Page 11234..10..»

Archive for the ‘Bernard Shaw’ Category

One-woman play tells tale of the overlooked wife of George Bernard Shaw – Irish Post

Posted: January 23, 2020 at 6:45 pm


without comments

Charlotte Payne-Townshend is not exactly a household name.

In fact, in todays celebrity-obsessed culture, its very possible one might hear it and think Will and Kates four-year-old daughter has only gone off and adopted a bizarre double-barrelled street name to shake off her royal duties.

But for most normal folk, its met with an empty stare, a dismissive shrug and a puzzled, Who the heck is that?

Dont fear - Mrs Shaw Herself is here to answer that question.

Created by musician Helen Tierney and actress Alexis Leighton, this one-woman play is an intimate glimpse into the life of Charlotte Payne Townshend, Irish heiress and activist - who also happened to be the wife of the legendary George Bernard Shaw.

Tierney seeks to restore the spirit of this unsung hero, whose achievements have historically been outshone by the glare of her husbands.

An affluent political campaigner who championed the education of women, Charlotte was one of the key Irish players in the feminist movement of the early twentieth century.

Rather than hoard or squander her riches, she exploited her privilege to benefit others.

She single-handedly funded a scholarship for women at the London School of Economics and even donated a hefty 1000 to the establishment of its Shaw Library in 1939.

She was also a driving force in the Fabian Womens Group, which promoted suffrage equality for women through debates and publications.

And yet, despite her major contributions to society, she has yet to receive the acclaim she so evidently deserves.

This hour-long production lifts Charlotte from the pages of her husbands writings, granting her a platform to speak freely and express her individuality to her audience.

By weaving the script exclusively out of genuine diaries and letters, every line drips with authenticity and passion.

Tierney explains this decision to rely on primary sources.

Its an hour where they can get to know her in her own words. We want people to have a real sense of her when they leave the play.

To truly nurture this sense, Tierney splashes the play with the voices of Charlottes friends and acquaintances.

Chameleon actress Leighton embodies an array of different characters, playing Charlotte, George Bernard Shaw, Beatrice Webb and more.

This metamorphosis not only softens the potential stagnation of a one-person play, it enhances the audiences understanding of Charlotte.

As Tierney explains: We learn about her from other peoples words.

Its a panoramic view of Charlotte Payne Townshend - a 360 degrees rotation of a woman who has hovered as a 2D background character for too long.

The message is simple - the most important part of Mrs Shaw, is in fact, herself.

Tierney hopes that that this portrayal will exemplify Charlottes multi-faceted personality. Her marriage to a notorious playboy may have drew some concerns, but it never inhibited her pursuit of success and happiness.

Tierney explains that the play emphasises this independence, explaining: Shes not a victim. Shes feisty, she has ideas of her own.

In many ways, it was this unyielding gumption that fuelled her unconventional relationship with one of Irelands most beloved writers.

Despite their practice of celibacy, Charlotte and George remained together for over 40 years.

It is said that their bond was cemented by their mutual respect for each others endeavours - she helped him craft fiction, he helped her actualise realities.

Their marriage may have been sexless, but it certainly wasnt loveless.

Tierney argues that their story lends a glimmer of hope to a society blotted by billowing divorce rates.

Its a tale of a marriage that survives. He could be infuriating to live with and maybe she wasnt easy either, but they both gave things to each other that are really positive. Often you dont see that side of a marriage.

By recognising her as both an individual and a partner, the play tackles the widespread misconception that the combination of feminism and marriage is incongruent.

Charlottes role as a wife was a part of her, but it was by no means, all of her.

Mrs Shaw Herself will be performed in London on February 1 as part of the Herstory Light Festival.

Inspired by one of Irelands patron saints, St. Brigid, this three-day long event celebrates the Irish women of our present and our past.

Tierney believes this is an ideal environment to stage the play, comparing the silencing of Charlottes achievements under the volume of her husbands legacy to how St. Brigid has always been in the shadow of St. Patrick.

This homage to Ireland is reflected in Tierneys Celtic harp playing, which gently punctuates each scene and embellishes the effect of Charlottes words.

Charlotte has been introduced to over 30 audiences in the United Kingdom, and Tierney is now planning to bring her home to Ireland. She reveals her hopes to perform it in Cork, where Charlotte was born and raised.

With just one actor, minimal props and modest staging, Mrs Shaw Herself is the farthest thing from a glitzy pantomime.

Viewers wont come away with ringing ears and dizzy eyeballs, high on the rush of high-budget spectacles.

This play doesnt seek to overdose your senses, and, led by such a powerful character, it doesnt need to.

What it does do is introduce you to one of Irelands most underrated heroes, luring you into the depths of her psyche and colouring in the blank her name once drew.

Having sat down with little to no knowledge of Charlotte Payne Townshend, youll stand up with that profound feeling of having met someone you feel like youve known for years.

Rather than cheering bravo after the final scene, you might just find yourself waving goodbye.

Mrs Shaw Herself is at The Intimate Space at Hornsey Church Tower at 2.30pm on February 1. Tickets 10 and 8 on Eventbrite.com.

Visit link:
One-woman play tells tale of the overlooked wife of George Bernard Shaw - Irish Post

Written by admin

January 23rd, 2020 at 6:45 pm

Posted in Bernard Shaw

King William’s College quiz: the answers | From the Guardian – The Guardian

Posted: at 6:45 pm


without comments

How did you get on? .... Winnie the Pooh and friends, from The Best Bear in All the World (see 16.4). Photograph: Egmont Publishing

1 Jess Willard (the Pottawatomie Giant, lost world heavyweight title fight to Jack Dempsey, the Manassa Mauler/Kid Blackie) 2 Ignacy Jan Paderewski (prime minister of Poland) 3 Somerset Maughams The Moon and Sixpence 4 Suzanne Lenglens (La Divine) at Wimbledon 5 John Alcock and Arthur Brown (from Winston Churchill following transatlantic flight) 6 HMY Iolaire (hit Beasts of Holm off Stornoway, 201 servicemen drowned) 7 The Childrens Newspaper (Arthur Mee) 8 Death of Prince John (their fifth son, aged 13) 9 Theodore Roosevelts (Speak softly and carry a big stick, you will go far) 10 Nancy Astor (succeeded her husband as MP for Plymouth in byelection)

1 Patrick Gordon (1635-99) 2 Croagh Patrick 3 Sir Patrick Cullens (George Bernard Shaw, The Doctors Dilemma) 4 Fino San Patricio (Garvey, Jerez) 5 Sir Patrick Spens 6 Patrick OBrian (Aubrey and Maturin in Master and Commander) 7 Patrick Sellar (Highland Clearances) 8 Percy FitzPatrick (Jock of the Bushveld) 9 Patrick Pearse (St Endas/Scoil anna) 10 Patrick Kavanagh (The Great Hunger)

1 Thomas Bond (Jack the Ripper, murderer of Mary Jane Kelly) 2 Francis Camps (Erle Stanley Gardner. The Case of the Duplicate Daughter) 3 John Glaister Junior (Buck Ruxton murders) 4 David Bowen 5 Alec Jeffreys (Colin Pitchfork, Narborough, 1983) 6 Paul Uhlenhuths (Ludwig Tessnow, Rugen, 1901) 7 Donald Teare 8 Keith Simpsons (Mrs Durand-Deacon, victim of John George Haigh, acid bath murderer) 9 Bernard Knights (Karen Price, Cardiff, 1989) 10 Sir Bernard Spilsbury (Operation Mincemeat deception, 1943)

1 Count Jovian (John Buchan, The House of the Four Winds) 2 Count Paris (Shakespeare, Romeo and Juliet) 3 Count Ribbing (Giuseppe Verdi, Un Ballo in Maschera) 4 Count Joseph Dumoulin (consul-general of Swedish Pomerania in CS Forester, The Commodore) 5 Count Fosco (Wilkie Collins, The Woman in White) 6 Count Vronsky (Leo Tolstoy, Anna Karenina) 7 Count of Monte Cristo (Alexandre Dumas, Edmond Dants) 8 Count Folke Bernadotte 9 Count Orgaz (El Greco) 10 Count Basie (Earl Hines and Duke Ellington)

1 Van Houtens cocoa 2 Wonkas Whipple-Scrumptious Fudgemallow Delight (Roald Dahl, Charlie and the Chocolate Factory) 3 La Cleste Praline (Joanne Harris, Chocolat) 4 Anthon Berg 5 Frys 6 Henri Nestl (Daniel Peter) 7 Drostes (Jan Missets Nurse) 8 My chocolate cream soldier (George Bernard Shaw, Arms and the Man, act III) 9 Thorntons 10 Ritter Sport

1 Lord Jesuss (hymn) 2 Cameron Highlands, Malaya (Tan Twan Eng, The Garden of Evening Mists) 3 Maud (Alfred Lord Tennyson, Maud) 4 Hatton Garden 5 Letchworth Garden City 6 Mr McGregors (Beatrix Potter, The Tale of Peter Rabbit) 7 Misselthwaite Manor (Frances Hodgson Burnett, The Secret Garden) 8 Percy French (song, Come Home Paddy Reilly) 9 TE Brown (My Garden) 10 Johnny Crows (Leonard Leslie Brooke, Johnny Crows Garden)

1 Cheltenham (John Betjeman) 2 Dursley (Dursley and Midland Junction Railway) 3 Berkeley Castle (Christopher Marlowe, Edward II) 4 Lechlade 5 Gloucester (Beatrix Potter, The Tailor of Gloucester) 6 Chipping Campden 7 Tewkesbury (King Edward IV) 8 Slad (Laurie Lee, Cider with Rosie) 9 Fairford (St Marys Church) 10 Stow-on-the-Wold

1 Jos Canalejas (November 1912) 2 Joselito (Jos Gmez Ortega, matador, May 1920) 3 Pope Calixtus III (Alfons de Borja) 4 Alfonso XI (The Avenger, 1350) 5 Sancho II (Zamora, 1072) 6 Felipe II (singed beard in Cadiz by Drake, 1587) 7 Francisco Goya, Enrique Granados (Goyescas) 8 Santiago Ramn y Cajal (Nobel prize, 1906) 9 Tio Pepe (Gonzales Byasss Fino sherry, Uncle Joe) 10 El Bilbanito (CS Forester, The Gun)

1 Midshipman Hornblower (CS Forester) 2 Horn of Plenty (fungus) 3 The Golden Horn (GK Chesterton, Lepanto) 4 East Hohenhrn (Erskine Childers, The Riddle of the Sands) 5 Battle of Little Bighorn 6 Weisshorn (John Tyndall, physicist, August 1861) 7 Horning (Arthur Ransome, Coot Club) 8 Horncastle (William Marwood, hangman) 9 The cow with the crumpled horn (This is the House that Jack Built) 10 Hornbill

1 Henry Purcells (Dido and Aeneas) 2 Jeremiah Clarke (Prince of Denmarks March, aka Trumpet Voluntary) 3 Thomas Arne (Ariels Where the bee sucks, there suck I, The Tempest) 4 Hubert Parry (Jerusalem) 5 Edward Elgar (Nimrod, Augustus Jaeger) 6 Ralph Vaughan-Williams (Down Ampney, hymn tune, after Bianco da Siena) 7 Gustav Holsts, Thaxted (Jupiter) 8 Benjamin Britten (Noyes Fludde) 9 William Waltons (Belshazzars Feast) 10 Arthur Sullivans (with WS Gilbert at the Savoy. The Grand Duke or The Statutory Duel)

1 Malgudi (RK Narayan, Swami and Friends) 2 New Delhi (Aravind Adiga, The White Tiger) 3 Madras (Edward Lear, The Book of Nonsense) 4 Simla (Rudyard Kipling, Kim) 5 Allahabad (Jules Verne, Around the World in Eighty Days) 6 Agra (Arthur Conan Doyle, The Sign of Four) 7 Calcutta (Patrick OBrian, HMS Surprise) 8 Darjeeling (Nel Coward, I Wonder What Happened to Him) 9 Bombay (EM Forster, A Passage to India) 10 Jhansi (Christina Rossetti, poem, The Round Tower at Jhansi, June 8, 1857)

1 Dram, Armenia 2 Rand, South Africa (Mary Rand Olympic gold in 1964 long jump) 3 Pula, Botswana 4 Sucre, Ecuador 5 Cordoba, Nicaragua 6 Lek, Albania 7 Birr, Ethiopia (telescope The Leviathan of Parsonstown) 8 Quetzal, Guatemala 9 Dong, Vietnam (Edward Lear) 10 Coln, Costa Rica

1 Lake Baikal (Baikal Teal/bimaculate duck) 2 Toplitzsee (Nazi forgeries of UK bank notes) 3 Lake Peipus (Alexander Nevsky, 5 April 1242) 4 Lac Lman (Lord Byron, The Prisoner of Chillon) 5 Lake Maggiore (Ernest Hemingway, A Farewell to Arms) 6 Lake Como (August Strindberg, Frken Julie) 7 Loch Morar (monster) 8 Loch Maree (Botulism, August 1922) 9 Lough Neagh (legend of Finn McCool creating the Isle of Man) 10 Lake Trasimeno (Hannibal v Flaminius 217BC)

1 Raidillon (Spa-Francorchamps, watchmaker since 2001) 2 Interlagos (Brazil, Bico do Pato, Mergulho) 3 Mistral (Le Castelet, Circuit Paul Ricard, France) 4 Remus (Red Bull, Spielberg, Austria) 5 Tosa (Imola, San Marino/Italy) 6 Monza (Italy, Vialone became Ascari) 7 Beckets (Silverstone) 8 Massenet (Monaco, premiere of opera Don Quichotte) 9 Knickerbrook (Oulton Park) 10 Tarzanbocht (Zandvoort, Holland)

1 Ind Coope (Double Diamond slogan) 2 Crosse and Blackwell 3 Holland and Holland (gunsmiths) 4 Winsor and Newton (paint brushes) 5 Patek Philippe (Calibre 89, celebrating 150 years since foundation) 6 Parker Knoll 7 Williams and Humbert (sherry) 8 Bryant and May (imported matches from Sweden) 9 Ratsey and Lapthorn (sailmakers, Cowes) 10 C and A (Clemens and August Brenninkmeijer, Sneek)

1 Manhood Hundred (Selsey, within the Rape of Chichester) 2 Hundredweight (112lb in UK, 100lb in US) 3 Chiltern Hundreds 4 Hundred Acre Wood (AA Milne, The House at Pooh Corner) 5 The Hundred-Foot Journey (2014 film) 6 One Hundred Years of Solitude (Gabriel Garca Mrquez) 7 Hundred Year Hall (two CD live album by the Grateful Dead, following Jerry Garcias death) 8 The Hundred Years war (Battle of Castillon) 9 WG Grace scored his hundredth hundred in 1st class cricket. 10 Your Hundred Best Tunes (1997 and 2003)

1 Tavistock (The Adventure of Silver Blaze) 2 North Walsham (The Adventure of the Dancing Men) 3 Shoscombe (The Adventure of Shoscombe Old Place) 4 Mackleton (The Adventure of the Priory School) 5 Waterloo (The Adventure of the Crooked Man) 6 Forest Row (The Adventure of Black Peter) 7 Charing Cross (The Adventure of the Golden Pince-Nez) 8 Winchester (The Adventure of the Copper Beeches) 9 Chislehurst (The Adventure of the Abbey Grange) 10 Canterbury (The Adventure of the Final Problem)

1 Shane Long (scoring quickest goal in Premier League history for Southampton v Watford) 2 Jack Leach (92 runs in Test Match v Ireland) 3 Volodymyr Zelensky (president of Ukraine, following TV series Servant of the People) 4 Norwich Cathedral (George Irvins Helter Skelter) 5 George Mendonsas, (The Kissing Sailor, has died aged 95) 6 Unveiling of statue of Regis, Cunningham and Batson in West Bromwich 7 New Australian 50 dollar note (responsibilty) 8 Franky Zapata (Channel crossing by hoverboard) 9 Abdication of Emperor Akihito and accession of Naruhito to chrysanthemum throne 10 Denbigh plum

See the original post here:
King William's College quiz: the answers | From the Guardian - The Guardian

Written by admin

January 23rd, 2020 at 6:45 pm

Posted in Bernard Shaw

A former teacher took to the stage to pursue dreams of being theatre star – Swindon Advertiser

Posted: at 6:45 pm


without comments

A FORMER teacher gave up his career to get on stage and into the spotlight.

John Griffiths acted in his spare time but in 1977 decided to dive into the deep end and make it his lifes ambition.

He told the Adver: Funnily enough I started out with the director Im working with now, at the beginning of my career in acting. He asked me to do a show in 1977 when I was a teacher as I was acting on the side, then I went ahead with making it my full-time career and gave up teaching.

I dont regret giving it up at all, its my two combined passions of theatre and travel. Ive travelled all over the world to places like Germany and Austria, its a great way to combine my passions.

John will be playing Major Metcalf in the play as he works alongside Gareth Armstrong for the second time.

Gareth has worked across the world as a director and actor.

Hes directed classics by William Shakespeare, George Bernard Shaw, Anton Chekhov, and Nol Coward.

I was a police officer in Agatha Christies Verdict and I was performing in Torquay. He asked me to join him and play a role in Under Milk Wood.

Ive worked in quite a few plays written by Agatha and now Im doing Mousetrap which is in its 68th year, its astounding.

The first showing of the renowned play at the Wyvern Theatre will be on February 10 to 15.

Tickets for the show are between 25.50 to 34.00 varying each night.

To book tickets visit the Wyvern Theatre website at swindontheatres.co.uk

The rest is here:
A former teacher took to the stage to pursue dreams of being theatre star - Swindon Advertiser

Written by admin

January 23rd, 2020 at 6:45 pm

Posted in Bernard Shaw

Tips for year of the parent | Cape Argus – Independent Online

Posted: at 6:45 pm


without comments

For the Year of the Parent, I have in mind a daily undertaking by children to validate their parents. Make a resolution to say something nice to Mum or Dad every day.

Parents can remember their own parents, now grandparents.

My agenda remains improved literacy. This mission could be the lodestone to reunite families and take our children back into our bosoms. Remember, praise is more productive than blame.

I notice, and welcome, an addition to us freelancers who sound off on our own domain specificities with the added bonus of getting paid for it. We write columns. Its not difficult, but its tricky in that were never sure what we cover is relevant. In education, I think the fuss made over matric results is just a media-driven event.

Each child who passes the exam deserves praise, not polemic about statistics that lump all candidates together into one melting pot for the purveyors of polemic and statistics.

One might reach the end of ones school years at matric.

It doesnt follow that we have given the learners anything, what with the cloddish OBE that has been transformed stubbornly and stupidly four times up to now.

George Bernard Shaw is noted for his observation: The time I spent in school interfered with my education.

To arm parents with my Year of the Parent project, I invite suggestions from my readers (how many are we now?) via my e-mail, WhatsApp (which I just love to hate) or telephone.

Im acknowledging that parents are the first teachers. Thats where the important start to education resides. Pundits call it the first epistemic encounter.

Given that we have not yet resolved the mother-tongue issue, I would like to refer to an interview with Makhaya Ntini, one of the best bowlers and most charismatic personalities this country has produced. He recounted his days at a school where only English was spoken. He recalled the terror of not knowing what was being said.

He remembers a white class-mate moving desk to sit next to him. This boy could speak Xhosa and he translated for Makhaya. I wonder whether he instinctively acted out of a premonition of the greatness Makhaya would achieve.

The point of that interview was that peer support is vital. Also, lessons should be child-friendly, or pedocentric, not top-down.

Here are a few interesting little shocks to the system which can flesh out your conversations with your children:

The word Pacific Ocean contains three cs. Each one has a different pronunciation. United means to bring together, yet it is also an anagram for untied, taken apart, separated. The following sentences read the same in English and Afrikaans: My hand is in warm water. My ink is in my pen.

* Literally Yours is a weekly column from Cape Argus reader Alex Tabisher. He can be contacted on email byact[emailprotected]

** The views expressed here are not necessarily those of Independent Newspapers.

Cape Argus

Read the original:
Tips for year of the parent | Cape Argus - Independent Online

Written by admin

January 23rd, 2020 at 6:45 pm

Posted in Bernard Shaw

Director Bartlett Sher On Chaos, Confidence And ‘Collective Genius’ – NPR

Posted: January 20, 2020 at 11:54 am


without comments

Director Bartlett Sher is now working on an opera based on Lynn Nottage's Intimate Apparel, and preparing the London premiere and national tour of To Kill A Mockingbird. He's shown above during a rehearsal in May 2006, in Seattle. Elaine Thompson/AP hide caption

Director Bartlett Sher is now working on an opera based on Lynn Nottage's Intimate Apparel, and preparing the London premiere and national tour of To Kill A Mockingbird. He's shown above during a rehearsal in May 2006, in Seattle.

Theater is a team sport just ask Broadway theater director Bartlett Sher. "I don't believe in individual genius, I believe in collective genius," he says.

That approach has earned Sher a Tony Award and nine Tony Award nominations. As resident director of New York's Lincoln Center Theater, Sher digs deep into American classics To Kill a Mockingbird, My Fair Lady, Fiddler on the Roof and makes them feel relevant to today's audiences.

Great coaches need to know every position on the field and theater directors are no different Sher says that's part of the fun. "I have to know as deeply as I can about the lighting, about set design, about clothes and about acting and pull all of them together ... " he explains. "You have to be kind of in everybody's experience and helping them all do the best work they can do without the assumption that you could do it better."

Celia Keenan-Bolger is an actor who has seen Sher's approach firsthand. She played Scout in the Aaron Sorkin adaptation of To Kill A Mockingbird which Sher directed. In meetings with the cast, she says Sher would "source the room" asking: "Does anybody have a way to explain this that might be more helpful than what I'm using?"

It's a hard balance to strike she says. "Sometimes, if you open up the room too much, it starts to feel like, 'Who's in charge here? Who's running the ship?' But with Bart, there was always a very clear sense that he was in charge, that he had a vision, that we were working towards something, but that he could be greatly influenced by the artists he had surrounded himself with."

Two Broadway shows Sher directed My Fair Lady and Fiddler on the Roof are currently on national tours. The national tour of To Kill a Mockingbird begins this summer.

Sher's With Shaw

Sher recently came down from New York to attend an early preview of My Fair Lady at Washington, D.C.'s Kennedy Center. The following day at rehearsal, he darts around the theater, talking to the choreographer, the sound and lighting technicians, the conductor in the orchestra pit and the actors on stage.

Three suffragettes walk across the stage with protest signs during the song "With A Little Bit of Luck." In the preview, they were in the background and Sher thinks they walked by too fast. "We need to pull them out more because the audience loves them," he says. He asks the three actors to walk to the front of the stage, stop, face the audience, raise their signs and yell: "Vote for women!"

"Be righteous about it," Sher tells them. In the age of #MeToo, he need not say more.

My Fair Lady was inspired by George Bernard Shaw's 1913 play Pygmalion, in which Eliza Doolittle, a poor-but-feisty flower girl, dreams of a better life. Along comes the arrogant, class-conscious phonetics professor Henry Higgins to teach or more like torment her to speak the Queen's English. In the final scene of Pygmalion, the newly empowered Eliza has tender feelings for the sexist professor but leaves him end of story. But in the musical by Alan Jay Lerner and Frederick Loewe, Eliza comes back. In a supposedly crowd-pleasing, happy ending, the dueling couple falls for each other, despite the fact that Henry has treated Eliza horribly throughout the entire show.

Sher's with Shaw on this one: "Shaw hated the idea that they will ever, ever end up together," Sher says. "He was anti rom-com of any kind. He was an incredible feminist, fought hard for all kinds of equality."

In Sher's My Fair Lady, Eliza ditches Henry for that better life she's been dreaming about, far from "Hartford, Hereford and Hampshire."

Shereen Ahmed, who plays Eliza in the national touring company, says she connected to her character's "resilience and ambition."

"As a young Egyptian girl trying to just find her place in society, I was having trouble fitting in and finding my own identity," Ahmed says. "Something about Eliza's determination to better herself ... really resonated."

She says Sher gave her the "space" to "discover" that connection.

With classic productions, Sher tries to understand the context in which the works were created and then bring them into the present day.

"Whenever you do one of these musicals, you have to look at the immediate significance of the time you're in and why are you doing it right now," he says.

A 'Fiddler' For Today

For the Broadway revival of Fiddler on the Roof, Sher drew from his own background. Sher's father was born in a shtetl in Lithuania, similar to Tevye's Anatevka. In the opening and closing scenes, Sher made a small but important change: the actor playing Tevye looks like a modern-day tourist, dressed in a parka. He could be Tevye's descendant.

"We looked at that experience of somebody going back to explore their past ... and mix that with the current refugee situation," he explains. The Fiddler revival explores "what it means when you're driven out and who you are and how you survive that."

Yehezkel Lazarov, the Israeli actor who plays Tevye on the national tour, says Sher wants to make sure audiences connect the past with the present.

"He definitely wanted people to understand that we are part of a community," says Lazarov. "Unfortunately [the refugee crisis], it's part of our reality. It's part of our life right now, as we speak. And although Fiddler exists for 60 years already or more, it's still very, very much relevant."

Confidence ... And Chaos

To find out how his shows are being received, Sher talks with audience members during intermission. In New York, they can be brutally honest. He remembers directing a musical version of the Pedro Almodvar film Women on the Verge of a Nervous Breakdown and ... it didn't go well.

"I remember walking up the aisle and a group of older Lincoln Center women subscribers looking at me and all together turning their thumbs over and down to tell me that it was terrible," Sher says. "And I joyfully went up and said, 'So why are you feeling that?' I got more of an answer than I probably wanted but that's the spirit in New York. And you have to have enough confidence, enough belief in what you're doing, that it's not about whether it's good or bad it's about this sort of thing you're making."

Sher admits it's taken years of practice to develop that confidence. He grew up in San Francisco, one of seven children. No one else in his family worked in the arts but he credits his older brothers with giving him his first theater experience when he was 11 at a Grateful Dead concert.

"They were an improvisational band, so they never knew what number they were going to do next ..." he recalls. "And the audience ... they were connecting into it in a very intense way. So you had this ... kind of spiritual kind of insane experience all at once."

He says both the city and his family made for a lively adolescence. "I had one brother at the Naval Academy and one brother at Stanford," he says. "And the difference between the two, and the politics that were all over, everybody was screaming and yelling. It was fun. I thought the world was pretty crazy and pretty exciting and got to be lucky enough to not have a problem with chaos."

That might be a Broadway theater director's most valuable skill. Sher's "collective genius" credo means lots of research, many deadlines and constant communication with actors, writers, choreographers, lighting and costume designers.

Back at the bustling Kennedy Center rehearsal of My Fair Lady, Sher's passion for his gig is infectious. "The music, the movement, the design, the fact that we're doing a whole film in front of you every night," he says, "Everything delivering, up and down and the coordination of all these elements. It's pretty mind-boggling."

Original post:
Director Bartlett Sher On Chaos, Confidence And 'Collective Genius' - NPR

Written by admin

January 20th, 2020 at 11:54 am

Posted in Bernard Shaw

In the name of the father – Mumbai Mirror

Posted: at 11:54 am


without comments

An auction, that starts today, offers a glimpse into the lives of the men who built post-Independence India.

Its well known that before Mohandas Gandhi launched the Satyagraha movement in India in 1917, he had deployed it, quite effectively, in South Africa in1907, when he was working as a barrister there. In a book entitled Satyagraha in South Africa, Gandhi writes: Satyagraha is a priceless and matchless weapon and that those who wield it are strangers to disappointment or defeat. This week, a fi rst edition of the book, published in 1928 and translated from Gujarati into English, will be up for auction at an event organised by auctioneer Prinseps. The collection is a tribute to three of Indias most signifi cant historical fi gures: Gandhi, Jawaharlal Nehru and Netaji Subhas Chandra Bose.

As father of the nation and freshly in the news because of the recent Gandhi Smriti incident its probably appropriate that Mohandas dominate the collection. Besides the satyagraha book, there is also a 70-volume set called The Collected Works of Gandhi, which spans a large period: Volume One covers the years from 1884 to 1896, while Volume 75 dates back to 1942. The books were authored jointly by Gandhi and his associates, like DG Tendulkar, says Indrajit Chatterjee of Prinseps. There are exceptionally rare and extremely important. According to our research, about 100 volumes were published, but weve only been able to source 70 for this auction. The government, Im told, has a few.

If there is an enduring interest in Gandhi, there is also a lot of curiosity about Subhas Chandra Bose, especially with debates about whether he survived the crash that is supposed to have killed him. While one of the books in the collection, entitled Verdict from Formosa: Gallant end of Netaji Subhas Chandra Bose, has its own theory, the other rare books relating to Bose include the original manifesto of the Forward Bloc [from June 1946] and the principles and policies of the Indian National Army (INA), both of which were founded by Bose. Some of the Netaji books have never been offered by any auction, says Chatterjee. We spent months researching what Netaji books are available in libraries in India and abroad, and we didnt find these anywhere. Therere also The Mission of My Life, written by Bose himself and published in 1949 by the Kolkata company Thacker Spink, and a collection of the text of all his speeches, put together in 1946 by one Arun. Theres also a first edition of The Springing Tiger: A Study of Subhas Chandra Bose by Briton Hugh Toye, a historical account of the INA.

The collection relating to the countrys first prime minister is smaller. But an interesting item in the Nehru section is a book entitled A Bunch of Old Letters correspondence between Nehru and people like Gandhi, Motilal Nehru, Sarojini Naidu and even Franklin Roosevelt and George Bernard Shaw. The other eyecatcher is Nehru on Gandhi by Ricahrd J Walsh, published in 1948 which has portions culled from Nehrus speeches that make references to Gandhi.

What makes these books valuable is that besides being published in the 1940s, 50s and 60s, very few of these have made it to any libraries, says Chatterjee. They were often printed on newsprint quality paper, and given the India climate, one can only assume that many other, similar books may have simply disintegrated over time. Its remarkable that even these have survived, given our tendency to reuse paper from old books or turn them into bhelpuri wrappers.

This no-reserve auction of rare books and prints starts today, 10 am onwards, and closes on Jan 26 at 7 pm. Visit: http://www.prinseps.com

Continue reading here:
In the name of the father - Mumbai Mirror

Written by admin

January 20th, 2020 at 11:54 am

Posted in Bernard Shaw

Rediscovering the art of reading – The Tablet

Posted: at 11:54 am


without comments

The digital revolution has been a huge commercial success and made small imprints widely available, but it has made us shallow, irritable and depressed, argues a leading publisher

I object to publishers: the one service they have done me is to teach me to do without them. They combine commercial rascality with artistic touchiness and pettiness, without being either good businessmen or fine judges of literature. George Bernard Shaw

I started my first job in book publishing on 16 September 1968. My father told me I should not accept a salary of less than 900 (yes, nine hundred) a year and that was precisely what I was offered. I accepted. The publishing house I joined had just been founded and was called Darton, Longman & Todd (DLT). Its main mission was to publish religious books in the traditional areas of theology, liturgical books, patristics and Bibles, but it had also discovered that there was a popular appetite for a relatively new category: spirituality.

In a Church Times survey of religious publishing in 1972 I was described as Robin Spirituality Baird-Smith. I launched writers such as the Russian Orthodox Anthony Bloom, Rabbi Lionel Blue, Carlo Carretto and Rowan Williams. I felt I was closely in touch with our readers, and that there was a direct correlation between the quality of a manuscript and how successful the book would be. Book publishing has undergone a revolution since then.

Follow this link:
Rediscovering the art of reading - The Tablet

Written by admin

January 20th, 2020 at 11:54 am

Posted in Bernard Shaw

Jim Gavin says Dublin players deserve freedom of the city after receiving honour – Dublin Live

Posted: at 11:54 am


without comments

Jim Gavin could only thank his former Dublin players as he was made a Freeman of Dublin City.

The former Dublin football manager was given the prestigious designation by the Lord Mayor of Dublin, Paul McAuliffe, in the Round Room of the Mansion House last night.

Among the guests were Gavin's family, including his wife Jennifer and children Yasmin and Jude, as well as some of his ex-players, including Paul Mannion, Brian Fenton, Paddy Andrews, Ciaran Kilkenny, and Dean Rock.

And it's those same players who Gavin was, in typical style, quick to funnel the praise towards, saying his award is really an award for them.

"I am constantly aware that this isn't really for me, it's for the team that I represented, the Dublin Senior Football team, and particularly the players," Gavin said afterwards to DubsTV.

"They did all the hard work on the field of play.

"It was my good fortune in my football journey to come across their path, and to meet those great men who proudly, and still do, wear the Dublin jersey.

"When I was on the sideline, as a coach, as a manager, or as a player, it was always a privilege to wear that Dublin crest.

"I'm really honoured to represent them tonight. This award, really, is for them."

Gavin becomes the second Dublin GAA manager to receive the freedom of the city, after legendary Dubs boss Kevin Heffernan did so in 2004.

Other recipients of the prestigious honour include former American Presidents Barack Obama, Bill Clinton, and John F Kennedy, as well Nelson Mandela, George Bernard Shaw, Bono, Jack Charlton, and Bob Geldof.

You can like our main Facebook page here.

Our Dublin Live Sports Page - which brings you all your Dublin sports news - can be found here.

The Dublin Live Twitter account is @DublinLive.

Our Instagram account can be found here.

Read the original here:
Jim Gavin says Dublin players deserve freedom of the city after receiving honour - Dublin Live

Written by admin

January 20th, 2020 at 11:54 am

Posted in Bernard Shaw

Ren Auberjonois and the Company He Kept – American Theatre

Posted: December 27, 2019 at 1:45 pm


without comments

Ren Auberjonois and Keene Curtis in "A Flea in Her Ear" and "The Misanthrope" at the Mark Taper Forum in 1982. (Photo by Jay Thompson)

Ren Auberjonois, who died on Dec. 8 at the age of 79, was a man primarily of the stage. Certainly his long and robust career took him into film (fromM*A*S*H toThe Little Mermaid), TV (Benson, Star Trek: Deep Space Nine, Boston Legal), video games, and audiobooks, where he garnered popularity and fame. But from his youth, when John Houseman first advised his parents to send him to Carnegie Tech, he was a leading member of the great American company of players.

He was a founding actor in Bill Balls American Conservatory Theater, not just in San Francisco but in its ur-year in Pittsburgh, where he played Tartuffe and Learyes, Learat age 25. Later, as a member of the Repertory Theatre of Lincoln Center, he played the Fool to Lee J. Cobbs Lear. Subsequent Broadway work earned him Tony recognition for Coco, The Good Doctor, Big River, and City of Angels. He was a man at home with greasepaint and footlights.

So it was supremely just that one night in November 2018, he found himself in the upper rotunda of Broadways Gershwin Theatre, where the walls are encrusted with raised gilt letters recording the several hundred members of the Theater Hall of Fame. Eight are added each year. Frank Langella was chosen to introduce him as one of that years inductees, along with Christine Baranski, David Henry Hwang, Maria Irene Forns, Cicely Tyson, Adrienne Kennedy, James Houghton, and Joe Mantello.

After noting that he himself was already a member, Langella quoted Robert Edmond Jones invocation of actors, who have in them a kind of wildness and exuberance and for whom to spend a life practicing and performing this art of speaking with tongues other than ones own is to live as greatly as one can. Langella cited just a few of the tongues with which Ren has spoken over the last 50 years: William Shakespeare, Ben Jonson, Anton Chekhov, Bernard Shaw, Samuel Beckett, Bertolt Brecht, Jean Anouilh, Molire, Harold Pinterthats just a few.

To my great regret, Langella continued, Ren and I have not shared much time on the stage together, which I think is the secret of our long friendship. To watch my friend from the audience has always been a distinct pleasureThe last time I saw the miracle of Ren onstage was in Larry Gelbarts Sly Fox. He was driving the audience apoplectic with laughter, playing a dirty old man prancing and prowling and stuttering with lustThe shaking, the spitting, the moaning, the tongue-darting excess, was just dazzling.

Thus introduced, Auberjonois responded, Maybe you could save that for my eulogy. People laughed. But Langellas praise evoked from Auberjonois an even greater eulogy: a paean of praise of the company of actors with whom he had joyously lived his life onstage.

He first cited the practice of beginning a yoga session with a recitation in Sanskrit, designed to invoke all those who came before, the ones whove handed down the tradition. For him, that tradition was embodied in a mesmerizing litany of history and tribute, this far from complete list, in no particular order. And so be began:

I wish to thank Julie Harris, who explained and embodied her practice of making an entrance onstage as if she were riding an elephant while holding open an enormous green umbrella. I thank Katharine Hepburn for her generosity onstage and off, and George Rose, who schooled me in the art of charming arrogance. Thanks to Misha Baryshnikov, who manifests the genuine humility of a great artist. Thanks for the versatility of Fritz Weaver, the elegance of Nina Foch, and the extravagance of Norman Lloyd.

Thanks to Ned Beatty, Joan van Ark, and Anthony Zerbe for the gratification of teamwork. For gifted collaborators, Richard Dysart, Peter Donat, Michael Learned, and Cicely Tyson. I thank Stacy Keach, Philip Bosco, and Lee J. Cobb for the affirmation of being privy to Lees dream to ascend that Shakespearean Everest. And thanks to Anne Bancroft and my lifelong and lion-hearted friend, Frank Langella, who taught me what onstage chemistry really means.

To Blythe Danner, who personifies the theatre turning to joy; thanks for the vibrancy of Rosemary Harris, Stephen Elliott, Richard Dreyfuss, Ellen Burstyn. And for the mastery of Keene Curtis and the flamboyance of Jeffrey Tambor, the truthful clowning of Chris Murney and Bob Dishy, the humanity of Eli Wallach and David Dukes, James Earl Jones and his sexy nobility, and Raul Julia with his noble sexiness. Chris Plummer, who never settles for half, and Barney Hughes, Franny Sternhagen, and Marsha Mason for demonstrating authentic sparkle.

For the sheer Bacchanalian lustiness of John Goodman, the exuberance of Dan Jenkins, and the caring partnership of Bob Gunton. To Michael Crawford, for proving that a basically decent person playing a singing vampire could act like a monster. And thank you to Hume Cronyn and Jessica Tandy, models for married artists working together with love and respect. Thank you for the suave gallantry of James Naughton and for Gregg Edelman and Randy Graff, who displayed their mojo in full-throated song.

For all the gifted and committed ensembles full of sound and fury. I believe in ghosts. I believe in the lingering spirit of artists. So I stand here to say thank you to all my peers and fellow artists and ghosts. Thank you.

And thank you, Ren.

Christopher Rawson is senior theatre critic of the Pittsburgh Post-Gazette and a member of the executive committee of the Theater Hall of Fame.

Here is the original post:
Ren Auberjonois and the Company He Kept - American Theatre

Written by admin

December 27th, 2019 at 1:45 pm

Posted in Bernard Shaw

Review: Bartlett Sher’s My Fair Lady, a fresh, loverly production with a curiously unsatisfying end – DC Theatre Scene

Posted: at 1:45 pm


without comments

Like this:

Like Loading...

Everyone has a special memory of their first musical. Mine was My Fair Lady. It had opened in London in 1958 on Drury Lane after taking Broadway by storm, and, as a young child living there, I already knew the tunes when I was taken to see Julie Andrews and Rex Harrison. Last night as the first familiar melody in the overture wafted through the Opera House, I was transported all over again. Has there ever been a more loverly, tune-filled musical?

The new revival of the Alan Jay Lerner and Frederick Loewe musical came to Washington by way of the Lincoln Center Theatre production with direction by Bartlett Sher. I had been somewhat concerned that George Bernard Shaws story of a stuck-up, upper-class snob and male chauvinistic pig would not stand up to todays lens of social criticism. Lets face it, the guy thoughtlessly plucks up out of the mud at Covent Garden a lower class guttersnipe for his own amusement and social experiment all to demonstrate his prowess at how he could coach get her to pass for a lady.

If Im honest I was equally concerned that Sher would have put the musical through a politically-correct mangle and flatten the work to an unrecognizable pulp. Im pleased to say there was respect and genuine fondness shown for the works beauty, but Sher was willing to point out the characters acceptance of class-conscious snobbery without totally bludgeoning the work.

The creative team gave the work a fresh look, thereby creating a whos who of artists in last years New York awards. The design elements were stunning. From the painted skyline on the front curtain of Old London Town with the iconic St. Pauls dome and smokestacks leading the eye back to the Thames in the background, all seemed to speak of a soft grey, and yes smog-filled world. Set Designer Michael Yeargan and Lighting Designer Donald Holder worked beautifully together to transform this ever-foggy world into a nostalgic romance, with skies shot through with ultra-violet, mauve, and plum.

Catherine Zubers costume designs for the show swept the New York awards last year. Have there ever been more ravishing looks than Elizas runway fashion gowns? Of course there was the one for the princess-at-the-ball entrance then the startling scarlet wildly-sculptured opera-coat that for a moment consciously broke the shows line and palette, but also there was the glory of her Ascot get-up and over-the-top hat that looked like it might set sail away at any moment. Rather than reproduce the iconic Black-and-White starkness of the original Ascot scene design, Zuber had re-invented all the costumes for the end of Act I with dove-grey, dusty rose, and mauve with lines that felt both elegant and ghostlike in its nostalgia. She added the outsize hats, walking sticks, parasols, and viewing lorgnettes to establish a tradition equal parts magnificent and silly as the scene was intended to show.

Shers staging of the Act I ending, as with so many numbers is screamingly funny. How can we ever forget those pre-botox immovable faces as they followed the horses galloping through the Opera House by way of Sensurround sound? And what a most perfect set up for Elizas famous line, Move your bloomin arse! This is a moment of sheer theatrical perfection where character and audience are giddily as one.

Yeargan made great use of a turntable set with an upstairs downstairs feel and incredible attention to detail, where various interior rooms of Professor Higgins house could be accessed by the characters simply walking through a door while the set was moving. At a show that clocked in at just over three hours, this production nonetheless kept things moving, through assisted rolling set pieces by the cast, in transitions into the many venues called for in the story.

Sher relied on bringing out more nuance and layers to the story and characters through simply bringing things into focus just a little bit differently, lingering a moment here, lighting something to lift it out there rather than re-conceptualizing the entire show.

Eliza Doolittle is introduced in a quiet moment. She walks alone through the dusky London evening as the street gaslights are coming on. She walks slowly and then pauses to gaze steadily at the audience. We immediately get the sense she is fearlessly her own woman and will navigate her own way.

Shereen Ahmed is Eliza, and just by the sound of her name we might be tempted to think the production aims to push the theme of immigrants and equate them with a new struggling lower class to make the show into an updated political statement. This is, thankfully, not the case. Instead, the young New York actress, whom the bio notes has her degree from Towson University in Maryland, is accepted by the Covent Garden lot and delivers on her own terms.

Ahmed has feistiness and confidence in her gestural movements and physical engagement. If the voice doesnt have the size or supple dynamics of Julie Andrews, it is nonetheless pleasing. More importantly, she delivers every acting moment with feeling and commitment: from street vendor who has to be scrappy to survive, to a young woman wounded in love, and finally to someone who can stand up to Professor Higgins and show him his own blindness, insensitivity and shortcomings.

My Fair Lady closes January 19, 2020. DCTS details and tickets

Laird Macintosh is terrific as Higgins. He cut a much younger figure than the original Harrison and therefore showed him driven by a kind of restless arrogance the world hadnt put this entitled preppy greenhorn in his place yet and thus he might find redemption. His ranginess and background as a dancer in the Canadian National ballet has made Macintosh graceful as a cat and imminently watchable. He prowled, pounced, stretched out on the settee as if analyzing himself, then suddenly sit up ramrod straight or spring out of a chair all to deliver the sure dynamics of Loewes melodies and Lerners sparkling lyrics in the service to accentuate his characters lightning fast processing of thoughts. Macintosh, as is appropriate for the character, possesses the intuitive mimicry of a catbird in sounds but hes also a damn ruthless observer of body and gesture. He also was hysterical in the second act as a quivering emotional jelly and mamas boy, utterly undone when forced to face his own feelings for Eliza.

Reading Keith Lorias piece on Adam Grupper in the role or Alfred P Doolittle, Elizas dad, I thought it would be more radicalized than in fact it was. Gruppers portrayal of Elizas alcoholic dad played darker more because of what we brought to it our societal condemnation of a deadbeat dad. In fact, Lerner and Loewe argued a water-tight conservative case that Doolittle was undeserving poor more because he refused to accept any responsibilities of work and family his skewering a society that had done im wrong. For all that, Grupper proved a massive stage presence, chilling in one moment but not above a little Knees up Mother Brown with the lads and lasses. Grupper won the audience over with his music hall numbers not with his philosophy, and he didnt come across as your villainous heavy.

The most radical scene in the whole production and the biggest choreographed showstopper was Get Me to the Church on Time which not only had dancing girls doing can-can high kicks but several boys in drag doing a sight more than can-can. Choreographer Christopher Gattelli displayed in the course of the evening his abilities with a wide range of dance styles from the high-centered elegant swaying of the waltzes and the footies of the music hall tradition to the adult-rated aforementioned big number. The eight primary dancers plus the ensemble proved top-notch in all they delivered.

Every role down to cameo performances sparkled in this cast. Gayton Scott as Mrs. Pearce nailed the ramrod housekeeper of the eccentric Professor. Kevin Pariseau made for a delightful Colonel Pickering, short-sighted and silly but full of kindness, a believable throwback to the British Empire in the days of the Raj. Leslie Alexander as Higgins mama was suitably smart with her comebacks and putdowns, first to Eliza and then, when that girl won her over, to her own son. Wade McCollum was suitably oily and over-the-top as Higgins former pupil and rival, Professor Zoltan Karpathy.

Mark Aldrich, Colin Anderson, Shavey Brown, and William Michals with their distinctive, rich voices in the Loverly Quartet were arresting whenever they corralled together and sang. Indeed Loverly! I appreciated many details, including Higgins butler in a cameo, who announced just a little too slowly and perfectly, suggesting Higgins has been a tutor in other social experiments. (I knew just such acquired speakers.)

The most curious and actually radical bit of casting was with Freddy Eynsford-Hill. With the glorious number On the Street Where You Live, one expects and most often gets matinee-idol material and a tenor crooning and winning everyone over simply strolling effortlessly through the song. Sher has gone for something quite different and arresting. Freddy, played by Sam Simahk, is a boyish, even somewhat clownish figure, caught in the stages of puppy love. Simahk gawks, nearly swoons, raises up on his toes, tips off balance, then tries to cover it up. In the swell of music and feeling, he runs downstage to spread his arms as if he would take off and fly. Simahk gives us a likeable but rather pathetic goof, and suddenly we are given to understand Higgins words about what life with Freddy would be like: a kind of Peter Pan never-grow-up figure. An important arc of the story gets clarified in terms of Elizas choices.

The production is almost but not quite flawless. I have two quibbles. I have got somewhat used to American actors struggling with British accents, but in a show about the importance of training the ear to vowel sounds, the migration of such here and there throughout the evening was annoying, especially in the singing. Oh, why cant the British teach their (American) children how to speak?

Most disturbing was the directors curious choice at the end. Im not sure what was intended, but if the story was meant to start as Pygmalion and drift to A Dolls House, then such an event really wasnt supported either by the creators intentions nor an unprepared and unlikely theatrical exit.

In the final analysis, this is an old world musical. Lerner and Loewe were masters of the form. We should revel in the cleverness of the lyrics and the delightful music. Dont we all need just about now a moment where we can pause and go away humming the same tune?

My Fair Lady. Book and Lyrics Alan Jay Lerner. Composed by Frederick Loewe. Based on the play by George Bernard Shaw. Direction by Bartlett Sher. Choreography by Christopher Gattelli. Music Direction by John Bell. Set Designed by Michael Yeargan. Costumes Designed by Catherine Zuber. Lighting Designed by Don Holder. Sound Design by Marc Salzberg. With Shereen Ahmed, Laird Mackintosh, Leslie Alexander, Adam Grupper, Wade McCollum, Kevin Pariseau, Gayton Scott, Sam Simahk, Mark Aldrich, Rajeer Alford, Colin Anderson, Polly Baird, Mark Banik, Michael Biren, Shavey Brown, Anne Brummel, Henry Byalikov, Mary Callanan, Jennifer Evans, Nicole Ferguson, Kaitlyn Frank, Juliane Godfrey, Colleen Grate, Patrick Kerr, Brandon Leffler, Nathalie Marrable, William Michals, Rommel Pierre OChoa, Joanna Rhinehart, Sarah Quinn Taylor, Fana Tesfagiorgis, Michael Williams, and John T. Wolfe. Produced by The Lincoln Center Theatre Production. Presented in the Kennedy Center Opera House. Reviewed by Susan Galbraith

My Fair Lady

Book and Lyrics Alan Jay Lerner

Composed by Frederick Loewe

Based on the play by George Bernard Shaw

Direction by Bartlett Sher

Produced by The Lincoln Center Theatre Production

Presented in the Kennedy Center Opera House

Reviewed by Susan Galbraith

Rating 4

Running time: 3 hours 5 minutes, with an intermission

Like Loading...

See more here:
Review: Bartlett Sher's My Fair Lady, a fresh, loverly production with a curiously unsatisfying end - DC Theatre Scene

Written by admin

December 27th, 2019 at 1:45 pm

Posted in Bernard Shaw


Page 11234..10..»