Podcast appearances and mentions of lady bracknell

We meet Irish screen and theatre actor Stephen Rea, who talks about meeting Samuel Beckett early in his career. Rea so wanted to perform Beckett's play Krapp's Last Tape, he had the foresight to record his youthful self reading it. In his new production at Adelaide Festival, the audience gets to hear those recordings.We head Back Stage to the hat maker's studio! In fiction there are lots of characters who are famous for their hats. Robin Hood. Sherlock Holmes.  Lady Bracknell (she needs a ridiculous hat). In our new series Back Stage, Michael meets theatre milliner Phillip Rhodes, who reveals how hats bring a character to life. Butoh is a dance form that started in Japan in the 1950s and was called 'the dance of darkness'. Dancers often wear white body paint and explore raw psychological states. But it can also be outrageous and funny, as veteran performer Yumi Umiumare tells us about her own life practising Butoh. Yumi's latest show is Butoh Bar: Out of Order II for Asia TOPA.

fWotD Episode 2760: The Importance of Being Earnest Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Sunday, 24 November 2024 is The Importance of Being Earnest.The Importance of Being Earnest, a Trivial Comedy for Serious People is a play by Oscar Wilde, the last of his four drawing-room plays, following Lady Windermere's Fan (1892), A Woman of No Importance (1893) and An Ideal Husband (1895). First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy depicting the tangled affairs of two young men about town who lead double lives to evade unwanted social obligations, both assuming the name Ernest while wooing the two young women of their affections. The play, celebrated for its wit and repartee, parodies contemporary dramatic norms, gently satirises late Victorian manners, and introduces – in addition to the two pairs of young lovers – the formidable Lady Bracknell, the fussy governess Miss Prism and the benign and scholarly Canon Chasuble. Contemporary reviews in Britain and overseas praised the play's humour, although some critics had reservations about its lack of social messages.The successful opening night marked the climax of Wilde's career but was followed within weeks by his downfall. The Marquess of Queensberry, whose son Lord Alfred Douglas was Wilde's lover, unsuccessfully schemed to throw a bouquet of rotten vegetables at the playwright at the end of the performance. This feud led to a series of legal trials from March to May 1895 which resulted in Wilde's conviction and imprisonment for homosexual acts. Despite the play's early success, Wilde's disgrace caused it to be closed in May after 86 performances. After his release from prison in 1897 he published the play from exile in Paris, but he wrote no more comic or dramatic works.From the early 20th century onwards the play has been revived frequently in English-speaking countries and elsewhere. After the first production, which featured George Alexander, Allan Aynesworth and Irene Vanbrugh among others, many actors have been associated with the play, including Mabel Terry-Lewis, John Gielgud, Edith Evans, Margaret Rutherford, Martin Jarvis, Nigel Havers and Judi Dench. The role of the redoubtable Lady Bracknell has sometimes been played by men. The Importance of Being Earnest has been adapted for radio from the 1920s onwards and for television since the 1930s, filmed for the cinema on three occasions (directed by Anthony Asquith in 1952, Kurt Baker in 1992 and Oliver Parker in 2002) and turned into operas and musicals.This recording reflects the Wikipedia text as of 00:30 UTC on Sunday, 24 November 2024.For the full current version of the article, see The Importance of Being Earnest on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Patrick.

Sharon D Clarke is a triple Olivier award-winning actress currently starring in two separate TV series: My Loverman on BBC One and Ellis on Channel 5. In November she's playing the role of Lady Bracknell in The Importance of Being Earnest at the Lyttelton Theatre in London. Sharon joins Krupa Padhy to talk about her new roles and what black representation on stage and screen means to her.Mums say that the UK's system for children with special educational needs and disabilities (SEND) is broken. An opinion poll from Opinium commissioned by Woman's Hour for a programme on SEND last month revealed that only half of mothers believe their child with SEND is well supported in school, and those in Scotland are the least likely to feel this way. Krupa takes a look at what is going on behind the scenes with Julie Allan, Professor of Equity and Inclusion at the University of Birmingham; Bev Alderson, National Executive Member of the teaching union NASUWT and Jo Van Herwegen. Professor of Developmental Psychology and Education at University College London.The rap musician Sean ‘Diddy' Combs could face lawsuits from more than 100 accusers for sexual assault, rape and sexual exploitation. He is currently being held in a New York detention centre after being denied bail. What are the accusations against him? And what impact is this having on the alleged victims? BBC News correspondent Chi Chi Izundu joins Krupa to tell us more.Who were the trailblazing black women in nursing and how far back does that history go? The children's black history author Kandace Chimbiri asks that question in her latest book The Story of Britain's Black Nurses. She examines how far back this history goes and its links to Empire and Britain's former colonies.

A theatre trip and a cinema trip, Olympic gold and Dickens. Much love and gratitude, Belle x #charlesdickens #haroldandthepurplecrayon #oscarwilde

The Importance of Being Earnest A Trivial Comedy for Serious People Oscar Wilde Morning-room in Algernon's flat in Half-Moon Street. The room is luxuriously and artistically furnished. The sound of a piano is heard in the adjoining room. [Lane is arranging afternoon tea on the table, and after the music has ceased, Algernon enters.] ALGERNON. Did you hear what I was playing, Lane? LANE. I didn't think it polite to listen, sir. ALGERNON. I'm sorry for that, for your sake. I don't play accurately—any one can play accurately—but I play with wonderful expression. As far as the piano is concerned, sentiment is my forte. I keep science for Life. LANE. Yes, sir. ALGERNON. And, speaking of the science of Life, have you got the cucumber sandwiches cut for Lady Bracknell? LANE. Yes, sir. [Hands them on a salver.] --- 진지함의 중요성 진지한 사람들을 위한 사소한 코미디 오스카 와일드 1895년 영국 런던. 웨스트민스터 시 중심가 하프문 거리에 있는 앨저넌 몽크리프의 저택 응접실. 럭셔리하고 예술적인 풍취가 느껴진다. 옆방에서 피아노 소리. (집사 레인이 테이블에 오후 차를 준비하고 있다. 음악이 그친 후, 앨저넌 몽크리프가 등장한다.) [앨저넌] 내 연주 소리 들었어요, 레인? [레인] 연주를 엿듣는 건 예의가 아니죠, 나리. [앨저넌] 못 들었다니 안타깝네요. 나는 정확하게 연주하지는 않아요. 정확한 연주야 누구든 할 수 있지. 나는 멋진 표현력으로 연주해요. 피아노에서 나의 장점은 감정이거든요. 과학은 현실에 필요한 거고. [레인] 맞습니다. [앨저넌] 그러고 보니 현실로 돌아와서, 브랙넬 이모님이 드실 오이 샌드위치는 다 준비됐어요? [레인] 준비됐습니다. (쟁반에 올린 샌드위치를 건네준다.) --- [목소리] Algernon Moncrieff: John Fricker Lane: Algy Pug Narrator: Tiffany Halla Colonna Audio edited by Elizabeth Klett https://librivox.org/the-importance-of-being-earnest-version-3-by-oscar-wilde/ 음악: 모차르트 피아노 소나타 16번 C장조 KV 545, 릴리 크라우스(Lili Kraus) 연주. (*작품에서는 피아노 연주가 엉망이어야 하지만, 여기서는 훌륭한 연주를 사용했습니다.) 이미지는 인공지능으로 생성했습니다.

Lady Bracknell makes a surprise appearance.

Playful Musings host, Kristin Post, reads several monologues for women from classic theatre literature.   Beatrice from Much Ado About Nothing by William Shakespeare https://www.gutenberg.org/ebooks/1519   Portia from Julius Caesar by William Shakespeare https://www.gutenberg.org/ebooks/1522   Nora from A Doll's House by Henrik Ibsen https://www.gutenberg.org/ebooks/2542   Mrs. Higgins from Pygmalion by George Bernard Shaw https://www.gutenberg.org/ebooks/3825   Lady Bracknell from The Importance of Being Earnest by Oscar Wilde https://www.gutenberg.org/ebooks/844   Maurya from Riders to the Sea by J. M. Synge https://www.gutenberg.org/ebooks/994   Jocasta from Oedipus the King by Sophocles https://www.gutenberg.org/ebooks/31   Antigone from Antigone by Sophocles https://www.gutenberg.org/ebooks/31   Mrs. Cheveley from An Ideal Husband by Oscar Wilde https://www.gutenberg.org/ebooks/885   Medea from Medea by Euripides https://www.gutenberg.org/ebooks/35451   Helena from Uncle Vanya by Anton Chekhov https://www.gutenberg.org/ebooks/1756   Mrs. Keeney from Ile by Eugene O'Neill https://www.gutenberg.org/ebooks/16435  

Julian speaks to actor Daniel Jacob, Lady Bracknell, in Oscar Wilde's Importance of Being Earnest at Cambridge Arts Theatre this week.

durée : 00:28:44 - Personnages en personne - par : Charles Dantzig - Qui est Lady Bracknell, personnage créé par Oscar Wilde, dans la pièce "L'Importance d'être Constant"? "Femme d'ordre qui croit à la supériorité de l'argent et des institutions", elle "dit des énormités sans s'en rendre compte", note Charles Dantzig. Elle est un "tambour de préjugés". - invités : Armelle Héliot Critique de Théâtre

Welcome back to the 56th 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. The theatres may be closed, but art finds a way to survive! For the time being on this podcast we are rereleasing our past reviews, interviews, roundtables, and duet reviews in remastered audio only versions so you can take your CoH content on the go! For our 56th episode we continue to branch out our review series beyond the Stratford Festival and onto other productions. In this episode we discussed the Roundabout Theatre Company's 2011 production of Oscar Wilde's The Importance of Being Earnest, directed by Brian Bedford, and starring him in the role of Lady Bracknell. Watch the play on Stratfest@Home (subscription needed): https://www.stratfordfestival.ca/AtHome Cup of Hemlock Theatre is a Toronto-based performing arts collective dedicated to staging works that examine the moral quandaries of the human experience. With an inquisitive compass, we aim to provide audiences the space to retrace their personal stories and navigate their individual ideologies. Follow us on Instagram/Facebook/Twitter: cohtheatre Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeNSpotify: https://spoti.fi/3sAbjAu Sarah Hime – Instagram: hime.Sarah // Twitter: SarahHime1 Graeme McClelland – Instagram: instagraeme999 // Facebook: Graeme McClelland // Email: graememcclelland@outlook.com Jillian Robinson – Instagram: jillian.robinson96 Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: cohtheatre --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

Debra Ann Byrd is back on Baring It All with Call Me Adam! Today we are discussing the lessons Debra Ann has learned about her life and career. Debra's play, Becoming Othello: A Black Girl's Journey will perform LIVE, in-person outdoors at The Roman Garden Theatre, as part of Shakespeare and Company's 44th Season. July 16-25, 2021. Click here for tickets! Listen to Part 1 of our interview here! This is where we talked about Debra Ann's one-woman autobiographical play Becoming Othello: A Black Girl's Journey. Becoming Othello: A Black Girl's Journey is a personal, poignant & powerful story of perseverance, tragedy, triumph—and ultimately unconditional love. Directed by Tina Packer, the show is a one-woman theatrical drama complete with lyrical language, soulful songs and the music that shaped the life of a resilient little girl growing up in Spanish Harlem. Connect with Debra Ann: Facebook Twitter Instagram (ClassicallyDab) Instagram (Becoming Othello) Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Debra Ann: Debra Ann is the Founding Artistic Director of the Harlem Shakespeare Festival and the founder of Take Wing and Soar Productions where she currently serves as Chief Executive and Producing Artistic Director. Debra Ann has guided the company's growth from its birth in 1999 into a viable support organization serving women, youth, classical artists of color and theater arts groups throughout New York. She is an award winning classically trained actress, scholar and producer who was recently named Writer-in-Residence at the Shakespeare Birthplace Trust, Artist-in-Residence Fellow at the Folger Institute, A'Lelia Bundles Community Scholar Arts Fellow at Columbia University and Artist-in-Residence at Southwest Shakespeare Company, where she recently reprised the role of Othello, winning her the 2019 Broadway World Phoenix Award for Best Lead Actress. Her classical roles for the stage include "Queen Elizabeth" in Richard III, "The Choragos" in Antigone, "Mrs. Malaprop" in The Rivals, "Volumnia" in Coriolanus, "Winter" in Love's Labors Lost, "Hippolyta" in A Midsummer Night's Dream, "Cleopatra" in Antony & Cleopatra, "Othello" in The Tragedy of Othello: The Moor of Venice, "Marc Antony" in the all-female production of Julius Caesar and "Lady Bracknell" in The Importance of Being Earnest; the latter, for which she received Best Lead Actress and Outstanding Actress in a Lead Role nominations from AUDELCO and the NY Innovative Theatre Awards. As an actor, producer, arts manager, and business leader Debra Ann has received more than 20 awards and citations, was recently selected for inclusion in the 2012 Editions of Who's Who In The World and Who's Who of American Women; and is the recipient of the 2009 LPTW Lucille Lortel Award and the 2006 Josephine Abady Award for Excellence in “Producing works that foster diversity”. This award winning theater arts professional received a BFA Degree in Acting from Marymount Manhattan College. Debra Ann received a Bachelor of Fine Arts degree in Acting from Marymount Manhattan College and completed advanced studies at Shakespeare & Company, The Public Theater's Shakespeare Lab and The Broadway League's Commercial Theatre Institute. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Berkshire Theatre Group production of Oscar Wilde's perennial classic, “The Importance Of Being Earnest” at the Unicorn Theatre tells the story of two bachelor friends as they take on double lives to court the attentions of the desirable Gwendolyn Fairfax and the romantic Cecily Cardew. But the gallants must then grapple with the uproarious consequences of their ruse…and with the formidable Lady Bracknell, played by Harriet Harris. The results are a world filled with chaos, mistaken identity and lots of laughter. The much loved masterpiece is directed for BTG by Pulitzer Prize and Tony Award winner David Auburn. David Auburn and Harriet Harris join us.

The Importance of Being Earnest, A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personae to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage, and the resulting satire of Victorian ways. Algernon Moncrief is playing the piano in the drawing room of his flat in Half Moon Street, Mayfair awaiting the arrival of his formidable aunt Lady Bracknell accompanied by his cousin Gwendolen, and in walks his best friend Jack Worthing.

Debra Ann Byrd is Baring It All with Call Me Adam about how she defied race, gender, and a tough upbringing to achieve her dreams of performing Shakespeare Classics and becoming one of the most sought out actors to play Othello. Debra's memoir play, Becoming Othello: A Black Girl's Journey will stream via Livermore Shakespeare Festival from May 27-May 30. Join Debra Ann Byrd on Saturday, May 29 at 5pm for a special virtual live Q&A. Click here for tickets! Connect with Debra Ann: Facebook Twitter Instagram Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Debra Ann: Debra Ann is the Founding Artistic Director of the Harlem Shakespeare Festival and the founder of Take Wing and Soar Productions where she currently serves as Chief Executive and Producing Artistic Director. Debra Ann has guided the company's growth from its birth in 1999 into a viable support organization serving women, youth, classical artists of color and theater arts groups throughout New York. She is an award winning classically trained actress, scholar and producer who was recently named Writer-in-Residence at the Shakespeare Birthplace Trust, Artist-in-Residence Fellow at the Folger Institute, A’Lelia Bundles Community Scholar Arts Fellow at Columbia University and Artist-in-Residence at Southwest Shakespeare Company, where she recently reprised the role of Othello, winning her the 2019 Broadway World Phoenix Award for Best Lead Actress. Her classical roles for the stage include "Queen Elizabeth" in Richard III, "The Choragos" in Antigone, "Mrs. Malaprop" in The Rivals, "Volumnia" in Coriolanus, "Winter" in Love’s Labors Lost, "Hippolyta" in A Midsummer Night’s Dream, "Cleopatra" in Antony & Cleopatra, "Othello" in The Tragedy of Othello: The Moor of Venice, "Marc Antony" in the all-female production of Julius Caesar and "Lady Bracknell" in The Importance of Being Earnest; the latter, for which she received Best Lead Actress and Outstanding Actress in a Lead Role nominations from AUDELCO and the NY Innovative Theatre Awards. As an actor, producer, arts manager, and business leader Debra Ann has received more than 20 awards and citations, was recently selected for inclusion in the 2012 Editions of Who’s Who In The World and Who’s Who of American Women; and is the recipient of the 2009 LPTW Lucille Lortel Award and the 2006 Josephine Abady Award for Excellence in “Producing works that foster diversity”. This award winning theater arts professional received a BFA Degree in Acting from Marymount Manhattan College. Debra Ann received a Bachelor of Fine Arts degree in Acting from Marymount Manhattan College and completed advanced studies at Shakespeare & Company, The Public Theater’s Shakespeare Lab and The Broadway League’s Commercial Theatre Institute. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we travel back to Victorian England with the Importance of Being Earnest! Join us for a discussion of female archers, foundlings, boutonnieres, the film's many great zingers, tattoos, and more! Sources: Archery: John Stanley, "Archery History: The Sport that Pioneered Equality for Women's Participation," World Archery, available at https://worldarchery.sport/news/178437/archery-history-sport-pioneered-equality-womens-participation Archery Dresses, Autumn 1831, Claremont Colleges Fashion Plate Collection. Available at https://ccdl.claremont.edu/digital/collection/fpc/id/174/ William Powell Frith, "The Fair Toxophilites." Available at https://en.wikipedia.org/wiki/Women_in_the_Victorian_era#/media/File:RAMM_Frith_-_The_Fair_Toxophilites.jpg Film Background: The Importance of Being Earnest, 2002, Wikipedia: https://en.wikipedia.org/wiki/The_Importance_of_Being_Earnest_(2002_film) Roger Ebert Review of The Importance of Being Earnest, available at https://www.rogerebert.com/reviews/the-importance-of-being-earnest-2002 "The Importance of Being Earnest (2002)" IMDB https://www.imdb.com/title/tt0278500/?ref_=fn_al_tt_1 Lady Bracknell quotes: https://www.importanceofbeingearnest.co.uk/lady-bracknell-quotes/ Foundlings: Lydia Murdoch, Imagined Orphans: Poor Families, Child Welfare, and Contested Citizenship in London (Rutgers University Press, 2006). Ellen Boucher, Empire's children: child emigration, welfare, and the decline of the British world, 1869-1967 (Cambridge: Cambridge University Press, 2014). Jessica A. Sheetz-Nguyen, Victorian Women, Unwed Mothers and the London Foundling Hospital (Bloomsbury, 2012). Lynda Nead, "Fallen Women and Foundlings: Rethinking Victorian Sexuality," History Workshop Journal 82 (August 2016). Jane Humphries (reviewer) "Orphans of Empire: The Fate of London's Foundlings. By Helen Berry (New York, Oxford University Press, 2019) 384 pp. $27.95," Journal of Interdisciplinary History 51:1 (Summer 2020). Elizabeth Foyster, "The "New World of Children" Reconsidered: Child Abduction in Late Eighteenth- and Early Nineteenth-Century England," Journal of British Studies, 52:3 (July 2013): 669-92. https://www.jstor.org/stable/41999356 Shurlee Swain, "Beyond chlid migration, inquiries, apologies and the implications for the writing of a transnational child welfare history," History Australia 13:1 (May 2016): 139-52. https://doi.org/10.1080/14490854.2016.1156212 "The Lost Child Found." The Cardiff and Methyr Guardian Glamorgan Monmouth and Brecon Gazette (16 April 1870). https://newspapers.library.wales/view/3096837/3096841/23/abandoned%20lost%20child%20London "Law and Police." The Illustrated London News (3 April 1869). https://link.gale.com/apps/doc/HN3100078408/ILN?u=mlin_w_willcoll&sid=ILN&xid=a37b77d5 "Story of a Lost Child." Monmouthshire Merlin (1 August 1868). https://newspapers.library.wales/view/3442593/3442595/14/abandoned%20lost%20child%20London "Home Children, 1869-1932," Library and Archives Canada https://www.bac-lac.gc.ca/eng/discover/immigration/immigration-records/home-children-1869-1930/Pages/home-children.aspx Bernd Weisbrod, "How to Become a Good Foundling in Early Victorian London," Social History 10:2 (May 1985): 193-209. https://www.jstor.org/stable/4285430 "Our History" Barnardo's https://www.barnardos.org.uk/who-we-are/our-history Boutonnieres: "History of Fashion 1840-1900" Victoria & Albert Museum http://www.vam.ac.uk/content/articles/h/history-of-fashion-1840-1900/ https://www.vanderbilt.edu/olli/class-materials/History_of_Fashion_Oct30.pdf Harper Franklin, "1890-1899" Fashion History Timeline https://fashionhistory.fitnyc.edu/1890-1899/ https://bellatory.com/fashion-industry/Mens-Clothing-of-the-Late-Victorian-Era https://www.nypl.org/blog/2014/09/25/19th-century-fashion-plate-magazines Tattoos: Database of Convict Tattoos, Digital Panopticon, available at https://www.digitalpanopticon.org/search?targ=hitlist&e0.type.t.t=root&e1.date.d.hy=1839&e1.date.d.ly=1830&e0.gender.tg.x=&e1.date.d.hm=&e0.tattoo_subjects.mts.mts=&e1.date.d.lm=&e1.date.d.hd=&e1.type.t.t=tattoo&e1.date.d.ld= Robert Shoemaker and Zoe Alker, "How Tattoos Became Fashionable in Victorian England," The Conversation, available at https://theconversation.com/how-tattoos-became-fashionable-in-victorian-england-122487 "Tattoo Machines," Tattooarchive.com, available at https://www.tattooarchive.com/history/tattoo_machine.php

The Importance of Being Earnest - Oscar Wilde - Book 2 Title: The Importance of Being Earnest Overview: The Importance of Being Earnest, A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personae to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage and the resulting satire of Victorian ways. Some contemporary reviews praised the play's humor and the culmination of Wilde's artistic career, while others were cautious about its lack of social messages. Its high farce and witty dialogue have helped make The Importance of Being Earnest Wilde's most enduringly popular play. The successful opening night marked the climax of Wilde's career but also heralded his downfall. The Marquess of Queensberry, whose son Lord Alfred Douglas was Wilde's lover, planned to present the writer with a bouquet of rotten vegetables and disrupt the show. Wilde was tipped off and Queensberry was refused admission. Their feud came to a climax in court when Wilde sued for libel. The proceedings provided enough evidence for his arrest, trial, and conviction on charges of gross indecency. Wilde's homosexuality was revealed to the Victorian public and he was sentenced to two years imprisonment with hard labor. Despite the play's early success, Wilde's notoriety caused the play to be closed after 86 performances. After his release from prison, he published the play from exile in Paris, but he wrote no more comic or dramatic works. The Importance of Being Earnest has been revived many times since its premiere. It has been adapted for the cinema on three occasions. In The Importance of Being Earnest (1952), Dame Edith Evans reprised her celebrated interpretation of Lady Bracknell; The Importance of Being Earnest (1992) by Kurt Baker used an all-black cast, and Oliver Parker's The Importance of Being Earnest (2002) incorporated some of Wilde's original material cut during the preparation of the first stage production. Published: 1895 List: 100 Best Novels Of All Time, 100 Classic Book Collection Author: Oscar Wilde Genre: Comedy, Farce, Satire Episode: The Importance of Being Earnest - Oscar Wilde - Book 2 Part: 1 of 1 Length Part: 2:38:37 Book: 1 Length Book: 2:38:37 Episodes: 1 - 3 of 3 Narrator: Phil Chenevert Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: light, romance, scintillating, obstacles, effervescent, abandonment, deceptively, comedy, flippant, satire, farce, oscarwilde Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #light #romance #scintillating #obstacles #effervescent #abandonment #deceptively #comedy #flippant #satire #farce #OscarWilde Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/free-audiobooks/message Support this podcast: https://anchor.fm/free-audiobooks/support

Oregon State University Theatre presents Oscar Wilde's The Importance of Being Earnest. This production was directed Craig Willis. The cast includes Thomas R. McKean as Jack, Noah Fox as Algernon, Joshua Gasaway as Reverend Chausible, Michael Iannuccillo as Merriman, Renee Doran as Lane, Vreneli Farber as Lady Bracknell, Hannah Schwartz as Gwendolyn, Natalie Harris as Cecily, and Sophia Brown as Miss Prisim. The Importance of Being Earnest features sound design and engineering by Oliver Cheser, original music by Alyson Fewless, dramaturgy by Rebecca Bright, stage management by Renee Doran, and technical direction by Chad Rodgers. Elizabeth Helman is the University Theatre Artistic Director. Please support the work of Oregon State University Theatre and purchase a virtual ticket by clicking on this link. Questions, comments, thoughts? Contact us at damthedistance@oregonstate.edu  

What shocking truths does Lady Bracknell discover (and reveal)? Oscar Wilde, today on The Classic Tales Podcast. Welcome to The Classic Tales Podcast. Thank you for listening.  The Classic Tales Podcast is listener supported. If you enjoy listening to The Classic Tales, please consider becoming a supporting member. It helps support the podcast, and it’s a great way to build out your library of classics. By making a monthly donation of just $5, you’ll receive a corresponding thank-you code for $8 off any digital audiobook download. You win, and we get to keep going strong. Go now to www.classictalesaudiobooks.com and become a member today. If you have the Classic Tales App, check your special features for more Meditations of Marcus Aurelius. If you’d like to share a snipped of today’s show with your friends, join us in beta testing the Airr app. Links can be found in the show notes. Tap here to try the Airr app We also have a merchandise store where you can get shirts and tote bags with your favorite Classic Tales Covers. Again, links are in the show notes. Tap here to go to the merch store And check us out on Spotify – our new podcast partner Okay, I think I’m back in a place where I can begin production on The Hunchback of Notre Dame, and finish the story. There are still 8 hours to record, so it will take a while, but it is happening. I’m going to try a new thing, though. I’m going to wait until it’s totally complete, and then send out a link to a free copy in one email to all of the current Classic Tales supporters. I will not announce when this will happen, and it will be a one-time type of situation.  So if you’ve let your membership lapse for whatever reason, It’s time to get back in the game. Thank you so much for your support. And now, The Importance of Being Earnest, Part 4 of 4, by Oscar Wilde.   Tap here to go to www.classictalesaudiobooks.com and become a financial supporter!   Tap here to get early access to the Airr app, and share your favorite snippets of the episode with your friends! Share on Twitter @bjharrisonaudio, and your clip might be on the show!   Tap here to purchase Huckleberry Finn – the first Hybrid Audiobook   Tap here to go the The Classic Tales Merchandise store!   Hear us on roku:    

When all of it comes out, who is, in fact, engaged to Ernest? Oscar Wilde, today on The Classic Tales Podcast. Welcome to The Classic Tales Podcast. Thank you for listening. The Classic Tales Podcast is listener supported. If you’ve enjoyed The Classic Tales over the years, please consider becoming a supporting member. Making a monthly donation really helps us to create a support flow we can count on. If you can step up with just $5/month, that really helps us keep moving forward. Go to www.classictalesaudiobooks.com and become a monthly supporter. You’ll get a monthly code good toward any digital audiobook download, as a ‘thank you’ gift. It’s a great deal, and a great feeling. Thank you so much.  And for those of you with the Classic Tales App, check out your special features for more Meditations of Marcus Aurelius - just enough to wet your whistle. In the app, tap on the box with a bow on the left when you play the episode. That’s the special features area. If you’re a regular listener of The Classic Tales Podcast, perhaps you've heard me read a passage that really stands out to you. One of the limitations of podcasts as a format is that there has not been a great way to save those brief moments for yourself or share them with other people in your life that would enjoy them. Beta testing for the Airr app is going well, and there’s a new update for it which smoothes things along nicely. It’s a handy tool to share Oscar Wilde’s pithier moments with your friends on social media. Share your AirrQuote with me on my twitter feed, @bjharrisonaudio, and I might give you a shout out and feature you on the podcast! How many have done it yet? Nobody. So the odds are in your favor! You can find a link to the Airr app in the show notes for this episode. Also, be sure to check us out on Spotify! They are beginning to feature us here and there, and we appreciate it. Okay, so now we are back to episode 2 of The Importance of Being Earnest. Here’s the story so far: Jack Worthing is known as Jack in the country, and Ernest in town. He has invented a reprobate brother whom he’s given the name of Ernest. His best friend, Algernon, likewise has an imagined acquaintance named Bunbury, whom he visits when he wants to escape the tedium of town. Jack is in love with Gwendolyn, Angernon’s cousin. But Gwendolyn’s mother, Lady Bracknell, is not to be overlooked. After giving Jack the third degree, it is discovered that Jack doesn’t know who his parents are, and that he was discovered as an infant in a handbag in a railway station. After recommending that Jack acquire some parents post haste, Lack Bracknell has left Jack standing dumbfounded, while Algernon plays the piano in the adjoining room. Meanwhile, Algernon goes to Jack’s country house masquerading as Jack’s profligate brother Ernest. Introducing himself as such, he woos and is quickly engaged to young Cecily, Jack’s ward. When Jack arrives, he demands that Algernon leave, and he feigns to do so. In the mean time, Gwendolyn has traveled to Jack’s house in the country, and meets Jack’s ward, Cecily. Again, Cecily is engaged to Algernon, who introduced himself as Ernest. And Gwendolyn is still persuaded that Jack’s name is Ernest, as she only knows him when he is in London. And now, The Importance of Being Earnest, Part 3 of 4, by Oscar Wilde.   Tap here to go to www.classictalesaudiobooks.com and become a financial supporter!   Tap here to get early access to the Airr app, and share your favorite snippets of the episode with your friends! Share on Twitter @bjharrisonaudio, and your clip might be on the show!    Tap here to purchase Huckleberry Finn – the first Hybrid Audiobook     Tap here to go the The Classic Tales Merchandise store!   Hear us on roku:      

Though Jack announces that his brother Ernest is dead, what happens when his brother himself appears at Jack’s country home? Oscar Wilde, today on The Classic Tales Podcast. Welcome to The Classic Tales Podcast. Thank you for listening. The Classic Tales Podcast is listener supported. If you’ve enjoyed The Classic Tales over the years, please consider becoming a supporting member. Making a monthly donation really helps us to create a support flow we can count on. If you can step up with just $5/month, that really helps us keep moving forward. Go to www.classictalesaudiobooks.com and become a monthly supporter. You’ll get a monthly code good toward any digital audiobook download, as a ‘thank you’ gift. It’s a great deal, and a great feeling. Thank you so much. And for those of you with the Classic Tales App, check out your special features for more Meditations of Marcus Aurelius - just enough to wet your whistle. In the app, tap on the box with a bow on the left when you play the episode. That’s the special features area. If you’re a regular listener of The Classic Tales Podcast, perhaps you've heard me read a passage that really stands out to you. One of the limitations of podcasts as a format is that there has not been a great way to save those brief moments for yourself or share them with other people in your life that would enjoy them. Beta testing for the Airr app is going well, and there’s a new update for it which smoothes things along nicely. It’s a handy tool to share Oscar Wilde’s pithier moments with your friends on social media. Share your AirrQuote with me on my twitter feed, @bjharrisonaudio, and I might give you a shout out and feature you on the podcast! How many have done it yet? Nobody. So the odds are in your favor! You can find a link to the Airr app in the show notes for this episode. Also, be sure to check us out on Spotify! They are beginning to feature us here and there, and we appreciate it! Okay, so now we are back to episode 2 of The Importance of Being Earnest. Here’s the story so far: Jack Worthing is known as Jack in the country, and Ernest in town. He has invented a reprobate brother whom he’s given the name of Ernest. His best friend, Algernon, likewise has an imagined acquaintance named Bunbury, whom he visits when he wants to escape the tedium of town. Jack is in love with Gwendolyn, Angernon’s cousin. But Gwendolyn’s mother, Lady Bracknell, is not to be overlooked. After giving Jack the third degree, it is discovered that Jack doesn’t know who his parents are, and that he was discovered as an infant in a handbag in a railway station. After recommending that Jack acquire some parents post haste, Lack Bracknell has left Jack standing dumbfounded, while Algernon plays the piano in the adjoining room. And now, The Importance of Being Earnest, Part 2 of 4, by Oscar Wilde.   Tap here to go to www.classictalesaudiobooks.com and become a financial supporter!   Tap here to get early access to the Airr app, and share your favorite snippets of the episode with your friends! Share on Twitter @bjharrisonaudio, and your clip might be on the show!    Tap here to purchase Huckleberry Finn – the first Hybrid Audiobook    Tap here to go the The Classic Tales Merchandise store!    Hear us on roku:    

This week on StoryWeb: Oscar Wilde’s play The Importance of Being Earnest.   Really, has there ever been a play funnier than Oscar Wilde’s The Importance of Being Earnest?   No matter how you experience it – by reading the play, seeing it performed live, or watching one of the film adaptations – you’re sure to be splitting your sides with laughter in no time. Even if you’ve seen the play or one of the films before, you’ll laugh just as hard – maybe even harder – than you did the first time you saw it. Knowing all the uproariously funny jokes to come, all the farcical plot twists and turns Wilde has up his sleeve just adds to the fun.   Who is your favorite character in the play? Like many viewers, I am partial to Lady Bracknell, the forerunner to Violet, the Dowager Countess of Grantham, played so consummately by Maggie Smith on Downton Abbey. Lady Bracknell’s arch observations – complete with eyebrows lifted and eyes peering down her aristocratic nose – are droll and on point every single time.   “To lose one parent, Mr. Worthing, may be regarded as a misfortune,” she says near the beginning of the play. “To lose both looks like carelessness.” The scene from which this line comes – in which Lady Bracknell interrogates Ernest (or is it Jack?) Worthing as he seeks her daughter Gwendolyn’s hand in marriage – is one of the funniest in the play. But the rest of the play is supremely satisfying comedy as well as we learn the importance of being Ernest.   Like Lady Bracknell, Oscar Wilde himself was a force to be reckoned with. No upholder of the aristocracy, Wilde instead flouted convention at every turn. One source says, “Known for his biting wit, flamboyant dress, and glittering conversation, Wilde became one of the best-known personalities of his day.” He reigned supreme as the British playwright of the 1890s.   Wilde’s lover was Lord Alfred “Bosie” Douglas, whose father, the Marquess of Queensberry, had planned to throw rotten vegetables at Wilde after the debut in early 1895 of The Importance of Being Earnest. Wilde and Bosie pre-empted the plan, and Wilde prosecuted the Marquess for criminal libel. Eventually, Wilde dropped the charges against the Marquess but was then himself arrested and tried for gross indecency with men. Ultimately, Wilde was convicted and received the maximum penalty for crimes of homosexuality: he was imprisoned for two years’ hard labor. In 2017 – more than 120 years after his conviction – Wilde was pardoned for his offense. When Britain passed the Policing and Crime Act of 2017, homosexuality was no longer a crime in the United Kingdom, and an estimated 50,000 men, including Wilde, were pardoned.   Unfortunately, the trial and imprisonment exacted a great toll upon Wilde. The Importance of Being Earnest was his last play, and he never fully recovered – creatively or otherwise – from his trial and imprisonment. Five years after The Importance of Being Earnest premiered in London and three years after being released from prison, Wilde died penniless in Paris at the age of 46. A great literary light was extinguished.   To learn more about the inimitable Wilde, visit the Oscar Wilde Website or the website of the Oscar Wilde Society. Richard Ellmann’s 1987 volume, Oscar Wilde, is the definitive biography. It was used as the basis for the outstanding 1997 film Wilde, with Stephen Fry playing Wilde and Jude Law playing Bosie.   Ready to revisit this wonderful play – or to discover it for the first time? You can read the play online at Project Gutenberg or buy a hard copy of the play. Two film adaptations – Anthony Asquith’s 1952 film or Oliver Parker’s 2002 version (starring Colin Firth and Judi Densch as Lady Bracknell) – bring the play to life in all its comedic glory.   Wilde’s literary executor, Robert Ross, said after his death:   Later on I think everyone will recognise his achievements; his plays and essays will endure. Of course you may think with others that his personality and conversation were far more wonderful than anything he wrote, so that his written works give only a pale reflection of his power. Perhaps that is so, and of course it will be impossible to reproduce what is gone forever.   Visit thestoryweb.com/wilde for links to all these resources and to watch a clip from the 1952 film adaptation of The Importance of Being Earnest. In this scene, Edith Evans (as Lady Bracknell) interrogates her daughter’s potential suitor, Ernest/Jack Worthing. Comedy doesn’t get any better than this!    

Trettio år gammal tog hon sin första sånglektion. Sedan väntade två decennier i Kungliga operans tjänst. Hon sjunger alla stora roller utan att vara jättebra på att läsa noter. Musik är för hovsångerskan Ingrid Tobiasson bilder, dofter och känslolägen. Under arton år är hon anställd på Kungliga operan i Sockholm. Hon sjunger alla stora roller utan att vara jättebra på att läsa noter. Favoritrollen är Kundry i Wagners sista opera Parsifal, en av operalitteraturens mest mångfacetterade och krävande roller. Recensenterna kallar henne "makalös, grandios och knäckande bra". Redan som treåring framträder Ingrid Tobiasson på Stockholmsoperan. Hennes mamma Inga Tobiasson gör barnprogram på tv, som på operan firar att de har sålt hundra tv-licenser! Hon börjar dock själv sjunga opera sent i livet. Innan dess undervisar hon i dans, rörelser och avslappning. 30 år gammal tar Ingrid Tobiasson sin första sånglektion. Hon utbildar sig senare vid Operahögskolan i Stockholm. Hennes röstfack är dramatisk mezzosopran. - I operorna tilldelas jag oftast de roller som driver stycket framåt. Min roll är en svart motkraft till det ljusa, alltså det som stör, det som irriterar, det som dödar och det som bedrar. - Jag tycker väldigt mycket om samarbeten. Jag tycker inte om att vara solo. Nej, jag gillar det där med att vara ihop. Men vissa samspel är jättesvåra att få till och då är det hela tiden ett arbeta att prestera, få jaget och kroppen i samspel och att lägga sig till med Carolina Klüfts vinnarögon! Efter pensioneringen från Stockholmsoperan frilansar Ingrid Tobiasson. I Vadstena i juli 2017 sjunger hon Lady Bracknell i den nyskrivna operan efter Oscar Wildes pjäs The Importance of Being Earnest. Ur recensionerna: Med magnifik artikulation skickar Ingrid Tobiasson vokaler och i synnerhet konsonanter rakt i solar plexus på de ungdomar hon njuter av att domptera."   Spellista: Don Carlos: Utdrag Verdi, Giuseppe, Mery, Joseph/Du Locle, Camillo Gävleborgs Symfoniorkester/Nerbe, Kerstin/Tobiasson, Ingrid   Don Carlos: Utdrag Verdi, Giuseppe, Mery, Joseph/Du Locle, Camillo Gävleborgs Symfoniorkester/Nerbe, Kerstin/Tobiasson, Ingrid   Don Carlos: Utdrag Verdi, Giuseppe, Mery, Joseph/Du Locle, Camillo Gävleborgs Symfoniorkester/Nerbe, Kerstin/Tobiasson, Ingrid   KINDERTOTENLIEDER Gustav Mahler, Friedrich Rückert Ingrid Tobiasson/ Sixten Ehrling/ Kungl Hovkapellet (Stockholm) CAPRICE 02266, CAP 21661   Spader Dam Tjajkovskij, Peter, Dahlberg, Stefan/Jupither, Marcus/Taube, Jesper/Qvale, Ulrik/Forsen, Lennart/Kyhle, Magnus/Schmidberger, Michael/Tobiasson, Ingrid/Martinpelto, Hillevi/Blixt, Karolina/Eklof, Marianne/Jalhed, Hedvig/Kungliga Operans Kör/Kungliga Hovkapellet/Badea, Christian   TRE SMÅ TAXAR Greta Eriksson, Greta Eriksson Inga Tobiasson och Ingrid Tobiasson 6 år METRONOME 000270, MEP 368   CARMEN: NR 15, AKT 3, "NOUS AVONS EN TETE UNE AFFAIRE" Georges Bizet, Caj Lundgren Hilde Leidland/ Ingrid Tobiasson/ Carina Morling/ Magnus Kyhle/ Gunnar Lundberg/ Kjell Ingebretsen/ Kungl Hovkapellet (Stockholm) BLUEBELL 06591, ABCD 065   Parsifal Wagner, Richard, Wagner, Richard Winbergh, Goöta/Wahlund, Sten/Tobiasson, Ingrid/Appelgren, Curt/Wallstrom, Tord/Carlsen, Svein/Stregård, Lennart/Blomqvist, Björn/Sjöström, Anita/Peterson, Carina/Qvale, Ulrik/Strömberg, Jan/Leidland, Hilde/Morling, Carina/ Örtendahl-Corin, Barbro/Sörensson, Iwa/Olsson, Sara/Lundgren, Agneta/Söderström, Gunilla/Kungliga Operans Kör/Kungliga Hovkapellet/Segerstam, Leif   Parsifal Wagner, Richard, Wagner, Richard Winbergh, Goöta/Wahlund, Sten/Tobiasson, Ingrid/Appelgren, Curt/Wallstrom, Tord/Carlsen, Svein/Stregård, Lennart/Blomqvist, Björn/Sjöström, Anita/Peterson, Carina/Qvale, Ulrik/Strömberg, Jan/Leidland, Hilde/Morling, Carina/ Örtendahl-Corin, Barbro/Sörensson, Iwa/Olsson, Sara/Lundgren, Agneta/Söderström, Gunilla/Kungliga Operans Kör/Kungliga Hovkapellet/Segerstam, Leif   IMPOSSIBILE Kerstin Jeppsson, Göran Sonnevi Ingrid Tobiasson/ Joakim Unander/ Kammarensemblen PHONO SUECIA 000408, PSCD 141   TIRFING: EFTERSPEL, "JAG RÄDES...DIG URD VARE PRIS" Wilhelm Stenhammar, Anna Boberg Ingrid Tobiasson/ Leif Segerstam/ Kungl Filharmoniska Orkestern (Stockholm) STERLING 03436, CDO 1033-2   KINDERTOTENLIEDER Gustav Mahler, Friedrich Rückert Ingrid Tobiasson/ Sixten Ehrling/ Kungl Hovkapellet (Stockholm) CAPRICE 02266, CAP 21661   Don Carlos: Utdrag Verdi, Giuseppe, Mery, Joseph/Du Locle, Camillo Gävleborgs Symfoniorkester/Nerbe, Kerstin/Tobiasson, Ingrid   HÖST Stellan Sagvik, Stellan Sagvik Ingrid Tobiasson/ Per Billman/ Mats Rondin/ Bengt Forsberg NOSAG RECORDS 017072, NOSAG CD 169   MÄSSA BWV 232 H-MOLL: NR 24 (26), AGNUS DEI Johann Sebastian Bach, Liturgisk Text Ingrid Tobiasson/ Stockholms Kammarkör/ Anders-Per Jonsson/ Drottningholms Barockensemble PROPRIUS 002070, PRCD 9062   KARINS SÅNGER Jan Wallgren, Karin Boye Ingrid Tobiasson/ Stockholmskvartetten NOSAG RECORDS 17072, NOSAG CD 083   FUNF GEDICHTE VON MATHILDE WESENDONCK Richard Wagner, Felix Mottl Mathilde Wesendonck Ingrid Tobiasson/ Sixten Ehrling/ Kungl Hovkapellet (Stockholm) CAPRICE 02266, CAP 21661

Musik är för hovsångerskan Ingrid Tobiasson bilder, dofter och känslolägen. I det här programmet lär vi känna henne närmare. Lyssna på alla avsnitt i Sveriges Radio Play. Under 18 år var hon anställd på Kungliga operan i Sockholm. Där sjöng hon alla stora roller utan att vara jättebra på att läsa noter. Favoritrollen var Kundry i Wagners sista opera "Parsifal", en av operalitteraturens mest mångfacetterade och krävande roller, och bland recensenterna kallades hon "makalös, grandios och knäckande bra". Tobiasson började sjunga opera sent i livet. Innan dess undervisade hon i dans, rörelser och avslappning, men vid 30 års ålder tog hon sin första sånglektion och kom senare in på Operahögskolan i Stockholm. Hennes röstfack är dramatisk mezzosopran. – I operorna tilldelas jag oftast de roller som driver stycket framåt. Min roll är en svart motkraft till det ljusa, alltså det som stör, det som irriterar, det som dödar och det som bedrar, säger hon i den här P2 Dokumentären. – Jag tycker väldigt mycket om samarbeten. Jag tycker inte om att vara solo. Nej, jag gillar det där med att vara ihop. Men vissa samspel är jättesvåra att få till och då är det hela tiden ett arbeta att prestera, få jaget och kroppen i samspel och att lägga sig till med Carolina Klüfts vinnarögon! Sedan pensioneringen frilansar Ingrid Tobiasson. I till exempel Vadstena i juli 2017 sjöng hon Lady Bracknell i den nyskrivna operan efter Oscar Wildes pjäs "The Importance of Being Earnest". Då skrev en kritiker: "Med magnifik artikulation skickar Ingrid Tobiasson vokaler och i synnerhet konsonanter rakt i solar plexus på de ungdomar hon njuter av att domptera." En P2-dokumentär av Birgitta Tollan/Tollan Media.

Musik är för hovsångerskan Ingrid Tobiasson bilder, dofter och känslolägen. I det här programmet lär vi känna henne närmare. Under 18 år var hon anställd på Kungliga operan i Sockholm. Där sjöng hon alla stora roller utan att vara jättebra på att läsa noter. Favoritrollen var Kundry i Wagners sista opera "Parsifal", en av operalitteraturens mest mångfacetterade och krävande roller, och bland recensenterna kallades hon "makalös, grandios och knäckande bra". Tobiasson började sjunga opera sent i livet. Innan dess undervisade hon i dans, rörelser och avslappning, men vid 30 års ålder tog hon sin första sånglektion och kom senare in på Operahögskolan i Stockholm. Hennes röstfack är dramatisk mezzosopran. I operorna tilldelas jag oftast de roller som driver stycket framåt. Min roll är en svart motkraft till det ljusa, alltså det som stör, det som irriterar, det som dödar och det som bedrar, säger hon i den här P2 Dokumentären. Jag tycker väldigt mycket om samarbeten. Jag tycker inte om att vara solo. Nej, jag gillar det där med att vara ihop. Men vissa samspel är jättesvåra att få till och då är det hela tiden ett arbeta att prestera, få jaget och kroppen i samspel och att lägga sig till med Carolina Klüfts vinnarögon! Sedan pensioneringen frilansar Ingrid Tobiasson. I till exempel Vadstena i juli 2017 sjöng hon Lady Bracknell i den nyskrivna operan efter Oscar Wildes pjäs "The Importance of Being Earnest". Då skrev en kritiker: "Med magnifik artikulation skickar Ingrid Tobiasson vokaler och i synnerhet konsonanter rakt i solar plexus på de ungdomar hon njuter av att domptera." En P2-dokumentär av Birgitta Tollan/Tollan Media.

Good Old Neon is a theatre and performance company committed to interrogating moral, social, and political paradoxes by integrating avant-garde aesthetics with traditional storytelling. Since its founding in 2013, Good Old Neon has mounted four productions, each of which has received universal critical acclaim, but then of course what do critics know anyway?Good Old Neon Presents Dennis Potter's Blue Remembered Hills February 13-24th at Artscape Youngplace.http://goodoldneon.ca/ Twitter: @gontheatre Instagram: gontheatre Facebook: https://www.facebook.com/goodoldneontheatre/Alexander OffordAlexander Offord is a writer, director, performer, &c. His written work includes the plays The Hystericon, Potosí, and the upcoming Donald Trump-inspired Willy Loman's America, as well as numerous essays and articles for publications as diverse as #CdnCult Times, BlogTO, The Literary Review of Canada, and his own blog, alexanderofford.com. He is periodically involved with various kinds of political agitation. He was born in Montreal and will most likely die here, in Toronto.http://alexanderofford.com/ Twitter: @offordwritesNicole WilsonNicole is a Toronto-based actor, director, and improviser who recently won a People’s Choice My Theatre Award for her portrayal of LeBlanc in the 2014 Toronto Fringe Production Potosí. She holds a diploma in Theatre Performance from George Brown Theatre School and two Honours degrees in Pure and Applied Mathematics from the University of Waterloo. She also teaches acting and improv across the city and runs a math tutoring business which you can find out more about at www.themathroom.ca. Favourite recent credits include: Kim in Mixed Messages (Mixed Company Theatre), Jaquenette in Love’s Labours Lost (Dauntless city Theatre), Pattie in Brimstone and Treacle (Precisely Peter Productions), Lady Bracknell in The Importance of Being Earnest (Hart House), Nina in The Seagull (Chekhov Collective), Catherine in Waiting for the Parade (Jordan Pettle), and Octavia in All for Love (Jeannette Lambermont-Morey).http://www.themathroom.ca/ Twitter: @N_M_WilsonStageworthy:http://www.stageworthypodcast.com Twitter @stageworthyPod Instagram: stageworthypod Facebook: http://facebook.com/stageworthyPod

La importancia de llamarse Ernesto de Oscar Wilde (1895) es una comedia teatral en la que los malentendidos estan a la orden del dia. Algernon Moncrieff espera a su tia, Lady Bracknell y a su prima Gwendolen Fairfax, cuando su buen amigo Ernest Worthing que tiene la intencion de casarse con su prima llega. Pero Ernest no es todo lo que aparece a primera vista.Escucha que tiene de bueno y de malo La importancia de llamarse Ernesto en este episodio de A la aventura, podcast de libros y lectura.Musica de entrada: Gymnopedie No. 1 de Erik SatieMusica de salida: Jeux D’eau de Maurice RavelContactowww.alaaventura.net/contactofacebook.com/alaaventurapodcastTwitter: @alaaventurajboscomendoza@gmail.com

For New Year New Music, Michael Berkeley's guest is the Irish composer Gerald Barry. We tend to think of 'New Music' as something deadly serious and even agonised; Gerald Barry utterly confounds that stereotype. His latest opera, which will be staged at the Barbican this March, transforms The Importance of Being Earnest - with Lady Bracknell sung by a bass in a business suit, and Gwendolyn and Cecily throwing dinner plates at each other. It's Barry's fifth opera; his first, The Intelligence Park from 1990, told the story of an 18th century composer who fell in love with a castrato. As well as the operas there are scores of instrumental pieces, piano concertos and choral works. They have wonderful titles: Humiliated and Insulted; The Destruction of Sodom - a piece for 8 horns and 2 wind machines. In Private Passions, Gerald Barry talks to Michael Berkeley about his childhood in a small village in the West of Ireland. It wasn't a musical household, but as a young boy he heard Clara Butt singing Handel on the radio and that was an awakening for him, 'a visitation'. From then on, he knew he wanted to be a composer, though he didn't even know the word. At the age of 14, he won a medal for composition - by taking a Mozart piano sonata and cutting it up, sticking it together again in random order. Barry went on to study with Stockhausen and the Argentinian composer Mauricio Kagel, and he talks about his struggle to make a living as a church organist in Cologne: he was fired, first for being Catholic, then for being late for 7.30am Mass. He gives a moving account of his mother dying, just as his first opera was performed. And he reflects on the woeful blandness of singing voices in the musical world now, compared with the countertenors and castrati of the past. Gerald Barry's marvellously idiosyncratic choices include Mozart, Alfred Deller, Clara Butt, William Byrd, a hymn setting by Stainer, and Oscar Wilde's letter from Reading Gaol, De Profundis, set by the contemporary composer Rzewski. He ends with a hilarious recording of the Red Army Choir singing 'It's a Long Way to Tipperary'. A Loftus Production for BBC Radio 3 Produced by Elizabeth Burke.

Mark Lawson presents a special programme from Derry~Londonderry, UK City of Culture 2013. This year's Turner Prize for contemporary art is on show in Derry~Londonderry and features artists Tino Sehgal, Laure Prouvost, David Shrigley and Lynette Yiadom-Boakye. David Shrigley and Laure Prouvost discuss their work and critic Philip Hensher delivers his verdict on the show. Derry-based writer Jennifer Johnston was shortlisted for the Booker Prize for her novel Shadows on Our Skin. Her Three Monologues, in response to The Troubles, are being performed as part of the City of Culture celebrations and her new novel A Sixpenny Song is published this month. She discusses the impact of the 2013 celebrations on the atmosphere in the city. Gerald Barry's comic opera The Importance of Being Earnest is being performed in Derry this week and then in Belfast, Cork and Dublin later in the year. He explains how he went about filleting Oscar Wilde's text and why Lady Bracknell was always going to be cast as a basso profondo. The inaugural City of Derry International Choral Festival is being hosted by local chamber choir Codetta. The festival's artistic director Dónal Doherty and soprano Laura Sheerin discuss how it feels to be taking part. Producer Ellie Bury.

Now that the current series of Doctor Who has finished, Phil and Paul return to the Audio Go celebration of 50 years of Doctor Who with a look at the April release of Babblesphere, the 4th Doctors outing in the Desting of The Doctor range. After Phil being disappointed with the 3rd Doctors story, this time round it's Paul's turn to show disappointment in this thinly veiled satire on social media. However, Phil does manage to get in his impression of Lady Bracknell, so a little bit of culture is injected into proceedings. Ok, that's stretching things, I'll admit!! And in the news this week, more viewing figure stats, Doctor Who wins an award, Phil spits in the face of the Daily Mail and a small piece of DVD news concerning the Ice Warriors. All together now, "A HANDBAG?!?".  

Stockard Channing (1985 Tony Award winner for Best Performance by an Actress in a Leading Role in a Play for “Joe Egg”) discusses her work in Jon Robin Baitz's new play “Other Desert Cities”, acknowledging the ambiguity of the character for the audience and explaining whether she has defined her character's secret motivations with certainty. She also talks about her years breaking into theatre at Harvard, alongside other students like John Lithgow and Tommy Lee Jones, and her subsequent work around Boston before coming to New York and getting her increasingly bigger break in the Broadway musical “Two Gentlemen of Verona”, which also began her association with John Guare; her years in Los Angeles, including a film gig she did simply because she needed money, namely “Grease”; her return to the stage in successive productions of “A Day in the Death of Joe Egg” at Williamstown, Long Wharf, Roundabout and finally Broadway; being given the opportunity to choose between playing Bunny and Bananas in the Lincoln Center Theatre revival of “The House of Blue Leaves”; how it felt, as a native Upper East Side New Yorker, playing an Upper East Side New Yorker in “Six Degrees of Separation”, and how her performance had to change when she acted in the film version; whether she knew how divided response would be to Guare's “Four Baboons Adoring the Sun”; why she wasn't daunted about stepping into the shoes of Rosemary Harris or Katharine Hepburn for “The Lion in Winter” in 1999 -- and what about doing the show did give her pause; what it was like to do “Pal Joey”, her first musical in over two decades (having previously followed Liza Minnelli into “The Rink”); and how she approached the role of Lady Bracknell in “The Importance of Being Earnest” for a production at the Gaiety Theatre in Dublin, Ireland last year.

Stockard Channing discusses her work in Jon Robin Baitz's new play "Other Desert Cities", acknowledging the ambiguity of the character for the audience and explaining whether she has defined her character's secret motivations with certainty. She also talks about her years breaking into theatre at Harvard, alongside other students like John Lithgow and Tommy Lee Jones, and her subsequent work around Boston before coming to New York and getting her increasingly bigger break in the Broadway musical "Two Gentlemen of Verona", which also began her association with John Guare; her years in Los Angeles, including a film gig she did simply because she needed money, namely "Grease"; her return to the stage in successive productions of "A Day in the Death of Joe Egg" at Williamstown, Long Wharf, Roundabout and finally Broadway; being given the opportunity to choose between playing Bunny and Bananas in the Lincoln Center Theatre revival of "The House of Blue Leaves"; how it felt, as a native Upper East Side New Yorker, playing an Upper East Side New Yorker in "Six Degrees of Separation", and how her performance had to change when she acted in the film version; whether she knew how divided response would be to Guare's "Four Baboons Adoring the Sun"; why she wasn't daunted about stepping into the shoes of Rosemary Harris or Katharine Hepburn for "The Lion in Winter" in 1999 -- and what about doing the show did give her pause; what it was like to do "Pal Joey", her first musical in over two decades (having previously followed Liza Minnelli into "The Rink"); and how she approached the role of Lady Bracknell in "The Importance of Being Earnest" for a production at the Gaiety Theatre in Dublin, Ireland last year. Original air date - February 2, 2011.

Stockard Channing discusses her work in Jon Robin Baitz's new play "Other Desert Cities", acknowledging the ambiguity of the character for the audience and explaining whether she has defined her character's secret motivations with certainty. She also talks about her years breaking into theatre at Harvard, alongside other students like John Lithgow and Tommy Lee Jones, and her subsequent work around Boston before coming to New York and getting her increasingly bigger break in the Broadway musical "Two Gentlemen of Verona", which also began her association with John Guare; her years in Los Angeles, including a film gig she did simply because she needed money, namely "Grease"; her return to the stage in successive productions of "A Day in the Death of Joe Egg" at Williamstown, Long Wharf, Roundabout and finally Broadway; being given the opportunity to choose between playing Bunny and Bananas in the Lincoln Center Theatre revival of "The House of Blue Leaves"; how it felt, as a native Upper East Side New Yorker, playing an Upper East Side New Yorker in "Six Degrees of Separation", and how her performance had to change when she acted in the film version; whether she knew how divided response would be to Guare's "Four Baboons Adoring the Sun"; why she wasn't daunted about stepping into the shoes of Rosemary Harris or Katharine Hepburn for "The Lion in Winter" in 1999 -- and what about doing the show did give her pause; what it was like to do "Pal Joey", her first musical in over two decades (having previously followed Liza Minnelli into "The Rink"); and how she approached the role of Lady Bracknell in "The Importance of Being Earnest" for a production at the Gaiety Theatre in Dublin, Ireland last year. Original air date - February 2, 2011.