Podcasts about guildenstern

In the twenty-third episode of Season 11: The Son of Cult Flicks, Kyle is joined for a one-on-one conversation with fellow podcaster Lee from Spro & Lee Take on the Academy as they discuss the irreverent nature and knowing stupidity of SCTV favorites Bob & Doug McKenzie as they become the Rosencrantz & Guildenstern of an unsuspecting Hamlet tragedy in the sketch turned film adaptation known as Strange Brew (1983).

Happy New Year and welcome back to the 214th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 214th episode we bring you a very special episode of “The Cup: Editorial” in which we look back on the year that's passed, the plays we loved, and the episodes we produced. Join our Golden Trio (Jillian Robinson, Mackenzie Horner, and Ryan Borochovitz) as they raise their custom-branded mugs and say cheers to 2024! Here's a list of all the episodes from 2024 that we shout out in this episode (in order of first mention). If any of them piqued your interest, give them a watch/listen: Fences (Screened Play): https://www.youtube.com/watch?v=RRoqQwugzIc Summer Dances: A Mixed Bill: https://www.youtube.com/watch?v=rr3c9aWZkT0 Toronto Fringe Review Roundup 2024 Pt.1: https://www.youtube.com/watch?v=Lj_wxsX1tGs&t=2241s Toronto Fringe Review Roundup 2024 Pt.2: https://www.youtube.com/watch?v=fFGOJTtVljI&t=6195s Toronto Fringe Review Roundup 2024 Pt.3: https://www.youtube.com/watch?v=BDKw_MDJLEY&t=8434s Rosencrantz and Guildenstern are Dead: https://www.youtube.com/watch?v=W0iuadp8zck&t=1800s Scott Alan Interview: https://www.youtube.com/watch?v=-k4AViQsRMY&t=720s Alicia Richardson Interview: https://www.youtube.com/watch?v=EZnu0OwCtaE Mateo Chavez Lewis Interview: https://www.youtube.com/watch?v=drnTPBYpjuY Chloë Rose Flowers Interview: https://www.youtube.com/watch?v=h4DqKRzzUiA Hamilton (200th Episode): https://www.youtube.com/watch?v=3RcJ9Lj9-h0&t=5798s The Crucible (NT Live): https://www.youtube.com/watch?v=8lpSFTH1ojk Playing Shylock: https://www.youtube.com/watch?v=EKGayi9ONHE&t=526s HRH Anand Rajaram Interview: https://www.youtube.com/watch?v=fzOfGWpy_rc&t=4815s Rear Window: https://www.youtube.com/watch?v=n4GGPWO17VY Dead Elephants: https://www.youtube.com/watch?v=ex6zVShCpfM&t=826s The Fixing Girl: https://www.youtube.com/watch?v=_yS-Fsi-kHE Four Minutes Twelve Seconds: https://www.youtube.com/watch?v=Fl3vGk_LgpE The Eve of St. George: https://www.youtube.com/watch?v=IrCb8PkxAmg Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Jillian Robinson – Instagram: @jillian.robinson96 // Tommy Rhodes Cast Album – Apple Music: https://music.apple.com/gb/album/tommy-rhodes-original-studio-cast-recording/1786580779 / Spotify: https://open.spotify.com/album/1t4NtJFUa4TVAJm8mWCIOP?si=_npoj8ptSD-tcYbv7qJiaA&nd=1&dlsi=cf35a53988054372 / YouTube: https://www.youtube.com/watch?v=s02VjtbFH1U&ab_channel=MusicTheatreTheory Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre If you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com CHAPTERS: 0:00 – Intro: Crunching Numbers 4:58 – 52 Episodes 6:56 – 94 Reviews 11:33 – 11 Interviews 16:00 – 1 Screened Play 20:01 – 0 Editorials 23:14 – 7 Guest Reviewers 30:26 – Most Popular Episodes of 2024 35:17 – Our Favourite Episodes of 2024 45:23 – Our Favourite Plays of 2024 1:05:37 – Our Most Anticipated Plays of 2025 1:13:32 – Sign Off

Rosencrantz and Guildenstern aren't dead, they're just holographic actors in a museum on a backwater planet. But six months before The Hoodoo sets out on her mission, a freak “accident” occurs. Find out how two Shakespearean nobodies became sentient holograms battling monsters in space.

In our final week of looking at the scenes of Hamlet, Rosencrantz and Guildenstern, the group used "Italian run-thrus" (rapid line delivery) and continued to work on the scenes switching roles. The group discussed the benefits and challenges of role-sharing and switching between the language styles of Shakespeare and Stoppard. During the Q&A, a number of artists mentioned their growth in understanding and portrayal of these characters. Subscribe to get notified of our next rehearsal session! Support The Rehearsal Room on Patreon - get early access to sessions (before they go public on YouTube and the podcast), priority with asking questions, and more: https://www.patreon.com/wajpodcast You can also watch the full sessions on YouTube: https://workingactorsjourney.com/youtube  About the Scene Our group is working on sections of Act 2, Scene 2 and Act 3, Scene 2 from Shakespeare's Hamlet - AND they will also look at the beginning of Act 2 in Tom Stoppard's Rosencrantz and Guildenstern are Dead. CREATIVE TEAM DIRECTOR: Geoffrey Wade DRAMATURG: Gideon Rappaport And the PLAYERS: Marcelo Tubert, Nick Cagle and Dan Cordova Hamlet scenes from the Folger Shakespeare Library: https://www.folger.edu/explore/shakespeares-works/hamlet/read/2/2/ https://www.folger.edu/explore/shakespeares-works/hamlet/read/3/2/ More about this group: https://workingactorsjourney.com/workshop/shakespeare-stoppard-rehearsal-room-june-2024 BOOKS Dr. Gideon Rappaport has written three books on Shakespeare: William Shakespeare's Hamlet: Edited and Annotated: https://amzn.to/3xdt012 Appreciating Shakespeare: https://amzn.to/3XjY6Pe Shakespeare's Rhetorical Figures: An Outline: https://amzn.to/3KEzyZK Thank you to our current patrons Joan, Michele, Christion, Jim, Magdalen, Ivar, Claudia, Clif and Jeff! #workingactor #rehearsal #shakespeare #stoppard #hamlet

This week, the actors practiced delivering lines from Shakespeare's "Hamlet" using a technique that involved looking at the camera when speaking and looking at the screen when listening to capture the feeling of direct engagement. Emphasis was placed on understanding the meaning behind the words, which sometimes led to emotional revelations. They worked on specific lines to bring out operative words and discussed the implications of ambition within the text. The exercise aimed to illuminate nuances of the text by slowing down and emphasizing clarity in delivery. Subscribe to get notified of our next rehearsal session! Support The Rehearsal Room on Patreon - get early access to sessions (before they go public on YouTube and the podcast), priority with asking questions, and more: https://www.patreon.com/wajpodcast Watch the session on YouTube: https://youtu.be/MYuYgB7GRFw  About the Scene Our group is working on sections of Act 2, Scene 2 and Act 3, Scene 2 from Shakespeare's Hamlet - AND they will also look at the beginning of Act 2 in Tom Stoppard's Rosencrantz and Guildenstern are Dead. CREATIVE TEAM DIRECTOR: Geoffrey Wade DRAMATURG: Gideon Rappaport And the PLAYERS: Marcelo Tubert, Nick Cagle and Dan Cordova Hamlet scenes from the Folger Shakespeare Library: https://www.folger.edu/explore/shakespeares-works/hamlet/read/2/2/ https://www.folger.edu/explore/shakespeares-works/hamlet/read/3/2/ More about this group: https://workingactorsjourney.com/workshop/shakespeare-stoppard-rehearsal-room-june-2024 BOOKS Dr. Gideon Rappaport has written three books on Shakespeare: William Shakespeare's Hamlet: Edited and Annotated: https://amzn.to/3xdt012 Appreciating Shakespeare: https://amzn.to/3XjY6Pe Shakespeare's Rhetorical Figures: An Outline: https://amzn.to/3KEzyZK Thank you to our current patrons Joan, Michele, Christion, Jim, Magdalen, Ivar, Claudia, Clif and Jeff! #workingactor #rehearsal #shakespeare #stoppard #hamlet

Subscribe to get notified of our next rehearsal session! Support The Rehearsal Room on Patreon - get early access to sessions (before they go public on YouTube and the podcast), priority with asking questions, and more: https://www.patreon.com/wajpodcast Watch the session on YouTube: https://youtu.be/MYuYgB7GRFw  About the Scene Our group is working on sections of Act 2, Scene 2 and Act 3, Scene 2 from Shakespeare's Hamlet - AND they will also look at the beginning of Act 2 in Tom Stoppard's Rosencrantz and Guildenstern are Dead. CREATIVE TEAM DIRECTOR: Geoffrey Wade DRAMATURG: Gideon Rappaport And the PLAYERS: Marcelo Tubert, Nick Cagle and Dan Cordova Hamlet scenes from the Folger Shakespeare Library: https://www.folger.edu/explore/shakespeares-works/hamlet/read/2/2/ https://www.folger.edu/explore/shakespeares-works/hamlet/read/3/2/ More about this group: https://workingactorsjourney.com/workshop/shakespeare-stoppard-rehearsal-room-june-2024 BOOKS Dr. Gideon Rappaport has written three books on Shakespeare: William Shakespeare's Hamlet: Edited and Annotated: https://amzn.to/3xdt012 Appreciating Shakespeare: https://amzn.to/3XjY6Pe Shakespeare's Rhetorical Figures: An Outline: https://amzn.to/3KEzyZK Thank you to our current patrons Joan, Michele, Christion, Jim, Magdalen, Ivar, Claudia, Clif and Jeff! #workingactor #rehearsal #shakespeare #stoppard #hamlet

Subscribe to get notified of our next rehearsal session! Support The Rehearsal Room on Patreon - get early access to sessions (before they go public on YouTube and the podcast), priority with asking questions, and more: https://www.patreon.com/wajpodcast Watch the session on YouTube: https://youtu.be/Lv9Rs26SJRw About the Scene Our group is working on sections of Act 2, Scene 2 and Act 3, Scene 2 from Shakespeare's Hamlet - AND they will also look at the beginning of Act 2 in Tom Stoppard's Rosencrantz and Guildenstern are Dead. CREATIVE TEAM DIRECTOR: Geoffrey Wade DRAMATURG: Gideon Rappaport And the PLAYERS: Marcelo Tubert, Nick Cagle and Dan Cordova Hamlet scenes from the Folger Shakespeare Library: https://www.folger.edu/explore/shakespeares-works/hamlet/read/2/2/ https://www.folger.edu/explore/shakespeares-works/hamlet/read/3/2/ More about this group: https://workingactorsjourney.com/workshop/shakespeare-stoppard-rehearsal-room-june-2024 BOOKS Dr. Gideon Rappaport has written three books on Shakespeare: William Shakespeare's Hamlet: Edited and Annotated: https://amzn.to/3xdt012 Appreciating Shakespeare: https://amzn.to/3XjY6Pe Shakespeare's Rhetorical Figures: An Outline: https://amzn.to/3KEzyZK Thank you to our current patrons Joan, Michele, Christion, Jim, Magdalen, Ivar, Claudia, Clif and Jeff! #workingactor #rehearsal

Her solo performance of Hamlet—yes, all the parts (Rosencrantz and Guildenstern)—should be accessible to everyone. “Shakespeare is presented to people these days as 'this is good for you.' I've heard the term ‘spinach theater.'” The trick? Avoid vegetables, emphasize history, preserve the beauty of the verse: words, words, words!

Welcome to the Instant Trivia podcast episode 1189, where we ask the best trivia on the Internet. Round 1. Category: Bill Clinton 1: Clinton won first chair in this instrument in the Arkansas state band. the saxophone. 2: His birthplace; it's where he lived the first 7 years of his life. Hope, Arkansas. 3: The day before taking office, Clinton prayed at this president's Arlington, Va. grave. John F. Kennedy. 4: Bill Clinton met Hillary Rodham while both were attending this law school. Yale. 5: Clinton got his bachelor's degree at this D.C. school, the only college he applied to. Georgetown. Round 2. Category: Song Of Poets. With Song in quotation marks 1: William Blake published this collection in 1789; "Experience" would come a few years later. Songs of Innocence. 2: Sections of this 1855 poem include "The Peace Pipe", "The White-Man's Foot" and "Blessing the Corn Fields". The Song of Hiawatha. 3: Read during Passover, it's also referred to as the "Canticle of Canticles". Song of Songs. 4: Before the 1881 edition, it was simply titled "Poem of Walt Whitman, an American". "Song of Myself". 5: An insignificant battle between Charlemagne and the Basques at Roncesvalles is the basis for this French epic poem. The Song of Roland. Round 3. Category: Rewriting Hamlet 1: Fair one, thy dad had thee repel my letters and deny me access to thee... but a restraining order? What is uppeth with that?. Ophelia. 2: Zounds! I saw thee not behind that arras! Denmark needeth a new minister to the king! My bad!. Polonius. 3: Though I did say of thee "Frailty, thy name is woman", Mother, I hope thou acceptest my wedding gift from Pottery Barn. Gertrude. 4: 'Tis okay ye killed Dad and wed Mom--thou said thy "offence is rank, it smells to heaven", but I'm a live and let live kind of guy. Claudius. 5: You "two-school-fellows, whom I will trust as I will adders fanged" ...Aw, I ain't mad atcha! Giveth me hugs!. Rosencrantz and Guildenstern. Round 4. Category: The 19Th Century 1: Much of the fighting in this war, 1853 to 1856, took place on a peninsula in the Black Sea. the Crimean War. 2: In 1893 this labor leader founded the American Railway Union. (Eugene) Debs. 3: In 1825 patriots crossed the Rio de la Plata from Argentina to fight for this country's freedom from Brazil. Uruguay. 4: King John VI of this country died in 1826 and left his throne to Dom Pedro of Brazil who became Pedro I. Portugal. 5: This family was restored to power in the 1870s when Alfonso XII ascended the Spanish throne. the Bourbons. Round 5. Category: Ad-Jectives 1: In other words this common pair of advertising adjectives could be "novel as well as ameliorated". new and improved. 2: In a slogan almost a century old, Maxwell House coffee is this "to the last drop". "good". 3: In other words, this common pair of adjectives could be "novel as well as ameliorated". new and improved. 4: Taking this adjective literally, the ads say that BMW is the last driving machine that'll be made. ultimate. 5: Since 1975 BMW has been touting its vehicles as this kind of "driving machine". "ultimate". Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

In today's episode, we're discussing The Importance of Being Earnest by the ever-delightful Oscar Wilde. A classic example of British theater, this play is known for its biting social satire and brilliant comedic dialogue. Throughout our conversation, we dive into the play's themes, discuss Wilde's mastery of wordplay, and his ability to write characters that satirize Victorian society in the cleverest ways. As always, we share our complementary pairings, and we hope this episode adds a few books to your TBR pile!  If you love our extra nerdy discussion on the podcast today, we have a hunch that you would also love participating in our Novel Pairings Patreon community. Our Patreon is a great space to take part in public scholarship and talk about books with a smart group of readers. Subscriptions start at just $5 a month, and yearly discounts are available. To learn more about our Patreon, visit patreon.com/novelpairings.   Books Mentioned: Rosencrantz and Guildenstern are Dead by Tom Stoppard Quietly Hostile by Samantha Irby Nevada by Imogen Binnie Me Talk Pretty One Day by David Sedaris The Best of Me by David Sedaris I Am Not Sidney Poitier by Percival Everett Dr. No by Percival Everett What a Difference a Duke Makes by Lenora Bell On Beauty by Zadie Smith   Also Mentioned: Bonus: 127. An Introduction to The Importance of Being Earnest Hamlet by William Shakespeare Rosencrantz and Guildenstern are Dead R. Eric Thomas  

For his final production as thirty-year artistic director of Chicago's Tony-winning Court Theatre, Charles Newell transforms Tom Stoppard's Rosencrantz and Guildenstern Are Dead into an unexpectedly joyful celebration of legacy and theater. Newell reveals his lengthy relationship with not only Stoppard's plays but with the man himself, and shares how he cast two halves of a whole; how he chose to respond instinctively to what was happening in rehearsal rather than adhere to an intricate plan; and how he embraced the counterintuitive and seemingly-oxymoronic phrase “joyful requiem.” (PICTURED: Erik Hellman and Nate Burger as Guildenstern and Rosencrantz in the Court Theatre production of Tom Stoppard's Rosencrantz and Guildenstern Are Dead, directed by Charles Newell. Photo by Michael Brosilow.) (Length 20:20)

This episode has probably been a long time coming, beloved listeners, but to be fair…it look a long time for SOMEONE (Matty) to do their film homework. Now that they have, the Sneople finally able to discuss the topic of this week's ep - Rosencrantz and Guildenstern are Dead! Starting off with the 1990 film, the Sneople gush about why it's an incredible stage to screen adaptation, what makes it a compelling piece of media even if you haven't read Hamlet a million times (like they have oops), and why Tim Roth is so devastatingly good looking. Beyond that, also talk about the play itself, and why both the play and the movie speak to them in different ways. Unsurprisingly, the episode does spin off a couple times into just talking about absurdist plays and/or Hamlet but that's to be expected. Please send in your votes now for which Sneople host you would cast in the main three roles of Rosencrantz and Guildenstern are Dead (including The Player), you have until the next ep goes up thank you xoxo

You were Romeo, I was a Scarlet Letter. This week we're covering an oldie but goodie–Taylor Swift's “Love Story”, from Fearless (Taylor's Version). In this very narrative-driven song, we get a chance to explore who the protagonists are and what they're trying to say about their love “story.  We explore why Taylor Swift references high school favorites “Romeo and Juliet” and “Scarlet Letter,” and what those metaphors may mean. The “Scarlet Letter” reference makes us look at this song from a whole new lens, forcing us to look at pronouns, verb tenses, and points of view–we promise you'll never hear this song the same way again.    Mentioned in this episode:  Love Story, Fearless (Taylor's Version)  Romeo and Juliet Titanic The Notebook  Tarzan of the Apes Tim McGraw Enchanted Pride and Prejudice  Cinderella How I Met Your Mother Scarlet Letter Easy A I Did Something Bad Jane Eyre Emma & Juliet  Rosencrantz and Guildenstern are Dead Don't Matter, Akon   Affiliate Codes:  Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro   ***   Episode Highlights:  [1:30] How we do a deep dive [08:19] “You'll be the prince and I'll be the princess” The fairytale references [14:50] “I was a Scarlet Letter” What this reference may mean [20:32] “All that's left to do is run” Where it all takes a turn [28:42] “When I met you on the outside of town” We approach the bridge [41:11] What we think the purpose of “Love Story” really is Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe   Follow us on social!  TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree →linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm → tinyurl.com/aptslibro   This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

Rosencrantz and Guildenstern are Dead 2 by

Welcome back to the 173rd episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 173rd episode we bring you a a Duet Review of Tom Stoppard's Rosencrantz & Guildenstern are Dead, directed by Jeremy Webb, presented in Toronto as part of the Off-Mirvish season (originally produced by Neptune Theatre), starring Lord of the Rings stars Dominic Monaghan and Billy Boyd as the titular duo. Join Ryan Borochovitz and Andrew Pawarroo, as they discuss the impact of celebrity casting, the legacy of Theatre of the Absurd, and the apparatus of squishy flesh.  Rosencrantz & Guildenstern are Dead is still running at the CAA Theatre (651 Yonge St, Toronto, ON) until April 6, 2024. Tickets can be purchased from the following link: https://www.mirvish.com/shows/rosencrantz-guildenstern-are-dead   This review contains many SPOILERS for Rosencrantz & Guildenstern are Dead. It will begin with a general non-spoiler review until the [12:03] mark, followed by a more in-depth/anything goes/spoiler-rich discussion. If you intend to see the production, we recommend you stop watching after that point, or at least proceed at your own risk.  Welcome to The Cup, a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. In episode 173, we bring you a Duet Review of Tom Stoppard's Rosencrantz & Guildenstern are Dead, directed by Jeremy Webb, presented in Toronto as part of the Off-Mirvish season (originally produced by Neptune Theatre), starring Lord of the Rings stars Dominic Monaghan and Billy Boyd as the titular duo. Join Ryan Borochovitz and Andrew Pawarroo, as they discuss the impact of celebrity casting, the legacy of Theatre of the Absurd, and the apparatus of squishy flesh. Rosencrantz & Guildenstern are Dead is still running at the CAA Theatre (651 Yonge St, Toronto, ON) until April 6, 2024. Tickets can be purchased from the following link: https://www.mirvish.com/shows/rosencrantz-guildenstern-are-dead This review contains many SPOILERS for Rosencrantz & Guildenstern are Dead. It will begin with a general non-spoiler review until the [12:03] mark, followed by a more in-depth/anything goes/spoiler-rich discussion. If you intend to see the production, we recommend you stop watching after that point, or at least proceed at your own risk. Check out Liam Donovan's review of the show, which we discuss at length: https://nextmag.ca/review-mirvishs-rosencrantz-guildenstern-are-dead-hobbles-with-hobbits-to-the-finish-line/ Follow our panelists: Andrew Pawarroo – Instagram: @andrew.s.pawarroo Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre If you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

23. Hamlet in Howth - Rosencrantz and Guildenstern. Act 2 Sc. 2

45. Hamlet in Howth - Rosencrantz and Guildenstern are Dead by Tom Stoppard

On the Saturday March 16, 2024 edition of the Richard Crouse Show we meet Dominic Monaghan and Billy Boyd, a.k.a. Merry Brandybuck and Pippin Took, from the “Lord of the Rings” trilogy. . They've built upon their famous friendship by working together on podcasts (“The Friendship Onion,” “Moriarty: The Devil's Game”) and TV (Boyd appeared on Monaghan's travel show “Wild Things,” and the two just announced a new reality series “Billy and Dom Eat the World”). But now they're making their stage debut together as a different dynamic duo. The pair will star in a new production of Tom Stoppard's “Rosencrantz and Guildenstern are Dead” in Mirvish Productions' Off-Mirvish series at Toronto's CAA Theatre until April 6, 2024. Then, best-selling author Dolly Alderton stops by. She's a regular columnist for the Sunday Times Style Magazine, and the author of the phenomenally successful memoir “Everything I Know About Love,” which she's just finished making into a hit BBC TV series; and a bestselling novelist thanks to her barnstorming fiction debut “Ghosts.” Her latest best seller, “Good Material,” a story of heartbreak and friendship and how to survive both. We wrap up with Glass Tiger singer Alan Frew who talks about music, how he keeps his voice in shape and much more.

Harvey Brownstone conducts an in-depth Interview with John Rubinstein, Iconic Stage, Movie & TV Star About Harvey's guests: Today's guest, John Rubinstein, is a highly acclaimed, multi-award winning actor, composer and director whose illustrious career and body of work have made him a respected and beloved icon.   He made his Broadway debut starring in “Pippin”, for which he won a Theatre World Award, followed by “Children of a Lesser God”, for which he won a whole slew of awards including a Tony and a Drama Desk Award.  He also starred in “The Caine Mutiny Court Martial”, for which he received a Drama Desk Award nomination, “M. Butterfly”, “Love Letters”, “Ragtime” and “Charlie and the Chocolate Factory”.  Off-Broadway, he starred in “Rosencrantz and Guildenstern are Dead” and “Counsellor at Law”, for which he received the Lucille Lortel Award for Best Lead Actor in a Play, as well as nominations for both the Outer Critics' and Drama League Awards.   He's appeared in over 200 movies, TV shows, made-for-TV movies and miniseries.  Some of his most popular feature films are “Getting Straight”, “The Boys From Brazil”, “Someone to Watch Over Me”, “Another Stakeout”, “21 Grams”, “The Candlelight Murders” and “Being the Ricardos”.  On TV you've seen him in dozens of TV shows including “Family”, for which he received an Emmy Award nomination, “Crazy Like a Fox”, “Bureau of Alien Detectors”, “Star Trek Enterprise”, “The Young and the Restless”, “Desperate Housewives”, “Dear White People”, “Claws” and many more.    His TV movies include “The American Clock”, for which he received a Cable Ace Award nomination for Best Supporting Actor, “M.A.D.D.: Mothers Against Drunk Drivers”, “The Gift of the Magi”, “Norma Jean and Marilyn”, and “Liberace”.   And some of his noteworthy miniseries are “The French Atlantic Affair”, “Roots: The Next Generations”, “The Two Mrs. Grenvilles”, “When we Rise”, “Feud”, and “Headless: A Sleepy Hollow Story”.   He's directed many stage productions, including “Les Liaisons Dangeureuses”, “Macbeth”, “Wait Until Dark”, “Brigadoon”, “Guys and Dolls” and many other shows.  Our guest is also a brilliant composer, which comes as no surprise, given that he's the son of the greatest pianist of all time, in my opinion, Arthur Rubinstein.  And he's the grandson of the renowned Polish violinist, conductor and composer Emil Młynarski.   He's written the music scores for a number of movies and TV shows including “Jeremiah Johnson”, “The Candidate”, “Family”, “The Ordeal of Patty Hearst”, “Johnny Belinda”, “China Beach” and “A Walton Wedding”.  And believe me, I'm just scratching the surface of this man's prodigious body of work. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about John Rubinstein and the film, go to: https://www.imdb.com/name/nm0748270/https://www.playbill.com/person/john-rubinstein-vault-0000020233 #JohnRubinstein    #harveybrownstoneinterviews

Billy Boyd and Dominic Monaghan are a creative duo like few others. Their bond formed on the set of “The Lord of the Rings” as two Hobbits, Merry and Pippin, whose on-screen chemistry closely mirrored their real-life friendship. Now, Billy and Dominic are playing another iconic duo in a new production of “Rosencrantz and Guildenstern Are Dead.” They drop by to chat with Tom about the play and their decades-long friendship.

Hamlet regressa ao teatro do Odéon pela mão da encenadora brasileira Christiane Jatahy. A encenadora habituou-nos a olhar para as fronteiras do passado e do presente, as fronteiras do cinema e da cena como elementos de transformação. "A primeira coisa que podemos fazer para escapar à possibilidade de repetir [acontecimentos] é olhar para o passado e não o apagar", defende Christiane Jatahy que propõe uma revolução sem violência através de uma "Hamlet com uma energia feminina". RFI: Christiane Jatahy estamos no Teatro Odéon, em Paris, onde tem em cena "Hamlet", o seu novo espectáculo. São nesta altura, 19h50, de dia 7 de Março, dentro de instantes, os actores sobem ao palco. Ainda sente um nervosismo antes de apresentar a sua criação ao público?Christiane Jatahy: Sim, sempre, claro. Conforme a gente vai fazendo mais vezes, vamos entendendo melhor a reacção do público e o público também vai entendendo melhor a peça e aí esse nervosismo diminui. Mas sim, é um nervosismo que eu acho saudável. Acho que para os actores [esse nervosismo acontece] todos os dias, para mim é principalmente na estreia.Hamlet reúne reflexões políticas, filosóficas, históricas, literárias, aborda temas que podem parecer desarticulados, desordenados. O que traz uma coerência na sua encenação é o movimento, e mais do que a vontade de mudança, a própria mudança. Adapta a quase a integralidade do texto de Shakespeare, muda o destino dos personagens e, logo no início da peça, através de um holograma, confronta os fantasmas de Shakespeare, personagens que já tem mais de 400 anos, aos personagens que cria, personagens de 2024.Sim, realmente Hamlet é um oceano, mas ao mesmo tempo a gente precisa de a conter e dar contorno. Para mim, era muito importante pensar essa peça a partir da perspectiva da mudança, como você disse, mas evidentemente, com a ideia de que esses personagens estão aqui hoje e, portanto, essa história está sendo revivida, mesmo que eles não tenham consciência dessa repetição. A acção, que é uma das questões do Hamlet, que é sobre ir ou não, agir ou não agir, ela se transforma em alguma coisa que já está impregnada de movimento, porque ela está impregnada de passado. Hamlet está lembrando e vivendo ao mesmo tempo e se confrontando com seus actos e se confrontando com seus actos de maneira diferente. Porque Hamlet agora tem uma energia feminina. Continua sendo uma coisa que é um pouco repetitiva nos meus trabalhos, que é sobre a questão da mudança, sobre a questão da transformação. Mas neste momento ligada à ideia de que já estamos num processo de mudança, ou seja, a mudança já está acontecendo. Por isso essa ideia da revolução, da transformação, mas ainda se perguntando sobre como é que a gente quebra as estruturas que estão introjectadas em nós mesmos para que a gente possa transformar para um outro futuro.Quando o apresenta e quando criou este espectáculo, sente que há dois Hamlet em cima do palco ao Hamlet shakespeariano e o seu Hamlet?Eu acho que tem muitos Hamlet; tem um Hamlet shakespeariano que não é mais só de Shakespeare.. é de todas as pessoas que já fizeram Hamlet, tanto nas suas encenações.E são tantas...Nossa, são 400 anos de história e tantas pessoas que já actuaram no papel do Hamlet. É o meu Hamlet como ideia, mas se transforma no Hamlet das pessoas que estão em cena, se transforma no Hamtel da Clotilde, quando ela está agindo e actuando, se transforma no Hamlet das pessoas que estão vendo e estão projectando seus Hamlet nesse Hamlet. Acho que essa ideia de que um personagem é alguma coisa é uma ideia que eu acho que ela é reducionista porque um personagem ele pode ser muitas coisas e ser outras coisas não tira, na verdade, a potência dele vir a ser de novo em outras montagens aquilo que a gente espera que ele seja.Fala muito do verbo ser. Esta talvez será uma nova fronteira que cria. A Christiane habituou nos às fronteiras do tempo e do espaço, aos meios que usa para comunicar entre a cena e o público, para comunicar entre os actores. Em Hamlet, cria novas fronteiras, a fronteira do interior dos personagens, a fronteira da memória, dos fantasmas e das acções. E esta fronteira entre o ser e não ser, também é ela própria uma fronteira?Sim, sim, realmente as fronteiras, elas são limites que me interessam transpassar. Eu penso sobre elas. Além de todas essas fronteiras que você disse, se aprofundando numa delas, a fronteira da fantasmagoria, porque ela é a fronteira do sonho. Ela é a fronteira, na verdade, do que a gente projecta do nosso inconsciente. Interessava-me uma discussão psicanalítica também sobre a obra, seguindo assim...Anúncio de que a peça vai começar daqui a dez minutosTem uma coisa que é a fronteira que está sempre presente no meu trabalho, que é a fronteira do passado com o presente e a fronteira também do cinema e da cena, pensando essa relação agora como uma presentificação de quem não pode estar ali, porque são os fantasmas do passado. Nas fronteiras de que fala, em cena as personagens ocupam o espaço de um apartamento composto por um quarto, uma sala, uma cozinha e uma casa de banho. A estrutura das janelas e das portas assumem a função de fronteira entre o presente e a memória, onde circulam o consciente e inconsciente dos personagens. Junta se aí, como estava a dizer, a realidade que o público pode escolher  ver e os fantasmas que pode escolher ocultar ?Quando pensei nessa ideia do apartamento e que depois foi desenvolvida na cenografia por mim e pelo Thomas Walgrave. A minha questão sobre o apartamento era [perceber] como é que essas pessoas, esses fantasmas porque são todos personagens que morreram de alguma forma na história da ficção, eles estão revivendo suas memórias, mas eles já morreram. Pensei nesse apartamento como um lugar onde eles convivem. É um apartamento todo envidraçado e, de alguma maneira, quando a gente quebra, como se a quarta parede que precisasse ser quebrada, a quarta parede já foi quebrada há muito tempo, mas quando a gente fisicamente derruba a quarta parede e integra o espaço do público, para mim era a ideia de construir, esse ovo, esse espaço único em que tudo interage e em nenhuma cena tem como se esconder. Eles são obrigados a conviver.Se na peça Claudius pode ter uma conversa com Guildenstern e Rosencrantz escondido em algum lugar, nessa peça tudo é visto assim. Por outro lado, é claro que nesse tudo é visto, também tem essas misturas dos tempos. Então, algumas vezes nem tudo o que é visto faz parte do mesmo tempo. Algumas coisas estão no tempo e outras estão em outro tempo. Isso também ressignifica essa ideia da relação em cena.Para concluir, que eu acho que é que é importante assim, de falar sobre o que você disse, que também quando eu abro o espaço para as laterais, eu também estou dando outros pontos de vista para o público. Além do ponto de vista da câmara e além do ponto de vista da cena, também o espectador pode decidir que ele vai olhar, incluindo o que não é a cena principal ou que ele vai escolher o foco só da cena principal. Então também tem uma questão que me interessa, que é que cada lugar do teatro te possibilita uma apreensão diferente da obra.Possibilita também uma interpretação sobre e para a mudança?Sim, claro. Porque através da direcção do nosso olhar é que a gente transforma.É isso que nos propõe?Também. Na peça trágica de Shakespeare, Hamlet procura a própria identidade através da vingança do pai. Por isso simula a própria loucura. Destaca-se o carácter trágico da violência vingativa e da relação com a luta pelo poder. A Christiane questiona mais profundamente essa identidade e cria um Hamlet no feminino. Esta peça, vista e interpretada no feminino, vai mudar o percurso e o decurso desta história.Sim, essa Hamlet ela tem ainda o seu ímpeto de vingança. Ela revive a história e ao reviver a história e revê obcecadamente a imagem do Pai que lhe impulsiona a agir, ela traz dentro dela esse impulso. Ela traz, assim como o personagem original do Shakespeare. Ela traz neste impulso a dúvida sobre ir ou não para a acção e a não compreensão, principalmente por que é que ela não consegue realizar o acto. O importante para mim é que ao se defrontar com essa violência novamente, porque é uma peça cuja violência é realizada pelos homens, ao se defrontar ela mesma com a violência que ela carrega e com a violência que ela encontra, ela não reage da mesma maneira que o Hamlet da peça original. Anúncio de que o espectáculo vai começar dentro de cinco minutos...Portanto, a não reprodução da violência?Sim, ela  não quer reproduzir a violência. E quando ela se vê sendo jogada nessa mesma violência, como por exemplo, quando ela mata Polonius, isso para ela não é alguma coisa que ela aceita nela mesma porque as estruturas que ela está lutando, de alguma maneira, que nós, como mulheres, estamos lutando hoje em dia. Acho que é muito importante falar sobre isso porque somente a transformação de um personagem, historicamente masculino, na ideia de como é que seria esse personagem se não se ele fosse uma mulher, mas se ele tivesse sido um homem e num determinado momento. Dou sempre o exemplo de Orlando da Virginia Woolf, que ele se visse como uma mulher, se essa mulher pensa sobre as questões das estruturas do patriarcado e não só fora de nós. Eu acho que isso é super importante falar nessa peça porque essa estrutura ela domina todas as estruturas do mundo. Mas também como é que essas estruturas estão introjectadas em nós mesmos e como é que essas estruturas estão introjectadas nesse personagem do Hamlet. Existe também uma questão de auto-consciência de processo de percepção, como por exemplo, como é que ela vai agir como mulher quando ela se confronta com uma situação que é super misógina na peça, que é a maneira como Hamlet trata Ofélia. Assim, ela não consegue tratar da mesma maneira.A escolha que Hamlet vai fazer também vai ter repercussões no destino de Ofélia, que por uma vez, não tem um destino trágico.Super. Acho que tem uma questão sobre o sistema e eu acho que a gente está falando sobre questões sistémicas e também familiares, porque é sobre uma família. Quando a gente quebra, quando alguma peça muda o seu comportamento nesse sistema, algum elemento, isso também é física, os outros elementos também se transformam e se libertam dos seus, dos seus padrões. A libertação da Ofélia, de alguma maneira, é decorrência de uma transformação que também está no Hamlet.Ouvimos duas vezes a citação "O mundo antigo está a morrer, mas o novo tarda em nascer", do filósofo italiano António Gramsci. Ele falava sobre a crise, sobre o desenlace, sobre a importância de reagir a esta frase, tantas vezes usada, sobretudo na política. As personagens partilham este espaço íntimo do apartamento do nosso tempo, com dispositivos tecnológicos com um texto de 400 anos. A estrutura mudou e o conteúdo pouco mudou. Como é que se pode escapar à repetição do passado? É apenas uma escolha?A primeira coisa para se escapar da possibilidade de repetir e reconhecer é olhar para o passado, não apagar o passado. O apagamento do passado é que provoca essa ideia de que alguma coisa pode se cumprir de maneira diferente, mesmo que a gente faça as mesmas coisas. É por isso que eu acho que nesse trabalho, em muitos dos meus trabalhos, quando eu estou fazendo uma relação do passado com o presente e trabalhando essas fronteiras do tempo, eu também estou falando sobre a ideia de como que ao eu reconhecer um passado que aconteceu, como é que ao me defrontar com uma situação similar, de que maneira que esse meu passado....Agora a peça vai começarComo é que eu me comporto de uma maneira diferente porque eu tenho a trajectória de reconhecimento do ponto em que isso me levou para que eu não precise repetir. Eu acho que essa é uma discussão também sobre a humanidade.Fala de humanidade e projecta imagens de guerra que vivemos hoje, actualmente e que também fazem parte dessa mudança de reconhecer o que aconteceu no passado para poder não reproduzir. Estamos a reproduzir erros do passado?A guerra é muito importante também nessa peça, apesar de que ela está sempre na volta da peça. Tudo começa por causa de uma guerra, por perder uma guerra. É uma discussão também sobre esse sistema da violência, da crueldade, da ideia de vingança, essas vinganças que se perpectuam. A guerra é o começo da peça. A guerra é o motivo, na verdade, da chegada de Fortinbras e toda essa ameaça que começa a existir. Ela está presente o tempo todo nesse entorno.Não existe guerras longe de guerras perto, as guerras são guerras e elas estão realmente sempre perto. A nossa inacção diante das guerras e a gente vive muito isso hoje; como agir diante dessa repetição novamente, dessa violência das guerras? Também está presente de alguma maneira na peça, nas reflexões que o próprio Hamlet já faz, mas que a gente traz agora de uma maneira que é mais direccionada a se perguntar que sentido que isso tem?  Porque na peça ele se pergunta como é que Fortinbras está lutando e ele não está conseguindo lutar. Fortinbras e está lutando pelo que seu pai perdeu e ele não consegue. Aqui é o oposto, como é possível que tantas pessoas precisem morrer por uma luta que é na verdade, uma luta de uma pessoa, de uma ideia, de um desejo, na verdade, na verdade intelectual e de vingança ou de ganância.Hamlet diz que é preciso ser cruel para ser justo e acaba por reconhecer no fim da peça que não é, afinal, necessário ser cruel para ser justo.Sim, é super importante essa frase. Ela se repete de muitas maneiras, como perguntas, como afirmações, como acusações e até que finalmente tem uma tomada de consciência que é a gente realmente precisa ser cruel para ser justo?E o silêncio no meio disso tudo?O silêncio está ali. É o final da peça, o resto é silêncio. No resto, escutar esse silêncio também. 

In this week's episode, Patrick and Greg play with some of the basics of probability in the context of some classic, fun, and often counterintuitive examples.  Along the way they also discuss arguments with relatives, a feel for the roulette wheel, Xeroxing your butt, “The coin has spoken.”, Quantitude BooqQlub, the Bellagio Fountains, Clooney and Pitt look-alikes, the Flippier, Rosencrantz and Guildenstern, Monty Hall, Ferraris and goats, the birthday problem, how to carve an elephant, and pick-6 lotteries. Stay in contact with Quantitude! Twitter: @quantitudepod Web page: quantitudepod.org Merch: redbubble.com

Proclaimers Scale: we would fly 6000 miles to see this again. Fate leads our two heroes to a tragic but inevitable end. Hamlet is turned topsy-turvy in this brilliant modern comedic masterpiece that thrusts Shakespeare's two minor characters to the forefront with no rules except one: they are destined to die. Reality and illusion mix as bewildered Rosencrantz and Guildenstern are trapped in a universe where their lives are left to chance with the flip of a coin. Can our hapless protagonists triumph in a battle of wits, escape their fate, and make sense of a senseless world? Starring from the Oscar-winning The Lord of the Rings trilogy, the title roles of Rosencrantz and Guildenstern (or perhaps Guildenstern and Rosencrantz?) are Billy Boyd (Pippin) and Dominic Monaghan (Merry) in this unique and stunning new production created by Halifax's Neptune Theatre. Written by Tom Stoppard Directed by Neptune Theatre Artistic Director Jeremy Webb Starring Billy Boyd and Dominic Monaghan

Studying Hamlet for your Leaving Cert? Studyclix has you covered! Listen to expert teacher Peter Tobin, as he takes a deep dive into the play, providing useful analysis and theories that you can use in your Shakespeare essays.  In this episode, Peter will be talking us through some of the minor characters in the play. Peter will be discussing the characters of Rosencrantz and Guildenstern, Fortinbras, the ghost, and Horatio, analysing their impact beyond what you may have initially thought on the first read of Hamlet. This is the kind of critical literacy that will help you score higher marks in your exam!  For more excellent (and free) Leaving Cert English content to help you excel in your exams, we highly recommend checking out Peter's Youtube channel: https://www.youtube.com/channel/UC92KBWQhZ6bpEZe9x62Et3Q As always, we love to hear from you. If you have any questions, comments or feedback, please get in touch by email at info@studyclix.ie. Alternatively, you can contact us via the chatbox on Studyclix.ie. You can also reach us through any of our social media channels. ——— Follow Studyclix on social media for updates, study tips, competitions, memes and more! Facebook, Twitter, and Instagram: @studyclix TikTok: @studyclix.ie Snapchat: study_clix

Behold – the late, great Edward Lionheart, a Shakespearean actor whose performances in Julius Caesar, Troilus and Cressida, Othello, Cymbeline, and others left him the laughingstock of London theatre critics, is dead.  And yet somehow, someone is knocking off said critics one at a time in truly Shakespearean fashion… albeit with slight alterations to the text.  Shylock may have wanted his pound his flesh – this killer takes the heart.  Joan of Arc might have burned at the stake – this killer fries his victims in a hair salon.  Peregrine Devlin, head of the London Critics Circle, is baffled, as are the police.  And yet – the order of the killings bear a striking resemblance to Lionheart's last repertory season.  What's going on with the Thames-side meths drinkers that have taken up residence in the crumbling Burbage Theatre?  And what might Edward's daughter, Edwina, have to do with everything?  Friends, Romans, Countrymen, lend us your ears – for herein lies the tale of the deceased actor who set out to exact revenge, and succeeded, and the rest – is silence. Intro, Debate Society, Hot for Teacher (spoiler-free): 00:00-26:10Honor Roll and Detention (spoiler-heavy): 26:11-1:07:38Superlatives (spoiler-heavier): 1:07:39-1:28:17 Director Douglas HickoxScreenplay Anthony Greville-Bell, based on an idea by Stanley Mann and John KohnFeaturing Harry Andrews, Coral Browne, Robert Coote, Diana Dors, Jack Hawkins, Ian Hendry, Joan Hickson, Michael Hordern, Arthur Lowe, Robert Morley, Milo O'Shea, Dennis Price, Vincent Price, Diana Rigg, Eric Sykes Ben Viccellio is an actor, writer and Associate Professor of Drama & Film at Kenyon College. His acting credits include the role of Oedipus in Frank Galati's Oedipus Complex at The Goodman Theatre; Cherry Orchard, Theatrical Essays, and the world premiere of Men of Tortuga at Steppenwolf; the role of Petruchio in Short Shakespeare: Taming of the Shrew, Macbeth in Short Shakespeare: Macbeth, and Guildenstern in Hamlet at Chicago Shakespeare Theatre.  Ben has also also acted for film and television, as well as in the odd commercial... some of them, he claims, very odd. His writing for the stage has been produced in Chicago, Los Angeles, New York and Aspen. Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from Theatre of Blood by Michael J. Lewis. For more information on this film (including why the Professor chose it, on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our Blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple or Google Podcasts, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ group. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Guest for this Episode is Naveen Kishore, Founder and MD of Seagull Books. Born in Calcutta Naveen Kishore received graduation in English Literature in 1973, and began working as a theatre lighting designer. He established Seagull Books in 1982, a publishing program focusing on drama, film, art and culture studies. Today, it also publishes literature including poetry, fiction non-fiction and English translations from 25 languages.At present, the company has registered divisions in London New York and calcutta. In 1987 Kishore established The Seagull Foundation for the Arts and set up The Seagull School of Publishing in 2012.Kishore is a photographer who has extensively documented female impersonators from Manipuri, Bengali and Punjabi theatre practices. Kishore exhibited his work at Chatterjee & Lal in Bombay in the exhibition Greenroom of the Goddess.Kishore is the recipient of the Goethe Medal, and was awarded the 2021 Ottaway Award for the Promotion of International Literature.Kishore has had his poems published with Scroll.in, Queen Mob's Tea House, Beltway Poetry Quarterly, Another Chicago Magazine, RIC Journal, Poetry at Sangam, Sylph Editions, amongst others.Transcription:Harshaneeyam: Welcome to our podcast. So nice of you to agree and come over to our podcast. Thank you very much.Naveen Kishore: Thank you for having me.H: You were interested in theatre initially during your school days and college days. How did it lead to publishing?N: The theatre actually happened at school, everybody does theatre in school, so that was okay, but then I think it was in college that I really tasted blood, as it were, as far as theatre is concerned. But I remember there was a theatre group called the Red Curtain, which was essentially made up of young people from different colleges who had left school, started a theatre group as the school leavers. They started to do amateur theatre, but with great quality, aesthetic, style, production values. When I joined them, I was a backstage person. My first theatre experience was a play called Wait Until Dark, where I used to sit behind a refrigerator with a small cassette recorder. And every time the blind leading lady opened the fridge, I would have to put on the duct to create the sound of the machine and synchronize it with her shutting it. And at one point in this thriller, which was also a good film, this blind woman is trying to smash all the bulbs because she is going to be attacked by these two people. And I have to synchronize the swinging of her sort of stick to the bulbs and simulate a crash in a waste-paper basket with old bulbs and metal brass. This was my first beginning.H: Sounds too complicated.N: It was good fun. You were assisting backstage and then, immediately, you were plunged into the deep end. The next play was Rosencrantz and Guildenstern are Dead by Tom Stoppard. The Red Curtain was a very democratic set up, so they said: You design the sets and light. I knew nothing about it, but the British Council Library was very useful, so I used to go and study lighting-design books. But at that point, I was playing by the rules, where I was lighting your face as an actor at 45 degrees. But I was frustrated because I couldn't achieve darkness, so that was a disaster.I made a mess of it, I think. But for the next play I designed, Ibsen's Ghosts, I think I threw the rule book out of the window and I started to light the air around the actors. In real...

Dominic Monaghan and Billy Boyd are well known as Merry and Pippin from Lord of the Rings. But their next project is bringing them to Halifax. They're performing in Tom Stoppard's Rosencrantz and Guildenstern are Dead at Neptune Theatre.

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act III, Scene 1, Part 1, Rosencrantz & Guildenstern brief the King and Queen, then Ophelia is given instructions for her upcoming meeting with Hamlet. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with clips from that film, starring Ray Fearon and Kenneth Branagh; and the 1948 Hamlet, starring Lawrence Olivier. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Derek Jacobi, Timothy Spall and Richard Bryers; Hamlet 1980 by Rodney Bennett, starring Geoffrey Bateman and Patrick Stewart; Hamlet 2000 by Michael Almereyda, starring Steve Zahn, Dechen Thurman and Diane Venora ; Hamlet 2007 by Alexander Fodor, starring Lydia Piechowiak; and Hamlet 2009 by Gregory Doran, starring Penny Downie. Leave a comment, I love to read!

THIS WEEK ON THE NERDY VENOMS... is Marvel being tolled or trolling us? We try to answer that question and others. ALSO... movies are too long, should we bring back intermissions? Cancel Club, and the news on this week's Nerdy Venoms!

Recorded on Saturday morning September 16, 2023. We talk about Ricks old food processor the media, including MTV news the film “Rosencrantz and Guildenstern are dead”and more.

The panel begins with a brief exercise in parsing Shakespearean prose, followed by a reading of Act II's scenes, with attention to Polonius' ambitious scheming, and Hamlet's feigned (or genuine?) madness with his friends, Rosencrantz and Guildenstern.Continue reading

Pete returns to talk a bit about the 2012 mumblecore zombie apocalypse movie, The Battery before (much like the movie) veering off to talk less about zombies and movies, and a bit more about StokerCon

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act II, Scene 2, Part 4, Rosencrantz & Guildenstern finally have a probing chat with Hamlet. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with clips from that film, starring Ray Fearon; the 2000 Hamlet, starring Ethan Hawke; and the 1990 Hamlet, starring Mel Gibson. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Kenneth Branagh and Timothy Spall; Hamlet 1948 by Laurence Olivier, starring Laurence Olivier; Hamlet 1980 by Rodney Bennett, starring Derek Jacobi and Geoffrey Bateman; Hamlet 1990 by Franco Zeffirelli, starring Mel Gibson and Sean Murray; Hamlet 2000 by Michael Almereyda, starring Ethan Hawke and Steve Zahn; Hamlet 2007 by Alexander Fodor, starring uncredited Rosencrantz performer, Katie Reddin-Clancy and William Belchambers; Hamlet 2009 by Gregory Doran, starring David Tennant and Tom Davey; and "Quel mal te bouffe?" by Johnny Hallyday. Leave a comment, I love to read!

Join hosts, Aleece and Tony for a "PREGUT" trailer review! In this mini episode we look at the trailer for Rosencrantz and Guildenstern Are Undead (2009).To watch or not to watch?... THAT is the question!! When we came across this .25 cent DVD we asked ourselves just that. Will this quirky horror-comedy be worthy of Shakespeare's legacy?? OR will it be a HAM-LETDOWN!!

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act II, Scene 2, Part 1, we meet Rosencrantz & Guildenstern, and the ambassadors return from Norway. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with clips from that film, starring Ray Fearon; the 2000 Hamlet, starring Ethan Hawke; and the 1990 Hamlet, starring Mel Gibson. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Timothy Spall, Derek Jacobi, Julie Christie and Don Warrington; Hamlet 1980 by Rodney Bennett, starring Patrick Stewart and Claire Bloom; Hamlet 2007 by Alexander Fodor, starring Di Sherlock; and Hamlet 2009 by Gregory Doran, starring tom Davey, Penny Downie and Patrick Stewart. Leave a comment, I love to read!

We are back talking about Hurricane and Rosencrantz and Guildenstern aren't dead We spend Time with Miranda Carroll and at a golf course?  

Hey everyone, after an unplanned hiatus, we're back and we've missed you all terribly! On today's episode we discuss Dead Poets Society, and don't at us, but we both think it's a little overrated. We discuss the amazing Robin Wiliams and do some questionable impressions of him, Anders' hatred of poetry, charcuterie boards, and for some reason a Rosencrantz and Guildenstern style mashup between this film and Flashdance. 

This week we take up with the great bard, as this tale follows two characters in Shakespeare's Hamlet that spend most of the time offstage.  Join us for Rosencrantz and Guildenstern are Dead.   We've launched a Patreon, so fans can now support the show and help keep the lights on at ISTYA towers. There are various benefits on offer, and we can assure you that Joe wearing his rubber dungarees isn't one of them. To sign up please visit https://www.patreon.com/istya If you want to contact the show, or simply have a chinwag with the chaps, then follow us on Twitter, join in the conversation on our Reddit page, or you can even contact us on good old email by sending your missives to - show@isawthatyearsago.com

Bryan and Jeff take a listener request and share their iPhone camera tips and tricks. They also take a detour to talk about the new Body Comp scale from Withings, plus Ms. Marvel and She-Hulk. Sources referenced in this episode: Ms. Marvel She-Hulk Attorney at Law Rosencrantz & Guildenstern are Dead Withings Body Comp scale […] The post Withings Body Comp Scale and Listener Request for iPhone Camera Tips appeared first on The Context Machine Podcast.

This week on Speak The Speech we are joined by Matu Ngaropo. Matu performs and unpacks Othello's speech from Act 1, Scene 3.  He shares how Māori culture and language influences his approach to Shakespeare, the experience of performing at Shakespeare's Globe in traditional Māori dress and language, and the parallels between the musical Hamilton and Shakespeare's plays and much more.  Matu Ngaropo is a graduate of Toi Whakaari, New Zealand's premier drama school. On stage he's played Othello for Centrepoint Theatre, Mercutio in Romeo and Juliet for Downstage Theatre, Guildenstern in Hamlet, Macduff in Macbeth and Angelo in The Comedy of Errors for the Pop-Up Globe, as well as Achilles in The Māori Troilus and Cressida at the Globe Theatre in London. He's also appeared in Disney's The Lion King and performed at Rugby World Cups in New Zealand, France and Japan. His musical act, The Modern Māori Quartet, has toured to China, Australia, London, Edinburgh and New York. His screen credits  Shortland Street, Korero Mai and Seven Periods with Mr Gormsby. He is currently playing George Washington in the Australian cast of the smash-hit musical Hamilton. 

This week on Plot Twisters: Just One Of The Guys, another teen movie from the 80s. But this time, there's a twist - it's sorta kinda pretty good. Gender politics, soap carving and Rosencrantz and Guildenstern, all coming your way!    Follow us online @plottwisterspod

Chapters 1 & 2 AGAIN! It's a "Rosencrantz & Guildenstern type situation." This week, TV's Kevin is a child of divorce as he gets his second Christmas with Daddy Host to discuss the first couple chapters all over again, this time from a newbie's perspective. Mostly they talk about Top Gun: Maverick and everyone's favorite Hitchhiker's character: Mr. Prosser. We should be back on track next week! Thanks for your patience, babes! www.patreon.com/tvskevin

This interview is edited and produced with music and other features in the Real Talk with Mark West episode, "#24: The Art of Living | Holy Theatre" The Holy Theatre is the place where the invisible is made visible; where we face and conquer our own inner demons. The Promethean Theatre Ensemble's production of Richard III plays May 12-June 25, 2022 at The Factory Theatre, in which I play the role of Buckingham. I share what my character has taught me about myself then sit down with Director Steve Scott, Text Coach Paulette Hicks, and Cameron Faegin who plays Richard III. I hear their take on happiness, if theatre has fed into their overall happiness, and whether our Shakespeare show has any relevance to today's topics of conversation. Finally, I have ways you can get in on exclusive Chicago dinner parties and a special announcement about my new appointment! @ibmarkwest | www.heymarkwest.com --- FOR RICHARD III TICKETS: www.heymarkwest.com/nowshowing --- Over a career that spans nearly fifty years, Steve Scott has directed more than 300 productions for local, national and international theaters, including the Goodman Theatre, where he served as producer from 1986 to 2017 and now sits on the Board of Trustees. In 2017, he won a special Jeff Award, Chicago's top award for excellence in theatre, for his service to the Chicago theater industry, as well as the League of Chicago Theaters' Lifetime Achievement Award in 2018. He now serves as the Artistic Director of the Dunes Summer Theatre in Michiana Shores, Indiana and on the faculty of the College of Performing Arts at Roosevelt University. --- Paulette Hicks has worked as a text coach with Redtwist Theatre, The Dunes Summer Theatre, and City Lit Theatre to name a few. Productions include King Lear, The Merchant of Venice, and Macbeth. As an actor she has worked with Redtwist Theatre, Oak Park Village Players, W. Shakespeare & Co., and The Human Race Theatre Company. --- Cameron Faegin plays the title character, Richard III. She is a proud member of the Promethean Theatre Ensemble where her productions include Arcadia, The Winter's Tale, and The Player in Rosencrantz and Guildenstern are Dead. Other credits include Hamlet at Midsummer Flight, The Elephant Man at BoHo Theatre and Court-Martial at Fort Devens at Victory Gardens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ibmarkwest/support

The Holy Theatre is the place where the invisible is made visible; where we face and conquer our own inner demons. The Promethean Theatre Ensemble's production of Richard III plays May 12 - June 25, 2022 at The Factory Theatre, in which I play the role of Buckingham. I share what my character has taught me about myself then sit down with Director Steve Scott, Text Coach Paulette Hicks, and Cameron Faegin who plays Richard III. I hear their take on happiness, if theatre has fed into their overall happiness, and whether our Shakespeare show has any relevance to today's topics of conversation. Finally, I have ways you can get in on exclusive Chicago dinner parties and a special announcement about my new appointment! @ibmarkwest | www.heymarkwest.com --- RICHARD III TICKETS: www.heymarkwest.com/nowshowing --- Over a career that spans nearly fifty years, Steve Scott has directed more than 300 productions for local, national and international theaters, including the Goodman Theatre, where he served as producer from 1986 to 2017 and now sits on the Board of Trustees. In 2017, he won a special Jeff Award, Chicago's top award for excellence in theatre, for his service to the Chicago theater industry, as well as the League of Chicago Theaters' Lifetime Achievement Award in 2018. He now serves as the Artistic Director of the Dunes Summer Theatre in Michiana Shores, Indiana and on the faculty of the College of Performing Arts at Roosevelt University. --- Paulette Hicks has worked as a text coach with Redtwist Theatre, The Dunes Summer Theatre, and City Lit Theatre to name a few. Productions include King Lear, The Merchant of Venice, and Macbeth. As an actor she has worked with Redtwist Theatre, Oak Park Village Players, W. Shakespeare & Co., and The Human Race Theatre Company. --- Cameron Faegin plays the title character, Richard III. She is a proud member of the Promethean Theatre Ensemble where her productions include Arcadia, The Winter's Tale, and The Player in Rosencrantz and Guildenstern are Dead. Other credits include Hamlet at Midsummer Flight, The Elephant Man at BoHo Theatre and Court-Martial at Fort Devens at Victory Gardens. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ibmarkwest/support

The Lion King and Strange Brew a 2Films3Curious special featuring 2Films 3Curious alum The Other Bill "Oh, Hamlet Hamlet Hamlet Hamlet! the Vampire Army has taken the city!" -Hamlet, Act 3 Billy S., as he was known to his friends; was nothing if not prolific. From Henry the IV to Henry the V; Shakespeare has written a button of crap. One that some people were forced to read in school is Hamlet. The Lion King (1994) is Hamlet but with lions, and features Mandy from The West Wing and Darth Vader himself as Old Hamlet (I mean Mufasa). Strange Brew starts as some sort of weird Omega Man ripoff; but eventually becomes Hamlet in a Canadian brewery featuring Bob and Doug Mackenzie as the illustrious Rosencrantz and Guildenstern, as well as Max Von Sydow in a role that has no real analogue to the Hamlet story. (editor's note - is Max Von Sydow Ophelia's dad? since he's the caretaker of Rosy La Rose; our storie's Ophelia? who's to say??) This podcast is powered by Pinecast.

In this scene, Hamlet's friends from school, Rosencrantz and Guildenstern, have just arrived and the King and Queen ask them to find out what's going on with Hamlet. A short while later, Hamlet enter reading and is greeted by Polonius before Ros and Guil join us. DIRECTOR: Gigi Bermingham DRAMATURG: Gideon Rappaport HAMLET: Kwana Martinez POLONIUS: Seth David Mitchell ROSENCRANTZ: Max Herzfeld GUILDENSTERN: Danielle Reliford Fantastic work in Shakespeare's Hamlet from May 2021. After only a few weeks of work, the cast and director continue to work on and discuss the process. Part of The Rehearsal Room series. Prefer to watch the session? Find it here on YouTube! -- Get your copy of "10 Ways to Stop Worrying and Start Working!" See additional content on Facebook, Twitter, Instagram, and YouTube.

This week Tarryn is joined by true triple threat Jennifer Arfsten. Jennifer Arfsten Favorite credits: Bebe in A Chorus Line, Rosalind in As You Like It, and performing with Disney Cruise Line.  IG: @jenniferarfsten Other credits include: Rosalind in As You Like It, The Drowsy Chaperone, The Boyfriend, Jungalbook, and The Wind in the Willows, (Conservatory Theatre Company); Love's Labour's Lost (Shakespeare By The River Festival); Rosencrantz and Guildenstern are Dead (TACT). Training: B.F.A.; Conservatory of the Performing Arts at Point Park University. Jennifer is not only passionate about her work and the arts but she's incredibly socially aware and uses her platform to bring light to causes that affect our entire theatricalcommunity. This weeks sponsor: JA Fitness: Virtual personal training without the pressure. Training with Jenn means finding your way into the fitness world with confidence, adaptability, attainable goals, and zero focus on outward appearance. She creates a program that works for you and helps you create a sustainable routine. JA Fitness: Love yourself to new levels. Contact(website, social media): @j_a_fitness_ on Instagram for training inquiries.

Five Parts is not nearly enough to sum up the life and career of David Bowie. The man transcended music, making an impact in film, fashion, and the entire scope of entertainment. And yet, in this chapter, Bowie will have his greatest accomplishment... meeting the love of his love.Celebrate David Bowie with us in this, the Final Chapter of the Bowie Saga. His status was undeniable and his untimely departure tragic. And yet, as Rosencrans and Guildenstern put it best, "Every exit is an entrance somewhere else."This could not have been more appropriate for this groundbreaking artist. Thank you, David. Our social stuff:Patreon.com/rockandrollheavenTwitter: @rockandrollltInstagram: RockandrollheavenltFacebook: Rock and Roll Heaven PodOur website: https://rockandrollheavenl.wixsite.com/mysiteEmail us! rockandrollheavenlt@gmail.comCheck out the other awesome Pantheon Podcast at www.pantheonpodcasts.com

Five Parts is not nearly enough to sum up the life and career of David Bowie. The man transcended music, making an impact in film, fashion, and the entire scope of entertainment. And yet, in this chapter, Bowie will have his greatest accomplishment... meeting the love of his love.Celebrate David Bowie with us in this, the Final Chapter of the Bowie Saga. His status was undeniable and his untimely departure tragic. And yet, as Rosencrans and Guildenstern put it best, "Every exit is an entrance somewhere else."This could not have been more appropriate for this groundbreaking artist. Thank you, David. Our social stuff:Patreon.com/rockandrollheavenTwitter: @rockandrollltInstagram: RockandrollheavenltFacebook: Rock and Roll Heaven PodOur website: https://rockandrollheavenl.wixsite.com/mysiteEmail us! rockandrollheavenlt@gmail.comCheck out the other awesome Pantheon Podcast at www.pantheonpodcasts.com

Welcome back! It's the third match of season three! We've got Eric, Guy, and Joel to face some games that deal with extra letters and alternate perspectives! Round one asks how movies would change if you added a letter to the front of one of the words, and things get a little kooky. Then, round two keeps those titles the same but asks our players to name the movie based on a plot summary from the point of view of a supporting character. Still, our players parse it all out and soldier on to the lightning round. NOTES ⚠️ Inline notes below may be truncated due to podcast feed character limits. Full notes are always on the episode page.