1. makochantachibanana:

    tennants-hair:

    teashoesandhair:

    utterlydeceptivetwaddlespeak:

    tommarvolohiddles:

    mandatoryupgrades:

    Anyone who thinks Shakespeare is boring apparently missed the greatest stage direction ever written:

    image

    I want that to be the final line of my biography.

    let’s not forget about this gem from macbeth

    image

    and, of course, from henry v

    image

    ah, the leeks.

    Guys are we forgetting Titus Andronicus or

    image

    did

    did shakespeare just make a ”your mom” joke

    yes

    (via n0cturnalnicole)

     

  2. bhampublib:

    All of Shakespeare in 3 panel webcomics! 
    Check them all out!

    (via n0cturnalnicole)

     


  3. professorfangirl:

    kryptaria:

    Enemy of Man is a feature-length retelling of Macbeth. Stars include Sean Bean (Boromir in Lord of the Rings), Rupert Grint (Ron Weasley in Harry Potter), and James D’Arcy (Cloud Atlas).

    The kickstarter is currently just over $177,000 out of its $250,000 goal, with only 70 hours to go. And this has just been added to the rewards:

    If you would like ANY of the cast to SIGN ANY of the PHYSICAL REWARDS you just add $50 to your pledge.  The signing will take place during the production of Enemy of Man so may delay your reward if you choose to get it signed.

    You don’t need to tell us now what signature you want, we’ll send you a survey after the campaign to confirm who you would like to sign your reward.

    For example if you would like only James D’Arcy to sign your DVD add $50 to your pledge. Or if you’d like Sean Bean, Rupert Grint and Charles Dance to sign your t-shirt, then you’ll need three signatures so add $150

    If that’s too much, only $15 gets you a digital copy of the film and script. C’mon, guys. This is so close!

    Check out the concept trailer; promising.

     

  4. professorfangirl:

    HELP BRING THE LESBIAN ROMEO AND JULIET TO DVD.

    West Philadelphia’s Curio Theater began its 2013-14 season with William Shakespeare’s Romeo and Juliet. Since the season was oriented on issues of gender, many of the roles in the play were switched from men to women.

    Juliet’s only parent was her mother, Lady Montague. Tybalt was a very different kind of character. And the play was now about a lesbian romance between Juliet and a woman named Romeo.

    But there was controversy. Philadelphia magazine’s online article about the production attracted over 1200 responses. People around the country objected to the production’s gay content. They objected to the play being staged in a Methodist church. Some of them objected to doing Shakespeare in modern dress. And there were threats of violence made against Curio Theatre.

    Their Kickstarter is less than a thousand dollars from its goal—please help!

     


  5. ahawkandahandsaw:

    Just another reminder, go forth and fund, my friends!

    (Source: jemmasmmns)

     


  6. cosettefauchelevents:

    what if they took west side story and made a version where it was set in verona in the 1400s and instead of gangs there are two powerful italian families. i just think that would be really cool

    (Source: jonflanagans, via greenbuster)

     


  7. odysseiarex:

    cutpasteprint:

    Free Form Fridays: Are Hamlet and Horatio Gay for Each Other?

    what have i done

    By Nicholas Landon

    No, of course they’re not. That is one of the most pointless interpretations I’ve ever heard, second only to a phallic reading of Emily Dickenson’s “A Narrow Fellow…

     


  8. sarah531:

    The other day I had a really good idea for a story:

    A high school Shakespeare club angrily splits into two groups when they can’t agree on the correct interpretation of Romeo and Juliet. One group thinks it’s a cautionary tale about the stupidity of youth and shallow lust; the other group think it’s a beautiful tragedy about poisonous hatred conquered by love. Reconciliation seems impossible-

    -then a person from one group falls in love with a person from the other

    (via chimetals)

     

  9. krankaholic:

    Kenneth Branagh As Caius Martius in Coriolanus

    (via gayvillain)

     


  10. kimpossibooty:

    Pros of c-sections: you can kill the corrupt king of Scotland

    (via jsjnkxchcszxshitmime)

     

  11.  

  12. ohilondon:

    So people seem to dig teenage female Hamlet.  Here’s another scene from the KDC production at the Lion and the Unicorn Theatre 2013.

    Hamlet: Ami Sawran

    Rosencrantz and Guildenstern: Peri-Linklater Jones and Emma Chapman

    Photo: Stephen Russell

     

  13. fuckyeahhamlet:

    ohilondon:

    Hamlet as a teenage girl, and the ghost. KDC, Lion and Unicorn Theatre 2013

    Photo: Andy Marchant / Stephen Russell

    The cast seems all around perfect, I mean, female R&G who also play the gravediggers? And damn, the Hamlet/Ophelia dynamic sounds amazing:

    "They approach each other as giggly best friends who are exploring crossing that line between friendship and sexual attraction. Their relationship is not just about how they relate to each other and becoming more sexually aware as part of their coming of age, it’s also about dealing with a certain amount of teenage experimentation in the most innocent of ways. There’s no doubt they love each other; but the nature of this love is changeable. Is it the love of a deep close friendship, or is it a romantic love?

    — The acting is very well done across the board, but the strength is in the lead roles. Hamlet handles her role impeccably well; her tears are moving, her social interactions sulky yet brilliant. Ophelia is equally delightful. Stunningly beautiful with clever comedic timing. She is also a wise teenager, who like Hamlet, delights in out-smarting the adults around her, until her madness – also flawlessly handled- drives her to her watery grave.” (x)

    (via or-even-cured)

     

  14. torrilla:

    Tom Hiddleston: ‘it’s mad and amazing’

    There is an electric atmosphere in the auditorium of the Donmar Warehouse – more befitting a rock concert than a Shakespearean tragedy – as the audience waits for a preview performance of Coriolanus to begin. Five years since he last appeared on this small stage as a little-known actor, Tom Hiddleston is returning as a bona fide film star.

    At 32 Hiddleston has achieved the kind of success that most young actors can only dream of. His performance as Captain Nicholls in Steven Spielberg’s 2011 adaptation of the National Theatre’s War Horse was by far the film’s most memorable. But it is as Loki in Marvel Comics’ blockbusting Thor franchise that Hiddleston has generated an obsessive following.

    When he made a surprise appearance in character at the international Comic-Con convention in San Diego last summer, some members of the hysterical 7,000-strong crowd actually knelt in worship. At last count, his Twitter following was approaching a million.

    Hiddleston in Coriolanus at the Donmar Warehouse. Photo: Johan Persson

    ‘It’s mad and bananas and amazing,’ Hiddleston tells me, over a restorative full English breakfast at a central London hotel, the morning after the Coriolanus preview. ‘But I can handle it for the simple reason that it genuinely feels like it’s not real. You know when you go to a fancy dress party and everyone looks incredible and there are crazy things hanging from the ceiling? For about five hours or so, you enter into another world and then, when you come out of it, you are sitting at home with a cup of tea and a biscuit and you’re thinking to yourself, “Well, that was weird. Fun, but weird.” That’s exactly what it feels like.’

    Hiddleston’s Coriolanus is a masterclass in layering; a celebrated warrior with matinee-idol looks who is part venomous despot, part isolated soul-searcher. For a full two and a half hours, the 6ft 1in actor commands the stage with a complexity that leaves the audience in silent rapture. ‘Hiddleston gives a powerhouse performance,’ was the Telegraph critic Charles Spencer’s verdict. ‘The mixture of charisma and emotional truth in his performance is very special indeed.’

    Little wonder that Coriolanus will be only the second Donmar Warehouse production to be shown live in cinemas around the world when National Theatre Live broadcasts the January 30 performance. ‘It is a huge and slightly overwhelming privilege,’ Hiddleston says. ‘I feel incredibly excited about it.’

    'Hiddleston gives a powerhouse performance,’ said Telegraph theatre critic Charles Spencer of his Coriolanus. Photo: Johan Persson

    Whatever it is that makes someone a star, Hiddleston has it in abundance. ‘Tom has a timeless leading-man quality,’ says the Mexican director Guillermo del Toro, who will direct him alongside Jessica Chastain in the gothic ghost story Crimson Peak after Coriolanus closes next month. ‘He is simultaneously vulnerable and magnetic.’ ‘I’m painfully aware of the fragility of things,’ Hiddleston admits. ‘Because the hard bits are always just around the corner from the easy bits.’

    Born in London in 1981, Hiddleston moved at the age of 10 to Oxford, where his father, James, managed a company that helped university researchers commercialise their work. Like his older sister, Sarah, and his younger sister, Emma (‘my best friends in the world’), Hiddleston was privately educated, at the Dragon School in Oxford and Eton. Cambridge University followed.

    While much has been made of his elite education – he has been lumped in with the current wave of privileged young actors that is flooding stage and screen – less has been made of the determination that enabled it. James Hiddleston was a self-made success story. Born in Glasgow, the son of a shipyard worker, he used education to escape the social confines of his background, via the local grammar school and Newcastle University.

    So when it was time for his son to go to secondary school, he was determined that he should have the very best. ‘My dad made himself from the ground up,’ Hiddleston has said. ‘So, once you’ve seen that, someone who’s come from nothing trying their hardest to give their child the best education, and then you get out the other side and everyone throws fruit at you…’

    ‘The labels that are attached to me are, I would hope, the least interesting things about me,’ he says now. In general, Hiddleston is much more comfortable discussing his present than he is his past. When the subject of his parents’ divorce – he was 13 and had just started at Eton – comes up, he looks pained. ‘I like to think it made me more compassionate in my understanding of human frailty,’ is the most he will say of this period when he first found himself drawn to the catharsis that acting offered.

    From a young age, Hiddleston had been exposed to the theatre by his mother, Diana, a former stage manager and opera fanatic whose parents ran the Aldeburgh Festival. ‘She loved it, and she recognised that I loved it as well, which made it a very special thing to share,’ he says of the trips the family regularly made to the RSC in Stratford and the National Theatre in London.

    He reels off the shows that made the biggest impression on him as a teenager: Richard Eyre’s 1996 production of Ibsen’s John Gabriel Borkman starring Paul Scofield (‘an epiphany’); Trevor Nunn’s 1997 production of Ibsen’s An Enemy of the People starring Ian McKellen; Sam Mendes’s 1997 version of Othello starring Simon Russell Beale. ‘I saw that three times,’ Hiddleston says, laughing. Exactly a decade later, Hiddleston himself would give a stand-out performance as Cassio in Michael Grandage’s production at the Donmar.

    Hiddleston as Cassio with Kelly Riley (Desdemona) and Chiwetel Ejiofor (Othello) in Othello at the Donmar Warehouse in 2007. Photo: Noriko Takasugi

    While his mother (to whose house in Suffolk he retreats ‘to keep my head straight walking along the beach, throwing stones in the sea, and eating fish and chips’) has always nurtured his career choice, his father was a little harder to persuade. ‘He was genuinely worried that I would be bored and unfulfilled,’ Hiddleston says. ‘Acting was completely other from anything he knew and he just couldn’t see that it was a real job.’

    But Hiddleston (whose agent signed him during his second term at Cambridge after seeing him in a university production of A Streetcar Named Desire) continued undeterred. He acted throughout his time at Cambridge – where he gained a double first in Classics – and then went from there to Rada for three years.

    These days, Hiddleston points out, his father views his work very differently. ‘He’s seen that it takes six months to make a Thor film. I’ve described my working process to him; the fact that, some days, I get up at four in the morning and don’t get home until nine at night, and he’s absolutely acknowledged that that’s real work.’

    ‘Tom takes everything he does very, very seriously and works unbelievably hard,’ says Josie Rourke, the artistic director of the Donmar, who is also the director of Coriolanus. The morning that Hiddleston started rehearsals, he had come straight from the airport, having flown overnight from Los Angeles.

    The city had been the last stop on a whirlwind promotional tour for the second Thor instalment, Thor: The Dark World, which had an astonishing eight premieres around the world: ‘Australia, Korea, China, London, Paris, Berlin, New York, Los Angeles. Cut! Door closed. Done. On to the next,’ he says, laughing.

    Hiddleston as Loki and Chris Hemsworth as Thor in Thor (2011) Photo: Rex Features

    Hiddleston’s ferocious intelligence, rigorous work ethic and driving ambition have their edges rounded by a natural charm and self-deprecating sense of humour. Impeccably well-mannered, he holds doors open, insists on paying for drinks (with money kept, student-style, in a bulldog clip), and by giving much more time than he needs. It is arguably this extra dimension that has seduced Hollywood and his ever-growing number of fans.

    Google Hiddleston’s name and you get sucked into a bizarre world: witness him teasing the Cookie Monster with a huge bag of cookies, doing uncannily accurate impressions of fellow actors (and even Joey, the War Horse), dancing in front of tens of thousands of screaming Thor fans in South Korea. ‘What can I say?’ he says, grinning. ‘I just can’t say no. I’m basically a circus bear.’

    An increasingly famous – and bankable – circus bear. Then he adds, almost apologetically, ‘Truly, everything that has happened to me has been beyond any reasonable expectations that I may have had.’

    His career had a few false starts. Fresh from Rada in 2005, he was cast in Unrelated, a British independent film directed by Joanna Hogg. Despite being a critical success, it failed to get Hiddleston noticed immediately and he had to endure the young actor’s obligatory round of rejections.

    While his film career faltered, his reputation in theatre started to gain momentum. ‘Remember that name,’ one critic wrote of his dual performance as Cloten and Posthumus in Cheek by Jowl’s 2007 production of Cymbeline (for which he won the Olivier Award for best newcomer). ‘One day that lad is going to be a star, and deservedly so.’

    It wasn’t until Michael Grandage cast him in Othello at the Donmar in 2007 that Hiddleston’s ascent really began. Watching the dress rehearsal was Kenneth Branagh, who was sufficiently impressed to cast Hiddleston as Christian in a Radio 3 production of Cyrano de Bergerac.

    The following year Hiddleston teamed up again with Branagh, this time playing his sidekick in the BBC detective series Wallander. In 2008 the two actors starred alongside each other in Tom Stoppard’s adaptation of Chekhov’s Ivanov at the Donmar.

    Hiddleston and his mentor Kenneth Branagh in Ivanov at the Donmar Warehouse (2008). Marilyn Kingwill/ArenaPal

    It was during this run that Branagh found out he had got the job of directing the first Thor film, and the following spring Hiddleston was in Los Angeles auditioning for the title role. Despite putting on 18lb of muscle in the gym he missed out (Chris Hemsworth got the part), but he was cast as Loki, Thor’s evil adopted brother.

    Together, Branagh and Hiddleston created a character who was, in many ways, the film’s centre point. ‘We made Loki out of Shakespearean characters,’ Hiddleston says. ‘We talked about King Lear with its two brothers, Macbeth with his ambition, the way Iago spins every situation for self-interest. In every possible way, Kenneth Branagh has been my inspiration; there is no way that I would be where I am now without him.’

    ‘Tom sees beyond the surface of things both as an actor and as a man,’ Branagh writes in an email. ‘After excellent work already, I feel sure his best is yet to come.’

    After Thor, Hiddleston’s career began to snowball. First came the handwritten letter from Woody Allen offering him the part of F Scott Fitzgerald in his quirky comedy Midnight in Paris. Then Spielberg (Hiddleston’s childhood hero) offered him the part of Captain Nicholls in War Horse at their first meeting (he has since likened Hiddleston to a young Errol Flynn).

    Last year, as Loki once more, he all but stole the film from the likes of Robert Downey Jr and Mark Ruffalo in the superheroes extravaganza The Avengers Assemble (the third-highest grossing film ever). ‘A Hamlet among hunks,’ one American critic wrote of his performance in Thor: The Dark World. If the internet is to be believed, Marvel has been inundated with fans pleading to give Loki his own spin-off film.

    ‘Who knows,’ Hiddleston says with a smile. ‘I have certainly loved every moment of playing Loki. The first day of filming on The Avengers was definitely one of the great moments of my life; a bunch of fully grown adults, most of whom were stonking great movie stars, all pointing and laughing at each other. “Look at you in your Spandex!” “Well, look at you in your Spandex!”’

    The best thing about being part of a hugely successful franchise, Hiddleston says, is the doors that it opens. ‘In the past, I would turn up at an audition and be told, “Great, but nobody knows who you are.” I don’t have that any more.’

    In the past two years he has been throwing himself into a varied range of roles. Next year will see him star as a Byronic vampire opposite Tilda Swinton in Jim Jarmusch’s Only Lovers Left Alive, put in a cameo in the Muppets Most Wanted and take on the voice of Captain Hook in Disney’s The Pirate Fairy.

    Tom Hiddleston as a Byronic vampire opposite Tilda Swinton in the forthcoming film Only Lovers Left Alive. Photo: Sandro Kopp

    And then will come Crimson Peak – in which he replaced Benedict Cumberbatch as the charming hero with a mysterious past. ‘Tom can totally transform himself into another human being,’ Joanna Hogg says. ‘Stretching himself in new directions and surprising [us] each time. It would be fun to cast him in a musical. I’d like to do that; he has an exceptional sense of rhythm and moves like a dream.’

    For all Hiddleston’s excitement about his stellar status, in his darker moments he worries – as his father once did – that in his chosen career he is not contributing much of any importance to the world. But then he thinks about all the keys on a piano. ‘We have the capacity to experience every aspect of life, don’t we?’ he asks, looking intently down at the imaginary keyboard on the table in front of him.

    ‘There’s love, generosity, hope, kindness, laughter and all the good stuff. And then there’s grief, hatred, jealousy and pain. The way I see it, life is about trying to get to a place where you feel happy with the chords that you are playing. I’m lucky because I can experiment with all the different notes, via my work. And when I hit the right notes, I like to think that I’m conveying some sort of truth.

    ‘That’s what, in my dreams, I’m hoping to do with Coriolanus; at its absolute best, a play like that can unite its audience. They can go into the theatre as strangers and leave as a group, having understood and been through something important together. If I am somehow contributing to that then surely my work is of some consequence.’

    Hiddleston looks up from his imaginary keyboard and fixes me with his clear blue eyes and smiles hopefully. ‘Isn’t it?’

    Coriolanus is at the Donmar Warehouse until February 13. The play will be broadcast live in cinemas in partnership with National Theatre Live on January 30 (ntlive.com)

    (via roguebelle)

     

  15. or-even-cured:

    So glad you tagged meeeeeeeeeeeee

    (Source: moonrainbow)