Podcasts about shakespearean

From the outside, the Chinese Communist Party appears to be a unified entity, devoid of external dissent.  However, history suggests that the machinations of power at the top of the communist party can often take on Shakespearean turns. Few figures illuminate the shadows and secrets of the party's organization as completely as Lin Biao, who had experienced one of the greatest rises and falls in Chinese history.  Learn more about the legacy of Lin Biao and his fall from grace on this episode of Everything Everywhere Daily. Sponsors Quince Go to quince.com/daily for 365-day returns, plus free shipping on your order! Mint Mobile Get your 3-month Unlimited wireless plan for just 15 bucks a month at mintmobile.com/eed Subscribe to the podcast!  https://everything-everywhere.com/everything-everywhere-daily-podcast/ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/  Disce aliquid novi cotidie Learn more about your ad choices. Visit megaphone.fm/adchoices

On the latest Whisper in the Wings from Stage Whisper, we welcomed on the director Guillermo Cienfuegos and the actress Ann Noble, to talk about their current mounting of the Shakespearean classic Richard III. This wonderful rendition of the play, was so wonderful to chat about. So make sure you hit play and get your tickets today!A Noise Within PresentsRichard IIINow- March 8th@ A Noise Within (Pasadena, CA)Tickets and more information are available at anoisewithin.org And be sure to follow our guests to stay up to date on all their upcoming projects and productions: anoisewithin.orgroguemachinetheatre.org @sparksjacks

A few weeks ago I shared my dream American Lit curriculum here on the pod, and soon after I heard from a British Literature teacher who was hoping for some new unit ideas for her curriculum too. She shared her starting point, which sounds like a highly engaging set of texts: "Our long reads," she wrote, "are The Princess Bride, Macbeth, Hitchhiker's Guide to the Galaxy, and Beowulf- a hero's journey theme!" So today I'd like to brainstorm with you, throwing out ideas for a British Lit curriculum, based on some of these starting texts and a few more I'll throw into the mix. Get ready for a Holmes-inspired True Crime podcast project, Shakespearean book clubs, a mashup of dystopia and contemporary street art, and more. Whether or not you teach a British Literature course, I think you'll find some fresh ideas and inspiration for new unit possibilities today. Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Launch your choice reading program with all my favorite tools and recs, and grab the free toolkit. Join our community, Creative High School English, on Facebook. Come hang out on Instagram. Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the 'gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you! 

This month on Beyond the Shelves, Sarah and Jes unpack the idea of "third spaces"  why we crave them, why they're disappearing, and how libraries have stepped in to fill the gap. Stick around for the Book Bulletin, where they unpack everything from LGBTQ+ publishing setbacks to Shakespearean fan fiction, Bridgerton‑era romance trends, and the wild saga of a possibly‑AI‑written novel. SHOW NOTES What We're Reading Back after this by Linda Holmes Magic Burns by Ilona Andrews Unlikely Animals by Annie Hartnett Wuthering Heights by Emily Brontë To Be Read In the veins of the drowning by Kalie Cassidy Big in Sweden by Sally Franson Dominion by Addie E. Citchens The Bookshop: A History of the American Bookstore by Evan Friss  Books on Third Spaces The great good place by Ray Oldenburg Palaces of the People by Eric Klinenberg The Overlooked Americans by Elizabeth Currid-Halkett Meet me at the library by Shamichael Hallman Arbitrary Lines by Nolan M. Gray (zoning laws) The Color of Law by Richard Rothstein (redlining) Walkable City by Jeff Speck Why public space matters by Setha Low Finding your third space by Richard Kyte The death and life of the great American cities by Jane Jacobs Book Bulletin Publishers are stepping back from LGBTQ books amid bans Hamnet = Shakespeare fanfiction? Julia Quinn launching romance book subscription service

Luisa Muradyan is originally from Odesa, Ukraine and is the author of I Make Jokes When I'm Devastated (Bridwell Press, 2025), When the World Stopped Touching (YesYes Books, 2027), and American Radiance (University of Nebraska Press, 2018). She holds a Ph.D. in Poetry from the University of Houston and won the 2017 Raz/ Shumaker Prairie Schooner Book Prize. Additionally, Muradyan is a member of the Cheburashka Collective, a group of women and nonbinary writers from the former Soviet Union. Additional work can be found at Best American Poetry, the Threepenny Review, Ploughshares, and Only Poems among others. Find more at her website: https://www.luisamuradyan.com/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. Submit your poems through Submittable by midnight Sunday for a chance to be invited: https://rattle.submittable.com/submit/269309/rattlecast-prompt-poems-online For links to all the past episodes, visit: https://www.rattle.com/page/rattlecast/ This Week's Prompt: Write a Petrarchan, Shakespearean, Spenserian, or Miltonic sonnet. Use an exclamation mark at some point, and don't forget the volta! Next Week's Prompt: Quick! Write a poem that moves fast. Include as many unique verbs as possible. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

Star Trek is what first introduced me to Shakespeare, and I wanted to visit the most Shakespearean of all Star Trek productions, which is Star Trek II: The Wrath of Khan. This film is Shakespearean in its structure, characters, plot, and themes, and can be a great way to introduce kids to some truly epic literature. … Continue reading "226 – Star Trek II: The Wrath of Khan is a Shakespearean Epic"

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

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

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

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

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

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

International bestselling author R. A. Spratt reads from ‘Romeo V Juliet', taking readers 12+ on a time-travelling Shakespearean adventure.Read the show notes for all book references at yourkidsnextread.com.au Sign up to the Your Kid's Next Read newsletter Connect with Allison, Megan and the Your Kid's Next Read Community on Facebook Visit allisontait.com | megandaley.com.au

Send us a textToday I'm taking that same Shakespearean blueprint and placing it in a new world: the 1961 film West Side Story. I'm going to do this in the simplest and clearest way possible:I'm going to tell the film's story in a straight line.As we go, I'll point out the matching Shakespeare “parts” — not as trivia, but as the engine that makes both stories run.And one clear rule: no lyrics, no musical quotations. I don't wanna get in trouble, and besides We don't need them. This story is Shakespeare before anyone sings a note.Lantern lit. Curtain up.Let's put the pieces on the board.Tony is your Romeo figure: once connected to the Jets, now trying to step away from violence and build a different future.Maria is your Juliet figure: young, protected, watched, expected to choose within her group and remain loyal to it.The Jets and the Sharks are the Montagues and Capulets: rival “houses,” reimagined as rival street groups.Riff is Mercutio-energy: Tony's friend, charismatic, proud, full of swagger, and emotionally committed to the feud.Bernardo is Tybalt-energy: Maria's brother, protective, quick to escalate, and intensely driven by honor and group identity.Anita is the confidante figure — like a Nurse-energy role but tougher and more adult: she's protective and practical, and later becomes crucial to the catastrophe.Chino is the approved match, a Paris-function figure — and later becomes the instrument of tragedy.That's enough. Now we move.Support the showThank you for experiencing Celebrate Creativity.

ANOTHER T20 World Cup is on the way, so we preview (sort of) the teams that are going to (maybe?) play!From Bangladesh's banishment to England's prospects, plus a Shakespearean film for which we have the utmost respect.#cricket

Note: Due to technical difficulties, Rhina wasn't able to join us. Instead, Timothy Green and Katie Dozier talked about her work and read poems with her friends Alfred Nichol and Pedro Poitevin. Rhina P. Espaillat is a bilingual poet, essayist, short story writer, translator, and former English teacher in New York City's public high schools. Her newest book is For Instance, just out from Wiseblood Books. She has previous published twelve books, five chapbooks, and a monograph on translation. Her most recent works include the poetry collections: And After All, The Field, and Brief Accident of Light: A Day in Newburyport, co-authored with Alfred Nicol. Her numerous translations include work by Sor Juana Inés de la Cruz, San Juan de la Cruz, Garcia Lorca, Miguel Hernandez, Emily Dickinson, Walt Whitman, Robert Frost, Richard Wilbur, and many contemporary poets of the Americas and the Hispanic diaspora, among others. Find For Instance here: https://www.wisebloodbooks.com/store/p173/For_Instance%3A_Poems_by_Rhina_P._Espaillat.html As always, we'll also include the live Prompt Lines for responses to our weekly prompt. Submit your poems through Submittable by midnight Sunday for a chance to be invited: https://rattle.submittable.com/submit/269309/rattlecast-prompt-poems-online For links to all the past episodes, visit: https://www.rattle.com/page/rattlecast/ This Week's Prompt: Write a poem that explores how one of the cognitive biases has shaped your life. Next Week's Prompt: Write a formal sonnet—choosing between a Petrarchan, Shakespearean, Spenserian, or Miltonic sonnet. Don't forget the volta and at some point, use an exclamation mark! The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

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

Robin Lithgow spent her life immersed in the performing arts, including a childhood in the theater and decades spent as an educator and arts administrator. But it wasn't until she read a little-known work by Erasmus that she fully realized the importance that performance had on Shakespeare and his generation--which mirrored the experiences she had had as an English and drama teacher in inner-city schools in Los Angeles. In this special episode, Robin joins Jacke to talk about her life in the theater, her epiphanies regarding Shakespeare's education, and the centrality of the performing arts in a child's development. ROBIN LITHGOW was the first Theatre Adviser, and eventually the Director, of the Arts Education Branch of the Los Angeles Unified School District, the second largest school district in the United States. Before becoming an arts administrator, she was a teacher for twenty-one years, teaching every grade level from kindergarten through senior high school and ending her classroom tenure as an English and drama teacher. And before that, she was the daughter of Arthur Lithgow, a theater impresario who developed Shakespeare festivals all over Ohio, which meant that Robin and her younger brother John Lithgow, the acclaimed actor, grew up traveling from place to place, watching rehearsals and performances, as their father mounted productions of every play in the Shakespearean canon. [This episode originally ran on September 28, 2020. It has been unavailable for several years.] Join Jacke on a trip through literary England! Join Jacke and fellow literature fans on an eight-day journey through literary England in partnership with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠John Shors Travel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ in May 2026! Scheduled stops include The Charles Dickens Museum, Dr. Johnson's house, Jane Austen's Bath, Tolkien's Oxford, Shakespeare's Globe Theater, and more. Learn more by emailing jackewilsonauthor@gmail.com or masahiko@johnshorstravel.com, or by contacting us through our website ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Act soon - there are limited spots available! The music in this episode is by Gabriel Ruiz-Bernal. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gabrielruizbernal.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Help support the show at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/literature ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠historyofliterature.com/donate ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thepodglomerate.com/historyofliterature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Dinner with literary greatsErin Janssens is a big fan of the Northfield Arts Guild Theater, and she is looking forward to their play “Little Wars,” which opens Friday. Set in the French Alps on the night before France falls to the Nazis, the play imagines a dinner party of female literary greats: Agatha Christie, Gertrude Stein, Dorothy Parker, Alice B. Toklas and Lillian Hellman. The play runs Fridays and Saturdays at 7:30 p.m., and Sundays at 2 p.m., through Feb. 8.As the characters discuss what they can do to help Jewish people targeted by the Nazis, Erin says the play raises questions that feel timely.Erin says: What do you want your legacy to be? How do you want to be remembered? Do you want to be remembered as someone who did something to help someone? Or do you want to just be someone who stood back and watched while others helped? There are some serious themes in the show. They deal with antisemitism, xenophobia and your own moral responsibility.— Erin JanssensClassical words meet musical improvisationMinneapolis author Cheri Johnson is looking forward to seeing the Ken Takata Ensemble set the words of Shakespeare, Jane Austen and other classic authors to music. The free event takes place this Saturday, Jan. 31, from 2 to 3:30 p.m. at George Latimer Central Library, as part of the St. Paul Winter Carnival. Hear examples of Takata's work here.Cheri says Takata began by setting the songs in Shakespeare's plays to music, but he's expanded to include short Shakespearean passages, often starring female characters, as well as passages from other classic works. She says the music style varies to fit the words.Cheri says: Ken started out as mostly a jazz musician, but there's [also] stuff that sounds very classical, and then other times he does R&B, or it sounds very musical theater. He just sort of chooses a style, it seems, based on what inspires him in the text and how he can imagine a production looking.— Cheri JohnsonA gospel tradition, continuedElla Gates-Mahmoud of Minneapolis says she's been to nearly all the productions of “The Sound of Gospel” since it began in 2018. The production, presented by Second Chance Outreach, takes place Sunday, Feb. 1, at 3 p.m. at the O'Shaughnessy at St. Catherine University in St. Paul.Ella says to expect an array of music, from spirituals to quartets, solos to choirs, spanning the history and styles of gospel.Ella says: I think it's important to note that gospel music is really a transformative experience. It covers an array of life experiences, and it encapsulates people's emotions, from happiness and joy to sadness to celebration. It encompasses all of that, and you can find yourself crying and laughing at the same time. It's just a beautiful experience.— Dr. Ella Gates-Mahmoud

Good afternoon, I'm _____ with today's episode of EZ News. Tai-Ex opening The Tai-Ex opened up 64-points this morning from yesterday's close, at 32,381 on turnover of $8.5--billion N-T. With contract chipmaker Taiwan Semiconductor Manufacturing regaining its footing and rebounding from a session earlier, shares in Taiwan closed at another record high Tuesday. The buying in TSMC shares spread to other semiconductor stocks, with investors betting that orders for more mature chip processes would shift, as TSMC cuts that capacity (生產能力) in favor of more advanced chip manufacturing. Some flight cancellation fees increased to 30% The Civil Aeronautics Administration says that cancellation fees for domestic offshore flights during holiday periods will be raised to up to 30% of the ticket price. The new tiered (分層的) fee system will take effect in March, and be applied for the first time on the Labor Day long weekend. Under current rules, domestic offshore tickets sold for holidays for three days or more carry restrictions (限制)… such as "valid only for the booked flight" or "expired if unused" with cancellation fees capped at 10% if refunds are requested before departure. But under the new rules, cancellation fees will vary based on how close the refund request is to the flight's departure time. Officials say, the changes are intended to curb seat hoarding (囤積) during peak travel periods… as some passengers book multiple flights and cancel later. Spain to Grant Legal Status to Immigrants Spain will grant legal status to potentially hundreds of thousands of immigrants living and working in the country without authorization. Spain's migration minister says the government plans to amend immigration laws by expedited (加急的) decree, offering legal residency and work permits for up to one year. This applies to those who arrived before Dec. 31, 2025, and have lived in Spain for at least five months without a criminal record. The minister says the measure could benefit an estimated 500-thousand people. Many are from countries in Latin America and Africa and work in agriculture, tourism or service jobs, backbones of Spain's booming economy. Landmark social media trial underway in California Social media giant TikTok has settled a lawsuit claiming the platform deliberately addicts and harms children. However, Meta and YouTube are still facing similar claims as a landmark (具有重大意義的，標誌性的) trial gets underway in Los Angeles. Ira Spitzer reports. BAFTA Nominations Announced and finally….. Paul Thomas Anderson's politically charged action thriller “One Battle After Another” leads the race for the British Academy Film Awards, with 14 nominations including acting nods for five of its cast. Ryan Coogler's blues-steeped vampire epic “Sinners” is close behind with 13 nominations, while Chloe Zhao's Shakespearean tragedy “Hamnet” and Josh Safdie's ping-pong odyssey (漫長而驚險的旅程) “Marty Supreme” have 11 apiece. The winners will be announced at a Feb. 22 ceremony in London. The U.K. prizes — officially called the EE BAFTA Film Awards — often provide clues about who will triumph at Hollywood's Academy Awards. That was the I.C.R.T. EZ News, I'm _____. －－－－以下為 SoundOn 動態廣告－－－－ 即日起至6月底， 透過台南住商不動產買房， 就有機會參加【買屋抽黃金】活動， 幸運得主將於7月公開抽出✨ 把成家的重要時刻， 變成雙倍黃金祝福。 台南住商不動產， 不只陪你安心成家， 還讓黃金一起到家！ 馬上預約看房 https://sofm.pse.is/8qfgfe -- Hosting provided by SoundOn

Tune in as the hosts head back to the Middle Ages to review Army of Darkness, the film that turned horror into high-fantasy chaos. Follow Ash Williams on his quest to survive deadites, skeleton armies, and his own oversized ego. We break down the scares, the slapstick, the endlessly quotable one-liners, and why this cult classic still reigns supreme. Is it horror? Is it comedy? Is it Shakespearean? Probably not — but it is groovy.Haddonfield Horrors PodcastSocials: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Insta⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For Business Email: letterstoomedia@gmail.com

Welcome to the first ever VVP Awards! We're going to be giving out some deserved awards, go over next season's schedule, and maybe even go through a little Shakespearean play reading/therapy session!Please leave us a 5 star review on your podcast platform, drop us a follow on the socials, consider joining the Patreon, & share with your friends & family! Thank you for listening & thank you for all the support! Links for all of our stuff can be found here: https://linktr.ee/VariantVendettaYou can find our good friend's Podcasts here:https://www.abingerspodcast.com/https://linktr.ee/goingmerrypod

The Timeless Appeal of "In Flanders Fields": A Sherlock Holmes AdventureThis radio drama, set during World War I, follows Sherlock Holmes and Dr. Watson as they navigate a tense situation at the front lines. The story unfolds with the mysterious disappearance of a Shakespearean actor, leading to a series of events that reveal espionage, betrayal, and the importance of morale during wartime. Holmes takes the stage to deliver a performance, risking his life while uncovering a plot that could jeopardize the upcoming battle. The narrative highlights themes of loyalty, sacrifice, and the impact of war on individuals and society.In the midst of the First World War, the radio play "In Flanders Fields" brings together the legendary detective Sherlock Holmes and his trusted companion Dr. Watson in a thrilling wartime mystery. Set against the backdrop of an impending battle, the story unfolds with Holmes stepping into the spotlight to perform in place of a missing Shakespearean actor. This play, part of a war bond rally, underscores the importance of morale and support during the war years.The narrative weaves themes of loyalty, patriotism, and the enduring spirit of the theater, as Holmes and Watson navigate espionage and intrigue. The play not only entertains but also serves as a reminder of the resilience and courage required in times of conflict. As Holmes takes the stage, the audience is transported to a time when the power of performance could uplift spirits and unite people in a common cause.The clever writing of Dennis Green and Anthony Boucher ensures that the essence of Sir Arthur Conan Doyle's characters is preserved, while also adapting them to the unique challenges of wartime. "In Flanders Fields" is a testament to the enduring appeal of Sherlock Holmes and the timeless nature of storytelling that transcends generations.Subscribe now to explore more adventures of Sherlock Holmes and discover how these classic tales continue to resonate in today's world.TakeawaysThe radio drama was a morale booster during wartime.Sherlock Holmes and Dr. Watson are timeless characters.The story is set against the backdrop of World War I.The importance of art and performance in difficult times.Holmes's deductive reasoning is central to the plot.The tension between personal loyalty and national duty is explored.The narrative reflects on the impact of war on society.The character of Maitland Morris symbolizes the conflict of loyalty.The show must go on, even in the face of danger.The story concludes with a poignant reflection on war and its consequences.Sherlock Holmes, radio drama, World War II, Flanders Fields, Basil Rathbone, Nigel Bruce, wartime morale, mystery, adventure, classic literature

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

Even people who don't follow sports know about the Dallas Cowboys. They're "America's Team." Giant stadiums and superstar players and Super Bowl victories. The team that's always in the news because of drama with their owner. But here's the thing: the Cowboys haven't been to a Super Bowl in 30 years. The images we have about the Cowboys' greatness come from a four-year run between 1992 and 1995. How could such a powerful story emerge from such a short span of winning? Matt invites Luke Moja—his friend and resident 90s sports expert—to the digital pub table to discuss the enduring myth-making and real-life Shakespearean drama that is the Dallas Cowboys.

Brian From is joined by Pastor Derek Buikema of Orland Park Christian Reformed Church to talk about his call to ministry and what he loves most about being a pastor. Derek shares why “ordinary” churches—rooted in preaching, sacraments, and everyday faithfulness—are often where deep discipleship and quiet, life-changing ministry happens. The conversation also touches on church planting, blue-collar faith, and Derek’s surprising side passion: performing Shakespearean improv comedy.See omnystudio.com/listener for privacy information.

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

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

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

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

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

Episode 130 Barenaked Larch - A Critical Review★★★★½What a remarkable evening at the podcast theater! This latest production from the Beat Around the Bench ensemble masterfully blends botanical education with culinary discourse while maintaining an absurdist comedy undercurrent that would make Beckett weep into his sawdust.The opening act establishes dramatic tension with a philosophical inquiry into larch itself, revealing it as a deciduous conifer that bears cones yet sheds its needles in autumn. When Jess delivers his deadpan observation that his toenails do that sometimes, we enter a surrealist landscape where arboreal discourse and podiatric confessions occupy the same philosophical plane.Colton's avant-garde performance piece involving sweet potato coins, smash burgers and burger sauce on tortillas represents culinary rebellion against conventional wrapping methodology. His monologue about toasting the burrito itself on the griddle demonstrates a character who dares to ask what if the vessel itself could be transformed. Revolutionary theater at its finest.The centerpiece is Ross's extended soliloquy on the Milwaukee cordless paint sprayer, a meditation on technology and man's relationship with his tools. His passionate discourse on belt-mounted reservoirs and battery technology transforms product placement into Shakespearean examination. When he laments cleaning nozzles, we feel Sisyphus pushing his boulder as paint residue clogs the mechanism of progress.The Survivor Trees segment elevates the production to operatic heights. Jess's narration of the Callery pear surviving September 11th rubble transcends historical recitation, becoming a meditation on resilience and nature's indomitable spirit. His restrained yet powerful performance guides us through the emotional landscape with a master storyteller's steady hand.The Dragon Blood Trees finale contemplates umbrella-shaped Socotra flora that exude crimson resin and practice passive water harvesting through fog capture. The technical dialogue about resin saturation demonstrates botanical accuracy that makes serious dramaturgs swoon.Minor quibbles prevent five stars, the pacing occasionally meanders and extended technological silences could benefit from musical underscoring. Yet these are trifling concerns in an otherwise tour de force. The ensemble chemistry crackles with authentic camaraderie as Jess narrates, Ross philosophizes and Colton provides comic relief without descending into buffoonery.In conclusion, Barenaked Larch represents everything we expect from these players, intellectual rigor wrapped in conversational ease, technical expertise without condescension and abiding love for woodworking and ancient trees. Essential listening for anyone who appreciates performance art asking big questions like can tortillas contain all things and is fifteen hundred dollars too much for a cordless paint sprayer.The answer is decidedly complex, much like the larch itself.HIGHLY RECOMMENDED

How much do we really know about William Shakespeare, his wife Anne Hathaway, and the family tragedies that may have shaped the bard's greatest work? This is the premise of Maggie O'Farrell's luminous novel Hamnet, now adapted into a major film starring Paul Mescal and Jessie Buckley.Professor Suzannah Lipscomb talks to Maggie O'Farrell about transforming Shakespearean history into unforgettable fiction, and reviews the film with Dr Will Tosh from Shakespeare's Globe.MORE:Shakespeare's Family: New DiscoveriesListen on AppleListen on SpotifyShakespeare's Daughter, JudithListen on AppleListen on SpotifyPresented by Professor Suzannah Lipscomb. The researcher is Max Wintle, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcastSign 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.  Hosted on Acast. See acast.com/privacy for more information.

The face was there all along, but no one knew. When Sir Joshua Reynolds painted The Death of Cardinal Beaufort in 1789, he put a demon’s face in the darkness behind the dying man. Reynolds was accurately depicting a scene from a Shakespearean play that mentions the presence of a “busy, meddling fiend,” but some didn’t like his literalism. After Reynolds’ death in 1792, the face was painted over and forgotten. Art conservation work recently revealed it under layers of paint and varnish. The Bible tells of a spiritual reality around us that the eye can’t see, where God reigns supreme. When Elisha was surrounded by a “strong force” of enemy soldiers and chariots, his servant was frightened and asked, “What shall we do?” Elisha told him that “those who are with us are more than those who are with them,” and “prayed, ‘Open his eyes, Lord, so that he may see.’ ” Suddenly the servant “saw the hills full of horses and chariots of fire all around Elisha” (2 Kings 6:14-17). The horses and chariots of fire indicate angelic beings there for Elisha’s protection. This is one of many places where Scripture underscores the comforting truth that in a world where danger lurks and spiritual warfare rages, God still watches over us. No matter what we face, how good it is to know that nothing “will be able to separate us” from His love (Romans 8:39).

Persian Paradigms in Early Modern English Drama examines the concept of early modern globality and the development of European toleration discourse through English representations of Persian monarchs and Persianate conceptions of hospitality as paradigms of interreligious and intercultural hospitality for early modern and Shakespearean drama. English playwrights depict Persia and its legendary monarchs, such as Cyrus the Great, Xerxes, and Darius, as alternative figures of cosmopolitanism in the period. By focusing on an archive of plays of Persia staged between 1561 and 1696 in conversation with Shakespeare's works, European peace proposals, legislative acts of toleration, and global traditions of hospitality found in Zoroastrianism, Islam, and the Judeo-Christian traditions, this book pioneers an interdisciplinary methodology, introduces Persianate conceptual lenses for literary analysis of English literature, and constructs capacities to imagine multiple globalities existing in early modernity through a spectrum of imagined and lived experiences on stage and on the ground. Sheiba Kian Kaufman is an Assistant Professor of English at Saddleback College and Lecturer at the University of California, Irvine. She is the author of articles on Shakespeare, Persia, and early modern English drama. She has received fellowships from the UCLA Center for 17th-and 18th Century Studies, Clark Library, the UCI Samuel Jordan Center for Persian Studies and Culture, the UCI Center in Law, Society, and Culture, Somerville College, Oxford, and the American Association of University Women. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Louise Jameson is a classically trained actress whose first love is the stage—she spent two years with the Royal Shakespeare Company at the beginning of her career—but she also became known to millions of British television viewers through her roles in such hugely popular television series as Doctor Who, Tenko, Bergerac  and  EastEnders. Her recent theatre credits include Vincent River and directing the UK tour of Revenge. Her audio credits include Doctor Who (Big Finish), writing ATA Girl, about the women of the Air Transport Authority during World War II, and  multiple titles for BBC Audio and Audible. Louise talks with me about her unusually young start at the Royal Academy of Dramatic Art, and how her training continued at the Royal Shakespeare Company, how her Doctor Who character, Leela of the Sevateem, reflected the feminism of the 1970s (and how she didn't), how she started writing, and what she thinks of the opportunities for—and representation of—women in film and TV over the years. If you want to watch this conversation, you can see it here on YouTube!   Episode breakdown: 00:00 Introduction 04:00 Louise describes childhood creativity, daydreaming, and reading early. 08:00 Drama school, age gap with classmates, and strict discipline. 12:00 Acting requires teamwork; Louise reflects on early career. 16:00 Louise's Shakespeare passion, favorite roles and performance experiences. 20:00 Louise talks about landing Leela role in Doctor Who. 24:00 Doctor Who impacts life daily; gratitude for lasting connections. 28:00 Leela's feminist traits and costume choices, fighting stereotypes. 32:00 Leela's intelligence and evolution, relationship with other companions. 36:00 Influence of audio plays; Gallifrey series has strong female fandom. 40:00 Louise discusses writing, self-doubt, and encouragement from collaborators. 44:00 Directing stage, teaching drama; regrets and living in the now. 48:00 Shakespeare's rhythmic influence on Louise's writing and teaching. 52:00 Conversation shifts to social media, attention economy, and technology. 56:00 Louise analyzes Shakespeare's poetic technique and its storytelling power. 01:00 Louise explains collective magic of live theater and storytelling. 01:04 Progress and ongoing challenges for women in TV and film.   Want more? Here are handy playlists with all my previous interviews with guests in writing, theatre, and Doctor Who.   Check out the full show notes (now including transcripts!) at fycuriosity.com, and connect with me and fellow creatives on Substack. Please leave a review for this episode—it's really easy and will only take a minute, and it really helps me reach new listeners. Thanks! If you enjoyed our conversation, I hope you'll share it with a friend.

Eoin is back in the house to try and put manners on the lads with middling success it must be said.He's noticed a change in Darren's attire recently and Joe's recent rants get the boss's assessment.Inspired by a very questionable 1970's social experiment, a thought experiment ensues and we get to hear what they'd do to drive eachother pure mad.Things get a bit Shakespearean when Joe gets outraged by Romeo & Juliet and poor darren gets freaked out by what happens to your head after it's been guillotened into a basket.And don't forget to join us for our live show at Vicar Street on February 12th. Tickets are on sale at Ticketmaster now – we promise you wont regret it.Send all your questions and comments to stallit@goloudnow.com

We have merch now and you can buy it HERE: https://artistsonartistsonartistsonartists.com/shopTo be in a Shakespearean company or not to be in a Shakespearean company? For this week's crew of artists on the pod, the answer is obvious - to be! Join us as they walk us through their history with the Bard and how they gender bend, adapt, and shed new light on - nay, revolutionize - these iconic old texts. So grab your Tudor hat, a scull to monologue at, and stick around for one heck of an episode - parting is such sweet sorrow.This week's guest is the incomparable Eli Patterson who has the most amazing comedic mind! Catch her work across TV and film, including The Righteous Gemstones, performing around LA, and on Instagram @edipattersonhi.This episode was filmed in the beautiful Dynasty Typewriter Theater, and tech-produced by Samuel Curtis. For live shows and events you can find more about them at dynastytypewriter.com.To learn more about the BTS of this episode and to find a world of challenges, games, inside scoop, and the Artists being themselves, subscribe to our Patreon! You won't be disappointed with what you find. Check out patreon.com/aoaoaoapod Artists on Artists on Artists on Artists is an improvised Hollywood roundtable podcast by Kylie Brakeman, Jeremy Culhane, Angela Giarratana, and Patrick McDonald. Produced by Laservision Productions. Music by Gabriel Ponton. Edited by Conner McCabe. Thumbnail art by Josh Fleury. Hollywood's talking. Make sure you're listening. Subscribe to us on Apple Podcasts, Spotify, and Youtube! Please rate us five stars!

Persian Paradigms in Early Modern English Drama examines the concept of early modern globality and the development of European toleration discourse through English representations of Persian monarchs and Persianate conceptions of hospitality as paradigms of interreligious and intercultural hospitality for early modern and Shakespearean drama. English playwrights depict Persia and its legendary monarchs, such as Cyrus the Great, Xerxes, and Darius, as alternative figures of cosmopolitanism in the period. By focusing on an archive of plays of Persia staged between 1561 and 1696 in conversation with Shakespeare's works, European peace proposals, legislative acts of toleration, and global traditions of hospitality found in Zoroastrianism, Islam, and the Judeo-Christian traditions, this book pioneers an interdisciplinary methodology, introduces Persianate conceptual lenses for literary analysis of English literature, and constructs capacities to imagine multiple globalities existing in early modernity through a spectrum of imagined and lived experiences on stage and on the ground. Sheiba Kian Kaufman is an Assistant Professor of English at Saddleback College and Lecturer at the University of California, Irvine. She is the author of articles on Shakespeare, Persia, and early modern English drama. She has received fellowships from the UCLA Center for 17th-and 18th Century Studies, Clark Library, the UCI Samuel Jordan Center for Persian Studies and Culture, the UCI Center in Law, Society, and Culture, Somerville College, Oxford, and the American Association of University Women. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Now that the KJV version of the bible is not the only version sanctioned by the LDS church, this opens the door to dropping the Shakespearean language of the Book of Mormon too. Many of us wonder if we will see a new version of The Book of Mormon soon. Other versions of The Book of Mormon already exist and on this episode of Mormonish Podcast, Rebecca and Landon are joined by the guy behind a unique interpretation of the Book of Mormon that's making everyone spit out their coffee. Working from a suggestion from a Reddit post by Lucifers_Lantern, John-Michael Holahan reimagined the Book of Mormon by replacing "And it came to pass" with "I sh** you not!" I dare you to read these passages and not laugh out loud! John-Michael tells us more about how the idea originated and his process to create this very creative modernized version of the Book of Mormon. Also a shout out to Lucifers_Lantern on Reddit for making the suggestion! This episode originally aired in March 2024. Thank you so much for watching and supporting Mormonish Podcast! ***How to DONATE to Mormonish Podcast: If you would like to help financially support our podcast, you can DONATE to support Mormonish Podcast here: Mormonish Podcast is a 501(c) (3) https://donorbox.org/mormonish-podcast ****WE HAVE MERCH! **** If you'd like to purchase Mormonish Merch, you can visit our Merch store here: https://www.etsy.com/shop/mormonishmerch We appreciate our Mormonish viewers and listeners so much! Don't forget to LIKE and SUBSCRIBE to Mormonish Podcast! Contact Mormonish Podcast: mormonishpodcast@gmail.com #mormonish #lds #mormon #exmormon #postmormon #religion #news, #ldschurch #comeuntochrist #churchofjesuschrist #churchofjesuschristoflatterdaysaints #byu #byui #josephsmith #comefollowme #polygamy #bookofmormon #becauseofhim #hearhim #ldstemple

Persian Paradigms in Early Modern English Drama examines the concept of early modern globality and the development of European toleration discourse through English representations of Persian monarchs and Persianate conceptions of hospitality as paradigms of interreligious and intercultural hospitality for early modern and Shakespearean drama. English playwrights depict Persia and its legendary monarchs, such as Cyrus the Great, Xerxes, and Darius, as alternative figures of cosmopolitanism in the period. By focusing on an archive of plays of Persia staged between 1561 and 1696 in conversation with Shakespeare's works, European peace proposals, legislative acts of toleration, and global traditions of hospitality found in Zoroastrianism, Islam, and the Judeo-Christian traditions, this book pioneers an interdisciplinary methodology, introduces Persianate conceptual lenses for literary analysis of English literature, and constructs capacities to imagine multiple globalities existing in early modernity through a spectrum of imagined and lived experiences on stage and on the ground. Sheiba Kian Kaufman is an Assistant Professor of English at Saddleback College and Lecturer at the University of California, Irvine. She is the author of articles on Shakespeare, Persia, and early modern English drama. She has received fellowships from the UCLA Center for 17th-and 18th Century Studies, Clark Library, the UCI Samuel Jordan Center for Persian Studies and Culture, the UCI Center in Law, Society, and Culture, Somerville College, Oxford, and the American Association of University Women. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Persian Paradigms in Early Modern English Drama examines the concept of early modern globality and the development of European toleration discourse through English representations of Persian monarchs and Persianate conceptions of hospitality as paradigms of interreligious and intercultural hospitality for early modern and Shakespearean drama. English playwrights depict Persia and its legendary monarchs, such as Cyrus the Great, Xerxes, and Darius, as alternative figures of cosmopolitanism in the period. By focusing on an archive of plays of Persia staged between 1561 and 1696 in conversation with Shakespeare's works, European peace proposals, legislative acts of toleration, and global traditions of hospitality found in Zoroastrianism, Islam, and the Judeo-Christian traditions, this book pioneers an interdisciplinary methodology, introduces Persianate conceptual lenses for literary analysis of English literature, and constructs capacities to imagine multiple globalities existing in early modernity through a spectrum of imagined and lived experiences on stage and on the ground. Sheiba Kian Kaufman is an Assistant Professor of English at Saddleback College and Lecturer at the University of California, Irvine. She is the author of articles on Shakespeare, Persia, and early modern English drama. She has received fellowships from the UCLA Center for 17th-and 18th Century Studies, Clark Library, the UCI Samuel Jordan Center for Persian Studies and Culture, the UCI Center in Law, Society, and Culture, Somerville College, Oxford, and the American Association of University Women. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Episode 199: The line I have used for the title of today's episode is spoken by Feste the fool, a central character in ‘Twelfth Night'. Fools have already played significant roles in Shakespeare's previous plays and as you will hear there are possible connections between them and Feste, but significant as he is, and fools will be in forthcoming Shakespeare plays, there is so much more to Twelfth Night than just that one character. It is a play where other Shakespearean comedic characteristics also feature – identical twins, empowered and quick-witted women, variants on the braggart soldier character, and an exotic, virtually mystical, setting, spring to mind. If ever there was a comedy where Shakespeare was completely in his stride then this, for me, is the one.The early performance history of the playThe dating of the playThe early print history of the playThe sources for the playThe establishing of social roles in the playThe positions of the knights Sir Toby and Sir AndrewThe role of Feste, the fool.The impact of Feste's songsFeste as a portrait of Thomas NasheThe centrality of Malvolio to the themes of the playFeste's sung epilogue to the playLove, desire and infatuation in the playThe play as a knowingly theatrical storyThe performance history of the playSome of the critical reaction to the play Link to Rachel Aanstad's ‘A Bawdy Twelfth Night' for UK customers:https://www.amazon.co.uk/Encyclopedia-Dramaturgical-Shakespearean-Encyclopedias-Handbooks/dp/B0BT2DZGTK/ref=sr_1_1Link to Rachel Aanstad's ‘A Bawdy Twelfth Night' for US customers:https://www.amazon.com/Encyclopedia-Dramaturgical-Shakespearean-Encyclopedias-Handbooks/dp/B0BT2DZGTK/ref=sr_1_1Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Irritated and drunken, an itinerant farm-worker sells his wife and child to a stranger. Thus begins The Mayor of Casterbridge, set in rural and small-town England in the mid-1800s. In the original subtitle, Hardy called this the story of "a man of character," and the central character, Michael Henchard, is one of English fiction's greatest creations. Henchard is deeply developed as a realistic character, but also larger-than-life in the manner of a Greek or Shakespearean tragic hero — huge in his determination and huge in his failings. The novel deals with the struggles between individual will, the hold of the past, and the relentless control of circumstances in a changing society.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Irritated and drunken, an itinerant farm-worker sells his wife and child to a stranger. Thus begins The Mayor of Casterbridge, set in rural and small-town England in the mid-1800s. In the original subtitle, Hardy called this the story of "a man of character," and the central character, Michael Henchard, is one of English fiction's greatest creations. Henchard is deeply developed as a realistic character, but also larger-than-life in the manner of a Greek or Shakespearean tragic hero — huge in his determination and huge in his failings. The novel deals with the struggles between individual will, the hold of the past, and the relentless control of circumstances in a changing society.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Irritated and drunken, an itinerant farm-worker sells his wife and child to a stranger. Thus begins The Mayor of Casterbridge, set in rural and small-town England in the mid-1800s. In the original subtitle, Hardy called this the story of "a man of character," and the central character, Michael Henchard, is one of English fiction's greatest creations. Henchard is deeply developed as a realistic character, but also larger-than-life in the manner of a Greek or Shakespearean tragic hero — huge in his determination and huge in his failings. The novel deals with the struggles between individual will, the hold of the past, and the relentless control of circumstances in a changing society.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Irritated and drunken, an itinerant farm-worker sells his wife and child to a stranger. Thus begins The Mayor of Casterbridge, set in rural and small-town England in the mid-1800s. In the original subtitle, Hardy called this the story of "a man of character," and the central character, Michael Henchard, is one of English fiction's greatest creations. Henchard is deeply developed as a realistic character, but also larger-than-life in the manner of a Greek or Shakespearean tragic hero — huge in his determination and huge in his failings. The novel deals with the struggles between individual will, the hold of the past, and the relentless control of circumstances in a changing society.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Irritated and drunken, an itinerant farm-worker sells his wife and child to a stranger. Thus begins The Mayor of Casterbridge, set in rural and small-town England in the mid-1800s. In the original subtitle, Hardy called this the story of "a man of character," and the central character, Michael Henchard, is one of English fiction's greatest creations. Henchard is deeply developed as a realistic character, but also larger-than-life in the manner of a Greek or Shakespearean tragic hero — huge in his determination and huge in his failings. The novel deals with the struggles between individual will, the hold of the past, and the relentless control of circumstances in a changing society.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Irritated and drunken, an itinerant farm-worker sells his wife and child to a stranger. Thus begins The Mayor of Casterbridge, set in rural and small-town England in the mid-1800s. In the original subtitle, Hardy called this the story of "a man of character," and the central character, Michael Henchard, is one of English fiction's greatest creations. Henchard is deeply developed as a realistic character, but also larger-than-life in the manner of a Greek or Shakespearean tragic hero — huge in his determination and huge in his failings. The novel deals with the struggles between individual will, the hold of the past, and the relentless control of circumstances in a changing society.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Irritated and drunken, an itinerant farm-worker sells his wife and child to a stranger. Thus begins The Mayor of Casterbridge, set in rural and small-town England in the mid-1800s. In the original subtitle, Hardy called this the story of "a man of character," and the central character, Michael Henchard, is one of English fiction's greatest creations. Henchard is deeply developed as a realistic character, but also larger-than-life in the manner of a Greek or Shakespearean tragic hero — huge in his determination and huge in his failings. The novel deals with the struggles between individual will, the hold of the past, and the relentless control of circumstances in a changing society.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy