Legally Blonde Jr Playbill

Total Page:16

File Type:pdf, Size:1020Kb

Legally Blonde Jr Playbill Legally Blonde, JR. CAST DELTA—July 9 and 11 Margot Avery Neyland Serena Sara Waldbauer Pilar Cianna Brewer Gaelen Grace Bethany Kate Lauren Tanaka Elle Woods Kate Rodenmeyer Saleswoman Addie Matthews Store Manager Xenia Minton Warner Alex Forbes Grandmaster Chad Darby Frost Winthrop Jackson Haber Lowell Harrison Speed Pforzheimer Jacob Jones Jet Blue Pilot Casey Stringer Emmett Justin Bell Aaron Oliver Long Padamadan Max Nelson Enid Nina Frost Vivienne Tonya Shenoy Callahan Matthew McMurtry Paulette Tykala Barnes Whitney Victoria Chough Dewey Elijah Mangum Brooke Wyndham Emani Sullivan Sabrina Yasmine Ware Prison Guard Aaliyah Newsome Kyle Riley Collins Kiki Shasa Cohran Cashier Camille Halverson Stylist Meredith Jones Bookish Client Jory Tanaka Chutney Baileigh Hughes Bailiff Kade Perruso Judge Megan Gautier Ensemble Wake Monroe, Matthew Jordan, Amber Robinson, Ariana Bridges, Emily Rutland, Isabella Ragazzi NU—July 10 and 12 Margot Claire Porter Serena Lamiorkor Lawson Pilar Anna Rose Myrick Gaelen Rachel Regan Kate Reese Overstreet Elle Woods Chesney Mitchell Saleswoman Bailey Graves Store Manager Katherine Kelly Warner Jabarrie Evans Grandmaster Chad Jeffrey Cornelius Winthrop Walker Palmerton Lowell Samuel Ball Pforzheimer Charlie Corkern Jet Blue Pilot Myla Toaster Emmett Ben Sanders Aaron Devin Ranftle Padamadan Parker Moak Enid Fikumni Idowu Vivienne Taylor Gray Callahan Michael Maloney Paulette Madeline Porter Whitney Mia Hammond Dewey Dale Shearer Brooke Wyndham Miles Taylor Leverette Sabrina Perry DeLoach Prison Guard Karis Irwin Kyle Alex Mangieri Kiki Udoka Robertson Cashier Hayley Palmerton Stylist Lily Garretson Bookish Client Lanae Williams Chutney Kacie McAuliffe Bailiff Robert Archer Judge Ivy Graham Ensemble: John Matthews, Aly Sebren, Chandler Ray, Verlecia Gavin, Lili Hobdy, Jessica Smith Please Note That photography, videotaping or other video or audio recording of this production is strictly prohibited. Please turn off all cell phones and pagers. LEGALLY BLONDE JR. Is presented through special arrangement with Music Theatre International (MTI) All authorized performance materials are also supplied by MTI. 421 West 54th Street, New York, NY 10019 Phone: (212) 541-4684 Fax: (212) 397-4684 www.MTIShows.com MUSICAL NUMBERS Omigosh You Guys (Part 1)… Margot, Serena, Pilar, Gaelen Omigosh You Guys (Part 2)….………… ...Elle, Margot, Serena, Pilar, Delta Nus, Saleswoman, Sales Manager Serious (Part 1)………………………………..Elle, Warner, Waiters Serious (Part 2)……………………………………………..Elle, Warner Daughter of Delta Nu…………………………...Delta Nus, Margot, What You Want (Part 1)………………………...Elle, Kate, Margot, Frat Boys, Delta Nus What You Want (Part 2)…………….. Elle, Ensemble, Winthrop What You Want (Part 3)…………….. Elle, Ensemble, Winthrop Ireland…………………………………………………….………… Paulette Chip On My Shoulder (Part 1)………………………..Elle, Emmett Chip On My Shoulder (Part 2)………. Elle, Emmett, Ensemble Chip On My Shoulder (Part 3)………...Elle, Emmett, Students So Much Better……………………………………….….Elle, Students Whipped Into Shape………………………………..Brooke, Inmates Delta Nu Nu………………………………………………….. Elle, Brooke Bend And Snap…………… Kiki, Cashier, Stylist, Paulette, Elle, Bookish Client, Beauty Shop Customers, Kyle Legally Blonde…………………………………………….. Elle, Emmett Legally Blonde Remix (Part 1)……...Vivienne, Kiki, Ensemble Legally Blonde Remix (Part 2)………..Elle, Ensemble, Serena, Pilar, Margot Legally Blonde Remix (Part 3)….. Vivienne, Brooke, Paulette, Callahan, Ensemble Find My Way/Finale…………. Elle, Vivienne, Brooke, Paulette, Emmett, Ensemble CAST BIOS Robert Archer is the son of Scott and Lorna Doone Archer. He is brother to Sarah Mclean and Jack. Robert will be going into the 6th grade at St. Rich- ards this year after finishing his previous year at Casey Elementary. Robert en- joys playing basketball and video games and has been apart of several school plays. Samuel Ball will be a rising 7th grader this year and has several extra- curricular activities including: Tae Kwon Do, viola, piano and State Elementary Honor Choir 2015. He is the son of Ken and Mary Ball and brother to Stephens, Betsy and Lanah. He enjoys reading and creating fun projects for KingofRan- dom.com. Some of Samuel’s favorite parts include: Scarecrow in Wonderful Land of Oz, Big Bad Wolf in Little Red Riding Hood and Prince Alexander in Enchanted Sleeping Beauty with Mississippi Children’s Musical Theatre. He was also Grandpa George in Black Rose Theatre’s production of Willy Wonka and the Chocolate Factory. Tykala Barnes is rising 11th grader at Murrah High School and Power APAC. She enjoys spending her free time singing, dancing , acting and playing softball. Her extracurricular activities include: Murrah High School’s Advanced Concert Choir, Murrah High School’s Girl Choir, slow-pitch and fast-pitch soft- ball and student council. At her church, Tykala has many roles that includes: praise team, choreographer, dancer, step team, youth choir, inspirational choir, black voices speech team, nursery volunteer and Sunday School Treasurer. Tykala is the proud daughter of Ashanti Barnes and sister of Tykia and Tony Barnes. Tykala’s debut performance with New Stage was Julius, Baby of the World and it has made her love the art of theatre so much more. She has also been in show such as: High School Musical, Jr., Seussical Jr,. Camp Rock, This is a Test, Mirror Mirror, Grease, Wicked, Les Miserables, Masque of the Red Death and The Piano Lesson. Justin Bell is the proud son of Lisa T. Bell and a rising 10th grader at Mur- rah High School in the APAC program for Theatre Arts and Advanced Academ- ics. Justin enjoys reading and playing soccer. He will be a member of Murrah’s award-winning Speech and Debate Team and the advanced choir. His previous performance credits include: Guys and Dolls, Jr.; The Little Mermaid, Jr.; High School Musical, Jr.; First Date; A Toast to Broadway, Jr. Seussical, Jr.; and the Eudora Welty Play Series stage reading of The Wide Net at New Stage Theatre. Justin also had the chance to be apart of the cast of Peter Pan at New Stage this past year. Justin has been featured in Mississippi Public Broadcasting’s web series Ed Said. Justin is extremely excited to be back at New Stage this year, and he would like to sincerely thank God, his family, Stewpot Community Cen- ter and all of his instructors for their continued encouragement and support. Grace Bethany is the 11 year old daughter of Chuck and Lea Ann Bethany. She was last seen in last years production of Seussical, Jr. and was a part of New Stage’s Shakespeare Camp performances of Richard, III and As Y ou Like It. Grace enjoys crafting, swimming and most of all dancing. Grace is apart of the Kids for Christ dance team. Cianna Brewer is the daughter of Jerry and Jennifer Brewer and sister to Darbie Lynn and Madilynn. She will be going into the 9th grade at Jackson Academy and enjoys taking part in Showtime, Steppers and Cross Country. Cianna also enjoys singing dancing and art. She has previously taken part in Aladdin and Wizard of Oz at Jackson Academy. Ariana Bridges is the 15 year old daughter of Adrienne Bridges. She will be in the 11th grade at the Mississippi School of the Arts this year. Ariana enjoys playing the piano and flute as well as singing. This is Ariana’s debut perfor- mance at New Stage Theatre. Victoria Chough is the daughter of Silvia and Tony Chough and sister to Veronica. She is in the 7th grade at Jackson Prep where she enjoys playing bas- ketball and running track. Victoria enjoys drawing playing video games and singing. She has been in various school choir shows including KY DZ Radio and School House Rock. This is Victoria’s first performance at New Stage Theatre. Shasa Cohran was recently accepted into the prestigious Joffrey Ballet Summer Intensive where she studied Broadway Musical Theatre in New York City. While there, she had the honor of performing dance routines in Times Square which also included her winning acrobatic solo Coming to America. In addition, she currently holds the titles as being the Supreme Overall Winner in the Miss Magnolia State Preliminary Pageant. Her outstanding achievements and talent have opened the doors to many amazing opportunities such as her guest performance at the UniverSoul Circus in her hometown of Jackson, MS; the Grand Ole Opry in Nashville, TN and Amateur Night at the Apollo Theatre in Harlem, New York! Her dream is to become a famous dancer/actress and inspire kids all over the world with the talent that God has blessed her with! Riley Collins is the son of Kenny Collins and Leta Collins. He will be in the 9th grade at Rosa Scott. Riley takes part in Band, Theatre and the St. Richard’s Youth Group. He enjoys swimming, science, math, drums, music and video games. He has previously appeared in High School Musical, Jr., The Little Mer- maid, Jr., A Midsummer Night’s Dream, Once Upon a Time and Seussical, Jr. at New Stage and Hamlet at St. Richard’s. Charlie Corken is a rising 6th grader at St. Andrew’s. He is the son of Mike and Emily Corken and brother to Michael and Katie. Charlie enjoys creating video games and playing X-box. Charlie was a part of his 3rd grade Shakespeare play at St. Richard Catholic School and makes his debut perfor- mance at New Stage Theatre. Jeffrey Cornelius is the son of Marc and Kimberly Cornelius and the brother of Marc Daniel Cornelius. Jeffrey is going into the 7th grade at Bailey Power APAC. He enjoys acting, singing, reading and playing the cello. He also is apart of the Middle School Orchestra.. He has previously appeared in Peter Pan, Seussical, Jr. A Christmas Carol and High School Musical, Jr. at New Stage Theatre. Perry DeLoach is a vibrant 10 year old rising sixth grader at German- town Middle School. She is excited about being in Legally Blonde, Jr. at New Stage Theatre. Perry’s experiences with drama include leading roles in several Mannsdale Elementary Drama Kids plays, including Pirates, Story- land Idol and The Big Mystery under the Big Top and in many musicals at First Baptist Church Madison.
Recommended publications
  • Introduction: the Shakespeare Test
    C H A P T E R O N E ᨰ Introduction: The Shakespeare Test That’s what I like about Shakespeare; it’s the pictures. —Al Pacino, Looking for Richard The making of Shakespeare films dates nearly from the start of commer- cial presentations of the cinematic medium. In the earliest screen adapta- tions from Shakespeare, there were palpable tensions at work, not only between aesthetic and financial objectives, but also between developing notions of what film is and does. One filmic impulse is to document, but with Shakespeare there are any number of subjects worth documenting: the playtext, a particular theatrical realization of that playtext, or the his- torical conditions reflected or represented in either playtext or stage ver- sion. Another filmic impulse is, of course, to tell a story: here, too, Shake- speare’s playtexts offer an embarassment of rich possibilities. Further complicating matters are the uneasy, inescapable relations that the genres of nonfictional and fictional film bear with one another. The problem of distinguishing between modes of representation and ways of manipulat- ing materials (Plantinga 9–12) is as old as narrative filmmaking itself, and Shakespeare very quickly became part of the developing dilemma. It was in the 1890s that Georges Méliès pioneered the practice of storytelling through the exciting new medium; he also pioneered the 1 2 SHAKESPEARE IN THE CINEMA practice of borrowing from familiar materials, such as the Faust legend in The Cabinet of Mephistopheles (1897) or Charles Perrault’s account of Cin- derella (1899). Méliès would later borrow from Shakespeare—an abridged Hamlet and a film, starring himself, about the composition of Julius Caesar, both in 1907—but his were not the first Shakespeare films.
    [Show full text]
  • An Interview with Michael Maloney
    An Interview with Michael Maloney An Interview with Michael Maloney Michael Maloney has played a wide range of classical roles over many years for some of the most famous theatre companies in the UK. At the Royal National Theatre, he has played Benjamin Britten and Lewis Carroll, as well as Hal in Henry IV parts 1 and 2. For the Royal Shakespeare Company (RSC), Michael has played Romeo in Romeo and Juliet and Edgar in King Lear, under the Japanese director Yukio Ninagawa. He has also played Hamlet twice in various theatres around the country and at the Barbican, the second production of which was for Yukio Ninagawa once again. On film, Michael played Rosencrantz in Mel Gibson’s version of Hamlet. He has also worked on many occasions with Kenneth Branagh: he played Laertes in Branagh’s version of Hamlet and took the lead role in Branagh’s film In the Bleak Midwinter, about a group of actors putting on Hamlet in a church hall. He has also starred alongside Branagh as the Dauphin in Shakespeare’s Henry V and played Roderigo in Othello. Michael has appeared in lead and supporting roles in more than 150 television shows and 200 radio programmes. He is best known for his role in Anthony Minghella’s Truly Madly Deeply and more recently for his roles in the English films Notes on a Scandal and Young Victoria. Michael plays the part of Macbeth in the Macmillan Readers series. When did you decide you wanted to be an actor and why did you decide this? My dad was in the Air Force and we moved house every eighteen months.
    [Show full text]
  • A Midsummer Night's Dream
    CLASSIC DRAMA UNABRIDGED William Shakespeare A Midsummer Night’s Dream With Warren Mitchell Michael Maloney Sarah Woodward and full cast 1 Music and opening announcement 1:21 2 Act 1 Scene 1 6:20 3 Act 1 Scene 1: LYSANDER How now my love, why is your cheek so pale? 5:11 4 Act 1 Scene 1: HELENA How happy some o’er other some can be! 1:51 5 Musical interlude 0:49 6 Act 1 Scene 2 6:05 7 Musical interlude 1:06 8 Act 2 Scene 1 2:50 9 Act 2 Scene 1: OBERON Ill met by moonlight, proud Titania! 4:43 10 Act 2 Scene 1: OBERON Well, go thy way. Thou shalt not from this grove 2:20 11 Act 2 Scene 1: DEMETRIUS I love thee not, therefore pursue me not. 3:10 12 Act 2 Scene 1: OBERON I know a bank where the wild thyme blows 1:09 13 Musical interlude 1:43 14 Act 2 Scene 2 4:50 15 Act 2 Scene 2: PUCK Through the forest have I gone… 1:12 16 Act 2 Scene 2: HELENA Stay though thou kill me, sweet Demetrius! 3:32 2 17 Act 2 Scene 2: HERMIA Help me Lysander, Help me! 1:08 18 Closing music 1:49 19 Opening music 0:50 20 Act 3 Scene 1 7:29 21 Act 3 Scene 1: BOTTOM I see their knavery. This is to make an ass of me 5:16 22 Act 3 Scene 2 2:14 23 Act 3 Scene 2: DEMETRIUS O, why rebuke you him that loves you so? 2:38 24 Act 3 Scene 2: OBERON What hast thou done? Thou hast mistaken… 1:44 25 Act 3 Scene 2: LYSANDER Why should you think that I should woo… 3:52 26 Act 3 Scene 2: HELENA Lo, she is one of this confederacy 8:41 27 Act 3 Scene 2: OBERON This is thy negligence.
    [Show full text]
  • Gabriel Egan
    EnterText 1.2 GABRIEL EGAN Introduction to the Proceedings of the Conference “Hamlet on Screen” held at Shakespeare's Globe, London, on 28 April 2001 The play Hamlet is at or near the centre of the intellectual and commercial domain which is the “Shakespeare” construct. It is the only one to which an entire academic journal is devoted (Hamlet Studies), it contains the best-known lines of all dramatic literature – perhaps of all literature – and its imagery (especially of contemplation of a skull) is frequently employed synecdochically to connote Shakespeare and his works generally. The centrality of Hamlet is arguably a Romantic phenomenon – John Keats and S. T. Coleridge were typical in finding in themselves something of the indecisive prince – and the ageing Western world population of the twenty-first century might find King Lear more relevant. On 28 April 2001 a project intimately concerned with Shakespeare’s original theatrical context, the International Shakespeare Globe Centre in London, in conjunction with King’s College London, convened a conference for scholars to explore how this currently central work, Hamlet, has been represented on the cinema and television screen. The papers in this issue of EnterText comprise the published proceedings of that “Hamlet on Screen” conference. Gabriel Egan: Introduction to “Hamlet on Screen” Proceedings171 EnterText 1.2 As Mark Robson observes in his paper, every Hamlet since the first one is a repetition, and a common theme of papers was the way in which these repetitions engage in other contexts, many quite alien to the original performances; from these engagements new meanings are generated.
    [Show full text]
  • Kenneth Branagh's Hamlet: Twenty Years On. Produced by David Barron. Adapted for the Screen and Directed by Kenneth Branagh
    1 Kenneth Branagh’s Hamlet: Twenty Years On. A Review by Garry Victor Hill Produced by David Barron. Adapted for the screen and directed by Kenneth Branagh. Production Design: Tim Harvey. Editing: Neil Farrell. Photography: Alex Thomson. Music: Patrick Doyle. Length: 242 minutes. A Castle Rock Entertainment Feature. Warner Brothers Distribution. BBC and Turner Inc. Cinematic Release: 1996 Rated PG “Parents Strongly Cautioned” Rating ********* 90% Available on video and DVD in both full and edited versions. Cast Hamlet: Kenneth Branagh Ophelia: Kate Winslet Gertrude: Julie Christie 2 Claudius: Derek Jacobi Polonius: Richard Briers Laertes : Michael Maloney Horatio: Nicholas Farrell Marcellus: Jack Lemmon Bernardo: Ian McElhinney The Player King: Charleton Heston The Player Queen: Rosemary Harris Rosenencrantz: Tmothy Spall Guilderstein: Reece Dinsdale Fortinbras: Rufus Sewell The Ghost: Brian Blessed The First Gravedigger: Billy Crystal The Second Gravedigger: Simon Russell Beale Osric: Robin Williams Reynaldo: Gerard Depardieu The English Ambasador: Richard Attenborough Fransisco: Ray Fearnon Cornelius: Ravil Isyanov The Norwegian Captain: John Spencer-Churchill. Anthony: Denzil Washington (?) unbilled Also appearing in brief flashbacks are Judy Dench, John Gelgud, Ken Dodd and John Mills Twenty years makes a good timespan to judge the merits of a film. Publicity, contemporary reviews, awards and commercial results have all faded and no longer 3 clutter what we see: the film stands on its merits and hopefully stands above the things that usually date the transient, the trendy and the shallow. This is not a perfect film, but it has great lasting value and stands above its time. Somebody very wise (if now forgotten) originated the comment that anybody who plays Hamlet cannot totally succeed, but they cannot totally fail either.
    [Show full text]
  • Download PDF Booklet
    The Great Poets Rudyard Kipling Read by Robert Hardy POETRY Robert Glenister • Michael Maloney NA147412D (including first book publication and date) 1 Gunga Din Barrack-Room Ballads (1892) read by Robert Glenister 4:08 2 The Virginity The Years Between (1919) read by Robert Hardy 1:31 3 The Ballad of East and West Ballads and Barrack-Room Ballads (1899) read by Michael Maloney 7:20 4 Tommy Barrack-Room Ballads (1892) read by Robert Glenister 3:08 5 The Roman Centurion’s Song A School History of England (1911) read by Michael Maloney 2:47 6 Gentlemen Rankers Barrack-Room Ballads (1892) read by Robert Hardy 3:06 2 7 Boots The Five Nations (1903) read by Robert Glenister 1:36 8 The Conundrum of the Workshops Barrack-Room Ballads (1892) read by Michael Maloney 2:47 9 Smuggler’s Song Puck of Pook’s Hill (1906) read by Robert Hardy 2:29 10 Mandalay Barrack-Room Ballads (1892) read by Robert Glenister 4:23 11 The Gods of the Copybook Headings Inclusive Edition (1927) read by Michael Maloney 3:11 12 The Betrothed Departmental Ditties and Other Verses (1886) read by Robert Hardy 4:07 3 13 ‘Fuzzy Wuzzy’ Barrack-Room Ballads (1892) read by Robert Glenister 3:25 14 The Return The Five Nations (1903) read by Robert Hardy 3:43 15 The White Man’s Burden The Five Nations (1903) read by Michael Maloney 2:12 16 Danny Deever Barrack-Room Ballads (1892) read by Robert Glenister 2:38 17 The Female of the Species The Years Between (1919) read by Michael Maloney 3:54 18 The Thousandth Man Rewards and Fairies (1910) read by Robert Hardy 1:41 4 19 The Glory of
    [Show full text]
  • Elsie Walker
    EnterText 1.2 ELSIE WALKER A “Harsh World” of Soundbite Shakespeare: Michael Almereyda’s Hamlet (2000) There has been an explosion of Shakespearean films since the mid-1990s: Richard Loncraine’s Richard III (1995), Oliver Parker’s Othello (1995), Adrian Noble’s A Midsummer Night’s Dream (1996), Baz Luhrmann’s Romeo + Juliet (1997), Michael Hoffman’s A Midsummer Night’s Dream (1999), Kenneth Branagh’s Hamlet (1997) and Love’s Labour’s Lost (2000), Julie Taymor’s Titus (2000) and Michael Almereyda’s Hamlet (2000) to name a few. Mark Thornton Burnett and Ramona Wray attribute this phenomenon in part to fin-de-siècle nostalgia.1 Some of these adaptations of ‘classic’ works are an antidote for the anxieties of the present: thus, many of the films (such as Hoffman’s Dream, Kenneth Branagh’s films) take place in an unspecified, romanticised past. However Luhrmann’s Walker: A “Harsh World” of Soundbite Shakespeare 317 EnterText 1.2 Romeo + Juliet and Almereyda’s Hamlet both feature a modern mise-en-scène, and they are more self-conscious re-evaluations of and dialogues with the past in the light of the present.2 In Luhrmann’s film, there is a central conflict between postmodernism and Romanticism. Luhrmann’s setting for Romeo + Juliet is an antagonistic, voracious city in which different cultures, texts, architectures, and personalities clash and jostle for supremacy. Romantic, metaphysical absolutes, like the love Romeo and Juliet seek to create and preserve, can not endure in this cinematic world. There is seemingly no possibility of an absolute, enduring ‘positive’ to counteract all the ‘negatives’ Luhrmann presents in his collage city of gangs, drugs, violence, oppressive media, intergenerational conflict, warring corporate owners, faithlessness, fragmentation, chaos and despair.3 Within Almereyda’s Hamlet there is a similar tension: Shakespeare’s words embody the kind of idealism and integrity that is impermissible or unbelievable in a broken, postmodern world.
    [Show full text]
  • Film Worksheet 2.2 U C O
    y r Section 2 a Literature for Life t n e m Film Worksheet 2.2 u c o D Hamlet d n a m l Knowledge 1. Review your knowledge of the play. i F base r a. Read the brief summary of the storyline. o f b. Say who is dead, who Hamlet is disgusted with and who Hamlet wants to kill and why. s t e e h s Summary k r Prince Hamlet’s father, the King of Denmark, has died and his mother, much to Hamlet’s o disgust, has married her brother-in-law, Claudius, who has ascended to the throne. Hamlet is W visited by his father’s ghost who tells him that his death was not of natural causes but murder at the hands of Claudius and that Hamlet must avenge his killing. Hamlet swears to take revenge but wants to make sure that he is acting morally despite the corruption that surrounds him. He ascertains Claudius’ guilt by using a play scene as bait and also tries to tempt his mother away from her new husband’s bed. Claudius, fearing Hamlet, plots to have him put to death in England but his plan fails when Hamlet escapes and returns to Elsinore. In the final catastrophe, Hamlet succeeds in killing Claudius but not before he, himself, is fatally injured and his mother is also slain. 2. The clip you will watch concerns the moment when Hamlet discovers that his father did not die of natural causes. a. Which characters appear in the scene? b.
    [Show full text]
  • LISA HOPKINS “Denmark's a Prison”: Branagh's Hamlet and The
    EnterText 1.2 LISA HOPKINS “Denmark’s a prison”: Branagh’s Hamlet and the Paradoxes of Intimacy At the opening of Kenneth Branagh’s film of Hamlet, a gate with the name “Hamlet” written on it slides away to show us a guard profiled against a grille. The effect is of entering the frame, of penetrating to ever greater degrees of intimacy, and it inaugurates a pattern of closing and opening of doors which pertains throughout the film. Branagh is fond of this door motif, and, I think, uses it with considerable success elsewhere in his oeuvre, as at the opening of his Henry V (1988) where the two clergymen indicate the conspiratorial nature of their conversation by shutting the door (and including us in with them) before the memorable shot where Branagh’s Henry himself first appears framed and silhouetted in a doorway and looking for all the world “like some medieval version of Darth Vader.”1 Its reuse here appears to suggest that Hamlet is going to offer the same sort of experience as Branagh’s previous Shakespeare films. I am going to argue, though, that it doesn’t do so, and that the primary reason for that is that Branagh’s conception of this play has its roots in the theatre and never breaks free of the concept of stage space. Branagh himself had been a famous stage Hamlet in Lisa Hopkins: Denmark’s a prison 226 EnterText 1.2 the 1988 Renaissance Theatre Company production and in Adrian Noble’s 1992 Royal Shakespeare Company one; moreover, when interviewed about his direction of the play on screen, his first remark was that Hamlet was the first play he had ever seen in the theatre, when he was fifteen,2 and he has reused here the actor he saw in the role, Derek Jacobi.
    [Show full text]
  • Sounds Like Home: Bluegrass Music and Appalachian Migration in American
    Sounds Like Home: Bluegrass Music and Appalachian Migration in American Cities, 1945-1980 A Dissertation submitted to the Graduate School of the University of Cincinnati in partial FulFillment oF the requirements oF the degree oF Doctor of Philosophy in the Department oF History oF the College oF Arts and Sciences By Nathan McGee M.A., University oF Cincinnati, 2011 B.A., Eastern Kentucky University, 2006 Committee Chair: David Stradling i Abstract Sounds Like Home: Bluegrass Music and Appalachian Migration in American Cities, 1945-1980 By Nathan McGee Bluegrass music has long had strong associations with rural America and the Appalachian mountains in particular. The music itselF, while oFten based on an idealized vision oF rural America, developed in the urban milieu oF the post World War II era. White Appalachians joined millions oF other southerners in Flooding north into urban cities in the 20th century. They brought with them some general cultural traits that oFten became eXacerbated in the urban communities they joined. In short, as mountain migrants came north they oFten became more “southern” and more “Appalachian” as these character traits became identiFied by various urban groups. When migrants settled in cities, musical communities emerged that provided a sort oF upliFt For migrants and became a cultural marker For Appalachian- ness in many instances. This process did not develop in a vacuum, but rather the identiFication oF the music with Appalachia became oFten a conscious choice by musicians, Fans, reFormers, and general residents in the urban communities. Cities like Cincinnati and Dayton, Ohio, Baltimore, Maryland, and Washington D.C.
    [Show full text]
  • William Shakespeare's Play in Film Adaptation
    UNIVERZITA KARLOVA V PRAZE – FILOZOFICKÁ FAKULTA ÚSTAV ANGLOFONNÍCH LITERATUR A KULTUR BAKALÁŘSKÁ PRÁCE Tetiana Kurtiak Hamlet on Screen: William Shakespeare's Play in Film Adaptation Vedoucí bakalářské práce: PhDr. Soňa Nováková, CSc., M.A.. Praha, Srpen 2015 Declaration: Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně, že jsem řádně citovala všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného či stejného titulu. Souhlasím se zapůjčením bakalářské práce ke studijním účelům. Prohlášení: I declare that the following BA thesis is my own work for which I used only the sources and literature mentioned, and that this thesis has not been used in the course of other university studies or in order to acquire the same or another type of diploma. I have no objections to the BA thesis being borrowed and used to study purposes. V Praze dne …………… …………… Acknowledgement: I would like to express my sincere gratitude to PhDr. Soňa Nováková, CSc., M.A., my supervisor, for her support, encouragement, valuable guidance, and most importantly patience throughout my studies. Keywords: William Shakespeare, Hamlet, film adaptation, Laurence Olivier, Kenneth Branagh, Franco Zeffirelli, Michael Almereyda, theatre, film. Klíčová slova: William Shakespeare, Hamlet, filmová adaptace, Laurence Olivier, Kenneth Branagh, Franco Zeffirelli, Michael Almereyda, divadlo, film. Abstract: The purpose of my thesis is to study the process of a play-to-film adaptation of William Shakespeare’s Hamlet, the Prince of Denmark. It deals with the issues concerning film adaptation, the complexity of transferring drama onto the screen, and, consequently, analyses the individual filmic readings of Shakespeare’s play.
    [Show full text]
  • King Richard III CD Booklet
    William Shakespeare King Richard III Performed by Kenneth Branagh • Geraldine McEwan CLASSIC Nicholas Farrell • Stella Gonet • Michael Maloney and full cast DRAMA NA321712D 1 Act 1 Scene 1, Part 1 3:45 2 Act 1 Scene 1, Part 2 3:30 3 Act 1 Scene 1, Part 3 0:56 4 Act 1 Scene 1, Part 4 1:17 5 Act 1 Scene 2, Part 1 1:59 6 Act 1 Scene 2, Part 2 10:27 7 Act 1 Scene 2, Part 3 2:05 8 Act 1 Scene 3, Part 1 7:00 9 Act 1 Scene 3, Part 2 8:37 10 Act 1 Scene 3, Part 3 0:47 11 Act 1 Scene 3, Part 4 0:49 12 Act 1 Scene 4, Part 1 5:13 13 Act 1 Scene 4, Part 2 8:45 14 Act 2 Scene 1, Part 1 5:47 15 Act 2 Scene 2, Part 2 3:23 16 Act 2 Scene 2 8:45 17 Act 2 Scene 3 2:52 18 Act 2 Scene 4 3:40 19 Act 2 Scene 1, Part 1 4:42 20 Act 3 Scene 1, Part 2 2:36 21 Act 3 Scene 1, Part 3 2:52 22 Act 3 Scene 2 5:36 2 23 Act 3 Scene 3 1:28 24 Act 3 Scene 4, Part 1 4:07 25 Act 3 Scene 4, Part 2 1:55 26 Act 3 Scene 5, Part 1 3:47 27 Act 3 Scene 5, Part 2 1:50 28 Act 3 Scene 6 1:12 29 Act 3 Scene 7, Part 1 2:09 30 Act 3 Scene 7, Part 2 1:54 31 Act 3 Scene 7, Part 3 8:36 32 Act 4 Scene 1 6:02 33 Act 4 Scene 2, Part 1 3:14 34 Act 4 Scene 2, Part 2 2:24 35 Act 4 Scene 2, Part 3 0:43 36 Act 4 Scene 2, Part 4 0:36 37 Act 4 Scene 3, Part 1 1:59 38 Act 4 Scene 3, Part 2 0:32 39 Act 4 Scene 3, Part 3 1:22 40 Act 4 Scene 4, Part 1 9:27 41 Act 4 Scene 4, Part 2 3:17 42 Act 4 Scene 4, Part 3 12:00 43 Act 4 Scene 4, Part 4 5:08 44 Act 4 Scene 5 1:19 3 45 Act 5 Scene 1 2:09 46 Act 5 Scene 2 1:21 47 Act 5 Scene 3, Part 1 1:06 48 Act 5 Scene 3, Part 2 1:16 49 Act 5 Scene 3, Part 3 1:20
    [Show full text]