Podcasts about Othello

Episode 205:Last time Ben Jonson's retelling of a slice of Roman Imperial history failed to impress at the Globe theatre. As an actor in that play Shakespeare had first-hand experience of the way the audience in the theatre could turn on the poet and the players alike, but it is difficult to think that his confidence in his own work was much dented by the experience. His next play ‘The Tragedy of Othello, The Moor of Venice' is, I would say, brim full of the confidence of an experienced playwright who knew that his play would both entertain on several levels and provoke much thought in the audience.The dating and first performance of the playThe early publication history of the playDetails from a performance in 1610The source material for the playThe structure of the playThe significance of Venice and CyprusThe structural balances in the playThe poetry and imagery in the playThe use of language as a dramatic techniqueThe urgency of the opening of the playThe character of Iago and how he manipulates his victimsThe character of BrabantioWhat the Elizabethan audience might have thought of a ‘moor'Queen Elizabeth's attitude to immigrants from AfricaHow Shakespeare handled the racial aspects of the playThe character of Micheal CassioSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Brian Moreland recently made waves on Broadway as a producer of the groundbreaking revival of Othello, starring Denzel Washington and Jake Gyllenhaal, and directed by Tony Award winner Kenny Leon. The production shattered box office records, becoming the highest-grossing play revival in global history. His impressive repertoire includes the Broadway revival of The Wiz, starring Wayne Brady and Deborah Cox; August Wilson's The Piano Lesson, directed by LaTanya Richardson Jackson and starring Samuel L. Jackson, Danielle Brooks, and John David Washington — which became the highest-grossing revival of the season; The Lifespan of a Fact, featuring Cherry Jones, Daniel Radcliffe, and Bobby Cannavale; Sea Wall / A Life, a moving dual narrative with Jake Gyllenhaal and Tom Sturridge; and The Sound Inside, a compelling drama headlined by Mary-Louise Parker. Hailing from California, Brian now calls New York City home, where he continues to shape the cultural landscape through his visionary storytelling and unwavering passion for the performing arts. His dedication to accessibility and equity in theatre is reflected in his active role with the Theatre Development Fund (TDF), an organization committed to expanding access to live performance. A respected leader within the industry, Brian serves on the Board of Governors of The Broadway League, where he also co-chairs the Multicultural Task Force, advocating for greater diversity and inclusion across the theatre community. He also holds leadership roles as a Board Director for NYC Tourism and Conventions, a Trustee of Broadway Cares/Equity Fights AIDS, and a Trustee of The American Academy of Dramatic Arts, where he helps support and guide the next generation of performing artists. In recognition of his impactful contributions, Brian has been honored with the Board of Directors Distinguished Service Award by the Audelco Awards and acknowledged by the Theatre Communications Group (TCG) for his continued service to the field. Through his compelling productions and steadfast leadership, Moreland has established himself as a transformative force in contemporary theatre. His work not only entertains but also uplifts and challenges audiences, enriching the cultural narrative with stories that reflect the depth, diversity, and complexity of the human experience.Joe Turner's Come and Gone is lead produced by Brian Anthony Moreland with casting by ARC Casting. 101 Productions, Ltd. is serving as general managers.For additional information, please sign up at www.JoeTurnerBway.comConnect with Brian Anthony Moreland:Website: https://www.bmorenowproductions.com/ Instagram: https://www.instagram.com/therealbrianmoreland/?hl=en TurnKey Podcast Productions Important Links:Guest to Gold Video Series: www.TurnkeyPodcast.com/gold The Ultimate Podcast Launch Formula- www.TurnkeyPodcast.com/UPLFplusFREE workshop on how to "Be A Great Guest."Free E-Book 5 Ways to Make Money Podcasting at www.Turnkeypodcast.com/gift Ready to earn 6-figures with your podcast? See if you've got what it takes at TurnkeyPodcast.com/quizSales Training for Podcasters: https://podcasts.apple.com/us/podcast/sales-training-for-podcasters/id1540644376Nice Guys on Business: http://www.niceguysonbusiness.com/subscribe/The Turnkey Podcast: https://podcasts.apple.com/us/podcast/turnkey-podcast/id1485077152

Welcome back to the 270th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 270th episode we have an episode of “The Cup: Editorial” in which Co-Artistic Producers Ryan Borochovitz and Mackenzie Horner pull together various threads that have been on our mind around the topic of Shakespeare on film prompted in part by the Oscar buzz around Chloé Zhao's Hamnet. What does it mean for a movie to be (or not to be) Hamlet? Is Disney's The Lion King really as Hamlet-ish as your cool English teacher would have you believe? What are some pitches for new Shakespearean film adaptations we'd like to see? Join Ryan Borochovitz and Mackenzie Horner, as they discuss everything from Hamnet to Hamlet, Burton to Branagh, and Pride Rock to pumpkin pants. Follow our panelists: Mackenzie Horner – Instagram: (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: @BeforetheDownbeatApple Podcasts: https://apple.co/3aYbBeNSpotify: https://spoti.fi/3sAbjAuRyan Borochovitz – [Just send all that love to CoH instead; he won't mind!]; if you enjoy his theatre thoughts, more can be found at https://nextmag.ca/search/borochovitz Follow us on Instagram/Facebook/Twitter: @cohtheatreIf you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.comCHAPTERS: 0:00 – Intro: no hat upon his head (2.1.89)2:36 – The Topic at Hand9:14 – To be (or not to be) Definitive 19:59 – Hamnet (Non-Spoilers) 24:45 – Weird Hamlets & Classic Hamlets 31:19 – Hakuna Matata 50:17 – To be (or not to be) Hamlet 1:11:42 – The Northman 1:17:22 – End of Act 1 1:21:40 – Let's Do Some Fun Buzzfeed 1:22:30 – M1: Merry Wives of Windsor (dir. Paul Feig) 1:26:38 – R1: Bikebeth (dir. Robert Lepage) 1:32:52 – M2: Bike-us Andronicus 1:38:24 – R2: Denzel's Othello 1:41:05 – M3: Richard II 1:47:04 – R3: Comedy of Error (dir. NOT Joss Whedon) 1:51:30 – M4: A Claymation Night's Dream 1:53:40 – Conclusion: What Can You Do Differently? 1:57:36 – Sign Off

In this classic episode from the Namaste Archive, Cally talks to TV and radio presenter Nikki Bedi about marriage, age, patriarchies, spinal injuries, film, travel, Bollywood, the Dalai Lamar, Bond movies, the Pope, Othello, the Bold & the Beautiful, being cancelled, Mumbai, LA and Saturday Live. Instagram: @thenikkibedi Get tickets for Cally's Tour Order Cally's Book More about Cally Produced by Mike Hanson for Pod People Productions Music by Jake Yapp Cover design by Jaijo Part of the Auddy Network   Learn more about your ad choices. Visit megaphone.fm/adchoices

Ritorna la rubrica su Shakespeare e Ale e Dario Denta parlano di tre trasposizioni cinematografiche dell'Othello di Shakespeare sempre tenendo presente il testo di partenza.Film presi in esame:Othello (1951) di Orson WellesOthello (1965) di Stuart BurgesOthello (1995) di Oliver ParkerIl nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatariSpotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cwApple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw==Logo creato da:Massimo ValentiSigla e post-produzione a cura di:Alessandro Valenti / Simone MalaspinaPer il jingle della sigla si ringraziano:Alessandro Corti e Gianluca NardoPer la gestione dei canali social si ringrazia:Selene Grifò

Whitney White is a theatrical powerhouse. A director, writer, actor, and musician, White's work has been seen on Broadway, Off Broadway, and at major institutions including The Public Theater, the Brooklyn Academy of Music, and, most recently, the Royal Shakespeare Company. Her projects include Jaja's African Hair Braiding, The Last Five Years, Macbeth in Stride, and By The Queen, which was featured in the Folger's 2025 Reading Room Festival. In this episode, White discusses All Is But Fantasy, her four-play musical cycle created for the RSC, where it's now receiving its world premiere. The high-energy, gig-theater show investigates Shakespeare's women and ambition, focusing on Lady Macbeth, Emilia, Juliet, and Richard III. Each piece combines performance with original music, using sound and rhythm as a way into the text and as a tool for rethinking these characters whose inner lives are often cut short or overlooked. White reflects on why Shakespeare's women so often meet tragic ends, how those stories continue to feel familiar, and what it means to keep staging them now. She considers the ways that music, performance, and adaptation can help us better understand Shakespeare today. From the Shakespeare Unlimited podcast. Published February 10, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with Garland Scott serving as executive producer. It was edited by Gail Kern Paster. Technical support was provided by Melvin Rickarby in Stratford, England, and Voice Trax West in Studio City, California. Web production was handled by Paola García Acuña. Transcripts are edited by Leonor Fernandez. Final mixing services were provided by Clean Cuts at Three Seas, Inc. Whitney White is an Obie and Lily Award-winning and Tony Award-nominated director, actor, and musician, celebrated for her bold, innovative storytelling across both Broadway and off-Broadway. She recently received the Drama League's 2025 Founders Award for Excellence in Directing and an Obie Award for Sustained Achievement in Directing. All Is But Fantasy, White's four-part musical exploration of Shakespeare's women and ambition, commissioned by the Royal Shakespeare Company, marks her RSC debut as a writer, director, and actor. The two-part high-energy gig theater show is receiving its world premiere at The Other Place in Stratford-upon-Avon in January and February 2026. White's other directing credits on Broadway include The Last Five Years and Jaja's African Hair Braiding, off-Broadway credits include Liberation, Walden, Jordan's, Soft, On Sugarland, What to Send Up When It Goes Down, Our Dear Drug Lord, and For All the Women Who Thought They Were Mad. She recently opened Saturday Church, a new musical featuring songs by Sia and Honey Dijon at New York Theatre Workshop. She also created Macbeth In Stride at Brooklyn Academy of Music, writing the book, music and lyrics. Additional directing work includes The Secret Life of Bees, By The Queen, The Spectacularly Lamentable Trial of Miz Martha Washington, A Human Being of a Sort, An Iliad, The Amen Corner, Othello, Canyon, and Jump. On screen, White has appeared in Ocean's Eight, Single Drunk Female, Louie, and The Playboy Club, and she contributed as a writer to Boots Riley's acclaimed series I'm A Virgo for Prime Video.

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

durée : 00:53:20 - Certains l'aiment Fip - À l'occasion de la sortie du film de Chloé Zhao, "Hamnet", nous piochons dans les B.O inspirées par l'œuvre du dramaturge :"Roméo + Juliette" de Luhrmann, "Ran" de Kurosawa, "West Side Story" de Robbins, ou encore "Othello", "My own private Idaho" et "Looking for Richard". Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies.

In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3). Today's guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello's Black Handkerchief.” Ian is the current President of the Shakespeare Association of America. John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Gyles has been an admirer of this guest since the 1960s: it's the great actor, Sir Derek Jacobi. Ever since he was recruited into Sir Laurence Olivier's bold new National Theatre at the Old Vic, Jacobi has been at the forefront of British acting talent. Gyles has seen him on stage many times - in Olivier's famous production of Othello, in Much Ado About Nothing, in Cyrano de Bergerac. You may also know Derek from his brilliant TV work - in I, Claudius and Last Tango in Halifax... he's also the voice of In The Night Garden. In this warm and rambling conversation, Derek tells Gyles about his young life in Leytonstone in East London, where his father owned a confectioners shop. He tells him about his childhood love of dressing up and his early exposure to theatre, when he was picked to go up on stage at the Palladium. He tells Gyles about his experience of stage fright and about his happy marriage. This is a wonderful episode with a great, and charming, man. Enjoy this. Hosted on Acast. See acast.com/privacy for more information.

Send us a textA large National Council of Teachers of English teacher survey reported by Education Week lists Romeo and Juliet, Macbeth, and Hamlet among the most frequently assigned texts in U.S. And Folger Shakespeare Library notes its edition sales (a good “what schools buy” proxy) had Romeo and Juliet first, followed by Hamlet, Macbeth, then A Midsummer Night's Dream, Othello, and Julius Caesar.But before I start talking about British school subject matter, I better describe one certificate and one assessment of skills that are more or less standard in the United Kingdom.First, there is the GCSE or General Certificate of Secondary Education.It's the main set of school qualifications students typically take in England, Wales, and Northern Ireland, usually at age 15–16 (Year 11). Students take several subjects (like English, Math, Sciences, History, etc.), and the results are used for next steps such as A-levels or vocational courses.And then there is the AQA -  which stands for Assessment and Qualifications Alliance an exam board in England, Wales, and Northern Ireland that creates the syllabuses, sets the exams, and award qualifications for subjects such as English, History, Sciences, etc.).Now back to the Shakespearean plays most frequently studied in the United Kingdom.Most-studied in UK secondary schools - In the UK, the gravitational center is Macbeth—especially at GCSE level. A UK secondary teaching survey reports Macbeth as the most popular overall, and one study cited within the literature reports ~65% teaching it for GCSE (with Romeo and Juliet next).Exam boards also list Macbeth, Romeo and Juliet, The Tempest, The Merchant of Venice, Much Ado About Nothing, Julius Caesar and Twelfth Night.  12th night is sometimes add it to the list.So before I start going into some of the modern productions of Shakespeare's plays, I thought it might be more fun, as well as instructional, to go back and look at the originals.But first I'm going to give you what I hope is a simple timeline - about a minute - that roughly puts Romeo and Juliet into perspective date wise.Early 1590s: early blood-and-thunder tragedy + first big history hits (think Henry VI plays, Richard III).1594–1596: lively early comedies and experiments as his voice sharpens (e.g., Love's Labour's Lost, A Midsummer Night's Dream).c. 1594–1596: Romeo and Juliet (mid-1590s), one of his early breakthrough tragedies.1595–1596: Richard II (another key mid-1590s work).1596–1597: The Merchant of Venice (often placed around this period).1598–1599: Much Ado About Nothing (late-1590s “mature comedy”).1599–1600: Julius Caesar (turn-of-the-century political tragedy).1599–1601: Hamlet (written around this window; many place it at 1601).Early 1600s: the “big tragedy” period ramps up (including Macbeth, usually dated after James's 1603 accession).1610–1611: late “romance/magic” phase, including The Tempest and The Winter's Tale.1613: very late career work like Henry VIII.Support the showThank you for experiencing Celebrate Creativity.

Send us a textMr. Shakespeare, in our previous episode, you were talking about your life and your literary career.   Could you briefly remark on the uniqueness of Hamlet, Othello, King Lear, and Macbeth, as well as their importance to literature.ShakespeareNow I could not speak to this assemblage without addressing the subject of my play Hamlet. Many individuals have called it my greatest play. Here is a prince torn between revenge, morality, and his own inaction. With the simple, yet profound, words ‘To be, or not to be…,' I attempted to capture a question that has haunted humans for centuries: what does it mean to act, and what does it mean to live? In King Lear, I explored family, power, and madness, peeling back the layers of human pride and vulnerability. In Othello, I explored jealousy and how manipulation destroy trust, while in Macbeth I examined ambition, guilt, and the blurred lines between fate and choice. In each play, characters are no longer symbols or types—they are fully human, with thoughts, fears, and contradictions that mirror our own.To use a modern day analogy, this was like a musician dropping three platinum albums in twelve months. I wasn't just producing — I was redefining what theater could be.This is the run that still leaves critics amazed: the great tragedies. Between about 1600 and 1608, I wrote Hamlet, Othello, King Lear, and Macbeth.Mr. Shakespeare, could you specifically comment on your play Othello.Certainly. Othello (written in 1603–04), is a love story poisoned by jealousy. Add Iago, one of literature's great villains, and you have a play that feels chillingly modern. In Othello, jealousy and manipulation take center stage.  I understand that in the character of Iago, you make an excellent comment on the subject of jealousy.Yes, Iago warns in the play, ‘O, beware, my lord, of jealousy; it is the green-eyed monster which doth mock the meat it feeds on.' With just a few words, I tried to capture the destructive power of envy and the ease with which human trust can be undone.That is very well said. Could you go on in the same vein.It is the cause, it is the cause, my soul,Let me not name it to you, you chaste stars!It is the cause. Yet I'll not shed her blood;Nor scar that whiter skin of hers than snow,And smooth as monumental alabaster.Yet she must die, else she'll betray more men.Put out the light, and then put out the light:If I quench thee, thou flaming minister,I can again thy former light restore,Should I repent me: but once put out thy light,Thou cunning'st pattern of excelling nature,I know not where is that Promethean heatThat can thy light relume. When I have pluck'd the rose,I cannot give it vital growth again.It must needs wither: I'll smell it on the tree.Ah balmy breath, that dost almost persuadeJustice to break her sword! One more, one more.Be thus when thou art dead, and I will kill thee,And love thee after. One more, and this the last:So sweet was ne'er so fatal. I must weep,But they are cruel tears: this sorrow's heavenly;It strikes where it doth love.Support the showThank you for experiencing Celebrate Creativity.

Oi gente! Estamos começando mais um ano de podcasts por aqui no Chá das Cinco com Literatura e no episódio de janeiro, conversamos sobre “Otelo, o mouro de Veneza”, peça de Shakespeare. A peça causa espanto pela atualidade dos temas e conversamos sobre questões de gênero, raça e classe. Por fim, falamos sobre as inúmeras adaptações da obra. Livros citados: Rei Lear (1606), de William Shakespeare Dom Casmurro (1899), de Machado de Assis New Boy: William Shakespeare’s Othello Retold: A Novel (2017) , de Tracy Chevalier Música da nossa trilha sonora: Not My First Rodeo de Dyalla. Creative Commons Attribution 4.0. https://creativecommons.org/licenses/by/4.0/ Artista: https://soundcloud.com/dyallas/not-my-first-rodeo Deixe seus comentários aqui para gente. Sempre que acabamos de gravar, lembramos de algo mais que poderia ser dito, logo o tema sempre fica em aberto. Podcast: 00:00:06 Apresentação 00:012:00 Otelo e a atualidade dos temas 01:20:00 Indicações e encerramento Othello (1930) https://www.imdb.com/fr/title/tt0114057/ Othello (1943) https://www.imdb.com/fr/title/tt0038812/ Othello (1951) https://www.imdb.com/fr/title/tt0045251/ Othello (1965) https://www.imdb.com/fr/title/tt0059555/ Othello (1995) https://www.imdb.com/fr/title/tt0114057/ O post #92 – Otelo, o mouro de Veneza de Shakespeare apareceu primeiro em Chá das Cinco Com Literatura.

Best known for her role as Queen Charlotte in Bridgerton, Golda Rosheuvel is an acclaimed actor of stage and screen. Her career spans powerful theatrical roles including Romeo and Juliet, Jesus Christ Superstar and a groundbreaking lesbian interpretation of Othello. She also stars in the spin-off series Queen Charlotte: A Bridgerton Story. In this conversation, Golda speaks movingly about her childhood and family: how her mother, a white social worker, met her father, a Guyanese Anglican priest, by chance at a choir rehearsal in Jamaica. She reflects on discovering she was dyslexic, navigating rejection, experiencing racism, struggling with motivation - and even failing an early audition for Bridgerton. Plus: why representation is so important. ✨ IN THIS EPISODE: 00:00 Introduction 04:12 Impact of Representation and Public Recognition 08:39 Challenges with Dyslexia 21:15 Navigating Identity and Belonging 28:10 Professional Challenges and Identity 29:08 Casting and Industry Feedback 29:47 Facing Rejection and Overcoming Setbacks 30:32 Failed Auditions and Lessons Learned 31:45 Challenges of Racial Identity in Theatre 34:04 Progress in Representation and Diversity 35:35 Reflecting on Parental Influence 38:58 Navigating Personal and Professional Identity 40:36 Struggles with Exercise and Motivation 47:54 Final Thoughts and Legacy

Many Shakespeare fans don't think of themselves as “math people.” They're theater kids, poetry lovers, bookworms, right? But in Shakespeare's world, math and literature were deeply intertwined. In Much Ado About Numbers: Shakespeare's Mathematical Life and Times, mathematician Rob Eastaway explores how mathematical thinking shaped Shakespeare's language and imagination. Shakespeare lived at a moment of major intellectual change, when England was newly encountering Indo-Arabic numerals, experimenting with new systems of calculation, and redefining ideas of measure and proportion. Eastaway shows how Shakespeare delighted in numbers and patterns, playing with “scores,” fractions, and symmetry in works like Othello, Henry V, Romeo and Juliet, and The Winter's Tale. Even familiar references to “nothing,” time, and music take on new meaning when viewed through a mathematical lens. In this episode, Eastaway reveals how math was woven into everyday life in Shakespeare's time and how reading with our “math glasses” on can offer fresh insights into Shakespeare's language.

Another modern-day tragedy: The murder of Alex PrettiNegro Wake-Up Call: Karamo BrownWhy did Aoki Lee join her father in Bali? ANTM gets the netflix documentary treatmentAlso, why one shouldn't aspire to be the main character on social media, Whitney Cummings

The last event of the play is Othello killing himself as a judgment upon himself. The imagery of a Last Judgment in the play. The difficult paradox in Christianity: punishment or forgiveness, justice or mercy. Desdemona refuses to judge Othello: how do we judge him. Is his final speech an honest judgment of himself?

Send us a textLubaaba Al‑Azami discusses her book, Travellers in the Golden Realm: How Mughal India Connected England to the World For a complete episode transcript, http://www.womenandshakespeare.comLubaaba's Book: https://www.hachette.co.uk/titles/lubaaba-al-azami/travellers-in-the-golden-realm/9781529371321/Interviewer: Varsha PanjwaniGuest: Lubaaba Al‑AzamiProducer: Yu-Kuan Miao Transcript: Benjamin PooreArtwork: Wenqi WanSuggested Citation:  Al‑Azami, Lubaaba in conversation with Panjwani, Varsha (2026). Lubaaba Al‑Azami on Travel and Exchanges between India and England. Women & Shakespeare [podcast], Series 6, Ep.3. http://womenandshakespeare.com/Insta: earlymoderndocEmail: earlymoderndoc@gmail.com

Episode No. 742 features artist Woody De Othello, and artists Jason Garcia, Michael Namingha, and curator Bess Murphy. The Pérez Art Museum Miami is presenting "Woody De Othello: coming forth by day," a presentation of new ceramic and wood sculptures, tiled wall works, and a large-scale bronze, all of which explore the primordial relationship between body, earth, and spirit. The exhibition was organized by Jennifer Inacio with the support of Fabiana A. Sotillo. It is on view in Miami through June 28 after which it will travel to the Manetti Shrem Museum of Art, University of California, Davis. De Othello's sculpture, painting, and drawing often investigate the still life genre. His previous institutional solo exhibition was at The Bowes Museum in the UK. Museums that have featured his work in group shows include the Metropolitan Museum of Art, New York, the Seattle Art Museum, the University of Michigan Museum of Art, and the Fine Arts Museums of San Francisco. The Whitney Museum of American Art included him in its 2022 biennial. Later this year, his work will be featured in a Public Art Fund solo presentation in Brooklyn's Brooklyn Bridge Park. He is an artist trustee of the San Francisco Museum of Modern Art. Garcia and Murphy are the co-curators of "Tewa Nangeh/Tewa Country" at the Georgia O'Keeffe Museum in Santa Fe. Namingha is among the 13 artists in the exhibition, 12 of whom are from the six Tewa Pueblos of northern New Mexico (Nambé, Ohkay Owingeh, Pojoaque, San Ildefonso, Santa Clara, and Tesuque).  "Tewa Nangeh" presents the work of Tewa artists while highlighting O'Keeffe's erasure of Tewa people. It is on view through September 7. Garcia's work is in the collection of museums such as the Heard Museum in Phoenix, the Art Institute of Chicago, the Nelson-Atkins Museum of Art, Kansas City, and the Smithsonian's National Museum of the American Indian. Namingha's work is also on view through April 5 at the Museum of Indian Arts and Culture, Santa Fe in "Essential Elements: Art, Environment, and Indigenous Futures." The El Paso Museum of Art and the IAIA Museum of Contemporary Native Arts, Santa Fe have featured solo exhibitions of his work; he's been in group shows at museums such as the Minneapolis Institute of Arts, the Metropolitan Museum of Art, New York, and the Hood Museum of Art, Dartmouth College. Instagram: Woody De Othello, Jason Garcia, Michael Namingha, Tyler Green. Air date: January 22, 2026.

In Transoceanic Blackface: Empire, Race, Performance (Northwestern UP, 2024) Dr. Kellen Hoxworth presents a sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century. A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Dr. Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice's “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Transoceanic Blackface: Empire, Race, Performance (Northwestern UP, 2024) Dr. Kellen Hoxworth presents a sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century. A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Dr. Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice's “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Transoceanic Blackface: Empire, Race, Performance (Northwestern UP, 2024) Dr. Kellen Hoxworth presents a sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century. A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Dr. Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice's “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

In Transoceanic Blackface: Empire, Race, Performance (Northwestern UP, 2024) Dr. Kellen Hoxworth presents a sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century. A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Dr. Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice's “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In Transoceanic Blackface: Empire, Race, Performance (Northwestern UP, 2024) Dr. Kellen Hoxworth presents a sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century. A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Dr. Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice's “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Transoceanic Blackface: Empire, Race, Performance (Northwestern UP, 2024) Dr. Kellen Hoxworth presents a sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century. A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Dr. Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice's “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

In Transoceanic Blackface: Empire, Race, Performance (Northwestern UP, 2024) Dr. Kellen Hoxworth presents a sweeping history of racialized performance across the Anglophone imperial world from the eighteenth to the early twentieth century. A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques. Dr. Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice's “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

At the end of Act 4, Emilia and Desdemona debate men. Emilia's wonderful pre-feminist speech about how women's feelings are as important as men's—including revenge when men mistreat them. Versus Desdemona—is she too good to be true? Act 5, like Act 1, in darkness. Roderigo and Cassio wound each other, Iago kills Roderigo. Othello's great speech before smothering Desdemona.

Shorts has dinner with some old friends. Dilbert creator Scott Adams dies (NSNP). Othello has yet another awkward run-in at his local 7-11. Delonte West gets arrested again but at least he still fucked LeBron's mom. Support the boyz at the IDM Merch Shop: TinyURL.com/IDMMerch

Learn more at TheCityLife.org

00:00:40 Intro00:05:50 Movie Talk00:08:15 Holiday Games00:12:30 Things in Rings00:15:30 Blood on the Rails00:16:45 Ichor00:19:00 PSA Time00:23:00 Miniature Market00:25:00 Night Soil00:41:00 Tulip Bubble00:57:30 Portal Games00:58:30 Mini Express01:11:00 Outro Every so often, a set of games lands on the table that feels like a curated journey through time and that is what we got in this episode. First up is Night Soil where we are basically poop pushers through the streets of London in the 15th century. This game cleverly challenges players with a worker placement style of game that can fill both rewarding and frustrating at the same time. Then comes Tulip Bubble, which flips the tone entirely. Gone is the damp, stinky sewers—now you're in the bustling markets of 17th‑century Holland, chasing fortunes in the most famous economic bubble in history. The game thrives on timing, speculation, and reading your opponents as much as the market itself. Prices rise, collapse, and ricochet with emotional volatility, and every round feels like a miniature psychological standoff. It's fast, sharp, and deliciously stressful in the best way. Rounding out the games are Mini Express and Ichor, two games that couldn't be more different yet both deliver rich strategic tension. Mini Express is a lean, elegant rail game built on shared incentives: every track you lay and every share you take strengthens someone else as much as you. It's a puzzle of timing, tempo, and subtle positioning. Ichor, on the other hand, plunges players into a Greek mythology world where asymmetric power challenges players in an Othello style game. Its resource‑driven push‑and‑pull creates a brooding atmosphere, rewarding ambition while constantly reminding you that brillant flashes of strategy can suddenly disappear before your next turn. Together, these four games form a wonderfully varied journey each offering its own flavor of tension and delight. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Thanks to my listeners on this 250th episode. Iago, through ugly sexual insinuations, drives Othello into such a frenzy that he loses control and then faints. Cassio makes cruel fun of Bianca the prostitutes love for him, and Othello from a distance thinks he is talking about a good time with Desdemona. Othello strikes Desdemona in front of Lodovico of Venice.

The holidays are here! Join us for a festive mix that stretches from Christmas hip-hop to the wonderfully tricky question of what counts as a New Year's song. Playlist: "Joy (ft. Lecrae, Abe Parker)" by Trip Lee "Celebrate (ft. Kidd Lee)" by Nu Tone "Joy" by New Breed "Carpe Diem" by Social Club Misfits "A Sanctuary Christmas (ft. Sanctuary Collective)" by Zabbai "What Child is This" by River Movement "Bethlehem (ft. Knick Knack & Classmaticc)" by Wysemen "Better With Age (ft. Vursatyl)" by Paradox & DJ Sean P "Timeless (ft. DJ Rhettmatic)" by L.A. Symphony "For The Record (ft. Ohmega Watts)" by The Bamboos "Timeless" by Lightheaded "Here We Go" by GRITS "Count It All Joy (ft. The Profit)" by Shelly.H "It's a New Day (live)" by Elle R.O.C. "Brand New Day (ft. Othello, Consafos, DJ Aslan)" by Sivion "It's a New Year (ft. Mr G Reality)" by Tanya Pillay Vote on the playlist at www.definitionradio.com/show/983 Leave your requests/shout-outs on our socials www.facebook.com/DefinitionRadio www.instagram.com/DefinitionHH www.twitter.com/DefinitionHH www.krosswerdz.com

Othello gets a bad haircut from Dyong Chong. Shorts details his comical follies while shipping out JP Flaim's books. That Coldplay concert cheater BREAKS HER SILENCE to inform everyone she's been staring out windows for months, pensively.  Support the boyz at the IDM Merch Shop: TinyURL.com/IDMMerch

David Harewood, who turned sixty this week, returns as Othello for the third time on stage. It's a role he first took on in 1997, becoming the first black actor to play the part at London's National Theatre. Growing up in multicultural Birmingham in the sixties and seventies, he was born to immigrants from Barbados. Described as gregarious by his teachers at school, Harewood showed an interest in entertaining from an early age and subsequently trained as an actor at the Royal Academy of the Dramatic Arts. In his early twenties, he had a psychotic breakdown, something he spoke about in a recent documentary. A string of roles in TV and film followed. And then came his breakthrough role as CIA agent David Estes in the acclaimed hit US TV show Homeland.Mark Coles looks back at his career. Contributors: Gary Turner – childhood friend Pete Mortiboys – school physical education teacher Jeremy Harrison – Royal Academy of the Dramatic Arts (RADA) classmate and friend Afua Hirsch – broadcaster, journalist and author of the book Brit(ish): On Race, Identity and Belonging Tom Morris – Theatre director and colleague Toby Jones – Actor and colleague Production team: Presenter: Mark Coles Producers: Ben Carter, Laura Cain Editor: Nick Holland and Justine Lang Sound: Gareth Jones Archive LIST COPYRIGHTED ARCHIVE USED Audio of David Harewood as Othello, 2025, Theatre Royal Haymarket, clean from trailer. David Harewood episode of BBC Radio 4 Desert Island Discs, 2022. David Harewood: Psychosis and Me documentary, 2019, for BBC, production company: Films Of Record Limited.

It’s been a busy year for the Seattle Police Department. A new chief was sworn in, the longstanding federal consent decree ended and the city reached a new contract with the Seattle Police Officers Guild that changes how it can approach unarmed crisis response. Plus, a new mayor will take office in January. Mayor-elect Katie Wilson announced this week that she planned to retain Seattle Police Chief Shon Barnes, despite some rumors to the contrary. Soundside's Libby Denkmann talked with Barnes on the morning of Thursday, December 11th, about the incoming administration, the recent policing shooting in Othello, and more. Note: Starting at 7:45 in the interview, Barnes cites several statistics about a drop in crime. We asked SPD for more information about the decreased crime percentages, and they said Barnes is referencing the first 11 months of 2025 compared to 2024. But in reference to homicides, the information SPD gave us cites 2019 as the last comparable year, and the reduction is actually 36 percent, instead of 35 percent, as Barnes states. GuestSeattle Police Chief Shon Barnes Related Links Seattle City Council approves new police contract, boosting pay and expanding crisis response -KUOWSeattle police video shows officers fatally shooting allegedly armed man - The Seattle Times Seattle City Council Approves Police Contract as South End Mourns Killing in Othello - South Seattle EmeraldThank you to the supporters of KUOW, you help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes Soundside is a production of KUOW in Seattle, a proud member of the NPR Network.See omnystudio.com/listener for privacy information.

A woman played a female role on the London stage for the very first time on December 8th, 1660, as Desdemona in a revival of Shakepeare's Othello. The actress was probably Margaret Hughes - though nobody bothered to record this at the time, so we can't be sure. After the 1660 restoration of King Charles II, theatres opened their doors for the first time after 16 years of Puritan suppression. Charles, who had been exiled in France, admired continental theatre, where women had already been performing for over a century, and so England's actresses were finally permitted to follow suit. Arion, Rebecca and Olly uncover the stories of those pioneering performers who combatted sexism and sexual harassment to have their time in the limelight; consider the fate of the ‘pretty boys in petticoats' once real women were allowed on stage; and, once again, marvel at Samuel Pepys's inability to keep his sexual urges out of his diaries… Further Reading: • 'Who was the first Shakespearean actress?' (British Library, 2016): https://blogs.bl.uk/english-and-drama/2016/05/who-was-the-first-shakespearean-actress.html • 'The First English Actresses: Women and Drama, 1660-1700 - By Elizabeth Howe' (Cambridge University Press, 1992): https://www.google.co.uk/books/edition/The_First_English_Actresses/gPC5RvL7O_8C?hl=en&gbpv=1&dq=elizabeth+howe+women+on+stage&printsec=frontcover • ‘April de Angelis Interview | The first women on stage' (Whats On Stage, 2018): https://www.youtube.com/watch?v=GvaJIzHj6zY Love the show? Support us!  Join 

IDM covers a viral trend aimed at helping men break the ice with women. Othello gets caught up in a family crisis involving his kids. Meanwhile, Shorts had a Thanksgiving crisis of his own to deal with. Support the boyz at the IDM Merch Shop

Welcome to Multiverse News, Your source for Information about all your favorite fictional universes.When Wicked: Part One released this time last year, it broke a slew of records for a Hollywood adaptation of a Broadway Show, as well for its talent behind and in front of the camera. Now Wicked: For Good has finally arrived on the scene and with a $150 million domestic, and $226 million global opening weekend, it has broken nearly every record its predecessor established, including Best Global and Domestic Opening for a Movie Based on a Broadway Show, as well as for stars Ariana Grande, Cynthia Erivo and director Jon M. Chu. It's no surprise with numbers like these that Universal Pictures is already “underway” with ways to continue the franchise on the screen, according to the studio's chief marketing executive, Michael Moses.Scarlett Johansson will star in Mike Flanagan's upcoming adaptation of The Exorcist. Backed by Universal and Blumhouse, Flanagan's film is said to be in the universe of The Exorcist, but is not a remake or sequel according to the director. Flanagan's take on the story was greenlit last year, more than 50 years after the original film came out in 1973.Wolverines never say die…at least that's the takeaway from Hugh Jackman's comments recently on the Graham Norton show. When asked about his time as the iconic X-Men character, Jackman replied “Maybe. I'm never saying never again…” and went on to elaborate about having declared he wouldn't play Logan until the Deadpool & Wolverine opportunity came about.Amazon is officially moving forward with a new Stargate TV series from producer Martin Gero, who began his career in the original franchise. The project continues the legacy that started with the 1994 film starring James Spader and Kurt Russell and expanded through Stargate SG-1 and multiple spinoffs.HBO has renewed several HBOMAX series for second seasons including crime drama Task and comedies I Love LA and The Chair Company as well as House of the Dragon for a 4th season and Knight of the Seven Kingdoms for a 2nd season.Paramount, Comcast and Netflix have submitted bids to acquire all or part of Warner Bros. Discovery and a sale decision is expected to be made before Christmas, although regulators would most likely take at least a year to approve the sale.Per an exclusive from The Hollywood Reporter exclusive, we've learned that Paramount is actively in talks with veteran producer Neal H. Morris, whose claims to fame include the Fast & The Furious and Sonic The Hedgehog film franchises, to kickstart a new live action Teenage Mutant Ninja Turtles film franchise.Sony Pictures has made one of the biggest book acquisitions of 2025, landing film adaptation rights to James Islington's Hierarchy series. The move comes as the book series' second installment, The Strength of the Few, debuts at No. 1 on the New York Times best-seller list following its Nov. 11 U.S. release.A24 has dropped the first trailer for How To Make A Killing, which stars Glen Powell and Margaret Qualley. The film debuts in theaters on Feb. 20th.Eva Green has been cast as Aunt Ophelia in season 3 of Netflix's Wednesday, a character that was teased at the end of season 2.FX will adapt Ubisoft's video game series Far Cry into an anthology series, Variety has learned. Noah Hawley and Rob Mac will create the series and Mac will also star.Barbara Broccoli‘s Eon Productions, the former producer of the James Bond franchise, and Qatar's newly launched Film Committee are jointly producing a film adaptation of William Shakespeare's “Othello,” directed and starring David Oyelowo, and also featuring Rachel Brosnahan and Cynthia Erivo.Toby Wallace has been cast in a lead role in Netflix‘s upcoming “Assassin's Creed” TV series.

Merriam-Webster's Word of the Day for November 25, 2025 is: perdition • per-DISH-un • noun Perdition refers to hell, or to the state of being in hell forever as punishment after death—in other words, damnation. It is usually used figuratively. // Dante's Inferno details the main character's journey through perdition. // It's this kind of selfishness that leads down the road to perdition. See the entry > Examples: “AC/DC has been criticized for sticking to its straightforward musical formula for more than 50 staggering years, but there's little denying the appeal of the group's adrenalized and reliable approach. As Angus Young stated in the liner notes for a reissue of ‘The Razor's Edge,' ‘AC/DC equals power. That's the basic idea.' That energetic jolt is sometimes the perfect means to raise spirits and spread actual joy, even coming from a band offering the cartoonish imagery of plastic horns and travel down the road to perdition.” — Jeff Elbel, The Chicago Sun-Times, 25 May 2025 Did you know? Perdition is a word that gives a darn, and then some. It was borrowed into English in the 14th century from the Anglo-French noun perdiciun and ultimately comes from the Latin verb perdere, meaning “to destroy.” Among the earliest meanings of perdition was, appropriately, “utter destruction,” as when Shakespeare wrote of the “perdition of the Turkish fleet” in Othello. This sense, while itself not utterly destroyed, doesn't see much use anymore; perdition is today used almost exclusively for eternal damnation or the place where such destruction of the soul occurs.

This Week for your Daily Ratings Movie News: The final bids in the three way war for Warner Bros. Discovery are sent in. Jack Bauer and 24 are getting a movie. Directors Jeremy Saulnier and Brady Corbet have their new projects set. Daniel Craig and producer Barbara Broccoli final are getting Shakespeare's Othello for the big screen.   - Check out all our Movie Scores on the site! - Support the Daily Ratings and become a Producer now! - Here are all the new movies out now! - Shop our store for all the Daily Ratings gear!

Paul and Rob head to the woods of Wanstead, where the weather isn't too bad. Featuring mileage or lack of, Celebrity Traitors and how that affects Paul's writing process, incipient festivities, Rob's train travails (times two), pals at parkrun, gig report, energy begetting energy, Othello (told by Rob, with added birds), yoga talk, slipping off the grid, some new running plans and a couple of RIPs. SUBSCRIBE at ⁠https://runcompod.supercast.com/⁠ for early access, bonus episodes, ad-free listening and more...BUY OUR BOOKS; you can get Rob's book Running Tracks here - ⁠https://www.waterstones.com/book/running-tracks/rob-deering/9781800180444⁠ - and you can get Paul's book 26.2 Miles to Happiness here: ⁠https://www.waterstones.com/book/26-2-miles-to-happiness/paul-tonkinson/9781472975270⁠ Thanks for listening, supporting, and sharing your adventures with us. Happy running. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Shorts and Othello reminisce about TG3. Ice Spice is teaching children lewd and lascivious acts. IDM scans children's programming for the hosts with the biggest busties/most sexual vibes.

This week on The Literary Life podcast, Angelina, Thomas, and Ella continue discussing Brave New World by Aldous Huxley. They begin engaging with the text today by talking more about satire and parody as elements in this story. While recapping the major plot points in these chapters, they go deeper into the character of John the Savage, the ways in which this story is like a distorted reflection of The Tempest and Othello, as well as so many other Shakespeare references. Come back again next week for our final episode in this series as we cover the final chapters of Brave New World! Don't forget to check out our show notes page for links to books mentioned, commonplace quotes, and today's poem! https://theliterary.life/303. 

From Truman Capote to Mr Bates, Toby Jones has built a career on disappearing- an actor whose transformations are so complete they can seem alchemical. But behind that versatility lies a story of inheritance, self-doubt and quiet rebellion. The son of two actors, Toby grew up watching his father's unpredictable career and vowing never to feel so exposed to fate. Yet the pull of performance, and the curiosity that drives it, proved impossible to ignore.In this episode of Full Disclosure, James O'Brien sits down with the actor to trace the path from an Oxford childhood to radical student politics in 1980s Manchester and a life-changing spell at a Paris theatre school that taught him never to wait for permission to create. They talk about class, curiosity, and the discipline of transformation; about how he's learned to find meaning rather than momentum in his work; and why humility, not ambition, has been his most enduring guide.It's a conversation about vocation and value- how an artist keeps searching for truth in an industry built on illusion, and why, for Toby Jones, the work itself has always mattered more than where it leads.An explosive new production of Othello at the Theatre Royal Haymarket stars David Harewood as Othello, Toby Jones as Iago and Caitlin FitzGerald as Desdemona- a gripping retelling of Shakespeare's epic story of manipulation, jealousy, power and desire. Find out more about the production here

The espionage TV series, Homeland, brought David Harewood international fame but he is also known as the first Black actor to play Othello at the UK's National Theatre when he was in his early 30s. Now, aged almost 60, he is reprising the role of the Moor in Shakespeare's tragedy. The character of Othello is a skillful General, and the only person of colour in the Venetian army. He and Desdemona, the daughter of a rich and prominent citizen, fall in love and marry, against her father's wishes. This autumn's production at the Haymarket Theatre in London's West End is directed by Tom Morris, who co-created War Horse, which has been seen by more than eight million people around the world. Caitlin Fitzgerald stars as Desdemona and Toby Jones as Iago, with music by P J Harvey. Julian May follows David Harewood, Tom Morris and the cast from the beginning of rehearsal to the opening night as they work together to bring to light the dark themes of power, rage and desire in Shakespeare's great play of duplicity, jealousy and deadly masculinity.

Twas a good Dopeycon this year - maybe the last - I wish I had said more - but it was a truly beautiful experience and show. The place was packed - and I am super grateful for all the people who came, participated and sponsored!Special thanks to Mountainside Recovery for being our title sponsor, LICR for taking in Jay, Recovery.com, RELEASE RECOVERY, The Phoenix House, Wellbridge Recovery, Curious Elixers, Cirque Lodge, Redemption Addiction Treatment Centers, Mike's Amazing Mustard, SoBrewed Coffee, Claire Comai, Rachel Hechtman, Katz's Delicatessen, The Great Cormac, Shortbread Society for the Othello, Janie's Life Changing Baked Goods, Shirley Haperin, My Brother in Law and super amazing producer/stage manager Louis Buelli, Kelly Wills from BRAIN FLOWER DESIGN, Dolmar Pedro, Howard 'Beach', Buksbaum, Danny Ameri, Jason Cabello and Recovery Unplugged, Hardest Working Dope Eric Papa Smurf, Dopey Art Director Britta Borgman, My Cousin Ivy, Ginny, Caroline Dowling, Gil Sachs, Ned Van Zandt, Scott Apgar, Dave Goldweitz, Jim Sondow for coming early and Novak's Video guy Isaac - and anyone ive forgotten please send me an email at dopeypodcast@gmail.com. All the folk in the show! (in order of appearance)Adam David, IDGAF FOOD, Kari Nautique, Brandon Novak, Brace Belden, Handsome Evan, Roddy Bottom, Shane Enholm, The Great Ray Brown, My Beautiful  and Brilliant Linda, James Frey,  Hank Azaria, Fentanyl Jay, Lenny from the Beach, Carl Radke, Sam Miller, Alan ManheimSUPER BIG THANKS TO TOM FREY and all the fucking bums from the BEACH! AND MASSIVE SHOUT OUT for all the super dopes who came - you guys are the best - too many to mention but super thanks to MarK F for the record, Jen for the Chocolae and James Glenny for the tireless art and travel!Special thanks to all Facebook Admins/ Dopey Zoom Hosts/ Arists/ musicians, writers and anyone who has been a part of our weird and wild podcast family. It all is very emotional for me.Super Special thanks to my family! Linda, susan and Norah for putting up with me through the insanity leading up to dopeycon. And super big thanks to my dad alan for sending me down the long horrible road of addiction that lead to recovery and dopey.Dopeycon is a ton of emotion for me - to see us all come together and have a good time means more than i can share. To hear that Dopey means anything to you is just so special and powerful for me. I know how much it would mean to Chris too. Stay Strong to our brothers and sisters in and out of recovery and fucking toodles for Chris. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.