk to me the way that man talks to Magda.”

“Nonetheless--” He speaks firmly. Gracious, does he have to get firm with her now, of all times? “Nonetheless, I maintain you have no obligation to involve yourself, no guarantee of a happy result if you do, and a not inconsiderable risk of making yourself look foolish if she ends up embarrassing you. Not to mention you would be giving yourself a great deal of work that no one asked you to do.” He pauses; she glares; he is undeterred. “Allow me to make this easier. If you do not stop your campaign to deny my friend his natural right, our friendship will be at an end. I will attend no more soirees, dinners or balls where you are the hostess--”

Phyllida laughs. Her soirees can survive without one particular gentleman’s patronage, however well-dressed and influential.

“--nor take your or your husband’s part in the public sphere… Should we meet by chance, I would cut you directly, regardless of company. I will do no worse, as I know you could do as badly by me. But if you do give Merivel a chance to arrange his affairs to his own satisfaction...”

She has been sniffing her tea again, sipped it ever so briefly—she cannot abide tea that is too hot, or not seeped sufficiently—but at this she looks up, into his intense face. This is all rather thrilling, isn’t it? But why does Henry care so much? It is excruciating not to know.

“I promise to share with you secrets beyond your wildest imaginings.”

“Oh Henry,” she purrs, “you underestimate my imagination.”

He shakes his head slowly. “Not this time.”

She sets her cup back down in its saucer, mesmerized. It isn’t only his words that cast a spell on her. Even after all this time, that arrogance is intoxicating. She purses her lips. “Give me time,” she concedes at last. “I will do nothing to jeopardize my friend. But I will think about what you have said.”

Henry sits back. “And take no action before discussing it with me?”

She nods slowly. “If you promise me the same.”

Henry smiles, and for a moment Phyllida thinks she has made a terrible mistake somewhere, but his voice is perfectly mild as he nods and says, “Of course.”

That feeling follows her all the way home. "Jane, have I done the right thing?”

“That’s not the question. The question is what you will do now.” Jane shrugs; she has given her piece on the matter already. Phyllida plops herself down on a chaise longue and Polyhymnia struggles up beside her. She curls around the dog and sets about to do her thinking.

[eggymovies]

Movies Watched in 2018

Here’s a list of every movie I watched in 2018 at home or in theaters, in order. Re-watches are listed as well so some things will appear move than one.

Mr. Roosevelt (Noel Wells) Call Me By Your Name (Luca Guadagnino) Phantom Thread (Paul Thomas Anderson) Jumanji (Jake Kasdan) Split (M. Night Shyamalan) Harry Potter and the Half Blood Prince (David Yates) Harry Potter and the Deathly Hallows Part 1 (David Yates) The Post (Steven Spielberg) Good Time (Josh and Ben Safdie) I, Tonya (Craig Gillespie) Paddington 2 (Paul King) The Big Sick (Michael Showalter) Get Out (Jordan Peele) The Greatest Showman (Michael Gracey) Coco (Lee Unkrich) Black Panther (Ryan Cooler) Creed (Ryan Coogler) Black Panther (Ryan Cooler) Phantom Thread (Paul Thomas Anderson) Annihilation (Alex Garland) Thoroughbreds (Cory Finley) Before Sunrise (Richard Linklater) Before Sunset (Richard Linklater) A Wrinkle In Time (Ava Duvernay) Tomb Raider (Roar Uthaug) Justice League (Abrams/Snyder) Before Midnight (Richard Linklater) Game Night (John Francis Daley, Jonathan Goldstein) Love, Simon (Greg Berlanti) Columbus (Kagonada) Isle of Dogs (Wes Anderson) Lady Bird (Greta Gerwig) Ready Player One (Steven Spielberg) Pacific Rim: Uprising (Steve S. DeKnight) A Quiet Place (John Krasinski) Free Fire (Ben Wheatley) The Killing of a Sacred Deer (Yorgos Lanthamos) The Lovers (Azazel Jacobs) Blockers (Kay Cannon) Home Again (Hallie Meyers-Shyer) You Were Never Really Here (Lynn Ramsay) Lean on Pete (Andrew Haigh) It Comes at Night (Trey Edward Shultz) Eighth Grade (Bo Burnham) Beirut (Tony Gilroy) Avengers: Infinity War (Anthony and Joseph Russo) The Rider (Chloé Zhao) Kodachrome (Mark Raso) Tully (Jason Reitman) Rampage (Brad Peyton) Breaking In (James McTeigue) Life of the Party (Ben Falcone) Let the Sunshine In (Claire Denis) Book Club (Bill Holderman) Beast (Michael Pierce) Deadpool 2 (David Leitch) First Reformed (Paul Schader) Solo: A Star Wars Story (Ron Howard) The Seagull (Michael Mayer) On Chesil Beach (Dominic Cooke) Training Day (Antoine Fuqua) Upgrade (Leigh Whannell) Tully (Jason Reitman) The Beguiled (Sophia Coppola) The Social Network (David Fincher) Beatriz at Dinner (Miguel Arteta) Burnt (John Wells) Hereditary (Ari Aster) Ocean’s 8 (Gary Ross) Won’t You Be My Neighbor (Morgan Nelville) American Animals (Bart Layton) Hearts Beat Loud (Brett Haley) Incredibles 2 (Brad Bird) Tag (Jeff Tomsic) Faces Places (Agnes Varda, JR) Set It Up (Claire Scanlon) Jurassic World: Fallen Kingdom (J.A. Bayona) 2001: A Space Odyssey (Stanley Kubrick) Sicaro:Day of the Soldado (Stefano Sollima) Mamma Mia (Phyllida Lloyd) The Last Movie Star (Adam Rifkin) The First Purge (Gerard McMurray) Uncle Drew (Charles Stone III) Four Weddings and a Funeral (Mike Newell) Leave No Trace (Debra Granik) Ant Man and the Wasp (Peyton Reed) Coco (Lee Unkrich) Sorry To Bother You (Boots Riley) Three Identical Strangers (Tim Wandel) Skyscraper (Rawson Marshall Thurber) Killing Them Softly (Andrew Dominik) Mission Impossible: Ghost Protocol (Brad Bird) The Equalizer 2 (Antoine Fuqua) Mamma Mia 2 (Ol Parker) Don’t Worry, He Won’t Get Far On Foot (Gus Van Sant) Mission Impossible: Rogue Nation (Christopher McQuarrie) Hot Summer Nights (Elijah Bynum) Sleeping With Other People (Leslye Headland) Mission: Impossible 3 (JJ Abrams) Kicking and Screaming (Noah Baumbach) Jaws (Steven Spielberg) Mission: Impossible - Fallout (Christopher McQuarrie) A Star Is Born (Frank Pierson) Enough Said (Nicole Holofcener) Blindspotting (Carlos López Estrada) Eighth Grade (Bo Burnham) Christopher Robin (Marc Forster) Set It Up (Claire Scanlon) The Witch (David Eggers) The Spy Who Dumped Me( Susanna Fogel) Under The Tuscan Sun (Audrey Wells) Lady Bird (Greta Gerwig) The Miseducation of Cameron Post (Desiree Akhavan) Margot at the Wedding (Noah Baumbach) Out of Sight (Steven Soderbergh) Puzzle (Marc Turletaub) Never Goin’ Back (Augustine Frizzle) Crazy Rich Asians (Jon M. Chu) Like Father (Lauren Miller Rogen) Reality Bites (Ben Stiller) Before Sunrise (Richard Linklater) Gattaca (Andrew Niccol) Mission: Impossible - Fallout (Christopher McQuarrie) Please Give (Nicole Holofcener) Everybody Wants Some (Richard Linklater) We The Animals (Jeremiah Zagar) Before Sunset (Richard Linklater) Support the Girls (Andrew Bujalski) Juliet, Naked (Jesse Peretz) Operation Finale (Chris Weitz) Searching (Aneesh Chaganty) Children of Men (Alfonso Cuarón) The Wife (Björn Runge) Before Midnight (Richard Linklater) Paterson (Jim Jarmusch) Columbus (Koganada) The Predator (Shane Black) Girls Trip (Malcolm D. Lee) Madeline’s Madeline (Josephine Decker) Black Panther (Ryan Cooler) The Land of Steady Habits (Nicole Holofcener) Edge of Seventeen (Kelly Fremon Craig) Slice (Austin Vesely) Wonder Woman (Patty Jenkins) True Romance (Tony Scott) Blaze (Ethan Hawke) 20th Century Women (Mike Mills) A Simple Favor (Paul Feig) Colette (Wash Westmoreland) A Star Is Born (Bradley Cooper) The Old Man and the Gun (David Lowery) Free Solo (Jimmy Chin, Elizabeth Chai Vasarhelyi) Private Life (Tamara Jenkins) Y Tu Mama Tambien (Alfonso Cuarón) Venom (Ruben Fleischer) First Man (Damien Chazelle) Blue Valentine (Derek Cianfrance) Bad Times at the El Royale (Drew Goddard) Wildlife (Paul Dano) Beautiful Boy (Felix Van Groeningen) Halloween (David Gordon Green) Inside Llewyn Davis (Joel and Ethan Coen) mid90s (Jonah Hill) Suspiria (Luca Guadagnino) Can You Ever Forgive Me? (Marielle Heller) Bohemian Rhapsody (Bryan Singer) Boy Erased (Joel Edgerton) A Private War (Matthew Heineman) Burning (Lee Chang-dong) Green Book (Peter Farrelly) The Ballad of Buster Scruggs (Joel and Ethan Coen) Blood Simple (Joel and Ethan Coen) Border (Ali Abbasi) Widows (Steve McQueen) First Reformed (Paul Schrader) Hail Caesar (Joel and Ethan Coen) Creed II (Steven Caple Jr.) The Front Runner (Jason Reitman) A Serious Man (Joel and Ethan Coen) Thunder Road (Jim Cummings) The Ballad of Buster Scruggs (Joel and Ethan Coen) Ralph Breaks The Internet (Rich Moore, Phil Johnston) At Eternity’s Gate (Julian Schnabel) The Favourite (Yorgos Lanthimos) Copenhagen (Mark Raso) Roma (Alfonso Cuarón) Brad’s Status (Mike White) Shoplifters (Hirokazu Kore-eda) Minding The Gap (Bing Liu) La La Land (Damien Chazelle) Mary Queen of Scots (Josie Rourke) The Mule (Clint Eastwood) Minding The Gap (Bing Liu) Bumblebee (Travis Knight) Let The Sunshine In (Claire Denis) Spider-man: Into The Spiderverse (Bob Perischetti, Peter Ramsey, Rodney Rothman) Crazy, Stupid, Love (Glenn Ficarra) Love, Actually (Richard Curtis) In Bruges (Martin McDonaugh) Momentum Generation (Jeff and Michael Zimbalist) If Beale Street Could Talk (Barry Jenkins) Aquaman (James Wan) Before We Go (Chris Evans) Vice (Adam McKay) Jackass 2 (Jeff Tremaine)

[annastrxng]

Dearest Lady Phillida Francis

@lady-phyllida-francis

I pray this letter finds you well and in good health. I must confess, I have received your letter to Jane in error. I have enclosed your original letter within the confines of this parchment in the hopes that, perhaps, it will find its way to her.

I find it only fitting to apologize as I have mistakenly read the contents. It is my sincerest wish that you will forgive me. Though, I do not expect absolution for the potential invasion of your privacy, it is my sincerest wish to obtain it. 

In other news, it seems that Edmund and I have become more comfortable with the subject of raising children. I find myself beholding to you for your wisdom and your candidness. There is ally in the camp that I trust as highly as you do within the camp nor one whose guidance I value as greatly as I do yours. 

I often miss our pleasant exchanges as the Major and I are being diverted to some secret mission or other. He does not say much about it, only that we must go in order to follow orders. Not that I mind. The countryside is absolutely beautiful this time of year. I do however, find myself longing for your cheerful company. I know naught when or if our paths shall soon cross again.

Until such a time comes, I pray you will indulge my seemingly dull correspondence. 

Yours truly,

Mrs. Anna Hewlett 

*has enclosed the message to Jane between the folds of parchment used for her own letter*

[londontheatre]

NT entrance 3 Feb 2015 Photo by Philip Vile

Sam Mendes directs the UK premiere of Stefano Massini’s The Lehman Trilogy adapted by Ben Power

A broad programme including three world premieres, and classics reimagined by Polly Stenham and Patrick Marber

Indhu Rubasingham directs the world premiere of Francis Turnly’s play The Great Wave, a co-production with the Tricycle Theatre

World premiere of David Hare’s new play I’m not Running, directed by Neil Armfield

Natasha Gordon’s debut play Nine Night premieres at the National Theatre, directed by Roy Alexander Weise

Laura Wade makes her National Theatre debut with Home, I’m Darling, a co-production with Theatr Clwyd

Sophie Okonedo joins Ralph Fiennes in Antony and Cleopatra, directed by Simon Godwin

Leading actors returning to the NT include Rhys Ifans, Vanessa Kirby, Cecilia Noble, Katherine Parkinson and Indira Varma, with Colin Morgan making his NT debut

NT will be on tour for 115 weeks and will visit 40 venues and 36 towns and cities by March 2019

A new schools tour of The Curious Incident of the Dog in the Night-Time will begin in autumn 2018 and be performed in schools across the UK

Public Acts – a new programme to create participatory theatre with local communities launches with a new production of Pericles in the Olivier theatre

The pilot of Open Access Smart Capture, new technology enabling access service users the ability to attend any National Theatre performance via always-on closed-captioning service

National Theatre and Spotlight launch ProFile – a resource for TV, film and theatre casting directors to address the underrepresentation of D/deaf and disabled actors

Olivier Theatre

Rufus Norris – Credit Richard H Smith

Ian Rickson directs Brian Friel‘s Translations, a powerful account of language and nationhood. Set in rural Donegal, the turbulent relationship between England and Ireland plays out in one quiet community. Cast includes Colin Morgan with designs by Rae Smith, lighting by Neil Austin and music by Stephen Warbeck. Translations is a Travelex show with hundreds of tickets available at £15 for every performance, opening in May 2018.

Patrick Marber adapts and directs Ionesco‘s glorious dark comedy Exit the King. Surrounded by his court, an unpredictable, belligerent and magnetic king – once all powerful – rages against the inevitability of his own decline. Designed by Anthony Ward, lighting Hugh Vanstone and music and sound Adam Cork. Cast includes Rhys Ifans as the King and Indira Varma as his Queen. Exit the King is a Travelex show with hundreds of tickets available at £15 for every performance, opening in July 2018.

Simon Godwin directs Ralph Fiennes and Sophie Okonedo as the iconic lovers in a new production of Antony and Cleopatra opening in September 2018. Set design by Hildegard Bechtler, costume design by Wojciech Dziedzic, lighting by Tim Lutkin, music by Michael Bruce and sound by Christopher Shutt. The production will be broadcast worldwide as part of the NT Live season. Production supported by Mary M. Miner, Shawn M. Donnelley & Christopher M. Kelly and Monica G-S & Ali E Wambold.

Shakespeare’s late romance Pericles is remixed in Chris Bush‘s vivid new adaptation. Directed by Emily Lim, choreographed by Imogen Knight with music composed by James Fortune, Periclesmarks the first Public Acts production featuring a large community ensemble and small cast of professional actors who will bring this epic story of love, loss, family and community to the Olivier theatre in August 2018.

Lyttelton Theatre

30 years after the rediscovery of Absolute Hell Joe Hill-Gibbins returns to the NT to direct Rodney Ackland‘s plunge into post-war Soho, full of despair, longing and a need to escape. Set design is byLizzie Clachan with costumes designed by Nicky Gillibrand, lighting by Jon Clark and sound by Paul Arditti. Opening in April 2018, cast to be announced.

In Julie Polly Stenham updates Strindberg’s tragedy Miss Julie to contemporary London. Upstairs, the party is dying but still Julie dances. Downstairs, Jean��and Kristin listen and wait. Carrie Cracknelldirects Vanessa Kirby in this new version designed by Tom Scutt, opening in June 2018. Julie is a Travelex show with hundreds of tickets available for every performance at £15.

The Lehman Trilogy, by Stefano Massini a hit across Europe, is staged at the NT in a new English adaptation by Ben Power, directed by Sam Mendes, a co-production with Neal Street Productions. On a cold September morning in 1844, a young man from Bavaria stands on a New York dockside. Dreaming of a new life in the new world, he is soon joined by his two brothers and an American epic begins. 163 years later the firm they establish, Lehman Brothers, spectacularly collapses into bankruptcy, and triggers the largest financial crisis in history. This is the story of a family and a company that changed the world. Stefano Massini’s vast and poetic play unfolds over three parts in a single evening, opening in July 2018, cast to be announced.  

David Hare’s new play I’m not Running, directed by Neil Armfield opening in autumn 2018. Pauline Gibson has unintentionally become a national treasure by staying out of party politics, while one of her close friends from university, Jack Gould, is making his way to the top of the Labour Party. The 20 year span of their adult lives and their contrasting fortunes raise sharp questions about how to do good in the new century. After the world wide success of his production of Cloudstreet which visited the National in 1999 and 2001, Neil Armfield directs his first NT production, cast to be announced.

Dorfman Theatre

Rufus Norris at NT Autumn 2017 Press Conference (c) Cameron Slater

Artistic Director of the Tricycle Theatre Indhu Rubasingham returns to the National Theatre to direct The Great Wave – in a co-production with the Tricycle, an epic play by Francis Turnly. Developed, while on a Channel 4 playwriting bursary at the Tricycle, the play is set in Japan and North Korea and tells the story of two sisters, Hanako and Reiko, who are struck by a gigantic wave. Reiko survives while Hanako is, seemingly, lost to the sea. Their mother, however, can’t shake the feeling her daughter is still alive. Designed by Tom Piper, video projection by Luke Halls, lighting design by Oliver Fenwick, movement direction by Polly Bennett, music by David Shrubsole, and sound design by Alex Caplen. Opening at the NT in March 2018, cast to be announced.

Natasha Gordon’s debut play Nine Night is a funny and touching exploration of the rituals of family. The nine nights extended wake is an important custom in West Indian families. But for Gloria’s children and grandchildren, marking her death with a party that lasts a week and a half is a test that forces them to confront themselves and each other. Roy Alexander Weise directs, designed byRajha Shakiry. Cast includes Cecilia Noble, opening in April 2018.

Ned Bennett’s highly praised production for the Orange Tree Theatre of Branden Jacobs-Jenkins’ provocative and hilarious satire An Octoroon transfers to the National Theatre in June 2018 in a co-production. Cast to be announced.

Laura Wade makes her NT and Theatr Clwyd debuts with Home, I’m Darling, a new comedy about sex, cake and the quest to be a perfect 50s housewife. Cast includes Katherine Parkinson with further cast to be announced. A National Theatre co-production with Theatr Clwyd, directed by Clwyd artistic director Tamara Harvey, also making her NT debut, and designed by Anna Fleischle. The production opens at Theatr Clwyd in June and in the Dorfman theatre the following month.

Justin Audibert directs a new production of The Winter’s Tale for primary schools, opening in the Dorfman theatre in February 2018. This exciting new version of the play, adapted by Justin and the company, is the perfect introduction to Shakespeare for younger audiences, designed by Lucy Sierra with music by Jonathan Girling. Shakespeare for younger audiences is supported by: The Ingram Trust, Archie Sherman Charitable Trust. The National Theatre’s Partner for Learning is Bank of America Merrill Lynch.

At the Young Vic

The Jungle by Joe Murphy and Joe Robertson of Good Chance Theatre tells stories of loss, fear, community and hope. Europe’s largest unofficial refugee camp, the Calais ‘Jungle’ became a temporary home for more than 10,000 people at its peak – many desperate to find a way to enter the UK. Commissioned by the NT in a co-production with the Young Vic The Jungle is directed byStephen Daldry and Justin Martin, set design Miriam Buether, costume design Catherine Kodicek, sound designer Paul Arditti and lighting Jon Clark. Opening at the Young Vic in December, cast to be announced. Generously supported by Glenn and Phyllida Earle and Clive and Sally Sherling.

Public Acts

Public Acts: a nationwide initiative to create extraordinary acts of theatre and community. The programme builds on our experience of creating the award-winning we’re here because we’re here with volunteer performers and theatres across the UK.

Public Acts is inspired by Public Works, The Public Theater’s ground-breaking programme of participatory theatre in New York.

Public Acts will be built on sustained partnerships with organisations that share our vision for theatre as a force for change. Over the next two years we will work with the Queen’s Theatre, Hornchurch and a number of community organisations across Greater London. Through these partnerships we will invite members of London’s diverse communities to take part in regular creative activity and join us in the creation of theatre productions.

The first of these will be a new production of Pericles on the Olivier stage in August 2018. It will feature a small cast of professional actors together with a large number of non-professional actors who will be cast through their connection with our community partner organisations. The NT has commissioned Chris Bush, a writer with extensive experience working with large community ensembles, to adapt Shakespeare’s Pericles which will be directed by NT resident director Emily Lim. The production will also feature cameo performances from a diverse range of local performance groups.

Queen’s Theatre Hornchurch will be the first theatre partner for Public Acts. The Queen’s Theatre is a vibrant regional theatre working in Outer East London, Essex and beyond. Over 200,000 people enjoy the programme each year, including the best in home grown theatre, visiting live entertainment and inspiring Learning and Participation projects including a wide range of life enhancing workshops and classes for people of all ages. Queen’s Theatre staff will work alongside NT staff on Pericles.

Our community partners for Public Acts over the next two years will include: Body & Soul, a charity dedicated to transforming the impact of childhood adversity; Open Age, a charity that works with older Londoners to create opportunities for them to connect, learn new skills and combat isolation; Thames Reach a London-based charity helping homeless and vulnerable people to find decent homes, build supportive relationships and lead fulfilling lives; The Havering Asian Social Welfare Association (HASWA) works with all sections of the local Havering community, particularly of Asian origin with specific emphasis on isolated and disadvantaged individuals; Bromley by Bow Centre supports vulnerable young people, adults and families to help create a cohesive, healthy, successful and vibrant east London community, Coram, the UK children’s charity that helps children and young people develop their skills and emotional health, finds adoptive parents and upholds children’s rights, creating a change that lasts a lifetime and Three Faiths Forum (3FF) who work to build good relations between people of all different faiths, beliefs and identities.

Future Public Acts productions will be developed in partnership with theatres and community groups outside London.

Generously supported by Bloomberg Philanthropies and The Sackler Trust, founding supporters of Public Acts. The first 3 years of Public Acts is also supported by Arts Council England’s Strategic Touring Fund.

ProFile

D/deaf and disabled actors are currently under-represented on stage and screen in the UK. The National Theatre and Spotlight have created a new resource to champion this talent pool by offering industry professionals the opportunity to watch these actors in action on an online video database. It is a free service, both for performers and industry users, and is available for the use of film, theatre and television professionals across the UK. Its aim is to widen the pool from which casting directors and other industry professionals draw their talent, with a view to creating a more inclusive industry in the long term, and one that better represents the diversity of the nation.

ProFile was created as part of the National Theatre’s Creative Diversity Project, a pilot project focusing on diversity and inclusion at the NT, one strand of which aims to address the under-representation of D/deaf and disabled actors on our stages.

The NT is committed to establishing a target to increase the representation of D/deaf and disabled actors on our stages. To do this, we are working with a range of artists from the D/deaf and disabled community, casting directors and some of the UK’s leading drama schools to ensure the target is meaningful and realistic.

National Theatre from the northeast Photo by Philip Vile

Open Access Smart Capture

The National Theatre today announces the pilot launch of a brand new technological innovation, Open Access Smart Capture.

The NT and its partner for innovation, Accenture, have developed new technology, which will mean for the first-time access service users will be able to attend any performance thanks to a transformative, always-on closed captioning and audio-description service. 

The smart glasses support the NT’s vision to ensure theatre access for all and have been designed and manufactured by Epson, with ease-of-use, durability and accessibility in mind. The glasses enable the user to discreetly see the captions for theatre performances on a screen directly in front of their eyes from any seat in the auditorium. At the heart of this advanced system is new technology which aims to achieve 97% accuracy of the timing of the captions and descriptions. 

Captioned performances are currently restricted to selected performances at the National Theatre with the NT programming up to four captioned performances and up to three audio-described performances per production with captions and audio-description delivered live. Since its inception in 2014, the vision for Open Access Smart Capture has been to have always-on smart captioning systems in all three of the NT’s theatres by October 2018 with always-on audio description by April 2019, ensuring all performances will be fully accessible via this new technology.  Action on Hearing Loss estimated that by 2035, 1 in 5 people will be affected by hearing loss. This equates to 11 million potential customers who could benefit from an always-on service, with the freedom to attend any performance, seated anywhere in the auditorium, and have their access needs met.

Over the next year the pilot phase will rigorously test this unique access system and during this time the NT will evaluate the Open Access Smart Capture technology, initially in the Dorfman theatre, with the system being further developed on large scale shows in the Lyttelton and Olivier theatres to understand the scale and scope of the technology and ensure the system is adaptable for all service users. The National Theatre has had a close working relationship with StageText and VocalEyes throughout and will continue to work alongside them on this transformative project.

The Curious Incident of the Dog in the Night-Time schools tour

Today the NT announces a schools tour of The Curious Incident of the Dog in the Night-Time, in a specially staged production which will visit selected secondary schools from autumn 2018 targeting areas of the country with lower engagement with theatre. The Curious Incident of the Dog in the Night-Time schools tour marks the NT’s desire to take more work into schools over the coming years. The novel is the winner of more than 17 literary awards and features on the national curriculum.

Winner of seven Olivier Awards and five Tony Awards® including ‘Best Play’, The Curious Incident of the Dog in the Night-Time brings Mark Haddon’s best-selling novel to life on stage, adapted by two-time Olivier Award-winning playwright Simon Stephens and directed by Olivier and Tony Award®‑winning director Marianne Elliott.

Simon Stephens’ said: ‘It means the world to me that Curious Incident will be touring schools around the country. I worked as a schoolteacher teaching kids in Dagenham in Essex 20 years ago. I loved it. I still think of myself as a teacher. I have seen firsthand how inspiring drama is to young people in schools. I believe the arts to be fundamental to our society. We can’t afford to lose them from our education system. I am delighted that our play will play its part in introducing young people to the theatre. I always hoped that Curious Incident was a play that could be performed anywhere, by anyone. The play is designed to provoke and inspire imagination and interpretation in its staging and inspiration in its audience. The tour will, I hope, provide the same kind of imagination and inspiration throughout the country.’

Funded by the Arts Council England’s Strategic Touring Fund

Schools touring is supported by The Mohn Westlake Foundation.

The National Theatre on tour

The NT will tour to 40 venues in 36 towns and cities across the UK, for a total of 115 playing weeks, until March 2019

The UK tour of War Horse and a UK and Ireland tour of Hedda Gabler both open this week. The War Horse 10th Anniversary tour opens tonight (3 October) at the Marlowe Theatre, Canterbury, andHedda Gabler opens on Friday (6 October) at the Theatre Royal Plymouth.

Due to demand War Horse will return to the Marlowe Theatre, Canterbury from 27 February – 16 March 2019, following its 17 venue UK tour, which coincides with the Centenary commemorations of the end of the First World War. The tour will also visit the Sunderland Empire from 6 – 23 February 2019. Duncan Macmillan’s People, Places and Things (a Headlong Production) and James Graham’sThis House (co-produced by Jonathan Church Productions and Headlong), which both originated at the NT, will also visit numerous theatres across the country.

A 10th Anniversary tour of War Horse begins tonight at the Marlowe Theatre, Canterbury. Nick Stafford’s adaptation of Michael Morpurgo’s remarkable story of courage, loyalty and friendship features ground-breaking puppetry work by South Africa’s Handspring Puppet Company, which brings breathing, galloping horses to live on stage. War Horse is directed by Marianne Elliott and Tom Morris, designed by Rae Smith, with puppet direction, design and fabrication by Basil Jones and Adrian Kohler for Handspring Puppet Company, lighting by Paule Constable, and movement and horse choreography by Toby Sedgwick, with video design by Leo Warner and Mark Grimmer for 59 Productions, songmaker John Tams, music by Adrian Sutton and sound by Christopher Shutt. Katie Henry is the revival director and Craig Leo is the associate puppetry director.  The resident puppetry director is Matthew Forbes and resident director, Charlotte Peters. For tour venues and dates, visitwarhorseonstage.co.uk.

Following a sold-out run at the National Theatre earlier this year, Ibsen’s Hedda Gabler, in a new version by Patrick Marber, directed by Ivo van Hove, begins a UK and Irelona tour this week at the Theatre Royal Plymouth, continuing its journey across the UK to Edinburgh, Leicester, Salford, Norwich, Hull, Aberdeen, Northampton, Glasgow, Wolverhampton, Woking, Nottingham, Newcastle-upon-Tyne, York, Milton Keynes and Dublin. Set and lighting design for Hedda Gabler is by Jan Versweyveld, with costume design by An D’Huys and sound by Tom Gibbons.  The Associate Directors are Jeff James and Rachel Lincoln. For tour venues and dates, visit heddagableronstage.com.

Following a critically-acclaimed, sold-out season at the National Theatre and in London’s West End, People, Places & Things embarks on a major UK tour this autumn for Headlong in a co-production with the National Theatre, HOME and Exeter Northcott Theatre. People, Places & Things is written by Duncan Macmillan, and directed by Jeremy Herrin with Holly Race Roughan. The play features set designs by Bunny Christie, costumes by Christina Cunningham, lighting by James Farncombe, music by Matthew Herbert, sound by Tom Gibbons and video design by Andrzej Goulding. For tour venues and dates, visit the website.

Jonathan Church Productions and Headlong present The National Theatre and Chichester Festival Theatre production of This House, produced in the West End by Nica Burns, Neal Street Productions and Headlong. James Graham’s smash-hit political drama examining the 1974 hung parliament tours the UK for the first time. Directed by Jeremy Herrin, the production is designed by Rae Smith with lighting design by Paule Constable, music by Stephen Warbeck, choreography by Scott Ambler and sound by Ian Dickinson. For tour venues and dates, visit the website.

NT international touring

The NT’s Olivier and Tony Award®-winning production of The Curious Incident of the Dog in the Night-Time tours the world, visiting the Netherlands, Canada, Australia, and Hong Kong, with further international dates to be announced.  The Curious Incident of the Dog in the Night-Time recently completed a North American tour which took in 30 cities across the USA.

The play is adapted by Simon Stephens from Mark Haddon’s best-selling book, and directed by Marianne Elliott. The production is designed by Bunny Christie, with lighting design by Paule Constable and video design by Finn Ross.  Movement is by Scott Graham and Steven Hoggett for Frantic Assembly, music by Adrian Sutton (who also composed music for Angels in America andWar Horse) and sound by Ian Dickinson for Autograph. For more information visit http://ift.tt/ZG0fOCglobal/

NT transfers

Internationally, People, Places & Things will transfer to St. Ann’s Warehouse in Brooklyn, New York later this month and Angels in America transfers to the Neil Simon Theater on Broadway in February 2018.

Following a sold-out season at the National Theatre and in London’s West End, Denise Gough reprises her Olivier award-winning role in the American Premiere of People, Places & Things at St. Ann’s Warehouse — a raw, heartbreaking and truthful performance about life spinning recklessly out of control. This American Premiere marks the first collaboration between St. Ann’s Warehouse and the National Theatre. People, Places & Things is produced in New York by the National Theatre, St Ann’s Warehouse, Bryan Singer Productions and Headlong. For more information visit the website.

The great work returns to Broadway from February 2018. Angels in America will open at the Neil Simon Theater on 21 March. The NT Production of Tony Kushner’s epic masterwork, Angels in America: A Gay Fantasia on National Themes, returns to Broadway for the first time since its now-legendary original production opened in 1993. Starring two-time Tony Award® winner Nathan Laneand Academy Award® and Tony Award nominee Andrew Garfield, the cast of Angels in America will feature fellow original National Theatre cast members Susan Brown, Denise Gough, Amanda Lawrence, James McArdle, and Nathan Stewart-Jarrett. Angels in America is directed by Marianne Elliott. Ian MacNeil is the Scenic Designer, Nicky Gillibrand is the Costume Designer, Paule Constable is the Lighting Designer, Adrian Sutton is the composer , Ian Dickinson is the Sound Designer. The Puppetry design is by Nick Barnes and Finn Caldwell (also Puppetry Director and Movement), Robby Graham is the Movement Director, and Illusions are by Chris Fisher. Angels in America is NT America, Jujamcyn Theaters and Elliott & Harper Productions. For more information visit angelsbroadway.com/

American Express is the preferred card partner for Angels in America Broadway

National Theatre Live

NT Live currently screens to 60 countries across the globe.

Hamlet returns to cinemas on Thursday 5th October. Lyndsey Turner’s production starring Benedict Cumberbatch was originally staged at the Barbican Theatre in August 2015 and broadcast live to cinemas later the same year.

Stephen Sondheim’s Follies directed by Dominic Cooke features a cast of 37 including Imelda Staunton, Janie Dee and Tracie Bennett. Broadcast live on 16 November.

Rory Kinnear plays Marx and Oliver Chris plays Engels in Young Marx directed by Nicholas Hytner and broadcast live from the Bridge Theatre on 7 December.

Benedict Andrews directs Sienna Miller and Jack O’Connell in The Young Vic production of Cat on a Hot Tin Roof. Captured during its West End run and broadcast on 22 February 2018.

Nicholas Hytner directs Ben Whishaw, Michelle Fairley, David Calder and David Morrissey in Julius Caesar. Broadcast from the Bridge Theatre on 22 March 2018.

Rory Kinnear and Anne-Marie Duff appear in a new production of Macbeth, directed by Rufus Norris. Broadcast live on 10 May.

Simon Godwin’s production of Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo will be broadcast live. Date tbc.

Sky Arts is the sponsor of NT Live in the UK

The National Theatre At the National Theatre, we make world-class theatre that is entertaining, challenging and inspiring, and we make it for everyone. In 2016-2017, the NT staged 26 productions and gave 2,585 performances at our home on the South Bank. The NT’s award-winning programme had a UK paying audience of 1.8 million, 400,000 of which were NT Live audiences.

The work the National Theatre produces appeals to the widest possible audiences with new plays, musicals, re-imagined classics and new work for young audiences. The NT’s work is seen in the West End, on tour throughout the UK and internationally, and in collaborations and co-productions with partners across the country. Through NT Live, we broadcast some of the best of British theatre to over 2,500 venues in 60 countries around the world.

Our extensive Learning programme offers talks, events and workshops for people of all ages, and reaches nationwide through programmes such as Connections, our annual festival of new plays for schools and youth theatres. In 2016-2017 there were 196,826 participations through the NT Learning events programme. Over 3,000 schools have signed up to the free streaming service, On Demand. In Schools, since its launch in September 2015.

The National Theatre is an Arts Council England National Portfolio Organisation.

The Public Theater – Public Works

Launched in 2013, PUBLIC WORKS is a major initiative of New York’s Public Theater that seeks to engage the people of New York by making them creators and not just spectators. Working with community partner organizations in all five boroughs, Public Works invites members of diverse communities to participate in theatre workshops, to attend classes, to attend productions, and to become involved in the daily life of The Public. Founded by Resident Director Lear deBessonet, Public Works deliberately blurs the line between professional artists and community members, creating theatre that is not only for the people, but by and of the people as well.

Public Works exemplifies The Public Theater’s long-standing commitment to community engagement that is at the core of the award-winning theater’s mission. It is animated by the idea that theater is a place of possibility, where the boundaries that separate us from each other in the rest of life can fall away. It seeks to create a space where we can not only reflect on the world as is, but where we can actually propose new possibilities for what our society might be.

http://ift.tt/GJJFrh

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

[nothing-ventured]

Solo modern AU with Lady Phyl as a schoolgirl that nobody asked for

“No, no, darling.” Phyl sighed theatrically and took the brush from Jane. “It is a junior ball, not a junior Bible study session. You know you look so much prettier with a side-parting.”

“I don’t want to attend a ball, and I don’t want a side-parting.” Jane snatched the brush back.

“You will attend the ball, because everyone at school is going, and if you don’t, you’ll be called up for truancy.”

“I’ll tell the matron I’m sick. Been coughing all night.” She managed a trumped-up cough. God preserve them. Jane Francis was Phyllida’s best friend in all the world, but she was as bad an actress as she was a dresser.

“Keep your day job, Sarah Bernhardt.” Sarah was one of Phyllida’s personal heroines, and after all the nights they’d spent whispering in the dorm after lights-out, Jane, if no other fourteen-year-old girl, would know who she meant.

Phyllida sighed again, but this time it was not to emphasize her point—the air escaped in a short puff and the space between her shoulders relaxed. She wrapped her arms around Jane and snuggled her chin into her shoulder. “All right, no side-parting. But please come? I don’t want to dance with any stinky boys, and everyone else in our school is horrid.” It wasn’t true, but Jane relaxed into the hug.

“I never want to be pretty or to have any boys look at me,” said Jane, and instead of her usual acerbity there was a softness in her voice.

“You won’t have to,” said Phyllida. She loved Jane so, so, so much, and she knew she could never kiss her. She never would. “I’ll protect you.”

[nothing-ventured]

OOC

I may be bringing @miss-anna-pratt, @lady-phyllida-francis and @lt-w-m-armstrong, my other Regency OCs, to this blog and thus making this a multimuse blog. All of them are fairly low activity and every post would be tagged with the character name so you could avoid posts with characters you don’t play with.

It all depends on when I might have time to make the change, though.

[annastrxng]

Inventory

 already started replies/works:

@therapardalis - both its nothing- and Anna having been pushed in the Sound

@twatisms - Stoves cook things?

Does Anna regret her past with Abraham (which deleted so now i have to restart from scratch). It sucks because the reply is a novel. 

@woodhcll both a kiss to the neck and the pregnancy au 

@Virginiadelicate - are you shivering

@badsurfer - Infinite, Let Him Go, Let Go of My Hand, A Home is no Place to Hide, ((Annlett drabbles for you)) then I Am a Question ((Just a reflection from Anna’s POV)) All of these are kind of fragmented pieces of fictions. But they are started and I work on a few of them a little each day

@vengeancereborn - Who did this -ask 

Anon Property of Simcoe- XD Believe it or not I have like 8 directions I could take this in

@lady-phyllida-francis - Mrs Hewlett thread

@riffraffstreetratidontbuythat- our thread and the ask you sent

Old Owed Drabble for @ask-abe-woodhull - Hold On Please ((I’ve owed this one for almost year but I’ve never been happy with the writing or editing.))

Random Annlett fanfic: Traveling 

@cavalrylad - No one is taking any chances cause Abe Screwed up- being wrapped in a blanket + one for Baker 

@riffrcffed - slow dancing ask (if you still want me to answer it or any of the other threads let me know) 

@ambitionisfolly ( I have three started for you) 

[nothing-ventured]

OOC

Please welcome @lady-phyllida-francis as the latest Regency muse to join this multimuse. Ask her anything, she is simply bursting with advice. You can read her biography here.

[annastrxng]

Replies I plan to get to when I wake:

Anon’s Property of Simcoe

@vengeancereborn

@kimchihoe 

@hamilton-at-your-service-sir

@lady-phyllida-francis

Then the rest of them if I can manage to get them out. We shall see how I’m doing tomorrow.