Podcast appearances and mentions of queen margaret

What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

After shocking upsets in last week's Rounds of 64 and 32, our Ides of March Madness tournament continues with a Sweet 16 consisting of Nick Bottom vs. Richard III, Beatrice vs. Sir John Falstaff, Juliet vs. Cassius, Marc Antony vs. Margaret, Aaron vs. Hamlet, Emilia vs. Prince Hal/Henry V, Lady Macbeth vs. Caliban, and Paulina vs. Viola. Judges DeeDee Batteast, Nate Cohen, Elizabeth Dennehy, Gregory Linington, and Austin Tichenor call it the way they see it and reveal how some unjustifiable seeding gets exposed when characters go head-to-head; how “the noblest Roman of them all” fares against a teenage girl from Verona; how Queen Margaret begins as Juliet; Aaron's aristocratic origins; how the possibility of playing these characters with the Back Room Shakespeare Project became an important contributing factor; several come-from-behind victories when the outcome looked obvious; and how characters who appear across multiple plays have a decided(ly unfair?) advantage. Who will win the crown of Shakespeare's Best Character? Hear here! (Length 52:41) The post Ides of March Madness 2026 (Part 2) appeared first on Reduced Shakespeare Company.

fWotD Episode 3246: Loveday (1458) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Wednesday, 25 March 2026, is Loveday (1458).The Loveday of 1458 (also known as the Annunciation Loveday) was a ritualistic reconciliation between warring factions of the English nobility that took place at St Paul's Cathedral on 25 March 1458. Following the outbreak of the Wars of the Roses in 1455, it was the culmination of lengthy negotiations initiated by King Henry VI to resolve the lords' rivalries. English politics had become increasingly factional during his reign, and was exacerbated in 1453 when he became catatonic. This effectively left the government leaderless, and eventually the king's cousin, and at the time heir to the throne, Richard, Duke of York, was appointed protector during the king's illness. Alongside York were his allies from the politically and militarily powerful Neville family, led by Richard, Earl of Salisbury, and his eldest son, Richard, Earl of Warwick. When the king returned to health a year later, the protectorship ended but partisanship within the government did not.Supporters of King Henry and his wife, Queen Margaret, have been loosely called "Lancastrians", the king being head of the House of Lancaster, while the duke and his party are considered "Yorkists", after his title of Duke of York. By the 1450s, York felt increasingly excluded from government, and in May 1455—possibly fearing an ambush by his enemies—led an army against the King at the First Battle of St Albans. There, in what has been called more of a series of assassinations than a battle, the personal enemies of York and the Nevilles—the Duke of Somerset, the Earl of Northumberland, and Lord Clifford—perished.In 1458 the king attempted to unite his feuding nobles with a public display of friendship under the auspices of the Church at St Paul's Cathedral. Following much discussion and negotiation, and amid the presence of large, armed, noble retinues which almost led to another outbreak of war, a compromise was announced. To celebrate, a procession was held by all the major participants, who walked hand-in-hand from Westminster Palace to the cathedral. Queen Margaret was partnered with York, and other adversaries were paired off accordingly, and the sons of the dead Lancastrian lords took their fathers' places. Certain reparations were ordained, all by the Yorkist lords, who for their part accepted full responsibility for the Battle of St Albans. They were ordered to make payments to the dead lords' widows and sons, and masses were paid for the souls of all who had died. Contemporaries varied in their views of the accord. Some wrote verses expressing hope that it would lead to a new-found peace and prosperity; others were more pessimistic as to its value.In the long run, the king's Loveday and its agreements had no long-lasting benefit. Within a few months, petty violence between the lords had broken out again and, within the year, York and Lancaster faced each other at the Battle of Blore Heath. Historians debate who—if anyone—gained from the 1458 Loveday. On the one hand, the crown publicised its role as the ultimate court of appeal but, conversely, although the Yorkists were bound to pay large sums in compensation, this was done with money already owed by the government. Fundamentally, factional discord was highlighted on the public stage, and the war it was intended to prevent was only deferred.This recording reflects the Wikipedia text as of 00:15 UTC on Wednesday, 25 March 2026.For the full current version of the article, see Loveday (1458) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Joanna.

To learn more about the last time an English king was usurped, listen to Season 7, Bonus Episode 12, where Dan tells the story of Henry VI's grandfather, Henry Bolingbroke. In 1399, he toppled Richard II to become King Henry IV.  By 1460, England has emerged into a polycrisis.  King Henry VI has been relegated to a pawn. His son and wife have been disinherited, with Richard, Duke of York, now heir presumptive. Violence pulses through the countryside.  In this pivotal chapter of the Wars of the Roses, it appears that Yorkist forces have finally overwhelmed the Lancastrians in the battle for the crown.   But then, Richard, Duke of York is killed in an ambush. It throws everything into disarray, and Queen Margaret of Anjou makes one last attempt at violent restoration.  It appears the clock has run out for the Yorkists. That is, until the eleventh hour, when Richard's son, Edward Earl of March, is propelled into the decisive moment.  – A Sony Music Entertainment production.  Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts  To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices.  Visit megaphone.fm/adchoices  – Written and presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole  Production Manager - Jen Mistri  Production coordinator - Eric Ryan  Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

Royal favourites, we want your voice notes in our new miniseries on historical failures. Look out for Producer Al's callout post on patreon.com/thisishistory.  It's there where you can listen to this week's bonus episode, where Dan gives an explainer on Warwick's piracy, the value of Calais, and the risks of another royal usurpation. Plus, hear more about Dan's meltdown over a parking ticket.  All is not well in a simmering kingdom.  Richard Neville, Earl of Warwick — a key ally of Richard Duke of York — is holding the last skerrick of English territory in France: Calais. He's the top military boss over there, but in recent months he's been behaving like a high‑born pirate king.  Queen Margaret of Anjou decides enough is enough. She summons him back to England for a crackdown, but in the process, she sends Warwick, York — and his towering heir Edward, Earl of March — into open revolt. England erupts into a series of battles between Lancastrians and Yorkists at Blore Heath, Ludford Bridge, and Northampton.  What emerges is a full blown succession crisis.  – A Sony Music Entertainment production.  Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts  To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices.  Visit megaphone.fm/adchoices  – Written and presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole  Production Manager - Jen Mistri  Production coordinator - Eric Ryan  Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

Royal favourites, we want your voice notes in our new miniseries on historical failures. Look out for Producer Al's callout post on patreon.com/thisishistory.  It's there where you can listen to this week's bonus episode, where Dan discusses what likely triggered Henry VI's descent into silence, while he also gives a primer on England's warring noble families: the Nevilles, Percys, and Courtenays.  Henry VI isn't responding to anyone. Not to his physician, nor to his newborn son, Prince Edward. He's just inert, catatonic.  If the king's health is said to be a mirror of the health of the realm, then England's in big trouble (which it is). The Hundred Years' War is on the verge of being decisively over in France's favour. England has lost Gascony, Normandy, and Maine, with only the small Garrison at Calais left.  This a full-blown crisis that is usually left to the king to solve, but instead, Parliament decides to make Richard Duke of York the Protector of the realm — angering Queen Margaret and York's nemesis, Edmund Duke of Somerset.   Then something remarkable happens: Henry wakes up. – A Sony Music Entertainment production.  Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts  To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices.  Visit megaphone.fm/adchoices  – Written and presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole  Production Manager - Jen Mistri  Production coordinator - Eric Ryan  Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

Scotland's history is filled with war, betrayal, political intrigue. At the heart of it were powerful Queens; from saintly rulers to strategic alliances, the women behind the throne were anything but passive.Matt Lewis is joined by historian Sharon Bennett Connolly to explore the remarkable life of Saint Margaret of Scotland, the political challenges faced by Queen Margaret of England, and the resilience of Elizabeth de Burgh, second wife of Robert the Bruce, who played a pivotal role in Scotland's fight for independence.MOREThe Real Lady Macbeth with Val McDermidListen on AppleListen on SpotifyWomen CrusadersListen on AppleListen on SpotifyGone Medieval is presented by Matt Lewis. It was edited by Amy Haddow, the producers are Rob Weinberg and Joseph Knight. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

Royal favourites, we want your voice notes in our new miniseries on historical failures. Look out for Producer Al's callout post on patreon.com/thisishistory.  There you can also listen to this week's bonus episode, where we discuss the Duke of York's super-royal credentials, and why the Duke of Somerset fails upward.  Henry VI's royal court breathes a collective sigh of relief — Queen Margaret of Anjou is pregnant. It's a welcome addition to what remains of a vanishingly thin Plantagenet dynasty.  Aside from Henry, this is the first royal birth in 50 years.  The celebrations don't last long. As 1453 rolls on, two prominent nobles are fighting to rule on behalf of an impotent king. Edmund Beaufort, Duke of Somerset is the king's favourite… but he's also the man who lost Normandy. At his heels is Richard Plantagenet, Duke of York, a man feared by the nobility but loved by England's increasingly frustrated populace.  The realm will soon have to make a stark choice, because a catastrophic blow to English power is imminent.  – A Sony Music Entertainment production.  Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts  To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices.  Visit megaphone.fm/adchoices  – Written and presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole  Production Manager - Jen Mistri  Production coordinator - Eric Ryan  Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

***This show is brought to you by Quince. Go to ⁠⁠http://quince.com/playonpod ⁠⁠for free shipping on your order and 365-day returns.*** Next Chapter Podcasts presents the complete Play On Podcast series, RICHARD III, in its entirety. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Geoffrey Chaucer's granddaughter Alice was first married at the age of 11. She was granted a license to marry her third husband on 11th November, 1430; and became defined by her three powerful unions with men she outlived. Having lost her first two husbands in the Hundred Years War, she then settled down with William de la Pole, Earl of Suffolk; a marriage that got her closer than ever to the seat of power. At one point, she even filled in for Queen Margaret on a ceremonial parade in France. In this episode, Arion, Rebecca and Olly marvel at Chaucer's ability to climb the social hierarchy via her marriages; explain why ‘jointures' changed the fortunes of widows in the Middle Ages; and consider the merits of commissioning multiple statues of themselves… Further Reading: • ‘Four Thought: And His Wife' (BBC Radio 4, 2021) - Olly Mann interviews Jessica Barker about medieval statues of women, including Alice Chaucer: https://www.bbc.co.uk/programmes/m000z0c4 • ‘Historical Figures: Alice Chaucer, Lady of the Garter' (Just History Posts, 2020): https://justhistoryposts.com/2020/08/11/historical-figures-alice-chaucer-lady-of-the-garter/ • ‘'Till Death Us Do Part? Love and the Medieval Tomb Monument with Dr Jessica Barker' (The Churches Conservation Trust, 2021): https://www.youtube.com/watch?v=zH55Vq3tHo0 This episode first aired in 2021 Learn more about your ad choices. Visit podcastchoices.com/adchoices

***This show is brought to you by Quince. Go to ⁠http://quince.com/playonpod ⁠for free shipping on your order and 365-day returns.*** King Richard gets an onslaught of bad news as he prepares for battle in York's House Garage. The only glimmer of hope is the news that Buckingham's army was dispersed by floods and he was taken prisoner. Richard tells Stanley to muster men but to leave behind his son, George, so he can be sure of Stanley's loyalty. Stanley secretly sends word to Richmond that he will come to his aid once he secures his son's safety. Richmond rallies her army outside a “A Bus Named Larry” as Richard spends the night in an empty warehouse. Both leaders sleep and dream in their separate camps. Richard is haunted by the ghosts of the people he murdered, Richmond is blessed by those same ghosts. The moment of truth arrives when Richard meets Richmond in battle the next day. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

***This show is brought to you by Quince. Go to http://quince.com/playonpod for free shipping on your order and 365-day returns.*** Richard hires the murderer Tyrell to finish off the Princes in the Tower. Richmond demands his Earldom but flees when Richard brushes him off. Ratcliffe brings news that the Bishop of Ely has joined Richmond. When Elizabeth and the Duchess confront him, Richard uses the opportunity to convince Elizabeth to give him her daughter in marriage in order to preserve her line. He celebrates his triumph until Stanley informs him that Richmond is on his way to England, sending him into a rage. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe” Learn more about your ad choices. Visit megaphone.fm/adchoices

He was handsome, ambitious, and despised... accused of being Queen Margaret's lover and blamed for losing England's empire in France. When Edmund Beaufort fell at St. Albans, the prophecy of his death came true, and England tumbled into civil war.Sources: The Reign of King Henry VI by Ralph GriffithsAJ Pollard - The Wars of the RosesTudor London Halloween Walk: https://www.englandcast.com/haunted-tudor-london-walk/ Hosted on Acast. See acast.com/privacy for more information.

***This show is brought to you by Quince. Go to http://quince.com/playonpod for free shipping on your order and 365-day returns.*** In the parking garage outside The Tower, Richard coaches Buckingham on how to act distraught. The Mayor arrives with Catesby and recoils in horror when Ratcliffe delivers Hastings' head. In order to keep her own, she promises to tell the citizens that Hastings was a traitor who deserved to die. Once she leaves, Richard tells Buckingham to spread the word that King Edward was father to countless illegitimate children, including the two Princes. Later, Richard is planted as a guest on the Maximum Rock-n-Roll Radio Show to pose as a devout Christian and give the impression that he does not want to be King unless the people demand it. Buckingham stages a call into the show to plead with Richard to take the throne, saying that if he doesn't, there will be rebellion. Richard pretends to be reluctant but eventually gives in. Later, outside The Tower parking garage, the Duchess, Elizabeth, Anne and Dorset assemble to visit the Princes, but Brackenbury refuses to let them in. Dorset flees to France to join forces with Richmond. Anne agrees to be crowned in order to save the Princes. Elizabeth goes to Sanctuary to save herself and the Duchess goes to her death. Later, King Richard sits on the throne at The Temple Beautiful with Buckingham at his side, celebrating their rise to power. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

The young Prince Edward arrives at The Temple Beautiful and complains to Richard about his uncles imprisonment. Richard tells him his uncles Rivers and Dorset were dangerous. Edward protests but is interrupted by the arrival of the Mayor of London who greets him with flattery. Edward asks about the whereabouts of his mother and brother, the Duke of York. Hastings arrives and tells Edward his mother and brother are in sanctuary. Buckingham orders Hastings to bring York to them by force. The Cardinal protests but Buckingham convinces him there's no need for sanctuary under these circumstances. Alone with his uncle Richard, Edward asks where he and his brother will be staying before their coronation. Richard tells him they're to stay in the Tower. Edward protests but is interrupted by the arrival of his younger brother. Little York teases Richard until he learns they're going to the Tower. He starts to argue but Edward tells him not to fear. They're taken away. Richard and Buckingham call in Catesby to test Hastings' loyalty. Once alone, Richard promises Buckingham the Earldom of Hereford. Later that night, a messenger from Stanley arrives at Barrington Hall to warn Hastings that Richard is going to kill him. Hastings reassures him that Richard won't harm him. Catesby arrives and hears from Hastings that he won't support Richard taking the throne, even though he had his enemies (Rivers and Dorset) killed. Stanley rolls up and warns Hastings not to trust Richard. Buckingham saunters out to meet them and takes them to the Tower for the coronation. Elsewhere, in a warehouse basement in Pomfret, Rivers begs for his life as Ratcliffe drowns him. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Inside the Tower, Clarence begs for his life. Later, at the Gilman DIY Music Venue, King Edward secures a reluctant peace between his family's rival factions, but collapses in grief when Richard arrives with news of Clarence's death. In the ensuing chaos, Richard secures the alliance of Buckingham and Ratcliffe. That night, Elizabeth and the Duchess grieve the deaths of Edward and Clarence. Richard enters to offer his condolences and Buckingham suggests a quiet coronation for the young prince Edward in order to avoid civil unrest. Meanwhile, Dorset and Rivers rush to secure the safety of Prince Edward in Ludlow. At Rasputin Records, citizens fret over being ruled by a child King with Richard as his Protector. At home with her younger son, the Prince of York, Elizabeth gets a tattoo as she ruminates with the Duchess over their horrible state of affairs. A messenger arrives with the news that Dorset and Rivers have been imprisoned in Pomfret by Richard and Buckingham. Elizabeth grabs York and withdraws in despair to sanctuary, leaving the Duchess behind. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Queen Elizabeth replays a tape of her husband King Edward's band as she obsesses over his failing health. Her brother, Lord Rivers, tries to comfort her, as do her two sons from a previous marriage, Gray and Dorset. She tells them that the sons she conceived with Edward are still too young to rule, and that if her husband dies, the throne will go to Richard until the oldest son comes of age, putting her safety in jeopardy. Buckingham and Derby arrive to report that King Edward's health is improving and that he wants to make peace between Richard and Elizabeth's clans. Richard barges in with Hastings at his side, railing that he's being disrespected and that people are telling lies about him. Elizabeth does her best to defend herself against his accusation that she put Clarence in jail and that she is vying for the throne. As they argue, the old Queen Margaret arrives unseen and listens to them from outside the house, commenting bitterly to herself about how quickly power is lost. She finally confronts the group and berates Richard for the murders of her family before cursing everyone in the room, one by one. After she departs, Catesby enters to say that King Edward wants to talk to his family. Richard, left alone, celebrates his mischief, then hires two murderers to kill his brother Clarence in the Tower. There, Clarence tells Brackenbury (the jailer) about a nightmare he had in which he drowned trying to rescue Richard and was dragged down to hell. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLO. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

As his older brother, the newly crowned King Edward, weakens with illness, Richard, Duke of Gloucester, lays out his plans to take the throne. He frames his brother Clarence for conspiring to kill Edward, then convinces Lady Anne, the widow of the previous King Henry, to marry him, even though he killed her husband and their son. The PLAY ON PODCAST SERIES, “RICHARD THE THIRD”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by MIGDALIA CRUZ. All episodes were directed by LISA ROTHE. Radio play by CATHERINE EATON.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   The cast is as follows:   MATT FRASER                  as    RICHARD THE THIRD MIA KATIGBAK                 as    QUEEN MARGARET, CITIZEN and BLUNT HIRAM DELGADO             as    CLARENCE, DORSET, ELY and MESSENGER NANCY RODRIGUEZ        as    LADY ANNE, OXFORD, RIVERS and A MURDERER RACHEL CROWL              as    QUEEN ELIZABETH, NORFOLK, and MESSENGER SANJIT DE SILVA             as    NESS AQUINO, BUCKINGHAM, and A CITIZEN CHARLES DUMAS            as    EDWARD, HENRY the SIXTH, STANLEY & CARDINAL ANDY LUCIEN       as    HASTINGS, SCRIVENER, a MESSENGER and A MURDERER GABRIELA SAKER           as    CATESBY, DUKE OF YORK and A MESSENGER DANAYA ESPERANZA as BRAKENBURY, RATCLIFFE, LORD MAYOR, TYRREL, and  RICHMOND ALMA CUERVO              as    DUCHESS OF YORK, SHERIFF & A MESSENGER ELIJAH GOODFRIEND  as    PRINCE EDWARD, A PAGE, and A BOY   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Voice and Text Coach: JULIE FOH   Original music composition, Mix and Sound Design by LINDSAY JONES. Composer, Producer, Guitars, Bass, Lead Vocals, Recording and Mix Engineer, DAVID MOLINA. EDWIN AYALA on Drums. Backup Vocals by MANUEL TRUJILLA. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “RICHARD THE THIRD” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “We are not safe”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to episode 4 of this 6 part special on the Wars of the Roses. Today's episode sees Richard Neville, Earl of Warwick, the Kingmaker, make plans which soon fall apart. Joining me are two historians, Derek Birks, the author of the Guide to the Wars of the Roses, and David Pilling, author of Kingbreaker. You'll get two episodes per week, and so hopefully will emerge from August with a superior knowledge of a conflict that was an early civil war, and which formed England for the next few hundred years. All the great characters are here, Elizabeth Woodville, Henry VI, Queen Margaret, Warwick the Kingmaker, Edward IV, Richard III and finally Henry Tudor. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to episode 3 of this 6 part special on the Wars of the Roses. Today Edward IV emerges as the great new hope for the Yorkist cause now that his father, Richard Duke of York is dead. Joining me are two historians, Derek Birks, the author of the Guide to the Wars of the Roses, and David Pilling, author of Kingbreaker. You'll get two episodes per week, and so hopefully will emerge from August with a superior knowledge of a conflict that was an early civil war, and which formed England for the next few hundred years. All the great characters are here, Elizabeth Woodville, Queen Margaret, Warwick the Kingmaker, Edward IV, Richard III and finally Henry Tudor. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to episode 2 of this 6 part special on the Wars of the Roses as today we deal with the fall of Edward Duke of York. Joining me are two historians, Derek Birks, the author of the Guide to the Wars of the Roses, and David Pilling, author of KingBreaker. You'll get two episodes per week, and so hopefully will emerge from August with a superior knowledge of a conflict that was an early civil war, and which formed England for the next few hundred years. All the great characters are here, Elizabeth Woodville, Queen Margaret, Warwick the Kingmaker, Edward IV, Richard III and finally Henry Tudor. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to the first of 6 episodes on the Wars of the Roses. Over the next few weeks we'll be starting with the Battle of St. Alban's in 1455, all the way up to the Battle of Bosworth thirty years later in 1485 when Richard definitely said, "A horse! A horse! My kingdom for a horse!" Joining me are two historians, Derek Birks, the author of the Guide to the Wars of the Roses, and David Pilling, author of Kingbreaker. You'll get two episodes per week, and so hopefully will emerge from August with a superior knowledge of a conflict that was an early civil war, and which formed England for the next few hundred years. All the great characters are here: Henry VI, Elizabeth Woodville, Queen Margaret, Warwick the Kingmaker, Edward IV, Richard III and finally Henry Tudor. Links A Guide to the Wars of the Roses, by Derek Birks Kingbreaker: Rebel and Traitor, by David Pilling Kingmaker Board Game The Causes of the Wars of the Roses Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today's podcast, we're heading slightly beyond the Tudor world — north to Scotland — to uncover the story of a young queen who deserves far more recognition than she gets. On this day in 1486, Queen Margaret of Denmark, consort of James III of Scotland, died at just 30 years old. But her brief life left a permanent mark on British history. Because of Margaret, Orkney and Shetland became — and remained — part of Scotland. A forgotten dowry, a pledged territory, and a queen who quietly changed the map of the British Isles. But there's so much more to her than diplomacy.  Join me as I delve into the fascinating story of Margaret of Denmark — her Danish roots, her turbulent royal marriage, her influence on Scottish politics, and the tragic mystery of her early death. Had you heard of Margaret before? What do you think of her impact? Let me know in the comments below! And don't forget to like, subscribe, and ring the bell for more history videos every week! #OnThisDay #MargaretOfDenmark #ScottishHistory #QueenMargaret #Orkney #Shetland #TudorEra #MedievalQueens #JamesIII #JamesIV #WomenInHistory #ClaireRidgway #AnneBoleynFiles

John Harding, a founder of Ilbijerri Theatre Company and veteran playwright, recorded 20 hours of Taungurung elder Uncle Larry Walsh recounting his life story. The result is Lazarus, a sold-out theatre show telling a life of tragic beginnings as a stolen child, survival in institutions and fearless activism. We also hear Billy McPherson, playing Larry. Lazarus is on as part of Melbourne /Naarm's Yirramboi festival.Jason Arrow is known to many as the titular character in Hamilton where he had an extraordinary run both in Australia and internationally. Now he has put his breeches and coat tails away and has donned a 1950s dapper suit for the character of Nicely-Nicely Johnson in Opera Australia's Guys and Dolls on Sydney Harbour. He sings for us the showstopper Sit Down, You're Rockin' the Boat!The Player Kings is a show which takes the audience on an 8-hour journey through plays by Shakespeare and Christopher Marlowe that chart the rise and fall of five kings. Liam Gamble is making his professional theatre debut, alongside Emma Palmer who plays the evil Queen Margaret. Liam has cerebral palsy, and talks about playing the villainous Richard III, a character who is disabled and endures cruel treatment.

Ink artist Andy Gomez Reyes shares his story about the love for body art that has driven his career. His artistry is showcased by Avant Bard in their production of The Margriad (or the tragedy of Queen Margaret after William Shakespeare), March 6-29, 2025 at Gunston Arts Center.

Queens Podcast: Jaquetta of Luxembourg and the Wars of the Roses - Part 1 It's Wars of the Roses Week! Leading into our season 8 opener. Any guesses? Well, today we are looking back to our first Wars of the Roses Queen, or duchess- Jacquetta of Luxembourg. The episode also touches on the intricacies of medieval English and French nobility, Jaquetta's significant wealth, and the eventual shift in power dynamics that led to the Wars of the Roses. We'll elaborate on her prolific motherhood, her close relationship with Queen Margaret of Anjou, and the political turmoil involving King Henry VI. The episode combines historical facts with light-hearted commentary, setting the stage for the continued exploration of Jaquetta's fascinating life. 00:00 Introduction to Queens Podcast: Wars of the Roses Week 00:42 Revisiting Jaquetta of Luxembourg 01:54 Jaquetta's Early Life and Family Background 04:55 The Mythical Ancestry of Jaquetta's Family 06:58 The Hundred Years' War Context 11:35 Jaquetta's First Marriage to John, Duke of Bedford 20:34 Challenges in France and John's Death 23:37 A Forbidden Love Blossoms 28:06 Rise in Royal Favor 28:58 Endless Babies and War Duties 35:13 Henry VI's Mental Collapse 36:50 The Yorks vs. The Lancasters 46:09 A New Castle and Conclusion Queens podcast is part of Airwave Media podcast network. Please contact advertising@airwavemedia.com if you would like to advertise on our podcast.Want more Queens? Head to our Patreon, check out our merch store and follow us on Instagram! Learn more about your ad choices. Visit megaphone.fm/adchoices

We would sail across the English Channel once to see this show. On the Annie to Endgame scale, this show is as challenging as a mediocre Shakespearean history. World premiere adaptation By William Shakespeare Adapted and directed by Barry Edelstein A once-in-a-generation event comes to San Diego in 2024: The Old Globe becomes one of only a small handful of theatres in the country's history to complete Shakespeare's canon with the two-part Henry 6, the largest Shakespeare production the Globe has ever presented. In One: Flowers and France, King Henry VI inherits the crown of England as a child. Absent the strong leadership of his father, who conquered France in a surprise victory, the English court is reduced to petty squabbles. The French take up arms to regain their lost territory and rally behind Joan of Arc, who claims she was sent from God to fight the English. And when King Henry marries Queen Margaret, she inflames the political disputes that roil the throne. Can the English stop arguing among themselves and unite to hold on to France? Or will their in-fighting cost them the hard-won French territory and lead to chaos at home?

Send us a Text Message.Actor, director, producer, playwright, and artistic director since 1978 of the famous Will Geer Theatricum Botanicum, Ellen Geer stopped by to talk about the history of the Theatricum, growing up in a blacklisted family, and how playwriting helps heal societal wounds. Ellen shares her transition into playwriting, her approach to revising Shakespeare to the female characters' point of view and how it changes the story, the learning curve of a self-taught playwright, and the importance of ending a days work of writing on a high note. She also delves into the important lessons of playwriting, the use of technology, struggles and confidence, and her view of "gatekeepers" and staging your own work, especially when it could be considered a controversial piece. It's a charming conversation and the second episode where my camera shut down in the middle of the interview, so I apologize for the brief interruption. In the end, it was a pleasure to sit and share with an important and prominent influence in the Los Angeles theatrical community. Enjoy!For tickets to the current running production of Wendy's Peter Pan at the Theatricum Botanicum, visit - https://www.todaytix.com/los-angeles/shows/41175-wendys-peter-panEllen Geer is a playwright, actress, producer, and director and has been the artistic director of Will Geer's Theatricum Botanicum since 1978, where she helped the theater develop from a Sunday afternoon workshop performing Shakespeare to a professional repertory theater company with a negotiated Actors Equity Contract. She has produced and directed well over 100 Theatricum productions, including plays by Shakespeare, Tennessee Williams, Chekhov and Thornton Wilder and many of her own plays and adaptations have been performed at Theatricum as well, including this season's Wendy's Peter Pan and last season's Queen Margaret's Version of Shakespeare's War of the Roses; Trouble the Water; An Enemy of the People; TOM (adapted from the novel “Uncle Tom's Cabin”); Merlin: The Untold Story; Dracula; A Dark Cloud Came; and Dory, A Musical Portrait. To watch the video format of this episode, visit -https://youtu.be/F5nDOG__jr4Website and Socials for Ellen Geer and Theatricum Botanicum -Will Geer Theatricum Botanicum -https://theatricum.comTheatricum's Socials -Facebook - https://www.facebook.com/TheatricumIG - https://www.instagram.com/theatricum_botanicum/X - @theatricumEllen Geer Facebook - https://www.facebook.com/ellen.geer.3Websites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the Show.

This summer the Hudson Valley Shakespeare Festival in Garrison, New York is presenting three new plays written by three acclaimed theatre artists in rotating rep through Labor Day weekend. The plays are ““The Murder of Roger Ackroyd” adapted from Agatha Christie by Heidi Armbruster, “Medea: Re-versed” adapted from Euripides by Luis Quintero, and “By the Queen” inspired by Shakespeare's use of Queen Margaret by Whitney White. Sarah LaDuke speaks with each playwright about their inspiration and output.

Today Elaine chats the performers of Singin I'm No a Billie She's A Tim - Dionne Frati, Jade McDonald and Rachel Ogilvy. We chat taking a show that was origiinaly written for male actors and transforming it and updating it for women and for 2024. We talk the importance of the language we use and how we need to actively challenge outdated language in older plays and why it's important and much more. Singin I'm No A Billie She's A Tim - Pleasance EICC - Lomond Dates: 12-14, 18, 20-21 of August @ 6.00 pm Tickets available here: https://tickets.edfringe.com/whats-on/singin-i-m-no-a-billie-she-s-a-tim Singin I'm No A Billie She's A Tim The Billy and Tim brand is one of the most successful touring Scottish theatre shows of the modern era and now they're back with a brand-new re-write of the original show, but this time it's with an all-female cast! Because let's face it… It's not just the boys that are fanatical about their football teams. Singin I'm No a Billy She's a Tim will have you laughing and crying so hard, you'll be begging for full time. Join Billie and Timmy on their journey of discovery. Are you singing their tune? Dionne Frati Dionne Frati is an actor and tutor based in Glasgow. She has gained a first class honours degree from New college Lanarkshire where she now works as a production assistant part time. Dionne has worked in the industry in various areas including new Scottish writing, short films, voiceover, touring productions and panto. Jade McDonald Jade McDonald is based in Glasgow, Scotland. She is 2020 BA Acting for Stage and Screen graduate from Queen Margaret and Edinburgh Napier Universities. Jade has experience in working in short films, theatre, music videos and voice overs. Rachel Ogilvy Rachel is an actress, writer, theatre maker and voiceover artist. Her lengthy and varied career has stretched across theatre, TV and radio both in the Uk and abroad. Rachel is a founder and director of Paribus Productions. HIPA GUIDES: HIPA GUIDES OUR WEBSITE - www.persistentandnasty.co.uk Persistent Pal & Nasty Hero - Pals and Hero Membership Email – persistentandnasty@gmail.com Instagram - @persistentandnasty Twitter - @PersistentNasty Coffee Morning Eventbrite - Coffee Morning Tickets LINKTREE - LINKTR.EE Resources Samaritans - Rape Crisis Scotland - Rape Crisis UK ArtsMinds - BAPAM Freelancers Make Theatre Work Stonewall UK - Trevor Project - Mermaids UK Switchboard LGBT+ - GATE PLANNED PARENTHOOD DONATE - DONATE ABORTION SUPPORT NETWORK UK - ASN.COM- DONATE

Shakespeare's Margaret takes center stage Whitney White's trajectory from MFA to CAA happened fast. After earning a Master of Fine Arts from Brown University in 2015, she is now represented by Creative Artists Agency, a talent juggernaut in the entertainment world. Her degree is in acting, but directing earned her a Tony Award nomination in April for Jaja's African Hair Braiding. Now, her play By the Queen is in rotation at the Hudson Valley Shakespeare Festival through Aug. 31, under the direction of Shana Cooper. By the Queen, subtitled "A Survivor's Tale," contains plenty of the Bard's lines and scenes, which White uses to craft a sophisticated psychological study of Queen Margaret of Anjou, captured on the same battlefield as Joan of Arc. She is also one of the only characters to appear in multiple Shakespeare plays. "Shakespeare isn't the Bible," says White, so it's adaptable and applicable to today. To punctuate the point, she immediately pierces the fourth wall as the main character struts toward the audience and says, "Hi there. Oh, don't be shocked. I can see you and I know that you see me." Margaret, for whom Shakespeare coined the term "she-wolf of France," gets airtime in four of his so-called history plays: Henry VI, in three parts, and Richard III, which White's script calls "one of the most epic - badass - stories ever written." This queen is also Shakespeare's only female character to age chronologically. The script presents just about all of Margaret's mentions, utterances and scenes from the original plays, shifting gears from old prose to modern English and back without hitting any speed bumps. White divides her life into three roles: Margaret 1 (Malika Samuel), age 16 to her "dirty thirties," according to the character description; Margaret 2 (Sarin Monae West), who makes dire decisions and suffers terrible consequences; and Margaret 3 (Nance Williamson), the only character in Richard III to confront the immoral king. The play is framed as Margaret 3's flashback during her final exile in France, where she enjoys wine and mulls her fourth and final act. She and the other Margarets are onstage together almost the entire time as they interact, question motives and revel in her/their ability to survive this tragical history tour through the War of the Roses in the 1400s. White denotes the presence of "a lot of men. Too many men" in the four plays and dismisses their injurious affairs with comic effect: "blah blah blah politics, blah blah blah land, blah blah blah power." During battle scenes, the principals and minimalist ensemble (Bobby Moreno, Luis Quintero, Travis Raeburn, Stephen Michael Spencer) scream "waaarrrr!" and engage in madcap play-fighting antics as light and sound play along. The script probes more than it preaches. Samuel's note-perfect Margaret 1 almost hijacks the show based on her performance, not necessarily the lines. The character debuts as naive comic relief and ultimately evolves into a moral compass as Margaret 2 murders rivals, becomes a widow, watches her son get killed and is served her lover's severed head on a platter, "medium rare." Yet the play never condescends into an anti-male screed and calls Shakespeare the "greatest writer who ever lived," even as White subjects his words to inquiry, marshaling line after misogynistic line hurled at Margaret to examine his perspective onstage in real time. This approach could easily devolve into dull academic deconstruction, but White handles these sections with nimble effect. Employing a hilarious herald (Jacob Ming-Trent) to condense the action and serve as a "purist," she zeroes in on the pivotal characters and distills the four plays so well that minimal prior knowledge is required to follow along. As Margaret 3, Williamson conveys the older queen with confidence as she inexplicably returns from banishment in France to confront Richard III. Otherwise, Williamson as narrator is the bemused, resigned, "resplendent elder" called for in ...

Present-day actors rehearsing the roles of Richard III and Queen Margaret are interrupted by the arrival of the real Richard III and Philippa Langley, the British writer and ; producer who played a pivotal role in finding the bones of Richard in 2012. Now, Philippa and Richard are intent on rescuing his reputation.Gary Lamb directs Billy Mendieta, Kevin Carr, Joanne McGee, and Camille Ameen.Sandra Cruze is the playwright. Cruze's previous work includes plays (Grace; She Was Dick's Tracie),, a short film (The Physics of Killing), a web series (We're Not Dead Yet), and a musical (Moonshine Mamas).Founded by playwright and filmmaker Bernadette Armstrong, Open-Door Playhouse is a Theater Podcast- like the radio dramas of the 1940s and 1950s. The Playhouse launched on September 15, 2020. At the time, Open-Door Playhouse provided Playwrights, Actors and Directors a creative outlet during the shutdown. Since its inception. Open-Door Playhouse has presented Short and One-Act plays from Playwrights across the country and internationally. In 2021 Open-Door Playhouse received a Communicator Award for Content for the Play Custody and in 2023 the play What's Prison Like was nominated for a Webby Award in the Crime & Justice Category.Plays are produced by Bernadette Armstrong, Sound Engineer is David Peters, sound effects are provided by Audio Jungle, and music from Karaoke Version. All plays are recorded at The Oak House Studio in Altadena, CA. There's no paywall at the Open-Door Playhouse site, so you could listen to everything for free. Open-Door Playhouse is a 501c3 non-profit organization, and if you would like to support performances of works by new and emerging playwrights, your donation will be gratefully accepted. Your tax-deductible donations help keep our plays on the Podcast Stage. We strive to bring our listeners thoughtful and surprising one-act plays and ten-minute shorts that showcase insightful and new perspectives of the world we share with others. To listen or to donate (or both), go to  https://opendoorplayhouse.orgSupport the Show.Support the Show.

Friday of the Seventh Week in Ordinary Time Saint of the Day: St. David I of Scotland, 1080-1153; youngest son of Queen Margaret, succeeded his brother to the throne in 1124; known for his generosity to the poor; he also endowed the founding of dioceses and monasteries; as he neared death, he devoted himself to reading the Psalms with those at his bedside; he died at dawn on May 24, 1153 Office of Readings and Morning Prayer for 5/24/24 Gospel: Mark 10:1-12

On this day in 1288, according to Scottish legend, Queen Margaret passed a law allowing women to propose marriage to men on Leap Day. See omnystudio.com/listener for privacy information.

Hey Lifers!Today has been a bit of a chaotic mess, but what else is new?It's a leap year day and Queen Margaret (5 years) has an allowance for you. Britt has stuck her foot in it and basically told her pregnant friend that she didn't like her baby name. Vibes for the week:Britt - Can I tell you a secret? on Netflix Keeshia - Ali Abdaal's Deep Dive Podcast The difference between healthy and toxic relationships Laura Barney Dog Bed Then we jump into your questions! I've been officially dating someone for about four months, but we were in a bit of a situationship for about 5 months before that and we were friends for about 3 years before that. We have already said ‘I love you' and talked about the future, so we're quite serious. The only thing is, after we had been officially dating for a month, he said that the ‘honeymoon phase' was over and that he needed to start taking a bit more time to himself. It has caused a few issues, because he's 30 and I'm his first partner, so he's quite a solitary person, but I need quite a bit of attention. I'm starting to regret deciding to be exclusive, but it's a bit too late to backtrack from that now. I'm not sure how to handle this situation, because I don't want to be the nagging girlfriend who asks for more time, but I'm also starting to get resentful about not having more of his time. A few weeks ago you answered the question to another listener about the girl who's fiancé was going to propose to her when / after she gets her license. And an engagement under certain conditions, that was okay. My friend is in a similar situation with her boyfriend of 1 year. However, her boyfriend has said openly to her that he wants to marry her, but won't propose to her until she gives up vaping and drinking on weeknights. I thought personally this could be problematic and potentially manipulative to have a promised engagement under certain conditions. I am dying to hear your take on this. I feel like this is a stupid question but I have been out of the dating game for so long and I need to know what's normal. I went out on a first date with a guy and it was absolutely amazing. I was lucky enough to get a kiss at the end of the date and nothing else! We are going on a second date next week. Do I kiss him on the lips when I see him next or be polite and give him a kiss on the check? When is 'too soon' to ask the person you've been going on dates with whether it's exclusive? If you have an question please send it on it to life uncut podcast on Instagram hereJoin us on tiktok Or join the facebook group here Tell your mum, tell your dad, tell your dog, tell your friend and share the love because WE LOVE LOVE! xxSee omnystudio.com/listener for privacy information.

This season we're taking a magical and mysterious pursuit through the world of Royal Regalia: A History of Splendour, a topic that has been long-awaited and requested many times from our wonderful listeners.  In the first episode of this season we're taking a look at a country with one of the most magnificent histories and royal jewel collections, Denmark.  Matthew and Alyce dive into the incredible collection and the fascinating stories that accompany it, including how Denmark acquired jewels from other countries, along with explaining the historical lineage and ownership within the families, where you can see these beautiful garnitures and their personal favourite pieces.  THINGS WE SPOKE ABOUT A brief history of the Danish Royal Family lineageThe Danish Crown Jewels collection Measuring jewels on centuries of history over carats, like Queen MargretheHow a French General's ruby parure ended up in Denmark The newly crowned Queen of Denmark's thoughtful wedding gift  MORE INFORMATION Denmark's Crown Jewels  https://www.kongehuset.dk/en/royal-collections/the-crown-jewels/  Crown Jewels and Danish Royal Property Trust Jewellery https://www.kongehuset.dk/en/news/crown-jewels-and-danish-royal-property-trust-jewellery  Christian IV's crown https://www.kongernessamling.dk/en/rosenborg/object/christian-ivs-crown/  Social Media IG - @CourtvilleAntiquesFB - @CourtvilleantiquesTik Tok - @matthew.weldon    YouTube - @courtvilleantiquePinterest - @courtville  Gem Pursuit is produced for Courtville by Dustpod.io. QUOTES The jewellery is intrinsically linked to the history of any of the houses and it is through history that a lot of these jewels end up being in certain collections. - Matthew Weldon  This is a serious collection. What I love about Queen Margaret, she's on record as saying, about the jewellery, that she doesn't count the carats, she counts the centuries. - Matthew Weldon When you look at the history behind their jewellery, the way that they've been able to keep their hands on some of these items is beyond amazing. - Alyce Ketcher  All jewels tell a story, and this particular piece really is such a standout piece from their collection, it is so important to the family. - Alyce Ketcher  HOST DETAILS Matthew Weldon took over Courtville in 2018 and continues today the rich legacy left behind by Kitten and Grainne. The Weldon family tree boasts a rich history of Irish jewellers going back over 135 years. Learning from a young age about the industry from his father, Matthew quickly gained a skilled eye and an appreciation for quality. Seeking to further his knowledge and expertise Matthew gained a degree in marketing and French which led to a short career as a chartered accountant. But with such a draw to antique and vintage jewellery it was inevitable that Matthew would continue the family tradition and build a business of his own. Like generations before, Matthew looks for the exceptional, rare and intriguing pieces and always ensures beauty, quality and fair prices. Alyce Ketcher has been working with jewels for over 15 years. During her time within the jewellery industry she has worked in Australia, New Zealand, United States, United Kingdom and Ireland and gained qualifications through the Gemological Institute of America (GIA) and the Gemmological Association of Great Britain (GEM-A). As a qualified gemologist Alyce is able to use her extensive knowledge of diamonds and gemstones to identify and value jewellery from all periods. Working with antique and vintage jewels is her passion, and you can often find her researching hallmarks, inspecting gemstones or writing about our latest find. KEYWORDS #royaljewels #royalfamily #queen #denmark #crown #diamonds #crownjewels #jewellery

S03 E21 Special Guest Realtor + Side Hustle Queen, Margaret Harrison The Realtor/Life Podcast is not about why we are passionate about being Realtors but rather, what our life passions are in spite of our career in real estate. If interested in sharing with us your life passions outside of being a Realtor, Scan the QR code and spend time answering the Realtor/Life Podcast Guest Information Card questions so you can be considered as a guest. We will use this information to bring your story to life if selected. The more detailed you are in your responses the more magical your story will become! TUNE IN LIVE EVERY TUESDAY AT 12:30P SPECIAL THANKS TO... Podcast Sponsor: Brooks & Davis Real Estate Firm, LLC. www.brooksanddavis.com Special Guest - Realtor + Side Hustle Queen Margaret Harrison @missunderoneroof Creator & Host - Michael G. Davis @ceocoachmike Producer - Milk & Honey Productions, LLC | Jessica Joseph @milkandhoneyproductions Theme Song Writer & Artist - Jessica "Yunek" Joseph // ASCAP - NEAJE MUSIC . . . . #brookanddavisrealestate #realestate #realtor #realestateagent #closingday #property #forsale #investment #realtorlife #househunting #realestateadvice #dreamhome #sports #newhome #music #luxuryrealestate #blackwealth #hustle #podcast #luxuryhomes #realestateinvesting #business #realestatelife #podcastproduction #realestateinvestor #entrepreneur #sold #broker #realestatenews #homesforsale

In which we meet a bunch of the gang. Infighting. Curses. Lying. And Crying. Queen Margaret is a BADASS and the rest of those fools should listen up. How do the Brady Bunch and The Sneetches relate to Richard III? You'll just have to have a listen. --- Support this podcast: https://podcasters.spotify.com/pod/show/fckshakespeare/support

Kym thinks she's lucked into the perfect resume-builder for a biracial college senior determined to find a career in academia: helping renowned feminist scholar Beverly Norden finish her ground-breaking book on Shakespeare's Queen Margaret before Alzheimer's makes the task impossible. As the passing months make clear that Beverly's failing memory is not the greatest obstacle to their work, Kym reassesses her connection with Beverly, Beverly's son, and academia itself. What can the Margaret story tell her about her own path forward? Meet the Artists: https://deanproductionstheatre.com/queen-of-sad-mischance-episode/ --- Support this podcast: https://podcasters.spotify.com/pod/show/dptc/support

Uz tisuće Cochraneovih sustavnih pregleda o učincima zdravstvenih intervencija, postoje mnogi koji razmatraju kako organizirati i pružiti zdravstvenu skrb. Jedan od njih, o korištenju strategije pod nazivom "plaćanje po učinku", ažuriran je u svibnju 2021. Jedan od autora, Sophie Witter, sa Sveučilišta Queen Margaret u Edinburgu, u Škotskoj, rekla nam je više o strategiji i njezinoj učinkovitosti. Razgovor je s engleskog preveo Petar Žuljević, student 6. godine medicine na Medicinskom fakultetu Sveučilišta u Splitu i suradnik hrvatskog Cochranea te će nam govoriti o tome.

Uz tisuće Cochraneovih sustavnih pregleda o učincima zdravstvenih intervencija, postoje mnogi koji razmatraju kako organizirati i pružiti zdravstvenu skrb. Jedan od njih, o korištenju strategije pod nazivom "plaćanje po učinku", ažuriran je u svibnju 2021. Jedan od autora, Sophie Witter, sa Sveučilišta Queen Margaret u Edinburgu, u Škotskoj, rekla nam je više o strategiji i njezinoj učinkovitosti. Razgovor je s engleskog preveo Petar Žuljević, student 6. godine medicine na Medicinskom fakultetu Sveučilišta u Splitu i suradnik hrvatskog Cochranea te će nam govoriti o tome.

One of Shakespeare's strongest characters is Queen Margaret who, as a consequence of her husband's bouts with insanity, finds it necessary to lead not only a country, but to stand at the helm of an entire army, leading England's military into battle and winning. It is an important story in the history of the War of the Roses, and one that Jared Kirby and Hudson Classical Theater decided to take on this year. Jared is a celebrated fight director and took on the challenge of staging entire battle scenes on stage for this production, and he joins us today to talk with us about how Shakespeare would have staged these battle scenes in the 16th century and how it works to stay true to history when staging these plays today.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode of “How do you Say That?!”, Kenny Blyth joins Sam and Mark to talk about voicing technical scripts with vitality, the essence of true horror stories, and how to subvert expectations, and our wildcards include robotic AI voices, a magician and a rather superb horse racing commentator.Our VO question this week is all about demo reels, and when you should get them done (or re-make them).We'd love you to join in and send us your version of one of the reads in today's show – just pop it onto an mp3 and send it to podcast@britishvoiceover.co.ukScript 1In regulation 4, paragraph two, which covers ‘Requirements relating to building work', paragraph two (a), after ‘schedule 1' inserts: in brackets “in addition to the requirements of regulation 7”In regulation five which covers ‘meaning of material change of use' after paragraph I omit “or”; and after paragraph J insert ‘or the building is a building described in regulation 7 - 4 - a, where previously it was not”.Script 2 (excerpt from "The Chair" by W. Terence Walsh)As the fire begins to crack and pop and the smoke rises over the rooftops, John resumes his work with renewed vigour, the rhythmic scraping of the chisel helping to drown out the sound of the blaze. But he cannot ignore the piercing dreadful song of the girl screaming as she is cleansed from this world. A sound so high in its pitch and so disquietingly inhuman, that it beggars belief. Perhaps she truly is an agent of the supernatural after all? The noises of the crowd turn from accusation, to celebration, to pity, to fear, before dwindling to silence. Only the scream now, travelling through the late summer air and gently brushing up against the blade of the chisel, carving a microscopic record of Mary's last moments into the tiny groove-like indentations in the wood.----------------- Listen to all of our podcasts here ------------------About our guest: Kenny Blyth is a multi award-winning voice-over and actor who graduated from Queen Margaret's college, Edinburgh in 2000, the first graduate from there to win the prestigious BBC radio ‘Carleton Hobbs' award. He spent his first year working only in Radio Drama at the BBC in London, which has provided him with a rare versatility in vocal age, characters and accents, often playing multiple roles in a single production.Kenny works in all areas of the industry, all over the world, including TV, film, games, commercials, documentaries, audio drama, theatre, animation & audio books. He also co-ordinates and voices ADR for TV & film post production in Scotland, on shows like Shetland, Guilt Vigil and Outlander to name a few. It is as a voice-actor though, working from his own broadcast quality, home-studio, that Kenny spends most of his time.Kenny's Website @blythyken on Twitter @blythvoice on Instagram Resources: Find out more about Bill Walsh, author of "The Chair" here and if you want to buy a collection of his wonderful short stories - click hereMark's demos & contact details:

November 16: Saint Margaret of Scotlandc. 1045–1093Optional Memorial; Liturgical Color: WhitePatron Saint of Scotland, large families, and parents who have lost childrenA foreign-born royal becomes queen and inspires by her refinement and devotionIn the early eleventh century, a Danish Viking named Canute reigned as King of England. Canute exiled his potential rivals from an Anglo-Saxon royal family. One of these exiles, Edward, made his way to Hungary, married, and had a daughter named Margaret who grew up in a well-educated, royal, Catholic home. Margaret's father eventually returned to England at the request of the king, his uncle Saint Edward the Confessor, and he brought his family with him, including Margaret. But Edward died shortly after coming home, leaving Margaret fatherless, and then Edward the Confessor died without an heir. War broke out. In 1066 at the Battle of Hastings, the Anglo-Saxon English lost to the Norman French. Margaret and her siblings were displaced to Scotland, far away from French efforts to eradicate Anglo-Saxon royals who had claims to the English throne. Thus was the circuitous route by which a woman of English blood who grew up in Hungary is commemorated today as Saint Margaret of Scotland.Saint Margaret was known to her contemporaries as an educated, refined, and pious woman. She married a Scottish King named Malcolm who was far more rustic than herself. He could not even read. The earliest Life of Margaret, written by a monk who personally knew her, states that Malcolm depended on his wife's sage advice and admired her prayerfulness. According to Margaret's biographer, Malcolm saw “that Christ truly dwelt in her heart...What she rejected, he rejected...what she loved, he, for love of her, loved too.” Malcolm embellished Margaret's devotional books with gold and silver. One of these books, a selection of Gospel passages with illuminated miniatures of the four Evangelists, is preserved in an English museum. King Malcolm and Queen Margaret, along with their six sons and two daughters, truly created a domestic church centered on Christ. One son, David, became a national hero as King of Scotland and is popularly referred to as a saint.Margaret's presence infused the unsophisticated, rural, Scottish court with culture. She brought her more Roman experiences of Church life with her to Scotland, and so pulled the Scottish Church into conformity with Roman and continental practice regarding the dating and observance of Lent and Easter. She encouraged the faithful to more fully observe Sunday by not working and, like so many medieval royals, she was also a prolific foundress of monasteries, including one she intended to be the burial place for Scottish kings and queens. Margaret was known for her concern for the poor, for dedicating hours a day to prayer and to spiritual reading, and for her great skill in embroidering vestments and church linens.Saint Margaret died, not yet fifty years old, just a few days after she was informed that her husband and son were killed in battle. Margaret and Malcolm were buried together under the high altar of a monastery. Devotion to the holy queen began soon after her death, and she was canonized in 1250.Saint Margaret of Scotland, you were the model of a virtuous queen who cared for both the spiritual and material welfare of your people. Inspire all leaders to give personal witness to holiness so that, through their leadership role, they inspire their people to be more virtuous.

Marg is not happy with Australia's T20 form nor is she happy with Brett Ratten getting the sack from St Kilda!

With his father Richard of York's head now on a spike, Edward's determination to snatch the crown from Henry VI is stronger than ever. But how will he build support for his cause and assert his rights? Can he outmanoeuvre the formidable Queen Margaret, who will stop at nothing to see her own son on the throne? And is there any way to heal England's bitter rifts and create a lasting peace? This is part two of a special three-part Short History of the Wars of the Roses. Written by Danny Marshall. With thanks to Michael Hicks, historian and author of The Wars of the Roses; and Lauren Johnson, historian and author of The Shadow King – The Life and Death of Henry VI, and an upcoming book on Tudor matriarch Margaret Beaufort. For ad-free listening, exclusive content and early access to new episodes, join Noiser+, now available on Apple Podcasts. All shows are also available for free. If you're listening on Apple Podcasts, press the ‘+' icon to follow the show for free. Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard delights to hear of the princes' murder, but rebellion is growing. Queen Margaret confronts Richard's mother and Queen Elizabeth and reminds them of her curses. Richard (unbelievably) seems to win Queen Elizabeth's consent to his marrying her daughter.

Richard delights to hear of the princes' murder, but rebellion is growing. Queen Margaret confronts Richard's mother and Queen Elizabeth and reminds them of her curses. Richard (unbelievably) seems to win Queen Elizabeth's consent to his marrying her daughter.

Queen Margaret concludes her curses. Richard arranges for his brother, Clarence' murder.

Queen Margaret concludes her curses. Richard arranges for his brother, Clarence' murder.

Richard wins for himself Anne, widow of Prince Edward. The king is dying; family and faction members are confronted by Richard. The old (deposed) Queen Margaret begins her curses.

Richard wins for himself Anne, widow of Prince Edward. The king is dying; family and faction members are confronted by Richard. The old (deposed) Queen Margaret begins her curses.

On today's show, Giles Alderson and co-host Christian James welcome the fantastic director Mike Rohl. He's known for films & TV shows like Shadowhunters (2017-2019), Smallville (2006-2011), Supernatural (2006-2012), Terminator: The Sarah Connor Chronicles (2008) and the feature films The Princess Switch, of which The Princess Switch 3 (2021) is out now on Netflix. Mike dives deep into this long filmmaking career that began in the 80s: He talks all about his beginnings, his first features films and what he learned from making them. He discusses pitching, why Hollywood loves showmanship and the difference between directing TV and feature films. He also talks about the technical side of shooting & directing, his process, how to pick a good 1st AD, working with actors, and goes in-depth on how he made The Princess Switch. You think these Christmas movies are not for you? Well, you should reconsider, because Mike is a master of his craft. Today's conversation is a gem for all directors out there. This is for you. So sit back, relax, and enjoy this week's episode with Mike Rohl.   THE PRINCESS SWITCH 3 is out on NETFLIX! When a priceless relic is stolen, Queen Margaret and Princess Stacy enlist the help of Margaret's cousin Fiona teams with a man from her past to retrieve it, with romance and resulting in a very unexpected switch.   EPISODE LINKS Watch THE PRINCESS SWITCH 3 TRAILER   JP Watts' Screenwriting Class: https://learntowritemovies.com/ Watch REPEAT     PATREON Big thank you to: Marli J Monroe Kevin Pybus Want your name in the show notes or some great bonus material on filmmaking? Join our Patreon for bonus episodes, industry survival guides and feedback on your film projects! Our new 4 tier structure is in place. Come join the community! https://www.patreon.com/thefilmmakerspodcast   MERCH Spread the Word with Our Merch T-Shirts, Hoodies, Mugs, Masks and Water Bottles all now available in some very cool designs. CHRISTMAS SALE: Use the code “XMAS” to get 15% off!   SUPPORT THE PODCAST Read & Sign Up for The Wrap Up – Our weekly Newsletter with news and information from the world of film Subscribe on iTunes, Spotify, Podbean, or wherever you get your podcasts. Help us out and write us a review (a good one!), tell your friends and CHOOSE FILM. Get in touch? Email us thefilmmakerspodcast@gmail.com Follow us on Twitter Facebook and Instagram Check out our full episode archive at TheFilmmakersPodcast.com   CREDITS The Filmmakers Podcast is hosted, produced and written by Giles Alderson @gilesalderson Edited by @tobiasvees Social Media by Kalli Pasqualucci @kallieep Marketing Huw Siddle Logo and Banner Art by Lois Creative  Theme Music by John J. Harvey Part of the www.podfixnetwork.squarespace.com   WATCH OUR FILMS The Dare UK | Trailer The Dare Canada and USA A Serial Killers Guide to Life | Trailer Arthur & Merlin: Knights of Camelot Winter Ridge UK The Isle Fanged Up The Marker Star Wars: Origins   MORE FROM OUR FRIENDS Follow our Regular Hosts @LucindaRhodes @DirDomLenoir @35mmdop @philmblog @IanSharp1 @Cjamesdirect @dan710ths Follow Make Your Film for Live Events @makeyourfilm20  Follow our Movies @thedaremovie @Food4ThoughtDoc @FangedUpFilm Raindance events www.raindance.org The Filmmakers Podcast recommends Performance Insurance Music from musicbed.com Giles Alderson's website

Saint Margaret of Scotland was an 11th century Queen of Scotland known for her piety and great acts of charity. She was a princess from the English House of Wessex, which was deposed when William the Conqueror invaded England in 1066 and took the throne. Saint Margaret and her family then fled to Scotland, where she married the Scottish King Malcolm III. Queen Margaret was known throughout Scotland for her kindness and love toward the poor, and for the strengthening the Christian faith in her adopted homeland by promoting more rigorous religious observance.

Geoffrey Chaucer's granddaughter Alice was first married at the age of 11. She was granted a license to marry her third husband on 11th November, 1430; and became defined by her three powerful unions with men she outlived.Having lost her first two husbands in the Hundred Years War, she then settled down with William de la Pole, Earl of Suffolk; a marriage that got her closer than ever to the seat of power. At one point, she even filled in for Queen Margaret on a ceremonial parade in France.In this episode, Arion, Rebecca and Olly marvel at Chaucer's ability to climb the social hierarchy via her marriages; explain why ‘jointures' changed the fortunes of widows in the Middle Ages; and consider the merits of commissioning multiple statues of themselves…Further Reading:• ‘Four Thought: And His Wife' (BBC Radio 4, 2021) - Olly Mann interviews Jessica Barker about medieval statues of women, including Alice Chaucer: https://www.bbc.co.uk/programmes/m000z0c4• ‘Historical Figures: Alice Chaucer, Lady of the Garter' (Just History Posts, 2020): https://justhistoryposts.com/2020/08/11/historical-figures-alice-chaucer-lady-of-the-garter/• ‘'Till Death Us Do Part? Love and the Medieval Tomb Monument with Dr Jessica Barker' (The Churches Conservation Trust, 2021): https://www.youtube.com/watch?v=zH55Vq3tHo0For bonus material and to support the show, visit Patreon.com/RetrospectorsWe'll be back tomorrow! Follow us wherever you get your podcasts: podfollow.com/RetrospectorsThe Retrospectors are Olly Mann, Rebecca Messina & Arion McNicoll, with Matt Hill.Theme Music: Pass The Peas. Announcer: Bob Ravelli. Graphic Design: Terry Saunders. Edit Producer: Emma Corsham.Copyright: Rethink Audio / Olly Mann 2021. See acast.com/privacy for privacy and opt-out information.

This week on The Shake Up Podcast we have not one, but two of Australia's Drag Queens joining us; ShuShu Funtanna and Margaret-Rita! ShuShu is a Brisbane based queen that talks us through her journey before drag, the transition into her drag career as well as show etiquette that the Queens of the community expect from us. Thats not all ShuShu has to offer.. Things get interesting when she introduces her side kick that goes by the name of Margaret-Rita! That being said, Has anyone seen our host Jarrad? EPISODE BREAKDOWN: Early stages of life & coming out Transitioning into drag Building the ShuShu Funtanna persona Behind the scenes of the drag community Drag etiquette How to properly use pronouns Hopes for LGBTQ+ awareness CREDITS: Host: Jarrad Bell Guest: ShuShu Funtanna Producers: Tom Norton Kersten Marchant SHAKE UP SOME COCKTAILS Order online at http://shitthatsfresh.com.au/TheShakeUp or find your local using the 'stockists' tab. GET IN TOUCH Stay up to date with the good times on Instagram, Facebook & TikTok. Watch the full episode on YouTube. Join The Shake Up Cocktail Gang Facebook Community here. Get in touch with the Mr. Consistent team here.

Tew-king it out for the Throne! Wars of the Roses Four. The Silliest of boys are back! Back from Whitby and back to our usual format of battles and buffonery! The King Maker is dead but King Edward has not time to put his feet up because Margaret of Anjou has invaded England! Cue a race across the country to make terrible Queen puns where all 'evil lanes'  lead to...the battle of Tewkesbury. Can the King, the Dish and Sociopath stop Queen Margaret, Another Lord Somerset and the utterly insane Prince Edward of Westminster from lengthening the war and being horrible to Gerbils? Find out in another exciting edition of the Silly History Boys Show!   Thanks to the folks at ZapSplat for Music and fun sounds Banners raised in the name of Scott Buckley for his excellent range of music  

“Holy Father, protect them in your name… so that they may be one” (Jn. 17) If you knew you were going to die tomorrow, what would you say to your friends? How would you say it? The last words of Jesus in the Gospel of John are not a linear argument building to a logical conclusion. Instead they have the form of an ancient rhetorical device called amplification. This speech and the three letters of John share a similar style of cyclical repetition. They use the same vocabulary of hyperbole and exaggeration. They draw stark contrasts between light and darkness, life and death, love and hate, good and evil, truth and falsehood. The goal is to make God’s love really live in our hearts. This is Jesus’ prayer to God for the sake of his friends who do not feel ready to go on without him. He says, “Holy Father, protect them in your name that you have given me, so that they may be one, as we are one” (Jn. 17). Different followers of Jesus have different ideas of what it means to be one. You will certainly encounter many who believe that being one means thinking and believing all the same things. But I believe we are one in the way a family is one. My mother’s family first immigrated to North America when her oldest brother decided to go to Princeton instead of Oxford. That was where he learned to play the ukulele and Fats Waller on the piano. He married the daughter of an Anglican bishop and had a long successful career in finance. In retirement he went sailing and took up photography. My mother’s sister on the other hand had an entirely different personality. She married a working class man. The two of them were converted in Northern England by Mormon missionaries who convinced them to move to Heber, Arizona where she was passionate about dietary supplements. Three totally different people – one family. That for me is what it means to be one. The calendar of saints shows this, as does the art in our Cathedral. In here we have everyone from the vast lancet window in the apse of Queen Margaret of Scotland to the tiny plate on the step below the baptismal font honoring the former Dean’s wife Janette Limmerick Bartlett. We have stained glass windows with Mary Magdalene and Bridgid, the soldier Martin of Tours along with Walter Rauschenbusch and the Christian Socialists. Today I want to talk about three figures at the bottom of the Theological Reform Window: a Lutheran, a Roman Catholic and a Jew. This is the first sermon in the history of the world about Paul Tillich, Karl Rahner and Martin Buber.

We’re celebrating International Women’s Day by exploring one of Italian history’s most-neglected protagonists, Margaret of Navarre, the Norman Queen of Sicily. We’re joined by Jacqueline Alio, an Italian American now living in Palermo, Sicily, who has written a dozen books on Sicilian history, focusing on the island’s long-overlooked queens. She’ll introduce us to the incredible figure of Queen Margaret, whose five-year reign over the Kingdom of Sicily represents a forgotten chapter from the Norman Sicilian Golden Age. We’ll explore how this singular woman navigated the many intrigues surrounding the Sicilian Monarchy, focused her efforts on creating equality before the law and peace amongst her Kingdom’s many cultures, and rebuilt the Monarchy after serious infighting almost tore the institution to the ground. We’ll examine how unique the idea of a female sovereign was in Margaret’s time, and how her erasure from history might not be accidental. Join us for this fascinating look into the life of a truly regal woman, and an exploration of this long-neglected chapter in Italian history. Click here to learn more about Jacqueline Alio. A Selection of Jacqueline Alio’s Books: Margaret, Queen of Sicily Queens of Sicily: 1061 – 1266 Women of Sicily: Saints, Queens & Rebels Time Traveler’s Guide to Sicily (Jaqueline Alio and Louis Mendola) Sicilian Food and Wine: The Cognoscente’s Guide The Peoples of Sicily: A Multicultural Legacy This episode is sponsored by Mediaset Italia

After being hired to help run victuals into Stockholm through Queen Margaret of Denmark's blockade, the Victual Brothers turned to piracy, decimating the herring trade and annoying the Hanseatic League. Anne explains all that stuff, and Michelle waxes poetic about the medieval cog, which was apparently an awesome sort of ship. And as a special treat, we append the recording we made wherein we figured out why our sound issues hadn't been solved.

THIS SEASON’S THEME: SCOTLAND ON FILMWelcome to episode 021 of Choose Film: A Reel Retrospective podcast. Ashley and Gary are joined by Scottish Actor Rebecca Riddell to discuss our first animation, Pixar’s Brave.SYNOPSIS Merida, an independent archer, disobeys an ancient custom which unleashes a dark force. After meeting an elderly witch, as she journeys to reverse the curse, she discovers the real meaning of bravery.LINKS IN CONVERSATION Insta @lockdownlinksTwitter @LinksLockdownInsta @RiddellRebeccaTwitter @RiddellRSHORT FILMSCoin Operated" is an award-winning 5 minute animated short filmhttps://www.youtube.com/watch?v=5L4DQfVIcdgFactory TalkFactory Talk is an intergenerational conversation about identity, sexuality and masculinity in a rural factory. https://vimeo.com/416042843Pink and Blue - GILRA girl struggles with the side effects of the contraceptive pill. https://youtu.be/isdcjna_c4oRebecca’s BioRebecca Riddell is an actor who recently graduated from the BA Acting for Stage and Screen course at Queen Margaret and Edinburgh Napier University. Alongside acting, Rebecca also has a great love and interest in directing and has also dabbled in writing. Over lockdown, Rebecca has used this opportunity to launch a networking platform, Lockdown Links, to help creatives come together, meet, connect and perhaps work together one day. Rebecca also loves listening to podcasts and is starting to draw again.

The crew is back together for another round of mischief, this time in Queen Margaret's country of Montenaro. What trouble will they get into this time? Tune in to find out! 

NOW AVAILABLE ON FOWL PLAYERS RADIO!! www.fowlplayersradio.comOur domain is now www.fowlplayersradio.comOur guest tonight is actress, or "Scream Queen" Laura Meadows! Laura happens to be the second red-haired actress from St. Louis who has won beauty pageants that I know- I'll let you figure out the other one..(HINT- FREEBIRD!!)I had a wonderful time with Laura, she has lots of great news about new projects in the works, and we discussed some of her films that are currently on Amazon; "The Butcher" and "Grim Weaver", a few of her favorites from the past in which she has portrayed Queen Elizabeth and Queen Margaret, and some of her favorite television shows she has appeared in. She also told me some interesting family stories; she has traced her ancestry all the way back to the 1600's when they first arrived in this country, and some wonderful recent accomplishments in her immediate family! She also tells us about her beauty pageants and her time working in the fashion industry! She's done lots of interesting things in her career and I am sure you will enjoy this episode.www.laurameadowsactress.comLaura Meadows - IMDbSubscribe for free on Apple Podcasts, Google Podcasts, Stitcher, Spotify, Pocketcast, Castro, Castbox. Overcast, iHeartRadio, Podchaser, or here- www.fowlplayersradio.comFollow us on instagram. twitter, and facebook

On this episode of Eternal Lines, we're kicking off our "Speak the Speech" series where we discuss one monologue in depth with a few different actors who know it well. This episode we focus on Queen Margaret's monologue from Act 1 Scene 4 of Henry VI Part 3. Violet is joined by fellow acting students from UCLA, Magenta Rose Brown (@magentarosebrown) , Mary Alex Daniels (@mary_alex18) , and Michael Hackett (@mikey.hackett). Thanks for listening and follow us @bruinbard for more from the Eternal Lines team!

Before "quarantine" and "social distancing" and "Zoom" were household words we were just beginning to grasp the impact of the sudden shuttering of our theatres. Shirine shares her thoughts on how to survive the times, the production of Timon of Athens and shares Queen Margaret's infamous speech from Henry VI, Part 3.

This week, I catch up with Mark McCready, President from Queen Maragaret University Esports, and Scottish representative within British Esports Association. It has been about a year since Mark and I first spoke on the podcast. So today, is a little recap as well as a whole bunch of original yumminess - inclusiviness, collegiate esports' role in professional esports....for the next 5-10 years! Mark's info: https://twitter.com/markmccreadyuk Monarchs Esports Society (formerly Queen Margaret's University Esports): https://twitter.com/MonarchsEsports British Esports Association: https://twitter.com/British_Esports Be sure to check me out on social media and leave feedback there or on the Anchor platform to be integrated into the podcast: https://linktr.ee/warlockrakaul If you have a message for the podcast please leave one here: https://anchor.fm/thesummoninghour/message Check out my other podcast: Collegiate and Professional Rainbow 6 Siege Esports: https://anchor.fm/checkyour6 --- Support this podcast: https://anchor.fm/thesummoninghour/support

Before "quarantine" and "social distancing" and "Zoom" were household words we were just beginning to grasp the impact of the sudden shuttering of our theatres. Shirine shares her thoughts on how to survive the times, the production of Timon of Athens and shares Queen Margaret's infamous speech from Henry VI, Part 3.

You're invited to sit in on a NEW online event happening LIVE on Thursday, June 18th: we're doing an open workshop of Shakespeare's Richard III, bringing together both veteran and rookie actors! There's limited space, so register for the workshop today: workingactorsjourney.com/virtualworkshop First up are a couple of scenes from Shakespeare's Richard III with Tony Amendola (Utah Shakespeare, Berkeley Rep) as Richard, Marcelo Tubert as Clarence, and Anne Gee Byrd as Queen Margaret. We'll also be joined by a trio of younger actors (playing Brackenbury, Elizabeth, and the Duchess), along with dramaturg and teacher Gideon Rappaport! Now two important things to note: The workshop will *NOT* be recorded or replayed—you must be there live! A portion of the proceeds will go to support the #BlackLivesMatter movement. Get your tickets now! workingactorsjourney.com/virtualworkshop   Get your copy of "10 Ways to Stop Worrying and Start Working!" See additional content on Facebook, Twitter, Instagram, and YouTube.

At 31 years old, Margaret of Navarre was the most powerful woman in Europe and the Mediterranean, and she successfully navigated the Kingdom of Sicily from 1166 to 1171, maintaining the progressive constitutional laws her father-in-law, Roger II, had established. Yet until now, historians barely mention her. Experience Sicily's Allison Scola talks with historian and author Jacqueline Alio about the challenges and triumphs of Queen Margaret, reflecting nearly two decades of research.

With the Wars of the Roses now thoroughly underway between King Henry VI, Queen Margaret, and the Duke of York, we get to witness England descend into a state of barbarism -- ruled by a king who wonders why we can’t all just get along. Full of increasingly intense battle and betrayal, Henry VI, Part 3 brings the degradation of civil war to life -- and reveals Shakespeare’s first fully fleshed out character in the Machivellian Richard, Duke of Gloucester -- and soon to be King Richard III. // CREDITS // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); illustrative excerpts from: A Game of Thrones, Season 2, Episode 3, “What is Dead May Never Die,” dir. Alik Sakharov; and from YouTube video "This Battle Fares...", performed by Ian McGarrett.

Henry VI part 2 – Act II Scene 1  King Henry and Queen Margaret, accompanied by quarreling nobles, are hawking in St. Albans when they encounter a miracle.

Henry VI (6 December 1421 – 21 May 1471) was King of England from 1422 to 1461 and again from 1470 to 1471, and disputed King of France from 1422 to 1453. The only child of Henry V, he succeeded to the English throne at the age of nine months upon his father's death, and succeeded to the French throne on the death of his maternal grandfather Charles VI shortly afterwards. Henry inherited the long-running Hundred Years' War (1337–1453), in which his uncle Charles VII contested his claim to the French throne. He is the only English monarch to also have been crowned King of France (as Henry II, in 1431). His early reign, when several people were ruling for him, saw the pinnacle of English power in France, but subsequent military, diplomatic, and economic problems had seriously endangered the English cause by the time Henry was declared fit to rule in 1437. He found his realm in a difficult position, faced with setbacks in France and divisions among the nobility at home. Unlike his father, Henry is described as timid, shy, passive, well-intentioned, and averse to warfare and violence; he was also at times mentally unstable. His ineffective reign saw the gradual loss of the English lands in France. Partially in the hope of achieving peace, in 1445 Henry married Charles VII's niece, the ambitious and strong-willed Margaret of Anjou. The peace policy failed, leading to the murder of one of Henry's key advisers, William de la Pole, and the war recommenced, with France taking the upper hand; by 1453, Calais was Henry's only remaining territory on the continent. As the situation in France worsened, there was a related increase in political instability in England. With Henry effectively unfit to rule, power was exercised by quarrelsome nobles, while factions and favourites encouraged the rise of disorder in the country. Regional magnates and soldiers returning from France formed and maintained increasing numbers of private armed retainers, with whom they fought one another, terrorised their neighbours, paralysed the courts, and dominated the government. Queen Margaret did not remain unpartisan, and took advantage of the situation to make herself an effective power behind the throne. Amidst military disasters in France and a collapse of law and order in England, the queen and her clique came under accusations, especially from Henry VI's increasingly popular cousin Richard of the House of York, of misconduct of the war in France and misrule of the country. Starting in 1453, Henry had a series of mental breakdowns, and tensions mounted between Margaret and Richard of York over control of the incapacitated king's government, and over the question of succession to the throne. Civil war broke out in 1455, leading to a long period of dynastic conflict known as the Wars of the Roses. Henry was deposed on 29 March 1461 after a crushing defeat at the Battle of Towton by Richard's son, who took the throne as Edward IV. Despite Margaret continuing to lead a resistance to Edward, Henry was captured by Edward's forces in 1465 and imprisoned in the Tower of London. Henry was restored to the throne in 1470, but Edward retook power in 1471, killing Henry's only son and heir in battle and imprisoning Henry once again. Having "lost his wits, his two kingdoms, and his only son", Henry died in the Tower during the night of 21 May, possibly killed on the orders of Edward. Miracles were attributed to Henry after his death, and he was informally regarded as a saint and martyr until the 16th century. He left a legacy of educational institutions, having founded Eton College, King's College, Cambridge, and (together with Henry Chichele) All Souls College, Oxford. Shakespeare wrote a trilogy of plays about his life, depicting him as weak-willed and easily influenced by his wife, Margaret. --- Support this podcast: https://anchor.fm/allthingsplantagenet/support

Documentary on the lives of Isabella of France, wife of King Edward II and Margaret of France, wife of King Henry VI --- Support this podcast: https://anchor.fm/allthingsplantagenet/support

Henry VI part 2 – Act I Scene 3 Queen Margaret confides in Suffolk. Gloucester is beset with slanders. A mechanical’s petition casts doubt on York. The King barely speaks.

Took another digital jump across the pond to Queen Margaret University and spoke with their President, Mark, about their society that started just back in March! He's well armed with a network, information and the gumption to get this thing off the ground. Come find out more about what the UK, Edinburgh and Scotland have to offer in our world of collegiate esports. Mark's & QMU's info: https://twitter.com/qmuesports https://t.co/Vt9PmDOfXR?amp=1 https://twitter.com/AngstHD https://www.instagram.com/qmuesports/ https://www.facebook.com/qmuesports/ https://www.twitch.tv/qmuesports MisterrClouds info: https://twitter.com/TheMistrrClouds https://soundcloud.com/mistrrclouds Be sure to check me out on social media and leave feedback there or on the Anchor platform to be integrated into the podcast: https://linktr.ee/warlockrakaul https://anchor.fm/thesummoninghour/message Support the Podcast with a donation: https://anchor.fm/thesummoninghour/support --- Support this podcast: https://anchor.fm/thesummoninghour/support

Henry VI Part 2 deals with the immediate lead-up to the Wars of the Roses, with court intrigue and tons of backstabbing that results in the First Battle of St. Albans in 1455. Henry VI was an ineffectual king in the actual historical record, and Shakespeare's Henry is that to a 'T'---cuckolded by his wife and goaded into a civil war by his ill-seeming advisers, Henry's eventual downfall is telegraphed quite clearly in this play. He's surrounded by a cast of characters, from his various Dukes and Lords to his own wife, Queen Margaret, to his enemy Richard, Duke of York, to the rebel Jack Cade, who set wheels in motion toward their own separate goals that Henry could not stop on his best day. The lack of leadership from the throne leads to a power vacuum and shows the danger of "vaulting ambition" in the hands of men (and women) of loose morals. Our discussion today touches on the various characters, the source and types of power---be it from kings or "The Commons"--- and the violent nature of this installment, as well as the general strengths of this play (our favourite of the minor tetralogy). And then, in Marriage Counselling this episode, The Bicks debate the topic: Who is the protagonist, the hero, the "good guy" in Henry VI Part 2? Notes: It was not an Admiral from Star Wars that Lindsay thought Henry VI resembled; it was Grand Moff Tarkin. (Lindsay will commence with the cone of shame now...)

The battle of Towton has given Edward IV the throne, but can he keep it? Queen Margaret is working hard to ensure that he does not. But first she needs to find a few allies... Production music courtesy of www.epidemicsound.com

Deborah Frances-White host of podcast The Guilty Feminist joins Catherine Fletcher. Novelist Michèle Roberts reviews a portrait of artist Louise Bourgeois woven from conversations, and comedian and classicist Natalie Haynes discusses co-writing a modern political comedy based on The Assembly Women by Aristophanes, whilst Jeanie O'Hare talks about filling in the gaps in Shakespeare's depiction of Queen Margaret in her new play. Now, Now Louison written by Jean Frémon, translated by Cole Swensen and published by Les Fugitives is out now. Deborah Frances-White has published The Guilty Feminist as a book out now. Women In Power - A Musical Comedy runs at the Nuffield Southampton Theatres from 06 September, 2018 - 29 September, 2018. It has been written by Wendy Cope, Jenny Eclair, Suhayla El-Bushra, Natalie Haynes, Shappi Khorsandi, Brona C Titley and Jess Phillips MP and is directed by Blanche McIntyre. Queen Margaret runs at the Royal Exchange, Manchester from Sept 14th to Oct 6th featuring Jade Anouka as Queen Margaret. Producer: Fiona McLean

As two new productions prepare to take on Shakespeare in fresh and unexpected ways, the women behind them - Jeanie O'Hare, creator of new play Queen Margaret, and Jude Christian creator of OthelloMacbeth - discuss developing new dramas from Shakespeare's canon.Anton Chekhov's play The Seagull is a theatre classic that has been produced in many different ways for stage and screen since its premiere in 1896. Now it's been turned into a film with a stellar cast led by Annette Benning. Critic, broadcaster, and playwright Nick Ahad reviews.Artist Leo Fitzmaurice specialises in creating work that aims to get us to look afresh at everyday objects. He's now curating a portrait exhibition at the Walker Art Gallery with a simple but surprising element. He joins Kirsty to discuss the new show, Leo Fitzmaurice: Between You and Me and Everything Else.The multi-award winning classical musician, Alison Balsom, reveals the inspiration behind her career and her love of the trumpet, as part of Front Row's Inspire season..Presenter: Kirsty Lang Producer: Ekene Akalawu.

Joined by royalty for the first time, Beverlee, Alliosn, and King Henry VI gives their thoughts on England, all Henry’s friends trying to kill him and his other friends, and how incredible Queen Margaret is in the exciting Henry VI part two! Also for a great guide to the history of the war of the roses under the context of something maybe more familiar, check out this great video explaining it using game of thrones characters as reference for the real events: https://youtu.be/cGuj-uOqiuc Chris White is an actor in LA and wants you to check out standingrock.org/news/ to make a difference in a real life American political plot.

On this day in 1572, Queen Margaret of Valois and Henry of Navarre got married in Paris. The interdenominational marriage — Marguerite was Catholic, and Henry was a Huguenot — should have helped bridge the gap between Protestants and Catholics in France. It did not. On today's "A Classical Day in the Life", we explore the St. Bartholomew's Day Massacre and the opera it inspired Giacomo Meyerbeer to write.

In 1455 it briefly looked as though York had won; but in fact it solved nothing - the king remained the centre of power, and the king was weak. By 1457, he had lost his status as Protector, and the Queen was effectively the new ruler of England.  See acast.com/privacy for privacy and opt-out information.

John Wilson hosts a special edition of Front Row, recorded in front of an audience in the BBC blue tent at the Edinburgh Festival, featuring The Killing actress Sofie Gråbøl, who plays Queen Margaret in a new play about James III of Scotland and the director of the acclaimed James plays Laurie Sansom. Plus, comedian Al Murray on his new stand-up show One Man, One Guvnor, Hollywood actress Anne Archer on playing Jane Fonda, and music from piano double-act Worbey and Farrell. Images: Anne Archer as Jane Fonda by Steve Ullahorne, Pub Landlord Al Murray & Sofie Gråbøl as Queen Margaret by Robert Day Presenter: John Wilson Producer: Jerome Weatherald.