A24’s psychological thriller Love Lies Bleeding by director Rose Glass starring Kristen Stewart, Katy O’Brian, Jena Malone and Anna Baryshnikov, with Dave Franco and Ed Harris, opens in limited release on five screens in New York and L.A., expanding next week. A reclusive gym manager Lou (Stewart) falls hard for Jackie (O’Brian), an ambitious bodybuilder headed through town to Vegas in pursuit of her dream. But their love ignites violence, pulling them deep into the web of Lou’s criminal family. Written by Rose Glass and Weronika Tofilskav. Premiered at Sundance, see Deadline review.
(A24’s The Problemista by Julio Torres staring Torres and Tilda Swinton expands to 20 screens.)
Glitter & Doom from Music Box Films, a fantastical queer romance told through the music of the Indigo Girls, opens at the Quad in NYC and Laemmle LA. The film, which has played gala slots at over 50 LGBTQ+ festivals globally,...
(A24’s The Problemista by Julio Torres staring Torres and Tilda Swinton expands to 20 screens.)
Glitter & Doom from Music Box Films, a fantastical queer romance told through the music of the Indigo Girls, opens at the Quad in NYC and Laemmle LA. The film, which has played gala slots at over 50 LGBTQ+ festivals globally,...
- 3/8/2024
- by Jill Goldsmith
- Deadline Film + TV
Let’s start here: the production design in Tom Gustafson’s Glitter & Doom is impeccable, colorful, and memorable. Too often these days films lack an adventurous color palette. Here we have a welcome outlier. Production designer Geo Martínez breathes life into each frame. Next there’s the music. The film is a musical set to the indelible tunes of the Indigo Girls, the folk-rock duo that became a household name in the late ’80s and early ’90s with hits like “Closer to Fine” and “Galileo.” Without question are music and lyrics the most essential piece of this problematically simple narrative. These artists are long overdue for legacy-laden admiration and celebration.
Now, for some criticism. We have Glitter (Alex Diaz) who wants to be a successful circus performer. We have Doom (Alan Cammish) who wants to be a successful musician. Both are struggling as they tilt at the windmills of their dreams.
Now, for some criticism. We have Glitter (Alex Diaz) who wants to be a successful circus performer. We have Doom (Alan Cammish) who wants to be a successful musician. Both are struggling as they tilt at the windmills of their dreams.
- 3/6/2024
- by Dan Mecca
- The Film Stage
It’s been almost exactly 35 years since the Indigo Girls first broke out with their eponymous second album, yet the Power of Two continues to thrive still, especially on the screen. “Barbie” recently pointed us “in a crooked line” with Margot Robbie’s rendition of “Closer to Fine”, while last year’s Sundance doc, titled “It’s Only Life After All“, brought us up close and personal with the duo themselves.
Following those movie tributes now comes another, in the form of “Glitter & Doom,” a jukebox musical that celebrates the enduring legacy that Amy Ray and Emily Saliers have crafted through their raw, passionate, and deeply personal brand of queer folk rock. But does the movie live up to their legendary talents or is it doomed to go the way of a film like “Yesterday“?
Glitter (Alex Diaz) is an improbably named Ivy League graduate who dreams of cartwheeling his...
Following those movie tributes now comes another, in the form of “Glitter & Doom,” a jukebox musical that celebrates the enduring legacy that Amy Ray and Emily Saliers have crafted through their raw, passionate, and deeply personal brand of queer folk rock. But does the movie live up to their legendary talents or is it doomed to go the way of a film like “Yesterday“?
Glitter (Alex Diaz) is an improbably named Ivy League graduate who dreams of cartwheeling his...
- 3/5/2024
- by David Opie
- Indiewire
The Indigo Girls are getting their own “Mamma Mia”-esque music-based film.
The iconic duo, who recently led 2023 documentary “It’s Only Life After All,” provide the soundtrack for fantastical queer romance film “Glitter and Doom.” Billed as a jukebox musical, the film features 25 reimagined Indigo Girls songs, produced and arranged by “The Voice” runner-up contestant Michelle Chamuel. Classics like “Galileo,” “Get Out the Map,” “World Falls,” and “Power of Two” are featured, as well as a new Indigo Girls track “What We Wanna Be.”
The official synopsis for the film reads: “‘Glitter and Doom’ follows the love at first sight journey of a circus dreamer (Alex Diaz) and struggling musician (Alan Cammish). An undeniable spark sets an epic summer romance on its course until the realities of pursuing their dreams threaten to tear them apart.”
Ming Na-Wen, Missi Pyle, Lea DeLaria, Tig Notaro, Kate Pierson, Peppermint, Beth Malone, and the Indigo Girls themselves,...
The iconic duo, who recently led 2023 documentary “It’s Only Life After All,” provide the soundtrack for fantastical queer romance film “Glitter and Doom.” Billed as a jukebox musical, the film features 25 reimagined Indigo Girls songs, produced and arranged by “The Voice” runner-up contestant Michelle Chamuel. Classics like “Galileo,” “Get Out the Map,” “World Falls,” and “Power of Two” are featured, as well as a new Indigo Girls track “What We Wanna Be.”
The official synopsis for the film reads: “‘Glitter and Doom’ follows the love at first sight journey of a circus dreamer (Alex Diaz) and struggling musician (Alan Cammish). An undeniable spark sets an epic summer romance on its course until the realities of pursuing their dreams threaten to tear them apart.”
Ming Na-Wen, Missi Pyle, Lea DeLaria, Tig Notaro, Kate Pierson, Peppermint, Beth Malone, and the Indigo Girls themselves,...
- 2/13/2024
- by Samantha Bergeson
- Indiewire
Queen’s biggest hit nearly took its name from a different part of the Eastern Hemisphere, according to some handwritten notes by Freddie Mercury. A sheet of lyrics — soon to go to auction with about 1,500 more of the late singer’s personal items — appears to have some early scrawlings titled “Mongolian Rhapsody,” which would, of course, become what we know as “Bohemian Rhapsody.”
As Rolling Stone points out, the pages in question (featuring the logo of a now-defunct airline) includes some familiar zingers; “Is this the real life/ Or is this just fantasy?” seems to have been “Bohemian Rhapsody”‘s opening lines from the get-go. But we also see some lines that Mercury was evidently workshopping: “Mama/ There’s a war began/ I’ve got to leave tonight,” for one.
Additionally, the pages are also scattered with many alternatives to the unforgettable “Galileo!” “Scaramouch!” “Fandango!” chant: “Momento,” “Belladonna,” and “Matador” are a few,...
As Rolling Stone points out, the pages in question (featuring the logo of a now-defunct airline) includes some familiar zingers; “Is this the real life/ Or is this just fantasy?” seems to have been “Bohemian Rhapsody”‘s opening lines from the get-go. But we also see some lines that Mercury was evidently workshopping: “Mama/ There’s a war began/ I’ve got to leave tonight,” for one.
Additionally, the pages are also scattered with many alternatives to the unforgettable “Galileo!” “Scaramouch!” “Fandango!” chant: “Momento,” “Belladonna,” and “Matador” are a few,...
- 6/1/2023
- by Abby Jones
- Consequence - Music
Washington, May 5 (Ians) NASA scientists have found that four of Uranus’ largest moons likely contain an ocean layer between their cores and icy crusts, which suggests that these hold oceans that could be dozens of miles deep.
In all, at least 27 moons circle Uranus, with the four largest ranging from Ariel, at 1,160 kilometres across, to Titania, which is 1,580 kilometres across.
The study is the first to detail the evolution of the interior makeup and structure of all five large moons: Ariel, Umbriel, Titania, Oberon, and Miranda.
Published in the Journal of Geophysical Research, the findings showed Miranda is unlikely to have hosted water, but rest all have it.
The study also has implications that go beyond Uranus, said lead author Julie Castillo-Rogez of NASA’s Jet Propulsion Laboratory in Southern California.
“When it comes to small bodies — dwarf planets and moons — planetary scientists previously have found evidence of oceans in several unlikely places,...
In all, at least 27 moons circle Uranus, with the four largest ranging from Ariel, at 1,160 kilometres across, to Titania, which is 1,580 kilometres across.
The study is the first to detail the evolution of the interior makeup and structure of all five large moons: Ariel, Umbriel, Titania, Oberon, and Miranda.
Published in the Journal of Geophysical Research, the findings showed Miranda is unlikely to have hosted water, but rest all have it.
The study also has implications that go beyond Uranus, said lead author Julie Castillo-Rogez of NASA’s Jet Propulsion Laboratory in Southern California.
“When it comes to small bodies — dwarf planets and moons — planetary scientists previously have found evidence of oceans in several unlikely places,...
- 5/5/2023
- by Agency News Desk
- GlamSham
Mumbai, April 29 (Ians) Sophia Andhyarujina of Arc, riding on her horse Dancing Dynamite, finished her round in 59.31 seconds with 0 penalties and topped the standings in the Regional Equestrian League (Rel) Show Jumping Children I category, at the Mahalaxmi Race Course here on Saturday.
She along with Hayden Hussain and Mourya Akash Reddy qualified for the Junior National Equestrian Championship Show Jumping in the Children I (12 to 14 years) category.
Hayden Hussain riding on the horse Winston finished the round in 60.64 seconds with 0 penalties. Mourya Akash Reddy riding on Pete Bolt finished the round in 70.86 seconds with 0 penalties.
“I was so proud and excited to have got a clear round on Dancing Dynamite and am thankful for all the support from the Arc in achieving this. I am very excited to have achieved a qualifying round for the Nationals,” Sophia Andhyarujina, 13, was quoted as saying in a release on Saturday.
Arjun Vaitla...
She along with Hayden Hussain and Mourya Akash Reddy qualified for the Junior National Equestrian Championship Show Jumping in the Children I (12 to 14 years) category.
Hayden Hussain riding on the horse Winston finished the round in 60.64 seconds with 0 penalties. Mourya Akash Reddy riding on Pete Bolt finished the round in 70.86 seconds with 0 penalties.
“I was so proud and excited to have got a clear round on Dancing Dynamite and am thankful for all the support from the Arc in achieving this. I am very excited to have achieved a qualifying round for the Nationals,” Sophia Andhyarujina, 13, was quoted as saying in a release on Saturday.
Arjun Vaitla...
- 4/29/2023
- by Agency News Desk
- GlamSham
’The Night Porter’ director and ’In The Mood For Love’ actor to receive awards at this year’s festival.
The Venice Film Festival will present Golden Lions for Lifetime Achievement to Liliana Cavani, the Italian director of The Night Porter and Ripley’s Game; and to Hong Kong actor Tony Leung Chiu-wai, whose credits include In The Mood For Love and Marvel film Shang-Chi and the Legend of the Ten Rings.
Cavani’s Philippe Pétain: Processo a Vichy won the Lion of San Marco for best documentary at Venice in 1965. Her films Francis of Assisi (1966), Galileo (1968), The Year of the Cannibals,...
The Venice Film Festival will present Golden Lions for Lifetime Achievement to Liliana Cavani, the Italian director of The Night Porter and Ripley’s Game; and to Hong Kong actor Tony Leung Chiu-wai, whose credits include In The Mood For Love and Marvel film Shang-Chi and the Legend of the Ten Rings.
Cavani’s Philippe Pétain: Processo a Vichy won the Lion of San Marco for best documentary at Venice in 1965. Her films Francis of Assisi (1966), Galileo (1968), The Year of the Cannibals,...
- 3/27/2023
- by Tim Dams
- ScreenDaily
Liliana Cavani, one of the key directors of the New Italian Cinema movement and recognized internationally for The Night Porter, and Tony Leung Chiu-wai, the acclaimed Hong Kong actor known for his numerous collaborations with Wong Kar-wai, are set to receive Golden Lions for Lifetime Achievement at this year’s Venice Film Festival.
“I am very happy and grateful to the Biennale di Venezia for this wonderful surprise”, said Cavani, who first made a name for herself in Venice in 1965 with with Philippe Pétain: Processo a Vichy, followed by Francis of Assisi (1966), Galileo (1968), I cannibali (The Year of the Cannibals, 1970), Il gioco di Ripley (Ripley’s Game, 2002) and Clarisse (2012).
“I am overwhelmed and honoured with the news from the Biennale di Venezia. I hope to celebrate this award with all the filmmakers I have worked with. This award is a tribute to all of them as well,” said Leung Chiu-wai, who...
“I am very happy and grateful to the Biennale di Venezia for this wonderful surprise”, said Cavani, who first made a name for herself in Venice in 1965 with with Philippe Pétain: Processo a Vichy, followed by Francis of Assisi (1966), Galileo (1968), I cannibali (The Year of the Cannibals, 1970), Il gioco di Ripley (Ripley’s Game, 2002) and Clarisse (2012).
“I am overwhelmed and honoured with the news from the Biennale di Venezia. I hope to celebrate this award with all the filmmakers I have worked with. This award is a tribute to all of them as well,” said Leung Chiu-wai, who...
- 3/27/2023
- by Alex Ritman
- The Hollywood Reporter - Movie News
The Venice Film Festival will honor “The Night Porter” director Liliana Cavani and Tony Leung Chiu-wai, the Hong Kong star of “In the Mood for Love” and Marvel’s “Shang-Chi and the Legend of the Ten Rings,” with its 2023 Golden Lions for Lifetime Achievement.
Cavani first attended Venice in 1965 with the historical doc “Philippe Pétain: Processo a Vichy,” which won the Lion of San Marco for best documentary. She was back the Lido in 1966 with her TV movie “Saint Francis of Assisi,” and, again, in 1968, with “Galileo,” followed by Patricia Highsmith adaptation “Ripley’s Game,” starring John Malkovich, in 2002 and “Clarisse,” a doc about an order of cloistered nuns in 2012.
“I am very happy and grateful to the Biennale di Venezia for this wonderful surprise,” Cavani, who is 90, said in a statement.
Venice artistic director Alberto Barbera praised Cavani as “One of the most emblematic protagonists of the New Italian Cinema of the 1960s,...
Cavani first attended Venice in 1965 with the historical doc “Philippe Pétain: Processo a Vichy,” which won the Lion of San Marco for best documentary. She was back the Lido in 1966 with her TV movie “Saint Francis of Assisi,” and, again, in 1968, with “Galileo,” followed by Patricia Highsmith adaptation “Ripley’s Game,” starring John Malkovich, in 2002 and “Clarisse,” a doc about an order of cloistered nuns in 2012.
“I am very happy and grateful to the Biennale di Venezia for this wonderful surprise,” Cavani, who is 90, said in a statement.
Venice artistic director Alberto Barbera praised Cavani as “One of the most emblematic protagonists of the New Italian Cinema of the 1960s,...
- 3/27/2023
- by Nick Vivarelli
- Variety Film + TV
Chaim Topol, the renowned star of "Fiddler on the Roof" and "Flash Gordon," has died. The world renowned actor of both the stage and screen was 87 years old. According to The Times of Israel, Topol passed away in Tel Aviv after dealing with Alzheimer's disease for many years.
In large part thanks to his decades-long run as Tevye in "Fiddler on the Roof," both on stage and on screen, Topol earned a reputation as being the first Israeli actor to truly find fame and recognition around the world. His profile was bolstered greatly following the smash success of 1971's Oscar-winning adaptation of "Fiddler," for which Topol was nominated for a Best Actor Oscar. Israeli President Isaac Herzog called Topol "one of the most outstanding Israeli stage artists," as well as a "giant of Israeli culture and will be greatly missed." Israeli Prime Minister Benjamin Netanyahu also had the following to say in a statement:
"Sadly,...
In large part thanks to his decades-long run as Tevye in "Fiddler on the Roof," both on stage and on screen, Topol earned a reputation as being the first Israeli actor to truly find fame and recognition around the world. His profile was bolstered greatly following the smash success of 1971's Oscar-winning adaptation of "Fiddler," for which Topol was nominated for a Best Actor Oscar. Israeli President Isaac Herzog called Topol "one of the most outstanding Israeli stage artists," as well as a "giant of Israeli culture and will be greatly missed." Israeli Prime Minister Benjamin Netanyahu also had the following to say in a statement:
"Sadly,...
- 3/9/2023
- by Ryan Scott
- Slash Film
The actor is best known for his Oscar-nominated role in ’Fiddler On The Roof’
Israel actor Chaim Topol, best known for his Oscar-nominated role in Fiddler On The Roof, has died at the age of 87.
The news was confirmed by Israeli president Isaac Herzog on Twitter, who called Topol “one of the most outstanding Israeli stage artists”. The actor, who went by his last name, was diagnosed with Alzheimer’s several years ago.
Topol first rose to prominence in 1964 with his performance in Ephraim Kishon’s Sallah Shabati (1964) which earned him a Golden Globe for best male newcomer.
The actor...
Israel actor Chaim Topol, best known for his Oscar-nominated role in Fiddler On The Roof, has died at the age of 87.
The news was confirmed by Israeli president Isaac Herzog on Twitter, who called Topol “one of the most outstanding Israeli stage artists”. The actor, who went by his last name, was diagnosed with Alzheimer’s several years ago.
Topol first rose to prominence in 1964 with his performance in Ephraim Kishon’s Sallah Shabati (1964) which earned him a Golden Globe for best male newcomer.
The actor...
- 3/9/2023
- by Ellie Calnan
- ScreenDaily
It’s good to be the king! And it’s great to see Mel Brooks’ iconic farce finally getting the raunchy, riotous follow-up fans have been wanting since 1981 in History of the World, Part II. “We wanted to honor the film but also really honor Mel,” says David Stassen, who executive produces the eight-episode hoot with the legendary comic as well as Ike Barinholtz (The Afterparty), Nick Kroll (Big Mouth), and Wanda Sykes (The Upshaws). They succeeded. In the sequel series, which rolls out over four nights (March 6 through March 9 on Hulu), Brooks’ narration introduces historical vignettes with the same side-splitting mix of high- and low-brow humor, sight gags, and sly social commentary. Sketches that skewer the Civil War, the Russian Revolution, Shirley Chisholm’s presidential bid, and the story of Jesus provide the backbone of Part II, recurring throughout the season. Some of the stand-alone topics: Noah’s Ark, Freud,...
- 2/26/2023
- TV Insider
Widely considered to be one of the greatest rock anthems of all time, Bohemian Rhapsody holds a special place in the hearts of Queen fans, and thanks to Fox’s upcoming Freddy Mercury biopic, we’re about to learn a little more about the creative process behind the scenes, including why there are so many high-pitch renditions of “Galileo!”
In anticipation of its UK release next month – November 2nd for those in the States – today brings forth the very first clip for Bohemian Rhapsody, and it’s all about the moment when Mercury and his band indulge in a little experimentation, ultimately leading to the creation of the titular iconic track that helped propel Queen to super-stardom. And to think a number of stations outright refused to play the band on the radio…
Bohemian Rhapsody Lights Up The Stage With Four Glorious New Stills 1 of 5
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In anticipation of its UK release next month – November 2nd for those in the States – today brings forth the very first clip for Bohemian Rhapsody, and it’s all about the moment when Mercury and his band indulge in a little experimentation, ultimately leading to the creation of the titular iconic track that helped propel Queen to super-stardom. And to think a number of stations outright refused to play the band on the radio…
Bohemian Rhapsody Lights Up The Stage With Four Glorious New Stills 1 of 5
Click to skip
More From...
- 9/5/2018
- by Michael Briers
- We Got This Covered
Director hails clash between science and political dogma as more relevant than ever
Watching stars at the theatre takes on new meaning at the Young Vic in London this month. A swirling cosmos and a giant planetarium have been recreated for an ambitious staging of Life Of Galileo, Bertolt Brecht’s masterpiece about the 17th-century astronomer.
The production marks a return to live performance by Joe Wright, one of the UK’s foremost film directors. Some of the audience will be on the floor, lying down or sitting on scattered cushions, from which they will gaze up at inspiring footage of stars, planets and cosmic clouds projected on to a vast circular structure suspended from the ceiling. Actors will perform among the audience and along a narrow circular platform, like a planetary ring system. The rest of the audience will be seated around them.
Continue reading...
Watching stars at the theatre takes on new meaning at the Young Vic in London this month. A swirling cosmos and a giant planetarium have been recreated for an ambitious staging of Life Of Galileo, Bertolt Brecht’s masterpiece about the 17th-century astronomer.
The production marks a return to live performance by Joe Wright, one of the UK’s foremost film directors. Some of the audience will be on the floor, lying down or sitting on scattered cushions, from which they will gaze up at inspiring footage of stars, planets and cosmic clouds projected on to a vast circular structure suspended from the ceiling. Actors will perform among the audience and along a narrow circular platform, like a planetary ring system. The rest of the audience will be seated around them.
Continue reading...
- 5/6/2017
- by Dalya Alberge
- The Guardian - Film News
He's been going to Broadway shows since he paid 50 cents for a balcony seat to see Al Jolson in Bombo in 1921. During the Great Depression he worked with Elia Kazan in the Theater of Action, then joined Orson Welles' Mercury Theater to act in the Boy Wonder's legendary Julius Caesar. He made his screen debut falling from the Statue of Liberty in Alfred Hitchcock's Saboteur, produced the world premiere of Bertholt Brecht's Galileo starring Charles Laughton at the Coronet Theater in Los Angeles, acted in films for Jean Renoir and Charlie Chaplin (and was the latter's tennis partner
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- 10/21/2014
- by Todd McCarthy
- The Hollywood Reporter - Movie News
Classic Stage Company presents A Man's A Man, directed by Brian Kulick and featuring a new score and new songs by Tony Award-winning composer Duncan Sheik. This production continues Csc's exploration of the works of Bertolt Brecht, which began in 2011 with the sold-out production of Galileo and was followed by last season's The Caucasian Chalk Circle on which Kulick and Sheik also collaborated. The cast features Justin VivIan BondWidow Begbick are Jason Babinsky Polly Baker, Gibson Frazier Galy Gay, Martin Moran Uriah Shelley, Steven Skybell Jesse Mahoney, Stephen Spinella Bloody Five, Ching Valdes-Aran Mr. Wang and Allan K. Washington Ensemble. The official opening night is Thursday, January 30. A Man's A Man will play a limited engagement through February 16. BroadwayWorld brings you a first look at the cast in action below...
- 1/22/2014
- by BWW News Desk
- BroadwayWorld.com
Classic Stage Company, under the leadership of Artistic Director Brian Kulick and Executive Director Greg Reiner, presents Bertolt Brecht's The Caucasian Chalk Circle featuring Christopher Lloyd Azdak, directed by Brian Kulick who directed Brecht's Galileo last season, and featuring new music by Tony Award-winning singersongwriter Duncan Sheik Spring Awakening. The show was recently extended for two additional weeks through Sunday, June 23. The official opening is tonight, May 30.
- 5/30/2013
- by BWW News Desk
- BroadwayWorld.com
Classic Stage Company, under the leadership of Artistic Director Brian Kulick and Executive Director Greg Reiner, announced today that their new production of Bertolt Brecht's The Caucasian Chalk Circle featuring Christopher Lloyd Azdak, directed by Brian Kulick who directed Brecht's Galileo last season, and featuring new music by Tony Award-winning singersongwriter Duncan Sheik Spring Awakening, will extend for two additional weeks through Sunday, June 23.
- 5/23/2013
- by BWW News Desk
- BroadwayWorld.com
Classic Stage Company, under the leadership of Artistic Director Brian Kulick and Executive Director Greg Reiner, presents a new production of Bertolt Brecht's The Caucasian Chalk Circle featuring Christopher Lloyd Azdak, directed by Brian Kulick who directed Brecht's Galileo last season, and featuring new music by Tony Award-winning singersongwriter Duncan Sheik Spring Awakening. The Caucasian Chalk Circle began performances on May 3 at Csc 136 East 13th Street for a limited engagement through Sunday, June 9. The official opening is Thursday, May 30. BroadwayWorld has a first look at the cast in action below...
- 5/22/2013
- by BWW News Desk
- BroadwayWorld.com
Classic Stage Company, under the leadership of Artistic Director Brian Kulick and Executive Director Greg Reiner, will present a new production of Bertolt Brecht's The Caucasian Chalk Circle featuring Christopher Lloyd Azdak, directed by Brian Kulick who directed Brecht's Galileo last season, and featuring new music by Tony Award-winning singersongwriter Duncan Sheik Spring Awakening. The Caucasian Chalk Circle will begin performances tonight, May 3 at Csc 136 East 13th Street for a limited engagement through Sunday, June 9. The official opening is Thursday, May 30.
- 5/3/2013
- by BWW News Desk
- BroadwayWorld.com
Classic Stage Company, under the leadership of Artistic Director Brian Kulick and Executive Director Greg Reiner, will present a new production of Bertolt Brecht's The Caucasian Chalk Circle featuring Christopher Lloyd Azdak, directed by Brian Kulick who directed Brecht's Galileo last season, and featuring new music by Tony Award-winning singersongwriter Duncan Sheik Spring Awakening. The Caucasian Chalk Circle will begin performances Friday, May 3 at Csc 136 East 13th Street for a limited engagement through Sunday, June 9. The official opening is Thursday, May 30. Tickets are now on sale.
- 4/4/2013
- by BWW News Desk
- BroadwayWorld.com
One of the most winning aspects of the Almeida theatre, as run in the 1990s by a couple of actors, Jonathan Kent and Ian McDiarmid, was their determination to take up the cause of certain fellow players whom they knew to be undervalued. If Richard Griffiths was one of the most conspicuous beneficiaries of this policy, then, my goodness, he paid back their artistic largesse 50-fold.
He and I worked together first when Jonathan directed him as the controlling husband, Leone Gala, in my adaptation of Luigi Pirandello's The Rules of the Game in 1992. As we watched, awed by Richard's dazzling speed of thought and witty dexterity with language, the same notion occurred, probably simultaneously, to both Jonathan and me. Here was one of those rare actors who could convincingly play intellectuals, and who therefore might have a chance of following in Michael Gambon and Charles Laughton's huge footsteps in Brecht's Galileo.
He and I worked together first when Jonathan directed him as the controlling husband, Leone Gala, in my adaptation of Luigi Pirandello's The Rules of the Game in 1992. As we watched, awed by Richard's dazzling speed of thought and witty dexterity with language, the same notion occurred, probably simultaneously, to both Jonathan and me. Here was one of those rare actors who could convincingly play intellectuals, and who therefore might have a chance of following in Michael Gambon and Charles Laughton's huge footsteps in Brecht's Galileo.
- 3/29/2013
- by David Hare
- The Guardian - Film News
Much as we loved his Uncles Vernon and Monty, the actor shone brightest on stage, where he infused his roles with intelligence and wit
The BBC chose to announce the death of Richard Griffiths today by saying that the "Harry Potter actor" had died, but there was much more to Griffiths than his performance as the odious and self-satisfied Uncle Vernon Dursley in the Harry Potter movies, or even his gloriously memorable turn as the lascivious Uncle Monty in Bruce Robinson's cult movie, Withnail and I.
He was terrific in both, but first and foremost Griffiths was a great stage actor who will always be remembered for his Olivier award-winning performance as the deeply flawed Hector in Alan Bennett's The History Boys. His physical bulk (he ballooned in adolescence – apparently the result of a thyroid problem) ruled him out of being cast as a Romeo or Hamlet, but...
The BBC chose to announce the death of Richard Griffiths today by saying that the "Harry Potter actor" had died, but there was much more to Griffiths than his performance as the odious and self-satisfied Uncle Vernon Dursley in the Harry Potter movies, or even his gloriously memorable turn as the lascivious Uncle Monty in Bruce Robinson's cult movie, Withnail and I.
He was terrific in both, but first and foremost Griffiths was a great stage actor who will always be remembered for his Olivier award-winning performance as the deeply flawed Hector in Alan Bennett's The History Boys. His physical bulk (he ballooned in adolescence – apparently the result of a thyroid problem) ruled him out of being cast as a Romeo or Hamlet, but...
- 3/29/2013
- by Lyn Gardner
- The Guardian - Film News
Classic Stage Company, under the leadership of Artistic Director Brian Kulick and Executive Director Greg Reiner, announced today that acclaimed film and television actor Christopher Lloyd, will star as Azdak in the company's upcoming spring production of Bertolt Brecht's The Caucasian Chalk Circle, to be directed by Brian Kulick who directed Brecht's Galileo last season, and featuring new music by Tony Award-winning singersongwriter Duncan Sheik, featuring translation by James and Tania Stern with lyrics by W.H. Auden. The Caucasian Chalk Circle will begin performances Thursday, May 2 at Csc 136 East 13th Street for a limited engagement. Tickets will go on sale to the general public on Tuesday, April 2.
- 12/12/2012
- by BWW News Desk
- BroadwayWorld.com
The Observer's critics pick the season's highlights, from the Misanthrope to Johnny Marr, Lulu to Lichtenstein, H7steria to Hitchcock. What are you most looking forward to? Add your comments below and download a pdf of the calendar here
December | January | FebruaryDecember
1 Film The Hobbit: An Unexpected Journey (3D)
Well, not so very unexpected. Every move has been tracked by fanboys, from the casting of Martin Freeman as Bilbo and Benedict Cumberbatch as the dragon Smaug to the return of the king, Peter Jackson, to take over directing from Guillermo del Toro. But Middle-earth (or, as it's sometimes known, New Zealand) is back for the next three Christmases.
3 Pop Scott Walker
The avant-garde Walker Brother returns with his first album since 2006's The Drift. Not for the faint-hearted, Bish Bosch finds the former romantic hero deep in dystopian territory, at once sonorous and rigorous.
3 Classical H7steria
World premiere of...
December | January | FebruaryDecember
1 Film The Hobbit: An Unexpected Journey (3D)
Well, not so very unexpected. Every move has been tracked by fanboys, from the casting of Martin Freeman as Bilbo and Benedict Cumberbatch as the dragon Smaug to the return of the king, Peter Jackson, to take over directing from Guillermo del Toro. But Middle-earth (or, as it's sometimes known, New Zealand) is back for the next three Christmases.
3 Pop Scott Walker
The avant-garde Walker Brother returns with his first album since 2006's The Drift. Not for the faint-hearted, Bish Bosch finds the former romantic hero deep in dystopian territory, at once sonorous and rigorous.
3 Classical H7steria
World premiere of...
- 12/2/2012
- The Guardian - Film News
Topol, Tom Conti, Edward Fox and John Gielgud add up to one clever biopic, if you subtract 45 minutes of flagging in the middle
Galileo (1974)
Director: Joseph Losey
Entertainment grade: C+
History grade: A–
Galileo Galilei was an Italian astronomer and mathematician, and one of the most important historical figures in the development of modern physics.
Casting
It's 1609, and a skint, grumpy Galileo teaches mathematics in Padua. He is played by Topol. Yes, Topol, from Fiddler on the Roof. Critics were sniffy at the time, complaining that he didn't bring intelligence to the role – unlike, they said, the mostly British supporting cast, which includes Tom Conti and Edward Fox. In fact, Topol isn't that bad. He emphasises Galileo's earthiness instead of restrained scientific dignity, but that's a reasonable interpretation. The real Galileo is said to have played theatrically to audiences in Pisa, climbing the famous tower and throwing objects of...
Galileo (1974)
Director: Joseph Losey
Entertainment grade: C+
History grade: A–
Galileo Galilei was an Italian astronomer and mathematician, and one of the most important historical figures in the development of modern physics.
Casting
It's 1609, and a skint, grumpy Galileo teaches mathematics in Padua. He is played by Topol. Yes, Topol, from Fiddler on the Roof. Critics were sniffy at the time, complaining that he didn't bring intelligence to the role – unlike, they said, the mostly British supporting cast, which includes Tom Conti and Edward Fox. In fact, Topol isn't that bad. He emphasises Galileo's earthiness instead of restrained scientific dignity, but that's a reasonable interpretation. The real Galileo is said to have played theatrically to audiences in Pisa, climbing the famous tower and throwing objects of...
- 9/26/2012
- by Alex von Tunzelmann
- The Guardian - Film News
"Unhappy the land that has no heroes!" someone remarks to Bertolt Brecht's Galileo. "No. Unhappy the land that needs heroes," Galileo replies. And if superheroes are multiples of the ordinary variety, the world as perceived by Hollywood is currently in as dire straits as it was during the great depression when the comic-strip masked avengers were first created. Joss Whedon, a major hero to Tinseltown's accountants, and Marvel Comics' movie division have come up with the wheeze of bringing together six of Marvel's superheroes (Iron Man, the Hulk, Thor, Captain America and the lesser-known Hawkeye and Black Widow) to confront Loki (Tom Hiddleston), the evil trickster of Norse folklore. He's slipped through a crack in the universe and stolen the all-powerful Cosmic Cube. In the course of defeating his megalomaniac schemes, much of midtown Manhattan is destroyed along with several thousand people, though happily the Chrysler building survives.
The...
The...
- 4/28/2012
- by Philip French
- The Guardian - Film News
As a little girl I loved going to the Studio Drive In in Culver City where we lived.
My older sister and I would get into our pajamas, my little baby brother would be in the car seat for babies in the front seat between the driver and the passenger. We brought out own fried chicken ot eat for dinner. We'd go get popcorn or bonbons or a Holloway sucker (the best!) at the concessions stand ahead of the movies or at the intermission if we were still awake and we'd watch a double bill – usually a western and or a comedy.
When we got older and at the age of 16, we all got cars of our own. Mine was a 53 Ford convertible repainted royal blue. Groups of us would go to the Olympic Drive In and would sneak others in in the trunk.
When I was really little my father and mother would take my sister and me to the movies. I was always making my father take me to the bathroom. That started my habit of sitting on the aisle. As a film buyer it was known as the acquisitions seat, but to my mind, the quick getaway was to the Ladies Room. And as a three or four year old, I was always asking my mother and sister, "is this real?" I was so literal minded as a child I could never figure out why the song said “Let Freedom Ring”. How could Freedom Ring? A ring was jewelry. Ring like a bell…but Freedom is not a bell. Moving on…
We saw this Bob Hope film. He was a gambler. And he put a gun into his mouth. Instead of shooting his brains out, he took a bite and it was chocolate. That really threw my literal mind into a loop. What was real? How did that happen? The movie was called Sorrowful Jones. The joke was something I had a hard time understanding. The same with the silents which we saw at the Silent Movie Theater. Laurel and Hardy were always hitting each other and falling; Charlie Chase was always in trouble as was Charlie Chaplin. I never understood what was funny about all the accidents, falling down, hitting each other and would have terrible anxiety attacks at the silent movies. I liked movies like Francis the Talking Mule. That was funny to my childish mind.
For those wonderful Disney cartoons like Cinderella or Alice in Wonderland, Robin Hood or Peter Pan, my father would take us to Beverly Hills and we would stand in line for the Fine Arts Theater. At the corner was a shoe store which only sold sample sizes (4 ½). I would admire their high heeled shoes and couldn’t wait for the time that I would be older and could wear them. Fortunately, when my foot hit the 4 ½ size, I was in high school and so I could buy the shoes for all the formal dances we attended.
Fine Arts Theater
Every Saturday my sister and I, and later my brother would go to the ten-cent Saturday afternoon matinee at the Meralta with a newsreel, previews, cartoon, and a main feature. The Meralta introduced me to The Dream of Wild Horses.[1]"Meralta" was derived from owners' Pearl Merrill and Laura Peralta's surnames. They lived above the new plush theater. But the movies there were mostly horror and genre. My brother always went there for the latest horror film.
Meralta Theater, Culver City
If we didn’t go to the Meralta, we’d go to the Culver. When we were looking to meet other kids from other schools, we'd go to the much fancier Culver Theater.
The Culver had great films, like Little Women, Gone with the Wind, Gentlemen Prefer Blonds, How to Marry a Millionaire, River of No Return, There’s No Business Like Show Business, Easter Parade, A Date with Judy (My sister’s name!), The Three Musketeers, Words and Music, Force of Evil, Neptune’s Daughter, Adam’s Rib, Showboat, An American in Paris, Lili, Giant, Rebel Without a Cause. Looking at this list, except for the Marilyn Monroe movies which 20th Century Fox owned and the two James Dean films which Warner Bros. owned, all of the films were MGM films. That makes perfect sense because Culver City was a company town.
The Culver also had “loges”. These were fancier red velvet seats with ashtrays above the large aisle you would find on entering the theater and choosing your seat – below unless you went up to the loge. There teenagers would "make out" and bad girls and guys would smoke (Excuse my racism, but as a Jew growing up in a working class wasp neighborhood, I learned these kids were either Pachucos or white trash.) Not that we were such good Jewish kids...there weren’t any Jewish kids that I knew of who went to the movies. My friends were my school friends, and they were all white working class kids. If people weren’t working for Hughes Aircraft, they were in the crafts at MGM. We had one bit actor living down the street named Cameron Mitchell. And it was a pretty racist neighborhood…anti-Semitism was learned at home and in Sunday Schools where kids invited me (called a Christ Killer) to learn about bringing Jesus into my heart and there were no blacks that I ever saw. The Pachucos lived in another neighborhood and we’d see them in the movies, shopping or at the middle and high school next to my elementary school. Asians? There might have been a Chinese restaurant, but I don’t recall seeing Asians in school or at the theater or shopping.
Jewish kids made up my group of friends when I got to junior high and we had moved to Beverlywood from Culver City; 90% of the school was Jewish. Our parents would still drop us at the movies and we would go to Saturday matinees at the Picfair on Pico and Fairfax which eventually burned down around the time of the Watts Riots, or to the Lido on Pico.
The Picfair Theater burned down in 1965.
We’d see Academy Award winning films at the Pickfair. We'd cry at Carousel, Oklahoma, Midnight Lace, Peyton Place, Imitation of Life. Great films! Or we'd sometimes go to the other theater in Pico called Lido. It was just so boring. Maybe they showed Marty there or Country Girl and I wasn't up for slow drama.
For really fancy movies which held premieres, like Around the World in 80 Days, we would go to the Carthay Circle Theater. Of course I’d go in the days after the premiere itself. Rarely – though sometimes we’d go to the Hollywood palaces, Grauman’s Chinese, The Egyptian or Pantages Theaters on Hollywood Boulevard. The best thing about Grauman’s Chinese was the ladies room with a room filled with mirrors and little alcoves to sit and put on lipstick. They even had lipstick blotters, white heavy weight paper shaped like your lips to blot the lipstick.
In 1959 The Fine Arts Theatre 8556 Wilshire Boulevardin Beverly Hills showed Room at the Top, (‘The Most Daring Film in a Decade’), and it played there for over six months. I was in the 10th grade and went to see it. I liked it but am not sure how much I understood.
In high school we discovered Le Chein Andalou and the Coronet and Baronet theater where Charles Laughton had played in Brecht's premiere play Galileo produced by John Houseman. Sometimes they didn't have enough foreign films (like one about a woman who turned into a panther at night) and they'd show psychological teaching films like "Folie a Deux" when madness is shared by two, in this 20 minute short it was a mother and daughter. They'd show films on Schizophrenia, etc. and it made me want to study psychology. We saw all of Bergman, Renoir and saw La Strada and La Dolce Vida. When I moved back east and went to Brandeis then movie going got great! Truffaut, Godard, Chabrol, Wajda's Ashes and Diamonds. After that I saw every Wajda film and even knew how to pronounce his name. But after Man of Marble or Man of Steel I started to get disinterested. I have no idea what theaters we went to in Cambridge or New York except for the Bleecker Street Theater where we’d often go for the weekend.
For dates we’d go up the street (Beverwil) to Beverly Hills to the Beverly Theater or the Beverly Canon. There they had programs printed for the movies (The Young Lions). Afterward we’d go to Blum’s[2] for their crunchy cake or Wil Wrights Ice Cream Parlor for ice cream sundaes.
And a theater we would always forget except when some exceptional foreign film was showing there, was the Vagabond, way down on Wilshire Blvd. toward downtown.
[1]Wikipedia: The 1953 children's film Crin-Blanc, English title White Mane, portrayed the horses and the region. A short black-and-white film directed by Albert Lamorisse, director of Le ballon rouge (1956), Crin-blanc won the 1953 Prix Jean Vigo and the short film Grand Prix at the 1953 Cannes Film Festival, as well as awards at Warsaw and Rome.[10] In 1960 Denys Colomb Daunant, writer and actor for Crin-blanc, made the documentary Le Songe des Chevaux Sauvages, "Dream of the Wild Horses". It featured Camargue horses and slow motion photography, and won the Small Golden Berlin Bear at the 1960 Berlin International Film Festival.[11]
[2]Blum's was a pink spun sugar fantasy come to life. It had a gift shop. It had shocking pink banquettes. It had surly waitresses. And it had cake. Not those plastic looking, multi colored and tasteless layered cakes offered in cafes around Union Square. No. They had Blum's Famous Coffee Crunch cake. (This legendary cake is so memorable that Nancy Silverton has included a recipe for it in her latest cookbook.)
Blum's was partly a restaurant for the ladies who didn't work and spent their days going downtown to shop, meet friends and get home before the children came home from school. (http://www.culinarymuse.com/2005/10/blums_where_are.html)...
My older sister and I would get into our pajamas, my little baby brother would be in the car seat for babies in the front seat between the driver and the passenger. We brought out own fried chicken ot eat for dinner. We'd go get popcorn or bonbons or a Holloway sucker (the best!) at the concessions stand ahead of the movies or at the intermission if we were still awake and we'd watch a double bill – usually a western and or a comedy.
When we got older and at the age of 16, we all got cars of our own. Mine was a 53 Ford convertible repainted royal blue. Groups of us would go to the Olympic Drive In and would sneak others in in the trunk.
When I was really little my father and mother would take my sister and me to the movies. I was always making my father take me to the bathroom. That started my habit of sitting on the aisle. As a film buyer it was known as the acquisitions seat, but to my mind, the quick getaway was to the Ladies Room. And as a three or four year old, I was always asking my mother and sister, "is this real?" I was so literal minded as a child I could never figure out why the song said “Let Freedom Ring”. How could Freedom Ring? A ring was jewelry. Ring like a bell…but Freedom is not a bell. Moving on…
We saw this Bob Hope film. He was a gambler. And he put a gun into his mouth. Instead of shooting his brains out, he took a bite and it was chocolate. That really threw my literal mind into a loop. What was real? How did that happen? The movie was called Sorrowful Jones. The joke was something I had a hard time understanding. The same with the silents which we saw at the Silent Movie Theater. Laurel and Hardy were always hitting each other and falling; Charlie Chase was always in trouble as was Charlie Chaplin. I never understood what was funny about all the accidents, falling down, hitting each other and would have terrible anxiety attacks at the silent movies. I liked movies like Francis the Talking Mule. That was funny to my childish mind.
For those wonderful Disney cartoons like Cinderella or Alice in Wonderland, Robin Hood or Peter Pan, my father would take us to Beverly Hills and we would stand in line for the Fine Arts Theater. At the corner was a shoe store which only sold sample sizes (4 ½). I would admire their high heeled shoes and couldn’t wait for the time that I would be older and could wear them. Fortunately, when my foot hit the 4 ½ size, I was in high school and so I could buy the shoes for all the formal dances we attended.
Fine Arts Theater
Every Saturday my sister and I, and later my brother would go to the ten-cent Saturday afternoon matinee at the Meralta with a newsreel, previews, cartoon, and a main feature. The Meralta introduced me to The Dream of Wild Horses.[1]"Meralta" was derived from owners' Pearl Merrill and Laura Peralta's surnames. They lived above the new plush theater. But the movies there were mostly horror and genre. My brother always went there for the latest horror film.
Meralta Theater, Culver City
If we didn’t go to the Meralta, we’d go to the Culver. When we were looking to meet other kids from other schools, we'd go to the much fancier Culver Theater.
The Culver had great films, like Little Women, Gone with the Wind, Gentlemen Prefer Blonds, How to Marry a Millionaire, River of No Return, There’s No Business Like Show Business, Easter Parade, A Date with Judy (My sister’s name!), The Three Musketeers, Words and Music, Force of Evil, Neptune’s Daughter, Adam’s Rib, Showboat, An American in Paris, Lili, Giant, Rebel Without a Cause. Looking at this list, except for the Marilyn Monroe movies which 20th Century Fox owned and the two James Dean films which Warner Bros. owned, all of the films were MGM films. That makes perfect sense because Culver City was a company town.
The Culver also had “loges”. These were fancier red velvet seats with ashtrays above the large aisle you would find on entering the theater and choosing your seat – below unless you went up to the loge. There teenagers would "make out" and bad girls and guys would smoke (Excuse my racism, but as a Jew growing up in a working class wasp neighborhood, I learned these kids were either Pachucos or white trash.) Not that we were such good Jewish kids...there weren’t any Jewish kids that I knew of who went to the movies. My friends were my school friends, and they were all white working class kids. If people weren’t working for Hughes Aircraft, they were in the crafts at MGM. We had one bit actor living down the street named Cameron Mitchell. And it was a pretty racist neighborhood…anti-Semitism was learned at home and in Sunday Schools where kids invited me (called a Christ Killer) to learn about bringing Jesus into my heart and there were no blacks that I ever saw. The Pachucos lived in another neighborhood and we’d see them in the movies, shopping or at the middle and high school next to my elementary school. Asians? There might have been a Chinese restaurant, but I don’t recall seeing Asians in school or at the theater or shopping.
Jewish kids made up my group of friends when I got to junior high and we had moved to Beverlywood from Culver City; 90% of the school was Jewish. Our parents would still drop us at the movies and we would go to Saturday matinees at the Picfair on Pico and Fairfax which eventually burned down around the time of the Watts Riots, or to the Lido on Pico.
The Picfair Theater burned down in 1965.
We’d see Academy Award winning films at the Pickfair. We'd cry at Carousel, Oklahoma, Midnight Lace, Peyton Place, Imitation of Life. Great films! Or we'd sometimes go to the other theater in Pico called Lido. It was just so boring. Maybe they showed Marty there or Country Girl and I wasn't up for slow drama.
For really fancy movies which held premieres, like Around the World in 80 Days, we would go to the Carthay Circle Theater. Of course I’d go in the days after the premiere itself. Rarely – though sometimes we’d go to the Hollywood palaces, Grauman’s Chinese, The Egyptian or Pantages Theaters on Hollywood Boulevard. The best thing about Grauman’s Chinese was the ladies room with a room filled with mirrors and little alcoves to sit and put on lipstick. They even had lipstick blotters, white heavy weight paper shaped like your lips to blot the lipstick.
In 1959 The Fine Arts Theatre 8556 Wilshire Boulevardin Beverly Hills showed Room at the Top, (‘The Most Daring Film in a Decade’), and it played there for over six months. I was in the 10th grade and went to see it. I liked it but am not sure how much I understood.
In high school we discovered Le Chein Andalou and the Coronet and Baronet theater where Charles Laughton had played in Brecht's premiere play Galileo produced by John Houseman. Sometimes they didn't have enough foreign films (like one about a woman who turned into a panther at night) and they'd show psychological teaching films like "Folie a Deux" when madness is shared by two, in this 20 minute short it was a mother and daughter. They'd show films on Schizophrenia, etc. and it made me want to study psychology. We saw all of Bergman, Renoir and saw La Strada and La Dolce Vida. When I moved back east and went to Brandeis then movie going got great! Truffaut, Godard, Chabrol, Wajda's Ashes and Diamonds. After that I saw every Wajda film and even knew how to pronounce his name. But after Man of Marble or Man of Steel I started to get disinterested. I have no idea what theaters we went to in Cambridge or New York except for the Bleecker Street Theater where we’d often go for the weekend.
For dates we’d go up the street (Beverwil) to Beverly Hills to the Beverly Theater or the Beverly Canon. There they had programs printed for the movies (The Young Lions). Afterward we’d go to Blum’s[2] for their crunchy cake or Wil Wrights Ice Cream Parlor for ice cream sundaes.
And a theater we would always forget except when some exceptional foreign film was showing there, was the Vagabond, way down on Wilshire Blvd. toward downtown.
[1]Wikipedia: The 1953 children's film Crin-Blanc, English title White Mane, portrayed the horses and the region. A short black-and-white film directed by Albert Lamorisse, director of Le ballon rouge (1956), Crin-blanc won the 1953 Prix Jean Vigo and the short film Grand Prix at the 1953 Cannes Film Festival, as well as awards at Warsaw and Rome.[10] In 1960 Denys Colomb Daunant, writer and actor for Crin-blanc, made the documentary Le Songe des Chevaux Sauvages, "Dream of the Wild Horses". It featured Camargue horses and slow motion photography, and won the Small Golden Berlin Bear at the 1960 Berlin International Film Festival.[11]
[2]Blum's was a pink spun sugar fantasy come to life. It had a gift shop. It had shocking pink banquettes. It had surly waitresses. And it had cake. Not those plastic looking, multi colored and tasteless layered cakes offered in cafes around Union Square. No. They had Blum's Famous Coffee Crunch cake. (This legendary cake is so memorable that Nancy Silverton has included a recipe for it in her latest cookbook.)
Blum's was partly a restaurant for the ladies who didn't work and spent their days going downtown to shop, meet friends and get home before the children came home from school. (http://www.culinarymuse.com/2005/10/blums_where_are.html)...
- 3/27/2012
- by Sydney Levine
- Sydney's Buzz
Very few Broadway news stories excited me as much this week as Woody Allen’s announcement that he was turning one of his best films, Bullets Over Broadway, into a Main Stem musical. Yet, I did celebrate with the rest of Linda Lavin’s fans when the producers of The Lyons – in which she gave an award-worthy performance off-Broadway last fall — announced that the show was also coming to the Great White Way. Plus, as a huge devotee of the movie Once, I was thrilled for EW to get another sneak peak at the making of next month’s Broadway adaptation.
- 2/25/2012
- by Aubry D'Arminio
- EW.com - PopWatch
The great promises that come with a Classic Stage Company production of Bertolt Brecht's Galileo starring F. Murray Abraham are all fulfilled and exceeded. A phenomenal cast lead by a very capable director combines with an inspired production design and the irascible and biting words of Brecht to make a level of production which one often hopes for but so seldom gets. This is theater at its best.
F. Murray Abraham is truly a national treasure of the American theater. Making it all look so effortless, Abraham eases into the title role with relaxed deliveries, a quiet energy that burns with the intense inner fire of discovery, and subtle gestures that regularly strike upon incidental comic notes. His presence is commanding and his interaction with his fellow actors thoroughly human and natural. He is one of those few actors in possession of an Academy Award who is also undeniably a man to the stage born,...
F. Murray Abraham is truly a national treasure of the American theater. Making it all look so effortless, Abraham eases into the title role with relaxed deliveries, a quiet energy that burns with the intense inner fire of discovery, and subtle gestures that regularly strike upon incidental comic notes. His presence is commanding and his interaction with his fellow actors thoroughly human and natural. He is one of those few actors in possession of an Academy Award who is also undeniably a man to the stage born,...
- 2/23/2012
- by C. Jefferson Thom
- www.culturecatch.com
"Unhappy the land that has no heroes," says someone in Brecht's Life of Galileo, to which Galileo replies: "No. Unhappy the land that needs heroes!" Make that superheroes and I'd say: "Hear, hear." Hollywood, working with Marvel Comics, is currently giving us a surfeit of these caped crusaders with camp costumes and special powers, the latest being the deadly dull Captain America, originally created as a comic book figure in 1941.
He's a 90lb weakling turned into a powerful democratic protagonist by a German emigre scientist (Stanley Tucci) as the Us enters the second world war. He has an opposite number in Hitler's Nazi superhero, Red Skull, a Teutonic villain with a strong physical resemblance to Harry Potter's nemesis, Voldemort. There are borrowings from the superior Raiders of the Lost Ark (for which Captain America's director won a visual effects Oscar) and it's altogether inferior to Tarantino's Inglourious Basterds.
He's a 90lb weakling turned into a powerful democratic protagonist by a German emigre scientist (Stanley Tucci) as the Us enters the second world war. He has an opposite number in Hitler's Nazi superhero, Red Skull, a Teutonic villain with a strong physical resemblance to Harry Potter's nemesis, Voldemort. There are borrowings from the superior Raiders of the Lost Ark (for which Captain America's director won a visual effects Oscar) and it's altogether inferior to Tarantino's Inglourious Basterds.
- 7/30/2011
- by Philip French
- The Guardian - Film News
Topol in Joseph Losey‘s Galileo (top); Maggie Cheung in Zhang Yimou‘s Hero (middle); Jean-Pierre Cargol, François Truffaut in Truffaut’s L’Enfant sauvage / The Wild Child (bottom) According to London’s bfi Southbank site, filmmaker Joseph Losey, a victim of the Red Scare who settled in England in the ’50s, had already directed Bertold Brecht’s play Galileo in 1947 in Los Angeles. In the 1974 film version to be screened on Friday, June 18, Academy Award nominee Topol (for Fiddler on the Roof, 1971) replaces Charles Laughton in the title role. The bfi site adds that Galileo was made for the American Film Theater, thus retaining "much of its Brechtian theatricality, including a revolving set and Hanns Eisler’s music, to underscore the various points made in its debate about the clash between scientific theory and religious dogma. The cast [including Edward Fox, John Gielgud, Tom Conti, and Michael Lonsdale] is particularly impressive." Also on [...]...
- 6/17/2010
- by Andre Soares
- Alt Film Guide
Mosaïques Festival Of World Culture, London
World cinema festivals might be more common these days, but this one shows you the parts of the globe British festivals don't reach, ie: the French post-colonial landscape. There's quality cinema here from north and west Africa, south-east Asia and the Middle East, much of it produced with French support. Whisper With The Wind is set in Iraq, mind you, and deals with a clandestine radio messenger, while Brazil's The Famous And The Dead is a dreamy Bob Dylan-themed thriller. Closer to home there's London River, in which Brenda Blethyn and Malian actor Sotigui Kouyaté play parents brought together by the 7/7 bombings.
Ciné Lumière, SW7, Thu to 12 Jun, visit institut-francais.org.uk
Science On Film, London
Which would you rather watch, Craig Venter in a lab coat spending 10 years creating the world's first synthetic life form, or James Whale's crazed Dr Frankenstein screaming,...
World cinema festivals might be more common these days, but this one shows you the parts of the globe British festivals don't reach, ie: the French post-colonial landscape. There's quality cinema here from north and west Africa, south-east Asia and the Middle East, much of it produced with French support. Whisper With The Wind is set in Iraq, mind you, and deals with a clandestine radio messenger, while Brazil's The Famous And The Dead is a dreamy Bob Dylan-themed thriller. Closer to home there's London River, in which Brenda Blethyn and Malian actor Sotigui Kouyaté play parents brought together by the 7/7 bombings.
Ciné Lumière, SW7, Thu to 12 Jun, visit institut-francais.org.uk
Science On Film, London
Which would you rather watch, Craig Venter in a lab coat spending 10 years creating the world's first synthetic life form, or James Whale's crazed Dr Frankenstein screaming,...
- 5/28/2010
- by Steve Rose
- The Guardian - Film News
A renowned Scottish actor and director, he regularly commentated on state occasions for BBC television
Tom Fleming, who has died of cancer aged 82, was an outstanding figure in the Scottish theatre of the second half of the 20th century, the first television "face" of Jesus of Nazareth in a 1953 mini-series, and well known as a BBC television and radio commentator at many royal and ceremonial occasions since he first broadcast, for the BBC, during the Queen's coronation in 1953.
He was a Baptist lay preacher, a deeply private man of great moral integrity and stature. This much was clear not only on stage but also as he spoke in his flawless, rich and velvety baritone voice at the funerals of Diana, Princess of Wales, and the Queen Mother. So assiduous was he in his properly felt sense of duty that he declined the invitation to appear in a play by Mikhail Bulgakov...
Tom Fleming, who has died of cancer aged 82, was an outstanding figure in the Scottish theatre of the second half of the 20th century, the first television "face" of Jesus of Nazareth in a 1953 mini-series, and well known as a BBC television and radio commentator at many royal and ceremonial occasions since he first broadcast, for the BBC, during the Queen's coronation in 1953.
He was a Baptist lay preacher, a deeply private man of great moral integrity and stature. This much was clear not only on stage but also as he spoke in his flawless, rich and velvety baritone voice at the funerals of Diana, Princess of Wales, and the Queen Mother. So assiduous was he in his properly felt sense of duty that he declined the invitation to appear in a play by Mikhail Bulgakov...
- 4/20/2010
- by Michael Coveney, Carole Woddis, Brian Wilson
- The Guardian - Film News
I'd like to think Warner Bros.' decision to make a supernatural action movie starring Leonardo Da Vinci has nothing to do with The Da Vinci Code, the upcoming Teenage Mutant Ninja Turtles reboot or even this thing. Instead, I want this to have been inspired by Hudson Hawk, which is certainly a cult classic now and can rightly be considered something worth inspiring other stuff.
At the very least I hope the makers of Leonardo Da Vinci and the Soldiers of Forever (yes, that's the real treatment title) realized there's something more to be done with the historical figure's before-its-time flying machine than putting Bruce Willis and Andie MacDowell in it. Though, I guess it's very likely that Willis (or Nic Cage) will end up being cast in this thing. MacDowell looks more the part, though, given that she looks more like the Mona Lisa, which we all know...
At the very least I hope the makers of Leonardo Da Vinci and the Soldiers of Forever (yes, that's the real treatment title) realized there's something more to be done with the historical figure's before-its-time flying machine than putting Bruce Willis and Andie MacDowell in it. Though, I guess it's very likely that Willis (or Nic Cage) will end up being cast in this thing. MacDowell looks more the part, though, given that she looks more like the Mona Lisa, which we all know...
- 3/11/2010
- by Christopher Campbell
In celebration of the 400th anniversary of the year Galileo first turned his telescope upward and changed the way human beings thought of their place in the cosmos, Catalyst Collaborative @ MIT and Underground Railway Theater present Bertolt Brecht's The Life of Galileo! Playing Friday, April 10 through Sunday, May 17 at Central Square Theater, this production of The Life of Galileo, Brecht's widely acclaimed masterpiece of science theater, is translated by David Hare, directed by David Wheeler, and stars Boston area favorite Richard McElvain in the title role. Press night is set for Thursday, April 16 at 7:30 Pm.
- 3/9/2009
- BroadwayWorld.com
The Life of Galileo by Bertolt Brecht: an intimate version by David Hare, directed by Carin Bratlie With No? Tallen as Galileo April 4 - 19, 2009 Thursdays through Saturdays at 7:30 P.M., Sundays at 2:00 P.M. The scientist must choose between his life's work and his life when confronted by the Inquisition. Brecht's masterpiece is the story of how one man moved the earth and showed us the universe, and in return the Church showed him the rack.
- 3/6/2009
- BroadwayWorld.com
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