Following its acclaimed run at The Bridge Theatre in London, David Hare’s Straight Line Crazy starring Ralph Fiennes as New York powerbroker Robert Moses will make its Big Apple Off Broadway debut this fall at The Shed. Directed by Nicholas Hytner and Jamie Armitage, the play will run October 18-December 18.
The announcement was made Monday by producers Alex Poots, artistic director and CEO of The Shed; Madani Younis, chief executive producer of The Shed; and Tim Levy, co-director of the London Theatre Company.
The limited nine-week engagement begins previews October 18, with an official opening October 26 at The Shed’s Griffin Theater as part of the venue’s fall 2022 season.
Hare’s play examines the questionable legacy of Moses and his enduring impact on New York. The play presents an imagined retelling of the arc of Moses’ controversial career in two decisive moments: his rise to power in the late...
The announcement was made Monday by producers Alex Poots, artistic director and CEO of The Shed; Madani Younis, chief executive producer of The Shed; and Tim Levy, co-director of the London Theatre Company.
The limited nine-week engagement begins previews October 18, with an official opening October 26 at The Shed’s Griffin Theater as part of the venue’s fall 2022 season.
Hare’s play examines the questionable legacy of Moses and his enduring impact on New York. The play presents an imagined retelling of the arc of Moses’ controversial career in two decisive moments: his rise to power in the late...
- 6/27/2022
- by Greg Evans
- Deadline Film + TV
Steve Toussaint will fight crime alongside Kevin Whately and Laurence Fox in the new series of Lewis.
The Line of Duty actor will star in the new series as Chief Superintendent Joseph Moody, who will clash with Robbie Lewis (Whately) over their differing approaches to detective work.
Angela Griffin (Waterloo Road) will return to the series as Detective Sergeant Lizzie Maddox, while Clare Holman will also appear as forensic pathologist Laura Hobson.
Other new additions to the cast include Steve Pemberton (Happy Valley) and The Hour's Helen Schlesinger, who will play Ian and Vivienne Tedman in 'One For Sorrow', the first episode of the new series.
The couple have connections to the death of a psychology student and artist named Talika Desai and will face questions from Lewis and his colleagues.
Ralf Little (Our Zoo), Tim Pigott-Smith (Houdini) and Naomi Scott (Terra Nova) will also star in the episode.
The Line of Duty actor will star in the new series as Chief Superintendent Joseph Moody, who will clash with Robbie Lewis (Whately) over their differing approaches to detective work.
Angela Griffin (Waterloo Road) will return to the series as Detective Sergeant Lizzie Maddox, while Clare Holman will also appear as forensic pathologist Laura Hobson.
Other new additions to the cast include Steve Pemberton (Happy Valley) and The Hour's Helen Schlesinger, who will play Ian and Vivienne Tedman in 'One For Sorrow', the first episode of the new series.
The couple have connections to the death of a psychology student and artist named Talika Desai and will face questions from Lewis and his colleagues.
Ralf Little (Our Zoo), Tim Pigott-Smith (Houdini) and Naomi Scott (Terra Nova) will also star in the episode.
- 6/1/2015
- Digital Spy
Donmar; Aldwych, London; Crucible, Sheffield
Tom Hiddleston's Coriolanus is blazing but bleak, and there's as little love in a 60s sex scandal as there was in Dickens's London
The first time I saw Tom Hiddleston act was at the Donmar six years ago. He was 26, a doleful Cassio to Chiwetel Ejiofor's Othello, and he made a small part look essential. Now he takes centre stage as a blazing Coriolanus. Blazing but bleak. He is the ideal combination of emotional reserve and physical bravura.
Reserve has always been one of the problems of this difficult play. Where do spectators put their trust? The play's martial hero treats the audience as he does the populace – don't say plebs – he despises. He will not show his wounds to the public in order to get their vote. He will not let spectators into his thoughts with a soliloquy.
A couple of years...
Tom Hiddleston's Coriolanus is blazing but bleak, and there's as little love in a 60s sex scandal as there was in Dickens's London
The first time I saw Tom Hiddleston act was at the Donmar six years ago. He was 26, a doleful Cassio to Chiwetel Ejiofor's Othello, and he made a small part look essential. Now he takes centre stage as a blazing Coriolanus. Blazing but bleak. He is the ideal combination of emotional reserve and physical bravura.
Reserve has always been one of the problems of this difficult play. Where do spectators put their trust? The play's martial hero treats the audience as he does the populace – don't say plebs – he despises. He will not show his wounds to the public in order to get their vote. He will not let spectators into his thoughts with a soliloquy.
A couple of years...
- 12/22/2013
- by Susannah Clapp
- The Guardian - Film News
Tonight’s episode of “Merlin,” “The Disir,” is going to be a real doozy for King Arthur, who learns a less on the hard way, thanks to his making some soothsayers angry. Here’s what you can expect from tonight’s episode: In the inky depths of an ancient pool, three soothsayers known as The Disir (played by Frances Tomelty, Sian Thomas, Helen Schlesinger) cast a dark judgment upon the king of Camelot. But despite Merlin’s warnings, headstrong Arthur refuses to take their words seriously, and their fury rains down on Camelot. Only the greatest sacrifice can appease them, and with the kingdom in jeopardy, is it one that Arthur is prepared to [ Read More ]
The post Soothsayers Cast Judgement On Merlin Episode The Disir appeared first on Shockya.com.
The post Soothsayers Cast Judgement On Merlin Episode The Disir appeared first on Shockya.com.
- 2/1/2013
- by monique
- ShockYa
Published posthumously, Jane Austen s novel Persuasion was written as the author s health deteriorated in 1815-16. She died a year later at 42, unmarried and still a virgin, with many interpreting the book as semiautobiographical. It rates as the most problematic Austen work to adapt into a feature, with a largely passive heroine and subtle story line about the participants in a courtship that ended badly meeting years later.
It s not hard to see why there was only one other significant attempt to film the book, in 1971 by Granada Television. But to one s complete delight, this latest English production of Persuasion, directed by Roger Michellcq ( The Buddha of Suburbia ) is spectacularly successful in every way. With more Austen adaptations due soon, Persuasion sets the standard and may be hard to beat artistically.
Perfectly cast and paced swiftly, and yet remarkably faithful to Austen, the Sony Pictures Classics release is one of the season s best offerings. A crowded marketplace and lack of stars means the word must get out via word-of-mouth and reviews, both of which should be smashing.
Although this is Amanda Root's first lead role in a feature, she is outstanding as Anne Elliot, the quiet, intelligent, but often overlooked daughter of proud but financially and socially shaky Sir Walter Elliot (Corin Redgrave), a widower forced to rent out the family estate. With few lines of dialogue in the film's first half, the fantastically expressive Root draws one into the poignant and delicately mannered drama.
As the film progresses and Anne comes closer to her true love, naval hero Capt. Frederick Wentworth (Ciaran Hinds), it's wonderful watching her character transform from a pale, defeated spinster-in-the-making to a passionately aroused, assertive woman able to determine her own fate.
Years before the film's 1814 setting in post-Battle-of-Trafalgar England, Anne broke off her engagement to Wentworth under the ``persuasion'' of the family's cautious adviser, Lady Russell (Susan Fleetwood). But she never recovered from the disappointment; he sought escape in the navy.
Playwright Nick Dear's screenplay thrusts one into the narrative quickly, and introduces the many characters with relative ease. From Anne's younger married sister Mary (Sophie Thompson) and gossipy friend Mrs. Smith (Helen Schlesinger) to the worldly couple Mrs. Croft (Fiona Shaw) and her husband (John Woodvine), the admiral who inadvertently brings Wentworth back into Anne's life, it's a lively mix of personalities that navigate the story's deceptively choppy narrative.
One of the most pleasing aspects of the film is the unglamorous approach to the characters, with little makeup for the women and a leading man who is not a lantern-jawed poster boy. Indeed, Hinds (``Circle of Friends'') is compelling as Root, excellently conveying the jilted suitor's simmering desire to rekindle romance and genuine anguish when it looks as if Anne's scheming cousin (Samuel West) might have the upper hand.
The re-creation of the times is worth the price of admission, including Alexander Byrne's lived-in costumes and the many sets and locations used by production designers William Dudley and Brian Sykes. Cinematographer John Daly's roving camera is well-suited to the film's energetic approach, which helps bring Austen's brilliant, timeless story to life in a fashion one previously could only dream was possible.
PERSUASION
Sony Pictures Classics
BBC Films, WGBH/Mobil Masterpiece Theatre,
Millesime Prods. present
Director: Roger Michell
Producer: Fiona Finlay
Screenplay: Nick Dear
Based on the novel by: Jane Austen
Exec producers: George Faber, Rebecca Eaton
Director of photography: John Daly
Editor: Kate Evans
Music: Jeremy Sams
Production designers: William Dudley,
Brian SykesCostume designer: Alexandra Byrne
Associate producer: Margot Hayhoe
Color/stereo
Cast:
Anne Elliot: Amanda Root
Capt. Wentworth: Ciaran Hinds
Lady Russell: Susan Fleetwood
Sir Walter Elliot: Corin Redgrave
Mrs. Croft: Fiona Shaw
Adm. Croft: John Woodvine
Mary Musgrove: Sophie Thompson
Running time -- 107 minutes
MPAA Rating: PG
(c) The Hollywood Reporter...
It s not hard to see why there was only one other significant attempt to film the book, in 1971 by Granada Television. But to one s complete delight, this latest English production of Persuasion, directed by Roger Michellcq ( The Buddha of Suburbia ) is spectacularly successful in every way. With more Austen adaptations due soon, Persuasion sets the standard and may be hard to beat artistically.
Perfectly cast and paced swiftly, and yet remarkably faithful to Austen, the Sony Pictures Classics release is one of the season s best offerings. A crowded marketplace and lack of stars means the word must get out via word-of-mouth and reviews, both of which should be smashing.
Although this is Amanda Root's first lead role in a feature, she is outstanding as Anne Elliot, the quiet, intelligent, but often overlooked daughter of proud but financially and socially shaky Sir Walter Elliot (Corin Redgrave), a widower forced to rent out the family estate. With few lines of dialogue in the film's first half, the fantastically expressive Root draws one into the poignant and delicately mannered drama.
As the film progresses and Anne comes closer to her true love, naval hero Capt. Frederick Wentworth (Ciaran Hinds), it's wonderful watching her character transform from a pale, defeated spinster-in-the-making to a passionately aroused, assertive woman able to determine her own fate.
Years before the film's 1814 setting in post-Battle-of-Trafalgar England, Anne broke off her engagement to Wentworth under the ``persuasion'' of the family's cautious adviser, Lady Russell (Susan Fleetwood). But she never recovered from the disappointment; he sought escape in the navy.
Playwright Nick Dear's screenplay thrusts one into the narrative quickly, and introduces the many characters with relative ease. From Anne's younger married sister Mary (Sophie Thompson) and gossipy friend Mrs. Smith (Helen Schlesinger) to the worldly couple Mrs. Croft (Fiona Shaw) and her husband (John Woodvine), the admiral who inadvertently brings Wentworth back into Anne's life, it's a lively mix of personalities that navigate the story's deceptively choppy narrative.
One of the most pleasing aspects of the film is the unglamorous approach to the characters, with little makeup for the women and a leading man who is not a lantern-jawed poster boy. Indeed, Hinds (``Circle of Friends'') is compelling as Root, excellently conveying the jilted suitor's simmering desire to rekindle romance and genuine anguish when it looks as if Anne's scheming cousin (Samuel West) might have the upper hand.
The re-creation of the times is worth the price of admission, including Alexander Byrne's lived-in costumes and the many sets and locations used by production designers William Dudley and Brian Sykes. Cinematographer John Daly's roving camera is well-suited to the film's energetic approach, which helps bring Austen's brilliant, timeless story to life in a fashion one previously could only dream was possible.
PERSUASION
Sony Pictures Classics
BBC Films, WGBH/Mobil Masterpiece Theatre,
Millesime Prods. present
Director: Roger Michell
Producer: Fiona Finlay
Screenplay: Nick Dear
Based on the novel by: Jane Austen
Exec producers: George Faber, Rebecca Eaton
Director of photography: John Daly
Editor: Kate Evans
Music: Jeremy Sams
Production designers: William Dudley,
Brian SykesCostume designer: Alexandra Byrne
Associate producer: Margot Hayhoe
Color/stereo
Cast:
Anne Elliot: Amanda Root
Capt. Wentworth: Ciaran Hinds
Lady Russell: Susan Fleetwood
Sir Walter Elliot: Corin Redgrave
Mrs. Croft: Fiona Shaw
Adm. Croft: John Woodvine
Mary Musgrove: Sophie Thompson
Running time -- 107 minutes
MPAA Rating: PG
(c) The Hollywood Reporter...
- 9/27/1995
- The Hollywood Reporter - Movie News
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