Podcasts about Peter Shaffer

O episódio #603 do Cinem(ação) nos leva direto ao coração da música, da inveja e da genialidade. Rafael Arinelli recebe Pedro Amaro e Diego Quaglia para discutir Amadeus, o clássico de Milos Forman que, mais de 40 anos depois de seu lançamento, continua a nos impressionar.Vencedor de 8 Oscars, Amadeus é muito mais do que uma cinebiografia sobre Mozart. Baseado na peça de Peter Shaffer, o filme mergulha em uma Viena do século XVIII povoada por intrigas, ressentimentos e partituras perfeitas. No centro da narrativa, temos o conflito entre o respeitado Antônio Salieri (vivido por F. Murray Abraham, em performance premiada) e o irreverente Wolfgang Amadeus Mozart (Tom Hulce), numa rivalidade tão fictícia quanto profundamente simbólica.Mas o que faz esse filme atravessar gerações? O episódio explora como Forman subverte as convenções da cinebiografia para colocar no centro da trama temas universais: o peso da mediocridade, a solidão dos gênios e a arte como expressão divina. Tudo isso com uma direção sutil, figurinos luxuosos, uma fotografia barroca e, claro, trilha sonora de tirar o fôlego.Ao longo do papo, refletimos também sobre as liberdades criativas do filme, a construção humanizada dos personagens e como a ficção é usada como espelho da verdade - mesmo que não seja factual. Afinal, é possível odiar alguém por ser tão brilhante quanto você nunca será?Então dá o play e vem com a gente nesse papo profundo e apaixonado por uma das maiores obras do cinema. Porque entender Amadeus é, de certa forma, entender o próprio ato de criar.• 03m21: Pauta Principal• 1h07m27: Plano Detalhe• 1h19m06: EncerramentoOuça nosso Podcast também no:• Spotify: https://cinemacao.short.gy/spotify• Apple Podcast: https://cinemacao.short.gy/apple• Android: https://cinemacao.short.gy/android• Deezer: https://cinemacao.short.gy/deezer• Amazon Music: https://cinemacao.short.gy/amazonAgradecimentos aos padrinhos: • Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Alves Lima• Eloi Xavier• Flavia Sanches• Gabriela Pastori Marino• Guilherme S. Arinelli• Katia Barga• Thiago Custodio Coquelet• William SaitoFale Conosco:• Email: contato@cinemacao.com• Facebook: https://bit.ly/facebookcinemacao• BlueSky: https://bit.ly/bskycinemacao• Instagram: https://bit.ly/instagramcinemacao• Tiktok: https://bit.ly/tiktokcinemacaoApoie o Cinem(ação)!Apoie o Cinem(ação) e faça parte de um seleto clube de ouvintes privilegiados, desfrutando de inúmeros benefícios! Com uma assinatura a partir de apenas R$5,00, você terá acesso a vantagens incríveis. E o melhor de tudo: após 1 ano de contribuição, recebe um presente exclusivo como agradecimento! Não perca mais tempo, acesse agora a página de Contribuição, escolha o plano que mais se adequa ao seu estilo e torne-se um apoiador especial do nosso canal! Junte-se a nós para uma experiência cinematográfica única!Plano Detalhe:• (Diego): Filme: Prédio Vazio• (Diego): Filme: As Pontes de Madison• (Diego): Série: O Ensaio• (Pedro): Filme: "Amadeus" winning Best Picture• (Pedro): Série: O Estúdio• (Rafa): Newsletter: Rafael SbaraiEdição: ISSOaí

Our 5-star movie discussions continue with a deep-dive into the 1984 masterpiece Amadeus, directed by Milos Forman. Adapted from his stage play, Peter Shaffer’s examination of the ersatz rivalry between Mozart (Tom Hulce), a prodigious genius, and his traditional-minded admirer/covetous underminer, Salieri (F. Murray Abraham). On top of the heaps of… Continue reading

The Oscars may be over, but we're keeping the party going with a live roundtable review of Amadeus--which racked up a symphony of statues 40 years ago!In Milos Forman's adaptation of Peter Shaffer's play, F. Murray Abraham plays Italian composer Antonio Salieri, whose dreams of musical immortality are shattered when he encounters child prodigy Wolfgang Amadeus Mozart (Tom Hulce). The film opens with Salieri in an asylum, confessing to a priest that he'd killed Mozart years earlier--and much of Amadeus takes us behind the scenes of their tumultuous relationship.This was a first-time watch for Ian and, as you'll soon see, Amadeus is another one of those "They Should've Just Stopped Making Movies After This Movie" movies. But what do the rest of the EMC think? Join us as we compose ourselves while talking spoilers and taking your questions, comments, and SuperChats!Subscribe, like, and comment on Kicking the Seat here on YouTube, and check us out at:kickseat.comXLetterboxdBlueSkyInstagramFacebookShow LinksWatch the Amadeus trailer.Warner Bros recently released a 4K UHD of the Amadeus theatrical cut, available wherever you pick up movies.Watch F. Murray Abraham's moving (and brief!) "Best Actor" acceptance speech at the 1985 Oscars (mentioned in the show).Support all of Earth's Mightiest Critics at their various outlets:Check out Mark "The Movie Man" Krawczyk's The Spoiler Room Podcast.Keep up with Jeff York's criticism and caricatures at The Establishing Shot and Pipeline Artists.Get seated with The Blonde in Front!Follow David Fowlie's film criticism at Keeping It Reel.Get educated with Don Shanahan at Every Movie Has a Lesson…...And Film Obsessive...and the Cinephile Hissy Fit Podcast.Keep up with Annie Banks at The Mary Sue....and We Got This Covered.Make Nice with Mike Crowley of You'll Probably Agree.And stir things up with Will Johnson of the Cinephile Hissy Fit Podcast.

Elijah Wald's 2015 book, “Dylan Goes Electric! Newport, Seeger, Dylan and the Night That Split the Sixties,” traces the events that led up to Bob Dylan's memorable performance at the 1965 Newport Folk Festival. The book is about Dylan, but also about the folk movement, youth culture, politics and the record business. For the writer and director James Mangold, Wald's work provided an opportunity to tell an unusual story about the musician.“You could structure a screenplay along the lines of what Peter Shaffer did with “Amadeus,'” Mangold told the Book Review editor Gilbert Cruz. “I don't really know what I learned about Mozart watching “Amadeus.” But I do know that I learned a lot about how we mortals feel about people with immense talent.”Mangold's film “A Complete Unknown” is a chronicle of Dylan's early years on the New York folk scene, and it avoids easy explanations for the musician's genius and success. “What if the thing we don't understand, we just don't want to understand,” said Mangold, “which is that he's actually different? That he's just a different kind of person than you or I?”In the second episode of our special series devoted to Oscar-nominated films adapted from books, Cruz talks with Mangold about making a film centered on one of music's most enigmatic figures. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Childhood, and specifically adolescence, is a period of life that can be pretty tough and at times traumatic. It's very fertile ground for literature but it's not easy to get right.  In this episode, I'm joined by Michael Amherst, the author of the upcoming novel The Boyhood of Cain which deals with the period of adolescence, and themes of moral & sexual turmoil. The book feels timeless, with an eeriness that mirrors the protagonist's growing confusion about himself and the world around him.  Michael and I sat down for our chat in-person today, in a recording studio in West London. It was a pleasure to speak with him, and The Boyhood of Cain is a great read, which I can't recommend strongly enough. It's not out yet, but it's slated to hit the shelves on February 13th. So, keep your eyes peeled for the upcoming release or pre-order it through any self-respecting bookstore. Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading! Michael Amherst's four books were: Peter Shaffer, Equus (1973) John Steinbeck, East of Eden (1952) Damon Galgut, In a Strange Room (2010) John Cheever, Collected Stories (but particularly ‘Goodbye, My Brother') (1978)

Pochi compositori si sono guadagnati una cattiva reputazione come quella di Antonio Salieri, il compositore che, secondo popolari chiacchiere, avvelenò Wolfgang Amadeus Mozart. Questa voce è nata, o almeno si è diffusa, grazie all'opera teatrale Amadeus di Peter Shaffer e al successivo adattamento cinematografico. Era una commedia eccezionalmente buona e un film eccellente. Ma ecco la verità . . . Salieri non ha ucciso Mozart. Mentre Salieri e Mozart erano effettivamente contemporanei e probabilmente erano in competizione per varie commissioni, la portata della loro rivalità è stata notevolmente esagerata. Chi era Salieri? Antonio Salieri è stato un importante compositore italiano dell'epoca classica, noto per le sue opere, le sue sinfonie e la sua musica da camera. Nato il 18 agosto 1750 a Legnago, città della Repubblica di Venezia, Salieri mostrò una precoce attitudine per la musica. Riconoscendone il talento, i genitori lo iscrissero a lezioni di musica con musicisti locali. Poi, all'età di 16 anni, Salieri si trasferì a Venezia, dove studiò con l'eminente violinista e compositore italiano Giuseppe Tartini. Durante il suo soggiorno a Venezia, Salieri affinò le sue abilità di violinista e compositore, attirando l'attenzione dell'élite musicale viennese. Nel 1766 Salieri si recò a Vienna, dove continuò la sua educazione musicale sotto la guida di Christoph Willibald Gluck. Vienna si rivelò un terreno fertile per la fiorente carriera di Salieri, che si affermò rapidamente come figura di spicco nel panorama musicale della città. Il talento e la dedizione a Salieri valsero il patrocinio dell'imperatore Giuseppe II, grazie a cui nel 1788 fu nominato compositore di corte. Questa prestigiosa posizione fornì a Salieri le risorse e il supporto per comporre opere, tra cui Axur, Re d'Ormus (1788), Les Danaïdes (1784) e la sua versione di Falstaff (1799), giusto per citare qualche esempio. Le sue opere furono ben accolte ed eseguite nei teatri di tutta Europa, consolidando la reputazione di Salieri come uno dei principali compositori del suo tempo. Oltre alle sue composizioni operistiche, Salieri scrisse anche un numero considerevole di brani strumentali, tra cui sinfonie, concerti e musica da camera. Anche se in genere non si percepisce il genio di Mozart nelle sue composizioni, esse sono caratterizzate dalla loro eleganza melodica, dalla ricchezza armonica e dall'orchestrazione magistrale, che riflettono lo stile del periodo classico. Nei suoi ultimi anni, Salieri continuò a comporre in modo prolifico e rimase una figura influente nella comunità musicale viennese. Ha fatto da mentore a una nuova generazione di compositori, fra cui Ludwig van Beethoven e Franz Schubert, lasciando un'eredità duratura sullo sviluppo della musica classica. Antonio Salieri morì il 7 maggio 1825 a Vienna, lasciando dietro di sé un corpus di opere ricco e variegato che continua a essere apprezzato ed eseguito fino a oggi. Nonostante le successive polemiche che circondano il suo rapporto con Mozart, i contributi di Salieri al mondo della musica permangono come testimonianza del suo talento e della sua dedizione. Alcune composizioni di Salieri Opere Armida. Falstaff. La Scuola de' Gelosi. Un'opera buffa. Opere corali La Passione di Gesù Cristo. Oratorio per coro, orchestra e solisti. Requiem in Do minore. Opere orchestrali e concerti Sinfonia in re maggiore (“La Veneziana”). Concerto per pianoforte e orchestra in si bemolle maggiore.

Hey everybody! This week, we are discussing Milos Forman's adaptation of Peter Shaffer's Amadeus. Listen as we breakdown this story of jealousy, resentment, and admiration for a talent that is just out of reach. Enjoy!

Lucian Msamati has played leading roles on our most famous stages: Salieri in Peter Shaffer's Amadeus at the National Theatre, Iago in Othello at the Royal Shakespeare Company and Estragon opposite Ben Whishaw in Waiting for Godot at the Theatre Royal Haymarket in London. He started out performing – in his words – ‘for farmers sitting on beer crates in rural Africa, with tables for a stage'. And when he decided to leave Zimbabwe, where he began his career, to see if he could make it in the UK, he had to work as a cleaner to pay the bills. His perseverance paid off: as well as success on stage, he's appeared in high-profile TV shows, including Game of Thrones and the Number One Ladies Detective Agency. After his role in Amadeus, it's no surprise to find Mozart among his musical passions, which also include Satie, Tchaikovsky and an unusual track by Stevie Wonder.Presenter Michael Berkeley Producer Clare Walker

Peter Shaffer's award winning play Amadeus has just opened at Theatre on the Bay starring Alan Committie as Salieri and Aidan Scott as Mozart. This thrilling drama received worldwide acclaim with the film Amadeus and is always an incredible experience in the theatre, even though the theory Shaffer puts forward about Salieri murdering Mozart is not true. My guest on People of Note this week is Alan Committie who talks about his experience with this coveted role.

TroupEnigma, in collaboration with Performing Arts of Woodstock is proud to present Peter Shaffer's award-winning play Equus, directed by Michael Juzwak.

Raconteurs et raconteuses, bienvenue dans La Machine à écrire, le podcast de celles et ceux qui créent des histoires. De ses premiers pas à la radio au début du 20e siècle, récemment rappelés dans Killers of the Flower Moon de Scorsese, à son avènement sur Internet incarné chez nous par Le Donjon de Naheulbeuk de John Lang, de La Guerre des mondes d'Orson Wells qui fit sortir les auditeurs terrorisés de chez eux, aux Hauts Plateaux de Xanadu sur France Culture, la fiction audio est un territoire d'expérimentation privilégié pour les auteurs et les autrices. Pour en parler avec nous, nous vous proposons d'écouter deux experts du sujet. Notre premier invité a démarré dans la publicité en tant que concepteur-rédacteur, ce qu'il est toujours en tant que freelance. Il est aussi cofondateur du studio Orson Productions, spécialisé dans la production et la réalisation audio. C'est là qu'avec son comparse Morgan Sommet, ils ont notamment créé « Telos », une série audio de science-fiction, et « Jacques a dit » un thriller audio et coproduit avec la plateforme Blynd, 3e fiction la plus écoutée en France en 2023. Nous sommes ravis d'accueillir Romain Mallet !Notre 2e invité a commencé à poster ses vidéos sur Dailymotion en 2009, à l'âge de 14 ans. Dans les années qui suivent, il perce sur YouTube avant de rejoindre le Studio Bagel en 2015. Il y a écrit et réalisé plusieurs courts métrages avant d'avoir l'idée de « Calls ». Le court métrage remarqué est adapté en série par Canal+ avec un casting de choix, et est ensuite décliné par Apple aux US. Il est aussi le coauteur et réalisateur du film « Stéphane » avec Lucas Pastor. Nous avons le plaisir d'accueillir Timothée Hochet ! Avec eux, nous explorons l'écriture de fictions audio. Alors…

In our new summer series of “Sillies,” Saronik and Kim ask each other how simple things will achieve the grandiose task of saving the world. In this episode, Kim asks Saronik about how horses will save the world. The texts we mention (or meant to mention) in the episode are (in some vague order): Peter Shaffer, Equus, 1973 Girish Karnad, Hayavadana, 1971 Sharon Patricia Holland, an other: a black feminist consideration of animal life (Duke UP, 2023) Mackenzie Cooley, The Perfection of Nature: Animals, Breeding, and Race in the Renaissance (Chicago UP, 2022) Raymond Malewitz, “On the Origin of ‘Oops!': The Language and Literature of Animal Disease” Critical Inquiry 45 (Summer 2019). In this episode we used sound effects from freesound.org. To make the episode we downloaded sounds created by the following users: BUNCHA SOUNDS BOI!; InspectorJ; felix.blume. Click the link to hear the sound. This episode's silly image was created by Saronik Bosu. It is a distortion of “Whistlejacket” (1762) by George Stubbs. 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 our new summer series of “Sillies,” Saronik and Kim ask each other how simple things will achieve the grandiose task of saving the world. In this episode, Kim asks Saronik about how horses will save the world. The texts we mention (or meant to mention) in the episode are (in some vague order): Peter Shaffer, Equus, 1973 Girish Karnad, Hayavadana, 1971 Sharon Patricia Holland, an other: a black feminist consideration of animal life (Duke UP, 2023) Mackenzie Cooley, The Perfection of Nature: Animals, Breeding, and Race in the Renaissance (Chicago UP, 2022) Raymond Malewitz, “On the Origin of ‘Oops!': The Language and Literature of Animal Disease” Critical Inquiry 45 (Summer 2019). In this episode we used sound effects from freesound.org. To make the episode we downloaded sounds created by the following users: BUNCHA SOUNDS BOI!; InspectorJ; felix.blume. Click the link to hear the sound. This episode's silly image was created by Saronik Bosu. It is a distortion of “Whistlejacket” (1762) by George Stubbs. Learn more about your ad choices. Visit megaphone.fm/adchoices

In our new summer series of “Sillies,” Saronik and Kim ask each other how simple things will achieve the grandiose task of saving the world. In this episode, Kim asks Saronik about how horses will save the world. The texts we mention (or meant to mention) in the episode are (in some vague order): Peter Shaffer, Equus, 1973 Girish Karnad, Hayavadana, 1971 Sharon Patricia Holland, an other: a black feminist consideration of animal life (Duke UP, 2023) Mackenzie Cooley, The Perfection of Nature: Animals, Breeding, and Race in the Renaissance (Chicago UP, 2022) Raymond Malewitz, “On the Origin of ‘Oops!': The Language and Literature of Animal Disease” Critical Inquiry 45 (Summer 2019). In this episode we used sound effects from freesound.org. To make the episode we downloaded sounds created by the following users: BUNCHA SOUNDS BOI!; InspectorJ; felix.blume. Click the link to hear the sound. This episode's silly image was created by Saronik Bosu. It is a distortion of “Whistlejacket” (1762) by George Stubbs. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/animal-studies

Welcome to the Instant Trivia podcast episode 886, where we ask the best trivia on the Internet. Round 1. Category: a few good men 1: This general announced the end of the Revolutionary War and disbanded the army in Newburgh, New York. George Washington. 2: The 1973 Nobel Peace Prize went to Le Duc Tho who declined it and this Secretary of State who accepted. Henry Kissinger. 3: In 1987 this outfielder for the Kansas City Royals was also a running back for the Los Angeles Raiders. Bo Jackson. 4: (Cheryl gives the clue from the Babe Ruth Birthplace and Museum.) In 1927 Babe Ruth and this fellow Yankee accounted for 107 home runs, one-quarter of the American League total. Lou Gehrig. 5: This pop artist created 1958's "Three Flags", a triple portrait of the American Flag. Jasper Johns. Round 2. Category: "king" of the world! 1: Perhaps based on a real monarch, this nursery rhyme figure called for his bowl, his pipe and his fiddlers three. Old King Cole. 2: This long poisonous snake is also known as a hamadryad. king cobra. 3: If and when Prince Charles succeeds Elizabeth II, this will be Great Britain's national anthem. "God Save the King". 4: Before being imploded in 2000, it was home to the Seattle Mariners and the Seattle Seahawks. the Kingdome. 5: Found east of Bullhead City, this city of northwest Arizona has a population of only 20,000. Kingman. Round 3. Category: on the stage 1: 2 actors play a townful of characters in the comedy "Stones in His Pockets", set in County Kerry in this country. Ireland. 2: Title of a Jonathan Larson musical, or what the East Village residents in it have trouble coming up with. Rent. 3: In 2002 this actress who plays Carmela Soprano hit Broadway in "Frankie and Johnny in the Clair de Lune". Edie Falco. 4: In the hit play "Madame Melville", he played a teen who was "Home Alone" with older woman Joely Richardson. Macaulay Culkin. 5: This playwright hit the right note with "Amadeus" and then horsed around with "Equus". Peter Shaffer. Round 4. Category: famous amys 1: She guided fans through gracious living with etiquette books, columns and radio and TV shows. Amy Vanderbilt. 2: She married Barbra Streisand in "Yentl" and Steven Spielberg in real life. Amy Irving. 3: Her No. 1 hit "Baby Baby" was written for a real babe, her daughter Millie. Amy Grant. 4: Film director who captured teen America in "Fast Times at Ridgemont High" and "Clueless". Amy Heckerling. 5: (Hi, I'm Kirsten Dunst) In "Little Women" Amy is the youngest of 4 sisters with this last name. March. Round 5. Category: women's work 1: This future Supreme Court justice hid her pregnancy for fear of losing her teaching job at Rutgers. Ginsburg. 2: In 1977 Kay Koplovitz founded what is now this cable network, now home to "La Femme Nikita". the USA Network. 3: "America's Sweetheart", she was just 24 in 1917 when she commanded $350,000 per film. Mary Pickford. 4: She was the leading financial columnist for the New York Post from 1935-1978. Sylvia Porter. 5: (Hi, I'm Jane Seymour.) This woman not only founded the 1st birth control clinic, she also pioneered the term. (Margaret) Sanger. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Mozart, sa vie, son œuvre, sa musique, son rire, sa femme, lʹempereur et Salieri. Lui, auquel Milos Forman consacre un film multi-oscarisé: Amadeus, sorti en 1984. Lʹhistoire de Milos Forman est une fiction rocambolesque et rococo, lʹadaptation dʹune pièce de théâtre homonyme de Peter Shaffer qui signe le scénario du film. Ce nʹest donc pas la vraie histoire de Mozart et de Salieri. On sʹen approche pour mieux sʹen éloigner et raconter un drame en musique.

Today, we journey back to the 18th-century Vienna with the remarkable cinematic masterpiece, "Amadeus".This 1984 film, directed by the virtuoso Milos Forman, is an opulent dramatization of the imagined rivalry between two of history's most influential composers - Wolfgang Amadeus Mozart and Antonio Salieri. From a screenplay penned by Peter Shaffer, based on his own stage play, Forman constructs a lush tapestry of jealousy, divine talent, and the human tragedy tied to both.We marvel at the tour de force performances of Tom Hulce (well remembered Dan!) as the youthful prodigy, Mozart, and F. Murray Abraham as the envious Salieri. The characters' intricate psychological interplay presents a rare dual protagonist-antagonist dynamic that resonates even decades later. And the meticulously crafted score, reverberating with Mozart's timeless symphonies, almost functions as a character itself."Amadeus" raises profound questions about talent and mediocrity, grace and obsession, making it a film that continues to stir heated discussions among us Dads. Tune in as we delve into the complex themes, the immortal music, and the brilliant cinematography that won this film eight Academy Awards, including Best Picture.Whether you're a Mozart aficionado, a historical drama enthusiast, or a film lover who enjoys a compelling narrative, "Amadeus" offers something for everyone. Join us as we traverse this cinematic symphony, only on this week's episode of Bad Dads. Let's 'play' on!We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

Welcome back to the 134th 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 134th episode we have our latest instalment of our series 'Screened Plays'. This time we return to 18th century Vienna with an episode all about the 1984 film adaptation of Amadeus, directed by Miloš Forman and adapted by Peter Shaffer from his 1979 stage play! Enjoy as host and Co-Artistic Producer Mackenzie Horner along with Ryan Borochovitz, Sarah Hime and Andrew Pawarroo breakdown their thoughts on the differences between the director's vs theatrical release version of the film and if the Oscars were correct in bequeathing the Best Actor Award to F. Murray Abraham for his portrayal of Salieri over Tom Hulce's performance as Mozart. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Sarah Hime – Instagram: @hime.Sarah // Twitter: @SarahHime1 Andrew Pawarroo – Instagram: @andrew.s.pawarroo Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

On today's episode of The Metropolitan Opera Guild Podcast, we are joined by lecturer Phillip Gainsley as he explores the music and drama of Don Giovanni. Based on the legend of Don Juan, Mozart's masterpiece has remained on the operatic stage since its premiere in 1787 and has gone on to become a cultural behemoth, inspiring playwrights such as Peter Shaffer and other composers such as Liszt and Tchaikovsky. On today's episode, we will delve into what makes this evergreen opera as popular today as it was in the 18th century.

Un día como hoy, 15 de mayo: Acontece: 1858: apertura del Royal Opera House en Covent Garden, Londres. Nace: 1576: Claudio Monteverdi, compositor italiano (f. 1643). 1862: Arthur Schnitzler, médico y escritor austriaco (f. 1931). 1926: Peter Shaffer, guionista estadounidense (f. 2016). 1948: Brian Eno, músico británico. Fallece: 1886: Emily Dickinson, poeta estadounidense (n. 1830). 1935: Kazimir Malévich, pintor ruso (n. 1878). 1967: Edward Hopper, pintor estadounidense (n. 1882). 2012: Carlos Fuentes, escritor mexicano (n. 1928). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

I always wondered, how did Amadeus, an expensive period film starring two relative unknowns, get made? The answer was there in research, starting with a hilariously contentious relationship between writer Peter Shaffer and director Milos Forman, continuing with the outsized, colorful character of uber-producer Saul Zaentz, and concluding with the rejection of bigger stars in favor of Tom Hulce and F. Murray Abraham. I've loved this movie forever, and I learned a lot of stuff I didn't know in researching this episode.Trying to figure out, "What should I stream tonight?" Come back to Watch This Tonight as your podcast for the best movie recommendations for what to watch on streaming platforms. Please leave us a five-star review on Apple Podcasts if you're enjoying the show, and mention a movie or TV show you want me to cover (and I will). Subscribe for future episodes.Reach out to us @BenamorDan (Twitter), watch_this_tonight (Instagram) or @watchthistonightpodcast (TikTok).Watch This Tonight is a movie recommendation podcast and TV recommendation podcast, produced by Voyage Media. You can find other Voyage Media podcasts at voyagemedia.fmThanks for listening.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5626962/advertisement

Tras las vacaciones de Semana Santa, el equipo de Remake a los 80 vuelve a la carga. En esta ocasión, nos reunimos al son que toca un personaje histórico, mítico, clásico, pero revisado con ciertas “licencias poéticas”. Milos Forman se acerca a la figura mítica de Amadeus Mozart, desde la perspectiva del dramaturgo y guionista Peter Shaffer, que escribe una historia que no llega a ser un biopic y que incluye como narrador, e incluso casi diríamos que verdadero protagonista de la cinta, a Antonio Salieri. Y por encima de ambos, sobrevolándolo todo, la oscura sombra de la envidia. Y de la muerte. Analizamos cómo surgió esa idea, y descubrimos qué parte tenía de verdad y cuál era el porcentaje de invención de la misma. Vemos cómo se seleccionó a los protagonistas, al frente del os que se encuentra un semidesconocido Tom Hulce, que entabla un pulso interpretativo con un inspiradísimo F. Murray Abraham. Disgregamos algunos detalles técnicos, punto fuerte de la película; y, por supuesto, detenemos nuestra lupa en la figura del gran Amadeus. Reflexionamos sobre su personalidad, sobre sus altas capacidades, y sobre sus conflictos internos, en un semiapartado especial que hemos llamado “remake a la psicología”- Contextualizamos y descubrimos a la persona tras el mito, arrancándole la máscara y mirándolo directamente a los ojos. O al oído. Y es que, por supuesto, hablamos de la música, esa banda sonora y esas composiciones que han perdurado en el tiempo y que siguen elevando el alma humana. Para tan ardua tarea, contamos con la colaboración del inconmensurable Rafa Rus, ya habitual en el programa, y con un Highlander de excepción, el escritor Raúl Cueto, autor de una extensa biografía de Mozart y entendido en todo lo que rodea su figura. Y es que toda ayuda es poca, ante la ausencia de nuestro “millenial”, Javi García, y a pesar del retorno del “hombre simbólico” Óscar Cabrera. Juan Pablo Molina maneja la batuta mientras ríe compulsivamente ante los chascarrillos soeces y vulgares de su equipo. Esperemos que el programa, con sorteíllo sorpresa incluido, sea de vuestro agrado, queridos remakers. Eso sí, no nos envidéis, que lo que hacemos en el estudio es solo y exclusivamente por y para vosotros. ----------------------------------------------------------------- Escúchanos también en www.remakealos80.com Recuerda suscribirte a nuestro canal de You Tube para estar al día de nuestros directos https://www.youtube.com/@remakealos80 Síguenos en Instagram y Twitter @Remakealos80 y búscanos en Telegram, te dejamos el enlace a nuestro grupo de para que compartas tus opiniones e interactúes con nosotros: https://t.me/joinchat/GXsRJYMd3wQVBG2v

I dreamt of being a pilot as a child and grew up watching The A-Team and my favourite character was 'Howling Mad Murdock' played by Dwight Schultz. I was obsessed with aircraft so he was the one I wanted to be as his character could fly any plane or helicopter that he had to. Years later I saw him with Jamie Glazov and Anni Cyrus on 'The Glazov Gang' and was intrigued at his strong Conservative Christian stance while delivering common sense commentary. This is the first interview he has done for many years so it truly is an honour to have Dwight join Hearts of Oak on this audio only discussion. (he is the voice king) We talk about those early days treading the boards in the theatre and as a star in Hollywood, working on the biggest TV programme in the world and Dwight shares some stories of how his strong conservative stance got him into much hot water. He truly is a breath of fresh air in an increasingly demonic industry that opposes truth at every turn and mocks all who have a Christian Faith or Conservative Values. (*Peter takes to the skies regularly and has held a pilots licence for many years) A respected performer on Broadway, Dwight Schultz found everlasting fame by playing the certifiable "Howling Mad" Murdock on the action series "The A-Team" (1983-86). A living, breathing cartoon with a seemingly endless selection of voices and accents at his command, Murdock provided the air power for the A-Team's clandestine adventures, provided that his compatriots could break him out of the mental hospital where he resided. One of the show's most popular and memorable figures, Murdock ensured Schultz steady work on television and on the big screen playing Reginald Barclay in "Star Trek: The Next Generation" An accomplished voice actor, Dwight can be heard in numerous hit computer games and in countless animated shows. Interview recorded 21.3.23 *Special thanks to Bosch Fawstin for recording our intro/outro on this podcast. Check out his art https://theboschfawstinstore.blogspot.com/ and follow him on GETTR https://gettr.com/user/BoschFawstin and Twitter https://twitter.com/TheBoschFawstin?s=20  To sign up for our weekly email, find our social media, podcasts, video, livestreaming platforms and more... https://heartsofoak.org/connect/ Please subscribe, like and share! TRANSCRIPT [0:22] Hello Hearts of Oak, and welcome to another interview coming up with Dwight Schultz, Howling Mad Murdock from the A-Team. He came in on a audio. Dwight hasn't done interviews for years. I was absolutely delighted to have him on when you talk to one of your childhood heroes who you grew up watching him in A-Team. And he was my favourite simply because he was a pilot. And I always wanted to grow up and that's what I wanted to grow up to be. But I'm talking to him about being a conservative, being a Christian in the industry, in Hollywood, in the movie industry. And actually we delve more deeply into his Christian faith, Roman Catholic background, and what it means for him to be a Christian in that industry where you're pulled every way and where your faith is ridiculed, mocked, and everything stands against that. So great conversation about some of his experiences and what it is to be a Christian and to be a conservative in the industry. We talk about his voiceovers, I mean his voice is legendary. Talk about that and why he stepped away from doing kind of in front of a camera in 2001, why that was, and all the voiceover and then I think 100 video games, his voice is in a whole other world, a whole other industry. So, I know you will enjoy listening to Dwight as much as I enjoyed speaking with him. [1:48] It is wonderful to have Dwight Schultz with us today. Dwight, thank you so much for joining us. [1:54] Oh, it's my pleasure, Peter, for my reintroduction to the world of podcasting, radio, television.   Well, this is something I've only been doing three years, So I know you have much more experience back in the day, but we'll get into some of that. And obviously I... Remember you fondly growing up. I think I was six when The A Team first came out, which is now 40 years ago. I'm sure I didn't want it when I was six. But your role obviously is as Howling Mad Murdock. So we can take just a little bit memory lane before we go into and talk about actually being a conservative in the industry and what that is like. But I mean, it ran for five seasons, 83 to think 87. Do you just want to let us know how you actually ended up in that role? Well, actually, it actually only went four seasons, real seasons, so it's not technically considered a success. That's true. I ended up in that role because I made a comedy tape at the Williamstown Theatre Festival around 1979, 1980. [3:18] Somewhere in there. And the comedy tape, and for two years, I didn't hear anything. And then suddenly I started getting calls from my agent to audition and to go to Los Angeles to audition. and it was because of this comedy tape. And I found out it had been making the rounds for two years and eventually Steve Cannell and Frank Lupo, his co-writer saw it and requested me to come. Joel Thurm, who was the vice president of NBC at the time, however, he had different ideas about this character. And anyway, I went in and they flew me out to Los Angeles. [4:03] And my wife was out here. She wasn't my wife at the time, but I had been dating her since 79. And she was out here living in Los Angeles, which was difficult. I mean, I was glad to come out here for any reason. And I had never. It was a joy, but I came in and I auditioned and it was a total flop. It was a bomb. I mean, you walk into a small room with 25 people, 30 people, and there was not a single laugh. There was nothing. There was no... And then they sent me out and they sent the director, Rod Holcomb, out with me to talk to me. I came back in, I did the same audition, And everybody was laughing and I had no idea why they were laughing now. And they weren't laughing before, unless someone said laugh when he comes back. You know, that's the way it was. It was just an astonishing thing. And they said, you got the part. [5:02] And then, uh, and this is the, really, this is the nub, right? So, uh, I, they shoot in Mexico and I went down to Mexico. And when we were down there, I was fired. I was fired. I was fired. Rod Holcomb came into my little room and he said, I'm afraid it's not going to work out. And I said, oh, what? He said, it's not Steven. It's not Frank. It's the would-be's at NBC. They just don't think you're quite right for it. And so they took me out of my little room and they put me in with a stuntman who I loved. I just loved him. I mean, it was incredible to work with these guys. And so there I was with the stuntmen for the rest of the shoot down in Mexico. And when we came back to the States, they were editing it and putting it together as we were shooting it, right? [5:58] I got a call from my agent said your dials were great. I said, what are you talking about? I had no idea what they were talking about. This is 82, right? This is 1980. I don't know what you're talking about. He said the dials, the dials, the testing. The audience loved you. You're the best dials that anybody had. So I was written back in. I was rehired before I was fired. And so you can't make this stuff up in life. You can't. So it just turns out that they had a different view of what this character should be like. And I had another view. And Stephen Cannell and Frank Lupo were in my camp. And so they had to write me back into the first five episodes, which they had kind of written me out of. And that's the way it started. And I was, [7:04] as anybody would be, you know, I got to work with some of the finest old actors [7:12] that I had grown up with in the 50s and 60s. And it was a thrill. The four years were a thrill. I mean, it was an absolute thrill. And I got along beautifully with everybody. And Stephen J. Cannell [7:24] was a conservative. I mean, I'm lucky. I'm fortunate there. I was fortunate because some of my other experiences were not so fortunate, working with people who knew I was a conservative and weren't going to have a conservative on their show. That was the way it started back then. But anyway, so it was four years of, we didn't really have a studio. We were working on locations and I got along famously with everybody. And it was a joy. It was four, believe me, it changed my life completely and totally. I never thought I would end up in Los Angeles and never leave. Well, what was I mean, it's intense, I guess, that you're living and breathing it. And most people, I have no idea what that's like. Most people go to a job and they go home, but you're there nonstop. What's that kind of intensity, especially for years with it's the same people? It's the same people. But listen, as an actor, I mean, I've been working I've been working professionally since nineteen sixty nine. This gig, it's over 50 years. Right. So I had, I have before the 18, I never knew what my next job was ever. I never knew what I was doing next. And after the 18, I never have known [8:50] what I'm going to do next. I've never had a consistent job other than those four years. And I thank God for them every night. I hoped it would go longer, but this was not the intention, nor the background of Stephen J Cannell. His shows were two years, three years. And then they name of every single writer that we had in the first year moved on to their own series. They all became producers. And this is not the way you have a successful series for an, actor, which is selfish, right? You want to go at least five years, seven years. But they all, you have to have somebody there who is consistently behind it, pushing it, making sure everything is the way it's supposed to be. But that was not the way it was. But I did everything that you can possibly imagine, I think, on that show. And as the 14-hour days, 15-hour day, I loved it because I knew that there was going to be an ending. I knew the day I started that there was going to be a last day. And so and I think that's the way life is, actually. [10:02] And so take advantage of what you have and enjoy it and hope for the best. But I savour it every minute and I look back very fondly. When you say it wasn't a success, I remember thinking this is the biggest thing ever. This is phenomenal. I watched it as a kid growing up. So it did seem to be the kind of TV show that you would watch. I mean, the only other one I remember at the same time was I think Knight Rider at the same time, but they were the shows to watch.   Yes, they were. But you see, we were on NBC, Grant Tinker and Brandon Tartikoff, and their moniker was quality programming. And Grant Tinker, and well, Tartikoff gave an interview for the New York Times, right? This is not an example of our quality program, right? Really, this is it. That's what he said. You know, their ideas was Hill Street Blues, which they had on. This was their idea of quality programming, not this schlock that's number one. [11:12] This is not it. And I sent Grant Tinker a telegram and George Peppard said, don't do it, pal. Don't do it. Don't do it, Peppard said to me. I sent it to him and I said, this is third rate executive ship. I said, we do the best work we can and we're number one, why are you doing this to us? And then he sent me a telegram back, which I have kept, saying, well, you're assuming that that was true, what you read. And I said, well, I checked with the writer, the journalist, quote unquote, who he said, he talked to you and this is what you said. And indeed he did. And this is a tag to all of this. He, after the show was over, it was cancelled, several years afterwards, I have received a phone call from his assistant saying [12:13] Brandon wants to talk to you. And I said, sure, I'll talk to him. And I met with him in this basement office, 20th Century Fox. And I walked in and there was nobody there but Brandon Tartikoff sitting at a table and he apologized to me. [12:31] His daughter had been in a very serious accident and it changed his life. It was one of these things. And he apologized to me. I'll never forget it. And this does not happen in show business. It does not happen. And I said, thank you. Thank you so much for that. I said, and then I went into my spiel about being an actor. And that I, you know, you do the best job you can, whether you're doing Shakespeare, whether you're doing a show, or whether you're doing The A-Team. You do the best job you can. It is the same job if you're good and you love your work. It doesn't matter. You do the best thing, the best you put. You're not walking through it. I said, that's what we were doing. And we happened to be number one. And why did you rain on the parade? You know, I asked him and he gave me some explanations as to the the exigencies at the top of a TV network. And I, so at any rate, that that that's the experience. That's the beginning and end of that experience, really.[13:43] And I carry with me.   How did you cope with that fame? And you were what, 30, 32, so you weren't young, young. But still, when you're thrust into that level of publicity, how did that affect you personally and how did you cope with that? Well, you know, I was fortunate that I was working since I had been working since 69. I spent 13 years in regional theatre. I spent years in New York, three Broadway plays. I had a lot of experience. [14:17] Really, they walk in the boards, doing all the grunt work, getting there. And I, fame was not a, I was known and all my interests in theatre were to be, this is a joke actually, but never the same actor twice. I mean, that's it. You didn't want to do the same thing. And here I was, and I forced the idea that this actor, this character would be different in each episode, which the vice president of NBC said, that's the way you comb your hair differently. You should be the same. We want you to be polite on this. And I said, no, no, no, no, no, I don't wanna do that. I wanna be different in every show. And so I maintained, I think, because of the work that I had had. When you do the classics, when you're in, and I don't mean this, when you have the great opportunity to play a Shakespearean role. [15:22] You understand something about talent, about what goes into writing, brilliant writing, and then schlock writing. I mean, you see it all. And when you've been given that opportunity, There's a humility that hits you. So fame was never something that I wanted. I wanted to be able to – and I've had this ability. I've been able to go to a department store or take my daughter to a mall and not be recognized, which is – I'm telling you, I have worked with – I mean, I worked with Paul Newman and Paul Newman was, it was not a, he, he told me he couldn't go anywhere. He was a prisoner of his fame. [16:12] George Peppard was a prisoner of his fame. I mean, the closest I think I've ever gotten was somebody said, your voice sounds familiar, do you know my brother? I'll say, no, I don't know your brother. Then every once in a while, somebody recognizes you, but it's a curse. [16:33] It is a curse, really. If you have a family, if you want a family life, if you want privacy, which I think is necessary for survival in this business. I mean, I've seen a lot of actors drop to their knees and open cardboard tubes and pull drugs out. You know, and that's fame. And you ask them, that's it, it's driven. You know, you gotta have that fame, you gotta have that fame, you gotta. And it's not what I wanted. I really am a repertory actor, that's it. I'm a repertory actor. I spent one year in Houston, at the Alley Theatre in Houston, and it was one of the greatest years I've ever had. And I never wanted to leave. And someone told me, that's why you have to leave. I would have stayed there. I could have stayed there. But my agents all told me, you have to leave. You can't stay here, or your career will be over. And I said, but I love this. And they said, you won't love it when it dries up there. You know, you have to go to a bigger, a bigger yard in essence. But I'm really a repertory actor. That's it. [17:47] Your last I think your last TV role was 2001. I will get into the voice side later, but your last 2001. Why did, why did it end there? Was a personal experience? Was it just choice? Oh, yeah. No, it was a really a personal experience. It was CIA. 2001 was... [18:17] I went in for wardrobe fitting, and we were at the Memorial Cemetery, Veterans Cemetery down in Wilshire Boulevard, and that's where it was being shot. And I walked in, and this is nothing, I won't mention the name, I shouldn't have even said what the show was. Just someone in the wardrobe room. We were talking about 9-11. We were talking about what had happened in New York. I had a lot of friends in New York, of course, obviously. And she said, I don't have any connection to that. I don't know why everybody – I just don't have any connection to it, you know? She still connects? And she rubbed it off, you know? And I said, I mean, life was – rules were at that point not easy to come by, actually. And I said I can't do this, you know, I can't work. This to me was a sign, a sign from God. I'm not joking. You look for these things. This was a sign that this was the wave of the future. There was going to be a lot of denial and there was going to be, and it's complicated. I mean, I'm not judging anybody. [19:43] But for me, I had an opportunity to move into another direction, and I decided to do the other direction because I could be anybody, anything in voiceover work. Video games were just becoming big at the time, and the whole business was very big. And voice work was something that, as an actor in the theatre, I always did. If I couldn't find the voice of the character, I couldn't find the character. And so that was it. I mean, the fates came together at that time. And I was doing radio at the time on a fairly regular basis with a friend named Don Ecker. And I just moved in that direction. [20:36] I mean, there were opportunities there, but I knew things had changed at that point. Yeah, well, we'll get into that. I want to pick on being a conservative in the, the movie and TV industry, and that seems to be opposites. We've seen more and more, and I think it probably gets worse. And you're Roman Catholic, you're conservative. And what has been your experiences having a faith and also having a conservative belief? How does that fit into the showbiz industry? What has it been like for you? Well, going back, if you look at, [21:23] if you look at the world that we're in today, the Judeo-Christian world, which is, and I have to say if I have one criticism of modern Christianity prior to today, and I mean going back, because there's a lot of things I could say about today, which we will, I'm sure. But one of the things which always struck me me was about Christians, was their antipathy for the Old Testament, the Torah. It is Judeo-Christianity, and if a Christian doesn't understand that the Old Testament is their testament, there's, a problem. And they don't, indeed. In Bible study, the number of times that I heard Christians say oh, that's not my God. I want to get out of this. I want to get to my God. Well, that's two gods. [22:24] I mean, there is the Trinity, which is three gods in one, right? I mean, we do have that mystery, but we are monotheistic. And Christ's Old Testament was his Old Testament. He was here to fulfil the Old Testament. This is what he said, that it is the Father. You're speaking of your father. This is Christ's father and the Torah, the law as it was laid down is your law. It went on to the New Testament. [22:58] You know, and Catholics, I mean, I was raised a Catholic, and when I found out that it wasn't, thou shalt not kill, but thou shalt not murder, you know, the wheels begin to turn, and you try to think as best you can about these things. But there was a disconnect between the Old Testament in the New Testament. But that has to do with my criticism of my own faith. In motion pictures in the film industry, it was under attack, as it is today. Christianity is—and Judeo-Christian ethic, the West, everything that has been built through the Judeo-Christian ethic is under attack and they want to destroy it. [23:55] And basically at the very front of that is the communist wagon, and it always has been. And you can go back to 1918 or whatever and read about it, and they tried every which way from Sunday to do it, and they always failed, and now they've found another way of doing it. And they have succeeded by going after our children when we didn't know they were going after our children. But as Christians, we're pretending that it wasn't important to be mothers and fathers and the nuclear family really wasn't that important. Well, then why were they trying to destroy it? And why has it been number one? [24:35] Because and I'm going to say something else here in a second, which I'm pointing to, there's a quote. This is the technique that they have used, and you didn't know it, but you felt it all along. You felt this, but you didn't know it. [24:57] A quote by, it's attributed to Oscar Wilde. And I think it is his, I don't think, I don't think, I think it is his quote. And it is pithy and accurate and brilliant and beyond belief descriptive of everything. Everything in the world is about sex, except sex. Sex is about power. And boy, when I read that, I said, is this, did he really say this? Is it? And it hit me from every direction. The entertainment business in every which way is about sex. Novels, books, television, commercials, life itself, clothes, it's all about sex. And it goes back to God's edict to humanity. [25:56] Go forth and multiply. This is the power of procreation, is sharing in the power of creation. That power was given to all of us. We don't know, I mean, people have talked about it, but you don't, we don't know where that came from, except from God. And it is something to, what do we do with these gifts? Do we throw them away? Or do we say these are precious? [26:30] And you see by the people that you meet, those who recognize the gift and those who don't recognize the gift. And you are asked not to recognize it on a daily basis. And as a child, if you think back to your childhood when sexual urges, whether you're—and of course, I can't tell you what a woman goes through, but I can only tell you what a kid goes through—boy, when you're going through puberty, the whistles and gongs are going off, and you're you're having dreams at night and you can't stop it. [27:03] Everything is at the wrong moment and you're not purposefully thinking about it, but it's a force to be reckoned with. And you understand it as you grow older that this force is to bring you to someone else, to love, to have a family and to create the next generation and then everything changes after that. If you can contemplate that greatness, that extraordinary thing, and realize that the world seems to want to distort it, well, you realize the powers that are set up against Judeo-Christianity. And who say, we don't want the Ten Commandments, we don't want that Old Testament rag, we want freedom, free, and of course I went through that in the 60s and 70s in school, and I saw it. I mean, I was part of it in that it bounced off of me at every moment. And being a Christian, you stay in it. [28:10] I stayed in my Christianity. This is another tale. When I got to school, to college, I mean, I had 12 years of Christian education, right? I wanted to be an actor and I went to Towson University, which had a great theatre program. And it was the first time that I was in a purely secular environment. The thing that killed me was that everybody hated their parents. Everybody hated their parents. I mean, nobody wanted to, nobody had a good thing, I loved my parents. And I used to say, I used to have a long bus ride home and I used to sit in the bus looking out the window saying, why do I love my parents and I can't find somebody who loves their parents? What is that? Well, I can't say that I answered the question, but the answer was in the destruction of the family. [29:10] It was in the destruction, and it had started then. Not my mother and father. And then here's the next aspect, and I think that this plays a very big part in all the trouble we're having today. I never wanted to do something that shamed my parents, that they would be ashamed of. I felt shame. I still do. I feel shame. It was given to me by my mother and my father. Now, none of us are perfect. I know my mother wasn't perfect, my father wasn't perfect. I'm not perfect, but I feel shame and shame is rare. Now, look, I was listening to your podcast [29:58] with Father Calvin Robinson. Right.   Goodness, you make me blush. No, no. And no, but he said something. He said he said something about drag queens in the sanctuary. [30:19] I mean, we're talking about there's no shame if you do that. Before, shortly after, I guess we communicated, I went to here in Los Angeles, I went to the Church of the Nazarene in Pasadena, and I saw two, I don't know if you know these individuals, Dennis Prager, do you know Dennis Prager? Dennis is a Jewish scholar. I've been following him since since 1982, when I came to Los Angeles. He had a program called Religion on the Line, one of the great minds and thinkers of all time. In fact, many times after listening to him, I would say to myself, I'm a Jew. That's what I am, I'm a Jew. [31:05] And then there's Eric Metaxas, who is a Christian writer, thinker, and these two were in a program, an evening called ask a Gentile, Ask a Jew. And it was a great evening, two hours of just two brilliant people talking about the state of religion. What was the final outcome, sad outcome of the evening? Metaxas and Prager both came to the conclusion that we, organized religion, has failed us. It has failed us. The churches and the synagogues have failed us. They have not stepped up to defend their own dogma, their own beliefs. And we are left flailing, individuals almost. And we are struggling to connect, which is what you and I are doing right now. [32:08] I was dumbfounded by that, but at the same time, that's what I'm thinking. That's what I've been thinking for quite some time. And all of these things, you know, we are under attack from every direction. And in your own mind, what do you do? Do you throw it away? Do you say, well maybe I'm thinking the wrong thing. No, no, no, that is not the case. Because when you think about why our children, [32:47] and if you've seen this now, why our children are being told that they don't know what their sex is, Metaxas brought this up in the evening that this is one of those key cardinal points. You can see. This is a perversion of reality, because you know what the truth is. If you have a Supreme Court justice, as we do in the United States, who says, I can't define a woman, and that children, 10 year old children, 11 and 12 year old children, secretly, don't tell your parents the hallmark of a lie. Keep it secret. Don't tell anybody. Don't even tell yourself. [33:26] You know the hallmark of concealment, consciousness of guilt, everything that you know is, they are trying to tell you you know nothing and everything you know is not to be believed, but they are to be believed. That children, there are not boys and girls, that men can give birth, that there are, you know, these things that we, it's incomprehensible what's going on and it's all to destroy right from wrong. Well, that's because it's kind of, I look at it a different way. One is the difficulty of living in a society where evil is slightly different, where it's a slippery slope and it may be difficult to distinguish what you believe with something that's slightly different. But we see such a chasm now between what is true, what is right, and the collapse and degradation of society. So in theory, that means it is easier to be a Christian because it's easy to be distinct, because what you face is the opposite of what you believe. And and that's why it's curious and interesting to see churches going down this line whenever there's, [34:38] there's no question of what we see is the opposite of what is written in scripture. Oh, there's no question. You know what you're saying? You can be crushed. You know, you can be crushed at the same time. You have to deny so many things to accept what's going on. And yet you say to yourself, how do I stop it? The war that's going on in Europe at this moment. And this is why I love Bannon. I mean, I just, I adore him. I never got to, I would not, and I'll say this, Andrew Breitbart brought me out of the closet politically, really politically. I was doing a lot of things, but saying a lot of things that were in the basket, but he truly brought me out.   When was this? When was this? . This is a through also through Gary Sinise and friends of Abe. [35:48] Boy, this is this is in the, I have to say nine. I'd say 2000 to 2005, 2006. By 2008, yeah, I have to say around 2005, 2006. [36:09] I was like a Jew wandering in the desert alone and wondering where God was. And a friend of mine who I worked with on Fat Man and Little Boy, a film about making the atomic bomb, called me up, his wife was a casting director, and he said, you know there are conservatives just like yourself who get together on a regular basis. I said, no, I did not know that. He said, would you like to go to a meeting? I said, I would love to go to a meeting of other people. I went and it was Gary Sinise and Andrew Breitbart, and a lot of other extraordinary people who were all, and this is it, seeking, trying to make connections. And so Andrew said, you have to become public. He had big Hollywood and big, you know, all of, he had all of these big websites. And he asked me to write an article. [37:09] He heard me in private describe a situation that I was in, in which I was at the Williamstown Theatre Festival. I had just come back from working with Charlton Heston and I had a long discussion, which was just a wonderful discussion in the hallway at the Amundsen Theatre about Ronald Reagan becoming president, right? And this individual who was a big producer in Hollywood overheard me talking about Ronald Reagan, and he said, Oh, so you're a Reagan a-hole, you know? [37:58] And yeah, that's right. That's right. And I was, I got to tell you, I mean, this was a big guy at the theatre too, that I was working, and I went cold. I went cold. I said, yes. I said, you know, not as a, you know, and I pulled back. I was, you know, he was attacking me, obviously, with his language. And I was shocked. I was totally numbed. And I didn't want to continue with this discussion, because otherwise there would have been a blowout. But that was how in 78, 80, I understood that there was this chasm there. And [38:51] it only got worse as time went on. As I said, fortunate, it is not a zero-sum game. Fortunate there was for me, and I did have an audition for this producer. There was a writer there and a brilliant writer. We had a fallout, but he's just an extraordinary writer. His name is Tom Fontana. He wrote some very, it was St. Elsewhere, producer, writer for St. Elsewhere, The Wire, many wonderful programs. And he did not know about this problem that I had and invited me to read for a part called Fiscus in St. Elsewhere. And I walked in and there was this producer [39:37] who has passed away since now. And Breitbart wanted me to write about him. And I did, and I regretted it, but I don't regret it. But anyway, so I walked in and he was there and he said, oh, what are you doing here? And to this audition, and I said, I'm here to read for the part of Fiskars. He said, it's not gonna be a Reagan blank hole on my show. So you know what that audition was like, right? You know, I mean, and I walked out and I just, I said, God, is this going to be it? You know, is this the way it's gonna be? And at any rate, so, but I finally did write this article about him and I lost a lot of friends for writing it. And then at the same time, and I was one of the first actors for Breitbart to use my name. This was what he wanted because a lot of pseudonyms, writing for Big Hollywood, And which I understand, please, I did not do this, I did this [40:40] for personal reasons, but not because I'm brave or anything of that nature. I just was at the point where I was going to tell the truth. This is the way it's done. And you are excluded on a cocktail napkin. And that cocktail napkin is sent around to other producers and you're excluded. It is not a zero sum game because there was Stephen J Cannell and he hired me. [41:03] But the majority of people will not, unless, of course, you bring in 30 or 40 million dollars over a weekend. And then they'll hire you. But the attack on Judeo-Christianity, the attack on conservatism, which is a hallmark of Judeo-Christianity, is now at its height. It's never been greater than it is today. Well can I, you're obviously being a Christian, being a conservative within an industry within the workplace, but then you had your podcast, then you're doing, you mentioned Breitbart on the Glazov Gang, that's something different. You're stepping outside and actually you're much more public. I mean was that a conscious decision to actually begin to use radio, use the internet, use TV and speak of these issues as a Christian and conservative. Yes, absolutely. And the reason for that was I, you know, if you're, [42:13] make a point, like I would not, as Murdock from The A-Team, go out and evangelize. I wouldn't go out as Murdock from The A-Team, vote for. Right? [42:34] You're taking something that is not related and you're trying to use it to get somewhere. Where it's not as, to me, as honest as separating yourself out, creating a podcast, creating another world. This is where I talk politics. This is where I talk my personal life, my personal beliefs. This is where I do it. And so you come to me and then we go out from there. And I associate with people who talk about religion, and I associate with people who talk about politics, and I talk it there in that realm. [43:19] There's obviously a mixture. You can't divorce yourself from who you are and what you've done, and I don't. But I've never hidden my religion. I've never hidden my Christianity, as some people do. That's not the way to do it either. Yes, I am a Christian. I'm a Judeo-Christian. I believe in the Old Testament and the New Testament. And it's, for me, not a contradiction in terms. And so I express it that way. I express it here on my own podcast when I had it. And if ever anybody wanted to talk about it, I was willing to do it. And I attended every event, and with Jamie and [44:10] the lovely Anni Cyrus, that was just wonderful. That was absolutely wonderful. I went to a David Horowitz retreat, where I met Jamie. I had the great fortune, an opportunity to speak at a Freedom Concert event. Many of my public heroes were there from various political websites. And I got to meet them. And that's where I met Jamie. And he invited me on to engage with him on his program, the Glazov Gang. It's so funny. But, you know, and I met just so many fabulous people. And there are so many things right now, which I see things now and can talk about things that I couldn't prior to coming out with Andrew. And that, of course, is Bannon's big thing, Andrew. Andrew, I mean, he's – and Andrew changed – just brought the world together. I mean, his vision, his understanding of what was really going on was unique. And he was right into – he was dead on about everything. And I still don't agree with most of his friends. [45:38] I have very dark feelings about what happened to Andrew, even though I know he had a heart problem. But when the, I mean, you know what I'm talking about. I don't want to get into that aside, but I know the darkness that's out there and a voice like his had to be stopped. And they don't stop at anything. They don't. And we have now been witness to it in the United States for five or six years. Nothing stops them. Nothing. And they will lie to your face. They do not care because they are the voice of something that is dark. [46:20] That's not a knife you feel in your back. That's me scratching it. Oh, but I feel blood. No, that's not blood. You know, that's it. That's it. Can I finish off with your voice? Now, it is always wonderful to have a guest coming on and the sound is absolutely beautiful, crystal clear. You're coming through. Obviously, your voice is your how you make your your living now. And you've you've moved away from being kind of front of the camera to doing voice. Tell us what that is like, because it means you talked about fame and that means you're not recognized. It is your voice. And I remember watching, you were the one who, again, using your voice in all different ways, even back as in The A Team. But tell us about, how that works in the industry.   Well, in the industry, it doesn't. You have to be very fortunate. One of the first casting directors I ever met was Sylvia Gold, was her name. And she met with me, my first agent introduced me to her, and she said. [47:36] Oh, darling, she said, you don't understand. No one wants to hear that stuff. That's in the theatre. They want to hear you. They want to hear your voice. It's your voice that's important. And I said, no, it's not. I said, that's not what it's not. You know, I'm a vampire. I'm a thief. I listen to other people. I'm a mathematical idiot. And God gave me this ability to hear people's voices. And I said, I remember being seven years old. I was about seven years old, and I remember the first impression I ever did, which was, James Mason in 20,000 Leagues Under the Sea, he had a line, it was, I am dying now, and the Nautilus is dying with me, present as him. And I said this out loud to myself, I am dying now, and the Nautilus is dying with me. And the more I did it, the closer I got. And I would spend time, and I became an Anglophile, and I started listening to Richard Burton and Peter O'Toole, and I found that if I put headphones on, their voice came from the middle of my head, and I could steal from them. I could do impressions of their voice, and even if it wasn't perfect. [48:52] It became another voice, another character. And I began to identify with my relatives that way. I started doing impressions of my relatives and they did not like it. And I started doing impressions of my teachers at school and the kids liked it, but the teachers didn't like it if they heard it. And that's how it started. And I just had an ear for people's voices and dialects in the United States. And that's it. And in terms of, well, if I'm coming across crystal clear, That's because somebody recommended this microphone, the Heil PR-40, which is a dynamic microphone. Most people are wedded to very expensive condenser mics. But this is a rejection, it's a cardioid. People can open the door and come into the room and you won't hear it, you'll just hear me. Art Bell used this mic and he was always extolling the virtues of this mic, and I listened to him. And so, you know, and it's inexpensive, comparatively speaking, so it's available. [50:04] And so I, but I have spent years studying and recording people's voices and listening to them and trying to reproduce them. And one of the great thrills in my life was, I was, I knew somebody who was intimately involved with Laurence Olivier. [50:29] Peter Shaffer, and he wrote Amadeus, right? And he was just an absolutely spectacular man. And he gave me the play Amadeus to read before it was on Broadway and in Great Britain. And he was just a sweetheart of all sweethearts anyway. So I went into a bathroom and I did my impression of Olivier doing the Othello chamber scene. And I gave it to someone who was with Peter and asked them to listen to it to see if I caught any of it. And he said, this friend said, Shaffer listened to it and said, well, he said if Larry was very, very sick. But it was, you know, it was one of those, I, God, to have, you know, I, I, I think I listened, I don't know, I can't, I can't repeat anything that I've ever done myself, but I, I think I listened to the chamber scene from Othello, Olivier's Othello a thousand times. And that's how you learn when you're a young kid. That's how you learn. And you say, oh, my God, every comma. I followed it along, and he followed the text. [51:49] Amazingly, he followed the text and was dead on. And those are the kinds of things that I became very attuned to people's voices, and recorded them. And I have a lot of recordings and sometimes I still listen to Burton's Hamlet. And Gielgud, of course, directed it. [52:21] And it was considered a disaster on Broadway, but there's some great, there's just to capture, it is a miracle that I can sit here and listen to people who have passed away as if they're in my room. It is, it is a miracle, a technical miracle, but a miracle, or listening to the great choruses, motion picture choruses from 1958 and 60, and I listen to these grand voices, and I say, most of these people are not here now, But I'm listening to them and I get emotional about it. So anyway...   You've also embraced just finally about. I think I looked through and you've done the voice for like 100 video games. Well, yeah, I guess that's just if you're you're good at something, then that can be used across different, different industries. Oh, exactly. and video games are bigger than motion pictures now. And the hardest thing I was ever asked to do, and we were asked to do this periodically, you know, these great actors, right? [53:31] Sir Ian McKellen, Patrick Stewart, right? Those two individuals. Do impressions of both of them, to do them in the same thing. They were in X-Men, right? So I can't do them because they're so close. And you just do. You're asked to do it. They can't make it to do a pickup, right? So they ask an actor to come in and do a line, half a line. That's it. I can't do Ian McKellen and Patrick Stewart at the same time. But I can't. I can't do it because they're too close. And yet they're different. But I have not been able to. I mean, you know, you in Ian McKellen with Bilbo Baggins, you know, he's called the essence. [54:19] Patrick is done it. Patrick is down there, too. But I can't do them together. I cannot do them together. I have to do them separately. And Patrick is he was a delight, by the way. Very liberal, very liberal. But one of the great things about Star Trek is my greatest experience that I've had in Hollywood, because there was little to no politics on that set, and everybody was a delight to work with. Everyone, absolutely everyone. And walking around on the great Paramount lot was a thrill. Anyway, sorry, I'm getting side-lined. I loved all those people. I did. I really did. Dwight, I so appreciate you coming on. It's absolutely wonderful to speak with you and hear about your experiences in the industry. So we really do appreciate your time today.   Well, it's my pleasure and I am very grateful. It's been a long time since I've done anything like this.   Oh, maybe it'll become more regular. Well, thank you, Peter.   Thank you so much, Dwight. Thank you.   Bye-bye.

Vuelve a Asturias el actor Roberto Álvarez para representar en Avilés "Equus" de Peter Shaffer, pero antes se pasa por LREM para contarlo. Seguimos pendientes de la Semana del Audiovisual Contemporáneo, pletórico de actividades en torno a la imagen y, especialmente en esta edición, al sonido. Aitana Castaño viene a guiarnos por la caleya informativa y Xulio Concepción a aclarar nuestras dudas con las palabras del paisaje. Marta Teijido nos invita a un nuevo concierto de la OSPA, el profesor Javier García Rodríguez se saca una novedad libresca de la chistera, Jorge Alonso nos lleva de paseo por Asturias desde los ojos de antiguos viajeros y los oyentes rescatan de la memoria frases, estribillos o canciones que, aunque uno lo intente, no hay manera de borrar.

Vuelve a Asturias el actor Roberto Álvarez para representar en Avilés "Equus" de Peter Shaffer, pero antes se pasa por LREM para contarlo. Seguimos pendientes de la Semana del Audiovisual Contemporáneo, pletórico de actividades en torno a la imagen y, especialmente en esta edición, al sonido. Aitana Castaño viene a guiarnos por la caleya informativa y Xulio Concepción a aclarar nuestras dudas con las palabras del paisaje. Marta Teijido nos invita a un nuevo concierto de la OSPA, el profesor Javier García Rodríguez se saca una novedad libresca de la chistera, Jorge Alonso nos lleva de paseo por Asturias desde los ojos de antiguos viajeros y los oyentes rescatan de la memoria frases, estribillos o canciones que, aunque uno lo intente, no hay manera de borrar.

Vuelve a Asturias el actor Roberto Álvarez para representar en Avilés "Equus" de Peter Shaffer, pero antes se pasa por LREM para contarlo. Seguimos pendientes de la Semana del Audiovisual Contemporáneo, pletórico de actividades en torno a la imagen y, especialmente en esta edición, al sonido. Aitana Castaño viene a guiarnos por la caleya informativa y Xulio Concepción a aclarar nuestras dudas con las palabras del paisaje. Marta Teijido nos invita a un nuevo concierto de la OSPA, el profesor Javier García Rodríguez se saca una novedad libresca de la chistera, Jorge Alonso nos lleva de paseo por Asturias desde los ojos de antiguos viajeros y los oyentes rescatan de la memoria frases, estribillos o canciones que, aunque uno lo intente, no hay manera de borrar.

Welsh stage and screen star Michael Sheen is in Australia to perform in a new production of Peter Shaffer's classic play Amadeus and the Sydney Opera House. He's taken on the powerhouse role of Mozart's bitter and vengeful rival, Antonio Salieri. Also, at Sydney's Ensemble Theatre, two new plays ask probing questions about what the Christmas message of generosity and hope means in an era of division, recession and climate change, and Jesus returns to earth as a transgender woman in the one-person play The Gospel According to Jesus, Queen of Heaven.

Welsh stage and screen star Michael Sheen is in Australia to perform in a new production of Peter Shaffer's classic play Amadeus and the Sydney Opera House. He's taken on the powerhouse role of Mozart's bitter and vengeful rival, Antonio Salieri.Also, at Sydney's Ensemble Theatre, two new plays ask probing questions about what the Christmas message of generosity and hope means in an era of division, recession and climate change, and Jesus returns to earth as a transgender woman in the one-person play The Gospel According to Jesus, Queen of Heaven.

In a new Australian run of Peter Shaffer's play Amadeus, Lily Balatincz and Rahel Romahn play Wolfgang Amadeus Mozart and Constanze Mozart. Amidst rehearsals, Lily and Rahel talk to Courtney about the life changing experiences that shifted their careers, how they connect with their characters, and what it means to share the stage with legendary actor Michael Sheen. For more Sydney Opera House podcasts, visit sydneyoperahouse.com/digital/podcasts or your favourite podcast platform.-- Hosted on Acast. See acast.com/privacy for more information.

Charlamos con el actor Roberto Álvarez, que es uno de los protagonistas de "Equus", la obra que dirige Carolina África con la adaptación que Natalio Grueso ha hecho del texto de Peter Shaffer. Escuchar audio

Glenn André Kaada (født 23. mai 1980) er en norsk skuespiller, teaterregissør og teatersjef som er tilknyttet Rogaland Teater. Etter at han ble uteksaminert fra Statens Teaterhøgskole i 2003 begynte han å arbeide i Rogaland Teater. Hans første rolle var som Stanley i En handelsreisendes død av Arthur Miller (2004).I 2005 medvirket han i Shakespeares Richard III, før han spilte tittelrollen i Amadeus av Peter Shaffer. Utenfor teateret var han med i dramaserien Seks som oss på TV 2, og i spillefilmen Blodsbånd (2007) av Marius Holst. I 2008 hadde han rollen som Uria Shelley i Bertolt Brechts Mann = Mann, et teaterstykke som vant Hedda-prisen som Årets teaterprosjekt.Under Eventyr i landskap spilte han Ung mann i Desse auga av Jon Fosse, der Oskaras Korsunovas hadde regien. Høsten 2011 hadde Glenn André Kaada tittelrollen i Peer Gynt. Han spilte også i BANK, et stykke som ble satt opp i Norges Bank-bygget. I 2012 hadde han hovedrollen i Festen.I 2014 mottok Perpleks av Marius von Mayenburg, som Kaada hadde regien på, Heddaprisen for beste forestilling.[3]Kaada overtok som teatersjef ved Rogaland Teater etter Arne Nøst fra 1. januar 2019. Nå spiller han hovedrollen i oppsetningen Hårfagre, som spilles i Stavanger Konserhus. Hosted on Acast. See acast.com/privacy for more information.

Requiem in D minor, K. 626 - VI. Benedictus Wolfgang Amadeus Mozart started composing the Requiem Mass in D minor (K. 626) in Vienna in 1791, following an anonymous commision from Count Franz von Walsegg, who requested the piece to commemorate the anniversary of his wife's death. Mozart passed away on December of 1791, however, having finished and orchestrated only one movement. The Requiem is widely considered one of Mozart's greatest works, and its composition process is surrounded a shroud of mistery and myths, usually attributed to Mozart's wife Constanze, who had to keep secret the fact that Mozart hadn't completed the work in order to be able to collect the final payment from the commision. It is commonly accepted that Mozart finished the Introitus, and left detailed sketches of the Kyrie and Dies Irae all the way to the first eight bars of the Lacrimosa and parts of the Offertory. There are now several completions of the Requiem Mass, though the most common by far (considered the standard version of the piece) is the one by Franz Xaver Süssmayr. He not only completed the movements Mozart left (borrowing an unespecified amount from Joseph von Eybler's previous attemps at completing the work) but also added several movements of his own: Sanctus, Benedictus, and Agnus Dei. He then added a final section, Lux aeterna by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass. The myth surrounding this work was increased by the fictional rivarly between Mozart and Antonio Salieri first expressed in 'Mozart and Salieri', a play by Alexander Pushkin, which in turn inspired an opera by Rismky Korsakov of the same name, the inmensely popular 1979 play 'Amadeus', by Peter Shaffer, and it's 1984 film adaptation by Miloš Forman. The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola, and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, bass soloists, and an SATB mixed choir.

Dana and Tom discuss their 1980s Best Picture winner selection in Amadeus from 1984: directed by Milos Forman, written by Peter Shaffer, starring F. Murray Abraham, Tom Hulce, and Elizabeth Berridge. Plot Summary: In the winter of 1823, Antonio Salieri (F. Murray Abraham) is in a psychiatric hospital following a suicide attempt. A priest is summoned to hear Salieri's confession concerning his statement that he killed the composer Wolfgang Amadeus Mozart (Tom Hulce). In his confession, Salieri reveals his contempt for Mozart's obscenity, immaturity, and drunkenness. He cannot understand how God had chosen Mozart has his instrument to bring heavenly music to the world. As Mozart's drunkenness and poor behavior destroy his health, marriage, and reputation, leaving him sick and broke; Salieri uses the situation to seek revenge on God and Mozart and prove he is more than mediocre. You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at https://www.facebook.com/profile.php?id=100081916827044 (Greatest Movie of All-Time Podcast). For more on the episode, go to: https://www.ronnyduncanstudios.com/post/amadeus-1984 (https://www.ronnyduncanstudios.com/post/amadeus-1984) For the entire list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-list (https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-list)

Everything is dark. I'm walking around on stage, selling the idea that I can't see anything. And it's giving me a golden opportunity to find the truth of the story. You see, I'm playing Carol, the lead in a play called Black Comedy by Peter Shaffer. In it, a sculptor and his fiancée (me) borrow expensive antique furniture from our out-of-town neighbors to try and impress an art collector. But then the power goes out (hence the black), and everything goes wrong (hence the comedy). What's really cool about the experience, though, is that the lighting is transposed. When the stage is lit, the cast is seemingly in darkness, and the characters can't see anything. But only when the stage goes dark can the characters finally be able to see themselves and their surroundings. This ended up being my favorite play to perform because I got to embody a character so far removed from what I'm used to. My special guest Brittany Ishibashi is no stranger to this experience. She lives her life immersed in story and has been a working actress since high school!  In this episode, she and I talk about playing characters, effective elements to enhance storytelling, and discuss questions like: What's the inside-out vs. outside-in approach to playing a character, and why is it crucial to gaining audience empathy? Why is an audience of just one person all you really need? And how can you easily and effectively open a story? What you will learn in this episode: How characters and story (in all its forms) can truly change or save lives How to encourage the spirit of play in your life and business Why music is such a universal part of the human experience in storytelling Who is Brittany? Born in Orange County, California, Brittany Ishibashi was raised by musical parents. Seeing her love for the arts, they encouraged her to try out the different facets of the entertainment world. Her passion for musical theater emerged at a young age, and she became a triple threat in dance, music, and acting. Brittany got her first big break right after graduating from high school when she was cast on J.J. Abrams' Felicity. She continued her education in Theatre, Film, and Television at UCLA while establishing her career and has gone on to work consistently over the years on numerous TV series. She's been on shows such as This Is Us, Political Animals, Grey's Anatomy, Grace and Frankie, The Office, Supernatural, and more. Most recently, you can watch Brittany play the villainous Tina Minoru on Marvel's Runaways, Claire Cormier on the CW's Tom Swift, and Tamiko Masuda on CBS' Hawaii Five-0. She also played the villain Karai in Paramount's Teenage Mutant Ninja Turtles: Out of the Shadows. She lives in Los Angeles with her husband, Jeff, and their three children. Links and Resources: @BrittIshibashi on Instagram @BrittIshibashi on Twitter Storytelling School Website @storytellingschool on Instagram @storytellingSchool on Facebook

Career Q&A with Ian McKellen. Moderated by Dave Karger. Ian McKellen has been honored with over 50 international acting awards during his half-century on stage and screen. He is treasured worldwide as Magneto in the X-Men films and Gandalf in The Lord of the Rings and The Hobbit trilogies. He first worked with director Bill Condon as James Whale in Gods and Monsters (1998) receiving his first Academy Award® nomination, for Best Actor. The same year, top critics' groups elected him Best Actor, as the Nazi-in-hiding in Bryan Singer's Apt Pupil. For his classic performance in Richard Loncraine's Richard III, which he produced and co-wrote, he was named 1996 European Actor of the Year. His varied list of other renowned films include The Keep (1983); Plenty (1985); Scandal (1988);Six Degrees of Separation (1993); Restoration (1995); Bent (1997); Cold Comfort Farm (1995) andThe Da Vinci Code (2006). On the small screen, McKellen currently stars in the wickedly successful ITV/PBS sitcom Vicious. For his extensive television work, McKellen is a five-time Emmy nominee, most recently for his matchless King Lear (2008); and his comic guest spot on Extras (2006) remembered for the viral catch-phrase: "How do I act so well?" He is most proud of his work as the mentally- handicapped Walter (1982 Royal Television Award) inAnd the Band Played On (1993 Cable Ace Award), about the origins of AIDS and a guest spot in UK's longest-running soap Coronation Street (2005). Born and raised in the north of England, McKellen attended Cambridge University and since 1961 has worked non-stop in the British theatre. He has been leading man and produced plays, modern and classic, for the Royal Shakespeare Company and the National Theatre of Great Britain and in the West End of London. He has won Olivier Awards for Macbeth (1976-78); The Alchemist (1977); Bent (1979); Wild Honey (1984) and Richard III (1990): plus Evening Standard Awards for Coriolanus (1984) and Othello (1989) and for Outstanding Contribution to British Theatre (2009). In 1981, he won every available award, including a Tony for Best Actor, as Salieri in the Broadway production of Peter Shaffer's Amadeus. He was most recently in New York in No Man's Land and Waiting for Godot after breaking all box-office records in London and on UK and world tours. Over a decade, he toured his solo entertainment Ian McKellen: Acting Shakespeare throughout four continents, where on DVD it is daily viewed in schools and universities. He astonished his fans as Widow Twankey in the Christmas pantomime at the Old Vic in London (2004 & 2005). In 1991 Sir Ian was knighted, for his outstanding contribution to theatre. He is co-founder of Stonewall UK, which lobbies for legal and social equality for gay people. In 2008, the Queen personally appointed him Companion of Honour for his services to drama and to equality.

Nicola Horlick discusses with Ivan six things which should be better known. Nicola Horlick is CEO of Money&Co. She has been a leading fund manager in the City of London for over thirty years. During that time, she has set up and managed several investment businesses. She now chairs a private equity business, is CEO of a film development company, and is a director of an NHS Foundation Trust. Black Comedy by Peter Shaffer https://chicagocritic.com/black-comedy/ Joseph II of Austria https://www.lrb.co.uk/the-paper/v10/n10/william-doyle/despots Many Lives, Many Masters by Dr Brian Weiss https://www.compulsivereaders.com/reviews/many-lives-many-masters-brian-l-weiss/ Pictures at an Exhibition https://www.youtube.com/watch?v=Sq7Qd9PSmR0 Orlanda Broom https://orlandabroomartist.com/ La Perriere https://www.tripadvisor.co.uk/Tourism-g1189181-La_Perriere_Orne_Basse_Normandie_Normandy-Vacations.html This podcast is powered by ZenCast.fm

On April 2, The Temple Theatre will host a masterful collaboration between the Saginaw Bay Symphony Orchestra, Pit & Balcony Theatre, and Saginaw Valley State University's Concert Choir, and various vocal soloists as they present Peter Shaffer's play Amadeus. This production will include a broad range of Mozart's music played out on the stage. Today we speak with guests Maestro Fouad Fakhouri of the Saginaw Bay Symphony Orchestra, Amy Spadafore, Managing Director of the Pit & Balcony Theatre, and Director Dr. Todd Thomas about the collaborative nature of this incredible production. Listen in and make plans to see the performance. www.templetheatre.com www.pitandbalcony.com www.saginawbayorchestra.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/templearts/support

ESSENTIEL, le rendez-vous culture présenté par Sandrine Sebbane Spécial Théâtre avec Mélanie Page pour « Black Comedy » au Splendid  et Julien Poncet pour  « Tout ça pour l'amour » au petit Montparnasse À propos de la pièce : «Black Comedy» La pièce phénomène débarque enfin en France ! Dans ce classique anglais de la comédie, totalement burlesque et déjanté de Peter Shaffer, la grande soirée organisée en l'honneur d'un éminent collectionneur d'art va virer au désastre suite à une panne de courant qui plonge tout un immeuble dans le noir. BLACK COMEDY, c'est une pièce où le spectateur voit tout ce qu'il n'est pas censé voir… Et il a bien de la chance. C'est un colin-maillard chaotique, une pièce chorale où personne ne tient plus debout. Une course effrénée contre la montre où rien ne se passe comme prévu. BLACK COMEDY nous confirme une chose : dans le noir, tout est possible. Surtout le pire. À propos de la pièce : «Tout ça pour l'amour» Texte ciselé, verbe savoureux et parfois fleuri interprété avec fougue et passion, ce seul-en scène s'adresse à tous. Ceux qui ont adoré découvrir la littérature à l'adolescence pour ne plus la quitter… et ceux qui ont détesté ! Evocation virevoltante et captivante de l'Antigone de Sophocle en passant par Flaubert, Rimbaud, Camus... Ce spectacle prend sa source dans l'histoire vraie d'une femme, enseignante et d'un amour pur et absolu.

The boys watch "Amadeus" (1984), a period drama directed by Miloš Forman and written by Peter Shaffer.

Hola excursionistas, soy José Luis Arribas y éste es el súper sonido de 'Ventajas de viajar en cine', desde 'Siéntelo con oído'. Procuren todos su billete de ida, acomódense en su butaca y durante este tiempo háganme el favor de parar sus relojes. El viaje comienza. Hoy: 'Amadeus'. Antes de hablar de la magnífica película 'Amadeus', debemos hacerlo de su director, Milos Forman. Este realizador no puede ser simplemente nombrado, al lado del título de esta gran obra, y directamente pasar al análisis de la misma. Milos Forman merece bastantes líneas y en el espacio de hoy tendrá su lugar de honor. Checo de nacimiento y emigrado a New York, Milos Forman fue un director y guionista de cine, formado en la escuela de cine de Praga, con varias películas en su haber, reconocidas no solamente por premios internacionales sino por la calidad de las mismas, elevadas a obras de culto y a formar parte de ese listado de grandes títulos de la historia del cine. Entre esas joyas destacan dos y brillan con luz propia: 'Alguien voló sobre el nido del cuco', de 1975, y 'Amadeus', de 1984, ambas premiadas con los Óscar a la mejor película y al mejor director, en sus respectivas ediciones. No podemos olvidar otros filmes como 'Valmont', 'El escándalo de Larry Flynt' y 'Man on the Moon'. De la primera, 'Alguien voló sobre el nido del cuco', destacar el papel protagonista de Jack Nicholson y el logro de hacerse con los cinco principales premios tanto en la academia como en los Globos de Oro. Basada en la novela de Ken Kesey, cuenta la historia de un criminal condenado a cumplir su castigo en un hospital psiquiátrico, lugar donde su personalidad chocará con las reglas estrictas impuestas por otro personaje igual de intenso, la enfermera que dirige la clínica. El deseo por escapar del primero, tras existir la posibilidad de permanecer perpetuamente en ese lugar, desbordará los acontecimientos, algo que se siente inevitable en todo momento. Y del drama con toques de comedia, del peculiar sanatorio y sus habitantes, saltamos a la película que encabeza y preside nuestro espacio: 'Amadeus'. Perteneciente al género de cine histórico, esta inmensa obra cinematográfica se basa en un texto teatral de 1979, escrito por Peter Shaffer, guionista y dramaturgo de origen británico. En el año 1981, Milos Forman, presencia el estreno en Broadway de 'Amadeus', y aunque personalmente no se siente atraído por las historias basadas en biografías de músicos, emprende junto a Shaffer la tarea de escritura del guion de una película basada, al igual que la obra de teatro, en la figura de Wolfgang Amadeus Mozart. Tras cuatro meses de trabajo mano a mano y un intenso esfuerzo, finalizan su redacción, teniendo ante ellos un argumento fascinante, en el cual se narra la vida de Mozart, contada por otro insigne compositor, Antonio Salieri, narrador y antagonista de la historia que los envuelve, incluso hasta la muerte de Amadeus, oscuro acontecimiento rodeado de sombras. Existen diferencias entre la puesta en escena en los teatros y la versión en cine, pero sobre todo en lo concerniente a la realidad y a la ficción, ya que aunque se basa ligeramente en aspectos de la vida de ambos compositores, verdaderamente no se trata de un documental que relata con rigor la vida de Amadeus. Hablemos del narrador: Salieri, anciano, en tentativa de suicidio y culpándose como autor de la muerte de Amadeus, cuenta la historia en confesión. En el patio de butacas habla al público y en la película el personaje lo hace frente a un sacerdote. Como decíamos, existían factores distintos entre teatro y cine. Aparte del ya mencionado, otro fundamental reside en la música: no hay música en el escenario; pero en la película lo es casi todo y se alza triunfante como uno de los personajes principales. Es un espectáculo desbordante que envuelve la trama. Las conspiraciones de Salieri contra el joven y extravagante Mozart, recién llegado a la corte del Emperador José II de Austria, alimentan la narración. Sus motivaciones hacia la destrucción del oponente crecen en su interior fruto de la rabia, abocado ahora a un plano secundario, adelantado por el recién llegado, el músico nacido en Salzburgo. Aunque Salieri aborrece al intruso que le ha desplazado, una profunda admiración se mezcla en sus sentimientos. Salieri comienza con una sana esperanza, emocionado por conocer a Mozart pero, cuando ocurre el encuentro, torna a una terrible decepción, y desde ese punto todo es cuesta abajo. Ahora ya no soporta ni su risa, esa risa especial y marca personal del personaje de Amadeus. La realidad histórica diverge completamente. Esta película de género de época solamente es un ejercicio de conversión de una leyenda en una ilusión, en un torrente de imaginación, que modula al antojo de sus creadores, la vida real de Amadeus. Y en esta realidad no existe un Salieri con la amenaza constante que devora sus entrañas, ni sus maquinaciones contra el joven compositor. Lo que sí posee fundamento es el reconocimiento merecido a una de las grandes películas de los años ochenta y de la historia del cine en general, obra de culto en mayúsculas, recibiendo un total de cuarenta premios entre Óscars, Globos de Oro y Bafta. Todo es comprensible y encaja a la perfección: la música, las interpretaciones de Tom Hulce como Amadeus Mozart y Murray Abraham como Antonio Salieri, la solidez del guion y la dirección de Milos Forman. Todos como instrumentos de una colosal composición para disfrutar desde la primera nota.

This episode is dedicated to the 1984 film Amadeus directed by Milos Forman based on the stage play written by Peter Shaffer. There will be spoilers!

Welcome back to the 38th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. The theatres may be closed, but art finds a way to survive! For the time being on this podcast we are rereleasing our past reviews, interviews, roundtables, and duet reviews in remastered audio only versions so you can take your CoH content on the go! For our 38th episode we continue to branch out our review series beyond the Stratford Festival and onto other productions. In this episode we discussed the National Theatre's 2018 production of Peter Shaffer's Amadeus, directed by Michael Longhurst, starring Lucian Msamati in the role of Salieri and Adam Gillen as Mozart. Cup of Hemlock Theatre is a Toronto-based performing arts collective dedicated to staging works that examine the moral quandaries of the human experience. With an inquisitive compass, we aim to provide audiences the space to retrace their personal stories and navigate their individual ideologies. Follow us on Instagram/Facebook/Twitter: cohtheatre Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Aisling Murphy – Instagram: aly_murph // Website: aislingmurphy.ca Andrew Pawarroo – Instagram: andrew.s.pawarroo Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

Amadeus (1984), do diretor Milos Forman e com roteiro de Peter Shaffer, traz a história do gênio da música clássica, Wolfgang Amadeus Mozart, na visão de seu grande opositor, Antonio Salieri, um compositor contemporâneo que possuiu uma forte inveja do talento de seu colega e que diz ter planejado sua morte. Um dos maiores clássicos do cinema e vencedor de 8 prêmios Oscar, incluindo o de melhor filme, Amadeus beira a perfeição. Vem ouvir nossas opiniões sobre o filme! Não se esquece de nos seguir nas redes sociais: @vissebr no Twitter e no Instagram, e de entrar no nosso grupo de discussões no Telegram (também @vissebr)! A equipe: Aninha: Instagram e Twitter Leo: Instagram e Twitter Matheus: Instagram e Twitter Lembrando que é recomendado assistir ao filme antes de ouvir o podcast, pois ele está cheio de SPOILERS. Obras citadas no podcast: - Cidadão Kane - Um Estranho no Ninho - Beethoven - Hamilton - A Voz Suprema do Blues - O Som do Silêncio - O Grito do Silêncio - This is Us (Série) - Pen 15 (Série) - Mozart in the Jungle (série) - Os Simpsons (Série) - Bob Esponja (Série) - Judas e o Messias Negro - Sky High: Super Escola de Heróis - Barry Lyndon - O Povo Contra Larry Flynt

Since tie immemorial, people have been telling stories. Storytelling has served as a way of building coherent, cohesive community. It is also a way to pass down wisdom from earlier generations for the benefit of future generations. The wisdom of storytelling could be applied to today's ecological challenges, such as climate change. But this has not occurred often enough. Ever since the invention of the printing press, the written word has rapidly eclipsed the voice of oral tradition— similarly, truth-telling, once the function of stories, has been largely usurped by modern science. Of course, oral storytelling has never gone away, and it continues to thrive even as it has shape-shifted into other forms, such as film, theatre, dance, hip hop, and spoken-word poetry. When it comes to climate change, there has been a rush to rely on modern science. Science is the accepted means for predicting and controlling the weather. But the discipline of climate science has a very short history. We have been only recording daily temperatures for less than a century-and-a-half. The oral tradition, on the other hand, has been recording changes to the climate for millennia. Virtually all cultures have flood stories that date back to the ending of the last Ice Age. Some stories date back to the Stone Age. Moreover, stories have long provided a means for living in harmony with all our relations. They teach not only by telling us what to do, but what not to do. We can learn from everyone and every creature—even if the only thing we learn is how to identify a bad example. During times of crises, the perennial wisdom of storytelling is needed more than ever. How can storytelling augment the work of climate science in understanding what is unfolding today? How can traditional stories provide the larger wisdom we need to reset our imbalance with the natural world? Join us as we explore the continuing relevance of storytelling today, with our guest storytellers Regina Ress and Valentina Ortiz. “We are hard-wired for story. We listen to story and parts of our brain light up…” ~ Regina Ress ________________________________ “The wisdom is in the old stories. But as storytellers, we make the old new… Oral tradition is alive.” ~ Valentina Ortiz _______________________________________________________________ _______________________________________________________________ Glenn Aparicio Parry, PhD, of Basque, Aragon Spanish, and Jewish descent, is the author of Original Politics: Making America Sacred Again (SelectBooks, 2020) and the Nautilus award-winning Original Thinking: A Radical Revisioning of Time, Humanity, and Nature (North Atlantic Books, 2015). Parry is an educator, ecopsychologist, and political philosopher whose passion is to reform thinking and society into a coherent, cohesive, whole. The founder and past president of the SEED Institute, Parry is currently the director of a grass-roots think tank, the Circle for Original Thinking and is debuting this podcast series of the same name in conjunction with Ecology Prime. He has lived in northern New Mexico since 1994. www.originalpolitics.us Regina Ress is a long-time resident of the fabled Greenwich Village neighborhood in New York City. Regina is an award-winning storyteller, actor, educator and author who has told stories in English and Spanish in the US, Latin America, and Europe; from schools, prisons, and parks to homeless shelters, Lincoln Center, and the White House. As an educator, she has taught at kindergartens, universities, daycare centers, nursing homes, prisons, and international storytelling conferences.  She is the recipient of National Storytelling Network's 2003 Oracle Award for Leadership and the 2015 Oracle award for Excellence.   As an actor, Regina has performed in national tours, regional theatre, off-Broadway, and in the all-star revival of The Women on Broadway. Regina has also been Nominated for two Carbonel Awards for acting (South Florida Theatre Critics award). Her most recent acting role was as Lettice Duffet in Peter Shaffer's Lettice and Lovage—a role written for Maggie Smith. She is a regular contributor to the NPR affiliate WFUV-NY with her stories about New York City.  Her CD release, New York and Me: We're in a Long Term Relationship, features stories about NY with accompaniment by musician Michael Moss; it won a 2014 Honor award from Storytelling World.  These days she keeps busy teaching Storytelling in the Classroom and Beyond for New York University and produces the long running series, Storytelling at the Provincetown Playhouse in NYC. Regina is also on the Board of Directors of Healing Voices – Personal Stories, where she makes films to raise awareness of domestic violence. And she also finds time to be the Vice-President of the Storytellers of New Mexico. Valentina Ortiz Pandolfi is an award-winning storyteller, musician, and writer. She received the Cenzontle de Oro prize for her storytelling and has taught storytelling workshops in many different institutions, from universities to rural elementary schools, specializing in the creation of personal stories as the reconstruction of individual and community history. She began her career as a theater actress in the 70s, and from 1993 on, she has been a percussionist in several bands and orchestras, playing tropical, swing music, and also performing in Afro-cuban and Mexican traditional ensembles. Valentina has written and performed the play Bigu La Tortuga with the troupe “La Fábrica, danza-teatro y otras ocurrencias” And she regularly produces her own shows that combine stories, music, and movement in Mexico and also in international festivals around the world. She has produced three records with her original stories and music: Earth Stories, Words of the Living River, and 100% Xochiquetzal. She has also published several story books, including Taming History, a story written about the Mazahua indigenous women of Santa Martha del Sur. She is the general director of the non-profit association Zazanilli Cuentos A.C. organizing art workshops and creative collaborative projects with marginal groups of Mexico. Valentina recently finished the video recording of the community project Voices of the River, developed in the small Mexican community called La Huacana, in the state of Michoacan. This project is a community reflection about water management. _______________________________________________________________ Traditional native flute music by Orlando Secatero from Pathways CD.Liberty song by Ron Crowder, Jim Casey and Danny Casey _______________________________________________________________ Featured illustration by Sir John Tenniel from his classic illustrations for Alice in Wonderland. Public Domain Photo of Regina Ress by Arieh Ress The post Oral Tradition and Climate Change appeared first on WebTalkRadio.net.

This week on Total Movie Recall, one man's fun trash is another man's not-fun trash. Steve gets typically indignant at Ryan's casual, cruel dismissal of somebody's labor of love, and Ryan reaches heretofore unplumbed depths of his warped psyche, exploring the lingering effects of watching movies like Killer Klowns at too tender of an age. This is what happens when a little boy lets teenage girls bully him into watching movies. Ryan's therapist has her work cut out for her this week. Killer Klowns from Outer Space (1988) d. Stephen Chiodo w. Charles Chiodo, Stephen Chiodo, Edward Chiodo Starring: Grant Cramer Suzanne Snyder John Allen Nelson John Vernon When teenagers Mike (Grant Cramer) and Debbie (Suzanne Snyder) see a comet crash outside their sleepy small town, they investigate and discover a pack of murderous aliens who look very much like circus clowns. They try to warn the local authorities, but everyone assumes their story is a prank. Meanwhile, the clowns set about harvesting and eating as many people as they can. It's not until they kidnap Debbie that Mike decides it's up to him to stop the clowns' bloody rampage. Things discussed in the show: Coulrophobia - The fear of clowns (Agoraphobia, Anablephobia, Triskaidekaphobia) John Wayne Gacy / Pogo the Clown Spawn and The Violator (Image Comics) King Missile (John S. Hall) - The Leather Clown Police Story (Jackie Chan, Chi-Hwa Chen, Maggie Cheung, Brigitte Lin) Rumble in the Bronx (Stanley Tong, Jackie Chan, Anita Mui, Françoise Yip) Drunken Master (Woo-Ping Yuen, Jackie Chan, Siu-Tin Yuen, Jang-Lee Hwang) The Toxic Avengers (Michael Herz, Lloyd Kaufman, Andree Maranda, Mitch Cohen, Jennifer Babtist) Flock of Seagulls & The Cure hair doos The Return of the Living Dead (Dan O'Bannon, Clu Gulager, James Karen, Don Calfa) Good Will Hunting (Gus Van Sant, Matt Damon, Ben Affleck, Robin Williams) Dave Made a Maze (Bill Watterson, Meera Rohit Kumbhani, Nick Thune, Adam Busch) Primer (Shane Carruth, David Sullivan, Casey Gooden) Doctor Who and The TARDIS Videodrome (David Cronenberg, James Woods, Debbie Harry, Sonja Smits) Teeth (Mitchell Lichtenstein, Jess Weixler, John Hensley, Josh Pais) Idiocracy (Mike Judge, Luke Wilson, Maya Rudolph, Dax Shepard) Epic Levels - Dungeons & Dragons music The Sopranos (David Chase, James Gandolfini, Lorraine Bracco, Edie Falco, Steven Van Zandt, Jamie-Lynn Sigler, Tony Sirico) Schitt's Creek (Dan Levy, Eugene Levy, Catherine O'Hara, Dan Levy, Annie Murphy, Chris Elliott) Perry Mason (Ron Fitzgerald, Rolin Jones, Matthew Rhys, Juliet Rylance, Chris Chalk, John Lithgow, Lili Taylor) Naked Gun 33 1/3: The Final Insult Bad Boys for Life (Adil El Arbi, Bilall Fallah, Will Smith, Martin Lawrence, Vanessa Hudgens) Lovecraft Country (Misha Green, Jonathan Majors, Jurnee Smollett, Courtney B. Vance, Aunjanue Ellis, Wunmi Mosaku, Abbey Lee, Jamie Chung, Jada Harris, Michael Kenneth Williams) Bozo the Clown Flowers in the Attic (Jeffrey Bloom, Virginia C. Andrews, Louise Fletcher, Victoria Tennant, Kristy Swanson) Flowers for Algernon (Daniel Keyes) Amadeus (Milos Forman, Peter Shaffer, F. Murray Abraham, Tom Hulce, Elizabeth Berridge) Critters (Stephen Herek, Domonic Muir, Dee Wallace, M. Emmet Walsh, Billy Green Bush) Large Marge from Pee Wee's Big Adventure (Tim Burton, Phil Hartman, Paul Reubens, Elizabeth Daily, Mark Holton) Puppet Master Bad cops in Dolemite (Rudy Ray Moore) and Shaft (Gordon Parks, Richard Roundtree, Moses Gunn, Charles Cioffi) Ghoulies (Luca Bercovici, Jefery Levy, Peter Liapis, Lisa Pelikan, Michael Des Barres) The Willies Metallica - Metal Up Your Ass Sigmund Freud's uncanny effect Commedia dell'arte Hop-Frog (Edgar Allen Poe) & Regicide David Carradine The Dickies - Killer Klowns from Outer Space theme illiterates - Makeout Mountain (punk record) Where did I Come From? (Howie Mandel) The Joker Insane Clown Posse (ICP) Next Week: Aladdin (1993)

Hello neighbor. On today's The Real Butter™ Buttercast

Í Víðsjá í dag verður kannað hvað leikritahöfudurinn Peter Shaffer hafði fyrir sér þegar hann samdi leikritið Amadeus sem kvikmyndaleikstjórinn Milos Forman breytti síðar í kvikmynd. Árni Heimir Ingólfsson listrænn ráðgjafi Sinfóníuhljómsveitar Íslands verður tekin tali en hljómsveitin leikur tónlist Mozarts tvívegis í vikunni við kvikmynd Formans. Starkaður Sigurðarson flytur myndlistarpistil og Ingibjörg Eyþórsdóttir les úr nýrri þýðingu sinni á skáldsögunni Hin órólegu sem er bók vikunnar að þessu sinni. Að auki heldur Víðsjá áfram umræðu sem pistlahöfundur Víðsjár hóf í síðustu viku um Hús íslenskra fræða þegar rætt verður við Véstein Ólason fyrrverandi forstöðumann Stofnunar Árna Magnússonar í íslenskum fræðum og Ögmund Skarphéðinsson arkitekt hjá arkitektastofunni Hornsteinum en stofan sér um hönnun hússins. Umsjón: Guðni Tómasson og Halla Harðardóttir

The death of Sir Peter Hall was announced today, at the age of 86. Friends and colleagues look back on his life. We'll be hearing from those who lived and worked with him including the Opera singer Maria Ewing, who was married to Sir Peter Hall for eight years and who was directed by him many times. We'll also speak to former heads of the National Theatre Sir Nicholas Hytner and Sir Richard Eyre, the director Sir Trevor Nunn, playwright David Edgar and theatre critic Michael Billington.Peter Hall, whose career spanned more than six decades, was a director of theatre, opera and film. As well as founding the Royal Shakespeare Company, running the National Theatre for 15 years, working as artistic director at Glyndebourne Festival Opera, and setting up the Peter Hall Company, he will be remembered for his extensive work which ranged from Shakespeare and the Greek classics to Pinter and of course Peter Shaffer's Amadeus with Paul Scofield and Simon Callow. Presenter Samira Ahmed Producer Helen Fitzhenry.

Playwright Peter Shaffer is remembered by theatre critic Michael Billington and director Thea Sharrock, who worked with him on the revival of Equus in 2007. In a rare interview, American novelist Don DeLillo talks to Samira Ahmed about his new novel Zero K which explores cryogenics, immortality and death. New Blood, is the latest series from Anthony Horowitz, creator of Foyle's War and the Alex Rider novels. In it, two junior investigators for the police and the Serious Fraud Office, Rash and Stefan, are brought together on television for the first time, linked by two seemingly unrelated cases. Beth Orton has ditched the acoustic guitar and folk songs for her new album Kidsticks which is mostly composed from electronic loops, drum machines and keyboards. She describes the freedom of creating music without any expectations.

Director Kate Carruthers has brought some extraordinary productions to the BPA stage in recent years, most notably her ambitious undertaking of the nine plays of The Kentucky Cycle and last year's Snow Falling on Cedars. But this year she's outdone herself; together with Music Director Josh Anderson she is staging Peter Shaffer's magnificent Amadeus, complete with period costumes, a live chamber group, and a choral ensemble. First written in 1979 by Peter Shaffer, Amadeus was revised six times over the following 21 years, including a version for the 1984 movie. Over these six revisions, the play moved from a simple melodrama to become the heart-wrenching tragedy of Antonio Salieri. The established composer in the court of the Austrian Emperor Josef, Salieri has given himself to God so that he might realize his sole ambition to be a great composer. Enter Mozart -- a foul-mouthed, graceless oaf who composes rapturously beautiful music with a genius far beyond Salieri's envious grasp. For Salieri, the realization of his own relative mediocrity despite his sacrifices becomes more than he can bear, and he hatches a complex plot to gain ultimate revenge over Mozart and God. The final revision of Amadeus has been performed many times in the US and Europe, but only rarely with the music of Mozart -- which Shaffer considers to be the third character in this play -- performed live by a chamber group and choral ensemble. In this podcast, Kate Carruthers and Josh Anderson explain to BCB host Channie Peters how they are working together to weave the passionate words of this extraordinary play with the sublime music of Mozart. This special BPA production, they tell us, has become possible only because of the exceptional musical talent and skill of Jon Brenner, who has arranged the music to accommodate the smaller number of musicians and singers who will be part of the performance. The production is also considerably enhanced by the period costume designs of Barbara Klingberg, a successful architect who has designed costumes for Broadway shows and movies. Because this production is not a musical, but a play with music, the challenge of directing the acting, singing and orchestration will be complex. But if anyone can pull that off, we're sure Kate and Josh are up to the task -- and their vision of the end result in this podcast sounds exhilarating! You won't want to miss this extraordinary show: Amadeus opens Friday, March 11 and will run Fridays, Saturdays and Sundays through March 26th at Bainbridge Performing Arts. Tickets are on sale now at the BPA website or by visiting or calling (206-842-8569) the BPA box office. Credits: BCB host: Channie Peters; BCB audio editor: Barry Peters; social media publishers: Diane Walker and Barry Peters.