#theatr

[maxx-i-pad]

“You know how life is”

(Both stare whimsically into the distance, looking very cute trust)

“Yea… life is like a box of chocolates”

( a whole lot of silence)

“… eat to much… and… you get an addiction?”

[princeofallbones]

Parallels in the original castings of Shakespeare plays

One interesting thing about Shakespeare is that, as we know, he often wrote characters with a specific actor in mind, that would go o to play them (for example Hamlet his good friend, Richard Burbage. I could write an entire essay on why he was such a perfect fit for the character) This often made for very interesting situational puns during the first run of Hamlet. There are two great examples to prove this.

During Act 3 Scene 2, right after his argument with Ophelia, Hamlet asks Polonius (played by John Heminges) if he acted before, to which he replies that he did, and he played Caesar in Julius Caesar, and was killed by Brutus. The prince remarks how it must've been a 'brutal' role to kill such a 'capital a calf'. During The Globe's first year, one of it's first plays to be presented was Julius Caesar, actually starring John Heminges as Caesar, and Richard Burbage as Brutus This a great way to break the forth wall and cross-reference, but also to foreshadow the fact that Polonius will -yet again- will die by being stabbed to death by a character plaid by Richard Burbage.

The other parallel is at Ophelia's funeral, where Hamlet and Laertes begin fighting in Ophelia's grave. This is a callback to the time when same duo of actors (William Sly and Richard Burbage) previously played Paris and Romeo, who also start a fight in the mourning process of their mutual loved one, Juliet.

[romegreeceart]

Arena of Pula (Croatia) - 27 BC – 68 AD @

Photographed and submitted by nana-aniki; (instagram); please retain the credits if reblogging.

Thanks again for sharing, Pula is certainly a place I would like to see one day,

[apathy-queer-blog]

Shit Theatre kids say part 2

“If you don’t stop petting me I will lick you.”

“Nuts, my nuts!”

“Don’t smile because it’s over, cry because it happened.. wait.”

[paul-merild]

odkaz na událost https://www.facebook.com/events/1550436432403854?ref=newsfeed

[bignazo]

REPOST of @mantonaveplays: A Yuranian Alien (and a future playwright?) connect at the Manton Avenue Project's Futuristic Carnival Fundraiser. @mantonaveproject #communitycelebration #childrenstheatre #strollbot #bignazolab #theatr @iysisd #yuranian #spacetransformationstation #bignazolab https://www.instagram.com/p/CfQLbp-sFqD/?igshid=NGJjMDIxMWI=

[brothermarc7theatre]

“The Play That Goes Wrong” show #797

A disaster of a show that is just so damn funny is The Play That Goes Wrong. With the title of Broadway’s former longest-running play, it has made the Off-Broadway jump to New World Stages, helmed with fresh energy but the same knack for comedy by Matt DiCarlo. Having seen this gem of a slapstick, physically-demanding comedy in its Broadway run, I entered the new production with the same expectations for sore cheeks and abs (okay, beer gut) from laughing so hard. My expectations were met within the first ten minutes, then continued to exhaust me from laughter, as I rubbed many a tear from my eyes on my way out of the theater.

(Cast of The Play That Goes Wrong; Photo credit: Jeremy Daniel)

Though an ensemble piece at its core, the company at hand is led by Matt Harrington playing Chris, company director and lead detective in the murder mystery-within-the-play, The Murder at Haversham Manor. Chris, a professional-yet-eccentric, studious actor-director is magnificently portrayed by Mr. Harrington when breaking the fourth wall and when engaging in the antics of his fellow actors. Brent Bateman’s booming presence and vocal timbre is perfectly suited for Robert, the brother of the woman who is having the affair with the murder “victim.” Mr. Bateman has a huge load of the physical comedy bestowed upon him, including keeping a whole study of furniture afloat, and he handles the script’s comic physical stress extremely well. Matt Walker is a scene-stealing leading man whose character, Max, is a constantly-breaking ham of an actor. Every time he earns his applause he blatantly invites the audience to do more by taking the bit a step further. It is in Mr. Walker’s uncanny ability to never let the Max bits get tiresome which makes him such a standout performer.

(Matt Walker (Max) and Ashley Reyes (Sandra); Photo credit: Jeremy Daniel)

Ashley Reyes is a wonderful ingénue, Sandra, and her emotionally exaggerated demeanor over the supposed death of her fiancé, while playing coy off Mr. Walker’s “advances,” is endowed with melodramatic finesse. Ms. Reyes, too, has a burden of physical and vocal comedy to deliver, and she does so with aplomb and integrity to her character’s truth. Ryan Vincent Anderson and Bianca Horn play the two stagehands, Trevor and Annie, respectively. Both are featured standouts in their own right, making their sprinkled turns of comedy and stress, over all the stuff going wrong into moments of honest hilarity.

Nigel Hook’s Tony-winning scenic design holds up in the more intimate space New World Stages offers, still being a mansion-esque space for plenty of antics and destruction to ensue while being furnished to the nines. Mr. DiCarlo’s attention to each character’s due time to add their color of comedy makes the show an absolute gem of production. The timing, individual nuances, and most of all, allowing the set to truly be a principal player among the madness are all part of what makes The Play That Goes Wrong so damn right!