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#the hours
flowerytale · 2 years
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Michael Cunningham, from “The Hours”
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asoftepiloguemylove · 6 months
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NOTHING IN THE WORLD BELONGS TO ME BUT MY LOVE // ON LOVE, DESPITE
"The Number of the Beast Is 666," Hannibal (2013-2015) dir. Guillermo Navarro // unknown // pinterest // Richard Brautigan "My Name," In Watermelon Sugar // Michael Cunningham The Hours // pinterest // デビルマン Devilman (1972-1973) cr. 永井潔 Go Nagai // Richard Siken "The Torn-Up Road," Crush
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rhera · 6 months
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A woman's whole life in a single day. Just one day. And in that day her whole life. THE HOURS (2002) dir. Stephen Daldry
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boleynecklace · 28 days
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NICOLE KIDMAN as VIRGINIA WOOLF in THE HOURS (2002) dir. STEPHEN DALDRY
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oceancentury · 3 months
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Eleanor Pargiter, The Years by Virginia Woolf (1937). x Rose De Witt Bukater, Titanic by James Cameron (1997).
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w-armansky-blog · 5 months
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I think it’d be cool to do the hours but I’m not sure how to start
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rosalie-starfall · 4 months
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Nicole Kidman & Miranda Richardson as Virginia Woolf & Vanessa Bell
The Hours - 2002 "Didn't you think I seemed better?"
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lanagrants · 1 year
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I was going to kill my heroine. But I've changed my mind. The Hours (2002) dir. Stephen Daldry
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chiccherrysblog · 5 months
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Also we all forgot about the film the hours (2002) far too quickly. Like I actually sobbed. We watch Virginia woolf and this woman from the forties and meryls character, clarissa Vaughan. Yk what that character was so flipping relatable for the wrong reasons but the right ones at the same time.
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uaravsh · 5 months
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- Beau Taplin, "The Hours Between"
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flowerytale · 2 years
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Michael Cunningham, from "The Hours"
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asoftepiloguemylove · 7 months
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on doomed love
Michael Cunningham The Hours // Portrait de la jeune fille en feu Portrait of a Lady on Fire (2019) dir. Céline Sciamma // Keaton St. James Salvation @boykeats // Sue Zhao // Maurice (1987) dir. James Ivory // Sarah Ruhl Eurydice (via @metamorphesque) // The Last of Us Part II (2020) cr. Naughty Dog // Richard Siken Crush // Czeslaw Milosz (tr. Robert Haas) "Late Ripeness," Second Space: New Poems // blue (2002) dir. 安藤尋 Hiroshi Ando // Rosamund Hodge Gilded Ashes // Allen Ginsberg Howl and Other Poems // Louise Erdich // Call Me By Your Name (2017) dir. Luca Guadagnino
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noahsartt · 1 month
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Nicole Kidman as Virginia Woolf in The Hours (2002)
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poetfromthevoid · 2 months
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Alejandra Pizarnik, Journals (1954-1971) || Michael Cunningham, The Hours (1998)
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droughtofapathy · 4 months
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The Gilded Age's Broadway Divas: Aurora Fane (Kelli O'Hara)
Beloved by all, Aurora Fane enjoys a powerful position in Mrs. Astor's New York. Having suitably recovered from impending financial ruin last season, this season, Aurora has done some ill-fated matchmaking, worn some fantastic hats, and provided beautiful window dressing to scenes where she just sits there and looks pretty.
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One of Broadway's (few) leading sopranos, Kelli O'Hara is a dying breed. As trends shift towards a more pop/rock sound, and classical musical theatre becomes a thing of the past, Kelli nevertheless finds her niche. A seven-time Tony nominee, Kelli has won Best Leading Actress in a Musical for the 2015 revival of The King and I. You'll recall another Gilded Age Diva who won for that same role some years prior. A proshot of the NT Live production can be found online. It is a gorgeous shoot, even if I take issue with that show as a whole.
She has also been nominated for Kiss Me, Kate (2019), The Bridges of Madison County (2014), and The Light in the Piazza (2005). Ironically, though Aurora Fane supports The Academy, Kelli is a classically trained opera singer who has appeared on the Met Opera stage three times, and will play Laura Brown in an encore run of The Hours this spring. (See my breakdown post over costumes here.)
However, prior to her opera appearance, Kelli will be starring in the new Broadway musical Days of Wine and Roses for a limited 16-week run, opening on January 28th. Kelli has been nominated for every role she has played since 2005, and this will almost certainly be no different. Booked and busy.
#1: "Shall We Dance?" The King and I (2015)
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Kelli's voice is otherworldly angelic. That much we already know very well. The King and I opened in 2015 at the Vivian Beaumont Theatre at Lincoln Center, the third musical Kelli has starred in at that venue. The Beaumont is, of course, right next to The Met Opera, and the only Broadway theater outside the theatre district in Midtown.
As Anna Leonowens, Kelli travels to Siam to teach the children and wives of the king how to speak English. Orientalism aside, the show is a classic Rodgers and Hammerstein, and the score is divine in Kelli's mouth. Fun fact: Kelli's replacement was Marin Mazzie in one of her last onstage roles. Marin was the Passion co-star and dear friend to Donna Murphy, our Mrs. Astor.
This video is from the 2015 Tony performance and showcases the incredible quick change Kelli makes between singing "Getting to Know You" and "Shall We Dance?" aided by a team of unbelievable dressers. It is a marvel to witness. As is Ruthie Ann Miles, Kelli's co-star who recently performed in the Encores! production of Light in the Piazza.
#2: "What More Do I Need?" Take Me to the World: A Sondheim 90th Birthday Celebration (2020)
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In 2020, despite a global pandemic, the theatre community still found a way to honor Stephen Sondheim's milestone 90th birthday with an online concert. Kelli performed a song from Saturday Night, Sondheim's first professional musical that was slated for Broadway in 1955, but was scrapped. It only got its New York premiere in 2000. This particular number is a cabaret favorite, and Kelli is an absolute delight with just a camera and digital accompaniment.
Fun fact: it wasn't until this particular performance that I truly started to appreciate the wonder that is Kelli O'Hara. I had previously seen her in concert just that March, and loved her, of course, but I have a complex relationships with sopranos. I now recognize that I love mature sopranos, but it's the ingenues I can't listen to without wincing.
#3: "They Don't Let You In the Opera" (2016)
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Lest we think Kelli is limited in her range and style, this song was written especially for her to showcase her vast talent and comedic timing. Kelli, an Oklahoma farmgirl, isn't the sort of person you'd expect to be both classically trained and country literate.
Kelli, who has been typecast as refined and often repressed characters who go through harrowing emotional experiences, much like Aurora Fane, is more than capable of bringing a rollicking comedy to the mix.
This number is a favorite in Kelli's concert repertoire. There isn't much more to say, except that you need to witness its hilarity for yourself.
#4: “Heaven? Somebody else’s heaven?” The Hours (2023)
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Speaking of opera, here is an excerpt from a scene in Act II where Laura Brown has fled to a hotel room to contemplate some very serious courses of action. Kelli, alongside soprano Renee Fleming and mezzo-soprano Joyce DiDonato, makes up a trio of phenomenal women in Kevin Putts' adaptation of the book and movie.
The Met Opera theatre seats nearly 4,000 people across six levels. The performers do not use body mics or amplification of any kind, but rather rely on intense vocal training to be heard across the theater. For this reason, alongside the vastly different vocal techniques and styles, musical theatre actors rarely cross over into opera, and vice versa. Notable exceptions include Renee Fleming, Kelli's Light in the Piazza co-star Victoria Clark, and Mary Beth Peil, who made her musical theatre debut in The King and I as yet another Miss Anna, hers in 1985.
#5: "So in Love," Kiss Me, Kate (2019)
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Starring in yet another Golden Age musical revival, Kelli brings a different take on Lilli Vanessi, a glamorous movie star in a turbulent relationship. Kelli's vocal talent, of course, speaks for itself. For Kelli, this role was a tribute to her dear friend, the late Marin Mazzie, who had passed away some months before the show opened. Marin, who replaced Kelli in The King and I, had played this same role in the 1999 Broadway revival to great acclaim. In her first entrance of the show, Kelli wore a costume that featured the very same hat Marin wore in her show.
Though this video is beloved, my personal favorite rendition can be heard below. It was taken at a concert Kelli put on at the 92Y in New York last February. In it, Kelli sings for and to Marin, and the entire theatre wept.
Bonus: "Back to Before," Ragtime Reunion Concert (2023)
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The role of Mother was originally workshopped by Donna Murphy in Toronto in the early 90s, but she left to do King and I, which worked out well for her. In came dear friend Marin Mazzie, who originated the role on Broadway, and established a precedent no other has been able to top. Also in that cast? Audra McDonald as Sarah, for which she won a Tony, of course.
In 2023, after years of pandemic-related delays, they staged a one-night reunion concert of this special show. And who better to take on Marin's iconic role than Kelli O'Hara? Listen to her "Back to Before" here, and then do yourself a favor and run, don't walk, to listen to Marin's.
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