Romeo and juliet act 1 and 2 essay
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Romeo and juliet act 1 and 2 essay
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Three Shakespeare Readings, Pay What You Will: a Fundraiser for CCftA.
Pay what you Will for this raucous weekend of the Bard's funniest plays. Free popcorn and a cash bar -- just what you need in the bleak midwinter!
Friday, Jan 27 at 7:30pm
Much Ado About Nothing, directed by Vana Trudeau
Saturday, Jan 28 at 7:30pm
Twelfth Night, directed by Ed O'Toole
Sunday, January 29 at 2:00pm
The Merry Wives of Windsor, directed by Ed O'Toole
Admission is Pay What You Will!


The pandemic may have stopped large-scale festivities but it hasn’t dulled the festive spirit for Kajol. On the occasion of Lohri, the actor has shared glimpses of her homely celebrations of the festival with pictures of her with her family at home.
Kajol took to her Instagram on Thursday evening to share some glimpses of the Lohri celebrations at her house. She shared a picture of herself, son Yug, sister-in-law Neelam Devgan Gandhi, and Neelam’s son Daanish on her Instagram feed. The selfie shows Kajol and Neelam sharing a sweet moment with their sons. “Mamas and babies and happies,” Kajol captioned the picture, adding a Lohri wish for everyone.
The actor posted another picture in her Instagram Stories where she and Neelam can be seen standing with Ajay’s mother Veena Devgan. Kajol has a big plate of popcorn in her hand with the caption #HappyLohri written on it. Kajol’s husband actor Ajay Devgn and daughter Nysa did not feature in the photos.
Kajol routinely celebrates festivals with her family. Through the pandemic, she regularly posted pictures of festive celebrations on social media, ranging from Durga Puja to Christmas.
But it hasn’t been just festivities for her in the pandemic. Kajol has been steadily working as well. The actor made her streaming debut with her Netflix film Tribhangha last year. Before that, she was last seen on screen opposite husband Ajay Devgn in Tanhaji in 2020. She will next be seen in Revathy’s film The Last Hurrah. Talking about the project in a statement in October, she said, “I think it’s a beautiful journey and it deserves to be shared with everyone. And to have Revathy direct me for this story gives me more strength to play Sujata and showcase her strengths.”


The production recreates the experience of seeing a live radio broadcast from the 1940’s just as a studio audience would have, complete with a live Foley (sound effects) crew.
It's a Wonderful Life: A Live Radio Play was developed from Landry’s full stage production and first mounted at the Stamford Center for the Arts in 1996. It tells the story of George Bailey, a man about to take his own life, and an angel named Clarence who convinces him not to, by showing him how different the lives of his friends and family would have been had he never been born. The 1946 Frank Capra film is a beloved holiday classic and stars James Stewart, Donna Reed and Lionel Barrymore. It also served as the inspiration for the names of the “Sesame Street” characters Bert and Ernie.
Tickets are $10.00, $12.00 & $14.00 and can be purchased at the Kelsey Box Office one hour before curtain, online at www.kelseyatmccc.org, or by phone at 609-570-3333. For more information, please visit www.kelseyatmccc.org. For more information about The James Tolin Memorial Fund, please visit www.jtmf.org or search “James Tolin Memorial Fund” on YouTube.


Following Yamu and Spopovitch, the Z fightersi finally find Babidi's spaceship. Upon arrival, Shin is shocked to find that Babidi is in the company of Dabura, the King of Demon world. Shin says that where the Z fighters are the stronges here, Dabura is definitely the strongest in his Realm of Darkness. Meanwhile, as the Z fighters stand and gawk from a nearby mountain, Yamu and Spopovitch hand over the energy they stole from Gohan and are promptly killed off by Babidi and his henchman, Puipui.
Dabura starts off by killing Shin's associate and turns Krillin and Piccolo to stone. On Babidi's orders, Goku, Gohan, Vegeta, and Shin are left alone. The Saiyans will provide the energy and Shin will live to see the arrival of Buu again.. After the initial shock of their three-fold loss wears off, the remaining Z fighters head into the space ship, where they're soon confronted by Puipui, who steps up to battle Vegeta.
Babidi's space ship is set out in layers. Each layer houses a fighter, who possess great strength...
Vegeta and Puipui face off, and Puipui is completely outclassed, even after Babidi uses his magic to take them to the planet where Puipui was born [the planet has 10 times Earths Gravity] Vegeta laughs and continues the fight. After a pretty brief fight, Puipui is killed by Vegeta, and they progress to the next stage in the ship. Babidi, reeling from defeat, sends out a giant beast named Yakon to fight Goku in stage 2...
Goku fights the monster Yakon in stage 2. To speed up Majin Buu's resurrection, Babidi moves them to the Planet of Darkness, Yakon's homeworld. Believing that the Z fighters can't fight because they can't see, Yakon commences his attack and is easily beaten up by Goku. He wonders aloud if Goku can see him, and Goku explains that he doesn't need to see to fight, but also states that if he wanted to, he could create his own light, and turns Super Saiyan as a demonstration. Yakon sucks up the light and eats it, and Goku is thrown back out of Super Saiyan, but gets an idea. He turns Super Saiyan again, and as Yakon is sucking up the light, Goku quickly raises his ki. Yakon takes too much light at once and as a result, explodes. The Z fighters proceed to Stage 3, and the King of Darkness himself, Dabura heads up to meet them.
As the Z fighters wait impatiently, Dabura retreats into a meditation room to raise his ki before taking on Gohan. Meanwhile, at the World martial arts tournamenti, Hercule finally solves the problem of what to do with only five fighters by coming up with the idea of a battle royale. Those remaining will fight it out in a free-for-all. In the first seconds of the battle royale, 18 and Mighty Mask knock out Jewel and Killa respectively, leaving only themselves and Hercule. As Hercule comes up with his plans, Mighty Mask attacks 18, and the real battle begins.
The battle between Mighty Mask and 18 continues. 18 originally has the upperhand, but as Goten and Trunks become more accustomed to fighting as they are, Mighty Mask becomes a much more formidable opponent. Finally, Goten and Trunks decide they can't win and turn Super Saiyan. With that, 18 realises who she's really fighting and throws an attack somewhat like Kienzan. Trunks and Goten go separate ways and their costume is cut in half, revealing them to the entire crowdi. They are disqualified, and 18 prepares to fight Hercule.
Meanwhile, at Babidi's spaceship, Dabura finally comes out of his meditation room. The World martial arts tournamenti ends with 18 blackmailing Hercule for double the first place prize. In exchange, she'll let him win. Near the stadium, Videl meets up with Goten and Trunks and fills them in on what's happened. Meanwhile, on a planet called Hande, the battle between Gohan and Dabura begins.
Gohan and Dabura fight and seem about evenly matched, for the most part. Vegeta begins to get angry and Goku notes that Gohan has really been screwing around in regard to his training for the past seven years. Finally, Dabura notices Vegeta's anger and realises he could be charmed by Babidi. He stops the battle and tells Babidi his plan...Vegeta allows himself to be charmed in order to fight Goku.
After a long transformation, Majin Vegeta is born with a huge power up (including the ability to reach the next level of Super Saiyan). Babidi decides to make it interesting and transports everyone to the now-concluded ring in the middle of the post-tournament festivities. Vegeta opens by destroying an entire section of the stadium and killing countless spectators in the process. Everyone is stunned, but no one moreso than Bulma. Vegeta further enrages Goku by destroying another section of stadium. Finally, Goku turns Super Saiyan and decides to fight Vegeta, but Shin intervenes. He tells Goku that if he wants to fight Vegeta, he'll have to kill him first. Goku calls his bluff and forms a ki blast that he aims at Shin's face, and finally, Shin caves. Babidi moves everyone to an empty desert area, and as Goku and Vegeta prepare to fight, Shin and Gohan drop into the ship to fight Babidi and Dabura in hopes of preventing Majin Buu's resurrection.
As Shin and Gohan descend into the depths of Babidi's spaceship, the battle between Goku and Majin Vegeta begins. For the most part, the two seem about equal, though at times, Vegeta appears to have the upper hand. Shin and Gohan stumble on Majin Buu's sphere and are met by Dabura and Babidi, who greet them. As Goku and Vegeta fight it out on the surface, the second battle is about to begin.


BOOKEND FILMS is an LA based independent film and video production company dedicated to taking a story-first approach with all of our content.
This 2014 short film is Matt LaCorte's first directorial effort, filmed in lieu of graduating high school. It stars Julian Comeau, Michaela Williams, and Tim Battig as a band of survivors of the zombie apocalypse. Also, it's a musical (composed by Teza Belmond.)
This short film was completed for the NASA CineSpace 2016 short competition. It stars Tegan Chou as a space-obsessed dreamer and her parents (Ray Chang & Jodi Fung) , working towards getting her to the stars.
This comedy/horror webseries was conceived by Simon Kurciski during his time in the US Navy. The pilot was picked up by the comedy festival Channel 101 and several more episodes have been produced. We hope you're hungry!
We tell stories as creatively and efficiently as possible. Years of experience gives our team all the knowledge and resources necessary to get your project off the ground. With friends in all corners of the industry, in-house production, and post equipment, we’ve got your back.
If you need a commercial, feature film, corporate video, or any media content, we can help you get from the first draft to the final cut.
Whatever unique needs your project has, we are confident our team can help you breathe life into your creative vision.
For a full list of equipment contact us.
Bookend Films developed over hundreds of hours of our team working on film sets thinking, ‘I’m positive this can be better.’ Over our years on independent productions, we’ve experienced the good, the bad, and the ugly–and learned from all three.
The Bookend team is your quintessential ragtag group of creative and technical minds, eager to take on new challenges and continue growing in this industry.
We get it, productions are complicated.
Even if you’re only asking questions, shoot us a message—just make sure to tell us what you’re looking for!


As of present, many people consider watching films as a great way to ease the stress that they are experiencing. The reason for this is that, by watching films, they are able to get their minds off from the stress that they are feeling. This is a good thing especially if that stress is becoming more and more toxic for them.
Where to Watch Films Today
People commonly watch films in cinemas or movie theaters because these are the places where films are shown for many years. However, due to the advancements in technology, people can now watch the films that they would like or should see in various media. There are now CDs and DVDs that people can buy so that they will be able to watch the movie that they want to see at home.
Another place for people to watch films is the internet. There are now various sites that enable people to stream various films. The great thing about watching films online is that people have a huge selection to pick movies from. There are old and new movies that they can watch from these websites. Before watching any movies in sites, they should make sure that the site is reliable to avoid getting any viruses or malware into their devices. Listed below are some of the most trusted and reliable sites on the internet that stream films.
Read more about yes movies Stream by going to yes movies, people will be able to see the various films that the site has in its archives. They can choose any of these movies to watch without worrying if their device will contract any virus or malware. The reason for this is that this site yes movies is one of the safest places to watch films today.
Netflix is one of the most popular sites on this list. As a matter of fact, almost every country all over the world use Netflix. This is due to the fact that this site not only contains hundreds of movies but series as well. The site also comes in various languages depending on the origin of the person that is using the site. Netflix also creates its own series. Most of them received highly favorable reviews not only from critics but from ordinary people as well. For those who would like to access this site, they should pay for the fees that this site requires.
Official Mega Share
Read more about Official Mega Share Nowadays, there are many online movie streaming sites available in the internet but Official Mega Share is among the best. The reason for this is that they do not have to worry about getting any viruses or damages to their devices. Also, access to this site is free. They do not need to pay for anything unlike in other places. They can go to official mega share today.
Sock Share Free
Read more about Sock Share Free. Another website that people can go to is the Sock Share Free. They can visit this site by going to sock share free. This site contains thousands of films that people can greatly enjoy whenever they are in need of taking their mind off of things that they do not want to prioritize at the moment. They can enjoy watching films whenever they need to by going to the site of Sock Share Free.
Solar Movie Group
Read more about Solar Movie Group. Solar Movie Group can be visited by going to solar movie group. This site offers people hundreds of choices when it comes to film. The great thing about this site is that even newbies can easily manipulate going to one webpage to another. They will not get lost in the site because it is easy to navigate and understand.
Read more about PrimeWire Show. PrimeWire Show is becoming more and more popular to people today. The reason for this is that they do not have to spend a single dime just to watch the films that are found on this site. Also, this site has newly released films that are not yet found in any of the movie streaming websites on the internet. This means that they do not have to wait for long to enjoy the films that were just released. To start enjoying watching films, go to prime wire show.
Read more about Official Putlcoker. One of the most visited online movie streaming website today is the Official Putlcoker because people can get tons of benefits on this site. They will never be left out on films anymore because this site has it all. From old movies to new ones, they are sure to find them on this site. To see the latest films today, people can go to official putlocker.
Benefits from Watching Films From the Internet
The great thing about watching movies online is that people do not have to worry about having little money because, when watching online, they will not spend any money. They will also not have any noisy seatmates or any disturbances because they have the option to watch films alone or with family members or friends. They also do not have to leave the comforts of their own home because when they watch online, they can just stay in their beds all day and night long.
Watch Films in Online Websites Now
People should not hesitate to watch any movie of their choice online. The reason for this is that they will get a lot of advantages from watching films online. They do not have to worry about anything and just relax so that they will be able to destress and recharge their energy once again before returning to their work or school. There is nothing wrong with watching films from the internet.


For the first time ever in Singapore, experience the glamour and extravaganza in Yves Saint Laurent, Hearts and Crafts of Hermès artisans, Signé Chanel, Paul Smith, Marc Jacobs and Louis Vuitton, Jean-Paul Gaultier, Donatella Versace and Alexander Wang with the inaugural Singapore Fashion Film Festival (SFFF) at Sinema Old School and Alliance Française de Singapour from 21st October to 7th November.
A total of nine documentary films chronicling the exclusive and exhilarating world of renowned Haute Couture, ateliers, fashion and designers creative mastery will premiere.
One of the main highlights of the festival is the film Yves Saint Laurent, Pierre Bergé – Lʻamour fou, a film by Philippe Thorreton, which tells the story of the personal lives of Yves St Laurent and his life partner, Pierre Bergé, through the sale of their exceptional private art collection. The film will be shown at Alliance Française de Singapour on 3 and 5 November.
Another highlight of the festival is the film Hearts and Crafts. Directed in 2011 by Frédéric Laffont and Isabelle Dupuy-Chavanat, the film pays homage to the artisans of Hermès. This is a must see, espeically if you missed Hermès Festival des Métiers at Paragon. Singaporeans will be among the first in the world to watch the film when it shows at Sinema Old School on 23 and 29 October.
Other films include Signé Chanel; The Secret World of Haute Couture; Paul Smith, Gentleman Designer; Marc Jacobs and Louis Vuitton; Picture Me, Modelʼs Diary; and a selection of films focusing on Jean-Paul Gaultier, Donatella Versace and Alexander Wang from the documentary series The Day Before.
In addition to these films, the festival is also proud to present The Underground Stage, a ten-part documentary series by Sinema TV which will be making its premiere at the festival.
Join BeauteRunway to experience the catwalk with the Singapore Fashion Film Festival from 21 October 2011 to 7 November 2011 at both Sinema Old School and Alliance Française de Singapour.


The National Youth Theatre of Great Britain is a world-leading youth arts organisation in London. They are committed to the development of young people through the medium of creative arts and aim to use theatre to aid in this objective.
On this occasion they performed the Frankenstein show in the course of a one month period. What made this production so unique was the integration of a virtual reality aspect. During the performances, all 300 members of the audience were asked to put on a virtual reality headset with VR Sync software.
Large scale events are always a challenge due to the number of attendees. This means all of the VR-headsets need to be in perfect sync to achieve the optimal viewing experience. It also posed a challenge to minimize the time to put on the headsets, explain how they work and make sure everything went smoothly.
Our team went to London to install the VR Sync software and to prepare the National Youth Theatre team for the production. Along with helping with the setup of VR-Sync on the headsets we also spent time teaching the team at the National Youth Theatre how to run the show without our on-site help.
The virtual reality section of the production took place after a break. When visitors returned from the short interval, they were greeted with a Lenovo Mirage VR headset already set up and ready to go.
The production ran for thirty days, with a maximum of two shows a day, without any problems. This was the first time this amount of VR-headsets were used during a theatre show. The implementation of VR in theatres can take some time to get used to, but it added an enriching aspect to the show never seen before.
Reviewers described the production as visually impressive and expect VR to be a powerful part of future shows. Members of the audience found the VR section of the show exceptionally cool and found the innovative dimension to the show genuinely impressive.


Adrielle Esteban found her passion for filmmaking during her college days. Her portfolio of short films grew as she trained under the University of the Philippines Film Institute back in 2008 to 2012.
Looking at color grading as her expertise, she became a colorist while being an apprentice to one of the most sought after colorist in Asia. During this apprenticeship, she competed and won in several film festivals with her undergraduate thesis entitled, Tanglaw. Last 2013, she won as the director and writer of the said short film in Manhattan International Film Festival New York, USA. A year after, National Commission for Culture and the Arts has recognized her international achievement with her short film and awarded her with the “Ani ng Dangal” (Harvest of Honors) award.
Shortly after this, she started directing and colorgrading advertisements working with several production houses. She has found her expertise as a director, focusing on narrative storytelling and lifestyle ads.
This year 2017, she has decided to follow the Yellow Brick Road Productions and became one of their in house directors.


Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Modern Critical Edition
Ian McKellen's More is a strikingly interesting performance. Sometimes you think he's not much more than an affable curate just down from Oxford; sometimes the gangling do-gooder seems to lack, now maturity, now fire. But the interpretation is deliberate and intelligent. The accent is on qualities more essential to goodness, humility, simplicity, and kindliness.
Benedict Nightingale, 1964
In the insurrection episode [Addition IIc], More quite literally stands between the rebels and the forces of law and order. Throughout the play, he occupies borderline positions. He conjoins two personal qualities that the play sets in opposition, 'wit' and 'wisdom'. As Chancellor, his absorption into the political and intellectual ruling elite never seems complete or permanent … [More is] a token of pure intermediation.
John Jowett, 2011
The best explanation for Shakespeare writing those three pages is that something about one episode in Sir Thomas More was particularly appealing or appropriate for him to write … What interested Shakespeare was Thomas More. From Richard III to The Tempest, Shakespeare wrote a succession of exceptionally long, exceptionally dominant roles for male protagonists … More's dominance is nowhere more evident than in the three pages Shakespeare wrote. Like many of Shakespeare's most famous roles, More in this scene enacts, embodies, the political, imaginative and charismatic power of male eloquence.
Gary Taylor, 2014
Taken by itself [Hand D] handles beautifully the rhetoric of persuasion and it is a masterly treatment of a crowd scene. The trouble with it is that it does not belong: this is a completely different crowd from that which appeared in scenes i and iv or were to appear again—as people facing the gallows with dignity and even humour—in scene vii. The rioters presented by Hand D could be easily fitted into the crowd scenes of … Julius Caesar or Coriolanus, but are at the opposite pole … from those so acutely and sensitively individualised by the original author [of More] …
Giorgio Melchiori, 1989
[The attribution to Shakespeare] carries important implications: being his most moving plea in defense of foreigners, it has a bearing on our interpretations of Othello, Shylock and others … In short, whether or not the play was ever performed, the writing of the Three Pages was an act of considerable courage.
E. A. J. Honigmann, 2004
The play opens in [director] Robert Delamere's vigorous production with a young woman being dragged across the stage and then an insurrection. Thomas More (Nigel Cooke) steps forward to quell the riot and immediately imposes his presence on the world of the play. … The RSC production allowed us to interpret the play as a subtle piece of Catholic hagiography … It also renews speculation about Shakespeare's own Catholic sympathies.
Neil Forsyth, 2006, reviewing the 2005 RSC production
The jointly authored vision of the play is geared towards enacting a debate between the arguments of the Londoners and the immigrant. The 'Shakespeare portion' deals with only one side of this equation where Londoners are positioned as xenophobic, in need of instruction. Yet the structure and staging of this production were tailored to agree only with this portion … instead of imagining a Shakespeare who wrote in co-ordination with his contemporaries, a Shakespeare far superior to his fellow writers was imagined and the entire play was tailored to suit this assumption. It is ironic, then, that a production bent on teaching inclusion and sympathy should resist the encroachment of other hands and ideologies on 'the Shakespeare vision'; as if saying to them, in Doll Williamson's words, 'hands off proud strangers!'
Varsha Panjwani, 2011, on the performance, reviews, marketing materials, and programme notes of the 2005 RSC production
Perhaps my favorite of the speakers was Sir Ian McKellen, who offered a speech of Shakespeare's—from a play called Sir Thomas More … In the play the King's men have passed a law forbidding 'strangers' from settling in England. In other words, a slur against immigrants and a call for racial purity. Sir Ian stepped forward and trumpeted More's outrage. So they were going to forbid strangers, were they? And where would they go when the tables of history turned, when they would find themselves the strangers? It was an oratorical tour de force, giving historical weight to the rank discrimination suffered by those who were different. All in all, a remarkable pageant of diversity. And from where I sat, most tellingly the flow of force was toward the young.
Paul Monette, 1994, referring to McKellen's performance at the 1993 march on Washington for Lesbian, Gay, and Bi Equal Rights
The existence of these two passages one after the other both disproves and supports contemporary statements about Shakespeare's methods of composition. It disproves the idea that he 'never blotted line'; here he has blotted, if not a thousand, at least seventeen in one go. But it supports the view that his verse 'flowed' with great 'facility' once he pg 2104was on track: the later version picks up a few phrases from the earlier but develops them into a sustained verse paragraph of incomparable energy and eloquence.
Stanley Wells, 2003
A close study of Shakespeare's imagery reveals at once that though there is scarcely any repetition, there are certain ideas or pictures to be found again and again in varied form and with different applications. One of these recurrent pictures is the irresistible force of a river in flood, and how this force is increased by any stoppage or interference … the image of a river overbearing its boundaries as applied to the result of stress of emotion in men is used by Shakespeare no less than eight times, and on four of these … it is definitely likened to rebellion or insubordination.
Caroline Spurgeon, 1930
The inventory of [verbal] links also uncovers an interesting association with purely comic disorder—the drunken commotion of Sir Toby, Feste and Sir Andrew Aguecheeck in Twelfth Night. In Sir Thomas More, Shrewsbury addresses the rabble, 'My masters' (IIc.29), and calls 'Peace, I say, peace! Are you men of wisdom or what are you?' (IIc.35–6), but two lines later they are yelling 'no, no, no, no, no'. In Twelfth Night, Maria has no sooner urged the revelers to be quieter, 'For the love o'God, peace!', than Malvolio intervenes with 'My masters, are you mad? Or what are you?' (IIc.85–6); Feste's chorus to the song, 'O no, no, no, no' follows shortly afterwards (112). . . . in both Sir Thomas More and Twelfth Night the speaker, trying to control those disturbing the peace, asks a rhetorical question implying that they have taken leave of their senses. Clearly, either Shakespeare's Twelfth Night was echoed by an unknown Hand D, or an unknown Hand D was echoed by Shakespeare, or Hand D and Shakespeare are one and the same man.
MacDonald P. Jackson, 2006
The hypothesis of Shakespeare's authorship and hand in the 147 or 148 lines of Addition IIc, supported as it is by separate but not convergent lines of enquiry conducted by scholars of pre-eminent skill and authority (notably those of the 1923 collection) cannot be met by a simple denial or doubts as to its adequacy. An alternative hypothesis must be suggested, but none adequate to challenge that of Shakespearian authorship has been authored.
T. H. Howard-Hill, 1989


Getting Over Myself
I love theatre. I love it a lot. That's why do so much stage acting.
I really dig the deep, immersive rehearsal process. The sense of cameraderie that you get amongst a cast. And the way that each show is it's own thing, a moment in time that will never hapen the same way again. Because the people on stage will never be the same way again, with whatever was going on with their bodies and lives that day. It's pretty fascinating. Like chemistry.
And I think that's what freaks me out about working on camera. Because I do get freaked out about it. There is no, 'every day is a different performance'. You show up, you do multiple takes, the scene gets finished, and then after editing you are frozen in that state for all time. Or at least, for as long as those dvds are circulating the Earth.
That scares me, a little. And part of it is I have major hang ups about watching myself on film. I always have. It just weirds me out. I suppose I have a mental image of what I look and sound like (most people do, I imagine) and watching myself on camera makes me re-evaluate that. Oh boy, is THAT what my face is doing when I do that? To do a Takei...Oh, my.
But, you know, I have to get over that. I won't be able to improve myself if I don't watch the work I've been doing, however painful. And I'm sure the things I'm picking at probably aren't even on anyone else's radar (excluding weird actor-y ticks and bad habits, yeah, I'm becoming aware of those, too).
Mostly I've come to realize from watching my work that I don't have to try so hard. Just feel what I'm feeling, work the action, and all will be well. Relax my voice, ease up my diction (thanks, mom and dad), and actually look at the person I'm talking to.
To help myself with this I've decided to get on camera on my own at least once a week. I have a nice digital camera, why not? I can work with the other actors in my life on short scenes, or just pull up some monologue copy. I can't really coach myself on the quality of my work, but at least I can get used to seeing and hearing myself. So I can get past all my weirdness and get to the bottom of what I should really be concerned about...the craft.


Thursday, 14 April 2011
The L Word
For years my flatmate and friend, Chloe, has been badgering me into watching her favourite TV Show 'The L Word', and for years I resisted. A few weeks ago, however, I arrived home quite late and was a little drunk. I grabbed some drunk food and found Chloe sat in the lounge watching the very show I had avoided all this time. I didn't intend to sit and watch, but within ten minutes I was completely hooked. Two episodes of series six passed in a flash and Chloe has a smug look on her face. 'You love it, don't you?' she asked. And yes I did. I needed to know what happened to these well written characters. They seemed realer than anyone at that moment. I felt compelled, so she gave me six boxsets of DVDs and told me to watch.
Over the following weeks I effortlessly worked my way through all six seasons of this brilliantly written lesbian drama. Watching a show that circled entirely around women was surprisingly a breath of fresh air. Each character was completely different, totally plausible and absolutely fascinating. Bette, played by Jennifer Beals is this intense woman with a passion for art. She is a strong, confident business women, but we see her crack several times and then pull it back together. Her journey is remarkable and compels you to watch. Never have I felt such compassion for characters on a TV show. Jenny is a troubled and intricate writer, who is incredibly deep and messed up, yet successful. Shane is the hot androgynous woman that even I, a gay man, fancied. Alice is the witty, bull in a china shop. Dana is the famous tennis player that gets cancer. Helena is the rich girl that ends up in prison. It's just brilliant! What makes the show so fantastic is the humour. The show is a drama through and through, but the both the humanity and humour really lets this show into your heart. Highly recommended.


Matrix Resurrections Movie Poster 24″x36″ 24×36 is a must-have collectible for fans of the iconic Matrix film franchise. This poster showcases the captivating imagery from the highly anticipated Matrix Resurrections movie, measuring 24 inches by 36 inches.
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Whether you’re a longtime fan or a new viewer, this Matrix Resurrections movie poster serves as a great reminder of the epic story and groundbreaking special effects that have made the Matrix films a cultural phenomenon. It features the striking imagery from the upcoming Matrix Resurrections movie, giving you a sneak peek into the mesmerizing world of Neo, Trinity, and the Matrix itself.
Constructed with precision and attention to detail, this Matrix Resurrections movie poster is printed on high-quality paper, ensuring that every intricate line and vibrant color comes to life. With a size of 24 inches by 36 inches, it is large enough to make a bold statement in any room.
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Note: This is a copy of the original movie poster and does not include a frame.


“Double Life”: The Mind-Bending Thriller of 2023
“Double Life” is an enthralling film that takes audiences on a mind-bending journey through the blurred boundaries of reality and illusion. Directed by a visionary filmmaker, the movie captivates viewers with its gripping storyline and stellar performances.
The film revolves around a young woman who discovers that her life is not what it seems. As she delves deeper into her own existence, she uncovers a web of secrets and lies, forcing her to question her own identity. The intricate plot keeps audiences on the edge of their seats, never knowing what twist or turn awaits them next.
With its thought-provoking themes, “Double Life” explores the nature of perception and the fragile nature of our realities. The visually stunning cinematography and clever use of symbolism add depth to the narrative, enhancing the overall viewing experience.
The performances in “Double Life” are nothing short of exceptional. The lead actress portrays the emotional turmoil of her character with intensity and nuance, while the supporting cast delivers compelling performances that add layers to the story.
Beyond its gripping storyline, “Double Life” also invites reflection on our own lives and the masks we wear in our daily interactions. It challenges us to question the authenticity of our experiences and the extent to which we are living in our own constructed realities.
In conclusion, “Double Life” is a must-see film for lovers of thought-provoking thrillers. Its mesmerizing narrative, stunning visuals, and powerful performances make it a standout cinematic experience. Prepare to have your perception challenged and your mind thoroughly entertained.


Tony Lloyd was the first artistic director at Sudbury Theatre Centre (STC). He played a key role in establishing a successful professional theatre in the city.
Sonja Dunn, Carolyn Fouriezos, Bill Hart, Bob Remmant, Peg Roberts, Joe Skerry and George Bernie MacMillan are considered the founders of STC. They had the help of businessman Morey Spiegl. He was chair of the theatre board when STC was incorporated in September 1971.
Lloyd was with the theatre centre from 1972 to 1989. Back in the early days, STC productions were held in the old Inco Club on Frood Rd. Lloyd managed to stage the first production, The Little Hut, to an enthusiastic crowd of 93 people. He then staged seven more plays in the next seven months.
Lloyd was also a seasoned actor and often took on a role such as in the 1973 production of Staircase, and Deathtrap in 1980. The subscription base of the theatre grew rapidly and there was a need for a permanent home. In July 1981, the sod was turned on the new 287-seat theatre building, the current home of the STC.
The centre opened in September 1982, with a production of Oliver!
STC education director Judi Straughan fondly remembers Lloyd as a magnetic character who everyone liked. It was his welcoming personality that generated a dedicated following of theatre lovers, she said.
Lloyd moved to Grand Bend with his wife, Gabrielle, in 1989 and took part in theatre productions there. He died July 7, 1992 at the age of 63. Mark Schoenberg, Gordon McCall, Jim Guedo, George Pothitos and David Savoy have followed in Lloyd’s footsteps at STC.


Film Updateâ€“â€“The Ants and the Grasshopper: Critical Acclaim and Continued Conversation!
Since our last update with regards to the groundbreaking film ‘The Ants and the Grasshopper’, (following SFHC leaders Anita Chitaya and Esther Lupafya as they travelled to the United States to have difficult conversations surrounding climate change) we have been overjoyed at the response it has received!
If interested, follow this link to request a screening in your town: https://docs.google.com/forms/d/e/1FAIpQLSenKX8CYCSdeGzRvEb3dl8brag_DyNxK3ZD_el4UP6z8nU2Pg/viewform
New Yorker correspondent Bill McKibben sat down with the Anita Chitaya as well as Raj Patel, to discuss her experience and concerns while making the film:
Additionally, the 2021 Mountainfilm festival bestowed ‘The Ants and the Grasshopper’ with the ‘Moving Mountains Award’, an award reserved for the film that most embodies social activism.
A big “Thank you!” to all who are continuing to support this film!


At the dawn of the twenty-first century, America is living a nightmare. An outbreak of plague decimates the population. Taking advantage of the apocalyptic disorder, a gang of off-the-law are spreading terror wherever they go. To save humanity from an imminent end, only Prophet Pearl, a woman half-human, half-robot, can get to Atlanta the vaccine that will cure men of the plague. But she falls into the clutches of Fender Tremolo, leader of a band of Barbary pirates, who covets the cure for his own benefit. During his trip to Atlanta, the group is joined by Gibson Rickenbacker, a man with a painful past, whose sole purpose is to rid the world of Fender, responsible for the loss of those he loved.
How it started
At first, Cannon Films had planned to make a sequel to the 1987 He-Man film, Masters of the Universe as well as a live-action version of 'Spider-Man'. However, both projects were cancelled as Cannon, having financial difficulties had to cancel the deals with both Marvel Entertainment and Mattel, the sole owners of Spider-Man and He-Man, respectively. Cannon who had already spent $2 million on costumes and sets finally decided to regroup the money spent and start a project. It was then that Albert Pyun wrote Cyborg’s storyline in one weekend. Pyun initially had Chuck Norris in mind for role of Gibson, but co-producer Menahem Golan set his choice Jean-Claude Van Damme. The film was shot for less than $500,000 and was filmed in 24 days.
Accident during filming
Jackson "Rock" Pinckney, who accidentally lost his eye during the movie’s production when Jean-Claude Van Damme struck his eye with a prop knife sued Van Damme in a North Carolina court and was awarded $485,000.


I started this year with a goal, a resolution; and that was to watch every animated movie included in the Walt Disney Pictures filmography. I couldn't believe how long it had taken me to see classics such as "Sleeping Beauty" and "Dumbo" for the first time. Some movies I ended up adoring, while others didn't quite live up to the hype after all these years. Regardless of my own thoughts on each individual film, the entire year of discovering new favorites has been a joy, a very inspiring look at the world of cinematic achievement accomplished with the talent and creativity that makes these works of art truly look and feel magical.
* Only watched half or parts of the film
** Don't remember any of the film, even though I know I've seen it (so it doesn't count)
While they might not be considered the best films from their respective studios by some critics and film historians, these are my personal favorite animated films. Some films I grew up watching and others I just recently saw for the first time. Whether it's my nostalgia kicking in or a new-found sense of admiration for the effort put into their production, these films are, to me, the best.
Written by Mark Andrews, Steve Purcell, Brenda Chapman, and Irene Mecchi
Directed by Mark Andrews and Brenda Chapman
Co-directed by Steve Purcell.
"Brave" is a great movie. Let's just start with that.
It's also a first for Pixar Animation Studios. It's the studio's first film featuring a female lead and a story written with a classic fairytale twist. Showcasing innovative animation in an age when femininity graces the screen with more power and dignity than ever before, "Brave" triumphantly utilizes its female characters and embraces its supernatural elements.
A film that captures a magical essence present in most of the studio's previous twelve films, "Brave" also sets out to distinguish itself from the rest of Pixar's filmography by emphasizing its unique qualities.
It's official: I'm looking forward to DreamWorks Animation's "Rise of the Guardians". From what you can see in the latest trailer, it looks amazing. The studio has really stepped up their game, both in story and animation, starting with 2010's "How to Train Your Dragon".
This particular story might come as a special treat for the child in all of us. Not that animation is specifically for the younger crowd, I'd rather not generalize the medium, but the characters and plot presented might appeal to those of us who grew up with a more familiar connection to these figures. Besides Santa Clause, or in this case "Nicholas St. North", who is undoubtedly the most recognizable of the bunch, I doubt many kids nowadays even know who characters like the Sandman are. Sure, most people have Christmas carol playlists continuously filling their home with good cheer during the holiday season, but does the average viewer really know the origin of the likes of Jack Frost? Not that that should matter if you're setting out to enjoy this film for what it is, a modern take on fantastical beings, I just thought it was interesting that DreamWorks decided to shine a spotlight in this direction.


30 years old. Tired. Work all day. Every day is the same of the day before. Go to gym sometimes. Cook sometimes. Not sad not happy. Just normal (bored) life.
What about watching two movies of the same story that reminds you your childhood and your dreams?
Everyone played the role of Peter Pan one time in his/her life; maybe not during the Carnival with the well-known costume but definitely in his/her mind because c’mon… everyone dreams to fly.
This is a perfect idea for someone that literally and secretly suffers of Peter-Pan syndrome.
You can start to watch Hook.
Directed by: Steven Spielberg
Genre: fantasy, adventure
Running time: 144’
Peter is an American successful lawyer, he has two children, Jack and Maggie, and a wife, Moira. He completely disregards them because of his overwhelmed job and, at the same time, he has forgotten his childhood. He came back to London where he was adopted and his children are kidnapped by the pirate Hook from Neverland. He will need to remember his real identity, which is Peter flying Pan, in order to safe his children but also himself.
Well, this movie is quite famous and I imagine that you have already watched it but trust me, watching this movie with an adult eye is a rewarding pleasure.
You can watch again your favorite scenes when you were a child. One of my favorite scene was seeing the mermaids of different colors, …
… the Rufio-Peter fight (especially when Peter says: “You lewd, crude, rude, bag of pre-chewed food dude”. Lost Boys: “Bangarang, Peter!”), …
… and of course, the scene when he realizes who he is by remembering his happy thought of being a father and he finally flies again.
After this movie you need to keep your feet on the ground again but ehi, it is a Neverland marathon so we can still fly by watching Finding Neverland.
Directed by: Marc Forster
Genre: semi-biographical, drama, sentimental
Running time: 101’
This semi-biographical film talks about the life of Peter Pan’s author, J.M. Barrie, who was inspired by a woman and her three children for creating his magic world.
I personally love the interpretation of Kate Winslet and Johnny Depp in this film.
The movie talks about real topic like death acceptance, the difficulty of a family without a father figure, the solitude that you feel when your partner does not understand you, the magic of a theatrical show and the impact that can have on the others especially if it has been done for children and, of course, the power of the creative writing.
I hope that this little-two-movies-marathon gives you smiles and goose bumps because you could feel again the little child inside you!


1 edition of Drama in the primary school. found in the catalog.
Drama in the primary school.
by Coventry City Council Education Service, Support and Advisory Service in Coventry
Written in English
Title from cover.
|Contributions||Coventry (England). Support and Advisory Service.|
Get even more. Our gift to you. When you purchase Teaching Drama: The Essential Handbook, as an added bonus you’ll receive our popular Drama Games for Kids eBook for FREE ($ value)! The Drama Games for Kids eBook contains every drama game and article on our popular drama games blog (over games) in a printable PDF document (pages). You’ll never run out of things to do in the Irish in the Primary School drama to support the development of a positive attitude to Irish. The curriculum recommends a particular structure for the Irish lesson so that the lesson can be as communicative as possible. This structure encompasses three phases within the lesson. During the pre-communicative phase the /
Drama from Picture Books I often use children's picture books as lesson starters in my classroom. Below are some suggestions, based on the kind of approaches I have taken, for how you can turn a picture book into a Creative Drama lesson. There is also a link to a list of picture books I have found especially well-suited to Drama, each with a VCE Drama Resources VCE Drama Resources; VCE Drama Books (General) VCE Drama Student Texts; VCE Drama Analysis; VCE Drama Play Building & Improvisation; VCE Drama Australian Theatre; VCE Drama Performance Style; VCE Drama Acting Technique; VCE Drama Stagecraft; VCE Drama Activities; VCE Drama Script; In School. Classroom Drama; Drama
NETworking: Using Drama in the English Classrooom 3 Why did you want to introduce drama in your school? Drama is a useful teaching tool as it offers ways of practising reading, writing, speaking and listening in authentic contexts and provides students with the need to communicate. Since I A way of working: teachers in drama education. Includes bibliographical references. pages. ISBN A way of working: teachers in drama education Dramatic learning in the primary school Shirley Brice Heath and Shelby Wolf learning.
A. to Z. Preston Street Plan.
John F. Kennedy.
The Golden Key (An Ariel Book)
Ethical considerations in the theory of the firm
The Farmers & mechanics almanac for ... 1808
A Daughter is a Plaque
Dairy Consumers and Producers Protection Act and rescinding consent of Congress to the Northeast Interstate Dairy Compact
A guide to the microfilm edition of Black studies research sources ... Papers of the NAACP, part 18, Special subjects, 1940-1955, series A, Legal Department ... Meier
Big Claus and little Claus
Beilstein Compound Index 26/2
Vaiṣṇavism in Āndhradēśa, A.D. 1000-1600
To Saint Patrick
Rhymes and recollections of a hand-loom weaver.
Criteria and techniques for the diagnosis of gonorrhea
The importance of drama in primary school has been elevated in recent years, with many teachers continuing to make it high priority in their teaching. They recognise that it can enrich children's understanding of the world and motivate and encourage them in other curriculum work.
This lively and readable book offers a blend of theory and practice based on the author's own considerable Book Description.
The importance of drama in primary school has been elevated in recent years, with many teachers continuing to make it high priority in their teaching. They recognise that it can enrich children's understanding of the world and motivate and encourage them in other curriculum :// Buy The Teaching of Drama in Drama in the primary school.
book Primary School (Effective Teacher, The) 1 by Woolland, Brian George (ISBN: ) from Amazon's Book Store.
Everyday low prices and free delivery on Teaching of Drama in the Primary School, The (Effective Teacher, The) Pdf. The book examines the position of drama as a topic in its personal proper in addition to its position in delivering different points of the curriculum inside main schooling. It assumes no prior information of educating drama and can subsequently be helpful to trainee COVID Resources.
Reliable information about the coronavirus (COVID) is available from the World Health Organization (current situation, international travel).Numerous and frequently-updated resource results are available from this ’s WebJunction has pulled together information and resources to assist library staff as they consider how to handle coronavirus From ‘Learning Through Drama in the Primary Years’ by David Farmer.
Dramatic activity is already a natural part of most children’s lives before they start school in the form of make-believe play, enabling them to make sense of their own identity by exploring meaningful fictional situations that have parallels in Brian Woolland’s Teaching Primary Drama is a comprehensive introduction to the teaching of drama in the primary school and is an essential resource for anyone looking to bring a more creative approach to their classroom.
Assuming no prior knowledge or experience, Woolland provides an up-to-date overview of primary drama, relating accessible theory to numerous detailed examples of › Children's Books › Arts, Music & Photography › Performing Arts. in order to enhance primary trainee teachers’ Drama teaching.
The specific objectives are: To examine the context in which Drama is taught in the primary school To critically consider the impact of trainee teachers’ participation in process Drama To develop, implement and evaluate a set of Drama sessions, intended Drama in the primary curriculum What is drama.
2 The contribution of drama to the child’s development 4 The content of the drama curriculum Basic structure and layout of the curriculum 8 The elements of drama 8 The prerequisites for making drama 9 The strand units 9 School planning for drama Curriculum planning 16 Organisational planning 21 / The Drama curriculum is for children from junior infants to sixth class.
The curriculum includes one strand that consists of: Exploring and making drama; Reflecting on drama; Cooperating and communication in making drama. The current curriculum was introduced as part of the Primary School Curriculum ().
School plays drama scripts for preschool, elementary schools, middle schools, high schools. Spring, US Independence Day, Australia ANZAC Day. Supporting teachers worldwide with our original quality affordable drama play scripts.
Teachers resources With Drama Notebook, you can dramatically reduce your lesson planning time while delivering fresh, innovative lessons to your students. Join for as long as you are teaching and suspend or cancel your membership when you are done.
Download Full Workshop Lesson Plans. Check out our workshop lesson plans for elementary and middle-school :// John Doona has followed up his imaginative take on Shakespeare for the Primary School with this practical resource, chock-a-block with ideas.
It includes 25 schemes to take the teacher through the academic year. A range of accessible drama techniques are used to explore meaty topics ranging from Hallowe’en: The Pendle Witches to World Refugee Day: Earthquakes as well as lighter subjects such Drama Lessons: Ages emerges from the continuing positive responses to Drama Lessons for Five to Eleven Year Olds ().
In this book you will find a carefully chosen selection of the best lessons from the original book, plus some exciting new material - a combination of brand new and classic /drama-texts-primary-school/drama-lessons-ages Using Drama In The Classroom J.
Lea Smith J. Daniel Herring Drama is a potentially powerful tool for connecting stu dents with learning and content. We know that learning is an active, constructive process of coming to know. And through our classroom involvement with students, we have found that drama can provide a process for learning by ?article=&context=reading_horizons.
“The proper concern of a primary school is not education in a narrow sense, and still less preparation for later life, but the present lives of the children.” ― George Dennison, The Lives of Children: The Story of the First Street School Drama Lessons for the Primary School Year will enable teachers to develop their expertise and confidence in order to create active and imaginative schemes of drama for the classroom.
It offers a programme of ready-to-run workshops linked to specific dates in the calendar and specific themes into which teachers can readily dip on a regular :// I have published extensively on theatre, film and educational drama.
My book The Teaching of Drama in the Primary School, published by Longmans (now Pearson), has been in print for 15 years.A substantially reworked edition of this book (half of the material is new) was published in by Pearson under the Longman imprint and with the title Teaching Primary :// More > teacher, Allen Kerr’s new book for Primary School teachers, ‘The Primary School Drama Book’ must be one of the first to reflect the curricular changes, with specific reference to the new guidelines for teachers.
His book should be of immense help to both specialist and non-specialist drama teachers in particular, but could be a schools.
Although drama in education is not a new idea, recent brain and educational research is causing it to grow in popularity. Educators who use drama to teach their students are finding it to be a very successful method and therefore, are spreading the word.
Drama is a Way of Life Drama is a natural, innate form of learning for children ?article=&context=honors. In this study, the main aim was to draw attention to the importance of the pre-school drama and drama-based education. In today's educational system the first step is the pre-school education /_Importance_of_Drama_in_Pre-school_Education.Search the world's most comprehensive index of full-text books.
My library Students will apply their developed knowledge of the elements of drama and improvisation by attending a local primary school and acting as volunteers to run drama activities. Students will work in groups of up to five to create a 30 minute workshop designed to teach a variety of drama skills to primary school children aged


Hi, I’m Tyler Magruder, or sorryjzargo as I go by on the internet. I am going to hopefully complete a 30/30 this month. If you don’t know what a 30/30 is, it is a blog series where you write one blog a day for a month (on months with 31 days it is called a 31/31). If I miss a day, I will make it up, but hopefully I won’t miss any days and can call this a success.
Today I watched Edge of Tomorrow in 3D at a local theater. Directed by Doug Liman, Edge of Tomorrow is a sci-fi military movie starring Tom Cruise and Emily Blunt in the lead roles, as well as Bill Paxton and Brendan Gleeson. The movie is based on the light novel All You Need Is Kill by Hiroshi Sakurazaka and adapted by Christopher McQuarrie, Jez Butterworth and John-Henry Butterworth.
Before watching the movie, I knew very little about it. I saw a trailer months ago, but hadn’t heard anything since. The positive score on IMDb (8.1 before I left for the theater) prompted me to check it out. I’m glad I did.
Just a heads-up, I’m going to try to keep the review as spoiler-free as possible, but I will have some light spoilers on the premise. So, if you want to know as little as possible, you have been warned.
To sum up Edge of Tomorrow as briefly as possible, it is Groundhog Day set during a futuristic war between humanity and invading aliens. The main character, Major William Cage (played by Tom Cruise) is a military officer forced into the front lines of a beach invasion, and through a series of circumstances is forced to relive the day over and over. He teams up with Rita Vrataski (Emily Blunt), also known as the Angel of Verdun, in an attempt to defeat the alien scourge with his knowledge of the future.
While the premise of the movie is by no means unique, it is definitely an interesting and thought-provoking one. I felt that the movie explored the concept as thoroughly as possible without being boring, and despite the movie taking place all within the span of roughly two days, they mixed it up enough so that it never felt like a slog.
Overall, the delivery of the film was excellent. The opening was presented by a series of videos with some voice and text overlay showing the beginning of the alien invasion. This segment felt a little rushed, but is preferable to an extended exposition. It also doubled as the opening credits. Afterward, it was from the perspective of Major Cage, who was thrust into the action very early in the film. Cage relived the same day over and over, but fortunately it did not show every day that he relived, only showing the important developments and character moments. While the movie never explicitly says how many days he relived, I would estimate that they numbered in the thousands if not higher.
The music of the film was forgettable but competent. Composer Christophe Beck created a score that fit the action and the story well, but outside the context of the film felt pretty generic. The sound design was excellent, and the weapons, machinery, vehicles and aliens sounded grounded and realistic.
Visually, the movie was excellent. The advanced technology of the film looked realistic, and the aliens looked like a genuine danger. Both the practical effects and the CGI looked great. A few action scenes involving the aliens were overstimulating, but on the whole the visuals aided in my understanding of the movie. Unfortunately, the 3D did not add much that I noticed, and it made a few panoramic shots problematic to view.
As much as I dislike Tom Cruise as a person, I can’t complain about his performance in this film. He conveyed a realistic character who developed over the course of the film. Emily Blunt was also great in the film, but her character was more static than Cruise’s. The supporting cast fit as well, but none of them were incredibly memorable. A few accents felt forced, but overall they looked and sounded like competent soldiers.
Edge of Tomorrow is an enjoyable film with exciting action, solid acting and a competent story. While it is somewhat generic in its premise and can be predictable at parts, I would recommend it for anyone that likes action movies, science fiction, or Groundhog Day’s premise.
And for those of you that need a review score, I give it a solid 8/10.


I’ve been obsessed with reading for as long as I can remember.
When I was 9, I devoured all four available Harry Potter books in a week. On one occasion, I left my book in my desk at school, and was distraught as soon I realized it. I begged my Dad to drive me back to school where I persuaded a janitor to open my classroom for me so I could retrieve my literary treasure. I was even convinced that on my 11th birthday an Owl would come flying through my window with a letter that would confirm my destiny of becoming a witch and attending Hogwarts. I was devastated when I realized I was a muggle. I’m convinced the wizarding world does exist under wraps. It’s all a huge conspiracy that our government works daily to cover-up. (Okay, okay… so I don’t believe that anymore.)
I’m a little bit of a nerd.
J.R.R Tolkien’s “The Hobbit” was my favorite book when I was ten. Bilbo Baggins fascinated me and Gandalf was always just so insightful. “The Sisterhood of the Traveling Pants” motivated me to make up secret languages with my best friends in middle school. I had hoped my friendships would last the test of time—like Bridget, Lena, Tibby and Carmen’s did. I even admit to reading “Twilight.” Judge me.
Name a book, I’ve probably read it.
“The Hunger Games.” “Romeo and Juliet.” “The Chronicles of Narnia.” “Fahrenheit 451.” “The Scarlet Letter.” “Of Mice and Men.” “Charlotte’s Web.” “The Legend of Sleepy Hollow.” “Holes.” “Speak.” The list goes on.
Adding to my collection more recently is “The Lover” by Marguerite Duras.
All these books previously mentioned have since been turned into films. (The Hobbit comes out this December. I am stoked!) It’s a pretty common occurrence. It seems that producers and directors run out of ideas, so they turn to books. Or simply, that books are able to capture the world in a unique light that only well written stories can elucidate. These stories are beautifully presented. Directors feel that film adaptations work because they are translating their personal interpretation into a visual artistic piece. A book-turned-film is ultimately a subjective interpretation of a beautifully written novel.
Jean-Jacques Annaud—director of the film, The Lover—attempted to do just that.
After reading the novel, I honestly didn’t know what to expect when I walked into the classroom to watch the film–adaptation. Maybe because I’m a 20-year-old female… But I wasn’t embarrassed reading the novel to myself at all. I didn’t think the sex was graphically described—there was so much self-reflection interwoven within the book as well. The past recollections and present realizations are what stood out most to me. I think that’s why I was so shocked when I sat watching the film.
Jean-Jacques Annaud was obviously more intrigued by the sex.
The film was so heavily exploited sexually that it seriously overwhelmed me. I think I’m honestly just not mature enough to watch such graphic scenes in a classroom setting. (Yes, go ahead and laugh at me.) There are just so many other aspects of “The Lover,” besides the sex, that make it such a successful book. (Her personal reflection on her inadequacy, desire for love, guilt from colonialism, sadness about her familial situation…) I mean, Playboy Magazine is one of the critiques included in The Lover’s film trailer. I think that pretty much validates the tremendous sex.
Isn’t it just charming?
The film was depicted in a linear fashion with voice-over narration from an older woman reflecting on these events from her past whereas the novel is written in a stream of consciousness style. I don’t think there was any other way the film could have been made without completely confusing the audience. Her growing maturity and personal identity development was obviously more clearly presented in the novel, but otherwise, the themes of the film could be realized if one looked beyond the sex and searched for them. The film purposely tries to appeal to both men and females by adding the graphic relationship and the emotional development. I think certain people could read the book though and be overwhelmed by the movie (Like me).
Despite this, I did appreciate the non-sexual scenes adapted from the book into the film. I thought they were done extremely well. The scene where the young Duras fights with her brother at the dinner table, the family dinner with the China Man at the restaurant and the last scene where she completely breaks down all resonated deeply with me.
The cast consisted of incredibly attractive people with outrageous bodies whereas Duras described the “little white whore” as plain and the “China man” as feminine. Annaud clearly wanted to ensure the film would be appealing.
I do recommend reading the book before you watch the film though. I believe the film is an accessory and can’t necessarily stand on its own. It doesn’t do the book justice. There are other books-turned-films like “Memoirs of a Geisha” where I thoroughly enjoyed both the novel and the film separately and collectively. Directors who realize that films are a visual medium that simply cannot encompass every last detail of a novel accomplish these successful films.
People must ultimately realize that a novel and a film are completely and utterly different. If you demand an exact replica, you are doomed for disappointment. (Been there, done that!) I approach novel-films with realistic expectations, and am rarely disappointed. My relationship with a film does not compare whatsoever to my relationship with a book. I expect less out of the film. My favorite books have supported me through childhood woes of happiness and heartache. I have grown attached to them. They were my private sanctuaries and mediums of escape. Even though I am a Film Studies minor, films are less personal for me. I watch them for entertainment, and I admire them for their visual and artistic representations.
Annaud definitely made sure the sex was both visual and artistic in The Lover. I could go as far to say that I didn’t completely hate the film. It wasn’t bad by any means. In fact, the film was intriguing. I probably wouldn’t watch it ever again—but that’s because of my blatant sexual immaturity.
Books are special. Films based on books are rarely able to fully capture their essence.
I accept film adaptations for what they are. And I accept The Lover for all that it is.
I’ll definitely remember it.


PARAJANOV - A Requiem
A documentary portrait
of Sergei Parajanov (1924-1990)
Documentary, 16mm, color and black/white, 57 mins.
An Ö-Film Frank
Löprich & Katrin Schlösser Produktion, in coproduction with KINO
Productions Dorothea Holloway
Schindler, Walter Vögele
The film shows the
unique world of artist Sergei Parajanov, whose brilliant images in films
and collages aroused the suspicion of Soviet authorities. Unexpectedly,
this last all-embracing interview, given at the 1988 München Film
Festival, has become a film legacy.
Sergei Parajanov was
born an Armenian in Georgia. He studied at the Moscow Film School and
worked as a director in the Ukraine. His stylistic vitality and
“plasticism” - a term he used to describe his films - enabled him to
creative universal images.


Having written three books on the film director Alfred Hitchcock, the famed Master of Suspense, I specialise in mystery and suspense writing. I used his principles when writing my new novel Ghost Maven, set in Monterey Bay, California. Nearly all stories do well with suspense, no matter the genre. Suspense has largely to do with the audience’s own desires or wishes, so getting it right is a very important part of the writing process. Here are some tips when writing mystery and suspense:
1. What’s the difference between Mystery and Suspense?
Many readers become confused by the two terms. Mystery is an intellectual process like a riddle or a whodunit. In a mystery, you don’t need to answer every question, it’s important to leave some questions unresolved, so that the audience will be thinking about them at the end of the book.
Suspense on the other hand, is an emotional process, rather like a rollercoaster ride, or a trip to the haunted fun house. All suspense comes out of giving the audience information. If you tell the reader that there’s a bomb in the room and that it’s going to go off in five minutes, that’s suspense.
2. Keep Your Plot Moving
In my mystery and suspense novel Ghost Maven, I dive straight into the action with a kayaking trip in jeopardy, which quickly puts the central character in peril. The sudden switches of location in a book are also very important to keep the reader entertained. The 39 Steps is one of Hitchcock’s favourite films because of the rapid and sudden switches in location. Once the train leaves the station, the story never stops moving. Halfway through, the lead character Hannay leaps out of a police station window with half a handcuff on, and immediately walks into a marching Salvation Army band. To escape the police, he marches with the band, then slips into a public hall, and ends up on oratory platform and is mistaken for a speaker. The rapid movement from one scene to another, and using one idea after another, keeps the viewer or reader hooked.
3. Use locations for dramatic effect
Never use a setting simply as background. Use it 100%. Hitchcock believed that if you are using a unique location, it should be used to its utmost. He was adamant that the backgrounds must be incorporated into the drama and made it a rule to exploit elements that are connected with a location. When writing my locations, I also thought how they could be used dramatically. In Ghost Maven, when Alice climbs the Point Pinos Lighthouse, it twice becomes the setting for her attempted murder. Heather, the high school prom queen’s disappearance becomes the MacGuffin, a plot device that Alfred Hitchcock often used, which is the engine of the story that drives the characters in the second half of the book.
4. Use props for dramatic effect
As well as locations, use your props dramatically. In Rear Window when Raymond Burr’s character, comes to James Stewart’s apartment, Stewart temporarily fends him off using strong flashbulbs from his camera. And Frenzy takes place against a backdrop of Covent Garden’s fruit market. When the villain Bob Rusk hides his latest victim in a potato truck, Hitchcock uses the milieu to the fullest and it even provides the clues to solving the murder. Thanks to the potato dust, the police discovered a trail that will lead them to the true criminal. So the market really functioned as a character in that film.
5. Avoid clichéd stereotypes
One central rule is to avoid writing clichéd characters and stereotypes. Hitchcock has given us some of the most memorable villains to grace the screen. That’s because he avoided the cliché through character and made his villains attractive. “All villains are not black, and all heroes are not white. There are grays everywhere. You can’t just walk down Fifth Avenue and say he’s a villain and he’s a hero. How do you know?” said Hitchcock. “In the old days, villains had moustaches and kicked the dog.” Very often you see the murderer in movies, made to be a very unattractive man. I’ve always contended that it’s a grave mistake, because how would he get near his victim unless he had some attraction?”
by Tony Lee Moral
Alice’s mother passes away and with her father and little sister, Sophie, she moves to Pacific Grove in California. Alice is deathly afraid of the water despite living in a community surrounded by it. In order to push through her phobia, she joins the Kayaking club in high school.
During a routine kayaking drill, a fog rolls in and Alice becomes disoriented, losing all sense of direction. A large wave turns the kayak over, dumping Alice into the icy-cold pacific. She nearly drowns when a young man dives in after her. . .Henry Raphael.
After Henry’s rescue, Alice gains more than her life. Henry is a beautiful seventeen-year-old or more accurately, one-hundred-seventeen years. The relationship between them takes Alice on a journey for which no one could prepare her.
Long distance relationships are difficult – how can Alice bridge a divide between planes? Henry died over a century ago but lives on in the fourth plane of existence waiting for an opportunity to atone for past deeds that caused the death of his ship’s entire crew. Their vengeance still hanging over his head, Henry and Alice learn their love will be tested by more than the passage of time and living in different dimensions.


Christian Murray’s new play is a 90-minute, non-stop show full of black comedy, physical theatre, ventriloquism, absurdity and surrealism within a fixed plot.
A grieving Halifax couple embraces a new scientific discovery they’ve read about in the Halifax papers to bring back the seven-year-old son they lost 30 years ago.
The never-seen scientist, presented as a disembodied authoritative voice talking to people as they stand in a square of light, uses DNA from Anthony’s baby tooth to bring him back to life.
The problem is Anthony,
like Frankenstein, is an unpredictable man-child who horrifies the parents and violates their memory of the beautiful, lost child.
When a skinhead duo in underwear, the Whitey Tighties, helps Anthony recover his own bones to build the puppet Bone Boy, the play grips you solidly in its odd reality.
This is where the roller-coaster of plot has ascended its summit and starts to careen downhill as the comedy and energy intensifies to a manic, hilarious pitch.
Mike McPhee, innocent and playful, physically awkward and full of wordplay as Anthony, crackles with zany comic energy as the demonic Bone Boy puppet that he operates as a ventriloquist.
At the same time, Brian Heighton as Anthony’s father grows increasingly and insanely frustrated in another tour-de-force performance in terms of energy, magnetism and nuanced comic delivery.
Mary-Colin Chisholm is perfectly cast as the mother, a kind of caricature of all mothers with her chittering list of concerns for her child, her lack of focus in the moment, her musings on the nature of time. It’s a wonderful surreal moment when she pulls a tea cup out of her excessively floral apron and starts drinking tea.
There are many roads into Bone Boy, a dense, literary
script full of details that you can savour. Or you can just laugh along with a crazy story told with great comic timing, which is where Murray the director comes in.
The grey, Styrofoam rock on stage with the text, Ce n’est pas un rocher, signals Magritte and surrealism and multiple realities within a dream play.
Murray also references absurdist playwright Samuel Beckett, whom he studied extensively as a 20-year member of Halifax’s Jest in Time Theatre.
Anthony’s father hates the theatre and is furious to find himself inside a play. The show that turned him off the stage was Beckett’s Waiting for Godot with its two characters in trash cans.
God is not taken lightly in Bone Boy; there’s a wonderful prayer scene on a trash heap where words tumble sadly from Anthony.
Nothing is thrown away in this text. Even the family name of Bateman rings bells.
The set by Wes Daniels, a graduate of the National Theatre School, is wonderful with its rear fireplace and giant chimney.
The Batemans’ faded, antique-looking living room furniture signals that they are frozen in the past, as do the visible slats in the partially eroded walls of their home.
Lighting designer Leigh Ann Vardy and costume designer Emlyn Murray skilfully complete the look.
Also in the cast are Annie Valentina as the enigmatic tooth fairy and Jonny Tompson and Ashleigh Pike, convincing and comic as the skinhead duo on its way to reform.
Frankie Productions presents Bone Boy at the North Street Church, Fuller Terrace and North Street, Halifax, through Sunday, 8 p.m., with a matinee at 2 p.m. Sunday. Tickets (cash only) are $25 and $15 for students, seniors and artists. Call 401-8202.
Bone Boy! The Theatre Play
When: May 26-June 2, 8 p.m., Sun., May 27, 2 p.m. and Sun., June 3, 2 & 8 p.m. 2012
Price: $25 regular $15 students/seniors/artists
If you like your theatre twisted and twisty (as I do), you’ll love Christian Murray’s new play Bone Boy. It’s a black comedy that stars Mike McPhee as Anthony, a young man who’s been grown from the baby tooth of a dead child. Anthony is a hyper-active innocent who sets his parents’ teeth on edge and makes them question the wisdom of their desire to resurrect their child. McPhee, a gifted physical actor, is simply brilliant in the central role. His vacant look and spaghetti-limbed movements are both charming and eerie. Brian Heighton is perfect in the role of Anthony’s father. His acting encompasses both the over-the-top wacky comedy of the play and the real depth of its tragic situation. Wes Daniels’ set captures Bone Boy’s off-kilter sensibility and Leigh Ann Vardy’s lighting design (complete with eclectic foot lights) truly shines. (KW)
North Street Church
5657 North Street NORTH END
An experimental, meta physical, science fiction play / comedy.
Cast - A Nuclear Family, Mother; Father; and once dead newly alive Son…
Disembodied Voice, Skinheads and the Toothfairy.
Time – perhaps today, not yesterday or could be tomorrow.
Setting – Halifax South end Living room…(Monied.)
In 1974 a boy, Anthony, was killed. His parents keep a picture of this 7 year old above the mantel of their fireplace. The Mother has kept a lock of her son’s hair and thirty years late through a process which science has given the people of planet earth, this child is brought back to life…grown from the DNA of the hair she kept as a memento.
He returns to them 37 years of age the age he would be had he not died in 1978.
We wonder, “What is the the spark of life?” as family history, expectation, terror and rejoicing unfold. The family roller coasters through a learning curve of clown-esque scenes…including the construction of a puppet by Anthony, made up of his own childhood bones – the eponymous ‘Bone Boy’.
|April 14th, 2011
Lauchie, Liza and Rory
Lauchie, Liza and Rory is a heart-warming, easy and, most importantly, winning play
Lauchie, Liza and Rory is the latest production from celebrated Maritime author Sheldon Currie, known for his wry and delicate portrayals of the quirky characters who inhabit his fictional small Maritime villages. “Currie’s writing has a very unusual tone,” says director Mary-Colin Chisholm, “there’s always a lot of humour and a real acceptance of eccentricity.”
The scene opens on an old coal-town house, a single front and roof divided into two separate homes. It sets a tone for the production: indivisibility and a necessary closeness with a slight subtext of claustrophobia. In other words, it’s a family play. The first person we see on the stage is fiddler Mairi Rankin, who in the words of Chisholm “seems to be a muse, ghosting through the scene.” She leads into the show with a changeable, quicksilver tune. “Because theatre is a live thing, [Rankin's performance] makes it more real, and adds dimension,” explains Chisholm. “Subconsciously it underlines the fact that this is live.”
The houses are populated with a multitude of characters but only two actors, Christian Murray and Natasha MacLellan, who nimbly transform from character to character as the scene demands, sometimes both taking the same part in alternating turns. It’s wonderful technical work from the two leads, to shift postures and mannerisms so convincingly.
Currie’s writing isn’t dark or tense, but takes what otherwise could have been a difficult psychological situation and defuses it. Some people will call this play schmaltzy,
yet it delivers precisely what it promises and that’s really all you want when you buy a ticket to the theatre. Interestingly, despite its sombre tones the play has a happy ending that unexpectedly reverses the bitter system of morals presented throughout. “Better later than sooner,” says a character at one point, and I thought “Yeah! Why not?”
Lauchie, Liza and Rory
Written by Sheldon Currie
Directed by Mary-Colin Chilsholm
At National Arts Centre (53 Elgin Street)
Until April 16
An NAC English Theatre presentation of the Mulgrave Road Theatre (Guysborough, NS) production in association with Frankie Productions (Halifax, NS).
I guess death is a lot like rum, the truth comes out in it.
From the author of Glace Bay Miners’ Museum comes a play set in a 1940′s coal mining town in Cape Breton. Lauchie MacDonald lives a humdrum existence but his world soon turns upside down when the vivacious Liza dances into his life. The courtship is sealed with a big win at bingo, until Lauchie’s daredevil twin brother, Rory bursts back onto the scene. A wry spinster, a sonorous priest, a reformed party girl, and a cantankerous Cape Breton matriarch, are all witnesses to a twenty-year interrupted love story. Two actors bring the whole town vividly to life in this heartwarming comedy of misguided loyalty and unspoken emotion.
Running time is approximately 70 minutes with no intermission.
One of the funniest, technically dazzling, smartly-acted pieces to drop on a Nova Scotia stage all year. - Coast Magazine, Halifax.
HALIFAX, NS – Eastern Front Theatre’s 17th Season continues with the presentation of Frankie Productions’ Lauchie, Liza & Rory, adapted from his own short story by famed Cape Breton writer Sheldon Currie. The play previews April 6, opens April 7 and runs until April 18 at the Bus Stop Theatre.
“We are delighted to present one of Nova Scotia’s funniest and most beloved comedic plays of all time.” said Artistic Producer Scott Burke, “Lauchie, Liza & Rory has an excellent track record as a crowd pleaser that serves up a genuine slice of Cape Breton life. Wherever the show has been performed it tickles the funny bone and touches the heart.” READ MORE
Frankie Productions is delighted to announce its hit production Underneath The Lintel by New York playwright Glen Berger starring acclaimed Halifax actor Christian Murray and directed by Portia White winner Mary Vingoe has been invited to the Vancouver Cultural Olympiad as a co-production between the Vancouver East Cultural Centre and the Norman Rothstein Theatre’s Chutzpah festival.
Underneath the Lintel will play March 14-20 at the Norman Rothstein Theatre in Vancouver.
A Dutch librarian discovers a book that is a hundred and thirteen years overdue. The librarian becomes obsessed in his search for the culprit; his search takes him on a journey across continents and back through time. It is a bit of daVinci Code meets Sam Beckett of a script, a search for identity culminating in an act of existential defiance.
In a sense the play is a testament to the Jewish determination to survive. It is both a dark and funny play; Berger was greatly influenced by the persona of the English Musical hall artist Dan Leno (and forerunner to Charlie Chaplin). The librarian is in many ways reminiscent of the little tramp, always on the outside looking in.
Underneath The Lintel enjoyed a successful Halifax production in 2007 and a maritime tour in 2008. Designed by Stephen Osler with lights by Ingrid Risk, Frankie’s production of Underneath The Lintel is now available for future touring.
There will be two special preview performances for Halifax audiences March 10 and 11th at 8pm at the TNS Living Room space at 2253 Agricola St in Halifax. Please email email@example.com to reserve. Seating is limited!
Mary Vingoe 902-461-4755
Photo credit Ken Kam


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Rated the #41 best film of 2015, and #3148 in the greatest all-time movies (according to RYM users). Civil rights activist Ann Atwater faces off against C.P. Greek subtitles for The Best of Enemies 2019 - Civil rights activist Ann Atwater faces off against C.P. It takes place in Durham, North Carolina in 1971. Ellis, a former Ku Klux Klan leader. The Best of Enemies (I due nemici) is a 1961 Italian film directed by Guy Hamilton and Alessandro Blasetti set during the World War II East African Campaign, but filmed in Israel. Trier par: Robert Gordon Réalisateur/trice, Producteur/trice, etScénario. It stars Taraji P. Henson, Babou Ceesay, Sam Rockwell, Anne Heche, Bruce McGill, Wes Bentley, John Gallagher Jr., and Nick Searcy. Listen to trailer music, OST, original score, and the full list of popular songs in the film. The story takes place in Durham, North Carolina during the turbulent 1960’s and 70’s … You must be a registered user to use the IMDb rating plugin. Do you have any personal connections with the content of the play? Cast & Crew. The Best of Enemies (2019, film/movie). Film Gives Shallow Treatment to Ann Atwater, CP Ellis Story “The Best of Enemies,” starring Sam Rockwell and Taraji P. Henson, falls short in its telling of how a Christian activist compelled a KKK leader to change his mind on white supremacy. Taraji P. Henson Ann Atwater. Company Credits Predictability and issues with pacing and balance are swept aside by an incredible true story bolstered by strong performances from Sam Rockwell and Taraji P. Henson. At area theaters. Plot. No need to waste time endlessly browsing—here's the entire lineup of new movies and TV shows streaming on Netflix this month. However, her husband soon left her, and she was faced with raising their two children on her own. In the summer of 1968 television news changed forever. Nick Searcy Garland Keith. Casting. 13K. Release Dates Sam Rockwell. SR. Sam Rockwell C.P. THE BEST OF ENEMIES opens on April 5 at AMC. It doesn't have the energy of Spike Lee's BlacKkKlansman, dragging in the second act.Plus, I was downright confused when I saw the title of the movie, as it made me recall the (excellent) documentary from a few years back entitled Best of Enemies.. Episode cast overview: Mary Tyler Moore ... Mary Richards: Edward Asner ... Lou Grant: Valerie Harper ... Rhoda Morgenstern: Gavin MacLeod ... Murray Slaughter: Ted Knight ... Ted Baxter: Georgia Engel ... Georgette Franklin A sold-out crowd will watch a special screening of "The Best of Enemies." The Best of Enemies Drama Based on a true story, Ann Atwater, a fearless and outspoken civil rights activist, and C.P. Babou Ceesay. SONGS. The true story of a British whistleblower who leaked information to the press about an illegal NSA spy operation designed to push the UN Security Council into sanctioning the 2003 invasion of Iraq. Best Action Films. Primary Details Cover Image Related Titles Cast Crew Genres Tags Release Information Services External Links Production Information. NS. 10 debates. Was this review helpful to you? Use the HTML below. The Best of Enemies cast: Sam Rockwell, Taraji P. Henson, Wes Bentley. The story of Roman Coleman, a violent convict, who is given the chance to participate in a rehabilitation therapy program involving the training of wild mustangs. View production, box office, & company info, Rated PG-13 for thematic material, racial epithets, some violence and a suggestive reference, Oscar-Nominated Actor Taraji P. Henson Signs With M88, Taraji P. Henson to Host Talk Show on Mental Health for Facebook Watch, Sam Rockwell Is Merle Haggard in Upcoming Biopic from Amazon. Attack in Mumbai environmental lawsuit against a chemical company that exposes a lengthy history of pollution Xing her. 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