Podcasts about national theater

WIE SPIELST DU DAS? - Der Resi Podcast

Play Episode Listen Later Apr 3, 2025 3:52

Es war eine ganz besondere „Übersetzungsarbeit“: über ein Jahr lang haben Regisseur Daniel Cremer und Dramaturgin Mascha Luttmann an ihrer Neufassung des „Faust“ von Johann Wolfgang von Goethe gearbeitet. Herausgekommen ist ein Kondensat in kurzen, einfachen Sätzen, das aber doch viel mehr als nur das Handlungsgerüst ist. Daniel Cremer betont, dass seine Neufassung aus tiefem Respekt vor dem Originaltext entstanden ist. Ihm ist es wichtig, dass dieses weltberühmte Meisterwerk für alle zugänglich wird, auch für Menschen, die nicht perfekt Deutsch sprechen oder über viel Vorbildung verfügen.

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#23 Wie spielst du das, Delschad Numan Khorschid?

Play Episode Listen Later Mar 21, 2025 30:20

Delschad Numan Khorschid ist Ensemblemitglied des Residenztheaters und Schauspieler. Er ist aber auch Fotograf, Schriftsteller und Künstler. Über seinen Weg aus einem kleinen Dorf im Irak ans Bayerische Staatsschauspiel und die Suche nach Heimat auf der Bühne spricht er in dieser Folge mit Andreas Beck. Ihr habt Fragen, Anmerkungen oder Wünsche? Wir freuen uns auf eure Nachricht per Mail an onlinekommunikation@residenztheater.de! Mehr zu Delschad: Delschad Numan Khorschid (residenztheater.de) DIE ÄRZTIN von Robert Icke sehr frei nach «Professor Bernhardi» von Arthur Schnitzler Inszenierung Miloš Lolić Robert Icke hat Arthur Schnitzlers Stück «Professor Bernhardi» kongenial in die Gegenwart übersetzt. Die Ärztin Ruth Wolff gerät bei ihm nicht nur in Konflikt mit ihrem Kollegium und den Maximen der katholischen Kirche, sondern auch in einen medialen Shitstorm. Mehr zu DIE ÄRZTIN: Die Ärztin (residenztheater.de) PYGMALION von Amir Reza Koohestani und Mahin Sadri nach der gleichnamigen Komödie von George Bernard Shaw Inszenierung Amir Reza Koohestani Eine aktuelle Neuerzählung von Shaws Stück, das als Musical «My Fair Lady» weltberühmt wurde: Professor Higgins tüftelt im Sprachlabor an einer App, die die Herkunft der Sprechenden analysieren kann. Er verspricht der Schauspielstudentin Liza ein Engagement am Nationaltheater, wenn sie mit ihm einen Akzent wegtrainiert, den überhaupt nur Spezialist*innen wie er hören können. Mehr zu PYGMALION: Pygmalion (residenztheater.de) REINEKE FUCHS Ein schwindelerregendes Theatermusical nach dem gleichnamigen Gedicht von Johann Wolfgang von Goethe Inszenierung Schorsch Kamerun Die Geschichte des raffinierten Fuchs Reineke bringt Regisseur und Punkmusiker Schorsch Kamerun mit einem bunten, spiel- und sangeswütigen Ensemble für alle Menschen ab zehn Jahren auf die Bühne. Goethe selbst war seit seiner Kindheit fasziniert von dem Tierepos und verfasste 1794 unter dem Eindruck der sich stark verändernden gesellschaftlichen Ordnung eine eigene Version in Versen. Mehr zu PYGMALION: Reineke Fuchs (residenztheater.de) Mehr zu den Veranstaltungen am Residenztheater findet ihr hier: Spielplan | residenztheater.de Residenztheater (@residenztheater) auf Instagram Im Gespräch: Andreas Beck und Delschad Numan Khorschid Redaktion: Lea Unterseer, Benedikt Ronge Schnitt: Lea Unterseer, Jan Faßbender Musik: Michael Gumpinger

The Sound of Neue Sachlichkeit – Nationaltheater Mannheim

Play Episode Listen Later Jan 16, 2025 3:50

Wie klingt sie, die neue Sachlichkeit? Ein Kammer-Ensemble des Nationaltheaters Mannheim versetzt sein Publikum musikalisch zurück in die 1920er_Jahre mit Hindemith, Schreker und Schulhoff.

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Wie man Schmerzen auf die Bühne bringt – Uraufführung am Nationaltheater Mannheim

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Play Episode Listen Later Jan 10, 2025 4:01

Wie fühlen sich starke, ständige Schmerzen an? Und wir bringt man solche extremen Gefühle auf die Bühne? Anna Blume, die Protagonistin des neuen Theaterstücks von Leo Lorena Wyss, geht durch die Hölle. Kaum jemand glaubt ihr und sie wird immer wieder für eine Simulantin gehalten.

Subtiler Verdi im Ausweichquartier: „La traviata“ am Nationaltheater Mannheim

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Play Episode Listen Later Nov 11, 2024 3:59

Erste Neuinszenierung am OPAL, der Oper am Luisenpark: Luise Kautz inszeniert Verdis Meisterwerk. Vor allem begeistert das Dirigat von Generalmusikdirektor Roberto Rizzi Brignoli.

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Flipping the Script on Audio Description: The Youngest To Do It!

ReidMyMindRadio

Play Episode Listen Later Aug 28, 2024 26:14

At 12 years old, Eleanor Stollery nnarrated the audio description for a live performance of "The Witches" at the National Theater in the UK. We hear from Eleanor, her Dad, AD veteran Roz Charmer and head of Access for the National Theater David Bellwood. We discuss Eleanor's entry into AD, exactly how she landed the opportunity and what it took to make it happen. Subscribe/follow wherever you get podcasts. FB & IG: @ReidMyMindRadio Twitter: @tsreid Transcripts & more: www.reidmymind.com.

Episode 202: Playwright and screenwriter Jeffrey Hatcher

The Occasional Film Podcast

Play Episode Listen Later Aug 28, 2024 48:00

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

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Movietalk - Twisters, National Theater Vanya, Divertimento

Movietalk

Play Episode Listen Later Jul 24, 2024 23:44

Hans Petrovic and guests review three films currently showing in Christchurch

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Afrodeutsche Perspektiven – Nationaltheater Mannheim erzählt vom Rassismus der Nachkriegszeit

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Play Episode Listen Later Jul 11, 2024 3:36

„Brown Babies“, so nannte man Kinder der Nachkriegszeit, deren Väter Schwarze, in Deutschland stationierte US-Soldaten waren. Der Rassismus traf diese Kinder mit voller Wucht: Sie wurden den Eltern entrissen und in Heime gesteckt. Die Berliner Theatermacherin Simone Dede Ayivi und das Mannheimer Stadtensemble bringen deren bedrückende Lebensgeschichten nun auf die Theaterbühne.

Olivera Miljaković - Die Sopranistin im Gespräch

Parlando - Der Operntalk

Play Episode Listen Later Jul 9, 2024 105:34

Über diese Begegnung kann ich nur in Superlativen sprechen. Dieses Jahr beging sie, man mag es ob der jugendlichen Ausstrahlung kaum glauben, ihren 90. Geburtstag: die Wiener Kammersängerin Olivera Miljaković. Das immerzu singende Mädchen Olivera, welches im Obstgarten ihrer serbischen Heimat ihre erste Bühne fand, ließ sich trotz der Schrecken des Krieges ihre Lebensfreude und stete Neugier nicht nehmen. Nach Studien in Italien und ersten professionellen Schritten am Nationaltheater in Belgrad kam sie schließlich nach Wien, wo sie eine glänzende Karriere an der Staatsoper hinlegte und wo sie auch heute noch lebt, als wichtige Zeitzeugin einer glänzenden Ära. Mit allen legendären Sängern des Wiener Mozartensembles stand sie auf der Bühne, egal ob Elisabeth Schwarzkopf, Irmgard Seefried oder Erich Kunz. Dirigenten wie Karl Böhm, Josef Krips, Carlos Kleiber oder Herbert von Karajan schätzten die Kunst der anmutigen Serbin, die schon bald eine internationale Tätigkeit aufnehmen konnte und bei Festspielen und Aufführungen in aller Welt gefragt war. Bis heute ist sie eine Wiener Institution, gibt ihr Wissen an neugierige Musiker weiter und wird nicht müde, sich für Künstler und Benachteiligte mit letzter Kraft einzusetzen. Überhaupt es ist ihre Spiritualität und die Frage nach dem Sinn des Lebens, welche ihr in schwierigen Situationen Kraft geben. Doch über allem steht die Liebe und Dankbarkeit: "Ich bin dankbar für das Glück". Diese Episode ist mehr als nur ein Portrait oder reine Biografie, denn sie gibt tiefe Einblicke in eine Seele, und berichtet uneitel von den schönsten und auch dunkelsten Momenten einer Sängerin, Frau, Mutter und Gattin: Die serbische Sopranistin Olivera Miljaković.

„Der Fremde“ nach Albert Camus: Beklemmende Oper am Nationaltheater Mannheim

Follow Your Dream - Music And Much More!

Play Episode Listen Later Jul 1, 2024 4:17

Eine Kammeroper wie ein 90-minütiger Albtraum: Blasinstrumente, aus denen nur Luft kommt, Streichinstrumente, mit dem Holz des Bogens gestrichen, Sänger denen die Töne im Halse stecken zu bleiben scheinen. Eine Beklemmung, die extrem gut zur literarischen Vorlage von Albert Camus passt.

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Jeremy Swift - Star Of "Ted Lasso". Nominated For Emmy. Other Credits Include "Downton Abbey", "Mary Poppins Returns" And "Gosford Park"!

Play Episode Listen Later May 1, 2024 31:25

Jeremy Swift shot to worldwide fame as Leslie Higgins - the Communications Director for the AFC Richmond football club - in the hit series “Ted Lasso”. He was nominated for an Emmy Award. Before Lasso he was in films such as “Mary Poppins Returns” along with Dick Van Dyke, “Oliver Twist” directed by Roman Polanski, and “Gosford Park” directed by Robert Altman. He's also worked with the National Theater and in the West End. And he was in “Downton Abbey”. My featured song is my reimagined version of “I'm So Glad” by Cream from the album “IT'S ALIVE!”. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Jeremy:https://www.instagram.com/jeremy.swift.68/?hl=en Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

86. Tasting Pura Vida: Collin Sugg's Adventure in Costa Rica-Pt. 2

Uncovering The Corners Of The World

Play Episode Listen Later Apr 23, 2024 18:15

Amongst Costa Rica's abundant wildlife, there is one particular animal people can't wait to see. Collin Sugg shares with us the curious creatures that you might cross paths with in Costa Rica, and digs into the history of some of San José's landmarks including the National Theater, an opera house built in 1897 to accommodate a legendary opera singer. He also leaves us with some tips to consider before booking a flight to Costa Rica. (Part 2 of the “Tasting Pura Vida: Collin Sugg's Adventure in Costa Rica”, episode 85).

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Wie geht es den Millennials? „Generation Lost“ am Nationaltheater Mannheim

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Play Episode Listen Later Apr 18, 2024 3:34

„Wir sind nie richtig erwachsen geworden“, sagt der Autor Greg Liakopoulos über Millennials in Deutschland und Griechenland. Nun hat er ein Theaterstück geschrieben: „Generation Lost“ heißt es. Regie am Nationaltheater Mannheim führt Branko Janack.

Interview mit Serge Honegger, Dramaturg Bayerisches Staatsballett

Formosa Files: The History of Taiwan

Play Episode Listen Later Apr 10, 2024 5:13

Die Ballettfestwoche München beginnt am kommenden Freitag mit einem Triple Bill im Nationaltheater und geht am 20. April mit dem Klassiker "La Bayadere" zu Ende. Die Ballettfestwoche zeigt Klassisches in Tütüs wie auch Zeitgenössisches und obendrein noch ein Gastspiel aus Belgien, mit der Truppe "Peeping Tom". Der Dramaturg des Bayerischen Staatsballetts Serge Honegger hat Sylvia Schreiber im Studio besucht und über das Programm, das Triple Bill und die Highlights gesprochen.

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S4-E6 – Taipei's Architectural Trilogy Part Two: Witnessing History and Changing with the Times

Play Episode Listen Later Mar 28, 2024 25:03

In the previous episode, we told you how these three rather stunning neo-classical Chinese buildings came to exist. This week, we're looking at them through a “culture and society” lens. The massive statue of Chiang Kai-shek remains on its pedestal at the CKS Memorial Hall. A place built to venerate a dictator, however, became the site of the Wild Lily protests demanding a democratic Taiwan in 1990, the year after tanks answered calls for freedom in a square in Beijing. We'll look at what the National Theater and Concert Hall (NTCH) offers visitors, and finally, how do you bring a “traditional Chinese” theater and concert hall (both inspired by buildings in China's medieval Forbidden City) into the 21st century? Pics and links at formosafiles.com

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S4-E6 – Taipei's Architectural Trilogy: The CKS Memorial Hall, the National Theater and the National Concert Hall

Formosa Files: The History of Taiwan

Play Episode Listen Later Mar 21, 2024 26:54

China-born architect Yang Cho-cheng 楊卓成 (1914-2006) left his magnificent mark on Taiwan with the CKS Memorial Hall, and the National Theater and Concert Hall (NTCH) among his greatest masterpieces. This week, we've got part one of the story of how a classical Chinese-style trilogy of buildings came to stand in the heart of Taipei City. Pics and more at ⁠formosafiles.com⁠

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102 - Standing At The Sky's Edge, Cruel Intentions: The 90s Musical, Police Cops The Musical

Theatre Club Podcast

Play Episode Listen Later Mar 12, 2024 42:58

We review three new London musicals in Episode 102 of Theater Club Podcast. Standing at the Sky's Edge which has transferred from The National Theater to The Gillian Lynne in the West End; Cruel Intentions: The 90s Musical at The Other Palace; and Police Cops The Musical at Southwark Playhouse Elephant. -Opening/Closing Music: Little Lily Swing by Tri-Tachyonis: licensed under a CC Attribution License Hosted on Acast. See acast.com/privacy for more information.

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Ergreifende Uraufführung von „Lügen über meine Mutter“ am Nationaltheater Mannheim

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Play Episode Listen Later Feb 19, 2024 3:42

Ausgesprochen wirken harte Worte meist noch härter. So ist auch bei der Bühnenfassung von Daniela Dröschers Roman „Lügen über meine Mutter“, die jetzt am Nationaltheater Mannheim uraufgeführt wurde. Regisseurin Laura Linnenbaum und ihr Team haben sich den 450 Seiten dicken Roman mit autobiografischen Zügen zu eigen gemacht und eine sehenswerte Inszenierung auf die Bühne gebracht. Das Stück setzt sich mit normierten Vorstellungen von weiblich gelesenen Körpern und Schönheit kritisch auseinander, ohne belehrend zu sein.

Hallgrímskirkja Church: Reykjavík’s Iconic Architectural Marvel

All Things Iceland Podcast

Play Episode Listen Later Feb 6, 2024 16:49

One of Iceland's most iconic and breathtaking landmarks is Hallgrímskirkja church. This isn't just any church; it's a symbol of Icelandic identity, a fusion of history, and a beautiful architectural design that speaks volumes about the island's unique character. Later on, in my random fact of the episode, I share who this church is named after. Ask Jewells Anything Before I jump in, I am excited to share that I have created a form where my listeners and followers can submit questions for the “Ask Jewells About Iceland” podcast episodes I plan to do. Here is he link to submit your question. The Towering Presence in Reykjavík's Skyline Perched on the scenic hilltop of Skólavörðuholt, Hallgrímskirkja stands tall at 74.5 meters (244 ft), making it not only the largest church in Iceland but also one of the tallest structures in the country. Its visibility throughout Reykjavík turns it into a landmark for those meandering through the city's streets. A Church was Commissioned by the Icelandic Government Althingi, or the Icelandic Parliament, put forth a design competition for a church in 1929. The only specifications were that it had to seat 1,200 people and have a high tower that can possibly be used for radio signal transmissions. A Design Inspired by Nature The church's design, a masterpiece by State Architect Guðjón Samúelsson, was commissioned in 1937. Samúelsson drew inspiration from the stunning Icelandic landscape. The church's exterior mimics the fascinating basalt columns found in places around the country, like on Reynisfjara black sand beach or Svartifoss waterfall. Overall, the design is meant to depict the mountains and glaciers of Iceland soaring up through imitations of hexagonal basalt columns.The building of the church started in 1945 and the first stage of it was complete in 1948. However, only the ground floor of the back of the church was consecrated for service. The whole church was consecrated in on October 26th, 1986. This happen to be the day before death of Hallgrímur Petursson's death and the same year Reykjavik was celebrating 200 years of being a town and city. Hallgrímskirka is an Example of Expressionist Architecture If you're a fan of expressionist architecture, you'll spot similarities in the interior of Hallgrímskirkja church with Grundtvig's Church in Copenhagen and the Kirche am Hohenzollernplatz in Berlin.Along with designing this iconic church, Samúelsson is also responsible for designing the National Theater, the Roman Catholic Church in Reykjavik, and the main building of the University of Iceland. Inside Hallgrímskirkja: A Harmony of Art and Spirituality Step inside, and you're greeted by a serene yet powerful atmosphere. The interior, spanning 1,676 square meters, is a blend of traditional and modern design elements, evoking a sense of grandeur and reverence. The Sound of Music: An Organist's Dream Music enthusiasts, rejoice! Hallgrímskirkja houses not one, but two large pipe organs. The crown jewel is the Johannes Klais of Bonn organ, featuring electronic action, 102 ranks, 72 stops, and a staggering 5275 pipes.Standing 15 meters tall and weighing 25 metric tons, it's an instrument that not only plays music but also tells a story of artistic brilliance. The organ was financed through private gifts. I think there are some pipes that people can “purchase” and once it is bought, you receive a certificate that you are a patron of a particular pipe. An Observation Tower with a View For the best views of Reykjavík and the surrounding mountains, take the lift to the church's observation tower. It's not just a church; it's a viewpoint that offers breathtaking panoramas of the city and beyond. Entrance into the church is free of charge but if you want to access the tower, you have to pay 1400 ISK for adults and 200 ISK for children.

Elon Musk als Prophet und Retter – „Als die Götter Menschen waren“ am Nationaltheater Mannheim

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Play Episode Listen Later Jan 27, 2024 4:21

Das Nationaltheater Mannheim spinnt die uralte Noah-Geschichte weiter in Gegenwart und Zukunft und zu einer ewigen Zeitschleife der Menschheit.

Décoloniser les arts - Frankreichs Nationaltheater werden divers

Fazit - Kultur vom Tage - Deutschlandfunk Kultur

Play Episode Listen Later Dec 17, 2023 5:17

Spreng, Eberhardwww.deutschlandfunkkultur.de, Fazit

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Demokratie üben – Partizipatives Musiktheater „Der Wal“ für Jugendliche am Nationaltheater Mannheim

situation diese jugendliche demokratie ausgangspunkt a6 musiktheater national theater riesenproblem nationaltheater mannheim

Play Episode Listen Later Dec 14, 2023 4:08

Ein Wal ist gestrandet, mitten auf der A6. Wie geht man mit diesem Riesenproblem um? Diese absurde Situation ist der Ausgangspunkt eines partizipativen Musik-Theaterstücks, das das Nationaltheater Mannheim für junge Menschen konzipiert hat.

Münchner Nationaltheater: 60 Jahre Wiedereröffnung

dass zerst ein r wiederer national theater bayerischen staatsoper

Play Episode Listen Later Nov 21, 2023 3:53

Vor 60 Jahren wurde das wiederaufgebaute Nationaltheater in München eröffnet. Dass es nach der Zerstörung überhaupt dazu kam, war alles andere als selbstverständlich. Ein Rückblick auf die spannende Zeit der Bayerischen Staatsoper zwischen 1945 und 1963.

Jenna Scannelli, Traveling Performer & Actress | Jersey's Finest Ep. 4

Culture Wave Media Network

Play Episode Listen Later Sep 28, 2023 65:53

Jersey's Finest is an interview podcast where we talk to artists and creatives about their process, art's effect on their lives and all around just who they are as people. Our next guest for the show is an actress and traveling performer who has experience working on National Theater tours, as well as Cruise Entertainment, Jenna Scannelli! On the podcast, Jenna talks about her burgeoning interest in the arts, the experience of working and traveling so often and even plays a little musical inspired bracket challenge with us! Liz & Darian co-host this episode, so we hope you enjoy our conversation with Jenna Scannelli! #interview #podcast #actress #musicaltheatre #artist Be sure to follow us on: INSTAGRAM | @jerseysfinestpod & @_culturewavemedia TIKTOK | @cinemawavemedia Check out our entertainment site with News, Reviews, Trailers & more! WEBSITE| cinemawavemedia.blogspot.com

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Ting-Chun Lin: Bringing the National Theatre and Concert Hall into the Digital Age

Taiwan Talk

Play Episode Listen Later Aug 4, 2023 9:45

What does it take to modernize a cultural icon? The National Theater and Concert Hall's Head of Strategic Initiatives Ting-Chun Lin talks to ICRT's Hope Ngo about the theatre's digital projects and how lessons learnt during the COVID-19 has given rise to a new theatre experience. This episode was produced and is presented by Aspen Beilharz.

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Jeremy Swift - Star Of "Ted Lasso". Nominated For Emmy. Other Credits Include "Downton Abbey", "Mary Poppins Returns" And "Gosford Park". A Musician Too!

Follow Your Dream - Music And Much More!

Play Episode Listen Later Jul 13, 2023 30:38

Jeremy Swift has shot to worldwide fame as Leslie Higgins - the Communications Director for the AFC Richmond football club - in the hit series “Ted Lasso” for which he was nominated for an Emmy Award. Before Lasso he was in films such as “Mary Poppins Returns” along with Dick Van Dyke, “Oliver Twist” directed by Roman Polanski, and “Gosford Park” directed by Robert Altman. He's also worked with the National Theater and in the West End. And he was in “Downton Abbey”. Plus he's a musician with a new album and single.My featured song is my reimagined version of “I'm So Glad” by Cream from my new album “IT'S ALIVE!”. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Jeremy and Robert discuss the following:- Cream- Ted Lasso Downton Abbey Surprised by Lasso's success Seinfeld took a long time to hit Higgins is the adult in the room Spin off in the works? 3rd season of Lasso Getting his wife hired as his screen wife- Career highlights- Auditions vs straight offers now- Musical background ”Can't Stop Doin' It”- What's next?- Mary Poppins Returns Dick Van Dyke- Diamond Dogs—-------------------------------------“IT'S ALIVE!” is Robert's new Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at SteelStacks in Pennsylvania and The Nisville Jazz Festival in Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Jeremy at:https://www.instagram.com/jeremy.swift.68/?hl=en Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Amy Andersson – Conductor & Producer

rEvolutionary Woman

Play Episode Listen Later Jul 6, 2023 43:45

Amy Andersson is an Internationally recognized, Grammy-winning conductor and producer. Named by British music critic Norman Lebrecht as “America's most watched Symphony Orchestra Conductor,” Andersson has been praised for her dynamic musicality, expressive technique and cross genre repertoire. She has toured to over twenty-two countries conducting concerts and recording sessions in symphonic, operatic, film, musical theatre and video game genres. She has appeared on the Late Show with Stephen Colbert, CBS Morning News, CBS Evening News and has garnered press coverage in the Wall Street Journal, Variety, Forbes, and Huffington Post. Andersson is founder and conductor of Orchestra Moderne NYC, which debuted at Carnegie Hall and Lincoln Center, and has won critical acclaim for her charismatic and visionary accomplishments as creator and conductor of Women Warriors: The Voices of Change, a live-to-picture symphony production and documentary film. Women Warriors has won over twenty-four international film and music awards including four Telly Awards, a Hollywood Music in Media Award, a GRAMMY in “Best Classical Compendium, a 2022 BMI “Impact Award,” a 2023 SCL “Jury Award” and has screened at film festivals in more than twelve countries, including the Fimucité International Film Music Festival in Tenerife. Known for her commitment to the music of living composers, she has conducted the works of composers Neal Acree, Elitsa Alexandrova, Peter Boyer, Nathalie Bonin, Jessica Curry, Miriam Cutler, Anne-Kathrin Dern, Greg Edmonson, Isolde Fair, Sharon Farber, Steve Jablonsky, Grant Kirkhope, Penka Kouneva, Bear McCreary, Martin O'Donnell, Kol Otani, Starr Parodi, Lolita Ritmanis, Garry Schyman, Yoko Shimomura, Jeremy Soule, George Strezov, Chance Thomas, Nobou Uematsu, Jack Wall, and Austin Wintory, among others, either on the concert stage or in recording sessions. Andersson has made guest appearances the St. Louis Symphony, Houston Symphony, Seattle Symphony, Oregon Symphony, Rochester Philharmonic, Colorado Symphony, Honolulu Symphony, San Diego Symphony, Florida Orchestra, Spanish Philharmonic, Berliner Symphoniker, Royal Philharmonic Concert Orchestra, Stockholm Concert Orchestra, Spanish National Youth Orchestra, Düsseldorfer Symphoniker, Classic FM Radio Orchestra of Bulgaria, Lithuanian National Symphony Orchestra, Junge Deutsche Philharmonie, Neiderrheinsche Symphoniker, LOH Orchestra Sonderhausen, Giessen Philharmonic, Aalborg Symphony Orchestra, Macedonian Philharmonic, Monte Carlo Philharmonic, Jeunesses Musicales Deutschland, Colorado Music Festival Orchestra, National Orchestral of Mexico, and at free-lance orchestras in Switzerland, Belgium, Netherlands, Italy and Ireland. Andersson regularly conducted opera productions in Germany at the Deutsche Oper am Rhein, National Theater of Mannheim, Stadttheater Aachen, Weikersheim Opera Festival, Rheinsberg Chamber Opera, and Schlosstheater Schwetzinger. In 2017 Andersson completed a two year, world tour of the live-to-picture concert Legend of Zelda: Symphony of the Goddesses. Andersson is a devoted teacher and educator and known also for her work with youth orchestras. She was adjunct conducting faculty at the Universität der Künste Berlin, music director of the famed CPE Bach High School of Performing Arts in Berlin, and adjunct faculty in Media and Film Scoring at Brooklyn College/Feirstein Graduate School of Cinema. In Germany she conducted the Rheinberg Chamber Opera Festival and Weikersheim Opera Festival for four summer seasons of productions that featured rising opera singers and youth orchestras. She is currently conducting faculty at the USC Thornton in the Screen Scoring department, and the Hollywood Music Workshop in Baden, Austria. Current projects include Andersson as co-Executive Producer on the soon to be released film (2023)Tahlequah The Whale: A Dance of Grief, by filmmaker Daniel Kreizberg, featuring the music of Lolita Ritmanis. She is also conductor and co-producer of the soon to be released soundtrack.

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Episode #7 - Regie Cabico Reads Poetry

Poets Reading Poetry

Play Episode Listen Later Jun 30, 2023 64:47

"I cannot swim, but I am a fierce swimmer of my poems" - Regie Cabico This episode was a treat to record. A treasure trove of quotes and insight - Chatting with Regie Cabico is always a gift. With episode 7 we are celebrating queer life, the many places poetry can lead you, and the joy of new works. We even got a taste of Regie's forthcoming collection, A Rabbit In Search of a Rolex. Listen, Subscribe, and Share! About Regie Cabico: Regie Cabico is a spoken word pioneer having won The Nuyorican Poets Cafe Grand Slam and later taking top prizes in three National Poetry Slams. Television credits include TEDx, 2 seasons of HBO's Def Poetry Jam, and NPR's Snap Judgement. Mr. Cabico will perform his first solo performance show for young audiences, Mangos To Apples Tumbling Tumbling from A Filipino Rainbow, at The National Theater in the summer of 2023. His next collection of poetry, A Rabbit In Search of a Rolex will be released September 2023 by Day Eight Press. He is the publisher and producer of Capturing Fire Press and resides in Washington, DC.

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Man Made Monster, Part One

A Podcask of Amontillado

Play Episode Listen Later May 23, 2023 54:09

Welcome back to A Podcask of Amontillado, where we delve into the dark, dreadful, and terrifying parts of the world. The very first science fiction story is also a tale of terror about a man driven to push past the boundaries of what man was meant to know. Following his example is an army of those who have dared play God by building monsters in their quest to explore forbidden knowledge! Listen in as Gary & Erin are joined by Tom Morris of The Good, The Bad, and the Nerdy Movie Podcast to discuss the various Frankenstein representations, what separates a “normal” scientist vs a “mad” one, the role of regret & ego in their work, the Merry Marvel Madmen, the need for scientific oversight organizations, and how not all of them are the villains of the story. And remember, if they build death rays, they're not mad scientists, but mad engineers, and that's a whole other episode. It's Alive! It's ALIVE! Frederick Frankenstein, Stage Mom. Hammer's Curse of Frankenstein trailer. 1931's Dr. Jekyll & Mr. Hyde transformation. 1989's Nightmare Classics version of The Strange Case of Dr. Jekyll and Mr. Hyde full movie. Andrews as Jekyll and as Hyde. Norman Osborn's mirror scene. National Theater's Frankenstein discusses the Creature. Bernie Wrightson's Illustrated Frankenstein "I Will Be With You on Your Wedding Night..." illustration, and available on Amazon. Hasselhoff in Jekyll & Hyde "Confrontation" Doc Brown at work. Dr. Seth Brundle discusses Insect Politics. Opening and closing music is "Softly Shall You Sleep," by Valentine Wolfe. Please follow us on TikTok, Twitter, and on Facebook for show notes and more! Contact us at apodcaskofamontillado@gmail.com! A Vino, Atrocitas.

Kritik: Verdis "Aida" an der Bayerischen Staatsoper

premiere kritik botschaft kurt weill national theater verdis bayerischen staatsoper

Play Episode Listen Later May 22, 2023 3:59

Verdis Erfolgsoper "Aida" fand bei ihrer Premiere am 16. Mai im Münchner Nationaltheater keinen ungeteilten Zuspruch: Regisseur Damiano Michieletto inszenierte ein düsteres Antikriegsstück mit sehr schlichter Botschaft, die eher zu einem Stück von Kurt Weill gepasst hätte.

Ballettfestwoche beim Bayerischen Staatsballett

festival beim saison spielplan anfang april bayerischen national theater

Play Episode Listen Later Apr 5, 2023 4:07

Anfang April steht beim Bayerischen Staatsballett traditionell die Ballettfestwoche auf dem Spielplan. 1960 vom damaligen Ballettdirektor Heinz Rosen gegründet, zeigt das Festival zwischen dem 31. März und dem 8. April 2023 im Nationaltheater die Höhepunkte der laufenden Saison.

23. The Post Relevant Podcast episode 23 - The Birth of the Post Relevant Movement with Yehuda Duenyas

The Post Relevant Podcast

Play Episode Listen Later Mar 16, 2023 87:35

The Post Relevant Podcast has yet once again re-returned with the actual real and proper beginning of season 2! Episode 23 phones it in from across the seas as host Phil Ristaino is joined by his old experimental theater buddy and co-creator of the Post Relevant Manifesto Yehuda Duenyas. Yehuda is an actor, director, and intimacy coordinator who paid his dues in the NYC downtown theater scene creating wild theatrical experiences with his former company the National Theater of the United States of America. But before that, he and Phil were part of a short-lived, nearly-legendary theater group called C. and Hammermill, making radical happenings in NYC, upstate NY, and PA, eventually culminating in a 3 month stint in the mid Nineties crawling the streets of Prague in the Czech Republic with a 12 day long epic theatrical extravaganza and performing in the legendary Roxy theater. At some point in their Czech adventures, in the back of a bar in Prague in 1994, Phil and Yehuda sat down and wrote out the Post Relevant Manifesto, a Bob Dobbsian declaration to End Construction which eventually inspired the creation of this here podcast. WE HOLD THESE TRUTHS TO BE POST RELEVANT! Have a few shots of absinthe and freak out as Phil and Yehuda talk about not using husband pillows, what its like to walk on top of shoes made of triangles, how tricky it was to buy hash on a boat, why you shouldn't camp in a bush made of nettles, and, eventually, just what the hell were the two of them thinking when they dared to scribe the incendiary and quickly forgotten Post Relevant Manifesto. We find out who wrote what, sort of. All this, plus Hoody rides a bike in Paris AND talks on the phone! Ooh La La! Find out more about Yehuda by going to www.xxxyehuda.com. Learn more about Yehuda's organization Cinematic Intimacy Artists by going to CINTIMA.co Hear the entire first season of the Post Relevant Podcast, where we decode the symbol-laden hipster noir film "Under the Silver Lake," by going to www.PostRelevant.com Click on the merch button at www.PostRelevant.com check out 5 new PRP T-shirt designs created by Phil. Support the podcast by donating at www.patreon.com/postrelevant Check out Phil's acting, art and music at www.TheseAreDreams.com Contact Phil on Instagram, and check out the full 5D experience by going to www.instagram.com/philristaino The Post Relevant Podcast theme song was written by Allen Towbin and Phil Ristaino, aka Agents of Venus. You can hear their full length album "Boduvt" by going to https://agentsofvenus.bandcamp.com This episode was scored with the music of Jonas the Plug Expert. Songs include "Pling Plong," "Yugk," "CFD," "Tipdeuntje," "Stap," and "Val." All music was found on www.freemusicarchive.org -- check out Jonas' page at https://freemusicarchive.org/music/jonas_the_plugexpert --- Send in a voice message: https://podcasters.spotify.com/pod/show/post-relevant999/message

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Washington DC Just in Time for the Cherry Blossoms

Who Wear There by the Travel Brats

Play Episode Listen Later Mar 14, 2023 42:04

Visit the White HouseWhile you can't actually enter the White House, you can take a self-guided tour of the grounds and snap some photos of the iconic facade. The Smithsonian MuseumsThe Smithsonian Institution is home to 19 museums, galleries, and the National Zoo. Whether you're interested in art, history, or science, the museums offer something for everyone. Some of the most popular Smithsonian museums include the National Air and Space Museum, the National Museum of Natural History, and the National Portrait Gallery. National Museum of American historyThe First Ladies' inaugural dress exhibit was one of my personal favorites at the National Museum of American history. This exhibit also included pieces of china from some of the presidential administrations. The National Archives MuseumThe National Archives were fascinating, and seeing the actual constitution was surreal. Don't forget - no pictures!The Monuments and MemorialsNo visit to DC is complete without seeing the city's monuments and memorials. With their mighty stone pillars, delicate engravings, and somber yet heroic sculptures, I was in awe. All within walking distance, the monuments were the highlight of my trip. My favorites were the Lincoln Memorial, the WWII Memorial, the Vietnam War Memorial, the Korean War Memorial, and the Washington Monument. The Lincoln MemorialThis iconic monument was built to honor the legacy of President Abraham Lincoln. It's a great place to reflect on American history and enjoy stunning views of the city. The National MallThe National Mall is an iconic green space stretching for two miles between the Lincoln Memorial and the US Capitol Building. Here, you can explore a variety of monuments, memorials, and museums, as well as take in stunning views of the city skyline. The National Gallery of ArtA close second on my highlights, right up with the Monuments, was the Washington National Art Gallery. This incredible museum houses a world-class collection of artworks, from ancient to modern. Whether you're a painting, sculpture, or photography fan, you'll find something to admire here. From Monet to Dega, this has one of the most spectacular art collections in not only the country but the world. It was so stunning we got stuck in there for an entire day from opening to close.Washington National CathedralMy husband's favorite stop on our DC adventure was the Washington National Cathedral. Washington National Cathedral is an iconic landmark of the nation's capital. Located in Northwest Washington, DC, it is one of the most recognizable landmarks in the city. The cathedral has a long and rich history, built in 1907 and dedicated by President Theodore Roosevelt in 1912. It is a Gothic-style structure built in the tradition of classic European cathedrals. It is one of the largest and most impressive churches in the world, standing at the height of 300 feet and with a length of 600 feet. The interior is breathtaking, with its ornate details, including stained glass windows, intricate carvings, and marble pillars. The cathedral is also home to many important national events, including the funerals of presidents, state funerals, the National Prayer Breakfast, and royal visits. It is also the site of special events such as concerts, lectures, and services. The cathedral is also home to a number of significant monuments, including the Tomb of the Unknown Soldier, which honors those who lost their lives in World War I, and the Vietnam Veterans Memorial. We took a tour, came just in time for an organ demonstration, and returned after dinner for evensong. The music was spectacular.Capitol HillCapitol Hill is one of the most iconic neighborhoods in the United States. Located in the heart of Washington, DC, it is home to the US Capitol building and a host of other important national landmarks. The area is steeped in history, and its streets are lined with many of the city's most impressive monuments, memorials, and government buildings. For visitors, Capitol Hill offers a variety of attractions, including the US Capitol building, the National Mall, and the Smithsonian Museum. Tourists can explore the area's many museums, galleries, and monuments or take a walking tour of the historic buildings and monuments that line the streets. Capitol Hill is also home to a vibrant nightlife, with many of the city's hottest restaurants, bars, and clubs.Check out the National ZooThe National Zoo is home to a variety of animals, from pandas to tigers. It's a great place to take the kids for a fun and educational day out. The Museum of the BibleLocated just blocks away from the National Mall and the White House, the Museum of the Bible offers eight floors of interactive exhibits, displays, and educational experiences that tell the story of the Bible and its influence on our world. The museum's mission is to invite all people to engage with the Bible through a unique and interactive museum experience. Visitors can explore the Bible's history, its impact on world cultures, its influence on art, music, and literature, and the ways it has changed the lives of millions of people.WeatherMy husband and I visited DC in October, and the weather was freezing and drizzly when we arrived, but as soon as we went to Marshalls and got hats, coats, and scarves, the next two days were sunny and in the 60s & 70s. When you go to DC, check the weather, especially if you are going in the Spring or the Fall. Weather can still be very uncertain at those times of the year. However, the most beautiful time to visit is in April, during the blooming of the cherry blossoms. Where to StayI recommend staying in Georgetown. This way, you can walk anywhere and don't rent a car, just uber. The city is so beautiful that walking is an event in itself. We started our adventure by staying our first two nights at the Westin in the heart of Washington, within a 10-minute drive of the Smithsonian, the National Zoo, and the White House. This 4-star hotel is 1.2 mi from Capital One Arena and 1.3 mi from National Mall. This Westin had a tiny yet cozy room and a great bathroom with a soaking tub.Then we moved to the Glover Park inn for some different scenery. Glover was artsier with a spacious room, a lovely dining area, and a shabby chic vibe. On the downside, it was further out from all the attractions except for the Washington National Cathedral.We ended our adventure by staying in the Royal Sonesta. This spot was in another artsy nook of DC that had a very cool 70s vibe, and our room had a super nice bathroom.The three other hotels we recommend are the River Inn, the Lombardy, and the Modus Hotel. Best EatsWe ate some of the best food I had all year when we were in DC, from GCDC grilled cheese sandwiches to Chef Geoffs for a fabulous outdoor lunch, Circa for dinner, and Captain Cookie & the Milk Man for a late-night snack; we ate our way through DC and loved every minute of it. Some other note-worthy restaurants were Bindaas & Juniper, Roti (lunch), North Italia (dinner), Tonic At Quigley's (lunch) & GW Delicatessen (lunch).The National Theater & the Kennedy CenterThere are many theaters in DC, but my two favorites are the National Theater and the Kennedy Center. We went to the National Theater on this trip to see the Tina Turner Musical, and the show was spectacular. The entire production was phenomenal, from the lights, sound, and actors. This was, hands down, one of my favorite theaters of all time because it was smaller than the Kennedy center but tactfully designed to be just as grand. The entire staff was so friendly, and we sat in the center bottom row. It was the best seat in the house!If you happen to be traveling to DC in April for the Cherry Blossoms, and like the weather, the National Theater has some must-see shows coming up; Jagged Little Pill (March 14-26), My Fair Lady (April 6- 9), Disney's Aladdin (April 19-30), and Beetlejuice (May 16-28). Walk over early, and you can visit the WWI memorial, which sits right outside.As soon as we left DC, I was dying to go back. From the tall, proud monuments and rich history to the melting pot of people and the exciting city life, I could even see myself loving DC as home.

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Brahms breaks the rules

Zoom - Musikgeschichte, und was sonst geschah

Play Episode Listen Later Jan 21, 2023 2:00

Synopsis The first Piano Concerto by Brahms received its premiere public performance on today's date in 1859 with the Hanover Court Orchestra under the direction of Brahms's close friend Joseph Joachim and its 25-year composer as soloist. That first night audience had never heard anything quite like it. In his biography of Brahms, Jan Swafford describes what was expected of a piano concerto back then, namely “virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and nothing] too tragic.” “To the degree that these were the rules,” writes Swafford, “[Brahms] violated every one of them.” His concerto opens with heaven-storming drama, continues with deeply melancholic lyricism, and closes with something akin to hard-fought, even grim, triumph. Rather than a display of flashy virtuosity, Brahms's concerto comes off as somber and deeply emotional. A second performance, five days later in Leipzig, was hissed. "I am experimenting and feeling my way,” Brahms wrote to his friend Joachim, adding, "all the same, the hissing was rather too much." Now regarded a dark Romantic masterpiece, it's important to remember how long it took audiences to warm to Brahms' music. The American composer Elliott Carter recalled that even in the 1920s, Boston concert goers used to quip that the exit signs meant, "This way in case of Brahms." Music Played in Today's Program Johannes Brahms (1833-1897) Piano Concerto No. 1 in D Minor, Op. 15 - I. Maestoso - Poco più moderato Maurizio Pollini, piano; Berlin Philharmonic; Claudio Abbado, cond. DG 447041 On This Day Births 1899 - Russian-born American composer Alexander Tcherepnin, in St. Petersburg (Julian date: Jan. 9); Deaths 1851 - German opera composer Albert Lortzing, age 49, in Berlin; 1948 - Italian composer Ermanno Wolf-Ferrari, age 72, in Venice; Premieres 1713 - Handel: opera "Teseo" (Julian date: Jan. 10); 1725 - Bach: Sacred Cantata No. 111 ("Was mein Gott will, das g'scheh allzeit") performed on the 3rd Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1816 - Cherubini: "Requiem," in Paris; 1880 - Rimsky-Korsakov: opera "May Night," in St. Petersburg, Napravnik conducting (Julian date: Jan. 9); 1904 - Janácek: opera "Jenufa" in Brno at the National Theater; 1927 - Roussel: Suite in F for orchestra, in Boston; 1929 - Schreker: opera "Der Schatzgräber" (The Treasure Hunter), in Frankfurt at the Opernhaus; 1930 - Shostakovich: Symphony No. 3 ("May First"), in Leningrad; 1936 - Gershwin: "Catfish Row" Suite (from the opera "Porgy and Bess"), by the Philadelphia Orchestra, Alexander Smallens conducting; 1947 - Martinu: "Toccata e due canzona" for chamber orchestra, in Basel, Switzerland; 1968 - Bernstein: song "So Pretty" (a song protesting the Vietnam War) at Philharmonic Hall (now Avery Fisher Hall) in New York City, with singer Barbra Streisand and the composer at the piano; 1968 - Allan Pettersson: Symphony No. 6, in Stockholm; 1988 - Christopher Rouse: Symphony No. 1, by the Baltimore Symphony, David Zinman conducting; Links and Resources On Brahms

Im Jahr 1823 brennt das Münchner Nationaltheater

Play Episode Listen Later Jan 21, 2023 5:14

Seit fünf Jahren hatten die Münchner ein neues Theater. Das Hof- und Nationaltheater zählte zu den größten Häusern Europas, übertraf sogar das Pariser Odeon, das König Max I. Joseph seinem Architekten Karl von Fischer als Vorbild empfohlen hatte. Die "erste und schönste Zierde der Königsstadt" bot 2400 Zuschauern Platz, hatte einen großen Bühnenausschnitt, beste Sichtverhältnisse, neueste Bühnentechnik und eine Sprinkleranlage, wie sie bislang kein Theater aufzuweisen hatte. Die Welt und München waren begeistert. Vor allem von den Superlativen. Bis zu jenem Tag im Januar 1823

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Kern's "Showboat" is launched in D.C.

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Play Episode Listen Later Nov 15, 2022 2:00

Synopsis Today's date marks the anniversary of the first performance of Jerome Kern's Show Boat, produced in 1927 at the National Theater in Washington, D.C. by Florenz Ziegfeld. Show Boat's book and lyrics were by Oscar Hammerstein II, adapted from Edna Ferber's novel, which had been published only the year before. It was a most unusual story for a musical, and dealt frankly with alcoholism and interracial marriage. Mixing tragic and comic elements was something simply unheard of in American musical theater of that time. Ziegfeld's secretary recalled that before the Washington premiere, he fretted that audiences would be disappointed that the girls on stage were wearing much too much clothing for a typical Ziegfeld show. There was little or no applause following the November 15th premiere, and Ziegfeld assumed that “Show Boat” was a flop. But the Washington audiences were simply too stunned to react. When Ziegfeld's secretary told his boss that there were long lines waiting to buy tickets for subsequent performances, at first Ziegfeld didn't believe it. But by the time Show Boat opened on Broadway the following month, even the Great Ziegfeld knew he had a hit on his hands—and one based on great music and a powerful book, with nary a scantily-glad show girl in sight! Music Played in Today's Program Jerome Kern (1885-1945) selections from Showboat Royal Liverpool Philharmonic; Carl Davis, cond. EMI 4573

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Break a Leg! The 2015 National Theater Production

Eyre Buds

Play Episode Listen Later Nov 14, 2022 72:32

In which Piper and Lillian watch one of the most contemporary and creative adaptations of Jane Eyre ever discussed on this podcast. From a grown man playing Pilot the dog, to a haunting and surprisingly contemporary soundtrack, we chat about the unique choices that made this version one of our faves.

1186. Emmanuel Kirunda. Special Conversation. The Launch of the 4th Heritage Mindset Initiative

Lifesignatures Radio

Play Episode Listen Later Sep 12, 2022 91:24

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Bernstein's air-conditioned urban jungle

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Play Episode Listen Later Aug 19, 2022 2:00 Very Popular

Synopsis If you were in Washington, D.C. on today's date in 1957, and wanted to escape the summer heat, tickets for a new musical at the air-conditioned National Theater would run you between $1.10 and $5.50 – and you could boast for years afterwards that you attended the world premiere performance of Leonard Bernstein's "West Side Story." Actually, the three-week trial run of "West Side Story" at DC's National Theater was a hot ticket. The premiere attracted a fashionable crowd of Washington elite as well as those who trained or planed their way to the national's capitol to catch the latest work of America's musical "boy wonder" – the 38-year old Leonard Bernstein. Even so, The Washington Post reported Bernstein was able to wander the lobby at intermission largely unrecognized – to eavesdrop on audience reaction. One woman who did recognize him identified herself as a former social worker in a rough neighborhood like the one depicted in his musical. "It's all so real, so true," she told Bernstein. "It chills my blood to remember." Bernstein was a little taken aback. "It isn't meant to be realistic," he said. "Poetry – Poetry set to music – that's what we were trying to do." But gang violence as the subject for a musical was shocking to 1957 audiences. When the show opened on Broadway, the New York "Times" expressed its impact as follows: "Although the material is horrifying, the workmanship is admirable… 'West Side Story' is a profoundly moving show." Music Played in Today's Program Leonard Bernstein (1918-1990) –Prologue, fr West Side Story (orchestra and chorus; Leonard Bernstein, cond.) DG 415 255

Adam Feldman / Evita - Premiere American Recording (1979)

The Original Cast

Play Episode Listen Later Aug 10, 2022 94:11

Adam is the National Theater and Dance Editor and chief theater critic at TimeOut New York and President of the New York Drama Critics' Circle. And he is here for a big episode about a very big show on a very big, double-LP. Topics include: Patti, Mandy, Patti's rage, Bob Gunton's accent, Mandy being Mandy all over the second act, comma writing, Mark Syers, the worst lyric in Chess, the “Big Apple,” and the agony and the ecstasy of Tim Rice. Adam at TimeOut Featured recordings: Evita - Premiere American Recording (1979) • Pacific Overtures - Original Broadway Cast Recording (1976) • Chess - Original Broadway Cast Recording (1988) MERCH! Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where this year we're talking musical sequels and musical biopics! Patreon • Twitter • Facebook • Email

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Nr. 3279 Kollaps im Orchestergraben – Dirigent Stefan Soltesz gestorben

ETDPODCAST

Play Episode Listen Later Jul 26, 2022 5:20

Es soll ein fröhlicher, bildgewaltiger Abend im Münchner Nationaltheater werden, aber er endet kurz nach dem Beginn plötzlich auf tragische Weise – mit dem Tod des Dirigenten. Web: https://www.epochtimes.de Probeabo der Epoch Times Wochenzeitung: https://bit.ly/EpochProbeabo Twitter: https://twitter.com/EpochTimesDE YouTube: https://www.youtube.com/channel/UC81ACRSbWNgmnVSK6M1p_Ug Telegram: https://t.me/epochtimesde Gettr: https://gettr.com/user/epochtimesde Facebook: https://www.facebook.com/EpochTimesWelt/ Unseren Podcast finden Sie unter anderem auch hier: iTunes: https://podcasts.apple.com/at/podcast/etdpodcast/id1496589910 Spotify: https://open.spotify.com/show/277zmVduHgYooQyFIxPH97 Unterstützen Sie unabhängigen Journalismus: Per Paypal: http://bit.ly/SpendenEpochTimesDeutsch Per Banküberweisung (Epoch Times Europe GmbH, IBAN: DE 2110 0700 2405 2550 5400, BIC/SWIFT: DEUTDEDBBER, Verwendungszweck: Spenden) Vielen Dank! (c) 2022 Epoch Times

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Korea 24 - 2022.07.12

KBS WORLD Radio Korea 24

Play Episode Listen Later Jul 12, 2022

Korea24 – 2022.07.12. (Tuesday) News Briefing: New COVID-19 cases in South Korea climbed to a 62-day high at 37,360. In response, health authorities have raised the COVID-19 risk level from ‘low’ to ‘intermediate’. (Jenny NA) In-Depth News Analysis: South Korea's Ministry of Interior and Safety raised the country's heat wave risk alert level to the second-highest 'orange' on July 2, 18 days earlier last year. Meanwhile, 689 patients were treated for heat-related illnesses between May 20 and July 10, four times as many as the same period last year. To learn more about heat-related illnesses and how to prevent them, Professor Jason Kai Wei Lee from the National University of Singapore Yong Loo Lin School of Medicine joins us on the line. Korea Trending with Jenny Suh: 1. Hyundai Motor announced that it will be building its first domestic automobile factory in 29 years, dedicated to electric vehicles. (현대차, 29년만에 국내에 공장 짓는다) 2. South Korea is preparing to introduce a law enabling children to remove content related to their personal information. (부모가 SNS에 올린 아이 사진·영상, 자녀가 요청하면 삭제 가능해진다) 3. The first pictures from NASA’s next-generation James Webb Space Telescope have been unveiled. (NASA, 제임스웹 우주망원경 촬영 풀컬러 우주사진 첫 공개) Touch Base In Seoul: Earlier this year, New York became the third US state to designate November 22 as Kimchi Day. Leading that resolution was Korean American Assemblymember Ron Kim. He joins us via video to tell us about how he brought Kimchi Day to the Big Apple, as well as his career in public service. Morning Edition Preview with Richard Larkin: - In tomorrow’s Korea Times, Park Han-sol writes about how South Korea will take center stage at the New York Asian Film Festival (NYAFF) later this month. - Tomorrow’s Korea Herald features a report by Park Ga-young on the lineup for the 2022-23 season at the National Theater of Korea.

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Episode 1347 - Naomi Ekperigin

WTF with Marc Maron Podcast

Play Episode Listen Later Jul 11, 2022 86:50 Very Popular

Comedian and writer Naomi Ekperigin is a cheerful person who also finds herself paralyzed with rage. It's a balancing act she has to manage, just like she balanced her time in writers' rooms with getting on stage night after night to work on her standup. Naomi and Marc talk about her family in Nigeria, working for the National Theater for the Deaf, editing an art magazine, and her time working on shows like Broad City, Difficult People and Good News. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

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Stephen Buescher- UCSD Professor of Movement in the Department of Theatre and Dance.

A long way from the block

Play Episode Listen Later Jul 11, 2022 128:34

In this episode we discuss his career as an Actor, Director, Choreographer and how those different artistic expressions helped him navigate the world. We also talk in depth about what it was like to travel with a deaf theatre company without knowing any sign language goin in. Professor Stephen Buescher is an actor, director, and teaching artist who has designed and led movement training curriculum for various master's programs including Brown University/Trinity Repertory Consortium and the American Conservatory Theater. He has also taught physical theater in the master's programs at the Yale School of Drama, University of Missouri Kansas City, and the University of Connecticut. He has choreographed Hamlet, A Thousand Splendid Suns, Orphan of Zhao, Stuck Elevator, Monstress, Let There Be Love, and Underneath the Lintel at the American Conservatory Theater; The Imaginary Invalid at the Old Globe Theater (Fiasco); A Midsummer Night's Dream and Private Lives at Long Wharf Theater; A Christmas Carol at Trinity Repertory Company; Love's Labour's Lost at Shakespeare Santa Cruz; Blues for an Alabama Sky at the Lorraine Hansberry Theater; and Black Maria at The Providence Black Repertory Theater. He has directed numerous productions in the MFA Conservatory including The Bacchae Communion Rite, The Taming of the Shrew, Romeo and Juliet, Galileo, The House of Bernarda Alba (Moscow Art Theater), Hotel Paradiso, Black Orpheus, and Crazy for the Country. Professor Buescher has been a long time company member with Dell' Arte International where he has performed both nationally and internationally. International Festivals include the International Small Scene Theater Festival (Croatia), The Festival of New Adaptations (Hungary), and The Festival International de Teatro Caribe (Colombia). He has also performed with the National Theater of Greece, Oktana Dance, and Tanz Theater Heidelberg. Nationally he has performed with Dell' Arte International, American Conservatory Theater, Smith Wymore Disappearing Acts, Scott Wells and Dancers, Shotgun Players, and Deborah Slater Dance. He is a first round recipient of TCG's New Generations Grant, a member of SDC, and the Network of Ensemble Theaters. Professor Buescher is a graduate of the Dell' Arte International School of Physical Theater and California Institute of the Arts.EducationDell'Arte International School of Physical TheaterCalifornia Institute of the Arts

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Trust your gut with your law career in Japan with Bonnie Dixon

Lawyer on Air

Play Episode Listen Later Jun 26, 2022 55:13

Even when your law career doesn't go smoothly, perhaps you have been laid off or there are other challenges on your path, trusting your gut can help you to find the right way forward. My guest is Bonnie Dixon, the first foreign woman to be made a partner of a Japanese law firm. You will not believe how Bonnie created this opportunity for herself. Bonnie also shows us other ways we can serve our countries, either as a commercial attache in business or in the community as a scout leader. In this episode you'll hear: How Bonnie came to Japan for the first time as a child and the influence it had on the trajectory of her life Surviving two crumbling law firms, but finding her way by trusting her gut Refusing a job offer but laying a groundbreaking opportunity on the table in return that was accepted The importance of marketing and networking skills for lawyers and the different ways that can look Her favourite Netflix show and other fun facts About Bonnie Bonnie Dixon is a Partner at Atsumi & Sakai in Tokyo. In 2005, when Bonnie joined the firm she became the first non-Japanese attorney to become a partner of a domestic Japanese law firm since the Occupation of Japan. Bonnie serves clients in cross-border transactions and dispute resolution matters and her practice includes general corporate matters, mergers and acquisitions, employment law, cross border litigation and antitrust matters. She's consistently in Best Lawyer and other rankings. Bonnie is licensed to practice law in the State of New, admitted in 1982 and is admitted to the Court of Appeals of the First Circuit. Bonnie is registered in Japan as a Foreign Registered Lawyer. She has extensive experience in international transactions, cross border labor and employment, structured finance, banking transactions, investment funds, etc. Educated at the University of Michigan with a B.A., majoring in Japanese and Political Science in 1978, and the University of Michigan Law School, attaining her J.D. in 1981, Bonnie speaks and reads fluent Japanese and has worked in Tokyo for more than twenty years in the aggregate. Before returning to Tokyo in 2002, Bonnie practiced law in New York City, where she became a partner of Schulte Roth & Zabel LLP, and later of Morgan Lewis & Bockius LLP. Recently, Atsumi & Sakai has established an office in New York, to be formally named as Atsumi & Sakai New York LLP. This expansion will be led by Bonnie, who will serve as managing partner of the New York office. In her spare time, Bonnie produces translations of Kabuki and Bunraku dramas. Her translation commentaries can be heard through the Earphone Guide service available for rent at the National Theater in Tokyo and at the National Bunraku Theater in Osaka. She is an avid hiker and enjoys camping and other outdoor activities. Bonnie was the founder and for years served as the Scoutmaster of Troop 5 of the Far East Council of the Boy Scouts of America. During her tenure as Scoutmaster, Bonnie was the only female scoutmaster of the BSA program in all of Asia. She currently serves as an Assistant Scoutmaster for Troop 5's female scouts. Connect with Bonnie Please email Catherine to be connected with Bonnie. Links The Tokyo American Club: https://www.tokyoamericanclub.org/index.php/en/ Connect with Catherine Linked In https://www.linkedin.com/in/oconnellcatherine/

Dvořák's "Rusalka"

Play Episode Listen Later Mar 31, 2022 2:00 Very Popular

Synopsis We tend to think of the Czech composer Antonin Dvorak as a 19th century composer – but he lived a few years into the 20th and one of his major works, his opera “Rusalka,” had its premiere in Prague on today's date in 1901. We also think of Dvorak as primarily a composer of symphonies and chamber works, but forget that in his final years, Dvorak devoted himself chiefly to opera – and for reasons that might surprise us today. In a 1904 interview, given just two months before his death, Dvorak said: “Over the past five years I have written nothing but operas. I wanted to devote all my powers, as long as the dear Lord gives me health, to the creation of opera … because I consider opera to be the most suitable medium for the Czech nation and the widest audience, whereas if I compose a symphony I might have to wait years before it is performed.” Dvorak was gratified that his opera “Rusalka” was a big success at its 1901 premiere and would subsequently become one of his most popular works with Czech audiences, but ironically, outside Czech-speaking lands, most of his other operas, unlike his symphonies, are rarely performed. Music Played in Today's Program Antonin Dvořák (1841–1904) — O Silver Moon, fr Rusalka (Renée Fleming, soprano; London Symphony; Sir Georg Solti, cond.) London 455 760 On This Day Births 1732 - Austrian composer Franz Joseph Haydn, in Rohrau; 1872 - Russian ballet impresario Sergei Diaghilev, in Gruzino, Novgorod district (Julian date: Mar. 19); Deaths 1880 - Polish composer and violinist Henryk Wieniawski, age 44, in Moscow; 1901 - British composer Sir John Stainer, age 60, in Verona, Italy; Premieres 1723 - Handel: Concerto in F (HWV 331) (Julian date: March 20); 1739 - Handel: Organ Concerto in A (HWV 296a) (Julian date: March 20); 1745 - Rameau: opera-ballet, "Platée," at Versailles; 1784 - Mozart: Piano Concerto No. 16 in D, K. 451, in Vienna, with composer as soloist; 1794 - Haydn: Symphony No. 100 ("Military"), conducted by the composer on his 62nd birthday, at the Hanover-Square Concert Rooms in London; 1841 - R. Schumann: Symphony No. 1 ("Spring"), by Leipzig Gewandhaus Orchestra, Felix Mendelssohn conducting; 1901 - Dvorák: opera "Rusalka," in Prague at the National Theater; 1913 - Webern: "Six Pieces" for orchestra, in Vienna; 1932 - Chávez: ballet "Horsepower," in Philadelphia; 1947 - Ulysses Kay: "Short Overture," in New York City; 1949 - William Grant Still: opera "Troubled Island," in New York City; 1951 - R. Strauss: "Munich Waltz," posthumously in Vienna; This music was originally written for the 1939 film; 1961 - Françaix: "L'Horloge de Flore," by oboist John de Lancie, and the Philadelphia Orchestra, Eugene Ormandy conducting; 2001 - Peter Lieberson: Piano Quintet, at Carnegie Hall, by pianist Peter Serkin with the Orion String Quartet; Others 1837 - Franz Liszt and Sigismond Thalberg, the two reigning virtuosi of their day, perform a sort of pianistic "duel" at a benefit concert in aid of Italian refuguees at the Parisian salon of Princess Cristina Belgiojso-Trivulzio. Links and Resources On Antonin Dvořák Video of Renee Fleming singing "Song to the Moon," from "Rusalka"

Mario Castelnuovo-Tedesco