Podcast appearances and mentions of Sean Mathias

In this episode of Kermode on Film, Mark is joined by the legendary Sir Ian McKellen to talk about the film version of HAMLET directed by Sean Mathias.Following that he talks with star Mia McKenna-Bruce and director Molly Manning Walker about their award-winning feature HOW TO HAVE SEX.This episode of the Kermode on Film podcast is Part 1 of the MK3D show, recorded live at the BFI Southbank on Monday 18 December 2023.Next week's podcast features Part 2 of that show, in which Mark talks to George MacKay about his role in British Thriller FEMME, written and directed by Sam H. Freeman and Ng Choon Ping, and to Jason Isaacs about starring in ARCHIE, the British drama television serial about the life of Cary Grant. Thank you for listening!———————The opening title sequence of Kermode on Film uses quotes from:- Mary Poppins, directed by Robert Stevenson and distributed by Walt Disney Motion Pictures – quote featuring Julie Andrews.- Nope, written, directed and produced by Jordan Peele, and distributed by Universal Studios – quote featuring Keke Palmer.- Withnail & I, written and directed by Bruce Robinson, and distributed by HandMade Films – quote featuring Richard E Grant.- The Exorcist, written by William Peter Blatty and directed by William Friedkin, distributed by Warner Brothers – quote featuring Ellen Burstyn and Linda Blair.We love these films. We urge you to seek them out, and watch them, again and again.They are masterpieces!Kermode on Film is an HLA Agency production.Cover photo by Julie Edwards.This episode was edited by Alex Archbold Jones.© HLA Agency———————Films Mentioned in this edition:HamletThrone of BloodForbidden PlanetChimes at MidnightTitanicSpice GirlsLion KingPrisonersKrakatoa, East of JavaScrapperPlays mentioned in this show:HamletRichard IIRichard IIIOthelloMacbethHenry IV part 1 and 2King LearMuch Ado About NothingPeople mentioned:Ian McKellenSean MathiasVanessa RedgraveMichael RedgraveEdwin BoothFrancesca AnnisSteven BerkoffBill KenwrightRichard LoncraineJudi DenchAkira KurosawaOrson WellesWilliam ShakespeareKenneth BranaghDavid TennantRalph FiennesPeter SchaufussLaurence OlivierTrevor NunnMolly Manning WalkerMia McKenna-BruceKate WinsletJames Cameron Hosted on Acast. See acast.com/privacy for more information.

Get ready for a riveting exploration of human ingenuity and ethical complexity in this episode. Operation Epsilontakes the stage at Southwark Playhouse Elephant, uncovering a once-classified true story from the depths of an epic war. Based on actual transcripts, Alan Brody's gripping play directed by Andy Sandberg delves into the darkest corners of luminaries' hearts and minds, unveiling a poignant, thrilling tale of ties that bind us to our actions and decisions. With explosive possibilities, the play explores the ethical complexities of scientific discovery and its potential for catastrophic consequences. Next up, immerse yourself in the mysterious world of Octopolis. Professor George Grey, a brilliant behavioural biologist, faces a shocking revelation when ambitious anthropologist Harry arrives with a startling assignment. The play, directed by Ed Madden and starring Jemma Redgrave and Ewan Miller, unfolds the gripping story of Frances, the intelligent octopus, and the profound impact of Harry's mission on George's world. Switching gears, Frank and Percy brings a poignant and witty take on an unexpected friendship. Written by Ben Weatherill and featuring the dynamic duo of Roger Allam and Ian McKellen, the play explores the lives of two men chatting on a park bench. Will they dare to risk changing their lives, or will they let sleeping dogs lie? Directed by Sean Mathias, this two-hander promises a heartwarming exploration of friendship and change. Finally, dive into The Standard Short Long Drop, a thrilling and moving exploration of class, integrity, and unlikely friendship against the backdrop of the Victorian criminal justice system. Condemned to death, Ludley's fate takes a twist when offered a stay of execution with a condition that challenges his sense of justice. Written by Rachel Garnetand directed by Natasha Rickman, the play raises profound questions about justice in an unjust world. Buckle up for a rollercoaster of emotions and intellectual stimulation in this episode, featuring exclusive insights and and exclusive interview with Flip writer Racheal Ofori and director Emily Aboud.

Freddy Gray is joined by Ayesha Hazarika and Katy Balls who has written the cover this week on Keir Starmer's centrist army. Also on the show, Cirino Hiteng Ofuho on Sudan's violent civil unrest; Gracy Curley on the upcoming US election and Sean Mathias and Rob Gore-Langton on Hamlet.  00:00 Welcome from Freddy Gray 03:39 Who are Keir's 'Starmtroopers?' With Katy Balls and Ayesha Hazarika 24:59 What's happened in Sudan? With Dr Cirino Hiteng Ofuho 36:29 A look ahead to the US election. With Grace Curley 53:56 Richard Burton's botched Hamlet. With Sean Mathias and Robert Gore-Langton. Produced by Natasha Feroze.

He played Hamlet in his thirties… and again in his eighties. In between? Edgar, Romeo, Leontes, Macbeth, Coriolanus, Iago, Richard III, Prospero, and King Lear. Plus, of course, Magneto and Gandalf. On this episode, we talk with Sir Ian McKellan. Last year, he played Hamlet in an age-blind production of the play at the Theatre Royal Windsor, returning to the role for the first time since 1971. Then, at this year's Edinburgh Fringe, McKellen played Hamlet again, speaking the part alongside a ballet dancer in a production directed by Peter Schaufuss. Now, he's is appearing as King Hamlet's ghost in an essay film about the play called Hamlet Within. McKellen joined us from his home in East London for an extended conversation with Barbara Bogaev. In part 1 of our interview, we start by discussing the age-, gender-, and color-blind stage production of Hamlet he starred in last year, directed by Sean Mathias. From the Shakespeare Unlimited podcast. Published October 11, 2022. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Rob Double at London Broadcast and Andrew Feliciano at Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

McKellen has just completed his second run as Hamlet, his first was 50 years ago. Sir Ian is 82 and played the lead in Sean Mathias's age, gender and colour blind production. After a brief reminiscence over cigarette brands of the past and wondering how vapers can get excited by branding and advertising as we once did; we look at the play, the character of Hamlet and his skills.This version proves that age is only a number. Ian has the gait of youth.Hamlet has to be able to persuade a number of people to help him in his quest to find out if his Father has been poisoned and then to aid him in revenge.He even influences the players who visit the castle to enact a scene that will help him see if Claudius is guilty.In business persuading people to take action is the goal, not just to like what you have said and how you said it. We explain how Hamlet follows Aristotle's famous consideration of Ethos, Logos and Pathos.I hope this play starts a trend on and off the stage. We should be age, gender and colour blind and the more we are, the more diverse and exciting our lives will be. 

A short bonus episode celebrating Hamlet in a production by Sean Mathias, staring Sir Ian McKellen, which marked my return to live theatre after more than a year. This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Matt Alagiah sits down with theatre critic Matt Wolf and book reviewer John Mitchinson. Plus we speak to Sean Mathias who is directing the stage version of ‘The Exorcist’ and find out the top five songs in Switzerland.

Review transcript: You’re listening to Art Smitten on SYN. I’m Rebecca Houlihan, and today I’m going to be talking to you about a National Theatre Live production of No Man’s Land, written by Harold Pinter, and this version is directed by Sean Mathias. So this play was originally produced in 1975, which is where it’s set. The big draw card of this version is the two Sirs, Sir Patrick Stewart and Sir Ian Mckellen. It’s a four-man play, and it focuses on conversations between the four characters. So that’s Spooner (played by Ian Mckellen) who’s this bumbling, failed poet, Hurst (played by Sir Patrick Stewart) who’s this successful writer that you don’t really know much about, and it’s clear his mind is deteriorating, and then the two younger men, Foster (played by Damien Molony), and Briggs (played by Owen Teale), who come into the play and you know less about them than either of the other characters, and they sort of raise a lot of the questions. So this play is really interesting because it is essentially a power play with words. Each character is trying to upstage another, and only one character holds the power in the scene at any particular time, and all the characters reveal themselves through story rather than what’s happening. It’s all in one setting, all in one scenario, so it’s what they say and do that you find out stuff about them which is a really interesting device for me. Especially the concepts it explores through this, what memory is, they’re all drinking so how alcohol affects people’s relationships, what taking advantage of people is even. The set itself is very amazing it’s this round, enclosed room. It’s sort of feels a bit like a jail, while also being a bit comforting because it’s this nice stately room. There is very little set dressing on it, but what is, is styled to perfection. Every little part is detailed. Even the alcohol they drink, although it’s not alcohol presumably, it’s the right colour and you can see it. The play itself is sort of very, uncomfortable and sinister in a hard to put into place way. There’s just something not quite right about the whole situation. It’s very unsettling, in a really comprehensive, but engaging way. It definitely captured my attention. It’s the sort of play I want to really study, and read reviews of, read critiques of, and try and understand what’s happening, because it’s not quite clear what they’re doing there. You sort of know a bit about the characters but you don’t really know what they’re relationships are to each other, or if they’ve even met each other before. Is all feels like they’re taking advantage of Patrick Stewart’s character but you don’t really know that. Another interesting element is the contrast between the characters of Spooner and Hurst, Ian McKellen and Patrick Stewart. Spooner the bumbling, wanting to please Hurst, character that doesn’t really know what he’s doing and is very cringe-worthy and embarrassing, vs. Hurst who, his mind is deteriorating so he goes between being pitifully pathetic or intensely powerful, holding the scene and everyone in it. It makes you question what’s reality and what’s not in this play. Another delightful thing about the play is the contrast between this ethereal, existential drama, and this really abrupt comedy. In the Q&A session that is featured after this version of this film, they talk about the precisely placed swear word in it, which is really just delightful, in contrast to all this intense stuff, there’s jokes, there’s humour, it’s really quite rude, but it’s also deeply philosophical. So even if you don’t generally enjoy shows in one setting with minimal characters it’s definitely a show to check out, if only because the actors in it are so amazing, bringing so much through their facial expressions. It’s just really an interesting play, I just really want to watch it over and over again, and I probably will go see it again, just to try and figure out what on earth I think is happening in this play.See omnystudio.com/listener for privacy information.

Review transcript: You’re listening to Art Smitten on SYN. I’m Rebecca Houlihan, and today I’m going to be talking to you about a National Theatre Live production of No Man’s Land, written by Harold Pinter, and this version is directed by Sean Mathias. So this play was originally produced in 1975, which is where it’s set. The big draw card of this version is the two Sirs, Sir Patrick Stewart and Sir Ian Mckellen. It’s a four-man play, and it focuses on conversations between the four characters. So that’s Spooner (played by Ian Mckellen) who’s this bumbling, failed poet, Hurst (played by Sir Patrick Stewart) who’s this successful writer that you don’t really know much about, and it’s clear his mind is deteriorating, and then the two younger men, Foster (played by Damien Molony), and Briggs (played by Owen Teale), who come into the play and you know less about them than either of the other characters, and they sort of raise a lot of the questions. So this play is really interesting because it is essentially a power play with words. Each character is trying to upstage another, and only one character holds the power in the scene at any particular time, and all the characters reveal themselves through story rather than what’s happening. It’s all in one setting, all in one scenario, so it’s what they say and do that you find out stuff about them which is a really interesting device for me. Especially the concepts it explores through this, what memory is, they’re all drinking so how alcohol affects people’s relationships, what taking advantage of people is even. The set itself is very amazing it’s this round, enclosed room. It’s sort of feels a bit like a jail, while also being a bit comforting because it’s this nice stately room. There is very little set dressing on it, but what is, is styled to perfection. Every little part is detailed. Even the alcohol they drink, although it’s not alcohol presumably, it’s the right colour and you can see it. The play itself is sort of very, uncomfortable and sinister in a hard to put into place way. There’s just something not quite right about the whole situation. It’s very unsettling, in a really comprehensive, but engaging way. It definitely captured my attention. It’s the sort of play I want to really study, and read reviews of, read critiques of, and try and understand what’s happening, because it’s not quite clear what they’re doing there. You sort of know a bit about the characters but you don’t really know what they’re relationships are to each other, or if they’ve even met each other before. Is all feels like they’re taking advantage of Patrick Stewart’s character but you don’t really know that. Another interesting element is the contrast between the characters of Spooner and Hurst, Ian McKellen and Patrick Stewart. Spooner the bumbling, wanting to please Hurst, character that doesn’t really know what he’s doing and is very cringe-worthy and embarrassing, vs. Hurst who, his mind is deteriorating so he goes between being pitifully pathetic or intensely powerful, holding the scene and everyone in it. It makes you question what’s reality and what’s not in this play. Another delightful thing about the play is the contrast between this ethereal, existential drama, and this really abrupt comedy. In the Q&A session that is featured after this version of this film, they talk about the precisely placed swear word in it, which is really just delightful, in contrast to all this intense stuff, there’s jokes, there’s humour, it’s really quite rude, but it’s also deeply philosophical. So even if you don’t generally enjoy shows in one setting with minimal characters it’s definitely a show to check out, if only because the actors in it are so amazing, bringing so much through their facial expressions. It’s just really an interesting play, I just really want to watch it over and over again, and I probably will go see it again, just to try and figure out what on earth I think is happening in this play.

As Harold Pinter's play No Man's Land sets off on a nationwide tour Sir Ian McKellen and Sir Patrick Stewart, along with the play's director Sean Mathias, discuss working together, toilet breaks and Trekkies.Larushka Ivan-Zadeh reviews the film adaptation of the much loved novella The Little Prince, by Antonie de Saint-Exupery. As a possible sign of things to come, it receives its première online and features voice work by Jeff Bridges and Rachel McAdams.Continuing our series of interviews with Brazilian artists in the run-up to the Olympics, Kirsty meets Jotape, who is one of the leading figures involved in Brazil's latest dance craze - Passinho, and theatre and circus director Renato Rocha who's directed Shakespeare with children from the favelas (Rio's slums).20 years ago today the remix of a Spanish pop song went to no.1 in the charts, stayed there for 14 weeks, and went on to take the dance-craze-world by storm. To mark the occasion, Front Row asks the writer and comedian Danny Robins to ponder the success of The Macarena (The Bayside Boys Mix!)Presenter: Kirsty Lang Producer: Jack Soper.

On March 24, 2014, director Sean Mathias and designer Derek McLane sat down for a One-on-One coversation at New York’s National Opera Center. Listen as they discuss the collaborative exchange between directors and designers while detailing many of their individual styles and techniques. 

With John Wilson Andrew Dickson reviews Channel 4's new drama series New Worlds, set in the turbulent 1680's, a time of torture and show trials as the reign of Charles II goes from tolerance to tyranny. New Worlds stars Jamie Dornan and Freya Mavor. American photographer Nan Goldin talks to John about her latest collection of work which comprises of more than 300 photographs exploring the theme of childhood, why digital photography is not for her, and how the camera saved her life. To mark Radio 4's forthcoming Character Invasion Day - when fictional characters will be taking over the network - Front Row asked five of Britain's leading actors to talk about their experience of playing an iconic character. Sir Ian McKellen discusses taking on the role of Estragon in Waiting for Godot - a play voted the most significant English language play of the 20th century in a National Theatre poll of 800 playwrights, actors, directors and journalists. The Past is the new film from the Iranian writer and director of the Oscar-winning A Separation. In Asghar Farhadi's latest film, Bérénice Bejo (from The Artist) plays a French woman who embarks on a new relationship after her Iranian husband leaves her behind and returns to his homeland. But when she arranges for a divorce he returns to find unexpected tragic consequences. Shahidha Bari reviews. Producer : Dymphna Flynn Image: Ian McKellen in Waiting for Godot performed in rep with No Man's Land by Harold Pinter, directed by Sean Mathias at Broadway's Cort Theatre, New York Photo Credit: Joan Marcus 2013.

Theater Talk welcomes actors Ian McKellen and Patrick Stewart along with director Sean Mathias to discuss their productions of "No Man's Land" and "Waiting for Godot" which are being performed in repertory at Broadway's Cort Theatre.

Two fabled knights are jousting on Broadway these days, and no, it’s not a revival of Camelot. The knights are Sir Ian McKellen and Sir Patrick Stewart and they’re appearing together at the Cort Theater in two plays, Samuel Beckett’s Waiting for Godot, and Harold Pinter’s No Man’s Land, both directed by Sean Mathias.  These two stars are just half the company, but the other half are also players of considerable stature: Billy Crudup and Shuler Hemsley. Both plays have darkness at their centers, but have a lot of built-in comedy. In a production with such high-wattage stars, do the players outshine the plays they’re in, or does the ensemble take us deeply inside these two important 20th century stage works? New York Times theater critic Charles Isherwood shares his reactions.

One of the greatest classical actors of his generation, Sir Ian McKellen reflects on his more than 50 years on stage, explaining that he's really only qualified to voice his opinion on two topics: gay issues and theatre. He talks about the recent production of "Waiting for Godot" in which he played opposite Patrick Stewart in London, then Roger Rees in both London and Australia, and which he'd happily perform in yet again (and wonders what the production would have been like had director Sean Mathias have received approval for McKellen's originally proposed co-star, Dame Judi Dench); why he feels that despite performing it in venues around the world, he never really "cracked" the role of "King Lear" and would like to try again; offers his first thoughts on recalling such roles as Iago, Macbeth, Richard II and Richard III; explains the British system which allowed him to move into a professional career quickly after his university days despite having no formal acting training; how he found himself on Broadway with Ian McShane and Eileen Atkins -- only six years after graduating from university -- in a Russian play that was a big English hit but a U.S. flop; explores the experience of playing the leading role in "Bent" in both the original production, prior to coming out publicly, and playing it again 10 years later after he had declared his sexuality; and why without his Broadway performance in "Amadeus", which was entirely the result of Paul Scofield declining to play it in the U.S. and McKellen having gone to school with Peter Hall, he might not even be sitting for a Downstage Center interview. Original air date - October 20, 2010.

One of the greatest classical actors of his generation, Sir Ian McKellen (1981 Tony Award winner for Best Performance by an Actor in a Leading Role in a Play for “Amadeus”) reflects on his more than 50 years on stage, explaining that he's really only qualified to voice his opinion on two topics: gay issues and theatre. He talks about the recent production of “Waiting for Godot” in which he played opposite Patrick Stewart in London, then Roger Rees in both London and Australia, and which he'd happily perform in yet again (and wonders what the production would have been like had director Sean Mathias have received approval for McKellen's originally proposed co-star, Dame Judi Dench); why he feels that despite performing it in venues around the world, he never really "cracked" the role of King Lear and would like to try again; offers his first thoughts on recalling such roles as Iago, Macbeth, Richard II and Richard III; explains the British system which allowed him to move into a professional career quickly after his university days despite having no formal acting training; how he found himself on Broadway with Ian McShane and Eileen Atkins -- only six years after graduating from university -- in a Russian play that was a big English hit but a U.S. flop; explores the experience of playing the leading role in “Bent” in both the original production, prior to coming out publicly, and playing it again 10 years later after he had declared his sexuality; and why without his Broadway performance in “Amadeus”, which was entirely the result of Paul Scofield declining to play it in the U.S. and McKellen having gone to school with Peter Hall, he might not even be sitting for a Downstage Center interview.

One of the greatest classical actors of his generation, Sir Ian McKellen reflects on his more than 50 years on stage, explaining that he's really only qualified to voice his opinion on two topics: gay issues and theatre. He talks about the recent production of "Waiting for Godot" in which he played opposite Patrick Stewart in London, then Roger Rees in both London and Australia, and which he'd happily perform in yet again (and wonders what the production would have been like had director Sean Mathias have received approval for McKellen's originally proposed co-star, Dame Judi Dench); why he feels that despite performing it in venues around the world, he never really "cracked" the role of "King Lear" and would like to try again; offers his first thoughts on recalling such roles as Iago, Macbeth, Richard II and Richard III; explains the British system which allowed him to move into a professional career quickly after his university days despite having no formal acting training; how he found himself on Broadway with Ian McShane and Eileen Atkins -- only six years after graduating from university -- in a Russian play that was a big English hit but a U.S. flop; explores the experience of playing the leading role in "Bent" in both the original production, prior to coming out publicly, and playing it again 10 years later after he had declared his sexuality; and why without his Broadway performance in "Amadeus", which was entirely the result of Paul Scofield declining to play it in the U.S. and McKellen having gone to school with Peter Hall, he might not even be sitting for a Downstage Center interview. Original air date - October 20, 2010.

The panel -- playwright/actor Dan Butler (The Only Thing Worse You Could Have Told Me), playwright Tom Dulack (Breaking Legs), director Scott Ellis (A Month In The Country), playwright Keith Glover (Dancing On Moonlight), director Sean Mathias (Indiscretions), director Gregory Mosher (Tony Award winner for his revivals of Anything Goes in 1988 and Our Town in 1989), director Lisa Peterson (Slavs), and literary agent Jack Tantleff -- talk about where they began their careers, playwrights who direct their own work, funding for non-profit and regional theatres, and the role of casting directors.

The panel - playwright/actor Dan Butler ("The Only Thing Worse You Could Have Told Me"), playwright Tom Dulack ("Breaking Legs"), director Scott Ellis ("A Month In The Country"), playwright Keith Glover ("Dancing On Moonlight"), director Sean Mathias ("Indiscretions"), director Gregory Mosher (Cryptogram), director Lisa Peterson ("Slavs"), and literary agent Jack Tantleff - talk about where they began their careers, playwrights who direct their own work, funding for non-profit and regional theatres, and the role of casting directors.

Choreographers Rob Ashford and Wayne Cilento, playwright Michael Frayn, playwright/lyricist Greg Kotis, and directors Sean Mathias and Lynne Meadow discuss various aspects of their respective crafts, including the focus on storytelling, the benefits and challenges of collaboration, bad reviews, and the evolution of the director/choreographer relationship.

Tony Award-winning choreographers Rob Ashford (for Thoroughly Modern Millie) and Wayne Cilento (for The Who’s Tommy), Tony-winning playwright Michael Frayn (for Copenhagen), playwright/lyricist Greg Kotis (Tony Award for Urinetown), and directors Sean Mathias and Lynne Meadow (who has helmed Manhattan Theatre Club through many Tony wins) discuss various aspects of their respective crafts, including the focus on storytelling, the benefits and challenges of collaboration, bad reviews, and the evolution of the director/choreographer relationship.