Podcasts about london's globe theatre

American opera singer, Tamara Wilson withdrew from her final ever performance of Aida at the weekend. She was scheduled to be conducted by Placido Domingo at the Arena Di Verona but announced on Instagram that her absence was due to illness. But it comes after her public opposition to the use of ‘blackface’ for the role - heavy "chocolate brown" make-up. Tamara speaks out about the incident and why she feels the industry and Aida needs to change. New Zealand writer Fiona Kidman discusses her new novel This Mortal Boy, based on the true story of a young Northern Irishman, Albert Black, who emigrated to Wellington in 1953 to seek work. Just two years later at the age of 20 he was facing the prospect of execution by hanging after an incident in a café that led him to be described as the ‘Jukebox Killer’. Some people just dread Shakespeare; they never 'bond' with him. Sean Allsop has always felt alienated by The Bard whilst simultaneously feeling that maybe he is missing out. So we sent him along to the home of authentic Shakespeare productions - London's Globe Theatre - to ask the experts and find out how a novice should approach Shakespeare for the first time with a production of Henry IV part 1. Kinetic art pioneer Carlos Cruz-Diez has died in Paris at the age of 95 Presenter: Samira Ahmed, Producer: Oliver Jones

The latest production of Macbeth at London's Globe Theatre sees real-life husband and wife, Paul Ready and Michelle Terry play the murderous couple French film The Workshop is about a young people's writer's group where tensions over the plot development spill into the film's own story-line Italian author Elena Ferrante's multi-million selling, globally-successful novels are coming to the TV. My Brilliant Friend has been adapted and directed by Saverio Costanzo: a man! Some avid fans have wondered aloud whether such a female-centric story might be beyond his capabilities. Uwe Johnson's 1800 page meisterwerk Anniversaries was published in 4 parts from 1970 to 1983. It has just been translated into English for the first time - will they delight in its scope? An exhibition at Modern Art Oxford of video work by Penny Woolcock reveals her fascination with the underdog Podcastextra recommendations: Kathryn is a fan of Channel 4's The Secret Life of The Zoo Don was overawed by the majesty of the redwoods in Muir Woods in California Jenny has been reading Kafka's The Unhappiness of Being A Single Man Tom is looking forward to watching The House of Assad on BBC TV Tom Sutcliffe's guests are Don Guttenplan, Kathryn Hughes and Jenny McCartney. The producer is Oliver Jones

Italian film Sicilian Ghost Story is based on a real life kidnapping of the son of a Mafia supergrass The new production of Othello at London's Globe Theatre includes Mark Rylance as Iago HBO's Succession is a new series telling the story of a media empire led by an ageing patriarch which is thrown into confusion when he suffers a brain haemorrhage: which of his children is capable of taking over the responsibilities and pressures of running the company? Magic Realism: Art in Weimar Germany 1919-1933 at Tate Modern is an exhibition of many of the artists whose work was cast as degenerate by the Nazis. The term 'magic realism' was coined in 1925 to describe an artistic movement away from expressionism to a harsh, cold, unsettling veracity Andrew McMillan's collection of poems: playtime explores the different ways boys grow into their sexual selves and adult identities through rites of passage. Tom Sutcliffe's guests are Linda Grant, Terence Blacker and Deborah Bull. The producer is Oliver Jones.

Christopher Nolan's film Dunkirk dramatises the many acts of heroism and horror of the evacuation of hundreds of thousands of soldiers during World War 2 from French beaches. Many critics are talking about Oscars, will our reviewers agree? The newest production of Much Ado About Nothing at London's Globe Theatre sets the story during the armed struggles of the Mexican Revolution. Sarah Winman's novel Tin Man is a love story between two boys and a woman who changes their love and their lives; it's about relationships, loss and kindness The first posthumous exhibition of the work of Rose Finn-Kelcey at Modern Art Oxford takes a selective look at the breadth of her work over several decades. The BBC's LGBTQ season marking the 50th anniversary of The Sexual Offences Act, presents Against the Law starring Daniel Mays as Peter Wildeblood, one the defendants in the 1954 Montagu case. Tom Sutcliffe's guests are Lisa Appignanesi, Paul Morley and Alex Clark. The producer is Oliver Jones.

Ben Elton has a new sitcom on BBC2; Upstart Crow starring David Mitchell as The Bard of Avon. Could it be a return to his golden form of Blackadder? A Midsummer Night's Dream is the first production by Emma Rice, the new Artistic Director at London's Globe Theatre. Does it auger well for her residency? Terrence Malick is a much-admired film director whose recent work has received very mixed critical responses. Will his latest, Knight of Cups, be admired or reviled? Novelist Louise Erdrich is of North American Indian descent and her work reflects this. Her newest - LaRose - is set in the world of the Ojibwe tribe Mona Hatoum has a retrospective of her work at Tate Modern - how well does or can it chronicle her conceptual art? Tom Sutcliffe's guests are Elif Shafak, Denise Mina and Boyd Tonkin. The producer is Oliver Jones.

Nightcrawler is a movie about the ambulance-chasing camera crews who film at the site of traffic accidents, shootings etc and sell the footage to TV stations for their news bulletins. Starring Jake Gyllenhaal, we see him begin his nightcrawling career, but will it make a good man turn bad? 'Tis Pity She's a Whore is being staged at London's Globe Theatre. Written in the early 1600s by John Ford, the plot includes incest which made it extremely controversial at the time. And it was so controversial in fact that it wasn't revived in London until 1923. How will 21st century London audiences respond? Richard Ford's new book Let Me Be Frank With You is a collection of short stories all featuring the same main character: Frank Bascombe who has appeared in Ford's previous work. He's getting older and returns in all his imperfect glory, dealing with the mess of life. The Queen recently opened the latest gallery at London's Science Museum. It's called The Information Age and it's the first permanent gallery dedicated to the history of information and communication technologies. How have they managed to bring Translatlantic cable-laying to life? BBC1's latest World War 1 drama, Passing Bells follows the lives of two young recruits, one English, one German as they take part in and are affected by the conflict. Tom Sutcliffe is joined by Linda Grant, Emma Woolf and David Benedict. The producer is Oliver Jones.

Douglas Hodge, who appears as Albin in the current Broadway revival of the musical "La Cage aux Folles", explains what appealed to him about the story and character, which he did not know, when he was first approached to play it at London's Menier Chocolate Factory, and how the show has changed around him as it progressed from that small venue to a West End house to Broadway, notably the impact of his "trois Georges": Philip Quast, Denis Lawson and Kelsey Grammer. He also discusses his earliest days with England's National Youth Theatre; his first failed attempts to enter drama school and his successful efforts just a year later; why he left the Royal Academy of Dramatic Arts before completing their program; his early work in regional theatres -- as well as his early London roles as "Coriolanus" for director Deborah Warner at the Almeida and Edmund opposite Anthony Hopkins in "King Lear" at the National; how he found himself acting opposite Harold Pinter in the noted playwright's "No Man's Land" and the professional relationship and personal friendship that led to him appearing in and directing numerous Pinter plays; how as a noted Pinter interpreter he suddenly became a musical comedy star in a "Guys and Dolls" revival opposite Jane Krakowski; and what it was like to play "Titus Andronicus" at London's Globe Theatre -- including how many people fainted from the gore at every show. Original air date - June 9, 2010.

Douglas Hodge, who appears as Albin in the current Broadway revival of the musical “La Cage aux Folles” (for which he won the Tony Award in 2010 for Best Performance by an Actor in a Leading Role in a Musical), explains what appealed to him about the story and character, which he did not know, when he was first approached to play it at London's Menier Chocolate Factory, and how the show has changed around him as it progressed from that small venue to a West End house to Broadway, notably the impact of his "trois Georges": Philip Quast, Denis Lawson and Kelsey Grammer. He also discusses his earliest days with England's National Youth Theatre; his first failed attempts to enter drama school and his successful efforts just a year later; why he left the Royal Academy of Dramatic Arts before completing their program; his early work in regional theatres -- as well as his early London roles as Coriolanus for director Deborah Warner at the Almeida and Edmund opposite Anthony Hopkins in “King Lear” at the National; how he found himself acting opposite Harold Pinter in the noted playwright's “No Man's Land” and the professional relationship and personal friendship that led to him appearing in and directing numerous Pinter plays; how as a noted Pinter interpreter he suddenly became a musical comedy star in a “Guys and Dolls” revival opposite Jane Krakowski; and what it was like to play Titus Andronicus at London's Globe Theatre -- including how many people fainted from the gore at every show.

Douglas Hodge, who appears as Albin in the current Broadway revival of the musical "La Cage aux Folles", explains what appealed to him about the story and character, which he did not know, when he was first approached to play it at London's Menier Chocolate Factory, and how the show has changed around him as it progressed from that small venue to a West End house to Broadway, notably the impact of his "trois Georges": Philip Quast, Denis Lawson and Kelsey Grammer. He also discusses his earliest days with England's National Youth Theatre; his first failed attempts to enter drama school and his successful efforts just a year later; why he left the Royal Academy of Dramatic Arts before completing their program; his early work in regional theatres -- as well as his early London roles as "Coriolanus" for director Deborah Warner at the Almeida and Edmund opposite Anthony Hopkins in "King Lear" at the National; how he found himself acting opposite Harold Pinter in the noted playwright's "No Man's Land" and the professional relationship and personal friendship that led to him appearing in and directing numerous Pinter plays; how as a noted Pinter interpreter he suddenly became a musical comedy star in a "Guys and Dolls" revival opposite Jane Krakowski; and what it was like to play "Titus Andronicus" at London's Globe Theatre -- including how many people fainted from the gore at every show. Original air date - June 9, 2010.

Janet McTeer talks about her experiences in "God of Carnage", having starred in the play's London premiere (where the characters were still French) and now playing it on Broadway (as an American) and whether there are differences between her performances as Veronique and Veronica. She also shares her highly fortuitous experience of applying to the top English acting schools, with virtually no prior stage experience; the shock of moving from her hometown of York to London and the emotional crisis that hit her while attending the Royal Academy of Dramatic Art; her first jobs out of school, including the Nottingham Playhouse, the Royal Exchange in Manchester and, after only two years, the Royal Shakespeare Company (in "A Midsummer Night's Dream" as Hippolyta and Titania); her participation as more than simply a performer in the development and production of "A Doll's House" -- and why the role ultimately caused her to take a four year hiatus from the stage; why working on Broadway is such a thrill even after her great acclaim in England; the fun she had playing Petruchio in an all-female "The Taming of the Shrew" at London's Globe Theatre; and how she made the choice between playing Elizabeth or Mary in the acclaimed revival of "Mary Stuart". Original air date - April 21, 2010.

Janet McTeer (1997 Tony Award winner for Best Performance by an Actress in a Leading Role in a Play for “A Doll’s House”) talks about her experiences in “God of Carnage”, having starred in the play's London premiere (where the characters were still French) and now playing it on Broadway (as an American) and whether there are differences between her performances as Veronique and Veronica. She also shares her highly fortuitous experience of applying to the top English acting schools, with virtually no prior stage experience; the shock of moving from her hometown of York to London and the emotional crisis that hit her while attending the Royal Academy of Dramatic Art; her first jobs out of school, including the Nottingham Playhouse, the Royal Exchange in Manchester and, after only two years, the Royal Shakespeare Company (in “A Midsummer Night's Dream” as Hippolyta and Titania); her participation as more than simply a performer in the development and production of “A Doll's House” -- and why the role ultimately caused her to take a four year hiatus from the stage; why working on Broadway is such a thrill even after her great acclaim in England; the fun she had playing Petruchio in an all-female “The Taming of the Shrew” at London's Globe Theatre; and how she made the choice between playing Elizabeth or Mary in the acclaimed revival of “Mary Stuart”.

Janet McTeer talks about her experiences in "God of Carnage", having starred in the play's London premiere (where the characters were still French) and now playing it on Broadway (as an American) and whether there are differences between her performances as Veronique and Veronica. She also shares her highly fortuitous experience of applying to the top English acting schools, with virtually no prior stage experience; the shock of moving from her hometown of York to London and the emotional crisis that hit her while attending the Royal Academy of Dramatic Art; her first jobs out of school, including the Nottingham Playhouse, the Royal Exchange in Manchester and, after only two years, the Royal Shakespeare Company (in "A Midsummer Night's Dream" as Hippolyta and Titania); her participation as more than simply a performer in the development and production of "A Doll's House" -- and why the role ultimately caused her to take a four year hiatus from the stage; why working on Broadway is such a thrill even after her great acclaim in England; the fun she had playing Petruchio in an all-female "The Taming of the Shrew" at London's Globe Theatre; and how she made the choice between playing Elizabeth or Mary in the acclaimed revival of "Mary Stuart". Original air date - April 21, 2010.