Podcasts about Globe Theatre

William Shakespeare, often called the Bard of Avon, is the greatest playwright in the English language. Born in 1564 in Stratford-upon-Avon, he married Anne Hathaway at 18 and had three children. He moved to London in the late 1580s to pursue a career in theatre. Over the next two decades, he wrote 39 plays, 154 sonnets, and two long narrative poems. His works explore timeless themes of love, power, jealousy, betrayal, and ambition. Shakespeare's most famous plays include Hamlet, Macbeth, Othello, Romeo and Juliet, and King Lear. He co-owned the Globe Theatre, where many of his plays were performed. His mastery of language enriched English with hundreds of new words and phrases. Shakespeare blended history, tragedy, and comedy in ways that remain unmatched. Despite his fame, much of his personal life remains a mystery. He retired to Stratford around 1613 and died in 1616 at the age of 52. Shakespeare's legacy lives on through endless adaptations on stage and screen. His characters and stories still resonate across cultures and generations. He was as much a keen observer of human nature as a creator of unforgettable drama. This talk show explores the life, love, and literary genius of the immortal William Shakespeare.

Fisticuffs! Costumes! Murder! Will Philadelphia's sleuthing reveal that the murderer is Shakespeare himself?

In this episode of Stageworthy, host Phil Rickaby speaks with Toronto-based performer, voice educator, and multidisciplinary artist Tahirih Vejdani. Born in Saint John, NB, and raised in Regina, Tahirih shares the inspiring and non-traditional journey that led her from classical music training in the Prairies to becoming a sought-after artist and educator in Canada's theatre scene. They discuss her early connection to choirs, her work as a singer and actor at Stratford Festival, and the founding of Ground Floor Team, an organization devoted to care-based rehearsal practices and conflict transformation in theatre. Tahirih also reflects on returning to school for vocal pedagogy and the evolving nature of her touring career. This episode explores: How classical music shaped Tahirih's performance journey Transitioning from musician to actor in the world of Shakespeare The founding and mission of Ground Floor Team and the ARCS methodology Touring across Canada with Catalyst Theatre's The Invisible: Agents of Ungentlemanly Warfare Her return to school to complete a Master's in Vocal Pedagogy Insights on fostering healthier rehearsal spaces in Canadian theatre Guest:

The complete audiobook is available for purchase at Audible.com: https://n9.cl/oind6 The Pageants By William Shakespeare Comprising multicast performances of Henry V and Henry VIII Shakespeare's history plays fall into two categories: political dramas and propagandistic pageants. The second category is comprised of the two plays in this presentation, Henry V and Henry VIII. These two plays have many elements in common. An underlying theme is the necessity and glory of government by sovereign royalty. Each play is presented by a chorus, who defines the action and intent of the drama. Rather than a continuous narrative the action is depicted in a series of tableaux, each of which seeks to illustrate a positive aspect of the monarch's character. In each play an early part of the action involves the detection of treason and the punishment of the malefactors, presented as examples of the king's shrewdness and rigorous sense of justice. Henry V, originally titled The Life of Henry the Fifth, tells the story of the king's successful incursion into France to regain control of the territories claimed by the English crown, and his consolidation of his position by marrying the daughter of the King of France. Despite its references to the horror of military conflict, the mood of the play is generally bright and upbeat, although in the final speech the Chorus warns that much of this glory will be lost under the rule of Henry VI. Henry VIII, first published as The Famous History of the Life of King Henry the Eighth, was a joint production by Shakespeare and John Fletcher. It appears to have been written in 1612-1613. During a production of the play at the Globe Theatre in 1613, a cannon was discharged, resulting in a fire which burned the building to the ground. The action of Henry VIII focuses on three major events: The allegation of treason against the Duke of Buckingham, and his subsequent conviction and execution; Henry's concern over the failure of his wife Katharine of Aragon to produce a male heir, his desire to divorce her and to marry the much younger Anne Bullen (Boleyn); and the birth of Anne's child, the future Queen Elizabeth I. All references to Anne Bullen's fall from grace and execution and to Henry's subsequent marriages are strictly avoided. Henry is presented as a thoughtful and capable sovereign, somewhat overbearing, but genuinely troubled by the thought that his marriage to Katharine may have been canonically improper. Featuring Blaise Doran as Henry V and Josh Innerst as Henry VIII. Audio edited by Denis Daly.

The list of suspects and motives grow as the search to find the murderer's identity continues. While Philadelphia, Gage, and Jessica each have their own primary suspect, they'll have to put aside their personal biases if they hope to uncover the truth.

George Fouracres and Pierre Novellie met while studying Anglo-Saxon, Norse and Celtic at Cambridge, so it's a fair expectation that they might do well at quizzes.They're both annoyingly multi-talented clever people, performing work ranging from stand-up to musicals, Pierre has a very successful podcast of his own - BudPod with Phil Wang, he's the author of the book Why Can't I Just Enjoy Things? A Comedian's Guide to Autism. And George meanwhile has played Hamlet for the Globe Theatre! But right now, they're both doing shows at the Melbourne International Comedy Festival.George is the one man in “One Man Musical” created by musical comedians Flo and Joan, AKA the sisters Rosie and Nicola Dempsey.And Pierre's performing his stand up solo “Must We”Get tickets to both shows here:https://www.comedyfestival.com.au/browse-shows/pierre-novellie/https://www.comedyfestival.com.au/browse-shows/one-man-musical/Support this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

On this day, March 13, 1619, the stage lost one of its greatest stars. Richard Burbage wasn't just an actor—he was Shakespeare's leading man, the original Hamlet, Othello, and King Lear. But his impact went far beyond the stage.   From his early years in London to his legendary performances at The Globe Theatre, Burbage helped shape the golden age of English drama. He was a close friend of Shakespeare, a theatre pioneer, and a performer whose talent left an indelible mark on history.   Join me as we uncover the life, legacy, and lasting influence of Richard Burbage—the man who first brought Shakespeare's greatest characters to life.   If you love Tudor and Elizabethan history, don't forget to subscribe and hit the notification bell for more deep dives into the past!   #shakespeare #theglobe #actors

An episode that's Much Ado About Autism!Here's what's in store for today's episode: * Today, Matt and Angela welcome special guest and Shakespeare expert Dr. Sonya Freeman Loftis to explore how the Bard's works connect with autistic culture.* Sonya shares how she began studying Shakespeare through a disability lens and explores how some of his characters embody neurodivergent traits.* We discuss how the Globe Theatre is highly accommodating of disabilities and how Shakespeare's works are often featured in “relaxed performances” or autism-friendly showings.* Additionally, we explore the existence of Shakespeare therapy and how his works bring comfort in settings ranging from prisons to assisted living facilities.* Because of its complex language, Shakespeare's work requires a lot of bottom-up processing—something that comes naturally to us autistic folks.* We also talk about how Hamlet's deep melancholy and introspection can easily be understood through a neurodivergent lens.* "To be or not to be" is honestly the most famous autistic inertia quote of all time.* Our hosts and Sonya also dive into the character of Coriolanus, exploring how his lack of social interest and strong sense of justice make him an inherently autistic character.* Tragic heroes often embody neurodivergent experiences—whether it's Macbeth, King Lear, Othello, or Hamlet, each character reflects traits that resonate with the neurodivergent journey.* We discuss the ableism faced by Othello due to his epilepsy and how his character highlights the broader theme of otherness in Shakespeare's works—showing that understanding Shakespeare means understanding the experience of being viewed as different.* The emotional intensity of Shakespeare's plays can be deeply cathartic for the autistic reader, offering a powerful release through the raw, unfiltered emotions of his characters.* In Shakespeare's works, due to the time period, neurodivergent traits are often used for comic relief or are punished in some way, reflecting the societal attitudes of his era towards difference.* It's hard to say whether Shakespeare himself was autistic, as little is known about him biographically, but it's fascinating to see the ways disabled people have claimed his work and found resonance in his characters and themes.* However, Shakespeare could have been neurodivergent simply due to the sheer volume of writing he produced and the vast amount of knowledge he seemed to hold, which could suggest a unique cognitive perspective.* Shakespeare's work continues to be adapted and reclaimed to this day—like Baz Luhrmann's iconic Romeo + Juliet—as well as through neurodivergent Shakespeare meetups, where his plays are reinterpreted and embraced by new audiences.* Finally, we discuss the non-reciprocal, autistic language in Hamlet and how Shakespearean theater often breaks away from the rules and conventions of neurotypical performances, making it easier for neurodivergent audiences to have their needs met.“As a person with a disability, I felt frustrated sometimes when I would go to Shakespeare conferences and find that most of the focus was only on characters. And I thought, ‘okay, but what about the real people with disabilities who read Shakespeare and perform in Shakespeare plays and go to Shakespeare theaters?' And, you know, why isn't anyone writing anything about them?” - Dr. Sonya Freeman Loftis“One of the things that makes [Shakespeare] autistic culture representative is that because it is not in vernacular English, you have to bottom-up process. You need a dramaturg. You have to break down every single thing.” - Angela“Growing up as an autistic person, I never understood all of the conversation around me. I could understand some of it, but I never understood all of it. Neurotypical people use so many words and there was so much conversation. And I feel like that acceptance of not understanding it all has helped me to be a better reader of Shakespeare.” - Dr. Sonya Freeman Loftis“Average people throughout history did not make history. The average person lived and died largely forgotten living an average life. If you do something that is divergent, like making a whole bunch of plays that live on for centuries after your death, that is indicative of neurodivergence. Average people live average lives. And if you want to be outstanding, you got to be standing out.” - MattDid you enjoy this episode? All the world's a stage, but Shakespeare's works might just be the most autistic of them all. We dive into the deeply neurodivergent themes, characters, and language that make the Bard's plays resonate with the autistic experience. Let us know your thoughts in the comments, and use #AutisticCultureCatch to share your favorite autistic Shakespeare moments!Show Notes:https://morehouse.academia.edu/SonyaLoftishttps://www.researchgate.net/publication/374910377_William_Shakespeare_was_on_the_Autism_Spectrum_Asperger%27s_Syndrome_First_DraftReady for a paradigm shift that empowers Autistics? Help spread the news!Follow us on InstagramFind us on Apple Podcasts and SpotifyLearn more about Matt at Matt Lowry, LPPJoin Matt's Autistic Connections Facebook GroupLearn more about Angela at AngelaKingdon.com Angela's social media: Twitter and TikTokOur Autism-affirming merch shop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

Director & Designer Patrick Kennedy joins Regina Botros to talk about THE FLEA at the New Theatre.   Hailed as "one of the country's most fascinating theatre practitioners" (British Theatre), Patrick Kennedy is an Offie Award nominated director and producer recognized as one of the leading European avant garde figures.  Originally trained as an acting teacher under the Globe Theatre's Jacqueline Bessel, Patrick began producing and creating experimental theatre in 2009 at Edinburgh Fringe Festival with Eugene Ionesco's 'The Lesson'. With over 15 years experience at the heart of arts and culture, Patrick joined Sydney Fringe in 2024. 

Welcome to The Literary Life Podcast and our first book series of 2025, covering Much Ado About Nothing by William Shakespeare. Our hosts, Angelina Stanford and Thomas Banks begin by sharing their commonplace quotes, then lead into a little biographical background on William Shakespeare and the way in which he wrote his plays. They also talk a little about Elizabethan period drama as a whole, as well as how Shakespeare bucked the standards of form for the time period. Some other topics they cover are how Shakespeare was received in his time, how later literary periods saw his influence decrease and increase, and Elizabethan cosmology and the setting of the Globe Theatre. To view the full show notes for this episode, including links to all the books mentioned, please visit https://theliterary.life/260/.   

On this Season 3 Finale, Virginia and Alex sit down to recount their August 2024 family trip to London that was part of Alex's Christmas and 8th Grade graduation presents for last year!  London had been on the top of his list since he was 5 years old and started watching the Harry Potter movies so the trip included a visit to tour the Warner Brothers Studio where much of Harry Potter was filmed, of course.  They also made it to Buckingham Palace, the Tower of London, Shakespeare's Globe Theatre, and other fun spots around London. Trip Dates: August 24 - September 1, 2024 Interview: recorded 1/1/25   Episode Specific Links: DoubleTree by Hilton London Chelsea WB Studio Tour: The Making of Harry Potter  Hamley's Toy Shop Liberty London El Cenote (Mexican Restaurant in Camden we loved) Fortnum and Mason Afternoon Tea at the Clermont Hotel Buckingham Palace Tour Watching the Changing of the Guard Video: How to Get to the Secret Beach by the Tower Bridge Dirty Bones (restaurant in Soho on Carnaby Street we enjoyed) Today Tix London 606 Jazz Club Shakespeare's Globe Video: Beauty and the Beat (a parody by Todrick Hall)  Sha Xian Delicacies (restaurant in Chinatown) Video: Trailer for “Kathy and Stella's Murder Podcast” (a West End musical we saw) Santa Maria Pizzeria (Fulham neighborhood location) People mentioned in this episode: Beth - @elizabethclifford_ Leoni - @leonibarker Jeanette - @pixiejeanette Maria - @mrsbobo428 Nanci - @nancibat3 Chrissy - @cecagg   Be Our Guest: Do you have an upcoming trip you'd like to share?  Submit your trip information here to be considered as a podcast guest.   Get in Touch: If you would like to reach out to Virginia for something other than a trip report guest submission (for that use the link above!), you may email whereilongtobepodcast@gmail.com.   Follow: Instagram: @whereilongtobepodcast Facebook: @whereilongtobepodcast TikTok: @whereilongtobepodcast Website: whereilongtobepodcast.com

Richard Vranch is maybe best known for improvising the music in the Channel 4 series Whose Line Is It Anyway?, famously introduced as “Richard Vranch at the piano”. He's also a member of The Comedy Store Players and improvises comedy live on stage every Sunday at The Comedy Store in London, which he has done regularly for the past 39 years. He's also part of the Improv All-Stars and Paul Merton and Suki Webster's Improv Show. The Comedy Store Players have played the Olivier stage at the National Theatre and performed annually at Regent's Park Open Air Theatre. They toured India in 2004 and in 2010 they achieved the Guinness World Record for the longest running comedy show with the same cast. They've also appeared at the Globe Theatre annually since the millennium and will be performing there again on the 17th of December 2024. He formed a comedy double-act with Tony Slattery in 1981. The duo hosted the Channel 4 quiz The Music Game and over 100 episodes of Cue The Music on ITV. Richard won the 2004 Sony Radio Award for Comedy for the BBC Radio 2 series Jammin .Richard Vranch is our guest in episode 452 of My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Tickets for The Comedy Store Players at The Globe are available here - https://www.shakespearesglobe.com/whats-on/the-comedy-store-players .Tickets for The Comedy Store Players at The Comedy Store are available here - https://comedystoreplayers.com .Follow Richard Vranch on Instagram .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

A new production of the Twelfth Night re-imagines the Bard's romantic comedy, swapping the Balkans for the University of Otago during the early 1980s and it includes the "Dunedin Sound". Reporter Tess Brunton peeked behind the curtain at the Globe Theatre in Dunedin.

Now for a roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their regular email newsletter. Audio described shows and events included: Barcelona - Monday 25 November, 8pm, Duke of York's theatre, London Northern Ballet: A Christmas Carol - Saturday 30 November, 2.30pm, touch tour 12.15pm, Theatre Royal Nottingham Beauty and the Beast - Saturday 7 December, 6.30pm, touch tour 5pm, Gala Durham Dick Whittington and his Cat - Sunday 8 December, 1pm Hackney Empire, London All's Well that Ends Well - Thursday 12 December 2pm, touch tour 12noon and Friday 20 December, 7.30pm, touch tour 5.30pm, Sam Wanamaker Playhouse, Shakespeare's Globe Theatre, London To find out more about these and other up-coming described arts events as well as details about how to sign up to the regular What's On email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Join us for a delightful look into the Globe Theatre's dedicated world of artistry, challenges, and triumphs. Our episode teases personal stories, the Theatre's mission, and its future heading into its grand re-opening. It's more than just a theatre; it's a 59 year community celebration of creativity and resilience! From nostalgic tales of green-faced witches to the anticipation of lunchtime concerts and joyous educational initiatives – the Globe weaves a story of choosing community - our community. Stay tuned for the full episode where we open the doors to the Globe's new era. A choice for community, a choice for art. We choose the Globe, and we want you there with us!

Un delitto mandare in rovina la creatura di Gigi Proietti a RomaSee omnystudio.com/listener for privacy information.

That's what she said!The US Office is, arguably, one of the greatest comedy shows of all time with countless great moments. We are joined by actress and expert improviser (no guns!) Ruth Bratt!We try and put together a Top 10 of The US Office's greatest moments!Enjoy!You can get tickets for The Comedy Store Players show at the world famous Globe Theatre in London here - https://www.shakespearesglobe.com/whats-on/the-comedy-store-players/SOCIAL MEDIAwww.twitter.com/toptenpodswww.instagram.com/toptenpodswww.facebook.com/toptenpodsEMAILGet in touch with us right here:toptenpods@hotmail.comPATREONCome and support the podcast at Patreon for some great rewards including video playlists that accompany the podcast episodes - www.patreon.com/toptenpodsEPISODE LINKSApple: apple.co/3ica0FySpotify: spoti.fi/3BRhkypYouTube: https://bit.ly/3jQETisMERCH https://www.podcastmerch.co.uk/170026-top-10-of-anythingLINKTREEhttps://linktr.ee/toptenpodsBUY US A COFFEEhttps://ko-fi.com/toptenpodsSupport this show http://supporter.acast.com/the-top-ten-of-anything-podcast. Hosted on Acast. See acast.com/privacy for more information.

For centuries, one English monarch basked in an almost unblemished, heroic reputation. But more recently questions have been asked about some of his actions. Was Henry V a great warrior king, or a vicious butcher - or both?Matt Lewis is joined by Dan Jones to fill the gap between the Plantagenets and the Wars of the Roses with an examination of the relatively newly divisive figure, Henry V.Clip of Shakespeare's Henry V from the 2013 Globe Theatre production, with Jamie Parker as Henry V.Gone Medieval is presented by Matt Lewis and edited by Rob Weinberg. The producer is Joseph Knight, the senior producer is Anne-Marie Luff.Gone Medieval is a History Hit podcast.Enjoy unlimited access to award-winning original TV documentaries that are released weekly and AD-FREE podcasts. Sign up HERE for 50% off your first 3 months using code ‘MEDIEVAL' You can take part in our listener survey here >

Today we have the August 28, 1944, episode of the Globe Theatre as it was broadcast over the Armed Forces Radio Service. This episode was their version of the July 10, 1944, episode of the Man Called X – the first episode of the long-running espionage series. Visit our website at BrickPickleMedia.com/podcasts. Subscribe to the ad-free version at https://podcasters.spotify.com/pod/show/worldwar2radio/subscribe

This episode explores the rich history of Shakespeare's Globe Theatre, from its inception in 1599 as a cultural hub of the English Renaissance to its tragic destruction in 1644. Highlighting Shakespeare's impact on the theater and its modern reconstruction in 1997, the episode celebrates the Globe's legacy as a vibrant center for performance and education. Tune in to discover how this iconic venue continues to honor Shakespeare's extraordinary contributions to the arts.

Fred and Chad spend Friday at camp hanging out with this year's team. You'll hear Fred visit with multiple returning players in the team ad coach Andrew Rode and defensive coordinator Austin Taylor for their outlooks on the first week of camp and what to expect the rest of the way. Finally, our very own Fred Bays addressed the in the Globe Theatre on having a champion's mindset. Hope you enjoy our first foray into vidso podcasting. --- Support this podcast: https://podcasters.spotify.com/pod/show/iwu-football-pod/support

ArtistYou can also watch this episode on Youtube where English, Italian and Spanish subtitles are available or visit the Metralla Rosa website for more details.__________In Episode 54 of Metralla Rosa, Carla is in London, talking to Rosalind Lyons, an artist whose work is inspired primarily by the Elizabethan and Shakespearean period.Rosalind has a successful career as an illustrator of children's stories and academic publications, but it is her devotion to her Renaissance inspired figurative paintings that has, since the 1990s, led to regular exhibitions, winning her accolades from both galleries and the general public from, not only her native United Kingdom but also, around the world. The characters and their universes, created by Rosalind with her meticulous adornment and impeccable attention to detail, are treated with a style that appears to reside halfway between past and present, innovation and tradition, the obvious and the obliquely referential and the disturbingly and culturally unprecedented.Rosalind's portraits offer a fascinatingly unique and perfectly personal encounter, in which the weight of history is made light of and, in which the memories of a literary and historical past are intertwined with the painted gesture, giving rise to not only a revision of traditions but also experimentation. By combining legacy and innovation, imagination and reality and classical visions and futuristic visions, Rosalyn gives the viewer of her paintings the space in which to experience an alternative truth, that is subject to neither time or an expiration date. With a style that is strongly influenced and inspired by the aesthetics of Renaissance Italy, Elizabethan and Jacobean portraiture and 16th century Northern Europe style, her work also reflects the theatrical traditions of William Shakespeare. Together – and individually – it offers a window to a reality full of characters, who, despite their unique individuality, resonate deeply with their universal archetypes.During this interview you will come to understand how a graphic artist, with extensive experience in the world of publishing, found herself being kidnapped by the anachronistic and timeless meticulousness of the fine arts. You will discover how the exquisite ambiguity present within her work allows you to travel to other times, inviting you to be seduced by the mystery of an unknown, which is, at same time, deliciously familiar. Rosalind also tells us, ahead of her solo exhibition, ‘Shadows, Counterfeits & Familiars' – held in October 2022 at the Fosse Gallery – about her working methods during the build up to showing her work, why literature is so closely linked to her creative process, how her fascination with Elizabethan theatrical lavishness led her to be the artist-in-residence at Shakespeare's Globe Theatre in London and how her work has come to be a bridge between the exquisitely anonymous and the inexorably public.And now, enjoy the interview!Support the Show.

Joan Baez on her poetry collection inspired by her diagnosis of multiple personality disorder, called When You See My Mother Ask Her to Dance. Shakespeare's Globe Theatre in London has a new bilingual production of Antony and Cleopatra in English and British Sign Language. Tom talks to Blanche McIntyre, the director and Charlotte Arrowsmith, actor and associate director. Charlotte Mendelson on her new novel, Wife, about a disintegrating lesbian partnership and motherhood. Presenter: Tom Sutcliffe Producer: Timothy Prosser

Episode 63: Dan Wye**Dan Wye brings their debut stand-up comedy hour ‘Dan Wye Am I Sam Smith?' to the Edinburgh Festival Fringe, performing at 9:55pm at Pleasance Courtyard Bunker One from 31st July to 25th Aug. Tickets here**Following hugely successful sell-out runs across the world as comedy-cabaret sensation ‘Séayoncé', award-winning performer and one of the most exciting queer voices in the comedy scene Dan Wye is set to bring their hotly-anticipated debut stand-up hour ‘Dan Wye Am I Sam Smith?' to this year's Edinburgh Fringe.Have you experienced the intensity of being famous without any of the perks? Been doppelgäng-banged to the point that you no longer exist? Dan Wye has, and they're going to tell you all about it in their debut stand-up hour ‘Dan Wye Am I Sam Smith?, directed by Soho Theatre's Lee Griffiths (Late Night Gimp Fight). Exploring the power and joy in finding their queer identity and the absurd reality of it being taken away by someone with four BRIT Awards. Lube up for this deep dive into fame and misfortune, accidental celebrity identity theft and being simultaneously on the cusp of tragic and iconic at all times. Dan Wye is an award winning multidisciplinary artist, covering comedy, cabaret, drag and theatre, and has quickly become one of the most prominent and exciting queer cabaret performers in the country. Their performances as the legendary ghost whisperer Séayoncé,alongside murderous accomplice Leslie-Ann (aka musical genius Robyn Herfellow), has received rave reviews and led them to tour nationally performing at acclaimed arts venues and festivals including three hugely successful Edinburgh Festival Fringe runs, as well as performances at Glastonbury Festival, seven sell-out runs at London's Soho Theatre (two of which were extended due to popular demand), Underbelly Festival, National Theatre, Shakespeare's Globe Theatre, the Royal Opera House, and internationally at the Adelaide and Melbourne Fringe Festivals, Sydney World Pride and The Palace in Poland. They alsorecently made their US debut, performing at Public Theatre in New York and the Elysian Theatre in LA. Dan has also acted as a dramaturg and co-writer for acts including comedians Grace Campbell and Luke Rollason, sketch duo Siblings and comedy circus shows from Circ Motif and Grounded Circus. Dan is the winner of the Vault Festival's After Dark award and was the runner-up in the NATYS: New Acts of the Year Show in 2022. #HYGYSTPOD #haveyougotyoursh*ttogether #HYGYST #caitlinoryan #danwyeHave You Got Your Sh*t Together? with Caitlin O'Ryan, is a podcast that celebrates not having your sh*t together! In each episode, Caitlin interviews guests who seemingly “have their sh*t together” - be that in life/love/work/hobbies. Throughout the conversation, the questions unveil whether they actually do, or whether the whole concept is a lie! With a mix of guests from various backgrounds, the podcast is sure to be relatable, honest, and an antidote to Instagram culture. Producer - Ant Hickman (www.ahickman.uk)Artwork - Tim Saunders (www.instagram.com/timsaunders.design)Photography - Patch Bell (www.patchstudio.uk)Music - Cassia - 'Slow' (www.wearecassia.com)Web: www.hygystpod.comInsta: www.instgram.com/hygystpodEmail: hygystpod@gmail.comRSS: https://feeds.acast.com/public/shows/644a8e8eadac0f0010542d86 Hosted on Acast. See acast.com/privacy for more information.

Legendär waren sie: Die Aufführungen von William Shakespeare und seiner Truppe im Globe Theatre. Dabei spielte vermutlich auch die Musik eine wichtige Rolle. Welche genau, dem ist das Hathor Consort nachgegangen.

Narrator: Thomas Jones

Everyone knows Shakespeare and the Globe theatre, but did you know it was built with stolen lumber? Or do you know what was found on the ground when they found the original foundation? Here are the answers and a lot of other interesting history moments. Please help us out by leaving a comment and sharing our show with others!    Don't forget to Subscribe, Comment & leave us a rating and review. We also have a YouTube Channel "Chasing History" where we take you into the field with the men & women who discover history!

"We are something in the business of theatre ourselves..." The tale resumes in Elizabethan England... Take your seats at the Globe Theatre and disover the real story behind Shakespeare's plays. Don't want to wait for the next episode? Consider becoming a patron or subscribing on Apple Podcasts to get early access, listen without ads, and get bonus episodes! The Amelia Project is created by Philip Thorne and Oystein Brager and is a production of Imploding Fictions. This episode features Alan Burgon as The Interviewer, Hemi Yeroham as Kozlowski, David K. Barnes as Will, Adam Courting as Bakewell, Ben Galpin as Miller, Pip Gladwin as Fitton, Erin King as Mia, Jordan Cobb as Jackie, with additional voices by Laurence Owen, Alexander Danner, Torgny G. Anderaa, Benjamin Noble, Thomas Crowley, Patrick Lamb, Tom Middler, Peter Steele and Owen Lindsay. The episode was written by Chris and Jen Sugden of Victoriocity, with story editing and direction by Oystein Brager and Philip Thorne, audio editing by Philip Thorne, sound design by Alexander Danner, music by Fredrik Baden, production assistance by Maty Parzival and graphic design by Anders Pedersen. Website: https://ameliapodcast.com/  Transcripts: https://ameliapodcast.com/season-5  Patreon: https://www.patreon.com/ameliapodcast Donations: https://ameliapodcast.com/support Merch: https://www.teepublic.com/stores/the-amelia-project?ref_id=6148 Instagram: https://www.instagram.com/ameliapodcast/ Tumblr: https://www.tumblr.com/ameliapodcast X: https://twitter.com/amelia_podcast Bluesky: https://bsky.app/profile/theameliaproject.bsky.social Learn more about your ad choices. Visit megaphone.fm/adchoices

Musician Graham Gouldman performs live from his new album, as well as talking about his Lancashire upbringing and and playing in the band 10cc50 years ago Steven Spielberg was filming his adaptation of Peter Benchley's shark thriller Jaws - a problematic shoot that nonetheless resulted in a classic movie. Critic Larushka Ivan-Zadeh and writer Robert Lautner assess the film's legacy and look at the many shark attack movies that have followed in its wake, including new releases Something in the Water and Under Paris. And Will Tosh from the Globe Theatre in London discusses his new book Straight Acting: The Many Queer Lives of William Shakespeare.Presenter: Antonia Quirke Producer: Ciaran Bermingham

We've got mail! Jonathan and Honey answer your questions about cinema, films, family and everything in between. The pair talk about Jonathan's 'jazzy' New York outfits, Honey's hung up on The Globe Theatre, and the two discuss how Marilyn Monroe's dress in Some Like It Hot defies gravity.Remember, if you want to get involved you can email us at reeltalk@global.comThanks for listening. Listen and subscribe to Reel Talk on Global Player or wherever you get your podcasts.

The Globe Theatre - Man Called X - Goes to Italy or Murder and a Blonde Madonna Host and stars - Herbert Marshall, w-Hans Conreid, Female actors not credited. Director & Producer William N. Robson 1944 (AFRTS)

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

This meeting of the Bureau is packed with trivial nonsense, like an attempt to rent land off the city for a dollar that goes nowhere and a Clr Nelson Moment that … goes nowhere. Plus, Globe Theatre gets cash! And! Madame Web! Music by Guidewire (aka Ryan Hill). Originally broadcast on 91.3FM CJTR.

Host Luisa Lyons chats with David Nando Rodgers, an actor/singer/writer whose new cabaret My Sunday Clothes will be livestreamed from NYC's The Green Room 42. In this thoughtful and enlightening conversation, David shares his journey into the world of musical theatre which began with sitting in the second row of a matinee of the Phantom of the Opera. Dive into the practice of theatre from the perspectives of drama school, performance, being a repeat viewer, and creating a new cabaret from scratch.David Nando Rodgers is an actor, singer, and writer. Recently, he appeared in The REV Theatre's Evita in the ensemble and covered Juan Perón. Other select credits are Marat/Sade, Jane Eyre, The Rover, and Sweet Revenge. He co-adapted a production of Dracula and he's been co-writing a new musical, The Starving Artist. David also has a longstanding non-profit administration career. Training: BFA, University of Minnesota/Guthrie Theater Actor Training Program and Shakespeare's Globe Theatre, London. www.davidnandrodgers.com @davidnandorodgersShow Links My Sunday Clothes @ The Green Room 42Support the showFilmed Live Musicals is where musicals come home. Use the searchable database to find musicals filmed on stage to watch from the comfort of your living room! Visit www.filmedlivemusicals.com to learn more. Follow us on Facebook, Instagram, Twitter, and YouTube. You can also support the site at Patreon. Patrons get early access to the podcast and site content, no matter how much you pledge. Become a Patron today!Filmed Live Musicals is created by Luisa Lyons, an Australian actor, writer, and musician. Luisa holds a Masters in Music Theatre from London's Royal Central School of Speech and Drama and now lives, works, and plays in New York. Learn more at www.luisalyons.com and follow on Twitter, Instagram, and Facebook.

I walked by Shakespeare's Globe Theatre after a weekend of wrestling with Booking.com and TravelNest‘s service agents, trying unsuccessfully to not let them screw up my London vacation rental. The Macbeth soliloquy about a tale “full of sound and fury, signifying nothing” pretty much summed up my experience — lots of talk that yielded nothing. But before that, we catch up on Hertz's EV reversal, Sioux City, Iowa's embrace of their SUX airport code, and a flash-in-the-pan airport delay betting app.Check out this episode's show notes for a transcript of the episode and links I mention here

This week we stay in France but time travel back to the Elizabethan era as we discuss Sir Laurence Olivier's version of “Henry V”. Join the gang as they discuss why people hate Shakespeare, the transition from the Globe Theatre to the battlefield of Agincourt, and the differences between this and the Kenneth Branagh version. Also, this week Britt recommends “Inh-Oh” (on Hulu), Joey recommends “A Knight's Tale” (on Hulu), and Adam recommends “Much Ado About Nothing” (on Prime, Hoopla, or Tubi).   You can listen to us on Apple Podcast, Stitcher, Spotify, & Google Play. You can find us on Twitter, Instagram, & Facebook at facebook.com/1001by1. You can send us an email at 1001by1@gmail.com. Intro/Outro music is “Bouncy Gypsy Beats” by John Bartmann.

On this day in 1946, Frank Capra's "It's a Wonderful Life" premiered at the Globe Theatre in New York City.See omnystudio.com/listener for privacy information.

Today Featuring: Colorado, Céline Dion, Jonah Hill & More...A Morning News Update That Takes Into Account The News Stories You Deem 'Highly Conversational'Today's Sponsor: FlowersFast!http://thisistheconversationproject.com/flowersfastToday's Rundown:Colorado Supreme Court bans Trump from state's 2024 ballothttps://apnews.com/article/trump-insurrection-14th-amendment-2024-colorado-d16dd8f354eeaf450558378c65fd79a2Jason Whitlock Implies Women Should Never Have Been Given The Right To Vote At Turning Point USA Eventhttps://newsone.com/4868733/jason-whitlock-turning-point-usa-event/Iceland Volcano Erupts Near Grindavik After Weeks of Earthquakeshttps://www.bbc.com/news/world-europe-67756413Caitlin Clark and Angel Reese are The Sporting News Athletes of the Yearhttps://www.sportingnews.com/us/ncaa-basketball/news/caitlin-clark-and-angel-reese-are-sporting-news-athletes-year/34c759308b5d7c808627bcb5Céline Dion lost control over her muscles amid stiff-person syndrome, her sister sayshttps://www.usatoday.com/story/entertainment/celebrities/2023/12/19/celine-dion-health-update-stiff-person-syndrome/71969130007/Holly Marie Combs claims Alyssa Milano had Shannen Doherty fired from ‘Charmed'https://pagesix.com/2023/12/18/entertainment/holly-marie-combs-confirms-alyssa-milano-had-shannen-doherty-fired-from-charmed/Rudy Giuliani sued again by Georgia election workers seeking to bar more defamationhttps://www.cnbc.com/2023/12/18/rudy-giuliani-sued-by-election-workers-over-defamation.htmlSenate confirms top military nominees, ending Tuberville's hold over promotionshttps://www.politico.com/news/2023/12/19/senate-confirms-top-military-nominees-ending-tubervilles-hold-over-promotions-00132588Website: http://thisistheconversationproject.comFacebook: http://facebook.com/thisistheconversationprojectTwitter: http://twitter.com/th_conversationTikTok: http://tiktok.com/@theconversationprojectYouTube: http://thisistheconversationproject.com/youtubePodcast: http://thisistheconversationproject.com/podcasts#yournewssidepiece #coffeechat #morningnewsONE DAY OLDER ON DECEMBER 20:Peter Criss (78)Dick Wolf (77)Jonah Hill (40)WHAT HAPPENED TODAY:1860: South Carolina became the first state to secede from the United States.1946: The Frank Capra film “It's A Wonderful Life” had a preview showing for charity at New York City's Globe Theatre, a day before its official premiere.2019: United States Space Force was founded, an armed forces branch dedicated to space warfare.PLUS, TODAY WE CELEBRATE: Sangria Dayhttps://www.nationaldaycalendar.com/national-day/national-sangria-day-december-20TODAY'S POLL QUESTION: Is Donald Trump's Disqualification From The Colorado Primary Ballot A Fair Call?https://theconversationproject.morebettermediacompany.com/2023/12/20/dailypoll/

Take a trip to London, England. Host (and native Brit) Alan Campbell took a trip "across the pond" to visit the home of Benjamin Franklin, Jimi Hendrix's flat, and the reconstructed Globe Theatre where actor and director Sam Wanamaker labored for years. We hear stories from historians and tour guides about why these gentleman fell in love with London and what they accomplished there. This episode of Watching America originally aired September 2022, soon after the passing of Queen Elizabeth.

Gary Lloyd has led organizational change initiatives for nearly thirty years. Over the last decade, he has also helped professionals make personal and career changes as co-chair of the Warwick Business School mentoring programme and as a steering committee member for its mentoring program. He spent most of his career in banking and financial markets. However, through his consulting and coaching work, he has also worked with clients in manufacturing, construction, logistics, food processing, and IT services. He's a volunteer steward at Shakesspeare's Globe Theatre in London and a volunteer coach for staff at St. Christopher's Hospice in London.Gary has developed Leadership Skills Lab, a prototype interactive platform powered by ChatGPT to help you practice and refine your leadership skills through engaging role-playing scenarios.A Quote "This site is an experiment to see whether I can combine two of my interests: Leadership Education and Artificial intelligence. To provide a learning experience through practice in a safe environment for various leadership skills. This is the very first prototype, providing a "flight simulator" for vital leadership skills. Feedback is very welcome."Resources Mentioned in This EpisodeResource: ChatGPT4Podcast: The Inner CosmosBook: The Dawn of Everything: A New History of Humanity by  Graeber and  WengrowBook:  Lincoln in the Bardo by SaundersBook: Real-Time Leadership: Find Your Winning Moves When the Stakes Are High by Noble & Kauffman About The International Leadership Association (ILA)The ILA was created in 1999 to bring together professionals interested in studying, practicing, and teaching leadership. Plan for ILA's 25th Global Conference in Vancouver, British Columbia, October 12-15, 2023.About The Boler College of Business at John Carroll UniversityBoler offers four MBA programs – 1 Year Flexible, Hybrid, Online, and Professional. Each MBA track offers flexible timelines and various class structure options (online, in-person, hybrid, asynchronous). Boler's tech core and international study tour opportunities set these MBA programs apart. Rankings highlighted in the intro are taken from CEO Magazine.About  Scott J. AllenWebsiteMy Approach to HostingThe views of my guests do not constitute "truth." Nor do they reflect my personal views in some instances. However, they are views to consider, and I hope they help you clarify your perspective. Nothing can replace your reflection, research, and exploration of the topic.

Get ready for a theatrical feast in our latest podcast! First up, at the Orange Tree Theatre, the talented Niamh Cusackleads a thrilling revival of Polly Stenham's remarkable 2007 debut, That Face. When Mia is expelled from boarding school, her mother Martha seems indifferent, more interested in her son Henry. And with Mia's estranged husband, Hugh, returning from Hong Kong with his new girlfriend, he's determined to fix things. But Martha insists everything is just fine. Polly Stenham's searing debut play peels back the curtain on the hidden lives of the wealthy, delivering anarchic humour that won accolades like the Evening Standard Charles Wintour Award, the TMA Best New Play Award, and the Critics' Circle Award. Don't miss its first major London revival! Next, we venture to the Globe Theatre for a spirited rendition of Shakespeare's As You Like It. In Duke Frederick's court, division and distrust reign supreme. When Rosalind is banished, she escapes with her cousin Celia to the Forest of Arden, free from the court's rigid rules. Here, they explore new identities and discover a place where love and connection know no bounds. In this ancient haven of nature, unexpected friendships bloom, enemies reconcile, and strangers fall head over heels. Join us in our wooden 'O' for an unforgettable journey where you never know what—or who—you might encounter. Director Ellen McDougall's delightful production infuses warmth into the summer's end. At the Hampstead Theatre, prepare for a mind-bending journey in Anthropology. Merril, a leading software engineer in Silicon Valley, faces a life-shattering ordeal when her sister Angie vanishes. A year later, Merril takes Angie's digital traces and constructs a digital simulation of her sister. This 'virtual Angie' initially provides solace, but it soon starts revealing unsettling details about the real Angie's disappearance. Playwright Lauren Gunderson, celebrated for works like "I and You," crafts a gripping narrative in this San Francisco-based tale. Directed by Anna Ledwich, who has an impressive Hampstead Theatre portfolio, Anthropology stars the talented MyAnna Buring alongside Dakota Blue Richards, Yolanda Kettle, and Abigail Thaw. Last but not least, immerse yourself in the mesmerising world of Bob Marley's music with Legend. This unforgettable stage show extravaganza brings to life the timeless hits of the reggae legend. From Could You Be Loved to No Woman No Cry and One Love, you'll experience Marley's iconic sound like never before. With impeccable vocals, flawless musicianship, and a supremely talented cast, this two-hour spectacle captures the essence of an icon gone too soon. Don't miss this celebration of the magic and culture of Bob Marley!

Get ready for a delectable journey into the world of pure imagination as Charlie and the Chocolate Factory – The Musical embarks on its highly anticipated first-ever UK & Ireland Tour. This iconic tale of young golden ticket winner Charlie Bucket and the enigmatic confectionary wizard Willy Wonka is set to dazzle audiences across the country. In this episode, we're bringing you exclusive insights into the production, including an interview with the talented actor Gareth Snook, who takes on the iconic role of Willy Wonka. Discover the magic behind the scenes as we explore the creative process and the excitement of taking this beloved story on the road. But the theatrical excitement doesn't stop there! Regent's Park is hosting a glorious musical revival of Jerry Hermanand Harvey Fierstein's classic La Cage aux Folles. This wonderfully powerful production reminds us that "the best of times are now." Join Georges, Albin, and their son Jean-Michel as they rediscover the true meaning of family and the sacrifices made for the ones they love. With lead actor Carl Mullaney delivering a perfect rendition of "I Am What I Am," this revival promises to be a show-stopping experience you won't want to miss. One couple's ruthless quest for power turns nature upside down as Shakespeare's bloody tragedy Macbethconsumes the Globe Theatre in a ‘powerful… striking' ★★★★ (The Guardian) production. On his return from war, three strange men offer Macbeth the prospect of ultimate control. Desperate for a new future, he and his wife set out to make it a reality with devastating costs. Following 2022's ‘mesmerising' ★★★★★ (WhatsOnStage) The Merchant of Venice in the Sam Wanamaker Playhouse, Director Abigail Graham debuts in the Globe Theatre with Shakespeare's epic tale, exploring the impact and exploitation of unexpressed grief. Join us as we dive into these captivating productions, providing you with in-depth insights, interviews, and a behind-the-scenes look at the world of theatre. Whether you're a fan of classic tales, heart-warming musicals, or Shakespearean tragedies, this episode promises to be a theatrical delight that will leave you eagerly anticipating your next trip to the theatre.

Have you ever dreamt of a vacation in the UK, steeped in literature, and history? Join us as we journey through the heart of England with Lisa Olney and her husband, Ken - an adventure that unravels the rich tapestry of Tudor history, iconic landmarks, and the hidden gems of British culture. In this enchanting narrative, Lisa shares her experiences from a two-week exploration of England, capturing the essence of destinations such as the Globe Theatre, Stratford upon Avon, and Hever Castle. However, their adventures don't stop there. Lisa and Ken immerse themselves in the quintessential British pub culture, savouring delicacies like fish and chips and steak pies. They also share their insights into the convenience and efficiency of the UK's transportation system. As the episode comes to a close, Lisa reveals her tips for a memorable UK sojourn.  Whether you're a first-time traveller or a seasoned explorer, this episode is peppered with tips and insights to help you plan your perfect UK getaway. So buckle up and get ready to embark on a virtual journey to the illustrious landscapes of the UK!For further information and the full show notes for this episode visit UKTravelPlanning.com/episode-61>> Visit our shop for guides and resources to help plan your trip including our popular UK Train Travel ebookSupport the show❤️ Do you enjoy our weekly podcast? We love putting together our shows for you and sharing our knowledge, love of UK travel and of course practical tips to save you time and money.

In this episode, Kikau and Matty chat with Tiernan Tunnicliffe and Matt Raffy, two members of the Broadway company of & Juliet. They reflect on their MT education, opening on Broadway, and the importance of Dungeons and Dragons. TIERNAN TUNNICLIFFE (she/they) is thrilled to be making her Broadway debut with such a magical cast. Credits include: Bat Out of Hell (NY City Center),The Who's Tommy (Kennedy Center). T would like to thank her friends, family & everyone in between that has supported her journey-so much love for y'all. (BFA, NYU-Tisch) MATT RAFFY (he/they) Theatre: & Juliet (Mirvish); Exit, Pursued by a Bear, Mamma Mia! (Globe Theatre); Mythic (Segal Centre); Beauty and the Beast (Capitol Theatre); Cinderella, Mamma Mia! (Neptune Theatre); Disgraced (Magnus Theatre); TV/Film: “Workin' Moms” (CBC); Pillowcase (KP Films). Matt is over the moon to make his Broadway debut in & Juliet!

Hello, Hello!    In this special edition of Indie Talk, we miss Bonsai Nick but bring on two fantastic guest hosts. Director and Producer Maggie Contreras (https://instagram.com/maggiecontreras) and Actress and  Producer Charity Wakefield (https://instagram.com/charitywakefield). Both worked on the incredible documentary Maestra, Executive Produced by David Letterman's Production company, Worldwide Pants. We talk about:     Pros and cons of filming in Cuba Why Producers are elite problem solvers How they got access to the musicians featured in their film Maestra  What steps are required to produce in France effectively  The tricks to getting the most out of a cast and crew The need for a Documentary Filmmaker union Producer Papa Bear once again stumps and educates us with an all-new Things We Should Know and much more...   Enjoy!   The MAKE IT podcast is brought to you by the Voice of the Filmmaker program, which is sponsored by Women in Film and Television, Nashville (a 501(c)(3) non-profit organization).   If you like what we're doing, please donate here: https://www.bonsai.film/donate.   How you can continue to enjoy MAKE IT content:   Subscribe to the MAKE IT YouTube channel. Subscribe to the MAKE IT Podcast wherever you listen to podcasts. Subscribe to our newsletter at https://www.bonsai.film/subscribe.   The MAKE IT podcast amplifies the voice of the filmmaker by exploring the filmmaking journeys of actors, writers, directors, producers, and a host of other creatives from across the film industry. We provide a platform for filmmakers to provide advice, lessons learned, personal reflections, and insights through our Filmmaker Conversations, Mistakes in the Making, Industry Insights, Indie Talks, and Film Investment Series. We are the go-to film podcast for independent creatives!   More on Charity Wakefield   Instagram - @charitywakefield Twitter - @charitywakefld   CHARITY WAKEFIELD's resumé boasts a colorful spectrum of critically and commercially acclaimed work that illustrates her fantastic talent.   Charity stars in Hulu Original drama series THE GREAT, starring Elle Fanning and Nicholas Hoult. Written and executive produced by Tony McNamara (The Favourite) and directed by Matt Shakman (Game of Thrones, Succession), the series charts the rise to power of Catherine the Great and her explosive relationship with her husband, Peter, the emperor of Russia. The series has been nominated for Golden Globe, SAG, Emmy, MTV, and BAFTA Awards.   Since playing the romantic ‘Marianne Dashwood' in the BBC mini-series of Jane Austen's celebrated SENSE AND SENSIBILITY, she has appeared in some of our most noteworthy productions, including the critically acclaimed Channel 4 drama ANY HUMAN HEART, the Golden Globe and BAFTA-winning and Emmy-nominated WOLF HALL, THE HALCYON (ITV), Ron Howard's Emmy nominated GENIUS (Nat Geo);  CLOSE TO THE ENEMYdirected by Stephen Poliakoff for BBC2, the global phenomenon DOCTOR WHO; playing opposite Jack Whitehall in Sky One's BOUNTY HUNTERS, an ‘action-comedy-drama' also starring Oscar nominee Rosie Perez. International projects include working alongside Jennifer Lawrence and Bradley Cooper in the Susanne Bier-directed SERENA, crime thriller THE PLAYER for NBC with Wesley Snipes, and supernatural drama MOCKINGBIRD LANE also for NBC.   Charity made history as the first woman to play Shakespeare at The Globe Theatre, London, in  Nicole Charles's ‘exhilarating' all-female production of EMILIA, which had a West End transfer to the Vaudeville Theatre. Additional theatre credits include a ‘beautifully executed' (LA Times) THE CHERRY ORCHARD at the Olivier Theatre at the National Theatre, SEMINA, THE BLACKEST BLACK and NO NAUGHTY BITS all at the Hampstead Theatre; CANDIDA at the Theatre Royal Bath and THE RIVALS with Celia Imrie at the Southwark Playhouse.   As a producer, Charity's credits include the female-led, jet-black comedy A SERIAL KILLER'S GUIDE TO LIFE, which was long-listed for the Breakthrough Producer award at the 2019 British Independent Film Awards and can be viewed on all VoD sites (Apple TV, Itunes, Amazon, BT, Virgin, etc). Additional producing credits include short films WRAPS, which is now being made into a feature, and MEMENTO VITAE.     More on Maggie Contreras   Instagram is @MaggieContreras @MaestraMovie www.MaggieContreras.com   Maestra is a new feature documentary following five internationally-based women as they prepare for and perform in ‘La Maestra'—the only competition in the world for female orchestra conductors. Personal stories of survival, passion, and perseverance are woven together with the drama and excitement of this one-of-a-kind event created to break yet another glass ceiling for women. Maggie Contreras' directorial debut had its world premiere in competition at the 2023 Tribeca Festival, where it won an audience award.   Previously, she was the producer behind documentary films tackling a wide range of topics, from comics to solar energy. Jonathan Scott's Power Trip (PBS Independent Lens ‘20) is the titular HGTV celebrity and activist's journey across the USA to examine the antiquated utility monopoly system and how solar holds the key to energy freedom. In 2017, Gilbert also premiered at the Tribeca Film Festival and was distributed by Gravitas Ventures with exclusive SVOD on Hulu. Her work has been seen on AMC, NFL, and Quibi.   Whether it's working with brands or in the field on her next film, Maggie is fueled by the power of true stories.

Episode 8: Norah Lopez HoldenNorah Lopez Holden is an award-nominated, Spanish-British actor, who is also Caitlin's best friend! In 2021 Norah starred as Othelia alongside Cush Jumbo, to critical acclaim. She has performed at The Globe Theatre, all over London and at The Royal Exchange in Manchester. As well as being an incredible actor, Norah is an activist and a great friend. She is a keen flamenco dancer and knitter, in between performances on stage.Have You Got Your Sh*t Together? with Caitlin O'Ryan, is a podcast that celebrates not having your sh*t together! In each episode, Caitlin interviews guests who seemingly “have their sh*t together” - be that in life/love/work/hobbies. Throughout the conversation, the questions unveil whether they actually do, or whether the whole concept is a lie! With a mix of guests from various backgrounds, the podcast is sure to be relatable, honest, and an antidote to Instagram culture. Producer - Ant Hickman (www.ahickman.uk)Artwork - Tim Saunders (www.instagram.com/timsaunders.design)Photography - Patch Bell (www.patchstudio.uk)Music - Cassia - 'Slow' (www.wearecassia.com)Web: www.hygystpod.comInsta: www.instgram.com/hygystpodEmail: hygystpod@gmail.comRSS: https://feeds.acast.com/public/shows/644a8e8eadac0f0010542d86 Hosted on Acast. See acast.com/privacy for more information.

June 29, 1613. During a performance of William Shakespeare's King Henry VIII, the famous Globe Theatre burns to the ground.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Theater im 17. Jahrhundert ist deftig, bunt - und braucht echten Kanonendonner. Als bei einer Aufführung eines Shakespeare-Stücks Funken sprühen, geht das schon damals berühmte Globe Theatre in Flammen auf. Autor: Thomas Mau Von Thomas Mau.

John Lyly's play Galatea, first recorded in 1588, inspired Shakespeare to write As You Like It and A Midsummer Night's Dream. In Brighton, Emma Frankland is directing a rare professional revival of it, so she and the academic advisor on the project Andy Kesson join Globe Theatre head of research Will Tosh and New Generation Thinker Emma Whipday for a conversation about cross-dressing in Elizabethan dramas and about the plays gathered together in Shakespeare's First Folio. Shahidha Bari hosts. Emma Frankland's Galatea is commissioned by and is on as part of Brighton Festival, from the 5-21 May, 2023 Dr Andy Kesson teaches at Roehampton University and runs a Before Shakespeare project Dr Emma Whipday is a New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council. She teaches at the University of Newcastle Dr Will Tosh is Head of Research at Shakespeare's Globe, London. He is currently working on a book called Straight Acting: The Many Queer Lives of William Shakespeare The Globe Theatre production of A Midsummer Night's Dream runs 27th April to 12th August On the Free Thinking programme website you can find a collection of discussions about Shakespeare and the Shakespeare Sessions on BBC Sounds includes a whole series of plays available to listen to. The most recent addition is Henry IV part II which you can also hear as a Drama on 3 on Sunday night on Radio 3. Producer: Harry Parker

LIVE from the Globe Theatre in Los Angeles, CAMick Foley joins COLT on stage for a fun intimate chat...Listen Ad Free on Patreon:AD FREE: Patreon.com/COLTCABANABUY COLT'S GOODS....ProWrestlingTees.com/ColtCabanaCOLTMERCH.comCOLTCABANA.comImage Photo: portraitofawrestler.comImage Design: Jimmy Lee