#university of bristol theatre collection

[greencheekconure27]

Herbert Beerbohm Tree as Gringoire in 'The Ballad Monger', c.1912

Charles A. Buchel (1872–1950)

University of Bristol Theatre Collection

#pierre gringoire #the ballad monger #herbert beerbohm tree #haven't read the play yet #it's not based on Notre Dame #charles a. buchel #art #theatre #1910s #fin de siècle #what a name #university of bristol theatre collection

[centuriespast]

Sarah Siddons as Isabella from 'The Tragedy of Isabella' or 'The Fatal Marriage' William Hamilton (1751–1801) University of Bristol Theatre Collection

[scotianostra]

Happy 75th Birthday the Scottish writer. Poet and Playwright Liz Lochhead

Born Elizabeth Anne Lochhead in Motherwell, Lanarkshire on 26th December 1947; her parents , John Lochhead and Margaret Forrest, had both served in the army during the war and married in 1944. Her father was a local government clerk. In 1952 the family moved into a new council house in the mining village of Newarthill, where her sister was born in 1957.

The primary school in Newarthill is vividly conjured in Lochhead’s poem ‘A Protestant Girlhood’. She moved on to Dalziel High School in Motherwell, and by the time she was 15 had decided to go to art school, although teachers were encouraging her to study English at university.

She wrote her first poem, ‘The Visit’, after she entered the Glasgow School of Art in 1965, and attended an informal creative writing group there run by Stephen Mulrine. After graduating from GSA in 1970, she went a few times to the extra-mural writers’ workshop run by Philip Hobsbaum, who had a gift for identifying and encouraging talent. In 1971 she won a Radio Scotland poetry competition, in 1972 she read with Norman MacCaig at a poetry festival in Edinburgh, and her first collection, Memo for Spring, was published in 1972 by Gordon Wright. She met Alasdair Gray, Jim Kelman and Tom Leonard in this period, and later in the decade Tom McGrath and Alan Spence; in this group of talented young Scottish writers, she stands out as a rare female presence and this has been enabling and inspiring for the generation that followed.

Lochhead earned her living at this time by teaching art in secondary schools in Bristol, Glasgow and Cumbernauld. In 1978 her second collection, Islands, was published and she wrote and performed in Sugar and Spite at the Traverse, Edinburgh. She was awarded the first Scottish/Canadian Writers’ Exchange Fellowship the same year, and went to Toronto, then lived in the USA after the fellowship ended, and over the next couple of years returned to New York for lengthy periods.

The 1980s was an immensely productive decade in both work for the theatre and poetry; Lochhead also married the architect Tom Logan in 1986, and they made their home in Glasgow. Notable successes included her adaptation of Molière’s Tartuffe for the Lyceum and Mary Queen of Scots Got Her Head Chopped Off, performed by Communicado. These two plays derive much of their energy from  the way Lochhead uses Scots, admiringly characterised by Robert Crawford in Identifying Poets as  ‘a diction of kaleidoscopic pace and liveliness, a Scots which manages to bring Tartuffe in touch with Holy Willie while preserving an alertness to the polyphonies of [her] contemporary Scottish homeland’ .

The elements of voice and performance are vital to both genres, but Lochhead considers them to be quite different, and marked this visually by publishing Dreaming Frankenstein & Collected Poems (1984) with a white cover, while her monologues and performance pieces True Confessions and New Clichés (1985) had a black cover.  While she allowed, in a 1992 interview for Verse, that ‘certain speeches in, say, Mary Queen of Scots…, felt like writing poems to me while I was doing them’, there was nevertheless a basic distinction to be made:

A play is something that doesn’t exist when you have written it. It only exists when it begins to be performed. Whereas a poem is something that even before you’ve tightened it up properly, once you’ve got it finished, even if it’s lying under the bed, there it is: it’s a thing. So I think that’s what satisfies me the most about poetry, that it is not for anything whatsoever and that you don’t really do it to order.

This was before her laureateships, which inevitably involve poems commissioned for occasions, but the distinction probably stands as such poems often involve a degree of performance.

Lochhead’s sixth collection, The Colour of Black and White �� poems 1984-2003, includes ‘Kidspoem/Bairnsang’, which has become one of her signature poems and a touchstone for the decade. It is cleverly but also appealingly bilingual, perfect for illustrating to those who don’t know Scots how the language marches beside English; and for those who do know Scots, it serves as a reminder of its riches and legitimacy in the public sphere. Many generations had Scots bred out of them at school, and that this is changing is in no small part driven by Scotland’s writers. Moreover, Lochhead articulates more than her generation’s worth of weary anger over the literature accepted into the canon: ‘the way it had to be said / was as if you were posh, grown-up, male, English and dead.’

While the blurb for this collection quotes The Scotsman as saying ‘Her pulse [is] the racing, faltering pulse of a nation obsessed with identity and self-analysis. For 25 years, Lochhead has been the distinctive female voice of Scotland. Gallus, inquisitive, accusing and playful. Angry and tender by turns’ – this description is of limited truth. Her voice is not always that of a woman, or always that of a Scot. Following her friend Edwin Morgan, first as Poet Laureate of Glasgow (2005) and then as Scots Makar (2011-16), she strove to be confined by neither her gender nor her nationality, and went on to be awarded the Queen’s Gold Medal for Poetry in 2015.

Nevertheless, the female voices that Lochhead has deployed in her monologues and many of her poems undoubtedly draw on a Scottish oral tradition that is subverted by the music-hall, and takes pleasure in a distinctive West of Scotland tradition of gossipy storytelling and humour.  If the latter has been – on stage at least – a predominantly male preserve, she has been instrumental in making space for women. Lochhead has spoken of the difficulty for female poets in particular of the long shadow cast by Hugh MacDiarmid, and of the liberation provided by American examples – again typical of many West of Scotland writers’ experience. In Lochhead’s case, this was not only the lure of William Carlos Williams and Robert Creeley, but also of the sophisticated lyrics of Broadway, to which she pays affectionate homage in ‘Ira and George’. The poem is dedicated to her friend and co-performer Michael Marra, and reminds us that Lochhead’s love of music and the visual arts is an essential part of her work.

The radio as much as the theatre has been an impetus to creation for Lochhead, and it is her ability to speak with conversational intimacy within a public space that is one of the hallmarks of her work. The sound of her own voice is immediately engaging. Her relish of a whole variety of language registers and rhythms, her sensuality and humour, her loving descriptions – ‘the decency of good coats roundshouldered’ – and her outspokenness have made Lochhead an enormously popular poet.

View of Scotland/Love Poem

Down on her hands and knees at ten at night on Hogmanay, my mother still giving it elbowgrease jiffywaxing the vinolay. (This is too ordinary to be nostalgia.) On the kitchen table a newly opened tin of sockeye salmon. Though we do not expect anyone, the slab of black bun, petticoat-tails fanned out on bone china. ‘Last year it was very quiet…’

Mum’s got her rollers in with waveset and her well-pressed good dress slack across the candlewick upstairs. Nearly half-ten already and her not shifted! If we’re to even hope to prosper this midnight must find us how we would like to be. A new view of Scotland with a dangling calendar is propped under last year’s, ready to take its place.

Darling, it’s thirty years since anybody was able to trick me, December thirty-first, into ‘looking into a mirror to see a lassie wi as minny heids as days in the year’ – and two already since, familiar strangers at a party, we did not know that we were the happiness we wished each other when the Bells went, did we?

All over the city off-licenses pull down their shutters, people make for where they want to be to bring the new year in. In highrises and tenements sunburst clocks tick on dusted mantelshelves. Everyone puts on their best spread of plenty (for to even hope to prosper this midnight must find us how we would like to be). So there’s a bottle of sickly liqueur among the booze in the alcove, golden crusts on steak pies like quilts on a double bed. And this is where we live. There is no time like the present for a kiss.

#scotland #scottish #makar #poet #writer #playwright #history #poet laureate

[pwlanier]

A lecture at the Hunterian anatomy school, Great Windmill Street, London. Watercolour by R.B. Schnebbelie, 1839.

William and John Hunter were Scottish brothers who came to London in the 1740s and established an anatomy school in Covent Garden. In the 1760s William Hunter moved to a larger building in Great Windmill Street in Westminster. There he constructed a purpose-built anatomy theatre, library and museum. After his death in 1783 the anatomy theatre remained in use for teaching, but William Hunter's library and museum went to Glasgow University, to which he had bequeathed it. From 1832 to 1842 the London anatomy theatre was run by the surgeon John Gregory Smith, and it was at that time that the present watercolour was made by Robert Blemmel Schnebbelie. The students paid to attend, and they included art students as well as medical students and other interested persons. The big heating pipe in the centre was essential as the anatomy lessons took place in the winter, when the corpses would survive longer without putrefying, and much of the heat would disappear through the big skylight which was needed to provide light for viewing. Big watercolours of anatomical processes are pinned to the back wall,John Gregory Smith was Lecturer on Anatomy and Surgery at the Great Windmill Street School (Theatre of Anatomy) from 1832 to 1842 (Plarr's lives of the Fellows of the Royal College of Surgeons of England, revised by Sir D'Arcy Power et al., Bristol: J. Wright & Sons for the Royal College of Surgeons, 1930, vol. 2, p. 317). The theatre had previously been used by William and John Hunter, and the building housed William Hunter's museum and library. The building was later occupied by the Lyric Theatre, Shaftesbury Avenue (with the stage door in Great Windmill Street)

Wellcome Collection

[littlequeenies]

Katie Geraldine Scarfe (b. April 17th, 1974) is an English stage, radio, TV & voice actress, the oldest daughter of actress Jane Asher and her husband cartoonist Gerald Scarfe. Katie has two younger brothers, artist Alex Scarfe and book editor Rory Christopher Scarfe. She also has two elder half-siblings, Rupert and Araminta Scarfe from her father's previous relationships.

She graduated from Bristol University in 1995. She trained at LAMDA (London Academy of Music & Dramatic Art; BA (Hons) Acting, 2007-2009). Credits whilst at LAMDA include Maria in "Twelfth Night (2008), Lady Bracknell in "The Importance of Being Earnest" (2009), Molly in "Passport to Pimlico" (2009), "The Girl in The Blue Room" (2009), u/s Pattie and Rachel in "Season's Greetings" (National Theatre, 2010/11).

Her theatre career includes "Just Whores" (New Venture Theatre, summer 2003), "Freakshow", as Eve (New Venture Theatre, fall 2003), her role of Constanze in "Amadeus" ( New Venture Theatre, Brighton, 2005), her role of Richmond in "Richard III" (Brighton Festival, 2007), her role of The Duchess in "Mercury Fur" (Old Red Lion, Trafalgar Studios, 2012) and her role of the Queen in "Beyond Beauty" (Rebel Theatre, fall 2012). In 2015 she acted on the stage along with her mother Jane Asher in "The Gathered Leaves" (Park Theatre).

Radio, television and film credits include her role of Brenda in "The Wistleblower" film, the part of Kerry Harrison in "The Real Kathy Haydn" (Channel 4, 2007), "The Long Walk Home" film (2007), "Nunc Demittis", part of the "Someone Like You" collection, for BBC Radio 4 (2009), her role of Emily Coulson in "Holby City" (BBC, 2010), Sophie in the 2010 film "The Engagement Party", the poet female in "The Cult" film (2010), the short "The Adbucted", as Dr. Murphy in ITV's "Emmerdale Farm" (Yorkshire television, 2012), "A Little Twist of Dahl" (BBC Radio 4) and the short "The Listener" (2014) and the part of Liz Wilde again in in "Holby City" (2015).

--

Pictured, Katie and her father Gerald Scarfe at the South Bank Show, at the Savoy Hotel, on the 22nd January 1998 in London.

*We don’t own any of the copyrights of these photos*

OUR KATIE SCARFE PHOTO COLLECTION HOSTED AT GOOGLE PHOTOS

#Katie Scarfe #Gerald Scarfe #1998 Katie #actress #voice actress #1990s Katie #google photos #join #share #sharing is caring

[19921227]

#20230701

[barlekhait]

Bristol education and culture

Bristol is a vibrant city located in the southwest of England. It has a rich history, a diverse population, and a thriving cultural scene. When it comes to education and culture, Bristol offers a wide range of opportunities and institutions.

Education:

Bristol is home to several esteemed educational institutions at all levels. These include:

1. University of Bristol: The University of Bristol is a prestigious research university known for its academic excellence. It offers a wide range of undergraduate and postgraduate programs across various disciplines, including arts and humanities, sciences, social sciences, engineering, and medicine.

2. University of the West of England (UWE Bristol): UWE Bristol is another well-regarded university in the city. It offers a diverse range of courses and programs, including business, engineering, art and design, health and social sciences, and more. UWE Bristol has a strong focus on practical learning and industry engagement.

3. Bristol City of Bristol College: City of Bristol College is a large further education college providing a variety of vocational courses, apprenticeships, and professional training programs. It caters to students of different ages and backgrounds, offering pathways to employment or further education.

4. Primary and Secondary Schools: Bristol has a range of primary and secondary schools that provide education to children and teenagers. These schools follow the national curriculum and offer diverse educational experiences, ensuring students have access to high-quality education and support.

Culture:

Bristol is renowned for its vibrant cultural scene and has a rich history of artistic expression, music, and cultural events. Some highlights include:

1. Bristol Museums: Bristol is home to a collection of museums that explore various aspects of the city's history, culture, and art. The most notable among them are the Bristol Museum and Art Gallery, M Shed, and the SS Great Britain, a historic ship turned museum.

2. Street Art: Bristol is famous for its street art scene, with works by renowned artist Banksy adorning its walls. Stokes Croft and the Nelson Street area are particularly known for their vibrant street art displays.

3. Theatres and Performance Spaces: Bristol boasts a variety of theaters and performance venues. The Bristol Old Vic is the oldest continuously working theater in the English-speaking world, offering a diverse range of performances. Other notable venues include the Tobacco Factory Theatre, the Wardrobe Theatre, and the Hippodrome.

4. Festivals: Bristol hosts numerous festivals throughout the year, celebrating art, music, film, and culture. The Bristol International Balloon Fiesta, Bristol Harbour Festival, Bristol Pride Festival, and Bristol Film Festival are just a few examples of the vibrant festival scene in the city.

5. Music Scene: Bristol has a thriving music scene with a diverse range of genres. It has been a significant hub for electronic music, particularly with the emergence of trip-hop in the 1990s. The city is known for venues such as the O2 Academy, Colston Hall, and numerous independent music venues that host live performances.

Bristol's education institutions and cultural attractions contribute to its dynamic and creative atmosphere. They offer residents and visitors opportunities for learning, artistic expression, and cultural exploration, making Bristol a vibrant and culturally rich city.

[ubu507]

Mythical Landscape Julia Trevelyan Oman (1930–2003) University of Bristol Theatre Collection

[divineandmajesticinone]

Vivien Leigh as Lady Anne in Richard III (1948)

Photo: John Vickers, Courtesy University of Bristol, Theatre Collection

#vivien leigh #richard iii #shakespeare #userrobin #usersugar #genekellys #userdeforest #oldhollywoodedit #william shakespeare #userpavlova #i just love her makeup and costume here <3 #posted by me

[warsharkskies]

History of the Northrop P-61 Black Widow

The P-61 Black Widow is not a plane that many think of when you mention World War 2 Fighters. But this seemingly impossibly large fighter saw action in almost every theater of war the Americans were a part of, barring North Africa. It’s large size carried a bristling armament of cannons and machine guns, but its secret weapon lay in it’s bulbous nose, making it dangerously effective as a night fighter.

The P-61’s design was in answer to the British’s request for a night fighter capable of prolonged sorties, perhaps 7 or 8 hours of flight. This was to answer the Luftwaffe bombers that were able to drop bombs on Britain and return to safety before Spitfires could scramble and reach the altitudes the bombers were cruising at. A capable night fighter like the P-61 would have already been in the air awaiting the Luftwaffe and would have easily trounced the slower, less maneuverable, and most importantly escortless, bombers. The US Army Air Corps made note of these requirements for a night fighter, and awarded a contract to Northrop, which later became Northrop-Grumman. Northrop went through a few design decisions, but ultimately settled on a twin engine, 3 crew design with a twin tail setup. At 45 feet long, a wingspan of 66 feet, and weighing in a over 11 tons fully loaded, it was the largest fighter-class plane the United States would ever field during the war. There were some who believed that the plane was simply too large to be effective as a fighter, since it’s size and weight threw it well into light bomber range. However large the P-61 was, it was no slouch when it came to performance. A Pratt & Whitney R-2800 Double Wasp engine was placed on each wing, providing a total of 4000 horsepower to the big bird. In terms of armament, she practically bristled with firepower, boasting 4 M2 Browning .50 caliber machine guns on her dorsal ridge, controlled by any of the three crew. More impressively, it boasted 4 20mm Hispano M2 cannons along it’s belly, controlled by the pilot. Once the Black Widow was on target, there was a withering hail of bullets on the way to it’s prey. But the weapon that made the P-61 so effective at night fighting wasn’t a weapon at all. It was the radar machinery housed in her prominent nose. The radar unit was an Searchlight Controller Radar, or SCR, which was developed at MIT. The radar had a rough range of about 5 miles, which the radar operator would use to select targets, guide the pilot to them, and keep them on radar, by manually adjusting the scope of the radar until a visual confirmation could be achieved. The P-61 first used the SCR-520 AI (The AI standing for Air Intercept), but later upgraded to the SCR-720 AI for the B-Model. This radar model, along with it’s purposeful design towards night fighting, gave it stellar performance over other adapted night fighters, like the de Havilland Mosquito or the Bristol Beaufighter. However, the P-61 was not without flaw. Critically, it had a hard time keeping up with faster aircraft, particularly with the advanced aircraft of the Luftwaffe. One Black Widow pilot, Lt. Van Neiswender, tells a tale during the Battle of the Bulge that highlights this problem. The LT tracked a target into lock-on distance, and identified the target as a Messerschmitt 410. The 410 simply did a half-roll before beginning a steep dive. The P-61 pursued at full throttle, but the 410 buzzed away at over 400 mph leaving the P-61 behind before it could fire it’s weapons. During the P-61’s dive, the LT encounted another common problem with the A and B models: The plexiglas tail cone crunched under the air pressure of the dive manuever, and detached from the plane. Although the C-Model would fix both of these problems, by improving performance considerably, none of the changes could be made before World War 2 ended, meaning they never saw combat during any theatre of that war.

Action that the P-61 did see was usually to great effect, specifically in the Pacific Theatre after Guadalcanal was captured by the United States. Because of Guadalcanal’s proximity to Japanese airfields on other islands, the P-61 became a powerful tool to intercept bombers and protect the American’s base on the island. Although the P-61 wasn’t to arrive until May of 1944, was quickly put into use and proved it’s worth. In particular, the P-61 was the only night fighter that could reach the Mitsubishi G4M Betty Imperial bomber. On June 30th, Lt. Dale Hauberman and his Flight Officer were on patrol when they spotted a lone G4M headed for the airfield at Saipan to bomb it. After approaching and angling his shot, a single short burst of 20mm cannon fire caused the Japanese bomber to explode in incredible fashion.

The very next day, Lt Wolf and Radio Officer Allain were scrambled from New Guinea to intercept a target picked up on ground radar. Despite the foul weather, the powerful radar of the P-61 was able to find the target and guide them in. The target, either a Mitsubishi Ki-21 or Ki-46 twin engine bomber, was quickly spotted and locked on. Both the Browning machine guns fired by Allain and the Hispanos fired by Wolf found their mark, exploding the bomber’s starboard engine and ripping the fuselage apart, scattering the pieces into the ocean. The 418th Night Fighting Squadron would boast the top kills with their P-61s with 18 kills. Of particular note were the 3 Ki-61 kills the squadron was able to down in a single night.

The P-61 would eventually be pulled from service as a night fighter after the war ended, being replaced by the newer F89 Scorpion fighter jets and the P-82 Twin Mustangs. However, it found a bit of renewed life as a reconnaissance plane by converting to the F-15 Reporter and was of considerable use during the Korean War. It also found suprising use in the hands of the US Weather Bureau. It’s powerful radar was used to study and map the activity of thunderstorms, the data from which has vastly shaped our understanding of weather patterns, even being relatively unchanged to this day. Eventually though, it was completely retired from service in 1954, having been outpaced by aerospace technology. There are currently 4 known surviving P-61s, all located within Air Museums; A P-61C is in Dayton, OH within the WRight-Patterson Air Force Base, with another in the National Air and Space Museum in Chantilly, VA; A P-61B is located in Bejing’s Air and Space Museum at Beihang University; and a P-61B is currently under restoration to flying status at the Mid-Atlantic Air Museum in Reading, PN. If you are interested in helping contribute to the restoration, you can find more information at maam.org.

Sources:

Smithsonian National Air and Space Museum - https://airandspace.si.edu/collection-objects/northrop-p-61c-black-widow/nasm_A19510044000 National Museum of the United States Air Force - https://www.nationalmuseum.af.mil/Visit/Museum-Exhibits/Fact-Sheets/Display/Article/196248/northrop-p-61c-black-widow/

Aviation-History.com - http://www.aviation-history.com/northrop/p61.html

wikipedia - https://en.wikipedia.org/wiki/Northrop_P-61_Black_Widow

[funigami-games]

A dream come true! The Prince's Heart is getting a Voice Over

When we started The Prince's Heart, we never thought we'd find so many wonderful persons willing to collaborate on our project.  Here we are now, a month later, with an entire crew of professional and aspiring Voice Actors willing to help us realize our Visual Novel!

Special thanks to our amazing Casting Director, Jacob Wilson, who directed the whole Voice Over process.

Let's meet the entire cast (in order of appearance in the game)!

Nick Chang as Edward (Protagonist)

I was born in Manhattan, but raised in Bryn Mawr, Pennsylvania, where I currently reside. I also proudly identify as a 2nd generation Asian American (half Hong Kong via my mother, half Taiwanese via my father) and a member of the LGBTQIA+ community (gay and demisexual). Since childhood, I have had a distinct love of music and performance. Having played violin from 4th to 12th grade and sung for even longer, I used music as a primary means to express myself growing up. As I progressed from high school to college, I discovered online voice acting, but it was not until my time in graduate school that I formally decided to become an actor. My interest initially stemmed from a desire to help out in localization projects, but over the time I have spent voice acting, I have come to not only develop a great appreciation of the craft of acting, but also further deepen my love of music and rekindle my love of performance. With my singing experience as a basis to my unique perspectives, I hope to bring sensitivity, curiosity, and innovation to every project I work on!

Jacob Wilson as Adam

I’m a voice actor, Casting and voice director based in Dallas Texas. I’ve been working in this field for almost four years Now. It’s a journey that has taken me literally around the world and I’m so thankful for all I’m able to do and have accomplished. Being a part of amazing projects like this one are what fuel me to pursue my passions. I realized I was bisexual when I was 18. It’s a group in the LGBT+ community that continues to get flak from seemingly all over. But my faith in it and myself has always been unshaken. Outside of VO I am a drag artist in the making under the name “Twilight Stunning”, who I’m going to show more properly in the coming months! I’m so thankful I’m in the position I am, and I can’t wait to see what we have in store for y’all!

Bradley Gareth as Michael (Main Character)

Bradley was raised in Western Pennsylvania, learning piano from age 5 and taking up local community theater at age 10. He pursued the performing arts throughout high school, consistently participating in high school musicals and chorus festivals during his tenure there. At the end of high school, he also took multiple classes in musical composition and began doing online voiceover work.

During his time in college, Bradley participated in numerous professional and amateur voiceover productions both online and at the University of Pittsburgh's student radio station, WPTS Radio. While at WPTS, Bradley also began writing advertisements and online content for websites.

Now out of school, Bradley continues to lend his voice to multiple productions, dabble in musical composition, and provide content writing for WrightlySo.com.

Jared Prize as David (Main Character)

Singing provides me with some of the greatest joy in life. Outside of that, I love voice acting, hiking, and hanging with friends. My day job involves working with computers, so I like to find a bit of an escape into the creative-realm during my free time. My sexuality has always been a struggle, but I find comfort in not putting a label on it (at least for now). Mostly, I am very excited to be a part of an ambition team of lovely people. Working within a project like this brings excitement during the process, and even more-so while waiting for the final piece! I hope you enjoy what's to come xo

Marisa Duran as Lady Marie

Hey there, I’m Marisa Duran. I’m an actress working and living in Dallas, Texas.

I caught the "theatre bug" at a young age. My parents will tell you that it started when I was two years-old, dancing around to the Barney theme song. I agree wholeheartedly.

I grew up in a suburb on the east side of Dallas and was fortunate to have the opportunity to explore a city known for its rich culture and artistic influence. My passion for theatre was fueled by the many musicals that toured through town and I quickly decided that I wanted to spend the rest of my life as a professional actor.

In 2016 I graduated Magna Cum Laude from Texas Christian University in Fort Worth, Texas with my Bachelor of Fine Arts in Theatre, emphasis in Acting. Since then, I’ve had the privilege of working with multiple professional theatre companies in the DFW area. I’ve also expanded my career into the worlds of film and voiceover, landing roles in short films, webseries, and commercials, and lending my voice to over a dozen anime titles at FUNimation.

Art has the power to heal, to change, and to empower. As an artist, I believe that my purpose on this earth is to tell stories, and through these stories I hope to make a positive impact and leave people better than I found them. I consider it an honor to be able to use my talents in such a profound way.

Whenever I’m not rehearsing or recording, you can usually find me at my day-time marketing job, playing video-games, or drinking coffee at a local coffeeshop.

Kiba Walker as Zachariah

Born Arthur Lee Walker III in Tacoma, Washington, Kiba Walker is an American actor, musician, director, writer, and performer based out of Dallas-Fort Worth, Texas.

Kiba trained under the likes of various industry professionals such as Shane Sparks, Donyelle Jones, Tony Oliver, Betty "Waters" Kennedy, Chuck Huber, Sonny Strait, Chris Rager, Justine Reyes, Lorette Spicer, Bill Quinby, Angie Irons, Dan Lorge, Holly Clark Lorge, Spencer Christian, and many others. With 16 years of collective industry knowledge, Kiba has performed with the likes of Alice Underground, The Stereo Killers, Frankly Fictitious, CRVSH, Grant Davis, Ashley Ann Farley, Steve "Warky" Nunez, BASH!, Ryland Lynch, Ross Lynch, Will Jay, and more.

Voice over came to Kiba in his later years, around the age of 18, when he found his love doing an ask blog for Tumblr. From there, he took the craft seriously and networked profusely with various actors and companies in the voice over realm. His first roles were as Boku Temagawa in "Love Games" and Mike Connelly in "Zoolaplex".

Since 2014, he's been cast in various other projects including MY HERO ACADEMIA, HORIMIYA, GENSHIN IMPACT, FRUITS BASKET, ONE PIECE, SAINT SEIYA (2019 Sentai Dub), BLACK CLOVER, BOFURI! I DON'T WANNA GET HURT SO I'LL MAX OUT MY DEFENSE, CAUTIOUS HERO: THE HERO IS OVERPOWERED BUT OVERLY CAUTIOUS, CASE FILE NO.221 KABUKICHO, CAMP BUDDY, FULL SERVICE, TO TRUST AN INCUBUS, TO LOVE RU, O MAIDENS IN YOUR SAVAGE SEASON, EARTHLOCK, POPUP DUNGEON, SOMETHING IN THE DARK, RADIANT, and many more!

He's also directed such titles as FULL SERVICE, IDUEL: BATTLE  FOR STARDOM, ISHIDA & ASAKURA, THE TITAN'S BRIDE, and CAMP BUDDY.

As a musician now, Kiba currently has one album out, titled "XO", that released in May 2016. He runs a music channel called "KibaKovers", adapting anime and video game openings into English for a broader audience, as well as regular Top 40 covers. He is also one of the champions of the hit Fort Worth Drag Competition, The 3, as Salem Moon!

Mike Young as Sir Tiphis

Hello, I’m Mike Young. A dynamic, versatile and different British VP voice actor with gravitas, who can turn on various shades of Bristol, and run the spectrum of silky smooth, to warm and friendly.

Under the brilliant tutelage of Tanya Rich, my road to a professional voice acting career begin in 2018, having produced a wide variety of stories and audiobooks.

I lend my talent to a range of different projects:

Hard sell and soft sell commercial and corporate scripts

IVR for telephone systems and mobile apps

Instructional e-learning courses

Promotional adverts and trailers

Public service announcements

Character narration for video games, film, audio dramas and books

…and more!

I love it all, I do it all! And if you like what you hear, contact me! I’ll be sure to make your project gurt lush.

#visual novel #visual novels #yaoi #voiceactor

[centuriespast]

Dame Adeline Genée (1878–1970), Première Danseuse, in the 1906 ballet 'The Debutante' Margot Elena Gertrude Taylor (1887–1963) University of Bristol Theatre Collection

[myfavoritepeterotoole]

KING LEAR produced by John Moody directed by Patrick Robertson Bristol Old Vic Tuesday, February 14th, 1956 For Three Weeks

Eric Porter as Lear, King of Britain

Phyllida Law as Regan

Peter O'Toole as Duke of Cornwall

- programme -

***

Phyllida Law: Emma Thompson and Sophie Thompson are her daughters.

Phyllida LawさんとはLook Back in Anger(↓)でも共演しています。 https://myfavoritepeterotoole.tumblr.com/post/612167344295477248/look-back-in-anger-written-by-john-osborne

**

ついでながら、一番下の画像は今回投稿のKing Learとは全く関係ないのですが、Phyllida Lawさんが結婚した時の集合写真にPeterが写っていると数年前に知って以来、どこにいるのだろうと何度も見返している画像を自分のメモとして一緒に投稿しておきます。(画像があまりに小さいため、それらしき人は見当をつけたものの、確証が得られないまま今に至っています)

画像とその説明のsourceはUniversity of Bristolのwebsiteです。

the wedding of actress Emma Thompson’s parents outside St George's on Brandon Hill, Bristol on Saturday 25th May, 1957 photo by Desmond Tripp

A photograph of the wedding of actress Emma Thompson's parents, Phyllida Law and Eric Thompson, has been given to the University of Bristol Theatre Collection after its owner, C H Smith of Filton, paid a visit to the collection's current exhibition - The A-Z of Bristol Old Vic.

The picture shows them with their family and friends, mainly from Bristol Old Vic Company, including Peter O'Toole, Wendy Williams, John Woodvine and Edward Hardwicke, as well as Mr Smith himself. - Press release issued: 17 July 2003

** memo ** これまでに集めたProgrammes of Bristol Old Vic https://myfavoritepeterotoole.tumblr.com/post/186625687752/programmes-of-bristol-old-vic-the-matchmaker

#king lear #programme of king lear #bristol old vic #stage #1956 #programme #my collection #peter o'toole #wendy williams #john woodvine #edward hardwicke #c h smith #phyllida law #eric thompson #desmond tripp #programme of bristol old vic

[insanityclause]

Thursday night could become National Theatre night, as the company announced plans to broadcast some of its most popular productions for free during the lockdown.

The new two-month National Theatre at Home programme will begin with One Man, Two Guvnors, the Richard Bean comedy starring James Corden.

The films will be shown at 7pm every Thursday to try to recreate, where possible, the communal viewing experience. They will then be available on demand for seven days.

Lisa Burger, the executive director and joint chief executive of the National Theatre, said writers, actors and directors had all waived their rights to the productions.

“Everyone has said yes. Please. Let’s get it out to people,” she said. “It has taken a bit of negotiation and management but the outpouring from the industry has been fantastic.”

The shows will be available to watch on YouTube. They kick off on 2 April with a play regarded as one of the most joyously laugh-out-loud shows of the last decade.

One Man, Two Guvnors, directed by Nicholas Hytner, is Bean’s 2011 adaptation of Carlo Goldoni’s 1746 comedy and a brilliant vehicle for Corden’s stage comedy skills. The Guardian’s Michael Billington, giving it five stars, wrote: “The result, a kind of Carry On Carlo, is one of the funniest productions in the National’s history.”

That will be followed by Sally Cookson’s adaptation of Charlotte Brontë’s Jane Eyre, a production that began at Bristol Old Vic; Bryony Lavery’s adaptation of Treasure Island which was the National’s Christmas show in 2014, and the 2017 Twelfth Night, which starred Tamsin Greig as Malvolio. More titles are still to be announced.

The shows will also have accompanying contact, which includes Q&As with casts and creatives and post-show talks.

The National is just one of many arts organisations quickly endeavouring to get content out to the public during the coronavirus lockdown.

The RSC has teamed up with the BBC for six plays to be broadcast from their archives including the 2016 Hamlet starring Paapa Essiedu; the 2018 Macbeth that starred Christopher Eccleston and Niamh Cusack, and the 2015 Othello, which starred Hugh Quarshie and Lucian Msamati.

The Royal Opera House has made available productions that include the Royal Opera’s Così fan tutte and the Royal Ballet’s Peter and the Wolf.

Burger said storytelling was needed more than ever. “That combination of entertaining, inspiring, challenging … it makes us think a bit about what other people might be going through. But also it just brings people together around something which is shared. I hope it stimulates a lot of conversations.”

As well as National Theatre at Home, the theatre is making its online resource for schools, universities and libraries, the National Theatre Collection, accessible at home while everything is closed.

The National Theatre will be one of many arts organisations and individuals to benefit from Arts Council England’s £160m emergency package to help them survive the coronavirus crisis. The money is also designed to help them come up with creative responses “to buoy the public” during the lockdown

Burger said it was a positive move. “Of course it is very much needed because we are all in a very precarious position. It is good that they have got that money and we look forward to understanding how it will be used, how freelancers can be supported and also theatres who don’t receive Arts Council funding.

#national theatre #coronavirus outbreak #stage #culture #uk news

[ukdb]

'A peacock amongst the pigeons': My time at university with the hypnotic Derren Brown

An interview from Telegraph with a paywall.

I am sitting in a comfortable, if battered, armchair. The sound of Enya’s ‘Watermark’ fills the room. My breathing has gradually slowed and now keeps time with the wave-like rhythms of the music.

A soothing voice accompanies me as it counts me down through the levels. I start to feel light-headed and have to fight off a sudden urge to open my eyes and bring everything to a halt. I don’t. I’m too curious about the journey into hypnosis. The soothing voice belongs to Derren Brown. I am not on stage in a sold-out theatre; I am in a student room at Bristol University, 30 years ago.

This weekend sees Derren Brown celebrating his career with a two-hour special on Channel 4, 20 Years of Mind Control: Live. The show will include a new live stunt for which he has become famous (or infamous, depending on your view). However, the seeds of what would become the Derren Brown phenomenon were already being sown and gently watered some ten years before his TV debut – and I was there to witness it.

Wills Hall, 1990 at Bristol University was the smaller scale arena where Derren first started to practice his art. He was studying German and Law and I was studying History.

The hall looked and behaved like an Oxbridge college, with its quadrangle and formal dinners (one of which descended into food fight and made the tabloids). It was full of Oxbridge rejects which fostered a certain solidarity.

The most common question was, “Which school did you go to?” I was repeatedly met with blank stares when I answered, “Queen Mary’s Grammar, Walsall.” It took me a while to register that they were asking which public school. It seemed appropriate then, that there was a student there called Derren who spent a good chunk of time correcting those who called him Darren.

In an interview for The Times in 2009, Derren said, “University is where I became unbearable.” Enigmatic, yes. Unbearable, no. He certainly cut a dandyish figure. His slight form could often be seen striding purposefully across the quad, a short cape billowing out behind him as if he had stepped out of a nineteenth century novel.

He was not averse to vividly patterned trousers, garish waistcoats and velvet. He was the peacock amongst the pigeons, the rest of us clad in the student regulation uniform of jeans and hoodies. Had he donned a frock coat and breeches we would not have been surprised.

Even his room was not the typical student one. Where many of us had the same tired collection of Impressionist postcards stuck to our walls, Derren’s room was his gallery. Every wall was plastered with his own sketches and caricatures reminiscent of the style of Gerald Scarfe.

There was Margaret Thatcher freshly ousted from Government along with fellow students. His keen eye for observation was apparent then as he distilled us to animals. I was a chipmunk and one of my friends, much to her chagrin, was a mouse. Those sketches have morphed into the paintings of prominent figures he does today and sells via his website.

While many of us struggled to make it to the five hours of lectures we had a week, Derren was delving into the world of hypnosis. He had a willing pool of volunteers; I was one of them. It was clear that Derren was serious about his art and the ethics around it. He was acutely aware of the darker, exploitative side of hypnosis and, whilst we students were up for the jokes, everything was above board and for fun.

Derren Brown (left) practices on friends at Bristol University

Back to that armchair. Once I overcame my slight panic, I was guided into a visualisation of a garden on a summer’s day. I can still see it now; everything in high definition. Derren told me I had a balloon attached to my finger which was gently tugging and drawing my arm into the air. A twitch of my finger and then my arm rose up effortlessly. Even in my state of deep relaxation I was surprised. Then the fun began. Derren suggested that water would taste like Baileys (this was the Nineties, after all, and the decade of Archers and lemonade). He clicked his fingers and I headed off to hall dinner with friends.

Whilst I was waxing lyrical about how fantastic the local water was (even taking it to extremes and later trialling a Baileys shower), my friend Nikki, also hypnotised, was unable to eat her dinner: every time she raised her fork to her mouth, her mouth clamped shut. With another click, Derren kindly released her of this frustration.

Some of us ended up volunteering to be in his first show staged at the hall, complete with a student audience. It was surreal, harmless fun and involved me becoming obsessed with a microphone and fighting over it with my friend Victoria. Meanwhile, she would put up an umbrella every time Derren clicked his fingers. Not everyone was suggestible though; hypnosis did not always work on the more sceptically-minded science students.

We lost touch. Ten years later, I idly switched on the TV. It was the unmistakable voice that hit me first, the one that had tied imaginary balloons to my fingers. It was a less flamboyant Derren – but still very much Derren – with his Mind Control TV debut. His success came as no surprise and it has been a joy to watch him make use of his talents.

I dug out the three rather grainy photographs I have of his first show. Underneath one was written, “Introducing our resident DIY hypnotist and ace caricaturist, Derren Brown. Eccentric, but one to watch out for in the future. Dig the trousers, Derren.”

Writing this piece, for the first time in 30 years I played Enya’s ‘Watermark.’ I was instantly transported to that armchair, that room and that voice. I was suffused with a sense of calm. Derren can read people’s minds. It appears that I could see into the future.  

#Derren Brown #Derren #interview

[mariocki]

RIP Sheila Steafel (26.5.1935 - 23.8.2019)

I recently started watching Granada's 70's children's series The Ghosts Of Motley Hall (1976 - 1978), as certain mutuals will attest, and found it suddenly became compulsive viewing - so much so that I watched all three series in a little over a week. It's with some sadness, then, that I read of the passing of Motley Hall star Sheila Steafel during that very week.

Born Sheila Frances Steafel in Johannesburg, in 1935, to English emigrees Harold and Eda, Sheila was introduced to the stage at an early age. Her father directed and acted in amateur theatre productions, whilst her mother was a gifted pianist, and her childhood was one of music and culture: both parents were involved in organising a choir at the local synagogue, which Sheila sang for. At school she got into trouble for writing a risqué pantomime - already she was making waves as a comic performer.

In 1953, Steafel abandoned her university education in South Africa and moved to Britain. She applied to study at RADA, and completed a preparatory term before being told that her 'unusual' looks and mannerisms would be a hinderence for a young performer; she was advised to wait until her thirties and try to become a character actor. She refused to give up on her career, however, instead enrolling in the renowned Webber Douglas Academy, winning the Margaret Rutherford award for comedy.

Roles on television soon followed, with guest spots on the likes of No Hiding Place (1959), and a supporting role in the 1960 adaptation of H. G. Wells' Kipps. She fared even better onstage, taking over the role of Barbara opposite Tom Courtenay in Lindsay Anderson's celebrated production of Billy Liar in 1961. There were some more genre credits - episodes of The Odd Man (1962) and it's sequel It's Dark Outside (1965), Sergeant Cork (1963) and Danger Man (1966), as well as small film roles in the likes of Daleks' Invasion Earth 2150 A.D. (1966), Quatermass And The Pit (1967) and Otley (1968). By the middle of the decade, however, Steafel was settling happily into the genre for which she had always seemed destined: comedy.

Over the next decade or so, Sheila became the first choice of support for almost every major comedian on British television. The list of shows she worked on makes for an enviable CV, and she was variously comic foil, stooge, straight-woman and love interest to anyone who was anyone in TV comedy. She worked with Peter Cook and Dudley Moore, Frankie Howerd, Eric Sykes and Spike Milligan; she was in every episode of Bernard Cribbins' 1970 sketch show, appeared alongside Tommy Cooper, The Goodies, Kenny Everett and Roy Hudd. She was part of the regular cast of the seminal satirical series That Was The Week That Was (1966 - 1967), playing against John Cleese and Ronnies Barker and Corbett, all at the start of their long careers. The 'unusual' looks that had seen her dropped from RADA did not, seemingly, prevent her from becoming an almost ubiquitous face on British comic television throughout the 1960s and 1970s - it didn't hurt, either, that she had impeccable comic timing and a versatility which meant she could turn her hand to almost any role.

In 1976, Sheila was cast in the role which, for many viewers, she would be best remembered. Richard Carpenter, the actor turned scriptwriter, had already made his name with the children's series Catweazle (1970 - 1971) when he started work on The Ghosts Of Motley Hall. Unlike his earlier work, Motley was more of an ensemble piece, following the misadventures of a group of spirits tied to a former stately home as they attempt to prevent it's sale or demolition. There were to be five ghosts in all, representing a range of eras; from Arthur English's Elizabethan jester Bodkin, through to Freddie Jones' 19th century General, Sir George Uproar. The cast was completed with Nicholas Le Prevost, as Jones' dim ancestor Sir Francis Uproar, and Sean Flanagan as young stable boy Matt. To round out the show, Carpenter needed a female character - so Steafel was cast as The White Lady, the spirit of a long-forgotten and mysterious woman whose true identity is a mystery to everyone, including herself.

I was a little wary, going into the series: although I have enjoyed quite a lot of the classic children's television I have watched as an adult, it is undeniably a mixed bag. I needn't have worried, because Motley is that rarest of things - a show that truly appeals to the whole family. It's fun and it's silly, and there's just enough excitement to cater to a young audience, but it's also filled with subtle comedy, jokes and references for the older viewer, and moments of surprising pathos. At it's heart, it is held together by five superb performances from the central cast; Freddie Jones is having just the time of his life as the loud, blustering blowhard Sir George, Arthur English is gently good humoured as the fool whose jokes have aged as badly as the Hall, and Le Prevost reveals a gift for subtle physical movements that make his moments of confusion or distraction much funnier. As a young performer up against four seasoned professionals, Flanagan equips himself very well, and makes for one of the more relatable and likeable teen leads in this kind of programme. And, floating between them, Steafel creates one of her most memorable and endearing characters. Particularly nice is the unique relationship she has with each of the others - she is the ghost best suited to calming Sir George from his pompous rages, or curtailing Bodkin's comic performances when the others have had enough - and especially in her relationship with Sir Francis. It isn't outright stated, but the two spirits are clearly close friends: whenever there is a dispute, they side together; whenever the ghosts must search the hall for an intruder or lost item, it is Francis and the White Lady who team up first; if ever one of the others is rude or ungentlemanly in her presence, Francis immediately springs to defend her honour. Most adorably, they are shown more than once to spend time together relaxing without the others - in an early episode they discover a television together, and end up practicing yoga as a duo. It's a lovely, deep, subtle friendship that is never brought centre-stage but plays itself out in the background of the main plots.

Like her earlier comedy work, Motley allowed Steafel to try her hand at new things and to stretch her performing skills - the White Lady gets some wonderful moments, and a real range of storylines. There are moments of sorrow, concerning her lost identity and feelings of isolation; fury, when the business of the other ghosts interferes with her practice of wailing on the stairs; and much comedy, particularly from the discovery late in series one that she is the only spirit that can be seen by Gudgin - the hall's caretaker, played by sitcom stalwart Peter Sallis. This revelation leads to an ongoing element in the series, as the White Lady brings messages to Gudgin and notifies him of any complaints among her fellow ghosts - her insistence that the caretaker is slowly becoming accustomed to her presence, and in fact even becoming fond of her, in the face of his obvious and continuing terror, is one of the sweetest things about her character.

Like the other four key cast members, Sheila appeared in all twenty episodes of The Ghosts Of Motley Hall. Afterwards, she continued to make television appearances, but spread her wings wider - she became a regular voice on radio, and returned to the stage, making memorable appearances in the 1985 RSC production of The Merry Wives of Windsor and as Meg in the 2006 revival of Pinter's The Birthday Party for the Bristol Old Vic. She took numerous one-woman shows to the Edinburgh Festival, and her dry wit and sparkling personality made her a regular booking on all manner of panel shows. She continued working into her later years, making numerous appearances on TV soaps like Holby City and Doctors, whilst also turning her hand to writing. Her first book was an autobiography, When Harry Met Sheila, published in 2010 - in it she recounted her long career, as well as the story of her marriage to Harry H. Corbett. The two had met as young performers and married in 1958, divorcing some six years later. Sheila didn't remarry, but had several relationships and many close friends and colleagues throughout her long and distinguished career. In 2012 she published another book, a collection of short stories based on real encounters she had in her long life. With wry good humour, she titled it Bastards. Sheila Steafel leaves a legacy of laughter and entertainment, and a litany of comic performances that would be the envy of any young actor.

#Sheila steafel #Rip #in memoriam #Death ment #obituary #Another lonnnng post sorry #These things get away from me #I don't know what rada were talking about tbh #I think she was very beautiful #Not that that is even important anyway! #The ghosts of motley hall #Mr. Rose #It's dark outside #danger man #That was the week that was #Tw3 #No hiding place #Sergeant cork #Billy liar #Quatermass and the pit #bernard cribbins #Pete and dud #Frankie Howerd #kenny everett #Tommy Cooper #classic tv #character actors