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RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next of his regular audio described theatre reviews. This week we have a new version of Edmond Rostand's ‘Cyrano de Bergerac' at the Royal Shakespeare Company's Swan Theatre, which Vidar says is one of the best productions he has seen in Stratford-upon-Avon with description by Professional Audio Describers Emily Magdij and Annette Stocken. About ‘Cyrano de Bergerac' ‘No master to serve, no leash to bear. I walk as I please, and I speak as I dare.' Poet, soldier and philosopher. Cyrano de Bergerac burns with brilliance. He's fiercely funny and intensely romantic – but behind the veil of wit is one large problem: his nose. Haunted by doubts and too proud to beg, he watches from the shadows as Roxane – bold, beautiful and seemingly unreachable – falls for another man, Christian. But this handsome, tongue-tied young suitor knows his only hope of charming Roxane is to seduce her with words. And only one person can help… Olivier Award-winning actor Adrian Lester (Riviera, Hustle, National Theatre Othello and Henry V) is Cyrano. Director Simon Evans (Staged, The Dazzle, A Day in the Death of Joe Egg) co-adapts with Debris Stevenson (Poet in Da Corner, My Brother's a Genius), bringing new life to this thrilling, lyrical tale of love and lies, longing and disguise. For more about access at the Royal Shakespeare Company including details of audio described performances do visit - https://www.rsc.org.uk/your-visit/access (Image shows the RNIB Connect Radio logo. On a white background ‘RNIB' written in bold black capital letters and underlined with a bold pink line. Underneath the line: ‘Connect Radio' is written in black in a smaller font)
The battle of Agincourt was almost over when Henry V ordered the prisoners killed. Nowadays, this would clearly be a war crime, but in 1415, it wasn't, though nobody liked it. Henry did not expect to win the battle, which involved a fairly small bunch of muddy unarmored Englishmen with dysentery up against a formidable line of armored Frenchmen on horses. So he didn't know, when a group of Frenchmen at the rear of their forces attempted to regroup, that they were going nowhere and were not an issue. He thought they were, and that then the Frenchmen at the rear of the English, the war prisoners, would be able to break through, pick up arms from the battlefield, and slaughter the English. The English were all assuming that none of them were going home, but they were fighting as best they could. But as it happens the battle was almost over anyway, and the English won -- they had lost a few hundred men; the French had lost several thousands. Anne is extremely happy, because she gets to talk about the Welsh longbowmen, and Michelle is extremely happy because she gets to tell you where the people of Normandy were hiding whilst Henry and his army roamed around, and believe me, you will not be able to guess where they were. Unless you already have inside knowledge.
The return of Elliot Cowan!Elliot returns to the show to talk more about the other roles he's had in his career. Today we take a dive into Shakespeare's Henry V that he played at The Royal Exchange in Manchester in 2007 and Stanley Kowalski at the Donmar Warehouse in 2009 alongside Rachel Weisz's Blanche and Ruth Wilson's Stella. From finding Henry V's commanding presence which took him on a cycling journey from the UK to Agincourt to finding Stanley's malicious and savage nature that clothes his vulnerability through Williams' play. Check out both his instagrams below to see more of his viral videos about tacking self-tapes and to hear more about his upcoming book “A Day in A Little Life”. A journal filled with experiences from both on and off stage during his time working on the West End run of A Little Life in 2023. Keep a look out on his socials for updates:@theactorelliotcowan@the.resilient.artistThank you again Elliot, you're a master at what you do!Oliver GowerSpotlight Link: https://www.spotlight.com/9097-9058-5261Instagram: @ollietheuncensoredcriticFor enquiries and requests: olliegower10@gmail.comPlease Like, Download and Subscribe ✍️Thank you all for your support!Music from #InAudio: https://inaudio.org/ Track Name. Early Morning The Uncensored Critic Podcast was heard in over 34 countries in 2024. In the same year streams grew by 39%, listeners increased by 30%, brand new listeners were up by 88% and followers were up 136%. The show has an average rating of 5/5 Stars. Official stats from #SpotifyWrapped 2024.
October 25th — St Crispin's Day. On this date in 1400, Geoffrey Chaucer, London's first great poet, breathed his last. Fifteen years later, on another St Crispin's Day, Henry V's tiny army triumphed at Agincourt. Two centuries after that, Shakespeare turned that muddy field into legend with “We few, we happy few, we band of brothers...” This episode of London Calling links those moments – Chaucer's passing and his London voice, Shakespeare's stage thunder, and the date that binds them. A tale of bells, battles, and words: how the vintner's son and the glover's son together made English – London English – the language of poetry and power.
VirtualDJ Radio TheGrind - Channel 2 - Recorded Live Sets Podcast
Live Recorded Set from VirtualDJ Radio TheGrind
A couple of years ago, I asked the great military historian Richard Overy if World War Two had ended yet. Overy answered inconclusively, suggesting that wars were never really over. And such depressing wisdom is shared by Michael Livingston, a historian of another great war that shattered Europe - the Hundred Years War (1337–1453) between England and France. In his new book, Bloody Crowns, Livingston argues that Joan of Arc, Agincourt and the other now immortal iconography of the Hundred Years War shaped not just the histories of Britain and France but also the fate of the modern world. In fact, Livingston argues, the war was so consequential that it actually lasted two hundred years—and in some ways, still hasn't ended.* Wars Never Really End—They Just Change Shape The rivalry between England and France didn't stop in 1453—it went global, fueling centuries of colonial conflict across Africa, Asia, and the Americas. Today's geopolitical tensions (think Russia-Ukraine, Israel-Palestine) are similarly rooted in unresolved historical conflicts that keep resurfacing in new forms.* National Identity Is Forged in Conflict, Not Peace France and England as we know them were literally created by this war. The labels “French” and “English” became meaningful identities only through centuries of fighting. This mirrors how modern nations—from Ukraine to Taiwan—often solidify their national consciousness when facing external threats.* Myths Matter More Than Facts Joan of Arc and Agincourt became more powerful as symbols than as historical events. Britain invoked Agincourt before D-Day because national myths inspire action. Today's political movements similarly rely on mythologized pasts—whether America's “founding fathers” or any nation's “golden age”—to mobilize people in the present.* Rules of War Are Convenient Until They're Not Medieval knights praised chivalry and honor—then massacred prisoners when it suited them (like Henry V at Agincourt). This pattern repeats throughout history: international law, Geneva Conventions, and “rules-based order” are respected when convenient and ignored when survival or victory is at stake.* The “Dark Ages” Weren't Dark—We Just Can't Agree on What They Were Historians can't even agree when the Middle Ages began or ended, yet we use these labels to organize history. This matters today because how we periodize and label history shapes how we understand the present. Are we in a “new Cold War”? A “post-truth era”? These labels aren't neutral—they're arguments about what's happening now.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe
Today I sit down with historian Michael Livingston and talk about one of my favorite subjects: the Hundred Years War.Henry V at Agincourt. Edward III at Crécy. The Black Prince at Poitiers. Joan of Arc at Orléans. The period we call “the Hundred Years War” was a cascade of violence bursting with some of the most famous figures and fascinating fights in history. The central combatants, England and France, bore witness to uncountable deaths, unbelievable tragedy, and uncompromising glory. But there was much more to this period than a struggle between two nations for dominance. Bloody Crowns tells a new story of how medieval Europe was consumed, not by a hundred years' war, but by two full centuries of war from 1292 to 1492. During those years, blood was spilled far beyond the borders of England and France. The Low Countries became war zones. Italy was swept up. So, too, the Holy Roman Empire, the Iberian Peninsula, Scotland, and Wales. The conflict drove enormous leaps forward in military technology and organization, political systems and national identities, laying the groundwork for the modern world.With a keen eye for military intrigue and drama, Bloody Crowns critically revises our understanding of how modern Europe arose from medieval battlefields.Buy the Book
Episode 191:For today's guest episode it is a welcome return to Ricky Dukes, artistic director of Lazarus Theatre Company. Following on from our conversation about ‘Henry V' Ricky and I went on to discuss ‘Julius Caesar'. Not surprisingly our conversation pulled out some alternative points to those I raised in my episode on the play, especially when it came to talking about aspects of staging the play and the impact of the female roles in the play, which I did not mention in any detail previously. So, please see these two episodes as complimenting each other, but as long as you are familiar with the play you don't need to have listened to my episode first, or, for that matter, our earlier discussion of ‘Heny V', to enjoy this one. Ricky Dukes is an award-winning Director, Practitioner and Teacher based in the West Midlands and London. In 2007 he founded Lazarus Theatre Company and is the company's current Artistic Director for which he won Best Artistic Director in the 2012 Fringe Report Awards. His work is ensemble led with actor detail at its heart creating large scale visual, visceral, and vibrant theatrical experiences. Ricky has gone on to direct over 40 productions for Lazarus Theatre Company including: The Changeling, Hamlet, Doctor Faustus, Oscar Wilde's Salomé, Macbeth, Marlowe's Edward II, The Caucasian Chalk Circle, Tis Pity She's A Whore, and Dido, Queen of Carthage. Ricky also runs workshops for actors under the ‘Lazarus Gym' banner, and I have put links in the show notes to his activities so you can follow that up further if you wish.Check out Lazarus Theatre here: https://www.lazarustheatrecompany.co.ukSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.
‘Unforgettable characters, written with irrepressible verve and historical accuracy [...] thrums with swordswinging energy.' ― Simon Sebag Montefiore The Hundred Years' War was an age-defining conflict. The violent struggle between England and France spanned over a century and permanently transformed the art of European warfare itself. Rich with stories of iconic figures, from Joan of Arc to Henry V, the sheer scale of it continues to inspire fictional retellings today. In his Essex Dogs trilogy, bestselling historian and author Dan Jones retells the battles and bloodshed through the eyes of the Essex Dogs, a fictional platoon. Now, as the series reaches its climax, he joins us on stage for an exploration of war, plague, and the third and final instalment of the trilogy – Lion Hearts. Jones' story resumes as the Black Death is tearing through Europe. The Essex Dogs have scattered: Romford thrives in the glittering court of King Edward III, Loveday struggles with loss and a reluctant return to violence, and Millstone and Thorp enlist themselves on a deadly mission to escort a princess to Castille. Yet an explosive turn of events is set to pull them back together. Jones returned to Intelligence Squared to explore the brutal realities of the Hundred Years' War, the profound impact of the bubonic plague, and the craft of weaving together fact and fiction. Learn more about your ad choices. Visit podcastchoices.com/adchoices
‘Unforgettable characters, written with irrepressible verve and historical accuracy [...] thrums with swordswinging energy.' ― Simon Sebag Montefiore The Hundred Years' War was an age-defining conflict. The violent struggle between England and France spanned over a century and permanently transformed the art of European warfare itself. Rich with stories of iconic figures, from Joan of Arc to Henry V, the sheer scale of it continues to inspire fictional retellings today. In his Essex Dogs trilogy, bestselling historian and author Dan Jones retells the battles and bloodshed through the eyes of the Essex Dogs, a fictional platoon. Now, as the series reaches its climax, he joins us on stage for an exploration of war, plague, and the third and final instalment of the trilogy – Lion Hearts. Jones' story resumes as the Black Death is tearing through Europe. The Essex Dogs have scattered: Romford thrives in the glittering court of King Edward III, Loveday struggles with loss and a reluctant return to violence, and Millstone and Thorp enlist themselves on a deadly mission to escort a princess to Castille. Yet an explosive turn of events is set to pull them back together. Jones returned to Intelligence Squared to explore the brutal realities of the Hundred Years' War, the profound impact of the bubonic plague, and the craft of weaving together fact and fiction. Learn more about your ad choices. Visit podcastchoices.com/adchoices
This podcast explores the complexities of personal identity, change, and leadership through the lens of literature and storytelling. Edward Nelson, a lawyer and actor turned coach, discusses how archetypes and polarities can be used to understand ourselves and facilitate organisational change. The conversation delves into the challenges of authenticity, the power of empathy, and the importance of risk-taking in leadership. Edward shares insights from his work using Shakespeare's plays, particularly Henry V, to help leaders navigate difficult decisions and team dynamics. Key points: 1. Stories and archetypes provide a safe way to explore personal and organisational challenges. 2. Effective leadership requires balancing empathy with the ability to take risks and make unpopular decisions.
VirtualDJ Radio TheGrind - Channel 2 - Recorded Live Sets Podcast
Live Recorded Set from VirtualDJ Radio TheGrind
Actor performs 10 characters in play Duane Boutte says his solo show, Dracula: The Journal of Jonathan Harker, is the most physically challenging role he has tackled. He sought help from a chiropractor and burrows so deep into the script that, during performances on Bannerman Island, he remained impervious to howling winds and plummeting temperatures. "I don't notice it at all," he says. Boutte's outdoor run, where the house behind the stage doubled as a convincing castle, ended earlier this month, but he will reprise the drama at St. Rita's Music Room from Oct. 24 to 26. Jim Helsinger's adaptation of the Bram Stoker novel premiered in 1995. It requires Boutte to portray 10 characters, including three women, and develop distinctive vocal timbres for each. It helps that he's a voice and text coach for The Acting Company's national tours of Great Expectations and A Midsummer Night's Dream. Beginning in 2018, the Bannerman Castle Trust produced a version of the story by Crane Johnson designed for a small cast. Then it imported a troupe from Kingston to perform the 1927 script that wowed Broadway and informed the 1931 film with Bela Lugosi. This year, Kelly Ellenwood and Neil Caplan at the trust decided to produce Helsinger's take and reached out to Sean McNall at Hudson Valley Shakespeare to find a director and actor. In 2023, Boutte had appeared in HVS's productions of Henry V and Love's Labor's Lost. Hired by the trust to direct, he lobbied to act instead and recruited Christian Conn, an actor living in Fishkill, to replace him offstage. Based on the template created by the 1927 play and subsequent movie, many tales in the vast canon of vampire stories omit Stoker's first act, when Harker, an English lawyer seeking to finalize the contract on a country estate south of London, travels to Transylvania to meet the mysterious buyer. Like Stoker's 1897 novel, the exploits unfurl through letters, diary entries and a newspaper clipping. The first act, which features Harker and Dracula (along with a Romanian woman and three vampirettes), discloses a chunk of backstory. Other characters like Dr. Von Helsing, who reveals a font of facts about the count, appear after Harker returns to England. The stark stage setting on Bannerman Island included a desk, a side table, two trunks, three chairs and a chaise lounge. Dry ice effects simulated smoke wafting from Dracula's coffin. Through body language, facial expressions, eye movement and vocal inflections, Boutte conveys the terror of hanging from a 1,000-foot precipice and the cat-and-mouse chase pursuing Dracula through the streets of London, evoking visceral and emotional reactions like the old radio dramas. His portrayal of Renfield, a psychiatric patient who eats insects, included bulging eyes, nervous tics and manic expressions. Boutte also elicited a few laughs with Quincy Morris's Texas accent and the deadpan salutation, "Your Friend, Dracula." At the island's closing show, Boutte received a standing ovation and the crowd buzzed over how he remembered so many words. "I played the Archbishop of Canterbury in Henry V, who reeled off long lists of names, which I had a hard time with because it's not tied to anything that is going on," he says. "But [in Dracula], the action is so clear that even though there are a lot of lines, the story stimulates the memory." St. Rita's Music Room is located at 85 Eliza St. in Beacon. Tickets are $35 at dub.sh/dracula-st-ritas, or $40 at the door.
Asiantuntijoina Heidi Kinnunen, Jaakko Kullberg, Juha Laaksonen, Ari Saura ja Henry Väre. Juontajana Minna Pyykkö.
Henry V has finally seized the throne—but this is no coronation of peace. With chilling precision, he tightens his grip on power, silencing reformists and casting former allies into prison. His reign begins not with celebration, but with severity. Yet behind the cold walls of authority, a daring jailbreak sparks whispers of insurrection. As Christmas approaches, rebellion brews in the shadows. Will the young king's iron rule hold—or will the ghosts of his inner circle rise to challenge him? To delve deeper into the history behind each episode, become a This Is History Royal Favourite on Patreon. In addition to ad-free listening and bonus episodes, you get to chat with mediaeval buffs from around the world, shape the direction of the show, and watch exclusive behind the scenes videos from the team. Sign up at patreon.com/thisishistory – A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices Written and presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole Production Manager - Jen Mistri Production coordinator - Eric Ryan Sound Design and Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices
A tense moral chess match. Dom Bettinelli, Fr. Jason Tyler, and Jimmy Akin ask: Was Picard right to cross the Neutral Zone? Cold War stakes, Henry V echoes, stellar acting.
A tense moral chess match. Dom Bettinelli, Fr. Jason Tyler, and Jimmy Akin ask: Was Picard right to cross the Neutral Zone? Cold War stakes, Henry V echoes, stellar acting. The post The Defector (TNG) appeared first on StarQuest Media.
VirtualDJ Radio TheGrind - Channel 2 - Recorded Live Sets Podcast
Live Recorded Set from VirtualDJ Radio TheGrind
In this episode, Dan explains the dramatic story of the Battle of Agincourt when, against overwhelming odds, Henry V's underdog English army emerged victorious over their mighty French opponents. We explore why the battle happened in the first place, as well as the key characters, weaponry, and tactics that turned the tide.Join Dan to discover how Agincourt became a legendary military triumph in English history.Written by Dan Snow, and edited by Dougal Patmore and Matthew Wilson.Did you know you can watch this episode on Dan's YouTube Channel? Check it out on https://www.youtube.com/@DSHHPodcastWe'd love to hear your feedback - you can take part in our podcast survey here: https://insights.historyhit.com/history-hit-podcast-always-on.You can also email the podcast directly at ds.hh@historyhit.com. Hosted on Acast. See acast.com/privacy for more information.
Syksyllä valmistaudutaan talveen ja lehtipuut kertovat itsestään värein. Mutta miksi haapa voi olla sekä keltainen että punainen? Syksyllä ihan vierekkäiset koivut voivat olla keskenään erilaisia - yksi keltaisessa syysasussa ja kaveri vihreässä kesämekossa. Seisovatko siinä hidas varmistelija ja riskinottaja? Ovatko puut yksilöitä ja miten ne toimivat syksyllä? Onko pihassasi tai lähimetsässä sinulle tärkeä puu, josta haluaisit tietää lisää? Kuuntelijoiden kysymyksiin vastaamassa ovat arboristi Sami Kiema, kasvitutkija ja yli-intendentti Henry Väre sekä emeritusprofessori Kurt Fagerstedt. Juontajina Markku Sipi ja Juha Blomberg. Suoran lähetyksen aikana voit soittaa 0203 17 600 (pvm/mpm) tai lähettää WhatsApp-viestin 040 14 55 666. Kuva: Asko Hauta-aho / Yle
Episode 188:Following on from the last episode before the run of summer guest conversations we take a sharp swerve from ‘Henry V' to ‘As You Like It'. Although we cannot be quite sure about the chronology in which Shakespeare wrote his plays, or how much the writing of one crossed over with the writing of another, whatever the precise order it is pretty clear that Shakespeare could move freely between the History and Comedy genres and within those how he was always pushing at the edges of the forms and conventions of the theatre and playwrighting to see what could work on stage and with language. ‘As You Like It' is no exception to that. The Dating of the playThe sources for the playThe possible first performance dateA brief synopsis of the playThe use of poetry and prose in the playThe play as part of the ‘Pastoral' genreThe location of the play and influence of the forestThe character of JacquesThe character of RosalindThe character of TouchstoneThe ending, Hyman, and the masqueA summary of the performance history of the playThe epilogueSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.
My fellow pro-growth/progress/abundance Up Wingers,In 1976, America celebrated 200 years of independence, democracy, and progress. Part of that celebration was the release of To Fly!, a short but powerful docudrama on the history of American flight. With To Fly!, Greg MacGillivray and his co-director Jim Freeman created one of the earliest IMAX films, bringing cinematography to new heights.After a decade of war and great social unrest, To Fly! celebrated the American identity and freedom to innovate. Today on Faster, Please! — The Podcast, I talk with MacGillivray about filming To Fly! and its enduring message of optimism.MacGillivray has produced and directed films for over 60 years. In that time, his production company has earned two Academy Award nominations, produced five of the Top 10 highest-grossing IMAX films, and has reached over 150 million viewers.In This Episode* The thrill of watching To Fly! (1:38)* An innovative filming process (8:25)* A “you can do it” movie (19:07)* Competing views of technology (25:50)Below is a lightly edited transcript of our conversation. The thrill of watching To Fly! (1:38)What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.”Pethokoukis: The film To Fly! premiered at the Smithsonian Air and Space Museum, at the IMAX Theater, July 1976. Do you happen know if it was it the 4th of July or. . . ?MacGillivray: No, you know, what they did is they had the opening on the 2nd of July so that it wouldn't conflict with the gigantic bicentennial on the 4th, but it was all part of the big celebration in Washington at that moment.I saw the film in the late '70s at what was then called the Great America Amusement Park in Gurnee, Illinois. I have a very clear memory of this, of going in there, sitting down, wondering why I was sitting and going to watch a movie as opposed to being on a roller coaster or some other ride — I've recently, a couple of times, re-watched the film — and I remember the opening segment with the balloonist, which was shot in a very familiar way. I have a very clear memory because when that screen opened up and that balloon took off, my stomach dropped.It was a film as a thrill ride, and upon rewatching it — I didn't think this as a 10-year-old or 11-year-old — but what it reminded me upon rewatching was of Henry V, Lawrence Olivier, 1944, where the film begins in the Globe Theater and as the film goes on, it opens up and expands into this huge technicolor extravaganza as the English versus the French. It reminds me of that. What was your reaction the first time you saw that movie, that film of yours you made with Jim Freeman, on the big screen where you could really get the full immersive effect?It gave me goosebumps. IMAX, at that time, was kind of unknown. The Smithsonian Air and Space Museum was the fourth IMAX theater built, and very few people had seen that system unless you visited world's fairs around the world. So we knew we had something that people were going to grasp a hold of and love because, like you said, it's a combination of film, and storytelling, and a roller coaster ride. You basically give yourself away to the screen and just go with it.What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.” We tried to put as many in there as we could, including the train coming straight at you and bashing right into the camera where the audience thinks it's going to get run over. Those kinds of moments on that gigantic screen with that wonderful 10 times, 35-millimeter clarity really moved the audience and I guess that's why they used it at Great America where you saw it.You mentioned the train and I remember a story from the era of silent film and the first time people saw a train on silent film, they jumped, people jumped because they thought the train was coming at them. Then, of course, we all kind of got used to it, and this just occurred to me, that film may have been the first time in 75 years that an audience had that reaction again, like they did with first with silent film where they thought the train was going to come out of the screen to To Fly! where, once again, your previous experience looking at a visual medium was not going to help you. This was something completely different and your sense perception was totally surprised by it.Yeah, it's true. Obviously we were copying that early train shot that started the cinema way back in probably 1896 or 1898. You ended up with To Fly! . . . we knew we had an opportunity because the Air and Space Museum, we felt, was going to be a huge smash hit. Everyone was interested in space right at that moment. Everyone was interested in flying right at that moment. Basically, as soon as it opened its doors, the Air and Space Museum became the number one museum in America, and I think it even passed the Louvre that year in attendance.Our film had over a million and a half people in its first year, which was astounding! And after that year of run, every museum in the world wanted an IMAX theater. Everyone heard about it. They started out charging 50 cents admission for the 27-minute IMAX film, and halfway through the season, they got embarrassed because they were making so much money. They reduced the admission price to 25 cents and everyone was happy. The film was so fun to watch and gave you information in a poetic way through the narration. The storytelling was simple and chronological. You could follow it even if you were a 10-year-old or an 85-year-old, and people just adored the movie. They wrote letters to the editor. The Washington Post called it the best film in the last 10 years, or something like that. Anyway, it was really a heady of time for IMAX.An innovative filming process (8:25)It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . .I may have just read the Washington Post review that you mentioned. It was a Washington Post review from just three or four years later, so not that long after, and in the conclusion to that piece, it said, “You come away from the film remembering the flying, the freedom of it, the glee, the exaltation. No Wonder ‘To Fly' is a national monument.” So already calling it a national monument, but it took some innovation to create that monument. This isn't just a piece of great filmmaking and great storytelling, it's a piece of technological innovation. I wonder if you could tell me about that.We've worked with the IMAX corporation, particularly Graeme Ferguson, who is gone now, but he was a filmmaker and helped us immensely. Not only guiding, because he'd made a couple of IMAX films previously that just showed at individual theaters, but was a great filmmaker and we wanted three more cameras built—there was only one camera when we began, and we needed three, actually, so we could double shoot and triple shoot different scenes that were dangerous. They did that for us in record time. Then we had to build all these kind of imaginative camera mounts. A guy named Nelson Tyler, Tyler Camera Systems in Hollywood, helped us enormously. He was a close friend and basically built an IMAX camera mount for a helicopter that we called the “monster mount.” It was so huge.The IMAX camera was big and huge on its own, so it needed this huge mount, and it carried the IMAX camera flawlessly and smoothly through the air in a helicopter so that there weren't any bumps or jarring moments so the audience would not get disturbed but they would feel like they were a bird flying. You needed that smoothness because when you're sitting up close against that beautifully detailed screen, you don't want any jerk or you're going to want to close your eyes. It's going to be too nauseating to actually watch. So we knew we had to have flawlessly smooth and beautiful aerials shot in the best light of the day, right at dawn or right at sunset. The tricks that we used, the special camera mounts, we had two different camera mounts for helicopters, one for a Learjet, one for a biplane. We even had a balloon mount that went in the helium balloon that we set up at the beginning of the film.It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . . There are quiet moments in the film that are very powerful, but there's also these basic thrill moments where the camera goes off over the edge of a cliff and your stomach kind of turns upside down a little bit. Some people had to close their eyes as they were watching so they wouldn't get nauseated, but that's really what we wanted. We wanted people to experience that bigness and that beauty. Basically the theme of the movie was taking off into the air was like the opening of a new eye.Essentially, you re-understood what the world was when aviation began, when the first balloonists took off or when the first airplane, the Wright Brothers, took off, or when we went into space, the change of perspective. And obviously IMAX is the ultimate change of perspectiveWhen I watched the entire film — I've watched it a few times since on YouTube, which I think somebody ripped from a laser disc or something — maybe six months ago, I had forgotten the space sequence. This movie came out a year before Star Wars, and I was looking at that space sequence and I thought, that's pretty good. I thought that really held up excellent. As a documentary, what prepared you to do that kind of sequence? Or was that something completely different that you really had to innovate to do?I had loved 2001: A Space Odyssey, the Kubrick film, and one of the special effects supervisors was Doug Trumbull. So we called Doug and said, “Look, I want to make the sequence. It's going to be short, but it's going to pay homage to space travel and what could happen in the future.” And he guided us a little bit, showed us how to make kind of the explosions of space that he'd done in 2001 using microscopic paint, so we had to develop a camera lens that fit on the IMAX camera that could shoot just a very small area, like half an inch across, where paint in a soluble mixture could then explode. We shot it in slow motion, and then we built a Starship, kind of like a Star Wars-looking — though, as you mentioned, Star Wars had not come out yet — kind of a spaceship that we then superimposed against planets that we photographed, Jupiter and Saturn. We tried to give the feeling and the perspective that that could give us with our poetic narrator, and it worked. It kind of worked, even though it was done on a very small budget. We had $690,000 to make that movie. So we only had one SAG actor who actually got paid the regular wage, that was Peter Walker.Was that the balloonist?Yeah, he was the balloonist. And he was a stage actor, so he was perfect, because I wanted something to obviously be a little bit overblown, make your gestures kind of comically big, and he was perfect for it. But we only had enough money to pay him for one day, so we went to Vermont and put him in the balloon basket, and we shot everything in one day. We never actually shot him flying. We shot him hanging in the balloon basket and the balloon basket was hanging from a crane that was out of the picture, and so we could lift him and make him swing past us and all that stuff, and he was terrific.Then we shot the real balloon, which was a helium balloon. We got the helium from the Navy — which would've been very costly, but they donated the helium — and went to West Virginia where the forest was basically uncut and had no power lines going through it so we could duplicate 1780 or whatever the year was with our aerial shooting. And we had a guy named Kurt Snelling, who was probably the best balloonist at that particular moment, and he dressed like Peter in the same costume and piloted the balloon across. And balloons, you can't tell where they're going, they just follow the wind, and so it was a little dangerous, but we got it all done. It was about a week and a half because we had to wait for weather. So we had a lot of weather days and bad rain in West Virginia when we shot that, but we got it all done, and it looks beautiful, and it matches in with Peter pretty well.Just what you've described there, it sounds like a lot: You're going to Maine, you're in West Virginia, you're getting helium from — it sounds like there were a lot of moving parts! Was this the most ambitious thing you had done up until that point?Well, we'd worked on some feature films before, like The Towering Inferno and Jonathan Livingston Seagull, and things like that, which were involved and very complicated. But yeah, it was very much the biggest production that we put together on our own, and it required us to learn how to produce in a big fashion. It was a thrill for us. Essentially, we had about 10 people working on the film in Laguna Beach, and none of them, except for maybe Jim and I, who we'd worked on feature films and complicated shoots with actors and all that, but a lot of our team hadn't. And so it was an adventure. Every day was a thrill.A “you can do it” movie (19:07). . . we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.There's a version of this podcast where we spend a half hour talking about The Towering Inferno. I just want you to know that it's very hard for me not to derail the conversation into talking about The Towering Inferno. I will not do that, but let me ask you this, the movie is about flight, it's about westward expansion, but that movie, it came out for the bicentennial, we'd gone through a tumultuous, let's say past 10 years: You had Vietnam, there's social unrest, you had Watergate. And the movie really must have just seemed like a breath of fresh air for people.As you put the movie together, and wrote it, and filmed it, did you feel like you were telling a message other than just about our connection with flight? It really seemed to me to be more than that, a movie about aspiration, and curiosity, and so forth.It was, and pretty much all of our films have been that positive spirit, “You can do it” kind of movie. Even our surfing films that we started with 20 years, maybe 10 years before To Fly!, you end up with that spirit of the human's ability to go beyond. And obviously celebrating the bicentennial and the beginning of democracy here in this country and the fact that we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.Of course, this was right there when everyone had felt, okay, we went to the moon, we did all kinds of great things. We were inventive and a lot of that spirit of invention, and curiosity, and accomplishment came from the fact that we were free as individuals to do it, to take risks. So I think To Fly! had a lot of that as part of it.But the interesting thing, I thought, was I had one meeting with Michael Collins, who was the director of the Air and Space Museum and the astronaut who circled the moon as Neil and Buzz Aldrin were on the moon walking around, and here he is, hoping that these two guys will come back to him so that the three of them can come back to Earth — but they'd never tested the blast-off from the moon's surface, and they didn't know 100 percent that it was going to work, and that was the weirdest feeling.But what Collins told me in my single meeting that I had with him, he said, “Look, I've got a half an hour for you, I'm building a museum, I've got two years to do it.” And I said, “Look, one thing I want to know is how much facts and figures do you want in this movie? We've got a little over a half an hour to do this film. The audience sits down in your theater, what do you want me to do?” And he said, “Give me fun. Give me the IMAX experience. I don't want any facts and figures. I don't want any dates. I don't want any names. I've got plenty of those everywhere else in the museum. People are going to be sick of dates and names. Give me fun, give me adventure.” And I said, “Oh gosh, we know how to do that because we started out making surfing films.” and he goes, “Do that. Make me a surfing film about aviation.” It was probably the best advice, because he said, “And I don't want to see you again for two years. Bring me back a film. I trust you. I've seen your films. Just go out and do it.” And that was probably the best management advice that I've ever received.So you weren't getting notes. I always hear about studios giving filmmakers notes. You did not get notes.The note I got was, “We love it. Put it on the screen now.” What they did do is they gave me 26 subjects. They said, “Here's the things that we think would be really cool in the movie. We know you can't use 26 things because that's like a minute per sequence, so you pick which of those 26 to stick in.” And I said, “What I'm going to do then is make it chronological so people will somewhat understand it, otherwise it's going to be confusing as heck.” And he said, “Great, you pick.” So I picked things that I knew I could do, and Jim, of course, was right there with me all the time.Then we had a wonderful advisor in Francis Thompson who at that time was an older filmmaker from New York who had done a lot of world's fair films, hadn't ever done IMAX, but he'd done triple-screen films and won an Academy Award with a film called To Be Alive! and he advised us. Graeme Ferguson, as I mentioned, advised us, but we selected the different sequences, probably ended up with 12 sequences, each of which we felt that we could handle on our meager budget.It was delightful that Conoco put up the money for the film as a public service. They wanted to be recognized in the bicentennial year, and they expected that the film was going to run for a year, and then of course today it's still running and it's going into its 50th year now. And so it's one of those things that was one of those feel-good moments of my life and feel-good moments for the Air and Space Museum, Michael Collins, for everyone involved.Competing views of technology (25:50)Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.When rewatching it, I was reminded of the 1982 film Koyaanisqatsi by Godfrey Reggio, which also had a very famous scene of a 747 looming at the camera. While yours was a joyous scene, I think we're supposed to take away an ominous message about technology in that film. That movie was not a celebration of flight or of technology. Have you wondered why just six years after To Fly!, this other film came out and conveyed a very different message about technology and society.I love Koyaanisqatsi, and in fact, we helped work on that. We did a lot of the aerial shooting for that.I did not know that.And Godfrey Reggio is an acquaintance, a friend. We tried to actually do a movie together for the new millennium, and that would've been pretty wild.Certainly a hypnotic film, no doubt. Fantastic.Yeah. But their thesis was, yeah, technology's gotten beyond us. It's kind of controlled us in some fashions. And with the time-lapse sequences and the basic frenetic aspects of life and war and things like that. And with no narration. That film lets the audience tell the story to themselves, guided by the visuals and the technique. Our film was absolutely a 100 percent positive that the 747 that we had was the number one 747 ever built. Boeing owned it. I don't think they'd started selling them, or they were just starting to use them. Everyone was amazed by the size of this airplane, and we got to bolt our IMAX camera on the bottom of it, and then it was such a thrill to take that big 747.The guy took off from Seattle and the pilot said, “Okay, now where do you want to go?” I said, “Well, I want to find clouds. And he goes, “Well, there's some clouds over next to Illinois. We could go there,” so we go two hours towards Illinois. And I'm in a 737 that they loaned us with the IMAX camera in a brand new window that we stuck in the side of the 737, just absolutely clear as the sheet of glass, just a single pane, and the camera's right up against that piece of plexiglass and with the 40-millimeter lens, which is a 90-degree lens.So I said, “We've got to fly the 737 really close to the 747 and through clouds so that the clouds are wisping through, and so the 747 is disappearing and then appearing and then disappearing and then appear, and we have to do this right at sunset in puffy clouds, these big cumulus clouds.” And so they said, “We can do that, let's go find it!” The two guys who were piloting were both military pilots, so they were used to flying in formation and it was a delight. We shot roll, after roll, after roll and got some of those moments where that 747 comes out into light after being in the white of the cloud are just stunning. So we made the 747 look almost like a miniature plane, except for the shot from underneath where you see the big wheels coming up. So it was a really cool, and I don't know what it cost Boeing to do that, but hundreds of thousands, maybe.Another public service.But they got it back. Obviously it was a heroic moment in the film, and their beautiful plane, which went on to sell many, many copies and was their hero airplane for so many years.Yeah, sure.It was a fun deal. So in comparison to Koyaanisqatsi, our film was the exact opposite. Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.I feel like there's a gap in what we get out of Hollywood, what we get out of the media. You don't want just feel-good films. You don't want just celebrations. You want the full range of our lives and of human experience, but I feel like, Koyaanisqatsi is about being out of balance, I think we've gotten out of balance. I just don't see much out there that has the kind of aspirational message with To Fly! I'm not sure what you think. I feel like we could use more of that.Yeah, I'm hopeful that I'm going to be able to make a movie called A Beautiful Life, which is all about the same thing that I was talking about, the freedom that the individual has here in America. I was hopeful to do it for the 250th anniversary, but I'm not going to get it done by that time next year. But I want to do that movie kind of as a musical celebration of almost a “family of man” sort of movie located around the world with various cultures and positive spirit. I'm an optimist, I'm a positive person. That's the joy I get out of life. I suppose that's why Jim and I were perfect to make To Fly! We infused beauty into everything that we tried to do.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro ReadsPlease check out the website or Substack app for the latest Up Wing economic, business, and tech news contained in this new edition of the newsletter. Lots of great stuff! Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe
Asiantuntijoina Heidi Kinnunen, Jaakko Kullberg, Juha Laaksonen, Ari Saura ja Henry Väre. Juontajana Minna Pyykkö.
When you survive an arrow shot to the face like Henry V did, you don't waste your second chance. So when he's finally crowned in 1413, it's all systems go. He ruthlessly slaps down challenges to his rule, and launches a lightning military campaign that puts England back in the big leagues. English rule is restored in France for the first time in generations. His heir will be the first and only English monarch to be crowned King of France. This is the story of a monarch who became a legend in his own lifetime, and whose mythology still continues to press upon our present… But little did Henry know there's an original sin at the heart of his reign that's going to ricochet across England for centuries. To delve deeper into the history behind each episode, become a This Is History Royal Favourite subscriber. You get ad free listening, bonus episodes, and access to our royal court on Patreon. There, you can meet fellow mediaeval history buffs, chat with the team, and tell us what you want to hear more of. Think of this as your virtual clubhouse. We'd love to see you there: patreon.com/thisishistory – A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices Written and presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole Production Manager - Jen Mistri Production coordinator: Eric Ryan Mixing - Amber Devereux Head of content – Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices
Grandson of Mary Boleyn. Cousin to Elizabeth I. Patron to Shakespeare's company. On 8 September 1603, George Carey, 2nd Baron Hunsdon, died, leaving a legacy that runs from court politics to the playhouse. Some even whispered he was Henry VIII's grandson. Rumour or not, Carey stood right behind the stage that gave us Hamlet, Henry V and more. I'm historian and author Claire Ridgway. In today's “On This Day,” meet the steady court insider who helped shape the English Renaissance, from border forts and the Isle of Wight to the Lord Chamberlain's Men. What you'll learn: Carey's Boleyn roots & royal connections Missions to Scotland and a knighthood at Berwick (1570) Roles that kept him close to Elizabeth I (Marshal of the Household, JP, Constable of Bamburgh, Captain of the Isle of Wight) How he supported the fleet during the Spanish Armada Why becoming Lord Chamberlain (1596) mattered to Shakespeare's troupe Honours (KG, Privy Council) and his late-life legacy under James I The enduring rumour about Tudor blood in the Carey line If you enjoyed this, please like, subscribe, and ring the bell for daily Tudor stories. Tell me in the comments: Do you think the Carey–Tudor blood rumour holds water? #TudorHistory #AnneBoleyn #ElizabethI #Shakespeare #LordChamberlainsMen #OnThisDay
Henry V shatters the Dauphin Louis's hubris. Despite their superior numbers, carnage awaits the French at a battle called Agincourt. But the bad luck doesn't end there. Two Dauphins die suddenly in quick succession, catapulting an unknown prince — and the kingdom — into the unknown. If you want to learn about the last English invasion of France, listen back to season six, episode five, where Edward III wins the Battle of Crécy. Plus, in this week's bonus episode, Dan and Danièle dive into France's litany of failures at Agincourt, and hear Dan's excellent impression of Robert Pattinson in The King. You can get all of that and more on our Patreon. In addition to ad-free listening and bonus episodes, you get to chat with mediaeval buffs from around the world, shape the direction of the show, and watch exclusive behind the scenes videos from the team. Become one of our royal favourites at patreon.com/thisishistory – A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Written and presented by Danièle Cybulskie Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole Production Manager - Jen Mistri Production coordinator - Eric Ryan Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices
Asiantuntijoina Heidi Kinnunen, Jaakko Kullberg, Juha Laaksonen, Ari Saura ja Henry Väre. Juontajana Minna Pyykkö.
Episode 182:Although it feels like a while since Shakespeare had produced a history play, we must remember that all the plays I have discussed so far were written and played in a very compressed timescale. If we take Henry 6th part 1 as being from 1591 then eight years and eighteen plays later, we get to Henry 5th.The sources for the playThe dating of the playThe printing history of the playThe early performance history of the playA brief synopsis of the playA play that works on several levelsThe central role of the ChorusThe multiple linguistic registers in the playThe conclusion of Henry's character arcThe different aspects to Henry's characterHenry's meditations on the responsibilities of kingshipThe supporting characters – the soldiersPrincess Katerine and her English lessonThe demise of PistolThe later performance history of the playSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.
Joe Rogan, Andrew Klavan, Charlie Kirk. My remarks at Oxford Union formal debate, An Embodiment of Heroism, What Michael Pollan Learned from Quitting Caffeine for 3 Months Charlie Kirk- My remarks at Oxford Union formal debate. Andrew Klavan-The Great British King Who Embodied Heroism For Our Time Joe Rogan- What Michael Pollan Learned from Quitting Caffeine for 3 Months Post Charlie Kirk @charliekirk11 My remarks at Oxford Union formal debate. Has Trump gone too far? The UK is lost, but it can find its way back if it follows America's lead. The Great British King Who Embodied Heroism For Our Time What does Shakespeare's amazing play Henry V say about human transformation? It has a very personal message that's applicable to your life. https://youtu.be/2Jws9ZaKciQ?si=z6CB5AApP4PZSfY- Andrew Klavan 811K subscribers 6,072 views Aug 12, 2025 #AndrewKlavan #DailyWire #Shakespeare What does Shakespeare's amazing play Henry V say about human transformation? It has a very personal message that's applicable to your life. Watch the member-exclusive portion of the show now on DailyWire+! LIKE & SUBSCRIBE for new videos every day. https://bit.ly/3PEAEoq Watch the full episode here: Ep. 1242 - • Ep. 1242 - White Girl Summer Pick up your copy of "The Kingdom of Cain" here: https://amzn.to/4iTSF1a Stop giving your money to woke corporations that hate you. Get your Jeremy's Razors today at https://www.ihateharrys.com Save the Klavan by shopping my merch here: https://tinyurl.com/3cjjew4e #AndrewKlavan #DailyWire #Shakespeare #CultureCommentary What Michael Pollan Learned from Quitting Caffeine for 3 Months https://youtu.be/mAPG18zNtXk?si=nIUTWunQqEHXY1M4 PowerfulJRE 20.1M subscribers 12,339,744 views Jul 5, 2021 #1678 Taken from JRE #1678 w/Michael Pollan: https://open.spotify.com/episode/3fMo...
From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Shakespeare with a twistLuke Fanning of northeast Minneapolis has his eye on Zach Christensen of Jackdonkey Productions, whose staging of “Henry V” is now at Theatre in the Round.Fanning says Christensen has “an uncanny knack for taking something that might be a little bit old and dusty and shaking it up and making it new and fun.”This production promises music, movement and “weird vibes” while still exploring the play's central themes of war, power and their effects on people. “Henry V” runs through Aug. 18.Luke says: I know I can trust Jackdonkey to add music, movement, weird vibes in a way that I'm gonna lean in instead of zone out.— Luke FanningTim Harding's shimmering ‘Double Vision'Minneapolis visual artist Carolyn Halliday has followed Tim Harding's textile work for decades, but his new series “Double Vision” is something entirely different.Harding prints his own photographs on polyester, reprints them at a different scale on organza, then layers, gathers and stitches the fabrics to create a stereopticon-like effect.The result, Halliday says, “moves and shimmers and distorts the view.” The show is on view at Groveland Gallery in Minneapolis through Aug. 30.Carolyn says: It's really dramatic.— Carolyn HallidayA symphonic ‘Ring' in BrainerdJustin Lucero, artistic director of Theatre Latté Da, says the Lakes Area Music Festival in Brainerd is preparing its largest-ever orchestra for an ambitious weekend.The festival will present an orchestral program featuring music from “The Lord of the Rings,” a new work by French composer Camille Pépin, and “The Ring: An Orchestral Adventure,” a 70-minute distillation of Wagner's epic 15-hour cycle.More than 100 musicians will perform on the Gichi-ziibi stage Aug. 16 and 17.Justin says: It'll be the largest ever orchestra that has been involved with the Lakes Area Music Festival.— Justin Lucero
Harley Mumford (Fandamentals podcast) and Tom Davies (The Proper Mental Podcast) return to Flixwatcher to review Harley's choice The King. The King (2019) is a historical drama based on William Shakespeare's Henriad. Directed by David (War Machine) Michôd it's star studded cast includes Timothée Chalamet as Henry V, Joel Edgerton as John Falstaff, Sean Harris as Chief Justice Sir William Gascoigne, Tom Glynn-Carney as Sir Harry "Hotspur" Percy, Lily-Rose Depp as Catherine, Thomasin McKenzie as Phillippa, Queen of Denmark, Robert Pattinson as Louis, Duke of Guyenne and Ben Mendelsohn as King Henry IV. This adaptation of Shakespeare's Henriad focuses on the rise Henry V after his father's death while he navigates the politics involved and discovers while the loyalties lie. The King is much more a character study that action film, there is action but it explores in the emotional side as well. Recommendability for The King was mixed, its length and subject proved tricky to be universally recommended and it scores 2.85 overall. [supsystic-tables id=403] Thanks to the Episode # 390 crew of Harley Mumford and Tom Davies You can find their website here And at Please make sure you give them some love For more info on The King can visit The King IMDB page here The King Rotten Tomatoes page here. If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below. More about The King Plug! Subscribe, Share and Review us on iTunes Learn more about your ad choices. Visit megaphone.fm/adchoices
Sounds & Sweet Airs - The Complete Works of Shakespeare Henry IV, Part 2 Act 5 The king is dead. Henry V now rules England, and word is spreading across the country. When news reaches Falstaff, he gathers his followers and heads back to London, certain that Hal will have honours for him... CAST Falstaff - Andrew Faber Henry V - Harry Lock Warwick - Karim Kronfli Chief Justice - Helen Maltby Shallow - Brian Murray Silence - Sandie King Lancaster - Laike Twiss Gloucester - Lou Sutcliffe Clarence - Hannah Rogers Bardolph - Alan Curtis Mistress Quickly - Mary Hall Doll Tearsheet - Zoe Barke Pistol - Patrick Cline Davy - Benjamin Chandler Beadle - Erika Sanderson CREW Writer - William Shakespeare Producer / Director - Dario Knight Sound Engineers - Stephan Medhurst & Gareth Johnson Title Music - Bonnie Grace Additional Music - John Bjork & Epidemic Sound
As a summertime treat, Dr. Eleanor Janega is let out of the Gone Medieval dungeon to join Matt Lewis to delve into the complexities of the 15th century, focusing on England's tumultuous history. From the political upheavals following the deposition of Richard II to the Wars of the Roses, they explore significant figures including Henry V, Joan of Arc, and several influential queens. Their discussion highlights the evolution of political structures, the rise of Parliament, and the changing role of women in this fascinating period, shedding light on how these historical events shape our understanding of medieval England and its legacy.More:How to Survive the 14th Centuryhttps://open.spotify.com/episode/4H07YkgPdb3iYvCrokhDajMovie Knight: Medieval World on Filmhttps://open.spotify.com/episode/51UIHVtrsIHqKJujhu1HnSGone Medieval is presented by Matt Lewis and Dr. Eleanor Janega. Audio editor is Amy Haddow, the producers are Joseph Knight and Rob Weinberg. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on
Merriam-Webster's Word of the Day for August 6, 2025 is: largesse • lahr-ZHESS • noun Largesse is a somewhat formal word that refers to the act of giving away money or the generosity of a person who gives away money. It can also refer to the money that is given away. // The community has benefited greatly from the largesse of its wealthiest family. // The local business owner is a philanthropist known for his largesse. See the entry > Examples: "Over the years, ShelterBox USA, an outgrowth of the Rotary Club and named for the relief boxes it distributes, has helped nearly 3 million people in some of the world's worst disaster zones. It hands out basic survival needs: tents, tools, and household supplies. Twice the organization has been nominated for the Nobel Peace Prize for its life-preserving largesse." — The Olney (Texas) Enterprise, 20 Mar. 2025 Did you know? The English language has benefited from the largesse of Anglo-French, through which a generous number of words have passed; examples range from simple to account to desert. English speakers owe Anglo-French a huge thanks, in particular, for its adjective large. That word, meaning "generous, broad, or wide," is the source of both largesse and the familiar duo of large and enlarge. Most people understand enlarge to mean "to make larger," but a less common sense (used in Shakespeare's Henry V) is "to set free." Largesse also contains the notion of freedom, specifically with regard to a lack of financial constraints: it's not about having a "large" amount of money but rather being "free" with it. Incidentally, the English word large wasn't about size when it was first adopted in the 13th century. Back then it meant "lavish."
Renaissance English History Podcast: A Show About the Tudors
Today we're looking at a royal scandal you've probably never heard of: in 1419, Joan of Navarre - the Dowager Queen and stepmother to Henry V - was arrested for witchcraft. Not because she was guilty, but because the king needed cash. In this video, we dug into why Henry turned on her, what the accusation actually meant, and how Joan ended up imprisoned in luxury… with silk gowns and nineteen grooms.Remember Tudorcon from Home tickets - get yours early and join the Privy Council! https://www.englandcast.com/TudorconFromHome for all the details. Hosted on Acast. See acast.com/privacy for more information.
Playwright Lauren Gunderson returns to discuss her new play Billie Jean, about tennis and civil rights legend Billie Jean King, now having its world premiere at Chicago Shakespeare Theatre. Gunderson reflects on the similarities between sports and theatre and how they inform this spectacular new work; its surprisingly fast and enviable development process; the parallels to her earlier plays; the echoes of Shakespeare's Henry V and how Wimbledon resembles Agincourt; and how Billie Jean, as Brandi Carlile said, "came out at 50 so that come out at 15.” (Length 18:56) (PICTURED: Chilina Kennedy as Billie Jean King in Chicago Shakespeare's world premiere production of Billie Jean by Lauren Gunderson, directed by Marc Bruni. Running July 18–August 10, 2025, in The Yard at Chicago Shakespeare. Photo by Justin Barbin.) The post Writing ‘Billie Jean' appeared first on Reduced Shakespeare Company.
VirtualDJ Radio TheGrind - Channel 2 - Recorded Live Sets Podcast
Live Recorded Set from VirtualDJ Radio TheGrind
In this electrifying live episode of History Rage, host Paul Bavill takes the stage at the Chalke History Festival with distinguished medieval historian Michael Livingston. Together, they dive into the myths and realities surrounding the legendary Battle of Agincourt, a pivotal moment in English history that has been steeped in myth and misinterpretation.The Agincourt Myth: Michael passionately debunks the widely held belief that the infamous "V" sign originated from English archers at Agincourt, arguing that this narrative is a modern fabrication with no historical basis. He challenges listeners to reconsider the true nature of the battle and the motivations of those involved.Henry V's Leadership: Discover the truth behind Henry V's intentions before the battle. Contrary to popular belief, he was not seeking a fight but was instead cornered into a confrontation, a fact that reshapes our understanding of his leadership during this critical moment.Battlefield Dynamics: Michael provides an insightful analysis of the battlefield itself, questioning the traditional location of Agincourt and exploring how the terrain and weather conditions significantly impacted the outcome of the battle. He highlights the importance of geography in understanding historical events.Casualty Figures: The discussion delves into the murky waters of casualty figures, revealing how propaganda has skewed our perception of losses on both sides. Michael shares fascinating insights into how names and numbers were recorded, or often not recorded, in the chaotic aftermath of battle.Audience Q&A: The episode also features an engaging Q&A session, where audience members pose thought-provoking questions about archery, Shakespeare's portrayal of history, and the impact of mud on the battlefield, leading to lively discussions and further revelations.Join us for this unforgettable exploration of Agincourt, where history meets myth, and stay tuned for more episodes of History Rage, where we continue to challenge the narratives that shape our understanding of the past.Support History Rage on Patreon for exclusive content and early episode access at www.patreon.com/historyrage. For more historical insights, visit our website www.historyrage.com. If you want to get in touch with History Rage, email us at historyragepod@gmail.com. Follow History Rage on Social Media:Facebook: https://www.facebook.com/HistoryRageTwitter: https://twitter.com/HistoryRageInstagram: https://www.instagram.com/historyrage Stay Angry, Stay Informed - History Rage Hosted on Acast. See acast.com/privacy for more information.
Beau discusses the end of Henry V's life and his legacy.
This week Beau discusses what Henry did after The Battle of Agincourt; i.e, returned to England, took a year out, returned in 1417, took Rouen, played the French off against each other, and entered Paris in triumph.
A bumper chapter where the Story of London follows the tale of the city as it deals with the aftermath of the death of Henry V; a tale of the city's economy starting to be reborn; why it came within an inch of seeing a pitch battle on London bridge between residents north of the river and those from Southwalk; whose side it picked in the growing partisan politics of the new regency; and above all, we look at the legacy of Dick Whittington, the three-and-one-half times mayor of the city, whose legacy transformed the city and remains to this day.
This week Beau concludes the story of the battle of Agincourt, along with the various takes concerning the points of controversy.
A special episode as we leave the city for a few years and look to the ever-so-important war with France raging across on the Continent. Picking up after Henry V's victory at Agincourt, we look at why the next few years of this war were entirely different from any other part of it so far, look at the situation in France that allowed Henry do so bloody well, follow the King as he rampages across the nation, seemingly invincible… and look at why his sudden death was not the complete disaster it could have been. A chapter where we look to the external forces that were going to influence events in London for decades to come.
PREVIEW: Epochs #213 | Henry V: Part VIII by lotuseaters.com
This week Beau continues to discuss the long and dangerous march that Henry attempts between Harfleur and Calais, culminating in the army finally getting cornered just outside a small village called Agincourt.
This week Beau discusses the long and dangerous march that Henry attempts between Harfleur and Calais.'
This week Beau discusses how the siege of Harfleur finally came to a close.
This week Beau discusses the beginning of Henry V's 1415 Agincourt campaign, and the commencement of the famous siege of Harfleur.
This week Beau discusses Henry V's preparations for war, all the political machinations, the Oldcastle rebellion, and the Southampton plot.
Russillo is joined by Dan Jones to learn more about his latest book: ‘Henry V.' They cover the formation of the monarchy in England and Henry's belief that he was destined to be king, then discuss how we look back at historical figures today (0:36). Plus, Life Advice with Ceruti and Kyle (43:53)! How do I tell my student teacher he smells like weed? Check us out on YouTube for exclusive clips, livestreams, and more at https://www.youtube.com/@RyenRussilloPodcast. The Ringer is committed to responsible gaming. Please visit www.rg-help.com to learn more about the resources and helplines available. Host: Ryen Russillo Guest: Dan Jones Producers: Steve Ceruti, Kyle Crichton, and Mike Wargon Learn more about your ad choices. Visit podcastchoices.com/adchoices
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