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2
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https://www.latimes.com/archives/la-xpm-2002-feb-02-me-morath2-story.html
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en
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Inge Morath, 78; Magnum Portrait Photographer
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[
"ELAINE WOO",
"www.latimes.com"
] |
2002-02-02T00:00:00
|
Photographer Inge Morath, whose artistry elevated portraits of the famous as well as images of foreign cultures and sights as commonplace as a person at a piano, died Wednesday of lymphomic cancer at a New York City hospital.
|
en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/archives/la-xpm-2002-feb-02-me-morath2-story.html
|
Photographer Inge Morath, whose artistry elevated portraits of the famous as well as images of foreign cultures and sights as commonplace as a person at a piano, died Wednesday of lymphomic cancer at a New York City hospital. One of the first women admitted to the international photo agency Magnum, she was 78.
Best known as a portraitist whose works hang in the permanent collections of many museums, Morath photographed notables as diverse as Jean Cocteau, Alexander Solzhenitsyn, Eleanor Roosevelt and Marilyn Monroe.
She married one of her subjects, playwright Arthur Miller, after his divorce from Monroe. She and Miller collaborated on several books during their nearly 40-year marriage.
Among her most famous shots is one of Monroe in a black cocktail dress, lost in thought and kicking up leaves in the Nevada desert. She traveled through Iran in the 1950s, cloaking her cameras beneath a chador, and talked her way into a Spanish matador’s dressing room before a crucial fight, armed only with her Leica and straightforward charm.
“She has a brilliant sense of place, of the surprising couched in the commonplace, whether it be Africa or Russia or New England,” Ralph Pomeroy wrote in the book “Contemporary Photographers.”
Morath was born in Graz, Austria, the daughter of two scientists. She grew up in Berlin during the rise of Hitler and studied Romance languages in college. After World War II started and she refused to join the Nazi student movement, she had to leave school and assemble plane parts at a Berlin factory while bombs rained down.
When the Russians entered Berlin, she joined a stream of refugees out of the city and walked to Salzburg to find out if her parents were still alive. She found them, but nearly died in the process.
After the war, Morath moved to London and married British journalist Lionel Birch. She also began to learn photography from Simon Guttman, art editor of Picture Post.
By 1953 she had divorced Birch and was working at Magnum’s Paris office with Robert Capa and Henri Cartier-Bresson, two of the founding members of the cooperative that was turning photojournalism into art.
Her first job was editing contact sheets for various members, but particularly for Cartier-Bresson. He taught her to look at images upside-down, as painters do, to judge their composition.
From Capa she learned that a photo “comes from inside.” This was an important discovery, she said, “because I was ashamed to speak German after the war, a millstone of guilt, so a picture was like daring to say ‘love.’”
She joined Magnum as a full-fledged member in 1955. She and Eve Arnold became the first women admitted to the intensely macho club.
“A lot of them did say, ‘Here comes a woman, how dare she take pictures,’” she recalled. “But I was very single-minded then and I didn’t give a damn what the others thought.”
In time, she proved she was as tough and resourceful as the others.
In Spain to photograph the running of the bulls, she won rare permission to enter a famous matador’s dressing room. It was considered bad luck for a woman to see the fighter before the fight, but she convinced him that when she was taking pictures she was not looking at him “with womanly eyes” but doing a job.
In Iran in the 1950s, she was allowed to photograph Muslim men at ritual exercises after winning their favor with gifts of Polaroid shots.
During Ramadan, she sneaked inside a grand mosque to photograph the worshiping men, prostrate on the floor. One man sat up and alerted the others, who began throwing stones at her. Fortunately, she said, “there weren’t too many [stones] on the floor there ... and I just got out very fast.”
Unlike Cartier-Bresson, who clicked his shutter at a decisive moment in the action, Morath often waited until the drama passed and her subject was at ease. A well-known portrait of Cocteau shows the natty poet, artist and filmmaker nearly reclining on a ledge near a fireplace, distractedly pointing his finger one way and looking another. The shot came after a period of antic posing nearly everywhere else in the room. “It is so him,” Morath recalled many years later, “because he is almost in flight, already on to the next thing.”
Her moxie would be unquestioned after an event in early 1959. She had been assigned to shoot the filming of John Huston’s “The Unforgiven” in Mexico. She was with the director on a duck hunting trip to Durango when she spotted two men struggling in a nearby lake. One of the men was the movie’s star, World War II hero Audie Murphy. Stripped to her underwear, Morath plunged in and towed Murphy back to land by her bra strap. In thanks he gave her the watch he had carried throughout the war.
In 1961, Magnum sent Morath to the location of another Huston film, “The Misfits.” Written by Miller, the movie starred Clark Gable, Montgomery Clift and Monroe.
Her famous shot of Monroe caught the actress reciting lines to herself when she thought no one was looking. Of all the famous shots of the 1950s icon, many seem exploitative, but Morath’s focus is elsewhere. “I liked her,” Morath said. “I liked that kind of dreamy quality she sometimes had.”
Monroe, according to Miller, took to the photographer immediately, “appreciating her kindness and the absence--remarkable in a photographer--of all aggression. She doted a little on the pictures Inge Morath had taken of her, sensing real affection in them.”
Morath said she took little more than a professional interest in Miller then. But he had noticed the “slender, noble-looking young woman with bobbed hair and European accent, who seemed,” he wrote in his 1987 memoir, ‘both shy and strong at the same time.” After his marriage to Monroe disintegrated, he married Morath in 1962.
They traveled extensively together and turned some of their experiences into the books “In Russia” (1969) and “Chinese Encounters” (1979), for which Morath spent four years learning Mandarin. When Morath wanted to stay closer to home to raise their daughter, Rebecca, he wrote and she photographed “In the Country” (1977), about rural Connecticut.
Morath, who lived in New York and Roxbury, Conn., is survived by her husband, their daughter and a grandson.
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://www.krwg.org/national-world-news/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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[
"Susan Stamberg",
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"susan-stamberg"
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2018-12-10T00:00:00
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Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
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KRWG Public Media
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https://www.krwg.org/national-world-news/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/morath-inge-1923
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Morath, Inge (1923—)
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Morath, Inge (1923—)Austrian-born photographer. Born in 1923 in Graz, Austria; received degree from University of Berlin, 1944; married Arthur Miller (a playwright), in 1962; children: Rebecca Miller (b. 1962, a filmmaker and painter). Source for information on Morath, Inge (1923—): Women in World History: A Biographical Encyclopedia dictionary.
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en
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/sites/default/files/favicon.ico
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https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/morath-inge-1923
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Austrian-born photographer. Born in 1923 in Graz, Austria; received degree from University of Berlin, 1944; married Arthur Miller (a playwright), in 1962; children: Rebecca Miller (b. 1962, a filmmaker and painter).
Inge Morath received her first camera as a gift in 1952, and has since gone on to become an internationally known photographer and photo-journalist. The daughter of scientists, she was born in Graz, Austria, in 1923, and graduated from the University of Berlin in 1944. Caught in the chaos surrounding the end of World War II in Europe, Morath spent the following two years as an agricultural worker and airport employee in Berlin before finding employment as an editor and translator with the U.S. Information Service in Salzburg and Vienna in 1946. She became a freelance writer for radio and print media in 1949, and was hired as a writer for Heute magazine in 1951. After receiving her camera the following year, she bought a Leica and began working as an assistant to photojournalist Simon Guttman of the Report Agency of London.
Morath served as an assistant and researcher for photographer Henri Cartier-Bresson from 1953 to 1954, and became a member of the Magnum Photos agency in 1955. That year, she began traveling widely and photographing life in the countries she visited, a practice that has resulted in books including De la Perse à l'Iran (From Persia to Iran, 1958), Tunisie (1961), In Russia (1969), Chinese Encounters (1979), and Russian Journal (1991). Morath married American playwright Arthur Miller in 1962, the same year their daughter Rebecca Miller was born, and became an American citizen in 1966. She continued to travel extensively after her marriage, and photographed the first Chinese production of her husband's play Death of a Salesman, published as Salesman in Beijing (1984). She is also known for her photographs of such places as Mao Zedong's bedroom and Anton Chekhov's home, and for her photographic portraits of artists and political personalities. Inge Morath: Portraits (1999) includes portraits from the 1950s through the 1990s of Arthur Miller, Jean Cocteau, Saul Steinberg, Janet Flanner, Louise Bourgeois (b. 1911), Audrey Hepburn , Pablo Picasso, Nadezhda Mandelstam, Marisol, Mary Mc-Carthy , Jerzy Kosinski, Alice Roosevelt Long-worth , Salman Rushdie, and Doris Lessing , among many others.
Morath's photographs and photographic essays have been published in magazines, including The Saturday Evening Post, Life, Paris-Match, Vogue, and Picture Post. Her work has been exhibited in numerous galleries and major museums, including the Museum of Modern Art in Vienna, the Metropolitan Museum of Art in New York City, the Chicago Art Institute, the Kunsthaus in Zurich, the Royal Photographic Society in Bath, England, the Union of Photo-journalists in Moscow, the Sala de Exposiciones del Canal de Isabel II in Madrid, and the Inge Morath Museum for Photography in Saxony, Germany. Among the awards she has received are the gold medal of the National Art Club, an honorary doctorate from the University of Connecticut, the Medal of Honor in gold from the City of Vienna, and the Great Austrian State Prize for Photography (1992). Inge Morath: Life as a Photographer was published in 1999.
sources:
Morath, Inge, et al. Inge Morath: Life as a Photographer. Keyahoff Verlag, 1999.
Rosenblum, Naomi. A History of Women Photographers. Paris and NY: Abbeville Press, 1994.
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Inge Morath
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https://www.ingemorath.org/inge-morath/legacy/
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Death and Legacy
Ingeborg Morath Miller died of cancer in 2002, at the age of 78. In honor of their colleague, the members of Magnum Photos established the Inge Morath Award in 2002. The Award is administered by the Inge Morath Foundation in cooperation with the Magnum Foundation, New York.
Since its inception, each year one or more exceptional young women photographers have been named as recipients of the IM Award. Recipients are selected by the members of Magnum at their annual meeting, and are granted $5,000 to support the completion of a documentary project. Virtually all IM Award recipients have gone on to achieve significant successes in the field.
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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[
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[
"Susan Stamberg",
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2018-12-10T00:00:00
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Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
|
en
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/apple-touch-icon.png
|
WFAE 90.7 - Charlotte's NPR News Source
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https://www.wfae.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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1
| 3
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https://playbill.com/article/inge-morath-photographer-and-wife-of-arthur-miller-dead-at-78-com-103705
|
en
|
Inge Morath, Photographer and Wife of Arthur Miller, Dead at 78
|
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2002-01-31T01:00:00-05:00
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Inge Morath, the photographer wife of playwright Arthur Miller, died of lymphoma Jan. 30 in Manhattan, according to The New York Times.
|
en
|
Playbill
|
https://playbill.com/article/inge-morath-photographer-and-wife-of-arthur-miller-dead-at-78-com-103705
|
Inge Morath, the photographer wife of playwright Arthur Miller, died of lymphoma Jan. 30 in Manhattan, according to The New York Times.
Ms. Morath's photographs — posed shots, candids, celebrities, passersby, environments, interiors — appeared in a wide variety of international newspapers, magazines and publications over the years. She took a memorable shot of Miller and his then-wife Marilyn Monroe in 1960, The Times reported. Ms. Morath and Miller were married two years later.
According to the Magnum Photos website, Ms. Morath was born in Graz, Austria. Her parents were scientists and took her on their many European assignments. After studying languages in Berlin, she became a translator, then a journalist and the Austrian editor for Heute, an Information Service Branch publication based in Munich.
The photographer was a lifelong diary writer and letter writer. She wrote articles, as well, and became an editor at the Magnum Agency. She began photographing in London in 1951, and assisted Henri Cartier-Bresson as a researcher in 1953-54.
A world traveler, she was especially interested in the arts and world cultures. After her marriage to Miller, she settled in New York and Connecticut. She spoke Chinese and made a number of trips to China, where she photographed an array of subjects. Her photographs appear in the nonfiction account of the Chinese debut of Miller's play, Death of a Salesman, "Salesman in Beijing" (1984). Her selected published works include "Bring Forth the Children" (1960), "In Russia" (1969), "Inge Morath" (1975) "Country Life" (1977), "Chinese Encounters" (1979), "Portraits" (1986), "Russian Journal" (1991), "Inge Morath: Portraits" (1999), "Inge Morath: My Life as a Photographer" (1999). Miller survives his wife, as does Miller and Ms. Morath's daughter, Rebecca, and grandson.
A site called www.ingemorath.net is currently under construction.
|
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2
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https://www.all-about-photo.com/photo-contests/photo-contest/3653/2024-inge-morath-award
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en
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2024 Inge Morath Award
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https://www.all-about-photo.com/photo-contests/photo-contest/3653/2024-inge-morath-award
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4941
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dbpedia
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2
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https://www.anothermag.com/art-photography/11322/the-extraordinary-life-and-work-of-20th-century-photographer-inge-morath
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en
|
The Extraordinary Life and Work of 20th-Century Photographer Inge Morath
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2018-11-15T09:36:00+00:00
|
The Austrian image-maker was one of the first female members of Magnum Photos in the 1950s
|
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|
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AnOther
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https://www.anothermag.com/art-photography/11322/the-extraordinary-life-and-work-of-20th-century-photographer-inge-morath
|
The Austrian image-maker was one of the first female members of Magnum Photos in the 1950s
TextBelle Hutton
Who? Born in Austria in 1923, Inge Morath’s adolescent years overlapped with World War Two, during which she lived in Germany under the Nazi regime. Morath’s teenage eyes were opened to the avant-garde in art, somewhat ironically, by an exhibition arranged by the Nazi Party with the intention of turning the German public against modern art. The eventual photographer “fell in love with Franz Marc’s Blue Horse”, but it wouldn’t be until after the war and her university degree that she could openly address this interest in art. The post-war years were not without hardship for Morath; she made her way back to Austria from Berlin immediately following the war’s end, and later told the New York Times that “everyone was dead, or half dead. I walked by dead horses, by women with dead babies in their arms.” Morath was not yet a photographer, but encounters like these meant that she made a point of never training her lens on war in her 50-year career.
Morath arrived at photography after establishing herself as a journalist, translator (she is described invariably as having a gift for languages) and editor, first at Austrian publication Heute, where she worked closely with Ernst Haas on writing pieces to go alongside photography, and later at the newly founded Magnum Photos in 1949. As an editor for Magnum Photos, Morath would inspect contact sheets sent in by the agency’s photographers around the world and write stories to accompany them. She had researched the projects too, and later credited working closely on photographic processes with the likes of Henri Cartier-Bresson and David Seymour as where she learned the most about image-making – before having taken any photographs herself. “After the war I had often suffered from the fact that my native language, German, was for most of the world the language of the enemy, and although I was able to write stories in English or French it did not touch the roots,” she later wrote. Taking photographs, then, “felt both like a relief and an inner necessity”.
What? ‘Egni Tharom’ was the name Morath used initially when sending – and selling – her photographs to publications, and after building confidence working as a photographic assistant and completing personal work in her own time, she showed Robert Capa her series capturing working Catholic priests in Paris. By 1955, photographer Morath was a member of Magnum Photos – one of its first female image-makers. She photographed a range of subjects: documentary stories like 1954’s Fiesta in Pamplona captured the Spanish city’s running of the bulls, or those from her extensive travels in China; singular street photography (see: A llama in Times Square); portraits; fashion photography; and work on sets of television and films.
Her work in this last category resulted in some of Morath’s most recognised photographs. In 1960 Morath worked on the set of John Huston’s The Misfits, written by Arthur Miller and starring Clark Gable and Miller’s then-wife Marilyn Monroe. It was Monroe’s last film (she died in August 1962), and the Miller-Monroe marriage was near its end (divorce came in 1961). Morath’s photographs – both of Monroe alone and with her husband – are some of the most intimate shots of the ‘blonde bombshell’ and offer an insight into the life, both real and perceived, of Monroe at that time. But this intimacy was twofold: Morath and Miller married in February 1962, and remained together until her death in 2002.
Morath’s immense body of work has life at its centre. The photographer travelled around the world with her camera – she made the people and places of Spain, London, Paris, New York, Iran, China, the USSR, Italy, Tehran and others her subject over the course of many years. Her work is marked by a distinct sense of empathy; having learned many different languages and immersed herself in different countries following her youth in Germany, she conducted her photography with a warmth for and deep-rooted interest in what she was looking at. Miller described what she did with the highest praise: “She made poetry out of people and their places over half a century.”
Why? Now, a new publication serves not only to document Morath’s arresting archive, but also to trace the impact of her personal life on her practice. Inge Morath: An Illustrated Biography is the latest in a series of such publications from the Magnum Foundation which seeks to highlight how a photographer’s own story affects how they approach telling those of others. In Morath’s case, her position as a pioneering female photographer in the second half of the 20th century – who was able to go from weaving stories with words to telling them with pictures – was cemented by her fearless approach to her craft.
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https://www.tate.org.uk/art/artists/inge-morath-15768
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en
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Inge Morath 1933–2002
|
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Artist page for Inge Morath (1933–2002)
|
en
|
/favicon.ico
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Tate
|
https://www.tate.org.uk/art/artists/inge-morath-15768
|
Ingeborg Hermine Morath (German: [ˈɪŋəbɔrk ˈmoːraːt] ; 27 May 1923 – 30 January 2002) was an Austrian photographer. In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955. Morath was the third wife of Pulitzer Prize-winning playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller.
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0
| 76
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https://www.ask-oracle.com/birthday/1923/05/27/
|
en
|
Birthday Analysis for May 27, 1923
|
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1923-05-27T00:00:00
|
Born on Sunday, May 27, 1923, birthday analysis reveals you are 101 years old. Your zodiac sign is Gemini and the Chinese zodiac sign is Pig (猪). Life path number is 2. Discover your personality traits, horoscope details, yearly predictions and love compatibility.
|
en
|
Ask Oracle
|
https://www.ask-oracle.com/birthday/1923/05/27/
|
"Beauty is in the eye of the beholder, and self-indulgence is a harmless pleasure when enjoyed in moderation."
"True peace comes from within, not from external circumstances."
"Materialism is a trap that can enslave the mind and spirit."
"A witty remark can lighten up a heavy heart and bring a smile to someone's face."
"Self-centeredness is a barrier to meaningful relationships and personal growth."
"Emotional intelligence is a key to understanding oneself and others, leading to more harmonious interactions."
"Adversity in childhood can shape a person's character and resilience, leading to a deeper appreciation for life's challenges."
"Hard work and confidence are powerful tools that can help you overcome obstacles and achieve your goals."
|
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4941
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1
| 94
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http://www.pixelpress.org/contents/ingemorath/ingemorath_home.html
|
en
|
Remembering Inge Morath
|
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Inge Morath, who died too soon last week at the age of seventy-eight, was a subtle and evocative photographer who used her camera as a means of celebrating what she respected and valued: civilization, artistic achievement, the splendor of women, the significance of place.
Born in Austria between the two world wars, Morath studied languages as a young woman. She loved words and set her course to be a writer and editor. However, the Second World War's gruesome power intervened and would mark Morath for life. Like other millions, she became displaced, but through her wanderings in a torn-up Europe she unexpectedly found joy in photography.
In Paris after the war, Morath met and joined up with an eclectic group of young photographers all men- who would later found Magnum Photos. Morath started as an editor, but soon afterward surprised them all with a set of photographs she took in Spain as a lark. After this, Morath used the camera as a tool for exploring her passions. The results were a compelling series of books beginning in the 1950s with Guerre à la tristesse (War On Sadness), Fiesta in Pampelona and De à la Perse l¹Iran (From Persia to Iran).
Morath was a European by birth and breath, but her 1964 marriage to American playwright Arthur Miller turned America into her home. Her collaborations with Miller, the 1967 In Russia ,the 1977 In the Country and the 1979 Chinese Encounters, gave her the opportunity to fuse the two expressions she cared most about, images and words, into one.
Morath remained a keen student: she was already fluent in German, French, English and Spanish yet studied in-depth the cultures she photographed, even learning difficult languages like Mandarin and Russian. A shrewd observer of people and their quirks, she loved to photograph those whose work she admired: through the years she made hundreds of portraits of artists the world over, an unmatched photographic compendium of arts and letters in the twentieth century. She also used photography to express an idiosyncratic sense of humor: look, for instance, at the marvelous series of mask images she made with Saul Steinberg. And while she had a knack for making photographs which could have immediate impact, such as her well-known shot of Mrs. Eveleigh Nash, Morath¹s real gift as a photographer her curiosity and spirit- shine in the portraits of places she worked on for so many years. These, like all of her photographs, reveal their depth and complexity to us, over time, with nuanced grace.
Esther SAMRA
|
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https://www.ctpublic.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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[
"Susan Stamberg",
"www.ctpublic.org",
"susan-stamberg"
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2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
|
en
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/apple-touch-icon.png
|
Connecticut Public
|
https://www.ctpublic.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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Internet Broadway Database person ID: 86802, 95885
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[
"Auktionshaus Lempertz"
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2020-02-24T00:00:00
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Inge Morath - Works, prices, biography – Find out everything about Inge Morath & sell or buy works by this artist in our auction house.
|
en
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/typo3conf/ext/lempertz_base/Resources/Public/Icons/Favicons/apple-touch-icon.png
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Through contact with the photographer Ernst Haas, the trained translator Morath began working as a content writer for the "Magnum" photography agency in the early 1950s. She started taking photographs herself in 1951 and became a full member of the group in 1951. She took many photographs whilst travelling in Europe, China, North Africa and the Near East, but she also made portraits, snapshots and celebrity pictures – for example of Marilyn Monroe. She married the author Arthur Miller in 1962.
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https://bombmagazine.org/articles/inge-morath/
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BOMB Magazine
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] | null |
[] |
2004-10-01T00:00:00-04:00
|
When I sat down, my hands felt impossible. Just fold them , / she said, looking, pressing the button, shifting the angle,
|
en
|
BOMB Magazine
|
https://bombmagazine.org/articles/inge-morath/
|
Portrait
When I sat down, my hands felt impossible. Just fold them,
she said, looking, pressing the button, shifting the angle,
pressing again. The portrait is black and white, the settee
blue and orange, behind me a corner of my grandmother’s
self-portrait. I thought I looked old, but, gesturing as if
smoothing a tablecloth, she said, Your face has an asymmetry
I like. We met at the house of a dancer, they were all friends,
so I was quiet, near her husband at the round table. It was June,
and how do I remember this? We had London broil, cooled
to room temperature. When I noticed raspberry on my shirt,
she and her husband were telling a story—Cambodia, escaping
to Laos as the Vietnamese advanced, she had photographed
Angkor Wat, the daughter a child, airport closed, crossing
borders in the rain forest. I watched her, long fingers moving
in failing light, framing the air with stretched hands. Might she
photograph me? She arrived in the morning. From my open door,
watching her leap from the car, flimsy red camera bag, jeans, shirt
rolled to the forearm, the quick suggestion I sit, fingers
adjusting the lens, her icon face in March light. You’ll see
sorrow in my eyes in the one she chose. In the dining room,
she asked me to stand against the wall, camera sliding
across her face. Was I working? Was I happy? As if to work
was to be happy. In Paris, she photographed Cocteau, Picasso;
in Russia, Nadezhda Mandelstam, in New York, elsewhere,
so many my portrait traveled with, hair messily piled, broken
hair stick, eyes sorrowful, to Barcelona, Vienna, Paris . . .
Night after night, they invited me to supper. We thought
you seemed a little lost. I gave her precise gifts, and she,
scorning the purchased, gave things she had—the string of
Egyptian beads, a sea-blue scarab, a silver hand, the mandala
on rice paper. Last Christmas Eve, pale scarf already wrapping
her head, I opened her presents, the book about saints, a walnut
carved with tiny faces of the Buddha. I waited to open
the flat box, leaning close to keep her warm, almost reluctantly
lifting the lid, my younger eyes shocking my present ones
to tears. It’s how you looked then. Then? When had that March day
ceased to be part of now? Through the Christmas supper she had been
too weak to cook, we sat, dancer, daughter, husband, beloveds,
as if by humbly enacting this night, we might forestall what was,
have back that summer I was lost and they found me, equinox
sky bright, the three of us cavorting, wide lawn blackening
at the edge of the entire earth, dark falling like a spangled veil.
Some Notes about Inge Morath
From kitchen to garden, to New York, Paris, Vienna, up the Danube, on pilgrimage in Spain, to Kansas or China, always carrying the Leica, returning, telephoning: “I am (or we are) back. You must come soon, darling, while it is all still fresh.” And while moving, camera at hip or eye, she’s understanding you, whatever language you speak. She speaks German, French, English, Spanish, Italian, Romanian, Russian, and Chinese. When I beg her to write an autobiography, a mournful, almost desperate look crosses her face. “Different parts of my life have happened in so many different languages! How would I choose!?”
I met Inge Morath, her husband Arthur Miller, and their daughter Rebecca Miller, when I moved to Connecticut in 1984. Our friendship, as women and artists, brought closer the catastrophes of the 20th century with which her life had made her intimate. Born in Graz, Austria, in 1923, educated in Berlin and Bucharest, she was drafted in 1944 to work at a munitions factory in Berlin. In the chaos of the Russian advance in April 1945, she escaped, making her way on foot to Salzburg where she was reunited with her parents. After the war she worked as a photojournalist, becoming in 1955 the first woman to join Magnum. Based in Paris, often working with her friend Henri Cartier-Bresson, she photographed extensively in Europe, North Africa, and the Middle East. After her marriage to Miller in 1962, whom she met photographing the shooting of The Misfits, she lived in Connecticut, pursuing assignments and independent projects.
Inge Morath received the Gold Medal of the National Arts Club, the Austrian State Prize for Photography, and the Gold Medal of Honor of the City of Vienna. Her photographs are collected in more than 30 volumes, including Inge Morath: Life as a Photographer (Kehayoff Books, 1999). The landscape reproduced here is the border between Slovenia and Styria; the portrait, taken in 1985, is published in Portraits (Aperture, 1986) and the photograph on pilgrimage in Camino de Santiago (Universidad de Santiago de Compostela, 1998).
|
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| 17
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https://www.ibdb.com/broadway-cast-staff/inge-morath-86802
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en
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Inge Morath – Broadway Cast & Staff
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[
"The Broadway League"
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Inge Morath is credited as Photographer.
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https://s.ibdb.com/favicon.ico
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4941
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https://www.wamc.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
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Biography Captures The Charisma And Confidence Of Photographer Inge Morath
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[] |
[] |
[
""
] | null |
[
"Susan Stamberg",
"www.wamc.org",
"susan-stamberg"
] |
2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
|
en
|
/apple-touch-icon.png
|
WAMC
|
https://www.wamc.org/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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https://www.krwg.org/national-world-news/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
en
|
Biography Captures The Charisma And Confidence Of Photographer Inge Morath
|
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[
""
] | null |
[
"Susan Stamberg",
"www.krwg.org",
"susan-stamberg"
] |
2018-12-10T00:00:00
|
Biographer Linda Gordon chronicles Morath's escape from Nazi Germany, her boundary-breaking career and her marriage to playwright Arthur Miller.
|
en
|
/apple-touch-icon.png
|
KRWG Public Media
|
https://www.krwg.org/national-world-news/2018-12-10/biography-captures-the-charisma-and-confidence-of-photographer-inge-morath
|
"I'm fascinated by the necessity of quick decisions," Inge Morath told me more than 30 years ago, when she came to NPR for an interview. Morath was in the business of quick decisions — as a photographer and photojournalist she was the first woman to be accepted as a full member of the Magnum photo agency.
Now, her life is the subject of a new biography by Linda Gordon. It recounts Morath's escape from Nazi Germany, her boundary-breaking career, and her marriage to playwright Arthur Miller.
Morath met Miller — and his then-wife Marilyn Monroe — in 1960 while she was taking publicity stills on the set of the film The Misfits. It was Monroe's last film, and Miller had written it for his wife.
"Inge took some very, very beautiful and sympathetic photographs of Marilyn Monroe," Gordon says. "But Miller had struck her as intensely interesting — and he was quite impressed," Gordon says.
Miller and Monroe's relationship had been on the rocks for some time. He and Morath had an affair and the two married in 1962. They were together for 40 years, until Inge's death in 2002.
In our 1987 interview, I asked Morath about whether she wished she'd paid more attention to Monroe, as Miller's first wife. In a marriage, "you have to be yourself," she said. "Even if you are the first, the second, or the third wife — if you try to take over anything, or imitate anything, I think it'd be a disaster."
"She was a woman of extraordinary self-confidence," says Gordon. "One sees that throughout her life ... self-confidence as a photographer, as a person, but also as her own sexual being."
Morath had a magnetic personality — and plenty of affairs.
"She was just a person who drew you in," says Gordon.
As a young woman, Morath had a rough time in Germany during the war.
"After Allied bombs started falling heavily on Berlin — and landing very near the munitions factory where she was a forced worker — she joined columns of hundreds, probably thousands, of people on foot just leaving Berlin," Gordon explains.
The biographer says Morath walked 455 miles to her parents in Salzburg, Austria. They were Nazi sympathizers — she was not. In Paris after the war, Morath got a job at Magnum, the elite photo agency founded by the great pioneers of photojournalism, Robert Capa and Henri Cartier-Bresson.
There, she did everything from secretarial work, to working with contact sheets, to cleaning the office, Gordon says, all the while honing her skills in photography. In 1955, she became Magnum's first full female member.
With her camera, Morath followed her passion for travel. In Spain, she wangled her way into the dressing room of the great toreador Antonio Ordóñez. Her 1954 photo shows him preparing for combat: his muscled chest is bare, and he's wearing skin-tight, sequin-embroidered pants.
It took chutzpah to get into his dressing room, where women were considered bad luck. "To get into that space she half jokingly made a completely outrageous argument," Gordon says. "She said, 'I'm wearing pants when I work, therefore I'm neither man nor woman.' "
In Seville, Morath put on a flamenco outfit and climbed up onto a chair to shoot dancers, whirling to the music in their layered red and white skirts and petticoats. "You only see these people from the waist down ..." Gordon says. "She has captured the movement — but with a camera just slow enough so that some of the picture is blurred as you see the skirts whirling around."
Outside of photography circles, Morath is known more for her marriage than for her work. "I do not like the fact that many people only know her as a wife of Arthur Miller — and, of course, the wife immediately after Marilyn Monroe — but my impression is that she was pretty copacetic about it," Gordon says.
There are trade-offs to familiarity, Morath told me in 1987. For example, when working on a portrait, she said she didn't necessarily want to meet her subject first.
There is a "wonderful element to a new meeting," she explained. Being strangers, the photographer and the subject are placed into a "sparring" position. "That's interesting," she said. "You kind of show more of yourself."
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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4941
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| 18
|
http://www.pixelpress.org/contents/ingemorath/ingemorath_home.html
|
en
|
Remembering Inge Morath
|
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[
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[] | null | null |
Inge Morath, who died too soon last week at the age of seventy-eight, was a subtle and evocative photographer who used her camera as a means of celebrating what she respected and valued: civilization, artistic achievement, the splendor of women, the significance of place.
Born in Austria between the two world wars, Morath studied languages as a young woman. She loved words and set her course to be a writer and editor. However, the Second World War's gruesome power intervened and would mark Morath for life. Like other millions, she became displaced, but through her wanderings in a torn-up Europe she unexpectedly found joy in photography.
In Paris after the war, Morath met and joined up with an eclectic group of young photographers all men- who would later found Magnum Photos. Morath started as an editor, but soon afterward surprised them all with a set of photographs she took in Spain as a lark. After this, Morath used the camera as a tool for exploring her passions. The results were a compelling series of books beginning in the 1950s with Guerre à la tristesse (War On Sadness), Fiesta in Pampelona and De à la Perse l¹Iran (From Persia to Iran).
Morath was a European by birth and breath, but her 1964 marriage to American playwright Arthur Miller turned America into her home. Her collaborations with Miller, the 1967 In Russia ,the 1977 In the Country and the 1979 Chinese Encounters, gave her the opportunity to fuse the two expressions she cared most about, images and words, into one.
Morath remained a keen student: she was already fluent in German, French, English and Spanish yet studied in-depth the cultures she photographed, even learning difficult languages like Mandarin and Russian. A shrewd observer of people and their quirks, she loved to photograph those whose work she admired: through the years she made hundreds of portraits of artists the world over, an unmatched photographic compendium of arts and letters in the twentieth century. She also used photography to express an idiosyncratic sense of humor: look, for instance, at the marvelous series of mask images she made with Saul Steinberg. And while she had a knack for making photographs which could have immediate impact, such as her well-known shot of Mrs. Eveleigh Nash, Morath¹s real gift as a photographer her curiosity and spirit- shine in the portraits of places she worked on for so many years. These, like all of her photographs, reveal their depth and complexity to us, over time, with nuanced grace.
Esther SAMRA
|
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4941
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https://www.all-about-photo.com/photographers/photographer/163/inge-morath
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en
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Inge Morath
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All About Photo
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https://www.all-about-photo.com/photographers/photographer/163/inge-morath
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Inge Morath, the daughter of a scientist, was born in Austria on 27th May 1923. The family moved to Nazi Germany and as a teenager she was sent to the force labour camp at Tempelhof for refusing to join the Hitler Youth.
Morath graduated from Berlin University in 1944. After the Second World War she worked as an interpreter for the United States Information Service before joining the RWR radio network. Morath also contributed articles to the literary magazine Der Optimist.
In 1950 Morath moved to France where she worked with the Austrian photographers Ernst Haas and Erich Lessing. This involved writing text captions for the two photographers. The following year she found work as a photojournalist with Picture Post, a magazine based in London.
Morath's first book was, Fiesta In Pamplona (1954). After the publication of an photo essay on French worker priests by Morath in 1955 Robert Capa invited her to join the Magnum Photos agency. Other books by Morath included Venice Observed (1956), Bring Forth The Children (1960), Tunisia (1961) and From Persia to Iran (1961).
Morath married Arthur Miller in 1962 and together they published the book In Russia (1969). This was followed by My Sister Life (1973) with poems by Boris Pasternak, In the Country (1977), Chinese Encounters (1979), Salesman in Beijing (1984), Portraits (1987), Shaking the Dust of Ages (1998), an autobiography, Life As A Photographer (1999), Masquerade (2000) and Border Spaces; Last Journey (2002).
Inge Morath died of lymphatic cancer on 30th January 2002.
Source: Spartacus Educational
Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy.
After relocating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America.
Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments."
Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays.
Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera."
As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects.
During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.
Source: Wikipedia
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Inge Morath facts for kids
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Ingeborg Morath (May 27, 1923 – January 30, 2002) was an Austrian photographer. In 1953 she joined the Magnum Photos Agency. She became a full photographer with them in 1955. In 1955 she published her first collection of photographs, of a total of 30 monographs during her lifetime.
Biography
Early years (1923-1945)
Ingeborg Morath was born in Graz, Austria. Her parents were scientists. They went to different laboratories and universities in Europe during her childhood. She first went to French-speaking schools. In the 1930s her family moved to Darmstadt, a German intellectual center. Then they moved to Berlin.
Morath's first encounter with avant-garde art was the Degenerate Art show by the Nazi party in 1937. It was supposed to make people not like modern art. "I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote.
Morath went to Berlin University. At university, Morath studied languages. She learned French, English, and Romanian. Later she added Spanish, Russian and Chinese. Toward the end of World War II, Morath worked for factory service in Tempelhof, alongside Ukrainian prisoners of war. During an attack on the factory by Russian bombers, she ran on foot to Austria. In later years, Morath would not photograph war.
Middle Years (1945-1962)
After the Second World War, Morath worked as a translator and journalist. In 1948, she was hired by Warren Trabant. She worked for Heute. Morath met photographer Ernst Haas in post-war Vienna. She brought his work to Trabant's attention. Working together for Heute, Morath wrote articles to go along with Haas' pictures. In 1949, Morath and Haas were invited by Robert Capa to join the newly founded Magnum Photos in Paris.
Morath was briefly married to the British journalist Lionel Birch. She moved to London in 1951. That same year, she began to photograph during a visit to Venice. Morath asked for an apprenticeship with Simon Guttman. He was then an editor for Picture Post and running the picture-agency Report.
Morath divorced Birch and returned to Paris. Her first jobs were stories that did not interest "the big boys." She went to London on an early job to photograph the residents of Soho and Mayfair. Morath's portrait of Mrs. Eveleigh Nash, from that job, is among her best-known works. During the late 1950s Morath traveled widely. She covered stories in Europe, the Middle East, Africa, the United States, and South America. She worked for such publications as Holiday, Paris Match, and Vogue. In 1955 she published Guerre à la Tristesse, photographs of Spain, with Robert Delpire. This was followed by De la Perse à l'Iran, photographs of Iran, in 1958. Morath published more than thirty monographs during her lifetime.
Like many Magnum members, Morath worked as a still photographer on numerous motion picture sets. She met director John Huston while she was living in London. Huston's Moulin Rouge (1952) was one of Morath's earliest jobs. It was her first time working in a film studio.
Marriage and family
Morath married the playwright Arthur Miller on February 17, 1962. They moved to the United States. Miller and Morath's first child, Rebecca, was born in September 1962. The couple's second child Daniel was born in 1966 with Down syndrome. He was institutionalized shortly after his birth. Today Rebecca Miller is a film director, actress, and writer.
Death
Ingeborg Morath Miller died of cancer in New York City in 2002, at the age of 78.
Honors and legacy
2003, her family established the Inge Morath Foundation.
2002, members of Magnum Photos made the Inge Morath Award in honor of their colleague as an annual award. It is administered by the Inge Morath Foundation, and is given to a woman photographer under the age of 30, to support her work towards the completion of a long-term project.
1992 Great Austrian State Prize for Photography.
1984 Doctor Honoris Causa Fine Arts, University of Connecticut, Hartford, USA.
1983 State of Michigan Senate Resolution NO 295; Tribute to Inge Morath.
Selected One-Person Exhibitions
2008 Well Disposed and Trying to See: Inge Morath and Arthur Miller in China, University of Michigan Art Museum, Ann Arbor, USA.
2004 Inge Morath: The Road to Reno, Chicago Cultural Center, Illinois, USA.
2004 Inge Morath: Chinese Encounters, Pingyao International Photography Festival, Pingyao, China.
2003 Exposition, Henri Cartier-Bresson Foundation, Paris, France.
2002 Inge Morath: Danube, City Gallery of Russe, Russe, Bulgaria.
2002 Inge Morath: New York, Galerie Fotohof, Salzburg, Austria; Stadt Passau, Europäische; Wochen, Germany ESWE Forum, Wiesbaden; Esther Woerdehoff Galerie, Paris, France; Amerikahaus Tübingen, Germany.
1999 Retrospective, Kunsthalle Wien, Austria; FNAC Etoile, Paris, France; FNAC, Barcelona, Spain.
1999 Spain in the Fifties, Museo del Cabilde, Montevideo, Uruguay.
1998 Inge Morath: Danube, Festival of Central European Culture, London, UK; Museen d. Stadt Regensburg, Regensburg, Germany.
1998 Retrospective, Edinburgh Festival, Edinburgh, UK; Museum of Photography in Charleroi, Belgium; Municipal Gallery, Pamplona, Spain.
1998 Celebrating 75 Years Leica Gallery, New York, USA.
1997 Retrospective Kunsthal, Rotterdam, Netherlands.
1997 Inge Morath: Danube, Keczkemet Museum, Esztergom Museum, Hungary
1997 Photographs 1950s to 1990s, Tokyo Museum of Photography, Tokyo, Japan
1996 Women to Women, Takashimaya Gallery, Tokyo, Japan
1996 Inge Morath: Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York, USA; Galeria Fotoforum, Bolzano, Italy.
1995 Spain in the fifties, Museo de Arte Contemporaneo, Madrid, Spain; Museo de Navarra,Pamplona, Spain.
1994 Spain in the fifties, Spanish Institute, New York, USA
1992/94 Retrospective, Neue Galerie Linz, Austria ;America House, Frankfurt, Germany; Hardenberg Gallery, Velbert, Germany; Galerie Fotogramma, Milano, Italy; Royal Photographic Society, Bath, UK; Smith Gallery and Museum, Stirling, UK; America House, Berlin, Germany; Hradcin Gallery, Prague, Czech Republic.
1991 Portraits, Kolbe Museum Berlin, Germany; Rupertinum Museum Salzburg, Austria
1989 Portraits, Burden Gallery, Aperture Foundation, New York, New York, USA; Norwich Cathedral, Norwich, UK; American Cultural Center, Brussels, Belgium.
1988 Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid, Spain; Rupertinum Museum, Salzburg, Austria.
1984 Salesman in Beijing, Hong Kong Theatre Festival.
1979 Inge Morath: Photographs of China, Grand Rapids Art Museum, Michigan, USA.
1964 Inge Morath: Photographs, Gallery 104, Art Institute of Chicago, Illinois, USA.
Selected Monographs
1999 Arthur Miller: Photographed by Inge Morath. FNAC, Spain.
1999 Inge Morath: Portraits. Verlag, Austria.
1996 Woman to Woman. Magnum Photos, Japan.
1994 Inge Morath: Spain in the Fifties. Arte con Texto, Spain.
1992 Inge Morath: Photographs 1952 to 1992. Otto Müller/Verlag, Austria.
1981 Bilder aus Wien: Der Liebe Augustin. Reich Verlag, Switzerland.
1979 Chinese Encounters. with Arthur Miller. Straus & Giroux, USA.
1979 Inge Morath: Photographs of China. Grand Rapids Art Museum, USA.
1977 In the Country. Viking Press, USA.
1975 Grosse Photographen unserer Zeit: Inge Morath. C.J. Bucher Verlag, Switzerland.
1973 East West Exercises. Simon Walker & Co., USA.
1969 In Russia. Viking Press, USA.
1967 Le Masque (Drawings by Saul Steinberg). Maeght Editeur, France.
1960 Bring Forth the Children: A Journey to the Forgotten People of Europe and the Middle East. McGraw-Hill, USA.
1958 De la Perse à l'Iran. Robert Delpire, France.
1956 Venice Observed. Reynal & Co., USA.
1956 Fiesta in Pamplona. Universe Books, USA.
1955 Guerre à la Tristesse. Robert Delpire, France.
Images for kids
Actor Dustin Hoffman with Lee J. Cobb, who originated the role of Willy Loman in Arthur Miller's Death of a Salesman, 1965
See also
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Austrian photographer Inge Morath studied languages in Berlin and worked as a translator and journalist. Morath began photographing in London in 1951. She joined Magnum Photos, first as an editor and researcher, and then as an associate in 1953. She worked as an assistant to Henri Cartier-Bresson. Morath’s photographic work has been exhibited extensively and widely published. The annual Inge Morath Award was established in 2002 in honour of her lifetime contribution to the field.
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Stratford Festival set for world premiere of 'Salesman in China'
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The performance will be presented in English and Mandarin with surtitles in both languages
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StratfordToday.ca
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https://www.stratfordtoday.ca/local-news/stratford-festival-set-for-world-premiere-of-salesman-in-china-9303894
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NEWS RELEASE
STRATFORD FESTIVAL
**********************
It’s an exciting time in Stratford as a major artistic endeavour, Salesman in China, prepares to make its world première, with previews beginning on Saturday, Aug. 3. Leanna Brodie 白仁耐 and Jovanni Sy’s 施崇梵 new play brings to life an ambitious and daring act of cultural cross-pollination: the 1983 Mandarin production of Arthur Miller’s Death of a Salesman in Beijing. The play, a Stratford Festival-Banff Centre co-commission, produced in association with Canada’s National Arts Centre, is directed by Jovanni Sy 施崇梵 with Chinese translations by Fang Zhang. It will be presented in English and Mandarin with surtitles in both languages.
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When did Inge Morath die?
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Inge Morath died on January 30, 2002, in New York City, New
York, USA of cancer.
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Inge Morath died on January 30, 2002, in New York City, New York, USA of cancer.
When did William Inge die?
William Inge died on June 10, 1973 at the age of 60.
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The Unmistakable Style of Inge Morath, One of Magnum’s First Female Photographers
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Inge Morath, a trailblazer in the world of photography and one of Magnum Photos’ first female members, was renowned for her distinctive style that transcended conventional categorizations. Despite frequently capturing images of well-dressed individuals and figures from the fashion world, Morath was never simply a fashion photographer. John P. Jacob, the McEvoy Family curator for photography at the Smithsonian American Art Museum, elucidates that the true essence of Morath’s work lies in her port
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DannyDutch
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https://www.dannydutch.com/post/the-unmistakable-style-of-inge-morath-one-of-magnum-s-first-female-photographers
|
Inge Morath, a trailblazer in the world of photography and one of Magnum Photos’ first female members, was renowned for her distinctive style that transcended conventional categorizations. Despite frequently capturing images of well-dressed individuals and figures from the fashion world, Morath was never simply a fashion photographer. John P. Jacob, the McEvoy Family curator for photography at the Smithsonian American Art Museum, elucidates that the true essence of Morath’s work lies in her portrayal of “the endurance of the human creative spirit in conditions of transformation and duress,” rather than in the “seasonal changes of attire.”
Born in Graz, Austria, in 1923, Ingeborg Hermine Morath's formative years were marked by the upheavals of World War II. Growing up in Germany during this tumultuous period, she witnessed firsthand the extremes of human experience, which would later profoundly influence her photographic vision. After the war, Morath ventured into journalism and translation in Munich and Vienna, where her linguistic prowess and intellectual curiosity set the stage for her future career in photography.
In 1949, Morath's journey into the visual arts began in earnest when she collaborated with photojournalist Ernst Haas. Their compelling work drew the attention of Robert Capa, co-founder of Magnum Photos, who invited them to Paris. Initially joining the agency as a writer and researcher for the legendary Henri Cartier-Bresson, Morath’s transition from text to image was swift and natural. By 1955, she had developed her photographic skills to such an extent that she was inducted as a full member of Magnum Photos.
In the male-dominated sphere of Magnum Photos during the 1950s, Inge Morath, alongside Eve Arnold, stood out as one of the agency’s rare female members. John P. Jacob speculates that, in her early days, Morath was often tasked with subjects deemed feminine and less prestigious by her male counterparts—debutantes, carnivals, and dog shows. However, what might have started as assignments of convenience soon became subjects of choice for Morath. Her sophisticated approach to these themes turned them into profound explorations of societal norms and the intricacies of human appearance.
Morath's work from this period, capturing models, beauty schools, and elaborate balls, delves into the "social relations of appearance." Her images often make self-reflexive statements about photography itself and the construction of beauty. Justine Picardie, editor in chief of the British editions of Harper’s Bazaar and Town & Country, notes that Morath had a unique ability to investigate “the relationship between polished veneers and what lies beneath.” This nuanced perspective enabled Morath to transcend the superficial aspects of her subjects, revealing deeper truths about human nature and societal expectations.
Whether photographing festivals, artists’ studios, film sets, or fashion runways, Morath's work is distinguished by her unerring eye for life's inherent theatricality. Jacob remarks that Morath's best work showcases this brilliant theatricality, capturing moments of creativity and resilience under various forms of duress and transformation. Her ability to see and document the extraordinary in the ordinary brought a vivid narrative quality to her photography, making each image a story in itself.
Morath’s exuberant approach to image-making, which she described as a kind of "dance," not only defined her style but also earned her influential friends across various fields. During the production of the film Moulin Rouge in 1952, she struck up a friendship with director John Huston. This connection paved the way for one of the most significant encounters of her life. While photographing Huston’s film The Misfits years later, Morath met playwright Arthur Miller, who would become her husband and frequent collaborator. This union further expanded her circle of high-profile acquaintances, including some of the biggest stars of the day, such as Audrey Hepburn, Marilyn Monroe, and Jayne Mansfield.
Morath’s personal life was as rich and varied as her professional career. Her marriage to Arthur Miller in 1962 brought her into the heart of the American literary and cultural scene. The couple had two children, Rebecca and Daniel, and their relationship was marked by a deep mutual respect and shared artistic sensibilities. Miller once said of Morath, "She was simply the most undemanding, understanding, gentle soul I had ever met. And talented. Really talented."
Throughout her career, Morath maintained an uncanny ability to make her subjects feel at ease, an attribute that is evident in the natural, unguarded quality of her portraits. This skill, combined with her intellectual rigor and emotional sensitivity, allowed her to capture the singular essence of her subjects, whether they were celebrities, artists, or ordinary people.
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0
| 83
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https://www.theguardian.com/artanddesign/2018/nov/23/quiet-brilliance-of-inge-morath-biography-linda-gordon
|
en
|
The quiet brilliance of Magnum photographer Inge Morath
|
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[
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] | null |
[
"Guardian staff",
"Sarah Crompton"
] |
2018-11-23T00:00:00
|
From escaping Nazi Germany to marrying playwright Arthur Miller, her life was almost as extraordinary as her images
|
en
|
the Guardian
|
https://www.theguardian.com/artanddesign/2018/nov/23/quiet-brilliance-of-inge-morath-biography-linda-gordon
|
Inge Morath arrived at the newly formed Magnum photographic co-operative in Paris on July 14, 1949, with her friend and fellow photographer Ernst Haas (known as Haasi), looking for Robert Capa. The door was opened by a man with a hangover, with an ice bag on his head. The renowned war photographer was nowhere to be seen. Morath, who had expected to be greeted by “big shots” was disappointed. “I had bought a hat and felt a touch betrayed,” she wrote later.
It was not the last time she would feel that way as she forged a path through the aggressively masculine boys’ club that the agency was at the time. When she arrived from Vienna, aged 26, she was an experienced editor and reporter, who had worked with Haasi as a photo-story team for Life and other magazines. She trained with Simon Guttmann, a picture editor with Picture Post, and later with her on-off lover Henri Cartier Bresson before becoming a full photographic member of Magnum in 1955. But she knew she would have to prove herself.
“Being one of the then rather rare women photographers… was often difficult for the simple reason that nobody felt one was serious (what does a pretty girl like you want in this profession?). Much male condescension… I certainly do not think that I got the same forceful male brotherhood support the men got.”
Inge Morath: An Illustrated Biography goes some way to righting that wrong. Written by the historian Linda Gordon, whose last book was about the great documentarist Dorothea Lange, it makes the case for Morath as a photographer of calm distinction. It also faithfully tells the story of an extraordinary life, which took Morath from a childhood under the “heavy curtain” of the Nazi regime in Austria to her marriage to Arthur Miller, world famous playwright – which was his third, and her second, and which lasted until her death in 2002 at the age of 78.
Gordon admits that she didn’t know much about her subject before she started to research the book. “But one of the things that fascinated me was the way her life intersected with so many of the events of the 20th century: she had an extremely itinerant childhood and as an adult was comfortable in every culture. She was a terrific linguist, a citizen of the world.
“The second thing that fascinated me was that her parents were very happy to live with the Nazi regime and – if I can put it in a colloquial way – what a story it is for a woman who comes from that background to end up marrying a Jewish, Brooklyn, working-class commie. I loved the idea of being able to talk about that transformation.”
Morath’s childhood, in fact, would support an entire book in itself. Her parents were scientists, who travelled around Europe for work. When war broke out, they were living in Berlin, where Morath studied languages. By 1945, however, 22-year-old Morath was living in the city on her own, working in a factory that was bombed. She fled, walking 455 miles in appalling conditions, to join her parents in Salzburg.
She never commented explicitly on Nazi ideology, but there was no doubting her exhilaration at being free. “She was just a very, very positive person,” says Gordon.
This silent ability to adapt came into play again when she met Arthur Miller, then married to Marilyn Monroe, while shooting on the set of The Misfits in 1960. As their romance developed, after his relationship with Monroe broke down irretrievably, this sophisticated, independent woman revealed herself willing to change. After their marriage in 1962, Morath gave up life in Paris, and a hard-won and dazzling career, and settled into suburban domesticity in Connecticut. She continued to take photographs, but it was only after their child, Rebecca (now a film-maker and wife of Daniel Day-Lewis), grew up that she took up her camera fully once more, notably on their joint trips to countries such as Russia. “She accommodated,” says Gordon. “That is a word I would use a lot of her life. She accommodated to get along with other people.”
Morath’s submission to Miller had one result that was only revealed after his death. She went along with his insistence that their son Daniel, who was born with Down’s syndrome, was institutionalised from birth. She visited him regularly, but remained silent about the fact of his existence even to her closest friends.
Her photographs speak for her, down the years, establishing her as an artist with a painterly eye, who never condescended to her subjects but waited patiently for the moment when they would reveal themselves to her. She was an early pioneer of colour photography, and an accomplished technician. Although she was never a photojournalist, the range of her work was vast, from the ethnographic beauty of the studies she made of Iran on a journey there in 1956, to photographs of poverty in Gaza in 1960, to her portraits and coverage of fashion shows.
Her approach was unsentimental and direct. She had no airs or graces. Gordon insisted the biography should include an anonymous photograph of Morath at work in a dusty street in Persepolis, Iran, in 1956. She’s wearing a baggy, old coat and trousers, her hair scraped back in a headscarf as she looks intently through her camera. “This was a woman who knew how to do very hard work and was quite willing to do it in very uncomfortable circumstances. She was not afraid of hardship and she just loved the process of doing photography.”
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5893
|
dbpedia
|
2
| 7
|
https://www.theguardian.com/stage/2021/dec/03/antony-sher-celebrated-actor-on-stage-and-screen-dies-aged-72
|
en
|
Antony Sher, celebrated actor on stage and screen, dies aged 72
|
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"Chris Wiegand",
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2021-12-03T00:00:00
|
His vivid and moving performances, including an Olivier award-winning Richard III, made Sher one of the world’s most respected theatre actors
|
en
|
the Guardian
|
https://www.theguardian.com/stage/2021/dec/03/antony-sher-celebrated-actor-on-stage-and-screen-dies-aged-72
|
Sir Antony Sher, one of British theatre’s most acclaimed and respected stage actors, has died of cancer at the age of 72. His terminal illness was revealed in September, when the Royal Shakespeare company announced that its artistic director, Sher’s husband Gregory Doran, would be taking compassionate leave to care for him.
Sher’s death was announced on Friday. Catherine Mallyon, RSC executive director and Erica Whyman, acting artistic director, said: “We are deeply saddened by this news and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. Antony had a long association with the RSC and a hugely celebrated career on stage and screen.”
It is his vivid performances in productions over four decades with the RSC, many of them directed by Doran, which gained Sher his reputation as one of the great modern Shakespearean actors. In 1985 he won the Olivier award for a portrayal of Richard III on crutches, his image a striking realisation of the character’s description in the play as a “bottled spider”. For the same director, Bill Alexander, he played Shylock in The Merchant of Venice. Doran directed him as Macbeth and King Lear, and as Falstaff in Henry IV Parts I and II, and Iago in Othello. As Lear, performed between 2016 and 2018, he was praised as “unbearably moving” by the Guardian’s Michael Billington.
Sher played another great Shakespearean, Edmund Kean, in Sartre’s bio-drama Kean directed by Adrian Noble. But his range went well beyond the Bard. The 1985 Olivier award was given to him in honour of both his Richard III and his performance as a drag queen in Harvey Fierstein’s Torch Song Trilogy, enabling him to say in his acceptance speech: “I’m very happy to be the first actor to win an award for playing both a king and a queen.”
He was praised for his Cyrano de Bergerac and his Willy Loman in Death of a Salesman, both with Doran and the RSC. He excelled as both Tartuffe and that play’s author, Molière (in a play by Bulgakov) in RSC shows. Lead roles as Brecht’s Arturo Ui and Kafka’s Joseph K came at the National Theatre. The real-life figures he portrayed included Freud in Terry Johnson’s play Hysteria at the Theatre Royal Bath and Primo Levi, both at the National Theatre (in a play Sher wrote himself) and on screen too.
Sher was born in 1949 in Cape Town, where his grandparents had moved after fleeing the Lithuanian pogroms. He revisited their journey in his novel Middlepost and returned to South Africa during his career with major theatre productions including The Tempest (playing Prospero), Titus Andronicus (in the title role) and Arthur Miller’s Broken Glass, whose hero, said Sher, was as “uncomfortable in his own skin” as the actor himself.
He grew up fascinated by the performances of great Shakespearean actors – obsessively listening to an LP of Laurence Olivier’s Othello – and his understanding of drama was transformed by the plays of Harold Pinter. He arrived in London in 1968, at the age of 19. “I looked around me and I didn’t see any Jewish leading men in the classical theatre, so I thought it best to conceal my Jewishness,” he once said. “Also, I quickly became conscious of apartheid when I arrived here, and I didn’t want to be known as a white South African.” He concealed his sexuality in public, too, which meant “my entire identity was in the closet”.
Sher prepared one of Mick’s speeches from Pinter’s The Caretaker for his drama school tryouts but at his Rada audition “they urged me to seek a different career”. He studied instead with the Webber Douglas Academy of Dramatic Art and gained early stage experience with the group Gay Sweatshop and at the Liverpool Everyman, playing Ringo in Willy Russell’s John, Paul, George, Ringo … and Bert.
While Sher’s principal commitment was to the stage, he could be seen regularly on TV (including in the series The History Man) and in films. He wrote plays and novels, the memoir Beside Myself and autobiographical accounts of some of his best known performances, including as Richard III and Falstaff, which opened up the craft of acting. Year of the Mad King: The King Lear Diaries won the Theatre Book prize in 2019. It featured a number of his own illustrations and Sher remained a passionate painter. He was knighted in 2000 for his services to the arts.
Sher and Doran entered into civil partnership on the first possible day of the new law, 21 December 2005, which he called “a great day for human rights”. The couple married in 2015.
His final roles on stage included that of a chilling torturer in Pinter’s One for the Road in the Pinter West End season, and in John Kani’s play Kunene and the King, which premiered in the Swan theatre, Stratford-upon-Avon, in 2019, directed by Janice Honeyman. Its London run was curtailed by the first lockdown.
Sher’s love for language was always palpable in his performances. “To an actor, dialogue is like food,” he wrote in Year of the Fat Knight, his book about Falstaff. “You hold it in your mouth, you taste it. If it’s good dialogue the taste will be distinctive. If it’s Shakespeare dialogue, the taste will be Michelin-starred. Falstaff’s dialogue is immediately delicious: you’re munching on a very rich pudding indeed, savoury rather than sweet, probably not good for your health, but irresistible.”
|
|||||
5893
|
dbpedia
|
1
| 58
|
https://timesofindia.indiatimes.com/entertainment/english/hollywood/news/oppenheimer-wins-big-at-sag-awards-2024-complete-list-of-winners/articleshow/107980131.cms
|
en
|
Oppenheimer wins big at SAG Awards 2024 - Complete list of winners
|
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[
"winners",
"TV performances",
"SAG Awards",
"Oppenheimer",
"film"
] | null |
[
"etimes.in"
] |
2024-02-25T10:42:00+05:30
|
Oppenheimer emerged as the big winner at the 30th annual Screen Actors Guild Awards. Check out the complete list of winners at the SAG Awards 2024.
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/english/hollywood/news/oppenheimer-wins-big-at-sag-awards-2024-complete-list-of-winners/articleshow/107980131.cms
|
Avika Gor radiates beauty in a silver and black saree
Entertainment
10 names for baby boys born in monsoon season
Lifestyle
10 lines from poems and shayaris that capture the nature of monsoon
Lifestyle
|
|||||
5893
|
dbpedia
|
0
| 14
|
https://watertowertheatre.org/cast-and-creative
|
en
|
Cast and Creative Announcement
|
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[] |
[
"WaterTower Theatre",
"North Texas"
] | null |
[
"WaterTower Theater"
] | null |
Founded in 1996, WaterTower Theatre is one of Texas' leading professional theatre companies and one of the flagship arts institutions in North Texas.
|
en
|
/favicons/apple-touch-icon.png
|
WaterTower Theatre
|
https://watertowertheatre.org/cast-and-creative
|
About The Director
KELSEY LEIGH ERVI, Director
Kelsey is thrilled to be directing The Last Five Years. Other credits include The Great Distance Home (conceived/directed), Parade in Concert, Silent Sky, Lord of the Flies, The Spark (co-conceived/directed), The Santaland Diaries, The Tom Sawyer Project, Honky (WaterTower Theatre); Dogfight (Junior Players/University of Texas at Dallas); Precious Little (Echo Theatre); Love Me, Tinder (FIT Festival, world premiere); Ask Questions Later (Rite of Passage Theatre, world premiere); and Dani Girl (Greyman Theatre Company). Kelsey is also an accomplished actor, having worked with many area theatre companies including Dallas Theater Center, WaterTower Theatre, Stage West, Shakespeare Dallas, Uptown Players, Echo Theatre, and Shakespeare in the Bar. Currently, Kelsey is working on a research project in connection with her production of The Last Five Years. The project entitled “Love: A Deconstruction” is an interview series with individuals discussing their past relationships and, in particular, the objects they've held onto from those past relationships. You can learn more about the project here. Kelsey currently serves as Associate Artistic Director for WaterTower Theatre.
About the Writer / Composer
JASON ROBERT BROWN, Writer/Composer
Jason Robert Brown is the ultimate multi-hyphenate - an equally skilled composer, lyricist, conductor, arranger, orchestrator, director and performer - best known for his dazzling scores to several of the most renowned musicals of his generation, including the recently revived The Last Five Years, his debut song cycle Songs for a New World, and the seminal Parade, for which he won the 1999 Tony Award for Best Score. Jason Robert Brown has been hailed as "one of Broadway's smartest and most sophisticated songwriters since Stephen Sondheim" (Philadelphia Inquirer), and his "extraordinary, jubilant theater music" (Chicago Tribune) has been heard all over the world, whether in one of the hundreds of productions of his musicals every year or in his own incendiary live performances. The New York Times refers to Jason as "a leading member of a new generation of composers who embody high hopes for the American musical." He was awarded two TONY Awards in 2014 for writing and orchestrating The Bridges of Madison County, a musical adapted with Marsha Norman from the bestselling novel, directed by Bartlett Sher and starring Kelli O'Hara and Steven Pasquale. A film version of his epochal Off-Broadway musical The Last Five Years, starring Anna Kendrick and Jeremy Jordan, was released in 2014, directed by Richard LaGravenese. Honeymoon In Vegas, based on Andrew Bergman's film, premiered on Broadway in 2015 to rave reviews, including a review in the New York Times comparing Jason favorably to Rodgers and Hammerstein. His major musicals as composer and lyricist include: 13, written with Robert Horn and Dan Elish, which began its life in Los Angeles in 2007 and opened on Broadway in 2008 (and was subsequently directed by the composer for its West End premiere in 2012); The Last Five Years, which was cited as one of Time Magazine's 10 Best of 2001 and won Drama Desk Awards for Best Music and Best Lyrics (and was subsequently directed by the composer in its record-breaking Off-Broadway run at Second Stage Theatre in 2013); Parade, written with Alfred Uhry and directed by Harold Prince, which premiered at Lincoln Center Theatre in 1998, and subsequently won both the Drama Desk and New York Drama Critics' Circle Awards for Best New Musical, as well as garnering Jason the Tony Award for Original Score; and Songs for a New World, a theatrical song cycle directed by Daisy Prince, which played Off-Broadway in 1995, and has since been seen in hundreds of productions around the world. Parade was also the subject of a major revival directed by Rob Ashford, first at London's Donmar Warehouse and then at the Mark Taper Forum in Los Angeles. His orchestral adaptation of E.B. White's novel The Trumpet of the Swan premiered at the Kennedy Center with John Lithgow and the National Symphony Orchestra, and the CD was released on PS Classics. A live recording entitled Jason Robert Brown in Concert with Anika Noni Rose (LIVE) was released by JRB Records in 2015. Future projects include a new chamber musical created with Daisy Prince and Jonathan Marc Sherman called The Connector, and an untitled new piece created with Claudia Shear and Casey Nicholaw. Jason is the winner of the 2002 Kleban Award for Outstanding Lyrics and the 1996 Gilman & Gonzalez-Falla Foundation Award for Musical Theatre. Jason's songs, including the cabaret standard "Stars and the Moon," have been performed and recorded by Audra McDonald, Billy Porter, Betty Buckley, Karen Akers, Renée Fleming, Philip Quast, Jon Hendricks and many others, and his song "Someone To Fall Back On" was featured in the Walden Media film, Bandslam. As a soloist or with his band The Caucasian Rhythm Kings, Jason has performed sold-out concerts around the world. His first solo album, Wearing Someone Else's Clothes, was named one of Amazon.com's best of 2005, and is available from Sh-K-Boom Records. His collaboration with singer Lauren Kennedy, Songs of Jason Robert Brown, is available on PS Classics. Jason's piano sonata, Mr. Broadway was commissioned and premiered by Anthony De Mare at Carnegie Hall. Jason is also the composer of the incidental music for David Lindsay-Abaire's Kimberly Akimbo and Fuddy Meers, Marsha Norman's Last Dance, David Marshall Grant's Current Events, Kenneth Lonergan's The Waverly Gallery, and the Irish Repertory Theater's production of Long Day's Journey Into Night, and he was a Tony Award nominee for his contributions to the score of Urban Cowboy the Musical. He has also contributed music to the hit Nickelodeon television series, The Wonder Pets. His scores are published by Hal Leonard. Jason taught musical theater performance and composition at the USC School of Dramatic Arts. For the musical Prince of Broadway, a celebration of the career of Harold Prince that premiered in 2015, Jason served as the musical supervisor and arranger. Other recent New York credits as conductor and arranger include Urban Cowboy the Musical on Broadway; Oliver Goldstick's play, Dinah Was, directed by David Petrarca, at the Gramercy Theatre and on national tour; and William Finn's A New Brain, directed by Graciela Daniele, at Lincoln Center Theater. Jason was the musical director of the pop vocal group, The Tonics, with whom he performed at the 1992 tribute to Stephen Sondheim at Carnegie Hall (recorded by RCA Victor); he was the conductor and orchestrator of Yoko Ono's musical, New York Rock, at the WPA Theatre (on Capitol Records); and he orchestrated Andrew Lippa's john and jen, Off-Broadway at Lamb's Theatre (Varese Sarabande). In 1994, Jason was the conductor and arranger of Michael John LaChiusa's The Petrified Prince, directed by Harold Prince, at the Public Theatre. Additionally, Jason served as the orchestrator and arranger of Charles Strouse and Lee Adams's score for a proposed musical of Star Wars. Jason also took over as musical director for the Off-Broadway hit When Pigs Fly. Jason has conducted and created arrangements and orchestrations for Liza Minnelli, John Pizzarelli, Tovah Feldshuh, and Laurie Beechman, among many others. Jason studied composition at the Eastman School of Music in Rochester, N.Y., with Samuel Adler, Christopher Rouse, and Joseph Schwantner. He lives with his wife, composer Georgia Stitt, and their daughters in New York City. Jason is a proud member of the Dramatists Guild and the American Federation of Musicians Local 802 & 47. Visit him on the web at www.jasonrobertbrown.com.
Cast
MONIQUE ABRY, Catherine Hiatt
SETH WOMACK, Jamie Wellerstein
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| 19
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https://www.nytimes.com/2024/02/24/movies/sag-awards-2024-winners-list.html
|
en
|
SAG Awards 2024: ‘Oppenheimer’ Dominates the Night
|
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2024-02-24T00:00:00
|
The film took the top prize, and its stars Cillian Murphy and Robert Downey Jr. earned solo acting honors. Lily Gladstone and Da’Vine Joy Randolph also won.
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/2024/02/24/movies/sag-awards-2024-winners-list.html
|
Christopher Nolan’s “Oppenheimer” scored three big wins at the 30th Screen Actors Guild Awards on Saturday night, adding even more industry prizes to its formidable war chest.
The film’s top honor, the SAG Award for best ensemble, brought cast members, including Cillian Murphy, Robert Downey Jr. and Emily Blunt, to the stage. Their co-star Kenneth Branagh noted that they were last together in July, when they walked out of the biopic’s premiere in solidarity with the SAG-AFTRA strike.
“This is a full-circle moment for us,” Branagh said.
Thus far, “Oppenheimer” has won top prizes at the Golden Globes, BAFTA and Critics Choice Awards and is considered the front-runner for the best picture Oscar. Last year’s best-picture winner, “Everything Everywhere All at Once,” also triumphed at the SAGs first, though only five of the last 10 ensemble winners have gone on to Oscar glory.
The SAG Awards have a much better track record when it comes to clarifying the individual acting races, since those winners have matched up exactly with the Oscars each of the last two years. In the competitive best actor race, “Oppenheimer” star Murphy triumphed over Paul Giamatti (“The Holdovers”) and Bradley Cooper (“Maestro”), among others, for his performance as the physicist J. Robert Oppenheimer, who led the Manhattan Project to develop the atomic bomb during World War II.
And though “Poor Things” star Emma Stone won the BAFTA for best actress last weekend, “Killers of the Flower Moon” star Lily Gladstone triumphed at SAG for her turn as an Osage woman whose family members are murdered by her husband (Leonardo DiCaprio) and his uncle (Robert De Niro).
In the supporting races, SAG honored Da’Vine Joy Randolph, who played a grieving school cook in “The Holdovers,” and Downey, who delivered a seething performance as a political operative in “Oppenheimer.” Both stars have dominated the season and will almost certainly cruise to Oscar-night victory.
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5893
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dbpedia
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0
| 55
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https://variety.com/2024/film/news/abff-honors-taraji-p-henson-jeffrey-wright-garrett-morris-mara-brock-akil-1235886487/
|
en
|
ABFF Honors to Salute Taraji P. Henson, Jeffrey Wright, Garrett Morris and Mara Brock Akil
|
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2024-01-24T22:00:00+00:00
|
Taraji P. Henson, Jeffrey Wright, Garrett Morris and Mara Brock Akil will be saluted at the 2024 ABFF Honors, presented by Nice Crowd, on March 3.
|
en
|
Variety
|
https://variety.com/2024/film/news/abff-honors-taraji-p-henson-jeffrey-wright-garrett-morris-mara-brock-akil-1235886487/
|
Taraji P. Henson, Jeffrey Wright, Garrett Morris and Mara Brock Akil will be saluted at the sixth annual ABFF Honors, presented by Nice Crowd.
Founded in 2016, ABFF Honors is the American Black Film Festival’s awards season gala, dedicated to recognizing excellence in the motion picture and television industry. The intimate, non-televised dinner, to be held at the SLS in Beverly Hills on March 3, will be hosted by actor and comedian Tommy Davidson.
Henson and Wright — who sat down last year for Variety’s Actors on Actors series to discuss their turns in “The Color Purple” and “American Fiction,” respectively — will receive the Excellence in the Arts awards, presented in recognition of their body of work and career achievement. News comes a day after Wright earned his first Academy Award nomination for the role, adding to a trophy case that already includes Emmy, Golden Globe and Tony awards; meanwhile, the Golden Globe-winning and Emmy- and Oscar-nominated Henson was nominated for a Screen Actors Guild award.
The Hollywood Legacy award — which is presented to a trailblazing artist who has inspired the next generation over four or more decades in the business — goes to Garrett Morris, the actor, comedian, writer and singer who also holds the distinction of being the first Black cast member on “Saturday Night Live.” Earlier Wednesday, Variety exclusively announced that Morris will be honored with a star on the Hollywood Walk of Fame on Feb. 1.
Screenwriter and producer Akil will be presented with the Industry Visionary award in recognition of her commitment to championing diversity, equity, and inclusion in the motion picture and television industry through her outstanding work. Akil is responsible for writing and producing over 400 episodes of television, which most notably includes “Girlfriends,” “The Game” and “Being Mary Jane.”
“For decades, these esteemed ABFF Honorees have elevated their projects, and brought joy to audiences across the world,” said Jeff and Nicole Friday, Nice Crowd’s CEO and president, respectively. “It is our honor to recognize Garrett, Taraji, Jeffrey and Mara for all their contributions to culture and the industry throughout their remarkable careers. We look forward to celebrating their many achievements and gathering with our fantastic ABFF partners.”
The ABFF fan favorite movie of the year will also be revealed during the gala. The award is presented in recognition of the year’s most outstanding narrative feature-length motion picture directed by a person of African descent and is selected via an online poll of more than 100,000 festival alumni.
Nominees for the fan favorite award are: “A Thousand and One,” directed by A.V. Rockwell; “American Fiction,” directed by Cord Jefferson; “Origin,” directed by Ava DuVernay; “The Color Purple,” directed by Blitz Bazawule; “They Cloned Tyrone,” directed by Juel Taylor; and “The Equalizer 3,” directed by Antoine Fuqua.
ABFF Honors is executive produced by Nice Crowd’s Nicole and Jeff Friday, in association with dePasse Jones Entertainment and Magic Lemonade’s Rikki Hughes. Sponsors for the event include Cadillac, Amazon MGM Studios, Sony Pictures Entertainment and Fulton Films.
|
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https://www.wickedthemusical.co.uk/cast-creative/
|
en
|
Wicked The Musical - UK
|
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[
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[] |
2020-01-15T19:08:43+00:00
|
Meet the Cast & Creative Team of Wicked and discover who is part of the current London West End and Touring cast and company.
|
en
|
Wicked The Musical - UK
|
https://www.wickedthemusical.co.uk/cast-creative/
|
Theatre includes: The Prince of Egypt (Dominion); The Distance You Have Come (Cockpit Theatre); One Love (Birmingham Rep); Sleeping Beauty, Dick Whittington and Cinderella (Hackney Empire); The Book of Mormon (Prince of Wales); Les Misérables (Queen’s); Ordinary Days (Trafalgar Studios); Welcome to Thebes (National Theatre); Wicked (Apollo Victoria); The Lion King (Lyceum); Whistle Down the Wind (UK tour) and Leader of the Pack (UK tour).
Television includes: Trying; Wanderlust; Splatalot 2; Cleopatra Comin’ Atcha; The Queen’s Nose; The Bill; Grange Hill; MacGyver; Class Action; The Sculptress and Dream Team.
Film includes: Rocketman; London Road; Les Misérables and the short film Separate Truths.
Grammy nominated for The Prince of Egypt ‘Best Musical Theatre Album’, WhatsOnStage Award for ‘Best Supporting Actress in a Musical’, Broadway World Award for ‘Best Supporting Actress in a Musical’ and West End Wilma Award for ‘Best Supporting Actress in a Musical’.
Theatre includes: ‘Christine Daaé’ in The Phantom of the Opera (Her Majesty’s); ‘Guinevere’ in Camelot (London Palladium); The Show Must Go On! (Palace); ‘Antonia’ and understudy ‘Aldonza’ and ‘Dulcinea’ in Man of La Mancha (ENO, London Coliseum); ‘Diana Ross’ in Motown The Musical (Original Cast, Shaftesbury); ‘Little Eva’ in Beautiful – The Carole King Musical (Original Cast, Aldwych); understudy ‘Nabulungi’ in The Book of Mormon (Original Cast, Prince of Wales); understudy ‘Sarah’ in Ragtime (Regent’s Park) and Ultimate Broadway (Shanghai).
Television includes: The Jonathan Ross Show and Britain’s Got Talent (ITV); Spongers (pilot) and All Star Musicals (ITV).
Film includes: principal soloist in My Favourite Things: Rogers and Hammerstein 80th Anniversary Concert (Cinema Live); ‘Debutante’ in Beauty and the Beast (Disney) and ‘Lavvie’ in Cosmic Rhapsody (animated film).
Other work includes: principal soloist for ‘The Phantom of the Opera’ single and digital remix, soloist for Bliss – The Silent Twins movie soundtrack and soloist on ‘If We Only Have Love’ single for Childline. Live events include The Queen’s Platinum Jubilee (Buckingham Palace) and Magic at the Musicals (Royal Albert Hall). Awards include ‘Best Actress in a Musical’ for ‘Christine Daaé’ – The Phantom of the Opera at the Black British Theatre Awards and ‘Best Actress in a Musical’ for ‘Diana Ross’ – Motown The Musical at the International Achievement Recognition Awards. WhatsOnStage Best Takeover Performance Nomination: ‘Glinda’ – Wicked.
Training: Arts Educational Schools London.
Theatre includes: ‘Fergie’ in The Windsors: Endgame (Prince of Wales); ‘Celia’ in The Girls (Olivier nomination, Phoenix) ‘Paula Paxton’ in Bend it Like Beckham (Phoenix); ‘Barbara Castle’ in Made in Dagenham (Adelphi); ‘Diana Divane’ in Lend Me a Tenor! (Olivier nomination, Gielgud); ‘Mrs Lovett’ in Sweeney Todd (Mercury Theatre); Forbidden Broadway! and Spamilton! (Menier Chocolate Factory); ‘Dot’ in Sunday in the Park with George (Théâtre du Chatelet); ‘Velma Von Tussle’ in Hairspray (Leicester Curve); ‘Gay Daventry’ in Gay’s the Word (Jermyn Street Theatre) and ‘Madame Thénardier’ in Les Misérables.
Television includes: Trapped; Doctors (BBC) and Mr. Bean (ITV).
Film includes: The Phantom of the Opera (Warner Bros) and Sunday in the Park with George (Mezzo TV).
Other work includes: Friday Night is Music Night (BBC Radio 2); Sondheim at 80 (BBC Proms) and May I have a moment? (Crazy Coqs).
Theatre includes: Queen Anne (Haymarket); Yes, Prime Minister (Gielgud and Apollo); Scissor Happy (Duchess); Forbidden Broadway (Fortune); The Bed Before Yesterday (Almeida); The Fields of Ambrosia (Aldwych); Amadeus (UK tour) and Love For Love (Royal Shakespeare Company).
Television includes: Death in Paradise (BBC); The Sixth Commandment (BBC); Slow Horses (Apple TV); Avenue 5 (HBO); Ghosts (BBC); Benidorm (ITV); My Family (BBC); Only Fools and Horses (BBC); The Crown (Netflix); Spitting Image (ITV); New Tricks (BBC); Ballot Monkeys (Channel 4); Nighty Night (BBC); One Foot in the Grave (BBC); Not Going Out (BBC); Outnumbered (BBC); Mr. Bean (BBC); Eastenders (BBC); Footballers’ Wives (ITV) and Coronation Street (ITV).
Film includes: Rogue Agent (Netflix).
Other work includes: Michael sang the lead vocals on the Spitting Image UK Number 1 hit ‘The Chicken Song’.
Training: The MGA Academy of Performing Arts.
Theatre includes: ‘Carol Blitztein’ in Blitz! (Union Theatre); ‘Clara Stahlbaum’ in The Nutcracker: A Christmas Spectacular (New Theatre Royal, Portsmouth); ‘Marty’ and understudy ‘Sandy’ in Grease (Royal Caribbean Cruise Line) and ‘Jesiva’ in WeCameToDance (Edinburgh Fringe Festival).
Other work includes: featured soloist in An Evening with Jonathan Reid Gealt (Concert).
Caitlin is delighted to be making her West End Debut in Wicked and would like to thank her loved ones for their endless support.
Theatre includes: Girl from the North Country (UK tour); Kinky Boots (Adelphi); Made in Dagenham (UK tour); Spend, Spend, Spend and Moll Flanders (Watermill Theatre); Tin Tin (Barbican); Miss Saigon (Theatre Royal, Drury Lane); Romeo & Juliet, As You Like It and The Merry Wives of Windsor (Stafford Shakespeare Festival); Othello and A Midsummer Night’s Dream (Kent Rep); A Word From Our Sponsor (Stephen Joseph Theatre); Animal Farm (Theatr Clywd); A View from the Bridge (Greenwich Theatre); The Caucasian Chalk Circle (Manchester Library); Man of La Mancha and The Wizard of Oz (Royal Lyceum, Edinburgh); Aladdin (Bristol Hippodrome); Happy End (Nottingham Playhouse); Strindberg Chamber Plays (The Gate) and Something Wicked This Way Comes (National Theatre of Scotland).
Television includes: Belgravia (ITV); Call the Midwife, Doctors, EastEnders, Grange Hill, Bramwell, In the Red and Bugs (BBC); Thief Takers, Trial & Retribution, The Knock and The Bill (ITV).
Film includes: From Hell (20th Century Fox).
Training: Royal Academy of Music – Musical Theatre (MA) and University of Warwick – Philosophy, Politics and Economics (BSc).
Theatre includes: ‘Megan’ in But I’m A Cheerleader (Turbine Theatre); swing and understudy ‘Eglantine Price’ in Bedknobs and Broomsticks (UK tour) and ‘Sandy’ in Grease (Royal Caribbean Cruise Line).
Television includes: dancer in The Stand Up Sketch Show (ITV).
Jess is delighted to stay a second year in Wicked and would like to thank her friends and family for their endless love and support.
Training: Arts Educational Schools London.
Theatre includes: 42nd Street (Sadler’s Wells and UK tour); Cats (international tour); Sunset Boulevard (Royal Albert Hall); Heathers (Theatre Royal Haymarket); Far From Heaven (Turbine Theatre); White Christmas (Dominion); Follies (National Theatre); An Officer and a Gentleman (UK tour); She Loves Me (Menier Chocolate Factory); Miracle on 34th Street (Dubai); The Producers (UK tour) and Singin’ in the Rain (UK & international tour).
Television includes: The Crown (Netflix) and Jack Whitehall: Christmas with My Father (Netflix).
Aimee is delighted to be joining the company of Wicked and would like to thank her husband, friends and family for their continued support. This one’s for you Marv.
Training: Mountview Academy of Theatre Arts.
Theatre includes: ensemble and understudy ‘Meat’ and ‘Killer Queen’ in We Will Rock You (UK tour); ‘Lorraine’ in Jersey Boys (international tour); ensemble in Evita (UK and European tour); ‘Hua’ and Dance Captain in Marco Polo: An Untold Love Story (Shaw Theatre) and ‘Leia Dawkins’ in Loserville (Union Theatre).
Workshops include: ‘Sally’ in You Can’t Get There From Here – The Twiggy Story (Menier Chocolate
Factory) and We Will Rock You II – The Show Must Go On.
Training: Arts Educational Schools London.
Theatre includes: swing in Singin’ in the Rain (London, Japan and UK tour); ensemble and understudy ‘Bob Wallace’ in White Christmas (UK tour); ensemble in Funny Girl (Paris); ‘Referee Angel’ in Kinky Boots (Original UK tour); ensemble and understudy ‘Rooster’ in Annie (Toronto); swing and Assistant Dance Captain in The Book of Mormon (Prince of Wales); ensemble and understudy ‘Frank’ in Mack & Mabel (Chichester Festival and UK tour); ensemble in Follies in Concert (Royal Albert Hall); ‘George’ in Pipe Dream (Union Theatre); ‘Zebulun’ and understudy ‘Joseph’ in Joseph and the Amazing Technicolor Dreamcoat (Dubai); ensemble in White Christmas (Manchester) and swing and Assistant Dance Captain in Soho Cinders (Soho Theatre).
Workshops include: Charlie and the Chocolate Factory and The Last Maharajah.
Training: Urdang Academy.
Theatre includes: swing and understudy ‘Tito’ in Dirty Dancing (Dominion and UK tour); ensemble, Assistant Dance Captain and Acro Coach in Bring It On: The Musical (UK tour); ensemble in The Lion King (Lyceum) and ensemble and understudy ‘Captain Hook’ and ‘Mr. Darling’ in Peter Pan (Victoria Theatre, Halifax).
Television includes: dancer in Bridgerton (Netflix) and dancer in Saturday Night Fever 40th Anniversary (BBC).
Film includes: dancer in Greatest Days (Elysian Film).
Other work includes: ensemble in The Andrew Lloyd Webber Musical Gala; dancer in Songs and Solidarity (West End Grenfell Tower benefit concert) and dancer in Sonia Stein (music video).
Ayden is delighted to be joining the cast of Wicked and hopes everyone enjoys the show.
Training: Mountview Academy of Theatre Arts.
Theatre includes: ‘Miss Flannery’, ‘Muzzy Van Hossmere’ and understudy ‘Mrs. Meers’ in Thoroughly Modern Millie (UK tour); ‘Sharon’ in Girl’s Night (UK tour) and ‘Queen Lucretia’ and ‘Deadly Nightshade’ in Beauty and the Beast and Snow White (Qdos Entertainment).
Film includes: In Love with Alma Cogan (BBC).
Other work includes: lead vocalist in An Evening with Sir Tim Rice (Belinda King Productions); lead vocalist in Rock Around the Clock (UK & international tour); lead vocalist at The London Cabaret Club and mainstage performer for Disney.
Natalie would like to thank her family; particularly her Mother Magee, and her partner for their ongoing support.
Training: Laine Theatre Arts.
Theatre includes: Greatest Days (UK tour); Richard O’Brien’s Rocky Horror Show (European tour); Bat Out of Hell (Dominion); 42nd Street (Theatre Royal, Drury Lane); Rock of Ages (UK tour); We Will Rock You (arena tour); Kiss Me, Kate (Théâtre du Châtelet and Les Théâtres de la Ville de Luxembourg); I Wish My Life Were Like A Musical (King’s Head Theatre and Edinburgh Festival); Eurobeat Moldova (Pleasance Grand Theatre); Legally Blonde (Kilworth House Theatre) and Rent (Tabard Theatre).
Television includes: The Generation Game (BBC); The Royal Variety Performance (ITV); The One Show (BBC) and Tonight at the Palladium (ITV).
Other work includes: 42nd Street (London Cast Recording) and Eurobeat Moldova (Original Cast Recording).
Stephen Schwartz wrote the music and lyrics for The Prince of Egypt, recently at the Dominion Theatre. Other shows to which he has contributed music and/or lyrics and which have been seen in the UK include Godspell, Pippin, Working, Rags, Children of Eden and The Baker’s Wife. For film, he collaborated with Alan Menken on the songs for Disney’s Pocahontas, The Hunchback of Notre Dame, Enchanted and its sequel Disenchanted. Awards include three Academy Awards, four Grammy Awards and the Isabelle Stevenson Tony Award. In the US, Mr. Schwartz has been given a star on the Hollywood Walk of Fame, inducted into The Theater Hall of Fame and the Songwriters Hall of Fame. A book about his career, Defying Gravity, has been published by Applause Books.
For more information, those interested are invited to visit: www.stephenschwartz.com
Winnie received a Tony nomination and a Drama Desk Award for Wicked. She got her start in writing for the acclaimed television drama thirtysomething, and went on to create another memorable series: My So-Called Life, which starred Claire Danes. Other television credits include: Once and Again, Huge (with her daughter, Savannah Dooley) and Roadies (with Cameron Crowe). Theatre work includes: the musical Birds of Paradise, written with composer David Evans, and a ten-minute, oft-performed play called Post-its: (Notes on a Marriage), written with her husband, actor Paul Dooley. Also an actress, Ms. Holzman appeared in Jerry Maguire and as Larry David’s wife’s therapist on Curb Your Enthusiasm. She recently completed both screenplays for the film adaptation of Wicked, and her play Choice, which will be produced at the McCarter Theatre in Spring 2024. She is a graduate of Princeton University, the NYU Musical Theatre Program, and a proud member of the Writers Guild of America.
A two-time Tony Award-winning director, recent credits include: Here We Are; Grey House; The Boys in the Band (Netflix and Broadway); Who’s Afraid of Virginia Woolf?; Hillary and Clinton; Three Tall Women (Tony nomination); The Humans (Tony nomination); Blackbird; An Act of God; The Last Ship; Casa Valentina; I’ll Eat You Last…; Dogfight; Other Desert Cities; The Pride; Pal Joey; 9 To 5: The Musical; Three Days of Rain; Glengarry Glen Ross (Tony nomination); Laugh Whore; Assassins (Tony Award); Take Me Out (Tony Award); Frankie and Johnny in the Clair de Lune; A Man of No Importance; The Vagina Monologues and Love! Valour! Compassion! (Tony nomination). Acting credits include: Feud: Capote’s Women; American Horror Story; The Watcher (Netflix), Hollywood (Netflix) and the Broadway productions of The Glass Menagerie, The Normal Heart (Tony nomination) and Angels in America (Tony nomination). Mantello was nominated for Emmy and Critics’ Choice Awards for his performance in HBO’s The Normal Heart. He has received Outer Critics Circle, Drama Desk, Lucille Lortel, Helen Hayes, Clarence Derwent, Obie and The SDC “Mr. Abbott” Awards and is a member of The Theatre Hall of Fame.
Nominated for seven Tony Awards, Cilento won his first for his choreography on the historic Broadway production of The Who’s Tommy (Drama Desk Award, Fred Astaire Award, Olivier nomination).
Broadway: six Tony Award nominations for his choreographic work on How to Succeed in Business Without Really Trying (starring Matthew Broderick), the Broadway production Holler If Ya Hear Me featuring the music of Tupac Shakur, Director of Dream: The Johnny Mercer Musical, the 2004 revival of Sweet Charity, Baby, Wicked and Bob Fosse’s Dancin’ (Best Featured Actor in a Musical). Mr. Cilento also choreographed Elton John’s Aida on Broadway, on tour and the European productions in Germany and Amsterdam, as well as the iconic Broadway production of Jerry Herman’s Jerry’s Girls. Cilento was a member of the original Broadway cast of A Chorus Line (‘Mike’).
He has also directed and choreographed major commercials and concerts for Liza Minnelli, Barry Manilow, Chita Rivera, Billy Joel, Donna Summer, Pete Townsend, Alicia Keys and the Jonas Brothers. Cilento recently directed the critically acclaimed hit Broadway revival of Bob Fosse’s Dancin’ in Spring 2023.
Hilferty has designed over 350 productions worldwide. London/UK – Scenery/Costumes: Salomé (National Theatre); Hamlet (Gate Theatre, Dublin); Athol Fugard’s Sorrows and Rejoicings (Tricycle) and The Gabriels: Election Year in the Life of One Family (European tour). Costumes: Blood Wedding (Young Vic); Buried Child and The Spoils (Trafalgar Studios); Spring Awakening (Novello); Flying Karamazov Brothers’ 4Play (Vaudeville) and August Wilson’s Jitney (National). Scenery/Costumes/Associate Director: Athol Fugard’s My Children! My Africa! and A Place with the Pigs (National); Valley Song (Royal Court) and Playland (Donmar). Directorial collaborators include: Yaël Farber, James Macdonald, Tony Kushner, Garry Hynes, Michael Longhurst, Michael Mayer, James Lapine, Jonathan Butterell, Robert Falls, Richard Nelson, Garland Wright, Mark Lamos, Frank Galati, Selina Cartmell, Des McAnuff, Bartlett Sher, Doug Wright, Laurie Anderson, and Athol Fugard. Recent designs include: Funny Girl (Broadway and national tour); Parade (Broadway TONY Nomination) and Waiting for Godot (TFNA). Other: Taylor Swift’s Speak Now! World Tour; Ringling Bros. and Barnum & Bailey Circus. Upcoming: Avett Brothers’ Swept Away (Broadway) and Aida (Metropolitan Opera). Hilferty is on faculty of Graduate Design NYU/Tisch, having served as chair for 25 years. Her many awards include three Lifetime Achievement Awards plus TONY, Drama Desk, and Outer Critics Circle Awards and Olivier nomination for Wicked.
West End: MEAN GIRLS, Pretty Woman: The Musical; Kinky Boots; Legally Blonde; Hairspray and Wicked (Olivier nominations) and Side Man.
On Broadway over 50 plays and musicals including: Beetlejuice; Pretty Woman: The Musical; Mean Girls; War Paint; On Your Feet!; Disgraced; If/Then; Kinky Boots; Pippin; Cinderella; Other Desert Cities; Coast of Utopia – Shipwreck (Tony, Drama Desk and Outer Critics Circle Award); Hairspray, The Merchant of Venice, Dirty Rotten Scoundrels and The Adventures of Tom Sawyer (Tony nominations); Harvey; The Best Man; The Royal Family; Catch Me If You Can; 9 to 5: The Musical; Legally Blonde; The Pirate Queen; Lestat; The Odd Couple; Glengarry Glen Ross; Little Women; The Frogs; Imaginary Friends; Swing!; You’re a Good Man, Charlie Brown; Edward Albee’s The Goat, or Who is Sylvia?; Uncle Vanya; Side Man; The Lion in Winter; Little Me; A View from the Bridge; The Last Night of Ballyhoo; The Little Foxes and The Rose Tattoo.
Opera credits include designs for the New York City Opera and the Chicago Symphony Orchestra.
Recipient of the Obie Award for sustained excellence in lighting design.
West End theatre includes: Come From Away (Associate Producer); Kiss Me, Kate; The Lion King; Smokey Joe’s Café and Anything Goes.
Broadway includes: First Date (Associate Producer); The Mystery of Edwin Drood (Drama Desk Award); Lysistrata Jones (Producer and Sound Designer); Wicked; Pal Joey; The Ritz and Laugh Whore (all with Joe Mantello); Man of La Mancha; Sweet Smell of Success; Copenhagen; Kiss Me, Kate; Footloose; The Lion King (Drama Desk Award); The Sound of Music; Juan Darien; A Christmas Carol (MSG); Steel Pier; Forum; The King and I; Moon Over Buffalo; Smokey Joe’s Café; Guys and Dolls; Five Guys Named Moe; She Loves Me; The Red Shoes and Anything Goes.
National and international include: The Lion King; Les Misérables; Mozart and Der Gloeckner von Notre Dame.
Off-Broadway includes: Here Lies Jenny and The Normal Heart.
Tony is a graduate of Ithaca College’s Department of Theatre Arts.
Elaine’s international career spans over 25 years in nearly every area of live performance. Her Broadway credits include: Spamalot; Impressionism; The People in the Picture; Assassins; Man of La Mancha; Into the Woods; Thurgood and Judgment at Nuremberg. Additional career highlights include: Great Scott; Everest; Iolanta; Tristan und Isolde and Moby Dick (Dallas Opera); Mazeppa (Metropolitan Opera); Dead Man Walking (NYC Opera); War and Peace (Metropolitan Opera and Kirov Opera); Tan Dun and Peter Sellars’ The Peony Pavilion at the Wiener Festwochen (Opera); Frequency Hopping (set and projections); Distracted (set and projections); Embedded; Fran’s Bed; Speaking in Tongues; The Stendhal Syndrome and The Thing About Men (Off-Broadway); Tan Dun’s The Gate (NHK Symphony); Don Byron’s Tunes and ’Toons at The Brooklyn Academy of Music (Concert); Peter Buffett’s Spirit: A Journey in Dance, Drums and Song and Chen Shi-Zheng’s Forgiveness at Asia Society/New York (Dance); Adidas; Sony/Epic Records; Kenneth Cole; Calvin Klein Cosmetics and the 1996 and 1997 CFDA Awards (Fashion/Industrial) and the 2008 documentary film, Secrecy.
Tom Watson headed the Wig and Make Up department at the Metropolitan Opera for 17 years. He has designed more than 80 Broadway productions including Wicked; Rock of Ages; How to Succeed in Business Without Really Trying; The Addams Family; Annie; Act One; You Can’t Take It With You; The King and I (LCT and tour); The Sound of Music (national tour); Dames at Sea; Thérèse Raquin; Fiddler on the Roof; Bright Star (Broadway and tour); Oslo (LCT); Long Day’s Journey into Night; Falsettos; The Little Foxes; Junk (LCT) and The Parisian Woman.
Broadway and West End: MJ; Wicked and Beautiful – The Carole King Musical. Broadway: KPOP; Beetlejuice; Torch Song Trilogy; SpongeBob SquarePants: The Broadway Musical; Summer: The Donna Summer Musical; Sunday in the Park with George; Anastasia; Allegiance; If/Then; Follies; Jekyll & Hyde; The Normal Heart and Grease. Off Broadway: KPOP; Fly; Sweet Charity; Into the Woods; The Wild Party and Show Boat. Television: The Perfect Couple; Annie Live!; Jesus Christ Superstar Live in Concert (Emmy nomination); The Gilded Age; Julia and Castle Rock Season 2. Film: Good Burger 2; Hocus Pocus 2; The Holdovers; Thug; Don’t Look Up; About Fate; Godmothered; The Discovery and Ghostbusters. www.joedulude2.com
Broadway: Kinky Boots (2013 Tony Award for Best Orchestrations and 2013 Grammy Award); The Book of Mormon (2011 Tony and Drama Desk Awards for Best Orchestrations and 2012 Grammy Award) and Disney’s Frozen: The Broadway Musical. Worldwide Music Supervisor/Arranger of Wicked; Music Supervisor/Vocal Arranger/Orchestrator of Broadway productions/tours of The Book of Mormon, Avenue Q, All Shook Up and 9 to 5: The Musical; Grammy nominee as Co-Producer with Dolly Parton of 9 to 5: The Musical Broadway cast recording. Other credits: Music Supervisor, Vocal Arranger and Orchestrator: tick, tick… BOOM!; Music Director: Andrew Lippa’s The Wild Party; Conductor and contributing Orchestrator for the Oscar-winning Disney film Frozen; Music Director of the 87th Academy Awards telecast and The Wiz Live! on NBC TV.
Alex Lacamoire is a four-time Grammy, three-time Tony, three-time Olivier, and Emmy Award winner for his work on Hamilton; Dear Evan Hansen; In the Heights and FX’s mini-series Fosse/Verdon. Alex was also the recipient of a first-of-its-kind Kennedy Center Honors for his contribution to Hamilton. Other credits as Music Director, Arranger, and/or Orchestrator include: Sweeney Todd (2023 Broadway Revival); Bring It On: The Musical; Wicked; Bat Boy and Godspell. He served as the Executive Music Producer for the films: The Greatest Showman; In the Heights; VIVO; Dear Evan Hansen and tick, tick… Boom!
West End leading roles: Annie; West Side Story; On Your Toes and A Chorus Line. Repertory theatre roles: Chicago; Lulu; Bells Are Ringing; Stepping Out and Blithe Spirit. Television and Films: The Music Lovers; The Boyfriend; Fiddler on the Roof; The Slipper and the Rose; Frank Zappa’s 200 Motels and Billy Elliot. Choreographer: Jesus Christ Superstar; Hair; Poppy; Annie; The King and I; Guys and Dolls; Iolanthe; Dreams of Leaving (TV) and The Peter Hall Company’s Twelfth Night. Recently played ‘Mother’ in Paul Harnett’s Alice: A New Musical (St. James Theatre) and appeared at the Royal Festival Hall in The Oliviers in Concert (BBC 3). Director: The Sound of Music; Sweet Charity; West Side Story and The Apollo Victoria 80th Anniversary Gala. West End musicals as Associate Director: Always; Annie; Kiss Me, Kate; Ragtime and The Producers. UK national tours as Associate Director: Annie; Kiss Me, Kate and The Producers following their West End productions. Recently appeared in the Wicked film as ‘Autograph Hunter’. Assistant to: Joe Mantello, Susan Stroman, Michael Blakemore, Martin Charnin, Kathleen Marshall, Tommy Tune, Larry Fuller, John Doyle and Stafford Arima. Associate Director for the Wicked UK & Ireland Tour.
Training: Stage Door School of Dancing, Bournemouth and London Studio Centre. Theatre includes: UK Dance Supervisor for the Wicked UK & Ireland Tour and UK/International Tour; the title role in Alice: A New Musical (St. James Theatre); flying workshop for Peter Pan (The O2); The Apollo Victoria 80th Anniversary Gala; Dancing in The Dark (Clapham Grand); Spirit of the Dance (UK tour); Journey of Jazz (Lilian Baylis Theatre, Sadler’s Wells); Dance Captain and understudy ‘Peter’ in Peter Pan (The Anvil, Basingstoke); The Jazz Dance Company (Peacock Theatre, London) and West End Bares (Café de Paris). Television and Film includes: Infatuation for Kate Alexa; American Boy/New Generation video for PaM’s People, Killa Kela MTV music video and Children in Need. Hannah has taught at leading vocational colleges including The BRIT School, Arts Educational Schools London and London Studio Centre, and is a qualified Body Control Pilates teacher.
Ron studied at The Royal Academy of Music and King’s College London. As Musical Director credits include: The Book of Mormon (Prince of Wales). As Assistant Musical Director: Jersey Boys (Prince Edward); Shrek The Musical (Theatre Royal, Drury Lane) and The Book of Mormon (Prince of Wales). As Associate Conductor/Children’s MD: Billy Elliot the Musical (Victoria Palace). Workshop MD credits include: Nativity! The Musical and Miss Atomic Bomb. Ron has also coached and consulted as a children’s vocal specialist on major West End and touring musicals. He is proud to have been made an Associate of The Royal Academy of Music (ARAM) where he coaches on the Postgraduate Musical Theatre course.
Matthew has recently been Musical Director for Les Misérables at the Sondheim Theatre and Supervisor of The Wizard Of Oz for Royal Caribbean’s new ship Icon Of The Seas.
Musical Director for Les Misérables: The Staged Concert (West End). Phantom Of The Opera; Miss Saigon; Evita; The Commitments and Priscilla Queen of the Desert (International Tours). Associate for Old Friends: A Tribute to Stephen Sondheim (West End); Musical Supervisor for The Commitments; MD & Supervisor for Ain’t Misbehavin and The Concert They Never Gave (UK tours); Rent and Edges (London). Associate Conductor Les Misérables at the Queens Theatre; cover conductor Sister Act – the Musical (UK tour) and workshopped Andrew Lloyd Webbers production of Cinderella.
Associate: Jekyll & Hyde; Whistle Down the Wind and Cabaret (UK tours). Pianist and Rehearsal MD: Les Misérables; Singin’ in the Rain; Charlie and the Chocolate Factory and Top Hat (West End). Dancing in the Streets, Scrooge, and Doctor Dolittle (tour). Matthew was also supervisor and arranger for P&O world cruises.
Orchestration & Arrangement: The Wizard Of Oz; Coming Home For Christmas; A Handful Of Distraction Series; Help for Heroes; Love Beyond; Dreamboats and Petticoats; Jekyll & Hyde; Rock ‘n’ Roll Heaven; Cissie and Ada; Lullaby of Broadway (UK) and Annie (Hong Kong).
Matthew would like to thank his wife Laura and daughter Matilda for their continued love and support.
Theatre includes: Alan Bennett’s Talking Heads (Australia and New Zealand); Madagascar The Musical (Australian Premiere and US National Tour); Wonderful Town (Opera Holland Park); All On Her Own (Digital Production for Stream.Theatre – OnCom Award Nomination for Best Production); A Little Night Music (Opera Holland Park); Sitting (Hong Kong ArtisTree); Beautiful: The Carole King Musical (UK and Ireland Tour); The Rise and Fall of Little Voice (Union Theatre – Off West End Award Nomination for Best Director); The Spitfire Grill (Union Theatre – BroadwayWorld Award for Best New Production of a Musical); Putting it Together (GLive and St. James Theatre – London Premiere); and Dream Queen (Shakespeare’s Globe).
Television includes: The Elaine Paige Show (Sky Arts).
Concert work includes: My Fair Lady: The 60th Anniversary Celebration (St Pauls); A Little Night Music (Palace Theatre) and Kings of Broadway (Palace Theatre).
Alastair is thrilled to be joining the Creative Team of the Wicked UK and Ireland Tour and would like to thank his friends and family for their continued support.
Jim is a freelance Casting Director of musicals and plays for West End and regional theatres, and for UK and international tours. He established Jim Arnold Casting in 2018, having previously worked as Associate Casting Director for Pippa Ailion Casting from 2012-2018. He is a full member of the Casting Director’s Guild of Great Britain & Ireland. Theatre includes: Wicked (Apollo Victoria and UK & Ireland Tour); Spend, Spend, Spend (Royal Exchange Theatre); A Christmas Carol:The Musical (Quays Theatre – The Lowry, Salford); Pretty Woman: The Musical (Savoy and UK & Ireland tour); Shrek The Musical (UK tour and Eventim Apollo); Bonnie & Clyde (Garrick and UK tour); Charlie and the Chocolate Factory – The Musical (Leeds Playhouse and UK & Ireland tour); The Great British Bake Off Musical (Noël Coward and Everyman Cheltenham); When Darkness Falls (UK tour); Fisherman’s Friends: The Musical (Hall for Cornwall and UK tour); Rock of Ages (UK tour); The Prince of Egypt (Dominion); West Side Story (Royal Exchange Theatre); Curtains (Wyndham’s and UK tour); Captain Corelli’s Mandolin (Harold Pinter and UK tour); The Mirror Crack’d (Wales Millennium Centre and Wiltshire Creative); Eugenius! (The Other Palace); The Wedding Singer (Troubadour Theatre and UK tour) and Matilda The Musical (Original Casting Associate for the RSC).
Lloyd trained at Guildhall School of Music and Drama, before starting his career at the National Theatre and the Young Vic. Productions include: The Prince of Egypt (Dominion); 9 to 5: The Musical (UK tour); A Little Life (Harold Pinter); Bridgerton and Guardi ans of the Galaxy (Secret Cinema); Betrayal, Cyrano de Bergerac and Pinter Season (Harold Pinter and Broadway); The Time Traveller’s Wife (UK tour); Rusalka (English National Opera); Captain Corelli’s Mandolin (Harold Pinter and UK tour); The Wild Duck (Almeida); Summer and Smoke (Duke of York’s); The Jungle (Playhouse and Broadway); Nightfall (Bridge Theatre); Tina: The Tina Turner Musical (Aldwych, Associate PM); The Christmasaurus Live (Hammersmith Apollo); Project Polunin (London Coliseum); The Lady from the Sea (Donmar); Shakespeare Trilogy (Donmar and Broadway); Oslo (National Theatre and Harold Pinter); Buried Child and The Spoils (Trafalgar Studios); Blue/Orange and Macb eth (Young Vic); Lela & Co (Royal Court); Fleabag and The Mentalists (Wyndham’s); A View from the Bridge (Wyndham’s, Associate PM); Constellations (Donmar and UK tour); Neville’s Island (Duke of York’s) and Charlie and the Chocolate Factory (Theatre Royal, Drury Lane, Assistant PM).
Playful Productions is one of the most eminent independent theatre producers and full-service general management companies in the West End. As Producer and General Manager productions include: Macbeth (Harold Pinter, October 2024); Dr. Strangelove (Noël Coward, October 2024) The Artist (Theatre Royal Plymouth); Opening Night (as Producer – Gielgud); The Unfriend (Criterion, and Wyndham’s); The House of Bernarda Alba (as Producer – National Theatre); Accidental Death of an Anarchist (Sheffield, Lyric Hammersmith and Theatre Royal Haymarket); A Little Life (as Producer – Richmond, Harold Pinter and Savoy); Charlie and the Chocolate Factory – The Musical (UK & Ireland Tour); Good (Harold Pinter) and Get Up Stand Up! The Bob Marley Musical (Lyric). As General Manager productions include Wicked (Apollo Victoria, UK & Ireland Tours and International Tour); Moulin Rouge! The Musical (Piccadilly); MJ (Prince Edward); Next to Normal (Wyndham’s, June 2024) and Come From Away (Abbey Theatre, Dublin and Phoenix). As Executive Producer productions include Moulin Rouge! The Musical (Piccadilly); MJ (Prince Edward) and Wild Rose (in development).
Nina Essman, Nancy Nagel Gibbs and Marcia Goldberg’s past and present Broadway, Off-Broadway and national tour management credits include: Wicked (worldwide); SpongeBob Squarepants: The Broadway Musical; War Paint; Oh, Hello on Broadway; Fun Home; If/Then; Peter and the Starcatcher; Bring It On: The Musical; Sister Act; Traces; Next to Normal; The 25 th Annual Putnam County Spelling Bee; The Vagina Monologues; Man of La Mancha; The Graduate; I Love You, You’re Perfect, Now Change; Fully Committed and Bat Boy. Individual productions include: The Lion King; Smokey Joe’s Café; The Santaland Diaries; Full Gallop; Smoke on the Mountain; Rent; Guys and Dolls and The Diary of Anne Frank.
Broadway: Wicked; Topdog/Underdog (Tony Award); Fat Ham (Tony nomination); A Strange Loop (Tony Award); The Band’s Visit (Tony Award); War Paint; Oh, Hello on Broadway; If/Then; Pal Joey and Three Days of Rain. Off-Broadway and UK: Matthew Bourne’s New Adventures production of Edward Scissorhands (Drama Desk Award). Films: Wicked (2024); The Little Mermaid; Babylon; Cruella; Dear Evan Hansen; The Trial of the Chicago 7 (BAFTA and Oscar nominations); Thunder Force; Mary Poppins Returns; La La Land (BAFTA Best Film Award, Oscar nomination); The Girl on the Train; Billy Lynn’s Long Halftime Walk; Bridge of Spies (Oscar nomination); Into the Woods; Drive (BAFTA nomination); Ricki and the Flash; Scott Pilgrim vs. The World; Legally Blonde; Rachel Getting Married; Wanted; Nine; Hotel Artemis; 2 Guns; Lost River; Legally Blonde 2; The Other Woman; Winter’s Tale; Charlie St. Cloud; Cop Out; The Seeker; The Perfect Man; Honey and Josie and The Pussycats. Television: Better Nate Than Ever (Disney+, Emmy nomination); Oslo (HBO, Emmy nomination); Rent (FOX); Jesus Christ Superstar Live in Concert (NBC, Emmy Award); A Christmas Story Live! (FOX); Grease Live! (FOX, Emmy Award); Empire Falls (HBO); Taking The Stage (MTV); Once Upon A Mattress (ABC) and The Path To 9/11 (ABC). Mr. Platt has served as president for three movie studios (Orion, TriStar and Universal).
David Stone is currently represented by Wicked; Topdog/Underdog and Kimberly Akimbo. He has also produced The Boys in the Band; War Paint; If/Then; Next to Normal; The 25th Annual Putnam County Spelling Bee; Three Days of Rain; Man of La Mancha; The Vagina Monologues; Fully Committed; Lifegame; The Diary of Anne Frank; Full Gallop; The Santaland Diaries and Family Secrets. David serves on the boards of The Broadway League and Broadway Cares/Equity Fights Aids. He also serves on the advisory boards of V-Day and Second Stage Theater. David has lectured on theatre at Yale, Princeton, Columbia and his alma mater, the University of Pennsylvania.
Universal Stage Productions, a division of Universal Theatrical Group, is the live theatre division of the world-famous motion picture studio. Universal’s musical phenomenon Wicked is now in its 17th year in the West End. With multiple international productions, including the original Broadway production which premiered in 2003, Wicked has been seen by over 60 million people worldwide making it one of the most successful theatrical ventures of all time. Universal’s critically acclaimed musical adaptation of Billy Elliot, which won four Olivier Awards and ten Tony Awards, including Best Musical, concluded its 11 year run in the West End and has toured globally. Additional credits under UTG’s DreamWorks Theatricals banner include Shrek The Musical and the hit West End production of The Prince of Egypt.
Mr. Platt’s many honours include The Laurence Olivier Award, 14 Tony Awards, The Robert Whitehead Award for Distinguished Producing on Broadway and a Lifetime Membership in The Broadway League. His award-winning productions include: Angels in America; Company; Hangmen; Copenhagen; God of Carnage; The Humans; The Book of Mormon; Death of a Salesman; Clybourne Park; A Raisin in the Sun; A View From the Bridge; The Curious Incident of the Dog in the Night-Time; Skylight; Venus in Fur; Blackbird; No Man’s Land/Waiting for Godot; The Audience; The Crucible; King Charles III; The Heiress and The Children’s Hour.
Michael is an independent, four-time Olivier Award-winning theatre producer in the UK and Tony Award-nominated on Broadway. He has, since its UK premiere in 2006, served as Executive Producer of Wicked, which is already the 10th longest running production in West End show in British history. Additional West End producing credits: The Prince of Egypt; An American in Paris; Sweeney Todd; Million Dollar Quartet and Spring Awakening. Tours: Wicked (three UK & Ireland Tours, and the International Tour). Broadway: How to Succeed in Business Without Really Trying; On a Clear Day You Can See Forever; Lysistrata Jones and Promises, Promises. Michael was the original Marketing Director of Mamma Mia!, overseeing the first 14 international premieres.
Training: Mountview Academy of Theatre Arts.
Theatre includes: ‘Elphaba’ in Wicked (Apollo Victoria); Standby for ‘Elphaba’ in Wicked (Apollo Victoria); ‘Dr Osgood’ and featured ensemble in Anyone Can Whistle (Union Theatre) and understudy ‘Maria’ in The Sound of Music (Regent’s Park).
Other work includes: Magic at the Musicals (Royal Albert Hall); Big Night of Musicals (BBC); The Show Must Go On (Palace Theatre); lead vocalist for Belinda King Creative Productions; So This is Christmas (UK tour) and chorus for The Songs of My Life: An Evening with Peter Polycarpou (Garrick).
Laura would like to thank her family and friends for their continued support.
Theatre includes: Alternate ‘L’ in Death Note (Lyric); understudy ‘Romeo’ in & Juliet (Shaftesbury); ensemble and understudy ‘Fiyero’ in Wicked (Apollo Victoria); ‘Rory’ in Proud (Turbine Theatre); ‘Nintendo’ in Starlight Express (The Other Palace); ‘Aladdin’ in Disney’s Aladdin (USA); understudy ‘Galileo’ in We Will Rock You (RCCL); Tiger Bay The Musical (Wales Millennium Centre) and The Who’s Tommy (USA).
Films includes: ‘Joseph The Boy Scientist’ in the animated film Cosmic Rhapsody.
Workshops include: ‘Ortano’ in Tinker Bell the Musical; ‘Dezza’ in Great British Bake Off The Musical and ‘David’ in If/Then.
Other work includes: the Olivier Awards 2023 (Royal Albert Hall, ITV); Magic At The Musicals (Royal Albert Hall); The West End Men (Park Theatre) and Kings Of Broadway (Palace).
Theatre includes: ‘Sally’ in The Way Old Friends Do (Criterion, West End and UK tour); ‘Tiwa’ in The Clinic (Almeida); ‘Aggie/Sarah’ In The Gift (Belgrade Coventry/Stratford/East); ‘Amanda Baptiste’ in Chasing Rainbows (Hoxton Hall); ‘Mavis James’ in Princess and The Hustler (Eclipse TC); ‘Starveling’ in A Midsummer Night’s Dream (Crucible Theatre Sheffield); ‘Charlotte/Ludmilla’ in Great Apes (Arcola); ‘Nurse’ in The Chalk Garden (Chichester Festival); ‘Arabelle Sicardi’ in Of Kith And Kin (Sheffield Crucible/The Bush); ‘Countess Bezzubova/Agetha Mikhailovna’ in Anna Karenina (Manchester Royal Exchange/West Yorkshire Playhouse); ‘Mama Kyeyune’ in The Rolling Stone (Manchester Royal Exchange/West Yorkshire Playhouse); ‘Mother-in-Law’ in Blood Wedding (Northampton Theatre Royal) and ‘Tituba’ in The Bacchae (Northampton Theatre Royal).
Television includes: ‘Nurse’ in Such Brave Girls (BBC); Nolly (ITV); Breeders (Sky); Eastenders; Doctors (BBC); Nuzzle & Scratch; Beautiful People and Extras (BBC); Game Face (Objective Media); Requiem (Requiem Productions); Drifters (E4) Todd Margaret (RDF/IFC); Hollyoaks (Lime Pictures); Coronation Street (ITV); Lead Balloon (BBC) and New Tricks (Wall to Wall).
Film includes: In Darkness; MonoChrome and Dinner With My Sisters.
Training: Welsh College of Music and Drama.
Theatre includes: Wicked (Apollo Victoria); War Horse (UK tour); Sweeney Todd (Adelphi); The Merry Wives of Windsor and The Mouse and His Child (RSC); The Crucible; A Little Night Music; And a Nightingale Sang; The Glee Club; Little Shop of Horrors; Grow Up Grandad; The Pitman Painters; My Family & Other Animals; Parlour Song; A Midsummer Night’s Dream; Summer Lightning; A Chorus of Disapproval; A Christmas Carol; Our Country’s Good; The Recruiting Officer; The Hired Man; The Wizard of Oz; The Snow Queen; Romeo and Juliet; Charley’s Aunt; The Merchant of Venice; Oh! What a Lovely War; Accidental Death of an Anarchist; Eight Miles High; Two; Much Ado About Nothing; Schweyk in the Second World War; Jerusalem; To Kill a Mockingbird; Antony and Cleopatra; As You Like It and The Tempest.
Television includes: Emmerdale; The Street; The Royal; Island at War; A Touch of Frost and Coronation Street.
Theatre includes: cover ‘Elder Cunningham’ and ‘Elder McKinley’ in The Book of Mormon (West End and UK/international tour); ‘Ernest Boulton/Stella’ in Fanny & Stella (Garden Theatre); ‘Angel’ and cover ‘Referee’ in Kinky Boots (Adelphi); The Oliviers in Concert (Royal Festival Hall); The Sound of Music (UK tour) and A Doll’s House (Leeds Playhouse).
Television includes: ‘Harry Hastings’ in The Royal and ‘Sam Denton’ in The Royal Today (ITV).
Film includes: ‘Angel’ in Kinky Boots: The Musical (Feature Film) and ‘Alex’ in Alex (Short Film).
Other credits include: ‘Michael’ in Stiles & Drewe’s Peter Pan (cast recording); ‘Toby’ in The Ascension of Mrs Leech (workshop) and ‘Death’ in Soul Music (workshop).
Theatre Includes: ensemble and Dance Captain in Berlin Berlin (Germany/tour); ensemble in Giovanni Pernice- This is Me (UK tour); ensemble & Dance Captain in Cinderella (Richmond Theatre); ‘Peter’ in Coppelia (KVN Dance Company) and ensemble in A Christmas Carol – The Musical (Winter Gardens, Blackpool).
Television includes: Classical Brit Awards – West Side Story (ITV) and Die Helene Fischer Show (ZDF).
Thomas would like to thank his friends and family for their constant support and is so excited to be a part of this incredible show.
Training: The Urdang Academy.
Theatre includes: Death Note the Musical in Concert (London Palladium and Lyric); The Greatest Night Of The Jazz Age (The Lost Estate); swing and understudy ‘Baby’ in Dirty Dancing (Dominion); Dance Captain and swing in South Pacific (Sadler’s Wells, UK tour and Chichester Festival); Dance Captain and swing in Top Hat (The Mill at Sonning); Remembering The Oscars (UK tour); Guys and Dolls (Sheffield Crucible Theatre); Rip It Up The 70s (UK tour); swing in The Bodyguard (UK tour and Vienna); swing in Grease (UK tour) and Mamma Mia! (Royal Caribbean).
Film Includes: Disenchanted (Walt Disney Productions) and The Princess Switch 3: Romancing The Star (Netflix).
Other work includes: Music video for Remember To Forget (Passenger); In Time Music (Self Esteem) and Eurovision (BBC).
Charlotte is thrilled to join the cast of Wicked and would like to dedicate her performance to her dad.
Television includes: cast member in Dance 100 (Netflix); core dancer at the MTV European Music Awards (for Kim Petras, David Guetta, Bebe Rexha and Gayle) and actor in the Boots Christmas advert (2019).
Other work includes: dancer for The Pussycat Doll’s Kimberly Wyatt’s Don’t Cha Disco (tour) red carpet dancer at the British Fashion Awards (for Billy Porter dressed by Richard Quinn); dancer for Tayce (The Clapham Grand); dancer / model for Ted Baker’s Street Party Sessions.
This is Freddie’s musical theatre debut. After enjoying Wicked in the West End numerous times as an audience member, he is beyond excited to get on stage and be immersed in the magic of Oz.
Training: London School of Musical Theatre & University of Manchester (Bachelor of Music).
Theatre whilst training includes: ‘Neil’ and Vocal Captain in Oregano; ensemble and Clarinettist in Carmen (workshop); ‘Florim’ in Under the Canvas Sky.
Theatre includes: Singer in Thursford Christmas Spectacular (2021 & 2022).
Other work includes: Tenor in The Wellermen (Lindblad/National Geographic Cruise performance); Lead in Tagline Quartet in Don’t Hate The Playaz and Britain’s Got More Talent (Live) (ITV2).
Training: Tring Park School for the Performing Arts.
Theatre includes: ‘Shoko Aizawa’ in The Garden of Words (Park Theatre); for New Adventures: ‘Feral’, ‘Miss Maddox’ and understudy ‘Aurora’ in Matthew Bourne’s Sleeping Beauty (UK & international tour); ‘Elisabetta’ in The Car Man (Royal Albert Hall); ‘Cupid’, ‘Marshmallow’ & cover ‘Clara’ in Matthew Bourne’s Nutcracker! (UK tour) and ‘Romanian Princess’ and ‘German Princess’ in Matthew Bourne’s Swan Lake (UK & international tour).
Film includes: for New Adventures: ‘Feral’ in Matthew Bourne’s Sleeping Beauty (2023); ‘Marshmallow’ in Matthew Bourne’s Nutcracker! (2022) and ‘Romanian Princess’ in Matthew Bourne’s Swan Lake (2019).
Other work includes: Tannery Series 002 campaign for Ecco Japan (2022) and short dance film Resilience for Tracing Movement directed and choreographed by Stuart Winter (2021).
Training: Patrick School of the Arts and Boxhill Institute Melbourne (Bachelor of Music).
Theatre includes: Death Note: The Musical (London Palladium and Cast Recording); swing and Assistant Dance Captain in The King and I (London Palladium, Tokyo Theatre Orb); Wicked (Apollo Victoria); Chess in Concert (Theatre Royal, Drury Lane); Thoroughly Modern Millie (UK tour); and Anything Goes (Sheffield Crucible and UK tour).
Television includes: contestant on The Voice Australia and The Jonathan Ross Show with Dame Edna (ITV).
Film includes: Mamma Mia! Here We Go Again and The King and I – Live from the London Palladium.
Other work includes: Associate Musical Director and pianist for Barry Humphries’ “Eat, Pray, Laugh!” farewell tour (London Palladium); Vanara (Concept Album).
Training: Laine Theatre Arts.
Theatre includes: Dance Captain and swing in Bugsy Malone (UK tour); Associate Choreographer for Something Rotten! (Wermland Opera, Sweden); ensemble in Wicked (10th and 15th Anniversary Companies, Apollo Victoria); Dance Captain in Beauty and the Beast (Oxford Playhouse); ‘Bill Bailey’ and u/s ‘Mungojerrie’ in Cats (UK tour); The Lion, the Witch and the Wardrobe (Kensington Gardens) and Anthems: The Concert with Kerry Ellis and Brian May (Royal Albert Hall).
Television includes: This Morning (ITV); The Apprentice; You’re Hired! (BBC); The Olivier Awards (Royal Albert Hall, ITV) and commercials for Adidas and Marks & Spencer.
Training: Laine Theatre Arts.
Theatre includes: Dance Captain and swing in Pretty Woman (Savoy); Assistant Dance Captain, swing and understudy ‘Corny Collins’ in Hairspray (London Coliseum); ‘Bobby C’ in Saturday Night Fever (UK tour and Tokyo); ‘Ruhrgold’ and understudy ‘Dustin’ in Starlight Express (30th Anniversary, Bochum, Germany); swing and understudy ‘Dustin’, ‘Components’ and ‘Engines’ in Starlight Express (Bochum, Germany); swing and understudy in Disaster (Charing Cross Theatre); ‘Lucky’ in Beauty And The Beast (Harlow Playhouse); ensemble in We Will Rock You (Royal Caribbean Cruise Line); ensemble and understudy ‘Dick’ in Dick Whittington (Wyvern Theatre, Swindon) and ensemble and understudy ‘King Rat’ in Dick Whittington (White Rock, Hastings).
Training: The Urdang Academy.
Theatre whilst training includes: Lead dancer in Can You Dance?; Dance Captain and dancer in Urdang DCP Dance Showcase (Urdang Academy).
Theatre includes: ensemble dancer in Treason the Musical (Theatre Royal, Drury Lane); dancer in West End Does Christmas (Cadogan Hall).
Television includes: dancer in Lil Icons’ Britain’s Got Talent semi-finals (Thames TV); dancer in S4C TAG (S4C Television).
Other work includes: dancer in Juggernaut Dance Video.
Rozz is delighted to join the cast of Wicked UK & Ireland Tour and hopes you all enjoy the show.
Training: Performance Preparation Academy.
Theatre whilst training includes: ‘Charlemagne’ in Pippin; ‘Frau Bergman’ in Spring Awakening and ensemble in Evita (Eve Lyons Theatre).
Theatre includes: ‘Barb’ in Stranger Sings! The Parody Musical (Offie nomination, The Vaults).
Concerts include: Roles We’ll Never Play (Vaudeville).
Georgia is beyond excited to be appearing in the Wicked UK & Ireland Tour. She would love to thank her family and friends for their continued support, as well as the Avenue Agents team.
Training: Mountview Academy of Theatre Arts and Guildford School of Acting.
Theatre whilst training includes: ‘John Hinckley Jr’ in Assassins; ‘Benny Southstreet’ in Guys and Dolls; ‘Monty’ in Violet; ‘Finley’ in Table and ‘Tevye’ in Fiddler on the Roof.
Theatre includes: ‘Charlie Rawlins’ Bedknobs and Broomsticks (World Premiere, UK tour); swing in A Christmas Carol (RSC) and ensemble in West Side Story (BBC Proms)
Conor is thrilled to be part of this production and would like to thank his family for their infinite love and support.
Training: Preston College and Tiffany’s Theatre College.
Theatre includes: Lead dancer in Aladdin (Thameside Theatre).
Other work includes: Performer at Global Village, Dubai; dancer at Primavera Sound, Barcelona; dancer on The Great British Bake Off (Channel 4).
Shereen is thrilled to join the ensemble of the Wicked UK & Ireland Tour. Shereen would like to thank her agent Alexander Baker management and her family and friends for their continued support.
Training: Stagestruck Academy and Performers College.
Theatre includes: Strictly Ballroom (UK and Ireland tour); Chess In Concert (Theatre Royal, Drury Lane); Carousel (Kilworth House); Starlight Express (Bochum, Germany); Come What May (UK tour); Remembering The Oscars (UK tour and filmed production); Dick Whittington (Bristol Hippodrome); ‘Roger’ in An Evening of Dirty Dancing (UK tour); Last Night A DJ Saved My Life (UK tour); Puttin’ On The Ritz (UK and Monaco tour). As Assistant Choreographer: Elf The Musical (Dubai); Jack And The Beanstalk (Hackney Empire) and WhatsOnStage awards.
Television includes: The Royals (E!); Semi-Finalist in Britain’s Got Talent, The X Factor and Ant & Dec’s Saturday Night Takeaway (ITV); Talk About You (Mika Music Video) and FA Cup Opening Ceremony.
Training: Performers College.
Theatre includes: Assistant Choreographer in Kin (King’s Cross); Dance Captain and swing in The Wizard of Oz (Leicester Curve); ensemble in Hairspray (UK tour); ensemble in Club Tropicana (UK tour); swing and ensemble in 42nd Street (Theatre Royal, Drury Lane); swing in Starlight Express (Germany); ensemble in Copacabana (UK tour); Puttin’ on the Ritz (Monte Carlo); Dance Captain in Jack and the Beanstalk (Hackney Empire) and Choreographer in The Roller Boys (Butlins). Television includes: The Olivier Awards 2018 (Royal Albert Hall, ITV); The One Show (BBC); This Morning (ITV); Tomorrow Morning (Musical Film) and Brave New World (Netflix).
Christina would like to thank her family and friends for their endless love and support.
Training: University of Chichester.
Theatre whilst training includes: ‘Gomez Addams’ in The Addams Family; ‘Henry Jekyll’ in Jekyll & Hyde‘ and ‘Quasimodo’ in Notre-Dame de Paris.
Theatre includes: ‘Knuckles’ in The Boy Who Sailed the Ocean in an Armchair (BEAM2023/Oxford Playhouse); ‘John the Carpenter’ in Crooked Spire (Pomegranate Theatre, Chesterfield) and ‘Prince Charming’ in Cinderella (Lowther Pavilion, Lytham St Annes).
Other work includes: ‘Mr Teasley/Stoker’ in The Stationmaster (Studio Cast Recording).
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Academy Award for Best Picture
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Annual award by the Academy of Motion Picture Arts and Sciences
Academy Award for Best PictureAwarded forBest Motion Picture of the YearCountryUnited StatesPresented byAcademy of Motion Picture Arts and Sciences (AMPAS)First awardedMay 16, 1929; 95 years ago ( ) (for films released during the 1927/1928 film season)Most recent winnerOppenheimer (2023)Websiteoscar .go .com /nominees /best-picture
The Academy Award for Best Picture is one of the Academy Awards (also known as Oscars) presented annually by the Academy of Motion Picture Arts and Sciences (AMPAS) since the awards debuted in 1929. This award goes to the producers of the film and is the only category in which every member of the Academy is eligible to submit a nomination and vote on the final ballot.[1] The Best Picture category is traditionally the final award of the night and is widely considered as the most prestigious honor of the ceremony.[2][3][4]
The Grand Staircase columns at the Dolby Theatre in Hollywood, where the Academy Awards ceremonies have been held since 2002, showcase every film that has won the Best Picture title since the award's inception.[5] There have been 601 films nominated for Best Picture and 96 winners.[6]
History
[edit]
Category name changes
[edit]
At the 1st Academy Awards ceremony held in 1929 (for films made in 1927 and 1928), there were two categories of awards that were each considered the top award of the night: "Outstanding Picture" and "Unique and Artistic Picture," the former being won by the war epic Wings, and the latter by the art film Sunrise. Each award was intended to honor different and equally important aspects of superior filmmaking. In particular, The Jazz Singer was disqualified from both awards, since its use of synchronized sound made the film a sui generis item that would have unfairly competed against either category, and the Academy granted the film an honorary award instead.[7]
The following year, the Academy dropped the Unique and Artistic Picture award, deciding retroactively that the award won by Wings was the highest honor that could be awarded, and allowed synchronized sound films to compete for the award.[8] Although the award kept the title Outstanding Picture for the next ceremony, the name underwent several changes over the years, as seen below. Since 1962, the award has been simply called Best Picture.[6]
1927/28–1928/29: Academy Award for Outstanding Picture
1929/30–1940: Academy Award for Outstanding Production
1941–1943: Academy Award for Outstanding Motion Picture
1944–1961: Academy Award for Best Motion Picture
1962–present: Academy Award for Best Picture
Recipients
[edit]
Until 1950, this award was presented to a representative of the production company. That year the protocol was changed so that the award was presented to all credited producers. This rule was modified in 1999 to apply a maximum limit of three producers receiving the award, after the five producers of Shakespeare in Love had received the award.[9][10][11]
As of 2020 , the "Special Rules for the Best Picture of the Year Award" limit recipients to those who meet two main requirements:[12]
Those with screen credit of "producer" or "produced by", explicitly excluding those with the screen credit "executive producer, co-producer, associate producer, line producer, or produced in association with"
those three or fewer producers who have performed the major portion of the producing functions
The rules allow a bona fide team of not more than two people to be considered a single "producer" if the two individuals have had an established producing partnership as determined by the Producers Guild of America Producing Partnership Panel. Final determination of the qualifying producer nominees for each nominated picture will be made by the Producers Branch Executive Committee, including the right to name any additional qualified producer as a nominee.[12]
The Academy can make exceptions to the limit, as when Anthony Minghella and Sydney Pollack were posthumously included among the four producers nominated for The Reader.[13] As of 2014 the Producers Branch Executive Committee determines such exceptions, noting they take place only in "rare and extraordinary circumstance[s]."[12]
Steven Spielberg currently holds the record for most nominations at thirteen, winning one, while Kathleen Kennedy holds the record for most nominations without a win at eight. Sam Spiegel and Saul Zaentz tie for the most wins with three each. As for the time when the Oscar was given to production companies instead, Metro-Goldwyn-Mayer holds the record with five wins and 40 nominations.
Best Picture and Best Director
[edit]
The Academy Awards for Best Picture and Best Director have been closely linked throughout their history. Of the 96 films that have won Best Picture, 69 have also been awarded Best Director. Only six films have been awarded Best Picture without receiving a Best Director nomination: Wings directed by William A. Wellman (1927/28), Grand Hotel directed by Edmund Goulding (1931/32), Driving Miss Daisy directed by Bruce Beresford (1989), Argo directed by Ben Affleck (2012), Green Book directed by Peter Farrelly (2018), and CODA directed by Sian Heder (2021). The only two Best Director winners to win for films that did not receive a Best Picture nomination were during the early years of the awards: Lewis Milestone for Two Arabian Knights (1927/28), and Frank Lloyd for The Divine Lady (1928/29).[14]
Nomination limit increased
[edit]
On June 24, 2009, AMPAS announced that the number of films to be nominated in the Best Picture award category would increase from 5 to 10, starting with the 82nd Academy Awards (2009).[15] Although the Academy never officially said so, many commenters noted the expansion was likely in part a response to public criticism of The Dark Knight and WALL-E (both 2008) (and, in previous years, other blockbusters and popular films) not being nominated for Best Picture.[16][17][18] Officially, the Academy said the rule change was a throwback to the Academy's early years in the 1930s and 1940s, when 8 to 12 films were nominated each year. "Having 10 Best Picture nominees is going to allow Academy voters to recognize and include some of the fantastic movies that often show up in the other Oscar categories but have been squeezed out of the race for the top prize," AMPAS President Sid Ganis said in a press conference. "I can't wait to see what that list of 10 looks like when the nominees are announced in February."[15]
At the same time, the voting system was switched from first-past-the-post to instant runoff voting (also known as preferential voting).[19] In 2011, the Academy revised the rule again so that the number of films nominated was between 5 and 10; nominated films must earn either 5% of first-place rankings or 5% after an abbreviated variation of the single transferable vote nominating process.[20] Bruce Davis, the Academy executive director at the time, said, "A Best Picture nomination should be an indication of extraordinary merit. If there are only eight pictures that truly earn that honor in a given year, we shouldn't feel an obligation to round out the number."[21] This system lasted until 2021, when the Academy reverted back to a set number of ten nominees from the 94th Academy Awards onward.[22]
Language and country of origin
[edit]
Only seventeen non-English language films have been nominated in the category: La Grande Illusion (French, 1938); Z (French, 1969); The Emigrants (Swedish, 1972); Cries and Whispers (Swedish, 1973); The Postman (Il Postino) (Italian/Spanish, 1995); Life Is Beautiful (Italian, 1998); Crouching Tiger, Hidden Dragon (Mandarin Chinese, 2000); Letters from Iwo Jima (Japanese, 2006, but ineligible for Best Foreign Language Film because it was an American production); Amour (French, 2012); Roma (Spanish/Mixtec, 2018); Parasite (Korean, 2019); Minari (Korean, 2020, but ineligible for Best International Feature Film because it was an American production);[23] Drive My Car (Japanese/Korean/Mandarin Chinese/German/Korean Sign Language, 2021), All Quiet on the Western Front (German, 2022), Anatomy of a Fall (French, 2023), Past Lives (Korean, 2023, but ineligible for Best International Feature Film because it was an American production), and The Zone of Interest (German/Polish/Yiddish, 2023). Parasite became the first film not in English to win Best Picture.[24][25]
Only ten films wholly financed outside the United States have won Best Picture, eight of which were financed, in part or in whole, by the United Kingdom: Hamlet (1948), Tom Jones (1963), A Man for All Seasons (1966), Chariots of Fire (1981), Gandhi (1982), The Last Emperor (1987), Slumdog Millionaire (2008), and The King's Speech (2010). The ninth film, The Artist (2011), was financed in France, and the tenth film, Parasite (2019), was financed in South Korea.[26]
Rating
[edit]
Since 1968, most Best Picture winners have been rated R under the Motion Picture Association's rating system. Oliver! is the only G-rated film and Midnight Cowboy is the only X-rated film (what is categorized as an NC-17 film today), so far, to win Best Picture; they won in back-to-back years, 1968 and 1969. The latter has since been changed to an R rating. Eleven films have won with a PG rating: the first was Patton (1970) and the most recent was Driving Miss Daisy (1989). Eleven more films have won with a PG-13 rating (which was introduced in 1984): the first was The Last Emperor (1987) and the most recent was CODA (2021).
Genres and mediums
[edit]
Only three animated films have been nominated for Best Picture: Beauty and the Beast (1991), Up (2009) and Toy Story 3 (2010). The latter two were nominated after the Academy expanded the number of nominees, but none have won.
No comic book film has won, and only three have ever been nominated: Skippy (1931), Black Panther (2018), and Joker (2019).[27]
Only two fantasy films have won: The Lord of the Rings: The Return of the King (2003) and The Shape of Water (2017), although more have been nominated.
The Silence of the Lambs (1991) is the only horror film to win Best Picture, and only five others have been nominated for Best Picture: The Exorcist (1973), Jaws (1975), The Sixth Sense (1999), Black Swan (2010), and Get Out (2017).
Several science-fiction films have been nominated for Best Picture, though Everything Everywhere All at Once (2022) was the first one to win.[28]
Titanic (1997) is the only disaster film to win Best Picture, though other such films have been nominated, including Airport (1970) and The Towering Inferno (1974).
No documentary feature has been nominated for Best Picture, however Chang was nominated in the equally prestigious Unique and Artistic Picture category at the 1927/28 awards. A Best Documentary Feature category would later be introduced in 1941.
Several musical adaptations based on material previously filmed in non-musical form have won Best Picture, including Gigi, West Side Story, My Fair Lady, The Sound of Music, Oliver!, and Chicago.
Several epics or historical epic films have won Best Picture, including the first recipient Wings. Others include Cimarron, Cavalcade, Gone with the Wind, The Bridge on the River Kwai, Ben-Hur, Lawrence of Arabia, Patton, The Godfather, The Godfather Part II, The Last Emperor, Dances with Wolves, Schindler's List, Forrest Gump, Braveheart, The English Patient, Titanic, Gladiator, The Lord of the Rings: The Return of the King, and Oppenheimer.
Sequel nominations and winners
[edit]
Nine films that were presented as direct sequels have been nominated for Best Picture: The Bells of St. Mary's (1945; the sequel to the 1944 winner, Going My Way), The Godfather Part II (1974), The Godfather Part III (1990), The Lord of the Rings: The Two Towers (2002), The Lord of the Rings: The Return of the King (2003), Toy Story 3 (2010), Mad Max: Fury Road (2015), Avatar: The Way of Water (2022) and Top Gun: Maverick (2022).
Toy Story 3, Mad Max: Fury Road and Top Gun: Maverick are the only sequels to be nominated without any predecessors being nominated. The Godfather Part II and The Lord of the Rings: The Return of the King are the only sequels to have won the award, and their respective trilogies are the only series to have three films nominated. The Godfather series is the only film series with multiple Best Picture winners, with the first film winning the award for 1972 and the second film winning the award for 1974.[23]
Another nominee, Broadway Melody of 1936, was a follow-up of sorts to previous winner The Broadway Melody, but beyond the title and some music, the two films have mutually independent stories. The Silence of the Lambs was adapted from the sequel novel to Red Dragon. The latter had been adapted for film as Manhunter by a different studio, and the two films have different casts and creative teams and were not presented as a series.[29]
The Lion in Winter features Peter O'Toole as King Henry II, a role he had played previously in the film Becket, but The Lion in Winter is not a sequel to Becket. Similarly, The Queen features Michael Sheen as Tony Blair, a role he had played previously in the television film The Deal. Christine Langan, producer of both productions, described The Queen as not being a direct sequel, only that it reunited the same creative team.[30]
Clint Eastwood's Letters from Iwo Jima was a companion piece to his film Flags of Our Fathers that was released earlier the same year. These two films depict the same battle from the different viewpoints of Japanese and United States military forces; the two films were shot back-to-back.
In addition, Black Panther is a continuation of the events that occurred in Captain America: Civil War and the Marvel Cinematic Universe.
Remake nominations and winners
[edit]
Along similar lines to sequels, there have been few nominees and winners that are either remakes or adaptations of the same source materials or subjects. Ben-Hur, which won Best Picture of 1959, is a remake of the 1925 silent film with a similar title and both were adapted from Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ. The Departed, which won Best Picture of 2006, is a remake of the 2002 Hong Kong film Infernal Affairs and is the first remake of a non-English language or international film to win. Other nominees include 1963's Cleopatra about the titular last queen of Egypt following the 1934 version, 2018's A Star is Born following the 1937 film of the same name, and 2019's Little Women following the 1933 film of the same name with both being adaptations of the 1868 novel.[31] True Grit, which was nominated for Best Picture of 2010, is the second adaptation of Charles Portis's 1968 novel following the 1969 film of the same name.
Four of the nominees for the 94th ceremony were based on source material previously made into films: CODA, Dune, Nightmare Alley, and West Side Story. The 2021 version of West Side Story became the second adaptation of the same source material for a previous Best Picture winner to be nominated for the same award after 1962's Mutiny on the Bounty.[32] For that same ceremony, CODA became the second remake of a non-English-language or international film to win.
The 2022 German-language All Quiet on the Western Front is the second adaptation of the 1929 novel after the 1930 English-language film, and the third adaptation of the same source material of a previous Best Picture winner.[33]
Silent film winners
[edit]
At the 1st Academy Awards, the Best Picture award (then named "Academy Award for Outstanding Picture") was presented to the 1927 silent film Wings.
The Artist (2011) was the first essentially silent (with the exception of a single scene of dialogue, and a dream sequence with sound effects) film since Wings to win Best Picture. It was the first silent nominee since 1928's The Patriot. It was the first Best Picture winner to be produced entirely in black-and-white since 1960's The Apartment. (Schindler's List, the 1993 winner, was predominantly black-and-white but contains some color sequences.)[26]
Version availability
[edit]
No Best Picture winner has been lost, though a few such as All Quiet on the Western Front and Lawrence of Arabia exist only in a form altered from their original, award-winning release form. This has usually been due to editing for reissue (and subsequently partly restored by archivists). Other winners and nominees, such as Tom Jones (prior to its 2018 reissues by The Criterion Collection and the British Film Institute) and Star Wars, are widely available only in subsequently altered versions. The Broadway Melody originally had some sequences photographed in two-color Technicolor. This footage survives only in black and white.[34]
The 1928 film The Patriot is the only Best Picture nominee that is lost (about one-third is extant).[35] The Racket, also from 1928, was believed lost for many years until a print was found in Howard Hughes' archives. It has since been restored and shown on Turner Classic Movies.[36] The only surviving complete prints of 1931's East Lynne and 1934's The White Parade exist within the UCLA film archive.[37]
Diversity standards
[edit]
The Academy has established a set of "representation and inclusion standards", called Academy Aperture 2025, which a film will be required to satisfy in order to compete in the Best Picture category, starting with the 96th Academy Awards for films released in 2023.[38][39] There are four general standards, of which a film must satisfy two to be considered for Best Picture: (a) on-screen representation, themes and narratives; (b) creative leadership and project team; (c) industry access and opportunities; and (d) audience development.[38] As explained by Vox, the standards "basically break down into two big buckets: standards promoting more inclusive representation and standards promoting more inclusive employment".[40] The standards are intended to provide greater opportunities for employment, in cast, crew, studio apprenticeships and internships, and development, marketing, publicity, and distribution executives, among underrepresented racial and ethnic groups, women, LGBTQ+ people, and persons with cognitive or physical disabilities (not counting intellectual disabilities like the autism spectrum), or who are deaf or hard of hearing.[38][41]
For the 94th and 95th Academy Awards (films released in 2021 and 2022), filmmakers were required to submit a confidential Academy Inclusion Standards form to be considered for Best Picture but were not required to fulfill the standards.[40] These standards will only apply to the Best Picture category and do not affect a film's eligibility in other Oscar categories.[38]
2016 ceremony mistake
[edit]
At the 89th Academy Awards on February 26, 2017, presenter Faye Dunaway read La La Land as the winner of the award. However, she and Warren Beatty had mistakenly been given the duplicate envelope for the "Best Actress in a Leading Role" award, which Emma Stone had won for her role in La La Land. While accepting the award, La La Land producer Jordan Horowitz, who was given the correct envelope, realized the mistake and announced that Moonlight had won the award.[42]
Winners and nominees
[edit]
In the list below, winners are listed first in the gold row, followed by the other nominees.[6] Except for the early years (when the Academy used a non-calendar year), the year shown is the one in which the film first premiered in Los Angeles County, California; normally this is also the year of first release; however, it may be the year after first release (as with Casablanca and, if the film-festival premiere is considered, Crash and The Hurt Locker). This is also the year before the ceremony at which the award is given; for example, a film exhibited theatrically during 2005 was eligible for consideration for the 2005 Best Picture Oscar, awarded in 2006. The number of the ceremony (1st, 2nd, etc.) appears in parentheses after the awards year, linked to the article on that ceremony. Each individual entry shows the title followed by nominee.
Until 1950, the Best Picture award was given to the production company; from 1951 on, it has gone to the producer or producers. The Academy used the producer credits of the Producers Guild of America (PGA) until 1998, when all five producers of Shakespeare in Love made speeches after its win.[9][10] A three-producer limit has been applied some years since.[10][11] There was controversy over the exclusion of some PGA-credited producers of Crash and Little Miss Sunshine.[11] The Academy can make exceptions to the limit, as when Anthony Minghella and Sydney Pollack were posthumously among the four nominated for The Reader.[13] However, now any number of producers on a film can be nominated for Best Picture, should they be deemed eligible.
For the first ceremony, three films were nominated for the award. For the following three years, five films were nominated for the award. This was expanded to eight in 1933, to ten in 1934, and to twelve in 1935, before being dropped back to ten in 1937. In 1945, it was further reduced to five. This number remained until 2009, when the limit was raised to ten; it was adjusted from 2011 to 2020 to vary between five and ten, but has been a full ten since 2022.
For the first six ceremonies, the eligibility period spanned two calendar years. For example, the 2nd Academy Awards presented on April 3, 1930, recognized films that were released between August 1, 1928, and July 31, 1929. Starting with the 7th Academy Awards, held in 1935, the period of eligibility became the full previous calendar year from January 1 to December 31. This has been the rule every year since except 2020, when the end date was extended to February 28, 2021, due to the COVID-19 pandemic, and 2021, which was correspondingly limited to March 1 to December 31.
indicates the winner
1920s
[edit]
Year of Film Release Film Film Studio 1927/28
(1st) Wings Famous Players–Lasky (Lucien Hubbard, Jesse L. Lasky, B.P. Schulberg, & Adolph Zukor, producers) 7th Heaven Fox (William Fox, producer) The Racket The Caddo Company (Howard Hughes, producer) 1928/29
(2nd)
[a] The Broadway Melody Metro-Goldwyn-Mayer (Irving Thalberg & Lawrence Weingarten, producers) Alibi Feature Productions (Roland West, producer) Hollywood Revue Metro-Goldwyn-Mayer (Irving Thalberg & Harry Rapf, producers) In Old Arizona Fox (Winfield Sheehan, producer) The Patriot Paramount Famous Lasky
1930s
[edit]
Year of Film Release Film Film Studio/Producer(s) 1929/30
(3rd) All Quiet on the Western Front Universal (Carl Laemmle Jr., producer) The Big House Cosmopolitan (Irving Thalberg, producer) Disraeli Warner Bros. (Jack L. Warner & Darryl F. Zanuck, producers) The Divorcee Metro-Goldwyn-Mayer (Robert Z. Leonard, producer) The Love Parade Paramount Famous Lasky (Ernst Lubitsch, producer) 1930/31
(4th) Cimarron RKO Radio (William LeBaron, producer) East Lynne Fox The Front Page The Caddo Company (Howard Hughes & Lewis Milestone, producers) Skippy Paramount Publix (Jesse L. Lasky, B.P. Schulberg, & Adolph Zukor, producers) Trader Horn Metro-Goldwyn-Mayer (Irving Thalberg, producer) 1931/32
(5th) Grand Hotel Metro-Goldwyn-Mayer (Irving Thalberg, producer) Arrowsmith Samuel Goldwyn Productions (Samuel Goldwyn, producer) Bad Girl Fox The Champ Metro-Goldwyn-Mayer (King Vidor, producer) Five Star Final First National (Hal B. Wallis, producer) One Hour with You Paramount Publix (Ernst Lubitsch, producer) Shanghai Express Paramount Publix (Adolph Zukor, producer) The Smiling Lieutenant Paramount Publix (Ernst Lubitsch, producer) 1932/33
(6th)
[b] Cavalcade Fox (Frank Lloyd & Winfield Sheehan, producers) 42nd Street Warner Bros. A Farewell to Arms Paramount I Am a Fugitive from a Chain Gang Warner Bros. Lady for a Day Columbia Little Women RKO Radio The Private Life of Henry VIII London Films She Done Him Wrong Paramount Smilin' Through Metro-Goldwyn-Mayer State Fair Fox 1934
(7th)
[c] It Happened One Night Columbia (Frank Capra & Harry Cohn, producer) The Barretts of Wimpole Street Metro-Goldwyn-Mayer Cleopatra Paramount Flirtation Walk First National The Gay Divorcee RKO Radio Here Comes the Navy Warner Bros. The House of Rothschild 20th Century Imitation of Life Universal One Night of Love Columbia The Thin Man Metro-Goldwyn-Mayer Viva Villa! Metro-Goldwyn-Mayer The White Parade Jesse L. Lasky (production company) 1935
(8th)
[d] Mutiny on the Bounty Metro-Goldwyn-Mayer (Frank Lloyd & Irving Thalberg, producers) Alice Adams RKO Radio Broadway Melody of 1936 Metro-Goldwyn-Mayer Captain Blood Cosmopolitan David Copperfield Metro-Goldwyn-Mayer The Informer RKO Radio The Lives of a Bengal Lancer Paramount A Midsummer Night's Dream Warner Bros. Les Misérables 20th Century Naughty Marietta Metro-Goldwyn-Mayer Ruggles of Red Gap Paramount Top Hat RKO Radio 1936
(9th) The Great Ziegfeld Metro-Goldwyn-Mayer (Hunt Stromberg, producer) Anthony Adverse Warner Bros. Dodsworth Samuel Goldwyn Productions (Samuel Goldwyn, producer) Libeled Lady Metro-Goldwyn-Mayer Mr. Deeds Goes to Town Columbia Romeo and Juliet Metro-Goldwyn-Mayer San Francisco Metro-Goldwyn-Mayer The Story of Louis Pasteur Cosmopolitan A Tale of Two Cities Metro-Goldwyn-Mayer Three Smart Girls Universal 1937
(10th) The Life of Emile Zola Warner Bros. (Henry Blanke, producer) The Awful Truth Columbia Captains Courageous Metro-Goldwyn-Mayer Dead End Samuel Goldwyn Productions (Samuel Goldwyn, producer) The Good Earth Metro-Goldwyn-Mayer In Old Chicago 20th Century-Fox Lost Horizon Columbia One Hundred Men and a Girl Universal Stage Door RKO Radio A Star Is Born Selznick International Pictures 1938
(11th) You Can't Take It with You Columbia (Frank Capra, producer) The Adventures of Robin Hood Warner Bros.-First National Alexander's Ragtime Band 20th Century-Fox Boys Town Metro-Goldwyn-Mayer The Citadel Metro-Goldwyn-Mayer Four Daughters Warner Bros.-First National Grand Illusion Réalisation d'art Cinématographique Jezebel Warner Bros. Pygmalion Metro-Goldwyn-Mayer Test Pilot Metro-Goldwyn-Mayer 1939
(12th) Gone with the Wind Selznick International Pictures (David O. Selznick, producer) Dark Victory Warner Bros.-First National Goodbye, Mr. Chips Metro-Goldwyn-Mayer Love Affair RKO Radio Mr. Smith Goes to Washington Columbia Ninotchka Metro-Goldwyn-Mayer Of Mice and Men Hal Roach (production company) Stagecoach Walter Wanger (production company) The Wizard of Oz Metro-Goldwyn-Mayer Wuthering Heights Samuel Goldwyn Productions
1940s
[edit]
Year of Film Release Film Film Studio 1940
(13th) Rebecca Selznick International Pictures (David O. Selznick, producer) All This, and Heaven Too Warner Bros. Foreign Correspondent Walter Wanger (production company) The Grapes of Wrath 20th Century-Fox The Great Dictator Charles Chaplin Productions Kitty Foyle RKO Radio The Letter Warner Bros. The Long Voyage Home Argosy-Wanger Our Town Sol Lesser (production company) The Philadelphia Story Metro-Goldwyn-Mayer 1941
(14th) How Green Was My Valley 20th Century-Fox (Darryl F. Zanuck, producer) Blossoms in the Dust Metro-Goldwyn-Mayer Citizen Kane Mercury Here Comes Mr. Jordan Columbia Hold Back the Dawn Paramount The Little Foxes Samuel Goldwyn Productions (Samuel Goldwyn, producer) The Maltese Falcon Warner Bros. One Foot in Heaven Warner Bros. Sergeant York Warner Bros. Suspicion RKO Radio 1942
(15th) Mrs. Miniver Metro-Goldwyn-Mayer (Sidney Franklin, producer) 49th Parallel[43] Ortus Kings Row Warner Bros. The Magnificent Ambersons Mercury The Pied Piper 20th Century-Fox The Pride of the Yankees Samuel Goldwyn Productions (Samuel Goldwyn, producer) Random Harvest Metro-Goldwyn-Mayer The Talk of the Town Columbia Wake Island Paramount Yankee Doodle Dandy Warner Bros. 1943
(16th) Casablanca Warner Bros. (Hal B. Wallis, producer) For Whom the Bell Tolls Paramount Heaven Can Wait 20th Century-Fox The Human Comedy Metro-Goldwyn-Mayer In Which We Serve Two Cities Films Madame Curie Metro-Goldwyn-Mayer The More the Merrier Columbia The Ox-Bow Incident 20th Century-Fox The Song of Bernadette 20th Century-Fox Watch on the Rhine Warner Bros. 1944
(17th)
Going My Way Paramount (Leo McCarey, producer) Double Indemnity Paramount Gaslight Metro-Goldwyn-Mayer Since You Went Away Selznick International Pictures (David O. Selznick, producer) Wilson 20th Century-Fox 1945
(18th) The Lost Weekend Paramount (Charles Brackett, producer) Anchors Aweigh Metro-Goldwyn-Mayer The Bells of St. Mary's Rainbow Productions Mildred Pierce Warner Bros. Spellbound Selznick International Pictures (David O. Selznick, producer) 1946
(19th) The Best Years of Our Lives Samuel Goldwyn Productions (Samuel Goldwyn, producer) Henry V Two Cities Films It's a Wonderful Life Liberty Films The Razor's Edge 20th Century-Fox The Yearling Metro-Goldwyn-Mayer 1947
(20th) Gentleman's Agreement 20th Century-Fox (Darryl F. Zanuck, producer) The Bishop's Wife Samuel Goldwyn Productions (Samuel Goldwyn, producer) Crossfire RKO Radio Great Expectations J. Arthur Rank-Cineguild Miracle on 34th Street 20th Century-Fox 1948
(21st) Hamlet J. Arthur Rank-Two Cities Films (Laurence Olivier, producer) Johnny Belinda Warner Bros. The Red Shoes J. Arthur Rank-Archers The Snake Pit 20th Century-Fox The Treasure of the Sierra Madre Warner Bros. 1949
(22nd) All the King's Men Columbia (Robert Rossen, producer) Battleground Metro-Goldwyn-Mayer The Heiress Paramount A Letter to Three Wives 20th Century-Fox Twelve O'Clock High 20th Century-Fox
1950s
[edit]
Year of Film Release Film Film Studio/Producer(s) 1950
(23rd) All About Eve 20th Century-Fox (Darryl F. Zanuck, producer) Born Yesterday Columbia Father of the Bride Metro-Goldwyn-Mayer King Solomon's Mines Metro-Goldwyn-Mayer Sunset Boulevard Paramount 1951
(24th) An American in Paris Arthur Freed Decision Before Dawn Anatole Litvak and Frank McCarthy A Place in the Sun George Stevens Quo Vadis Sam Zimbalist A Streetcar Named Desire Charles K. Feldman 1952
(25th) The Greatest Show on Earth Cecil B. DeMille High Noon Stanley Kramer Ivanhoe Pandro S. Berman Moulin Rouge John and James Woolf The Quiet Man John Ford and Merian C. Cooper 1953
(26th) From Here to Eternity Buddy Adler Julius Caesar John Houseman The Robe Frank Ross Roman Holiday William Wyler Shane George Stevens 1954
(27th) On the Waterfront Sam Spiegel The Caine Mutiny Stanley Kramer The Country Girl William Perlberg Seven Brides for Seven Brothers Jack Cummings Three Coins in the Fountain Sol C. Siegel 1955
(28th) Marty Harold Hecht Love Is a Many-Splendored Thing Buddy Adler Mister Roberts Leland Hayward Picnic Fred Kohlmar The Rose Tattoo Hal B. Wallis 1956
(29th) Around the World in 80 Days Michael Todd Friendly Persuasion William Wyler Giant George Stevens and Henry Ginsberg The King and I Charles Brackett The Ten Commandments Cecil B. DeMille 1957
(30th) The Bridge on the River Kwai Sam Spiegel 12 Angry Men Henry Fonda and Reginald Rose Peyton Place Jerry Wald Sayonara William Goetz Witness for the Prosecution Arthur Hornblow Jr. 1958
(31st) Gigi Arthur Freed Auntie Mame Jack L. Warner Cat on a Hot Tin Roof Lawrence Weingarten The Defiant Ones Stanley Kramer Separate Tables Harold Hecht 1959
(32nd) Ben-Hur Sam Zimbalist Anatomy of a Murder Otto Preminger The Diary of Anne Frank George Stevens The Nun's Story Henry Blanke Room at the Top John Woolf and James Woolf
1960s
[edit]
Year of Film Release Film Producer(s) 1960
(33rd) The Apartment Billy Wilder The Alamo John Wayne Elmer Gantry Bernard Smith Sons and Lovers Jerry Wald The Sundowners Fred Zinnemann 1961
(34th) West Side Story Robert Wise Fanny Joshua Logan The Guns of Navarone Carl Foreman The Hustler Robert Rossen Judgment at Nuremberg Stanley Kramer 1962
(35th)
Lawrence of Arabia Sam Spiegel The Longest Day Darryl F. Zanuck The Music Man Morton DaCosta Mutiny on the Bounty Aaron Rosenberg To Kill a Mockingbird Alan J. Pakula 1963
(36th) Tom Jones Tony Richardson America America Elia Kazan Cleopatra Walter Wanger How the West Was Won Bernard Smith Lilies of the Field Ralph Nelson 1964
(37th) My Fair Lady Jack L. Warner Becket Hal B. Wallis Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb Stanley Kubrick Mary Poppins Walt Disney and Bill Walsh Zorba the Greek Michael Cacoyannis 1965
(38th) The Sound of Music Robert Wise Darling Joseph Janni Doctor Zhivago Carlo Ponti Ship of Fools Stanley Kramer A Thousand Clowns Fred Coe 1966
(39th) A Man for All Seasons Fred Zinnemann Alfie Lewis Gilbert The Russians Are Coming, the Russians Are Coming Norman Jewison The Sand Pebbles Robert Wise Who's Afraid of Virginia Woolf? Ernest Lehman 1967
(40th) In the Heat of the Night Walter Mirisch Bonnie and Clyde Warren Beatty Doctor Dolittle Arthur P. Jacobs The Graduate Lawrence Turman Guess Who's Coming to Dinner Stanley Kramer 1968
(41st) Oliver! John Woolf Funny Girl Ray Stark The Lion in Winter Martin Poll Rachel, Rachel Paul Newman Romeo and Juliet Anthony Havelock-Allan and John Brabourne 1969
(42nd) Midnight Cowboy Jerome Hellman Anne of the Thousand Days Hal B. Wallis Butch Cassidy and the Sundance Kid John Foreman Hello, Dolly! Ernest Lehman Z Jacques Perrin and Ahmed Rachedi
1970s
[edit]
Year of Film Release Film Producer(s) 1970
(43rd) Patton Frank McCarthy Airport Ross Hunter Five Easy Pieces Bob Rafelson and Richard Wechsler Love Story Howard G. Minsky M*A*S*H Ingo Preminger 1971
(44th) The French Connection Philip D'Antoni A Clockwork Orange Stanley Kubrick Fiddler on the Roof Norman Jewison The Last Picture Show Stephen J. Friedman Nicholas and Alexandra Sam Spiegel 1972
(45th) The Godfather Albert S. Ruddy Cabaret Cy Feuer Deliverance John Boorman The Emigrants Bengt Forslund Sounder Robert B. Radnitz 1973
(46th) The Sting Tony Bill, Michael Phillips, and Julia Phillips American Graffiti Francis Ford Coppola and Gary Kurtz Cries and Whispers Ingmar Bergman The Exorcist William Peter Blatty A Touch of Class Melvin Frank 1974
(47th) The Godfather Part II Francis Ford Coppola, Gray Frederickson, and Fred Roos Chinatown Robert Evans The Conversation Francis Ford Coppola Lenny Marvin Worth The Towering Inferno Irwin Allen 1975
(48th) One Flew Over the Cuckoo's Nest Michael Douglas and Saul Zaentz Barry Lyndon Stanley Kubrick Dog Day Afternoon Martin Bregman and Martin Elfand Jaws Richard D. Zanuck and David Brown Nashville Robert Altman 1976
(49th) Rocky Irwin Winkler and Robert Chartoff All the President's Men Walter Coblenz Bound for Glory Robert F. Blumofe and Harold Leventhal Network Howard Gottfried Taxi Driver Michael Phillips and Julia Phillips 1977
(50th) Annie Hall Charles H. Joffe The Goodbye Girl Ray Stark Julia Richard Roth Star Wars Gary Kurtz The Turning Point Herbert Ross and Arthur Laurents 1978
(51st) The Deer Hunter Barry Spikings, Michael Deeley, Michael Cimino, and John Peverall Coming Home Jerome Hellman Heaven Can Wait Warren Beatty Midnight Express Alan Marshall and David Puttnam An Unmarried Woman Paul Mazursky and Anthony Ray 1979
(52nd) Kramer vs. Kramer Stanley R. Jaffe All That Jazz Robert Alan Aurthur Apocalypse Now Francis Ford Coppola, Fred Roos, Gray Frederickson, and Tom Sternberg Breaking Away Peter Yates Norma Rae Tamara Asseyev and Alex Rose
1980s
[edit]
Year of Film Release Film Producer(s) 1980
(53rd) Ordinary People Ronald L. Schwary Coal Miner's Daughter Bernard Schwartz The Elephant Man Jonathan Sanger Raging Bull Irwin Winkler and Robert Chartoff Tess Claude Berri and Timothy Burrill 1981
(54th) Chariots of Fire David Puttnam Atlantic City Denis Héroux On Golden Pond Bruce Gilbert Raiders of the Lost Ark Frank Marshall Reds Warren Beatty 1982
(55th) Gandhi Richard Attenborough E.T. the Extra-Terrestrial Steven Spielberg and Kathleen Kennedy Missing Edward Lewis and Mildred Lewis Tootsie Sydney Pollack and Dick Richards The Verdict Richard D. Zanuck and David Brown 1983
(56th) Terms of Endearment James L. Brooks The Big Chill Michael Shamberg The Dresser Peter Yates The Right Stuff Irwin Winkler and Robert Chartoff Tender Mercies Philip S. Hobel 1984
(57th) Amadeus Saul Zaentz The Killing Fields David Puttnam A Passage to India John Brabourne and Richard B. Goodwin Places in the Heart Arlene Donovan A Soldier's Story Norman Jewison, Ronald L. Schwary, and Patrick Palmer 1985
(58th) Out of Africa Sydney Pollack The Color Purple Steven Spielberg, Kathleen Kennedy, Frank Marshall, and Quincy Jones Kiss of the Spider Woman David Weisman Prizzi's Honor John Foreman Witness Edward S. Feldman 1986
(59th) Platoon Arnold Kopelson Children of a Lesser God Burt Sugarman and Patrick J. Palmer Hannah and Her Sisters Robert Greenhut The Mission Fernando Ghia and David Puttnam A Room with a View Ismail Merchant 1987
(60th) The Last Emperor Jeremy Thomas Broadcast News James L. Brooks Fatal Attraction Stanley R. Jaffe and Sherry Lansing Hope and Glory John Boorman Moonstruck Patrick J. Palmer and Norman Jewison 1988
(61st) Rain Man Mark Johnson The Accidental Tourist Lawrence Kasdan, Charles Okun, and Michael Grillo Dangerous Liaisons Norma Heyman and Hank Moonjean Mississippi Burning Frederick Zollo and Robert F. Colesberry Working Girl Douglas Wick 1989
(62nd) Driving Miss Daisy Richard D. Zanuck and Lili Fini Zanuck Born on the Fourth of July A. Kitman Ho and Oliver Stone Dead Poets Society Steven Haft, Paul Junger Witt, and Tony Thomas Field of Dreams Lawrence Gordon and Charles Gordon My Left Foot Noel Pearson
1990s
[edit]
Year of Film Release Film Producer(s) 1990
(63rd) Dances with Wolves Jim Wilson and Kevin Costner Awakenings Walter Parkes and Lawrence Lasker Ghost Lisa Weinstein The Godfather Part III Francis Ford Coppola Goodfellas Irwin Winkler 1991
(64th) The Silence of the Lambs Edward Saxon, Kenneth Utt, and Ron Bozman Beauty and the Beast Don Hahn Bugsy Mark Johnson, Barry Levinson and Warren Beatty JFK A. Kitman Ho and Oliver Stone The Prince of Tides Barbra Streisand and Andrew S. Karsch 1992
(65th) Unforgiven Clint Eastwood The Crying Game Stephen Woolley A Few Good Men David Brown, Rob Reiner, and Andrew Scheinman Howards End Ismail Merchant Scent of a Woman Martin Brest 1993
(66th) Schindler's List Steven Spielberg, Gerald R. Molen, and Branko Lustig The Fugitive Arnold Kopelson In the Name of the Father Jim Sheridan The Piano Jan Chapman The Remains of the Day Mike Nichols, John Calley, and Ismail Merchant 1994
(67th) Forrest Gump Wendy Finerman, Steve Tisch, and Steve Starkey Four Weddings and a Funeral Duncan Kenworthy Pulp Fiction Lawrence Bender Quiz Show Michael Jacobs, Julian Krainin, Michael Nozik, and Robert Redford The Shawshank Redemption Niki Marvin 1995
(68th) Braveheart Mel Gibson, Alan Ladd Jr., and Bruce Davey Apollo 13 Brian Grazer Babe Bill Miller, George Miller, and Doug Mitchell The Postman (Il Postino) Mario Cecchi Gori, Vittorio Cecchi Gori, and Gaetano Daniele Sense and Sensibility Lindsay Doran 1996
(69th) The English Patient Saul Zaentz Fargo Ethan Coen Jerry Maguire James L. Brooks, Laurence Mark, Richard Sakai, and Cameron Crowe Secrets & Lies Simon Channing-Williams Shine Jane Scott 1997
(70th) Titanic James Cameron and Jon Landau As Good as It Gets James L. Brooks, Bridget Johnson, and Kristi Zea The Full Monty Uberto Pasolini Good Will Hunting Lawrence Bender L.A. Confidential Curtis Hanson, Arnon Milchan, and Michael Nathanson 1998
(71st) Shakespeare in Love David Parfitt, Donna Gigliotti, Harvey Weinstein, Edward Zwick, and Marc Norman Elizabeth Alison Owen, Eric Fellner and Tim Bevan Life Is Beautiful Elda Ferri and Gianluigi Braschi Saving Private Ryan Steven Spielberg, Ian Bryce, Mark Gordon, and Gary Levinsohn The Thin Red Line Robert Michael Geisler, John Roberdeau, and Grant Hill 1999
(72nd) American Beauty Bruce Cohen and Dan Jinks The Cider House Rules Richard N. Gladstein The Green Mile Frank Darabont and David Valdes The Insider Pieter Jan Brugge and Michael Mann The Sixth Sense Frank Marshall, Kathleen Kennedy, and Barry Mendel
2000s
[edit]
Year of Film Release Film Producer(s) 2000
(73rd) Gladiator Douglas Wick, David Franzoni, and Branko Lustig Chocolat David Brown, Kit Golden, and Leslie Holleran Crouching Tiger, Hidden Dragon William Kong, Hsu Li-kong, and Ang Lee Erin Brockovich Danny DeVito, Michael Shamberg, and Stacey Sher Traffic Edward Zwick, Marshall Herskovitz, and Laura Bickford 2001
(74th) A Beautiful Mind Brian Grazer and Ron Howard Gosford Park Robert Altman, Bob Balaban, and David Levy In the Bedroom Graham Leader, Ross Katz, and Todd Field The Lord of the Rings: The Fellowship of the Ring Peter Jackson, Fran Walsh, and Barrie M. Osborne Moulin Rouge! Martin Brown, Baz Luhrmann, and Fred Baron 2002
(75th) Chicago Martin Richards Gangs of New York Alberto Grimaldi and Harvey Weinstein The Hours Scott Rudin and Robert Fox The Lord of the Rings: The Two Towers Barrie M. Osborne, Fran Walsh, and Peter Jackson The Pianist Roman Polanski, Robert Benmussa, and Alain Sarde 2003
(76th) The Lord of the Rings: The Return of the King Barrie M. Osborne, Peter Jackson, and Fran Walsh Lost in Translation Ross Katz and Sofia Coppola Master and Commander: The Far Side of the World Samuel Goldwyn Jr., Peter Weir, and Duncan Henderson Mystic River Robert Lorenz, Judie G. Hoyt, and Clint Eastwood Seabiscuit Kathleen Kennedy, Frank Marshall, and Gary Ross 2004
(77th) Million Dollar Baby Clint Eastwood, Albert S. Ruddy, and Tom Rosenberg The Aviator Michael Mann and Graham King Finding Neverland Richard N. Gladstein and Nellie Bellflower Ray Taylor Hackford, Stuart Benjamin, and Howard Baldwin Sideways Michael London 2005
(78th) Crash Paul Haggis and Cathy Schulman Brokeback Mountain Diana Ossana and James Schamus Capote Caroline Baron, William Vince, and Michael Ohoven Good Night, and Good Luck Grant Heslov Munich Steven Spielberg, Kathleen Kennedy, and Barry Mendel 2006
(79th) The Departed Graham King Babel Alejandro González Iñárritu, Steve Golin, and Jon Kilik Letters from Iwo Jima Clint Eastwood, Steven Spielberg, and Robert Lorenz Little Miss Sunshine David T. Friendly, Peter Saraf, and Marc Turtletaub The Queen Andy Harries, Christine Langan, and Tracey Seaward 2007
(80th) No Country for Old Men Scott Rudin, Joel Coen, and Ethan Coen Atonement Tim Bevan, Eric Fellner, and Paul Webster Juno Lianne Halfon, Mason Novick, and Russell Smith Michael Clayton Jennifer Fox, Kerry Orent, and Sydney Pollack There Will Be Blood Paul Thomas Anderson, Daniel Lupi, and JoAnne Sellar 2008
(81st) Slumdog Millionaire Christian Colson The Curious Case of Benjamin Button Kathleen Kennedy, Frank Marshall, and Ceán Chaffin Frost/Nixon Ron Howard, Brian Grazer, and Eric Fellner Milk Bruce Cohen and Dan Jinks The Reader Anthony Minghella, Sydney Pollack, Donna Gigliotti, and Redmond Morris 2009
(82nd) The Hurt Locker Kathryn Bigelow, Mark Boal, Nicolas Chartier, and Greg Shapiro Avatar James Cameron and Jon Landau The Blind Side Gil Netter, Andrew A. Kosove, and Broderick Johnson District 9 Peter Jackson and Carolynne Cunningham An Education Finola Dwyer and Amanda Posey Inglourious Basterds Lawrence Bender Precious: Based on the Novel 'Push' by Sapphire Lee Daniels, Sarah Siegel-Magness, and Gary Magness A Serious Man Joel Coen and Ethan Coen Up Jonas Rivera Up in the Air Daniel Dubiecki, Ivan Reitman, and Jason Reitman
2010s
[edit]
Year of Film Release Film Producer(s) 2010
(83rd) The King's Speech Iain Canning, Emile Sherman, and Gareth Unwin Black Swan Scott Franklin, Mike Medavoy, and Brian Oliver The Fighter David Hoberman, Todd Lieberman, and Mark Wahlberg Inception Christopher Nolan and Emma Thomas The Kids Are All Right Gary Gilbert, Jeffrey Levy-Hinte, and Celine Rattray 127 Hours Danny Boyle, John Smithson, and Christian Colson The Social Network Dana Brunetti, Ceán Chaffin, Michael De Luca, and Scott Rudin Toy Story 3 Darla K. Anderson True Grit Joel Coen, Ethan Coen, and Scott Rudin Winter's Bone Alix Madigan and Anne Rosellini 2011
(84th) The Artist Thomas Langmann The Descendants Jim Burke, Alexander Payne, and Jim Taylor Extremely Loud & Incredibly Close Scott Rudin The Help Brunson Green, Chris Columbus, and Michael Barnathan Hugo Graham King and Martin Scorsese Midnight in Paris Letty Aronson and Stephen Tenenbaum Moneyball Michael De Luca, Rachael Horovitz, and Brad Pitt The Tree of Life Sarah Green, Bill Pohlad, Dede Gardner, and Grant Hill War Horse Steven Spielberg and Kathleen Kennedy 2012
(85th) Argo Grant Heslov, Ben Affleck, and George Clooney Amour Margaret Menegoz, Stefan Arndt, Veit Heiduschka, and Michael Katz Beasts of the Southern Wild Dan Janvey, Josh Penn, and Michael Gottwald Django Unchained Stacey Sher, Reginald Hudlin, and Pilar Savone Life of Pi Gil Netter, Ang Lee, and David Womark Lincoln Steven Spielberg and Kathleen Kennedy Les Misérables Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh Silver Linings Playbook Donna Gigliotti, Bruce Cohen, and Jonathan Gordon Zero Dark Thirty Mark Boal, Kathryn Bigelow, and Megan Ellison 2013
(86th) 12 Years a Slave Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen, and Anthony Katagas American Hustle Charles Roven, Richard Suckle, Megan Ellison, and Jonathan Gordon Captain Phillips Scott Rudin, Dana Brunetti, and Michael De Luca Dallas Buyers Club Robbie Brenner and Rachel Winter Gravity Alfonso Cuarón and David Heyman Her Megan Ellison, Spike Jonze, and Vincent Landay Nebraska Albert Berger and Ron Yerxa Philomena Gabrielle Tana, Steve Coogan, and Tracey Seaward The Wolf of Wall Street Martin Scorsese, Leonardo DiCaprio, Joey McFarland, and Emma Tillinger Koskoff 2014
(87th) Birdman or (The Unexpected Virtue of Ignorance) Alejandro G. Iñárritu, John Lesher, and James W. Skotchdopole American Sniper Clint Eastwood, Andrew Lazar, Robert Lorenz, Bradley Cooper, and Peter Morgan Boyhood Richard Linklater and Cathleen Sutherland The Grand Budapest Hotel Wes Anderson, Scott Rudin, Steven Rales, and Jeremy Dawson The Imitation Game Nora Grossman, Ido Ostrowsky, and Teddy Schwarzman Selma Christian Colson, Oprah Winfrey, Dede Gardner, and Jeremy Kleiner The Theory of Everything Tim Bevan, Eric Fellner, Lisa Bruce, and Anthony McCarten Whiplash Jason Blum, Helen Estabrook, and David Lancaster 2015
(88th) Spotlight Blye Pagon Faust, Steve Golin, Nicole Rocklin, and Michael Sugar The Big Short Dede Gardner, Jeremy Kleiner, and Brad Pitt Bridge of Spies Steven Spielberg, Marc Platt, and Kristie Macosko Krieger Brooklyn Finola Dwyer and Amanda Posey Mad Max: Fury Road Doug Mitchell and George Miller The Martian Simon Kinberg, Ridley Scott, Michael Schaefer, and Mark Huffam The Revenant Arnon Milchan, Steve Golin, Alejandro G. Iñárritu, Mary Parent, and Keith Redmon Room Ed Guiney 2016
(89th) Moonlight Adele Romanski, Dede Gardner, and Jeremy Kleiner Arrival Shawn Levy, Dan Levine, Aaron Ryder, and David Linde Fences Scott Rudin, Denzel Washington, and Todd Black Hacksaw Ridge Bill Mechanic and David Permut Hell or High Water Carla Hacken and Julie Yorn Hidden Figures Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams, and Theodore Melfi La La Land Fred Berger, Jordan Horowitz, and Marc Platt Lion Emile Sherman, Iain Canning, and Angie Fielder Manchester by the Sea Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck, and Kevin J. Walsh 2017
(90th) The Shape of Water Guillermo del Toro and J. Miles Dale Call Me by Your Name Peter Spears, Luca Guadagnino, Emilie Georges, and Marco Morabito Darkest Hour Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten, and Douglas Urbanski Dunkirk Emma Thomas and Christopher Nolan Get Out Sean McKittrick, Jason Blum, Edward H. Hamm Jr., and Jordan Peele Lady Bird Scott Rudin, Eli Bush, and Evelyn O'Neill Phantom Thread JoAnne Sellar, Paul Thomas Anderson, Megan Ellison, and Daniel Lupi The Post Amy Pascal, Steven Spielberg, and Kristie Macosko Krieger Three Billboards Outside Ebbing, Missouri Graham Broadbent, Pete Czernin, and Martin McDonagh 2018
(91st) Green Book Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly, and Nick Vallelonga Black Panther Kevin Feige BlacKkKlansman Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, and Spike Lee Bohemian Rhapsody Graham King The Favourite Ceci Dempsey, Ed Guiney, Lee Magiday, and Yorgos Lanthimos Roma Gabriela Rodríguez and Alfonso Cuarón A Star Is Born Bill Gerber, Bradley Cooper, and Lynette Howell Taylor Vice Dede Gardner, Jeremy Kleiner, Adam McKay, and Kevin Messick 2019
(92nd) Parasite Kwak Sin-ae and Bong Joon-ho Ford v Ferrari Peter Chernin, Jenno Topping, and James Mangold The Irishman Martin Scorsese, Robert De Niro, Jane Rosenthal, and Emma Tillinger Koskoff Jojo Rabbit Carthew Neal, Taika Waititi, and Chelsea Winstanley Joker Todd Phillips, Bradley Cooper, and Emma Tillinger Koskoff Little Women Amy Pascal Marriage Story Noah Baumbach and David Heyman 1917 Sam Mendes, Pippa Harris, Jayne-Ann Tenggren, and Callum McDougall Once Upon a Time in Hollywood David Heyman, Shannon McIntosh, and Quentin Tarantino
2020s
[edit]
Year of Film Release Film Producer(s) 2020
(93rd) Nomadland Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey, and Chloé Zhao The Father David Parfitt, Jean-Louis Livi, and Philippe Carcassonne Judas and the Black Messiah Shaka King, Charles D. King, and Ryan Coogler Mank Ceán Chaffin, Eric Roth, and Douglas Urbanski Minari Christina Oh Promising Young Woman Ben Browning, Ashley Fox, Emerald Fennell, and Josey McNamara Sound of Metal Bert Hamelinck and Sacha Ben Harroche The Trial of the Chicago 7 Marc Platt and Stuart M. Besser 2021
(94th) CODA Philippe Rousselet, Fabrice Gianfermi, and Patrick Wachsberger Belfast Laura Berwick, Kenneth Branagh, Becca Kovacik, and Tamar Thomas Don't Look Up Adam McKay and Kevin Messick Drive My Car Teruhisa Yamamoto Dune Mary Parent, Denis Villeneuve, and Cale Boyter King Richard Tim White, Trevor White, and Will Smith Licorice Pizza Sara Murphy, Adam Somner, and Paul Thomas Anderson Nightmare Alley Guillermo del Toro, J. Miles Dale, and Bradley Cooper The Power of the Dog Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning, and Roger Frappier West Side Story Steven Spielberg and Kristie Macosko Krieger 2022
(95th) Everything Everywhere All at Once Daniel Kwan, Daniel Scheinert, and Jonathan Wang All Quiet on the Western Front Malte Grunert Avatar: The Way of Water James Cameron and Jon Landau The Banshees of Inisherin Graham Broadbent, Pete Czernin, and Martin McDonagh Elvis Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick, and Schuyler Weiss The Fabelmans Kristie Macosko Krieger, Steven Spielberg, and Tony Kushner Tár Todd Field, Alexandra Milchan, and Scott Lambert Top Gun: Maverick Tom Cruise, Christopher McQuarrie, David Ellison, and Jerry Bruckheimer Triangle of Sadness Erik Hemmendorff and Philippe Bober Women Talking Dede Gardner, Jeremy Kleiner, and Frances McDormand 2023
(96th) Oppenheimer Emma Thomas, Charles Roven, and Christopher Nolan American Fiction Ben LeClair, Nikos Karamigios, Cord Jefferson, and Jermaine Johnson Anatomy of a Fall Marie-Ange Luciani and David Thion Barbie David Heyman, Margot Robbie, Tom Ackerley, and Robbie Brenner The Holdovers Mark Johnson Killers of the Flower Moon Dan Friedkin, Bradley Thomas, Martin Scorsese, and Daniel Lupi Maestro Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning, and Kristie Macosko Krieger Past Lives David Hinojosa, Christine Vachon, and Pamela Koffler Poor Things Ed Guiney, Andrew Lowe, Yorgos Lanthimos, and Emma Stone The Zone of Interest James Wilson
Individuals with multiple wins
[edit]
Individuals with multiple nominations
[edit]
Production companies with multiple nominations and wins
[edit]
Columbia Pictures has the most wins with 12, while 20th Century Studios has the most nominations with 63. Focus Features has the most nominations without a win with 12.
Production Company Nominations Wins Columbia Pictures 56 12 Paramount Pictures 22 11 Universal Pictures 36 10 20th Century Studios 63 9 Metro-Goldwyn-Mayer 40 9 Warner Bros. Pictures 27 9 Searchlight Pictures 22 5 Miramax Films 16 4 DreamWorks 13 4 Orion Pictures 8 4 Plan B Entertainment 8 3 A24 7 2 The Weinstein Company 6 2 Selznick International Pictures 5 2 RKO Pictures 11 1 Samuel Goldwyn Productions 8 1 Apple 3 1 J. Arthur Rank-Two Cities Films 3 1 New Line Cinema 3 1 Neon 3 1 Hear/Say Productions 2 1 Focus Features 12 0 Netflix 9 0 Touchstone Pictures 6 0 Annapurna Pictures 5 0 Walt Disney Pictures 4 0 Cosmopolitan Productions 3 0 Amazon MGM Studios 3 0 Pixar Animation Studios 2 0 Hollywood Pictures 2 0 The Caddo Company 2 0 Walter Wanger Productions 2 0 Mercury 2 0
See also
[edit]
BAFTA Award for Best Film
Independent Spirit Award for Best Film
Critics' Choice Movie Award for Best Picture
Golden Globe Award for Best Motion Picture – Drama
Golden Globe Award for Best Motion Picture – Musical or Comedy
Producers Guild of America Award for Best Theatrical Motion Picture
Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture
List of superlative Academy Award winners and nominees
List of presenters of the Academy Award for Best Picture
List of Big Five Academy Award winners and nominees
Golden Raspberry Award for Worst Picture
List of Academy Award–winning films
List of Academy Award–nominated films
List of film production companies
List of films considered the best
Lists of films
Academy Aperture 2025
Notes
[edit]
References
[edit]
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https://www.purchase.edu/live/news/7869-one-last-time-zoe-winters-07-honored-for-succession
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en
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One Last Time: Zoe Winters ’07 Honored for “Succession”
|
[
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2024-02-27T05:00:00+00:00
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The cast reunited to receive the SAG award for Outstanding Performance By An Ensemble.
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en
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/_fav/icon.php?hex=
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https://www.purchase.edu/live/news/7869-one-last-time-zoe-winters-07-honored-for-succession
|
Congratulations once again to Zoë Winters ’07 for winning the SAG Award for Outstanding Performance by an Ensemble in a Drama Series for her role on the HBO hit Succession, which aired its final season in 2023.
Read a Q+A with Winters about the role and its arc, growing from two lines in season two to a more pivotal place in the final season.
Purchase People Find Purchase People
Winters and fellow acting alum Chris Perfetti ’11, who’s part of the cast of ABC’s hit comedy Abbott Elementary, found each other at the SAG Afterparty.
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https://www.today.com/popculture/blog/sag-awards-2024-live-updates-rcna140192
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en
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A ‘Devil Wears Prada’ reunion, Pedro Pascal’s speech and more highlights from the 2024 SAG Awards
|
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The SAG Awards honor the best acting performances in film and TV, as voted on by fellow actors.
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'Oppenheimer' wins big
"Oppenheimer" took home the last award of the SAGs Saturday night, winning outstanding performance by a cast in a film.
"Oppenheimer" actors won three of the four categories they were nominated for, including outstanding performance by a male actor in a leading role for Cillian Murphy and best supporting actor for Robert Downey Jr.
'Breaking Bad' cast reunites at SAGs
It was a "Breaking Bad" reunion at the 2024 SAG Awards. The cast of the hit show was on hand to present the award for outstanding performance by an ensemble in a drama series — but not without some funny exchanges between the crew.
Bryan Cranston began by sharing how 10 years ago the cast took home the SAG Award. Bob Odenkirk, RJ Mitte, Anna Gunn, Aaron Paul, Jonathan Banks, Betsy Brandt and Dean Norris were along on hand for the reunion as they did a bit before announcing the winner.
"Succession" ultimately took home the win, with most, if not all of the cast, taking the stage.
"One last hurrah, I think," Alan Ruck said, accepting the award. "Right now, you're looking at some of the luckiest people on the planet and some of the most grateful."
Cillian Murphy reveals nickname for the 'Oppenheimer' cast
Call them the "Oppenhomies."
Cillian Murphy, accepting a SAG Award for his starring role in "Oppenheimer," commented on the moniker given to the cast. He said the name should be credited to Olivia Thirlby, who played Lilli Hornig in the film.
"Olivia, I think you should immediately trademark that," he said.
Murphy received a standing ovation for his win, according to the SAG Awards.
Matthew Perry, Andre Braugher and more actors honored in SAG Awards in memoriam
Naomi Watts introduced the emotional in memoriam segment during the second half of the awards ceremony.
“We have lost so many extraordinary actors in the past year,” Watts said. “Because they touched the world with their talent, we all share their loss. To those of us who worked alongside them, we feel their loss and their absence deeply.”
“Of course, their memory will live on in our recollections,” she added.
The heartfelt segment honored and paid tribute to the talented actors that died in the last year.
Suzanne Somers, Tyler Christopher, Ron Cephas Jones, Treat Williams, Michael Gambon, Sharon Farrell, Tom Wilkinson and Burt Young, were among the people remembered.
Tina Turner, Lance Reddick, Paul Reubens and Ryan O'Neal were also highlighted, as well as Andre Braugher, Alan Arkin, Carl Weathers, Tom Wilkinson, Matthew Perry and Harry Belafonte.
Elizabeth Debicki accepts SAG Award without any shoes on
Elizabeth Debicki took home the award for outstanding performance by a female actor in a drama series at Saturday's SAG Awards ceremony for her role as Princess Diana in "The Crown."
Slowing making her way to the stage to accept her award, she stumbled. She then kicked off her shoes to finish the journey.
She started her speech strong: "I don't have any shoes on."
She went on to emphasize her shock at winning, praise the other nominees in her category and reflect on an early memory of falling in love with acting.
Fran Drescher celebrates SAG-AFTRA's victory after 4-month Hollywood strike
SAG-AFTRA, the organizers of the annual SAG Awards and the labor union that represents hundreds of thousands of entertainers, striked for more than 100 days in 2023, bringing TV and movie production to a halt.
The strike proved successful, with the union signing a "historic, billion dollar deal" with Hollywood studios for better pay, working conditions and protections against AI, back in November.
SAG-AFTRA President Fran Drescher celebrated the victory during Saturday's awards ceremony, acknowledging that the strike "came with great sacrifice and unrelenting stress."
“The most important congratulations to the members, both here today and everywhere. I hold you all with the highest esteem and greatest respect. You are the champions," she said.
Jennifer Aniston, Bradley Cooper present Barbra Streisand with life achievement award
Longtime Barbra Streisand fan, Jennifer Aniston was on hand to present the iconic performer the 2024 SAG life achievement award during the Feb. 24 ceremony.
Aniston took the stage and praised the actor and singer for her incredible career, expressing how much her work meant to her and her fans.
“Barbra, that’s all you have to say and you know,” Aniston said, before sharing that the Shrine Auditorium & Expo Hall in Los Angeles was where Streisand performed her first major concert in 1963.
Bradley Cooper stepped out to share kind words about Streisand and her legacy, career and dedication to her art.
Streisand, donning a gold sequin dress with black velvet jacket and matching hat, then received a standing ovation as she took the stage.
"Sometimes I don't trust the teleprompter," she said, showing off her speech in hand.
The icon spoke about her early days in Hollywood, working with other talented actors and how Marlon Brando was her first crush.
When talking about her early films, she said, "It reminded me all over again of how much I love film, and why we all strive to make the best movies we can. And so many people who have done that are sitting right here tonight in this room."
Thanking those who she has collaborated with, she said, "I loved working with you, playing with you and inhabiting that magical world of the movies with you."
Melissa McCarthy had a simple request for Billie Eilish at the SAG Awards: 'Will you sign my face?'
While presenting the award for outstanding performance by a female actor in a comedy, Melissa McCarthy seized the opportunity to spend time with her idol, Billie Eilish.
The comedian turned to her co-presenter during the ceremony with a simple request: "Will you sign my face?"
McCarthy handed Eilish a Sharpie pen, and the joke went to the next level as the singer literally wrote her name on the actor's forehead.
Pedro Pascal says he didn't expect to win at the SAG Awards: 'I thought I could get drunk'
Pedro Pascal took home the SAG Award for outstanding performance by a male actor in a drama series — and even he couldn't believe it.
While Kieran Culkin had been taking home wins for his role in "Succession" throughout awards season, Pascal was named the winner for his role in "The Last of Us."
"This is wrong for a number of reasons," Pascal said during his acceptance speech. "I'm a little drunk. I thought I could get drunk."
The actor continued to thank HBO and those who believed in him as an actor, his family and more.
"I'm going to have a panic attack, and I'm going to leave," he said wrapping up his speech.
Backstage with Tan France, he talked about winning over Culkin amid their ongoing "feud," saying, "I'm going to make out with Kieran, that will be my revenge," before recalling how the two have become friends over the years.
Eric Stonestreet jokes he'll FaceTime Travis Kelce during the SAG Awards
The stars of "Modern Family" took the stage at Saturday's award ceremony to present the award for outstanding performance by an ensemble in a comedy series.
Julie Bowen, Ty Burrell, Ed O’Neill, Sofia Vergara, Eric Stonestreet and Jesse Tyler Ferguson acted like an old family, reminiscing on their hit show and humble-bragging about what they're up to now.
Vergara shouted out her successful Netflix drama series "Griselda," while Stonestreet, a famous Kansas City Chiefs fan, proudly declared, "I know Travis Kelce. I could FaceTime right now, I'm being serious."
Kelce just returned to the U.S. after visiting his girlfriend, Taylor Swift, in Sydney amid her "Eras Tour."
The award went to the cast of "The Bear."
Strong start for 'The Bear'
Following on the heels of a stellar performance at the Emmy Awards, stars of "The Bear" have won two of the three categories they are nominated for.
Jeremy Allen White won outstanding performance by a male actor in a comedy series, and Ayo Edebiri took home the award for best actress in a comedy.
The show is also nominated for outstanding performance by an ensemble in a comedy.
Da’Vine Joy Randolph says it would be 'amazing' to win SAG Award
Da'Vine Joy Randolph is nominated in the outstanding performance by a female actor in a supporting role for her role in "The Holdovers."
While talking to TODAY.com on the red carpet, the actor said winning the award "would mean a lot."
"That’s amazing because I wouldn’t be here without a lot of people that are very near and dear to me," she said, thanking people who she looks up to, haven't been given credit and "who this role is a part of and they help me create it."
Adding, "So it would mean a lot."
She is up against Emily Blunt, Danielle Brooks, Penélope Cruz and Jodie Foster.
Rhea Perlman and Lisa Ann Walter take swigs from a flask during the opening of the SAG Awards
Sharing is caring!
That's what Idris Elba reminded attendees with flasks during his opening to the 2024 SAG Awards. The joke landed with Rhea Perlman and Lisa Ann Walter.
The camera panned from the "Luther" actor to Perlman, holding a silver flask. She then handed it to the "Abbott Elementary" star, who took a big swig. Walter then tried offering it to Sheryl Lee Ralph, who watched with a dropped jaw and shook her head no.
'The Devil Wears Prada' reunion brings the nostalgia
It was a “The Devil Wears Prada” reunion worth waiting for. Meryl Streep, Anne Hathaway and Emily Blunt reunited on stage during the 2024 SAG Awards to present the awards for outstanding performance by a male actor in a comedy series.
Streep first stepped out and almost knocked over the microphone, saying that she forgot her glasses and the envelope. Blunt then stepped out to hand Streep the envelope, while Hathaway gave her her glasses.
They then exchanged quotes from their 2006 comedy, as the audience laughed as they channeled their former characters.
“Meryl and Miranda Priestly are sort of like twins,” Blunt said, with Streep replying, “I don’t think I’m anything like...”
“No, no,” Hathaway then interrupted before quoting Streep’s character. “That wasn’t a question.”
Back in December, Hathaway and Blunt had a mini reunion when they chatted together for Variety's "Actors on Actors" series.
In "The Devil Wears Prada," Hathaway portrayed less-than-fashionable aspiring journalist Andy, who became tough-as-nails fashion magazine editor Miranda Priestly's (Meryl Streep) assistant. Blunt portrayed Emily, who also also one of Miranda's assistants.
Anne Hathaway's SAG Awards dress is not just blue — 'it’s actually cerulean'
When Meryl Streep calls, you answer.
Anne Hathaway revealed on the red carpet for the 2024 SAG Awards that she didn't hesitate when she was asked to present an award with her fellow "Devil Wears Prada" castmates.
Hathaway, Streep and "Oppenheimer" star Emily Blunt will take the stage together during Saturday night's ceremony, marking a highly anticipated reunion for the cast of the 2006 film.
Hathaway said her outfit for the awards show was intentional. The bright blue dress, paired with a belt, is "actually cerulean," she shared.
Streep's character's rant about the evolution of the color in the fashion industry to counter Andy's apathy is one of the most quotable moments of the film.
"What you don’t know is that that sweater is not just blue, it’s not turquoise, it’s not lapis, it’s actually cerulean. And you’re also blithely unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns...." Miranda Priestly famously says.
Kathryn Hahn shares how her 'Tiny Beautiful Things' role helped her grow
Kathryn Hahn was "so happy" and "humbled" to be at the 2024 SAG Awards and be nominated, the actor told TODAY.com on the red carpet.
Hahn is nominated in the outstanding performance by a female actor in a television movie or limited series for her role “Tiny Beautiful Things.”
When asked what a win would mean to her, she said, "My brain can't, it doesn't even go that far. The fact that I'm in company with this group (is crazy)."
"It feels very moving to me to be included in this party," she said.
She also shared that the role in the limited series taught her to "compartmentalize and how to be able to shake stuff off at the end of the day."
She also called the role "intense," but loved being a part of the ensemble cast.
'Hi Barbie!' Margot Robbie defies gravity in pink mini-dress
Margot Robbie is leaning into her "Barbie" background with a black mini-dress detailed with a gravity-defying pink shoulder sleeve, sash and train.
Robbie is nominated for starring in "Barbie," which along with "Oppenheimer," is going into Saturday's award show as the most nominated film of the night.
Winners are announced in stunt ensemble categories
Ahead of the telecast, two winners were announced during the Netflix pre-show.
"The Last of Us" won the SAG Award for outstanding action performance by a stunt ensemble in a television series.
Additionally, “Mission: Impossible — Dead Reckoning Part One” took home the SAG Award for outstanding action performance by a stunt ensemble in a motion picture.
Be sure to follow along as the winners list is updated live as the night goes on.
Tyler James Williams 'knows' what's going to happen between Janine and Gregory on 'Abbott Elementary'
The "will-they/won't-they" tension between Janine and Gregory has fans of "Abbott Elementary" on their seats.
When asked on the SAG Awards red carpet what's going to happen between the two friends after a romantic moment in Season Two, star Tyler James Williams joked, “You are putting my job at risk right now."
"I know, but I can’t say," he added.
But fans, never fear: "It's good," he said with a cheeky smile.
Reese Witherspoon says her red carpet outfit is giving 'Pookie looks fire'
Reese Witherspoon walked the red carpet at the SAG Awards Saturday in a fiery red strapless gown.
When asked for the "story" behind her outfit, she dropped a trending TikTok reference.
"It's giving, pookie looks fire, it's giving red, lady in red," she said, through laughter.
"Pookie looks fire" is a phrase that took over TikTok at the end of January due to a social media-famous husband's nickname for his wife and his go-to praise for her "fire" outfits.
Witherspoon is nominated for her role in "The Morning Show."
Colman Domingo sets the bar with men’s fashion
Colman Domingo once again turned heads with his red carpet look, setting the bar high for men’s fashion.
Domingo is up for two SAG Awards. He is nominated in the outstanding performance by a male actor in a leading role for “Rustin,” as well as outstanding performance by a cast in a motion picture for “The Color Purple.”
While talking to TODAY.com on the red carpet, Domingo said it is "amazing" to be nominated because he is "surrounded by my peers and people that I admire."
"If I won it, it would be wonderful, one of my colleagues won it, wonderful," he added. "I'm in a room with all actors and just to be in this room right now, feels like a win."
During Netflix’s pre-show, Domingo spoke about his custom Off-White blush pink look styled by Wayman and Micah. The actor told Elaine Welteroth that he’s “having a good time” with his fashion choices during awards season.
Can the cast of 'The Bear' actually cook? Star and chef Matty Matheson answers
"The Bear" follows a team of chefs in Chicago. But do their culinary skills on screen translate to a real kitchen?
Actor Matty Matheson, who is a chef and restaurateur off screen, at first named Ebon Moss-Bachrach the "worst cook" of the cast. But he quickly recanted that, saying "he's a really good baker."
He said everyone has some cooking skills, but noted, "I feel like Jeremy (Allen White) doesn't cook at home, though."
Ali Wong arrives to SAG Awards in stunning couture
Ali Wong made quite an entrance at the 2024 SAG Awards with a structured black-and-white dress. The actor donned a Iris van Herpen gown from the fall 2023 couture collection, which had bold sleeves that included cascading "fiberglass wings sprouting lacy, geometric petals, which affix to the sleeves of the dress," per Vogue.
“The striking finale dress for Ali Wong is created to dance dramatically with her and to come alive when she moves,” van Herpen told the magazine.
Wong is nominated for outstanding performance by a female actor in a television movie or limited series for her role in "Beef."
She is up against Uzo Aduba, Kathryn Hahn, Brie Larson and Bel Powley.
Brett Goldstein addresses the future of 'Ted Lasso'
Brett Goldstein stole hearts as the gruff but lovable team captain-turned coach, Roy Kent, in "Ted Lasso." But the SAG Award-nominated actor might break fans hearts with his latest answer about the future of the sitcom.
Laverne Cox asked Goldstein about the future of the show and if there will be a spinoff or follow-up season.
"We know nothing," he said. "We know nothing."
'Barbie' star Ariana Greenblatt brings her dad as her date to the SAG Awards
At just 16 years old, Ariana Greenblatt is nominated for a SAG Award as part of the cast of "Barbie."
Wearing a deep red velvet dress to channel "awards season Barbie," Greenblatt said she brought her dad as her date to the show after bringing her mom along at the People's Choice Awards last week.
"I brought my dad, my mom made me," Greenblatt enthusiastically told Laverne Cox on the carpet.
While her dad didn't join for the interview, he could be seen in the background of the interview, snapping a pic of his daughter's big moment.
'Orange Is the New Black' stars Laverne Cox and Danielle Brooks reunite in 'emotional' red carpet interview
Laverne Cox and Danielle Brooks both starred in "Orange Is the New Black," which premiered in 2013. More than 10 years later, the duo reunited on the red carpet for the SAG Awards, Cox, as an "E!" host and Brooks as a nominee for her role in "The Color Purple."
When the duo saw each other, Cox started tearing up. "My sister," Cox told her. Brooks agreed, noting their reunion is emotional.
"Every time I've been here, it's been with you." Brooks said. "This moment, it means a lot."
After the interview, they shared an adorable hug.
Who will present at the 2024 SAG Awards?
The 2024 SAG Awards is set to mark the return of Miranda Priestly and her notorious assistants, Emily and Andy.
Meryl Streep, Emily Blunt and Anne Hathaway are set to present at the awards ceremony Saturday night, marking a reunion between the beloved stars of "The Devil Wears Prada," 18 years after the film came out.
The rest of the line-up is star-studded, including nominated actors Margot Robbie, Cillian Murphy, Sterling K. Brown, Robert Downey Jr. and more.
Here's a full list of presenters:
Erika Alexander
Danielle Brooks
Michael Cera
Jessica Chastain
Colman Domingo
Fran Drescher
Phil Dunster
Billie Eilish
America Ferrera
Brendan Fraser
Taraji P. Henson
Troy Kotsur
Greta Lee
Melissa McCarthy
Glen Powell
Storm Reid
Issa Rae
Tracee Ellis Ross
Alexander Skarsgård
Omar Sy
Hannah Waddingham
Naomi Watts
Jeffrey Wright
The SAG Awards come more than three months after the end of the 2023 Hollywood strikes
The annual SAG Awards are organized and voted on by SAG-AFTRA, the labor union that represents more than 160,000 entertainers. The union made headlines in 2023 for leading a nearly four-month strike in Hollywood alongside the Writers Guild of America.
Fighting for better pay, working conditions and protections against the use of AI, the union reached an agreement with studios in November after striking for 118 days. During the strike, actors traded in red carpets for picket lines and production on movies and TV shows largely shut down.
Now, members can revel in the victory at the annual awards ceremony Feb. 24.
SAG-AFTRA is led by "The Nanny" star Fran Drescher, who is set to present at Saturday's ceremony.
Here's a recap of the strike, including why it started and how it ended.
How to watch the 2024 SAG Awards
The 2024 Screen Actors Guild Awards is an actor-voted ceremony, making it one of the most emotional and personal shows during awards season.
Every year, the SAG Awards celebrates outstanding movie and television performances of the year, voted by SAG-AFTRA’s 119,000+ performers — and this year’s Feb. 24 ceremony is no different.
Here’s what to know about watching the SAG Awards.
What day are the 2024 SAG Awards?
The 30th Annual SAG Awards are taking place on Saturday, Feb. 24, at the Shrine Auditorium & Expo Hall in Los Angeles.
What time do the SAG Awards start?
The awards show starts at 5 p.m. PT/8 p.m. ET.
How to watch the SAG Awards
The ceremony will stream live globally on Netflix.
Netflix subscribers will be able to watch the SAG Awards when they air.
Those who do not have Netflix can sign up for a subscription. The cheapest option is the standard with ads plan for $6.99 a month, which includes few ad breaks, and two devices are able to watch at the same time.
Click here for the full article.
Who's nominated for a SAG Award at the 2024 ceremony?
Nominations for the 30th Annual Screen Actors Guild Awards were announced Jan. 10.
“Barbie” and “Oppenheimer” led the way in the film category with four nominations apiece and will be among the movies fighting it out for outstanding performance by a cast in a motion picture. On the TV side, “Succession” topped the field with five nominations.
Film
Outstanding performance by a male actor in a leading role
Bradley Cooper, “Maestro”
Colman Domingo, “Rustin”
Paul Giamatti, “The Holdovers”
Cillian Murphy, “Oppenheimer”
Jeffrey Wright, “American Fiction”
Outstanding performance by a female actor in a leading role
Annette Bening, “Nyad”
Lily Gladstone, “Killers of the Flower Moon”
Carey Mulligan, “Maestro”
Margot Robbie, “Barbie”
Emma Stone, “Poor Things”
Outstanding performance by a male actor in a supporting role
Sterling K. Brown, “American Fiction”
Willem Dafoe, “Poor Things”
Robert De Niro, “Killers of the Flower Moon”
Robert Downey Jr., “Oppenheimer”
Ryan Gosling, “Barbie”
Outstanding performance by a female actor in a supporting role
Emily Blunt, “Oppenheimer”
Danielle Brooks, “The Color Purple”
Penélope Cruz, “Ferrari”
Jodie Foster, “Nyad”
Da’Vine Joy Randolph, “The Holdovers”
Outstanding performance by a cast in a motion picture
“American Fiction”
“Barbie”
“The Color Purple”
“Killers of the Flower Moon”
“Oppenheimer”
Outstanding action performance by a stunt ensemble in a motion picture
“Barbie”
“Guardians of the Galaxy Vol. 3”
“Indiana Jones and the Dial of Destiny”
“John Wick: Chapter 4”
“Mission: Impossible — Dead Reckoning Part One”
TV
Outstanding performance by a male actor in a television movie or limited series
Matt Bomer, “Fellow Travelers”
Jon Hamm, “Fargo”
David Oyelowo, “Lawmen: Bass Reeves”
Tony Shalhoub, “Mr. Monk’s Last Case: A Monk Movie”
Steven Yeun, “Beef”
Outstanding performance by a female actor in a television movie or limited series
Uzo Aduba, “Painkiller”
Kathryn Hahn, “Tiny Beautiful Things”
Brie Larson, “Lessons in Chemistry”
Bel Powley, “A Small Light”
Ali Wong, “Beef”
Outstanding performance by a male actor in a drama series
Brian Cox, “Succession”
Billy Crudup, “The Morning Show”
Kieran Culkin, “Succession”
Matthew Macfadyen, “Succession”
Pedro Pascal, “The Last of Us”
Outstanding performance by a female actor in a drama series
Jennifer Aniston, “The Morning Show”
Elizabeth Debicki, “The Crown”
Bella Ramsey, “The Last of Us”
Keri Russell, “The Diplomat”
Sarah Snook, “Succession”
Outstanding performance by a male actor in a comedy series
Brett Goldstein, “Ted Lasso”
Bill Hader, “Barry”
Ebon Moss-Bachrach, “The Bear”
Jason Sudeikis, “Ted Lasso”
Jeremy Allen White, “The Bear”
Outstanding performance by a female actor in a comedy series
Alex Borstein, “The Marvelous Mrs. Maisel”
Rachel Brosnahan, “The Marvelous Mrs. Maisel”
Quinta Brunson, “Abbott Elementary”
Ayo Edebiri, “The Bear”
Hannah Waddingham, “Ted Lasso”
Outstanding performance by an ensemble in a drama series
“The Crown”
“The Gilded Age”
“The Last of Us
“The Morning Show”
“Succession”
Outstanding performance by an ensemble in a comedy series
“Abbott Elementary”
“Barry”
“The Bear”
“Only Murders in the Building”
“Ted Lasso”
Outstanding action performance by a stunt ensemble in a television series
“Ahsoka”
“Barry”
“Beef”
“The Last of Us”
“The Mandalorian”
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Steven_Soderbergh
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https://www.clickorlando.com/topic/Steven_Soderbergh/
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The third installment in the “Magic Mike” series danced its way to the top of the box office charts this weekend with a James Cameron double header, “Avatar: The Way of Water” and “Titanic” (yes that “Titanic”), looming close behind.
FILE - In this Feb. 21, 2015 file photo, an Oscar statue appears outside the Dolby Theatre for the 87th Academy Awards in Los Angeles. (Photo by Matt Sayles/Invision/AP, File)With less than a month until showtime, the 93rd Oscars are taking another pass at the script. The main event will still take place at Los Angeles’ Union station which will include a red carpet component but they are planning something special for the UK location. The show is also working with local broadcast affiliates around the world to provide satellite links for other international nominees. The 93rd Oscars will be broadcast live on ABC on April 25 at 8 p.m. Eastern.
The 93rd Oscars will be held on April 25. (Photo by Matt Sayles/Invision/AP, File)With nominations set and just over a month until showtime, details are trickling out about the 93rd Oscars and neither sweatshirts nor Zoom made the cut. They’ve enlisted Emmy and Tony Award winning director Glenn Weiss to direct the live broadcast on April 25. The producers said they plan to treat the event like an active movie set with on-site COVID safety teams and testing protocols. The 93rd Oscars will be broadcast live on ABC on April 25 starting at 8 p.m.
Zhao, the first woman of color nominated for best director, is the most nominated woman in a single year in Oscar history. She was also tipped for the film’s adapted screenplay, editing and as a producer in the best picture category. “I just quietly gave thanks and felt some gratitude.”Davis, who won for her performance in 2016’s “Fences,” landed her fourth Oscar nomination, making her the most nominated Black actress ever. The Academy Awards would typically have happened by now but this year will be telecast April 25. “Collective,” the Romanian documentary about investigative journalism and government corruption, became just the second film nominated for both best documentary and best international film.
FILE - In this Feb. 21, 2015 file photo, an Oscar statue appears outside the Dolby Theatre for the 87th Academy Awards in Los Angeles. The theater has been the home of the Oscars since 2001 and the organizers say the upcoming show will keep that tradition, but they will enlist a supporting cast of venues. An academy spokesperson said Wednesday that the ceremony this year will be broadcast live from multiple locations on April 25. An academy spokesperson said Wednesday that the ceremony will broadcast live from multiple locations on April 25. The Golden Globes, which has also been scarce on specific details, is planning its own bicoastal broadcast for Feb. 28.
A representative for the Directors Guild of America said his family informed the organization that he passed Thursday, Jan. 7, 2021. (Photo by Jordan Strauss/Invision/AP, File)Michael Apted, the acclaimed British director of the “Up” documentary series and films as diverse as the Loretta Lynn biopic “Coal Miner’s Daughter” and the James Bond film “The World Is Not Enough,” has died. A representative for the Directors Guild of America said his family informed the organization that he passed Thursday night. Apted served as a researcher on the first film and took over as director seven years later, continuing to check in with the subjects every seven years. “The series was an attempt to do a long view of English society,” Apted told Slant Magazine in 2019.
Oscar-winning filmmaker Steven Soderbergh is going behind the scenes for the next Academy Awards. The Academy of Motion Picture Arts and Sciences said Tuesday that Soderbergh, “Erin Brokovich” producer Stacey Sher and awards show veteran Jesse Collins have come on board to produce the 93rd Oscars telecast. The 93rd Academy Awards were delayed two months earlier this year because of COVID-19’s effects on the film industry, but the show will still be televised live on ABC on April 25, 2021. Academy President David Rubin and Academy CEO Dawn Hudson said that this upcoming show is “the perfect occasion for innovation and re-envisioning the possibilities for the awards show.”Collins also has experience. Earlier this year produced the virtual BET Awards and is also producing the Grammy Awards and the Super Bowl halftime show.
In an interview by phone, he spoke about that prophetic 2011 film, leading Hollywood’s return to production and the future of the movie industry post-pandemic. Soderbergh: At the end of the day, what’s most important and irreducible is: You need talented people making stuff that’s good. AP: Do you think the kinds of movies that get made will change if the industry permanently shifts toward streaming? When you make a movie that blows up at the box office, that’s just too lucrative to ever abandon. There’s a zeitgeist aspect to any movie that makes $1 billion, and it’s got an expiration date.
MOVIES— Travel may seem closed off right now but how about a cruise with Meryl Streep, Dianne Wiest and Candice Bergen? — If one Streep film wasn’t enough for you, she’s again in typically fine form in “The Prom,” parodying a diva actor in Ryan Murphy’s adaptation of the 2018 Broadway musical. — AP Film Writer Jake CoyleMUSIC— Jon Bon Jovi has already produced an album this year with “2020” and the concert film "On a Night Like This — Bon Jovi 2020." — AP Entertainment Writer Mark KennedyTELEVISION— This season’s winner for lengthy title: “High School Musical: The Musical: The Holiday Special,” debuting Friday on Disney +. — The CW’s “iHeartRadio Jingle Ball 2020,” a 90-minute special based on the annual concert, will air at 8 p.m. EST Monday, Dec. 14.
Hollywoods awards season has gone virtual. For Awards Daily founder Sasha Stone, who has been covering the Oscars since 2000, it’s like nothing she’s ever seen — an awards season without glamour, without red carpets, without anything that feels real. And awards season, such as it is, has gone virtual. The Oscar race will Zoomed. Not everyone is sorry that awards season — an increasingly bloated, overlong, high-priced slog from September to February — has been turned upside down.
This cover image provided by Alfred A. Knopf shows "The Beauty of Living Twice" by Sharon Stone, expected in March 2021. Shell also write about her near-fatal stroke in 2001 and her humanitarian work on behalf of AIDS research and other causes. (Alfred A. Knopf via AP)NEW YORK Sharon Stone has taken on a new, real-life role memoir writer. I have learned to forgive the unforgivable," says Stone, whose The Beauty of Living Twice" comes out in March. She'll also write about her two marriages, her near-fatal stroke in 2001, and her humanitarian work on behalf of AIDS research and other causes.
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https://www.nzherald.co.nz/entertainment/sag-awards-2024-oppenheimer-lily-gladstone-win-at-30th-screen-actors-guild-awards/WO5LOVCMLBHHTGZ6TK4HU2EGUQ/
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en
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SAG Awards 2024: Oppenheimer, The Bear win big at 30th Screen Actors Guild Awards
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2024-02-25T05:02:18.584000+00:00
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Oppenheimer continued to steamroll through Hollywood’s awards season today, winning the top prize for outstanding cast, along with awards for Cillian Murphy...
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en
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NZ Herald
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https://www.nzherald.co.nz/entertainment/sag-awards-2024-oppenheimer-lily-gladstone-win-at-30th-screen-actors-guild-awards/WO5LOVCMLBHHTGZ6TK4HU2EGUQ/
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“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanises people. That brings people out of the shadows. It brings visibility.”
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (The Trial of the Chicago 7 and Black Panther) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes - best ensemble and the four acting winners - have corresponded with the eventual Oscar winners, including the ensembles for Everything Everywhere All at Once and CODA.
The SAG Awards on Netflix was the first major Hollywood award show to be exclusively streamed. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France - sometimes awkwardly, sometimes charmingly.
The SAG Awards, held at the Shrine Auditorium & Expo Hall in Los Angeles, might have also previewed another potential nail-biter.
Murphy and Paul Giamatti (The Holdovers) have also been seen as neck-and-neck. But Murphy, who won his first SAG Award, has now triumphed at the SAGs, the Baftas and the Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favourites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr, accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s The Holdovers has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: The Bear (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri); Beef (Ali Wong, Steven Yeun); and the cast of Succession.
One exception was Pedro Pascal, who won best male actor in a drama series for The Last of Us over a trio of Succession stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a gruelling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,’” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee icecream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush”, Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood.
“Now I dream of a world where such prejudice is a thing of the past,” she said.
Today’s show was one of Netflix’s most significant forays yet into live streaming events. Netflix has previously hosted a live Chris Rock comedy special, a celebrity golf tournament and a live reunion Love Is Blind episode that was marred by technical difficulties. But Netflix is gearing up for more, including an upcoming live tennis event.
Screen Actors Guild Awards 2024 list of winners:
Film:
Outstanding Performance by a Cast in a Motion Picture: Oppenheimer
Outstanding Performance by a Female Actor in a Leading Role: Lily Gladstone - Killers of the Flower Moon
Outstanding Performance by a Male Actor in a Leading Role: Cillian Murphy - Oppenheimer
Outstanding Performance by a Female Actor in a Supporting Role: Da’Vine Joy Randolph - The Holdovers
Outstanding Performance by a Male Actor in a Supporting Role:Robert Downey Jr. - Oppenheimer
TV:
Outstanding Performance by an Ensemble in a Drama Series: Succession
Outstanding Performance by an Ensemble in a Comedy Series: The Bear
Outstanding Performance by a Female Actor in a Drama Series: Elizabeth Debicki - The Crown
Outstanding Performance by a Male Actor in a Drama Series: Pedro Pascal - The Last of Us
Outstanding Performance by a Female Actor in a Comedy Series: Ayo Edebiri - The Bear
Outstanding Performance by a Male Actor in a Comedy Series: Jeremy Allen White - The Bear
Outstanding Performance by a Female Actor in a Television Movie or Limited Series: Ali Wong - Beef
Outstanding Performance by a Male Actor in a Television Movie or Limited Series: Steven Yeun - Beef
Stunts:
Outstanding Action Performance by a Stunt Ensemble in a Television Series: The Mandalorian
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https://www.hollywoodreporter.com/movies/movie-news/antony-sher-dead-shakespearean-actor-1235057134/
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en
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Antony Sher, Acclaimed Shakespearean Actor, Dies at 72
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2021-12-03T23:29:18+00:00
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His film roles included Dr.
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en
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The Hollywood Reporter
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https://www.hollywoodreporter.com/movies/movie-news/antony-sher-dead-shakespearean-actor-1235057134/
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Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died, the Royal Shakespeare Company said Friday. He was 72.
Sher had been diagnosed with terminal cancer this year. His husband, Royal Shakespeare Company artistic director Gregory Doran, took leave from his job to care for him.
Born in 1949 in Cape Town, South Africa, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in Richard III.
He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the Henry IV plays, Leontes in The Winter’s Tale, Shylock in The Merchant of Venice, Iago in Othello and the title characters in Macbeth and King Lear.
Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller’s Death of a Salesman and the title role in Moliere’s Tartuffe.
Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s Torch Song Trilogy. He won the 1985 best-actor Olivier Award jointly for Torch Song Trilogy and Richard III.
He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ Stanley at the National Theatre and on Broadway.
After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage.
He adapted Primo Levi’s powerful Auschwitz memoir If This is a Man into a one-man stage show, Primo, that ran on Broadway in 2005.
He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.”
Sher’s last role for the RSC came in 2019 in South African writer John Kani’s Kunene and The King. Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer.
Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.”
On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series The History Man. His film roles included Dr. Moth in Shakespeare in Love, Benjamin Disraeli in Mrs. Brown and Adolf Hitler in Churchill: The Hollywood Years.
Sher also wrote several novels and theatrical memoirs, along with an autobiography, Beside Myself, and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher.
“I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in Macbeth and Death of a Salesman. “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said.
In a statement to The Hollywood Reporter, Helen Mirren said “the theater has lost a brilliant light.” She continued, “I will never forget the moment I met the actor in Antony. We were doing the first reading rehearsal of the play Teeth and Smiles by David Hare. Antony was a comparatively unknown actor at the time. We were buried in our scripts.”
Added Mirren: “I read the first words of our scene together and he answered. I raised my eyes above the pages to look at him more precisely, as with simply those minimal words I immediately realized I was opposite a great actor. Of course he went on to become the celebrated artist he was, but the extraordinary ability was born in him, as natural to him as breathing: it was as clear as a summer sky.”
Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.”
“He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.'”
Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage.
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https://en.wikipedia.org/wiki/Screen_Actors_Guild_Award_for_Outstanding_Performance_by_a_Cast_in_a_Motion_Picture
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en
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Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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https://en.wikipedia.org/wiki/Screen_Actors_Guild_Award_for_Outstanding_Performance_by_a_Cast_in_a_Motion_Picture
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U.S. film award
SAG Award for Best Ensemble in a Motion PictureAwarded forOutstanding Performance by an Ensemble in a Motion PictureLocationLos Angeles, CaliforniaPresented bySAG-AFTRACurrently held byOppenheimer (2023)Websitesagawards.org
The Screen Actors Guild Award for Outstanding Performance by a Cast (or Ensemble) in a Motion Picture is an award given by the Screen Actors Guild to honor the finest acting achievements in film. It is the final award presented during the ceremony.
indicates the winners.
Year Film Cast members 1995
(2nd)
Apollo 13 Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan, Gary Sinise Get Shorty Danny DeVito, Dennis Farina, James Gandolfini, Gene Hackman, Delroy Lindo, David Paymer, Rene Russo, John Travolta How to Make an American Quilt Maya Angelou, Anne Bancroft, Ellen Burstyn, Samantha Mathis, Kate Nelligan, Winona Ryder, Jean Simmons, Lois Smith, Alfre Woodard Nixon Joan Allen, Brian Bedford, Powers Boothe, Kevin Dunn, Fyvush Finkel, Annabeth Gish, Tony Goldwyn, Larry Hagman, Ed Harris, Edward Herrmann, Anthony Hopkins, Bob Hoskins, Madeline Kahn, E. G. Marshall, David Paymer, David Hyde Pierce, Paul Sorvino, Mary Steenburgen, J. T. Walsh, James Woods Sense and Sensibility Hugh Grant, Alan Rickman, Emma Thompson, Kate Winslet 1996
(3rd)
The Birdcage Hank Azaria, Christine Baranski, Dan Futterman, Gene Hackman, Nathan Lane, Dianne Wiest, Robin Williams The English Patient Naveen Andrews, Juliette Binoche, Willem Dafoe, Ralph Fiennes, Colin Firth, Jürgen Prochnow, Kristin Scott Thomas, Julian Wadham Marvin's Room Hume Cronyn, Robert De Niro, Leonardo DiCaprio, Dan Hedaya, Diane Keaton, Hal Scardino, Meryl Streep, Gwen Verdon Shine John Gielgud, Armin Mueller-Stahl, Lynn Redgrave, Geoffrey Rush, Noah Taylor, Googie Withers Sling Blade Lucas Black, Natalie Canerday, Robert Duvall, James Hampton, John Ritter, Billy Bob Thornton, J. T. Walsh, Dwight Yoakam 1997
(4th)
The Full Monty Mark Addy, Paul Barber, Robert Carlyle, Deirdre Costello, Steve Huison, Bruce Jones, Lesley Sharp, William Snape, Hugo Speer, Tom Wilkinson, Emily Woof Boogie Nights Don Cheadle, Heather Graham, Luis Guzmán, Philip Baker Hall, Philip Seymour Hoffman, Thomas Jane, Ricky Jay, William H. Macy, Alfred Molina, Julianne Moore, Nicole Ari Parker, John C. Reilly, Burt Reynolds, Robert Ridgely, Mark Wahlberg, Melora Walters Good Will Hunting Ben Affleck, Matt Damon, Minnie Driver, Stellan Skarsgård, Robin Williams L.A. Confidential Kim Basinger, James Cromwell, Russell Crowe, Danny DeVito, Guy Pearce, Kevin Spacey, David Strathairn Titanic Suzy Amis, Kathy Bates, Leonardo DiCaprio, Frances Fisher, Bernard Fox, Victor Garber, Bernard Hill, Jonathan Hyde, Danny Nucci, Bill Paxton, Gloria Stuart, David Warner, Kate Winslet, Billy Zane 1998
(5th)
Shakespeare in Love Ben Affleck, Simon Callow, Jim Carter, Martin Clunes, Judi Dench, Joseph Fiennes, Colin Firth, Gwyneth Paltrow, Geoffrey Rush, Antony Sher, Imelda Staunton, Tom Wilkinson Life Is Beautiful (La vita è bella) Roberto Benigni, Nicoletta Braschi, Horst Buchholz, Sergio Bini Bustric, Giorgio Cantarini, Giustino Durano, Amerigo Fontani, Giuliana Lojodice, Marisa Paredes Little Voice Annette Badland, Brenda Blethyn, Jim Broadbent, Michael Caine, Jane Horrocks, Philip Jackson, Ewan McGregor Saving Private Ryan Edward Burns, Matt Damon, Jeremy Davies, Vin Diesel, Adam Goldberg, Tom Hanks, Barry Pepper, Giovanni Ribisi, Tom Sizemore Waking Ned Ian Bannen, Fionnula Flanagan, David Kelly, Susan Lynch, James Nesbitt 1999
(6th)
American Beauty Annette Bening, Wes Bentley, Thora Birch, Chris Cooper, Peter Gallagher, Allison Janney, Kevin Spacey, Mena Suvari Being John Malkovich Orson Bean, John Cusack, Cameron Diaz, Catherine Keener, John Malkovich, Mary Kay Place, Charlie Sheen The Cider House Rules Jane Alexander, Erykah Badu, Kathy Baker, Michael Caine, Delroy Lindo, Tobey Maguire, Kate Nelligan, Paul Rudd, Charlize Theron The Green Mile Patricia Clarkson, James Cromwell, Jeffrey DeMunn, Michael Clarke Duncan, Graham Greene, Tom Hanks, Bonnie Hunt, Doug Hutchison, Michael Jeter, David Morse, Barry Pepper, Sam Rockwell, Harry Dean Stanton Magnolia Jeremy Blackman, Tom Cruise, Melinda Dillon, April Grace, Luis Guzmán, Philip Baker Hall, Philip Seymour Hoffman, Ricky Jay, William H. Macy, Alfred Molina, Julianne Moore, John C. Reilly, Jason Robards, Melora Walters
Year Film Cast members 2000
(7th)
Traffic Steven Bauer, Benjamin Bratt, James Brolin, Don Cheadle, Erika Christensen, Clifton Collins Jr., Michael Douglas, Miguel Ferrer, Albert Finney, Topher Grace, Luis Guzmán, Amy Irving, Tomas Milian, D. W. Moffett, Dennis Quaid, Peter Riegert, Benicio del Toro, Jacob Vargas, Catherine Zeta-Jones Almost Famous Fairuza Balk, Billy Crudup, Patrick Fugit, Philip Seymour Hoffman, Kate Hudson, Jason Lee, Frances McDormand, Anna Paquin, Noah Taylor Billy Elliot Jamie Bell, Jamie Draven, Gary Lewis, Julie Walters Chocolat Juliette Binoche, Leslie Caron, Judi Dench, Johnny Depp, Alfred Molina, Carrie-Anne Moss, Hugh O'Conor, Lena Olin, Peter Stormare, John Wood Gladiator Russell Crowe, Richard Harris, Djimon Hounsou, Derek Jacobi, Connie Nielsen, Joaquin Phoenix, Oliver Reed 2001
(8th)
Gosford Park Eileen Atkins, Bob Balaban, Alan Bates, Charles Dance, Stephen Fry, Michael Gambon, Richard E. Grant, Tom Hollander, Derek Jacobi, Kelly Macdonald, Helen Mirren, Jeremy Northam, Clive Owen, Ryan Phillippe, Maggie Smith, Geraldine Somerville, Kristin Scott Thomas, Sophie Thompson, Emily Watson, James Wilby A Beautiful Mind Paul Bettany, Jennifer Connelly, Russell Crowe, Adam Goldberg, Jason Gray-Stanford, Ed Harris, Judd Hirsch, Josh Lucas, Austin Pendleton, Christopher Plummer, Anthony Rapp In the Bedroom William Mapother, Sissy Spacek, Nick Stahl, Marisa Tomei, Celia Weston, Tom Wilkinson, William Wise The Lord of the Rings: The Fellowship of the Ring Sean Astin, Sean Bean, Cate Blanchett, Orlando Bloom, Billy Boyd, Ian Holm, Christopher Lee, Ian McKellen, Dominic Monaghan, Viggo Mortensen, John Rhys-Davies, Andy Serkis, Liv Tyler, Hugo Weaving, Elijah Wood Moulin Rouge! Jim Broadbent, Nicole Kidman, John Leguizamo, Ewan McGregor, Richard Roxburgh 2002
(9th)
Chicago Christine Baranski, Ekaterina Chtchelkanova, Taye Diggs, Denise Faye, Colm Feore, Richard Gere, Deidre Goodwin, Queen Latifah, Lucy Liu, Susan Misner, Mýa, John C. Reilly, Dominic West, Renée Zellweger, Catherine Zeta-Jones Adaptation. Nicolas Cage, Chris Cooper, Brian Cox, Cara Seymour, Meryl Streep, Tilda Swinton The Hours Toni Collette, Claire Danes, Jeff Daniels, Stephen Dillane, Ed Harris, Allison Janney, Nicole Kidman, Julianne Moore, John C. Reilly, Miranda Richardson, Meryl Streep The Lord of the Rings: The Two Towers Sean Astin, Cate Blanchett, Orlando Bloom, Billy Boyd, Brad Dourif, Bernard Hill, Christopher Lee, Ian McKellen, Dominic Monaghan, Viggo Mortensen, Miranda Otto, John Rhys-Davies, Andy Serkis, Liv Tyler, Karl Urban, Hugo Weaving, David Wenham, Elijah Wood My Big Fat Greek Wedding Gia Carides, Michael Constantine, John Corbett, Joey Fatone, Lainie Kazan, Andrea Martin, Nia Vardalos 2003
(10th)
The Lord of the Rings: The Return of the King Sean Astin, Sean Bean, Cate Blanchett, Orlando Bloom, Billy Boyd, Bernard Hill, Ian Holm, Ian McKellen, Dominic Monaghan, Viggo Mortensen, John Noble, Miranda Otto, John Rhys-Davies, Andy Serkis, Liv Tyler, Karl Urban, Hugo Weaving, David Wenham, Elijah Wood In America Emma Bolger, Sarah Bolger, Paddy Considine, Djimon Hounsou, Samantha Morton Mystic River Kevin Bacon, Laurence Fishburne, Marcia Gay Harden, Laura Linney, Sean Penn, Tim Robbins Seabiscuit Elizabeth Banks, Jeff Bridges, Chris Cooper, William H. Macy, Tobey Maguire, Gary Stevens The Station Agent Paul Benjamin, Bobby Cannavale, Patricia Clarkson, Peter Dinklage, Raven Goodwin, Michelle Williams 2004
(11th)
Sideways Thomas Haden Church, Paul Giamatti, Virginia Madsen, Sandra Oh The Aviator Alan Alda, Alec Baldwin, Kate Beckinsale, Cate Blanchett, Leonardo DiCaprio, Ian Holm, Danny Huston, Jude Law, John C. Reilly, Gwen Stefani Finding Neverland Julie Christie, Johnny Depp, Freddie Highmore, Dustin Hoffman, Radha Mitchell, Joe Prospero, Nick Roud, Luke Spill, Kate Winslet Hotel Rwanda Don Cheadle, Nick Nolte, Sophie Okonedo, Joaquin Phoenix Million Dollar Baby Clint Eastwood, Morgan Freeman, Hilary Swank Ray Aunjanue Ellis, Jamie Foxx, Terrence Howard, Regina King, Harry J. Lennix, Clifton Powell, Larenz Tate, Kerry Washington 2005
(12th)
Crash Chris "Ludacris" Bridges, Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito, William Fichtner, Brendan Fraser, Terrence Howard, Thandie Newton, Ryan Phillippe, Larenz Tate Brokeback Mountain Linda Cardellini, Anna Faris, Jake Gyllenhaal, Anne Hathaway, Heath Ledger, Randy Quaid, Michelle Williams Capote Bob Balaban, Marshall Bell, Clifton Collins Jr., Chris Cooper, Bruce Greenwood, Philip Seymour Hoffman, Catherine Keener, Mark Pellegrino Good Night, and Good Luck. Rose Abdoo, Alex Borstein, Robert John Burke, Patricia Clarkson, George Clooney, Jeff Daniels, Reed Diamond, Tate Donovan, Robert Downey Jr., Grant Heslov, Peter Jacobson, Frank Langella, Tom McCarthy, Dianne Reeves, Matt Ross, David Strathairn, Ray Wise Hustle & Flow Anthony Anderson, Christopher "Ludacris" Bridges, Isaac Hayes, Taraji P. Henson, Terrence Howard, Taryn Manning, Elise Neal, Paula Jai Parker, DJ Qualls 2006
(13th)
Little Miss Sunshine Alan Arkin, Abigail Breslin, Steve Carell, Toni Collette, Paul Dano, Greg Kinnear Babel Adriana Barraza, Gael García Bernal, Cate Blanchett, Rinko Kikuchi, Brad Pitt, Kōji Yakusho Bobby Harry Belafonte, Joy Bryant, Nick Cannon, Emilio Estevez, Laurence Fishburne, Brian Geraghty, Heather Graham, Anthony Hopkins, Helen Hunt, Joshua Jackson, David Krumholtz, Ashton Kutcher, Shia LaBeouf, Lindsay Lohan, William H. Macy, Svetlana Metkina, Demi Moore, Freddy Rodriguez, Martin Sheen, Christian Slater, Sharon Stone, Jacob Vargas, Mary Elizabeth Winstead, Elijah Wood The Departed Anthony Anderson, Alec Baldwin, Matt Damon, Leonardo DiCaprio, Vera Farmiga, Jack Nicholson, Martin Sheen, Mark Wahlberg, Ray Winstone Dreamgirls Hinton Battle, Jamie Foxx, Danny Glover, Jennifer Hudson, Beyoncé, Sharon Leal, Eddie Murphy, Keith Robinson, Anika Noni Rose 2007
(14th)
No Country for Old Men Javier Bardem, Josh Brolin, Garret Dillahunt, Tess Harper, Woody Harrelson, Tommy Lee Jones, Kelly Macdonald 3:10 to Yuma Christian Bale, Russell Crowe, Peter Fonda, Ben Foster, Logan Lerman, Gretchen Mol, Dallas Roberts, Vinessa Shaw, Alan Tudyk American Gangster Armand Assante, Josh Brolin, Russell Crowe, Ruby Dee, Chiwetel Ejiofor, Idris Elba, Cuba Gooding Jr., Carla Gugino, John Hawkes, Ted Levine, Joe Morton, Lymari Nadal, John Ortiz, RZA, Yul Vazquez, Denzel Washington Hairspray Nikki Blonsky, Amanda Bynes, Paul Dooley, Zac Efron, Allison Janney, Elijah Kelley, Queen Latifah, James Marsden, Michelle Pfeiffer, Brittany Snow, Jerry Stiller, John Travolta, Christopher Walken Into the Wild Brian H. Dierker, Marcia Gay Harden, Emile Hirsch, Hal Holbrook, William Hurt, Catherine Keener, Jena Malone, Kristen Stewart, Vince Vaughn 2008
(15th)
Slumdog Millionaire Rubina Ali, Tanay Hemant Chheda, Ashutosh Lobo Gajiwala, Azharuddin Mohammed Ismail, Anil Kapoor, Irrfan Khan, Ayush Mahesh Khedekar, Tanvi Ganesh Lonkar, Madhur Mittal, Dev Patel, Freida Pinto The Curious Case of Benjamin Button Mahershala Ali, Cate Blanchett, Jason Flemyng, Jared Harris, Taraji P. Henson, Elias Koteas, Julia Ormond, Brad Pitt, Phyllis Somerville, Tilda Swinton Doubt Amy Adams, Viola Davis, Philip Seymour Hoffman, Meryl Streep Frost/Nixon Kevin Bacon, Rebecca Hall, Toby Jones, Frank Langella, Matthew Macfadyen, Oliver Platt, Sam Rockwell, Michael Sheen Milk Josh Brolin, Joseph Cross, James Franco, Victor Garber, Emile Hirsch, Diego Luna, Denis O'Hare, Sean Penn, Alison Pill 2009
(16th)
Inglourious Basterds Daniel Brühl, August Diehl, Julie Dreyfus, Michael Fassbender, Sylvester Groth, Jacky Ido, Diane Kruger, Mélanie Laurent, Denis Menochet, Mike Myers, Brad Pitt, Eli Roth, Til Schweiger, Rod Taylor, Christoph Waltz, Martin Wuttke An Education Dominic Cooper, Alfred Molina, Carey Mulligan, Rosamund Pike, Peter Sarsgaard, Emma Thompson, Olivia Williams The Hurt Locker Christian Camargo, Brian Geraghty, Evangeline Lilly, Anthony Mackie, Jeremy Renner Nine Marion Cotillard, Penélope Cruz, Daniel Day-Lewis, Judi Dench, Fergie, Kate Hudson, Nicole Kidman, Sophia Loren Precious Mariah Carey, Lenny Kravitz, Mo'Nique, Paula Patton, Sherri Shepherd, Gabourey Sidibe
Year Film Cast members 2010
(17th)
The King's Speech Anthony Andrews, Helena Bonham Carter, Jennifer Ehle, Colin Firth, Michael Gambon, Derek Jacobi, Guy Pearce, Geoffrey Rush, Timothy Spall Black Swan Vincent Cassel, Barbara Hershey, Mila Kunis, Natalie Portman, Winona Ryder The Fighter Amy Adams, Christian Bale, Melissa Leo, Jack McGee, Mark Wahlberg The Kids Are All Right Annette Bening, Josh Hutcherson, Julianne Moore, Mark Ruffalo, Mia Wasikowska The Social Network Jesse Eisenberg, Andrew Garfield, Armie Hammer, Max Minghella, Josh Pence, Justin Timberlake 2011
(18th)
The Help Jessica Chastain, Viola Davis, Bryce Dallas Howard, Allison Janney, Chris Lowell, Ahna O'Reilly, Sissy Spacek, Octavia Spencer, Mary Steenburgen, Emma Stone, Cicely Tyson, Mike Vogel The Artist Bérénice Bejo, James Cromwell, Jean Dujardin, John Goodman, Penelope Ann Miller Bridesmaids Rose Byrne, Jill Clayburgh, Ellie Kemper, Matt Lucas, Melissa McCarthy, Wendi McLendon-Covey, Chris O'Dowd, Maya Rudolph, Rebel Wilson, Kristen Wiig The Descendants Beau Bridges, George Clooney, Robert Forster, Judy Greer, Matthew Lillard, Shailene Woodley Midnight in Paris Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard, Rachel McAdams, Michael Sheen, Owen Wilson 2012
(19th)
Argo Ben Affleck, Alan Arkin, Kerry Bishé, Kyle Chandler, Rory Cochrane, Bryan Cranston, Christopher Denham, Tate Donovan, Clea DuVall, Victor Garber, John Goodman, Scoot McNairy, Chris Messina The Best Exotic Marigold Hotel Judi Dench, Celia Imrie, Bill Nighy, Dev Patel, Ronald Pickup, Maggie Smith, Tom Wilkinson, Penelope Wilton Les Misérables Isabelle Allen, Samantha Barks, Sacha Baron Cohen, Helena Bonham Carter, Russell Crowe, Anne Hathaway, Daniel Huttlestone, Hugh Jackman, Eddie Redmayne, Amanda Seyfried, Aaron Tveit, Colm Wilkinson Lincoln Daniel Day-Lewis, Sally Field, Joseph Gordon-Levitt, Hal Holbrook, Tommy Lee Jones, James Spader, David Strathairn Silver Linings Playbook Bradley Cooper, Robert De Niro, Anupam Kher, Jennifer Lawrence, Chris Tucker, Jacki Weaver 2013
(20th)
American Hustle Amy Adams, Christian Bale, Louis C.K., Bradley Cooper, Paul Herman, Jack Huston, Jennifer Lawrence, Alessandro Nivola, Michael Peña, Jeremy Renner, Elisabeth Röhm, Shea Whigham 12 Years a Slave Benedict Cumberbatch, Paul Dano, Garret Dillahunt, Chiwetel Ejiofor, Michael Fassbender, Paul Giamatti, Scoot McNairy, Lupita Nyong'o, Adepero Oduye, Sarah Paulson, Brad Pitt, Michael Kenneth Williams, Alfre Woodard August: Osage County Abigail Breslin, Chris Cooper, Benedict Cumberbatch, Juliette Lewis, Margo Martindale, Ewan McGregor, Dermot Mulroney, Julianne Nicholson, Julia Roberts, Sam Shepard, Meryl Streep, Misty Upham The Butler Mariah Carey, John Cusack, Jane Fonda, Cuba Gooding Jr., Terrence Howard, Lenny Kravitz, James Marsden, David Oyelowo, Alex Pettyfer, Vanessa Redgrave, Alan Rickman, Liev Schreiber, Forest Whitaker, Robin Williams, Oprah Winfrey Dallas Buyers Club Jennifer Garner, Jared Leto, Matthew McConaughey, Denis O'Hare, Dallas Roberts, Steve Zahn 2014
(21st)
Birdman Zach Galifianakis, Michael Keaton, Edward Norton, Andrea Riseborough, Amy Ryan, Emma Stone, Naomi Watts Boyhood Patricia Arquette, Ellar Coltrane, Ethan Hawke, Lorelei Linklater The Grand Budapest Hotel F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Ralph Fiennes, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Tony Revolori, Saoirse Ronan, Jason Schwartzman, Léa Seydoux, Tilda Swinton, Tom Wilkinson, Owen Wilson The Imitation Game Matthew Beard, Benedict Cumberbatch, Charles Dance, Matthew Goode, Rory Kinnear, Keira Knightley, Allen Leech, Mark Strong The Theory of Everything Charlie Cox, Felicity Jones, Simon McBurney, Eddie Redmayne, David Thewlis, Emily Watson 2015
(22nd)
Spotlight Billy Crudup, Brian d'Arcy James, Michael Keaton, Rachel McAdams, Mark Ruffalo, Liev Schreiber, John Slattery, Stanley Tucci[1] Beasts of No Nation Abraham Attah, Kurt Egyiawan, Idris Elba The Big Short Christian Bale, Steve Carell, Ryan Gosling, Melissa Leo, Hamish Linklater, John Magaro, Brad Pitt, Rafe Spall, Jeremy Strong, Marisa Tomei, Finn Wittrock Straight Outta Compton Neil Brown Jr., Paul Giamatti, Corey Hawkins, Aldis Hodge, O'Shea Jackson Jr., Jason Mitchell Trumbo Adewale Akinnuoye-Agbaje, Louis C.K., Bryan Cranston, David James Elliott, Elle Fanning, John Goodman, Diane Lane, Helen Mirren, Michael Stuhlbarg, Alan Tudyk 2016
(23rd)
Hidden Figures Mahershala Ali, Kevin Costner, Kirsten Dunst, Taraji P. Henson, Aldis Hodge, Janelle Monáe, Jim Parsons, Glen Powell, Octavia Spencer[2] Captain Fantastic Annalise Basso, Shree Crooks, Ann Dowd, Kathryn Hahn, Nicholas Hamilton, Samantha Isler, Frank Langella, George MacKay, Erin Moriarty, Viggo Mortensen, Missi Pyle, Charlie Shotwell, Steve Zahn Fences Jovan Adepo, Viola Davis, Stephen McKinley Henderson, Russell Hornsby, Saniyya Sidney, Denzel Washington, Mykelti Williamson Manchester by the Sea Casey Affleck, Matthew Broderick, Kyle Chandler, Lucas Hedges, Gretchen Mol, Michelle Williams Moonlight Mahershala Ali, Naomie Harris, André Holland, Jharrel Jerome, Janelle Monáe, Trevante Rhodes, Ashton Sanders 2017
(24th)
Three Billboards Outside Ebbing, Missouri Abbie Cornish, Peter Dinklage, Woody Harrelson, John Hawkes, Lucas Hedges, Željko Ivanek, Caleb Landry Jones, Frances McDormand, Clarke Peters, Sam Rockwell, Samara Weaving[3] The Big Sick Adeel Akhtar, Holly Hunter, Zoe Kazan, Anupam Kher, Kumail Nanjiani, Ray Romano, Zenobia Shroff Get Out Caleb Landry Jones, Daniel Kaluuya, Catherine Keener, Stephen Root, Lakeith Stanfield, Bradley Whitford, Allison Williams Lady Bird Timothée Chalamet, Beanie Feldstein, Lucas Hedges, Tracy Letts, Stephen McKinley Henderson, Laurie Metcalf, Jordan Rodrigues, Saoirse Ronan, Odeya Rush, Marielle Scott, Lois Smith Mudbound Jonathan Banks, Mary J. Blige, Jason Clarke, Garrett Hedlund, Jason Mitchell, Rob Morgan, Carey Mulligan 2018
(25th)
Black Panther Angela Bassett, Chadwick Boseman, Sterling K. Brown, Winston Duke, Martin Freeman, Danai Gurira, Michael B. Jordan, Daniel Kaluuya, Lupita Nyong'o, Andy Serkis, Forest Whitaker, Letitia Wright[4] BlacKkKlansman Harry Belafonte, Adam Driver, Topher Grace, Laura Harrier, Corey Hawkins, John David Washington Bohemian Rhapsody Lucy Boynton, Aidan Gillen, Ben Hardy, Tom Hollander, Gwilym Lee, Allen Leech, Rami Malek, Joe Mazzello, Mike Myers Crazy Rich Asians Awkwafina, Gemma Chan, Henry Golding, Ken Jeong, Lisa Lu, Harry Shum Jr., Constance Wu, Michelle Yeoh A Star Is Born Dave Chappelle, Andrew Dice Clay, Bradley Cooper, Sam Elliott, Rafi Gavron, Lady Gaga, Anthony Ramos 2019
(26th)
Parasite
(기생충) Cho Yeo-jeong, Choi Woo-shik, Jang Hye-jin, Jung Hyun-joon, Jung Ziso, Lee Jung-eun, Lee Sun-kyun, Park Myung-hoon, Park So-dam, Song Kang-ho[5] Bombshell Connie Britton, Allison Janney, Nicole Kidman, John Lithgow, Malcolm McDowell, Kate McKinnon, Margot Robbie, Charlize Theron The Irishman Bobby Cannavale, Robert De Niro, Stephen Graham, Harvey Keitel, Al Pacino, Anna Paquin, Joe Pesci, Ray Romano Jojo Rabbit Alfie Allen, Roman Griffin Davis, Scarlett Johansson, Thomasin McKenzie, Stephen Merchant, Sam Rockwell, Taika Waititi, Rebel Wilson Once Upon a Time in Hollywood Austin Butler, Julia Butters, Bruce Dern, Leonardo DiCaprio, Dakota Fanning, Emile Hirsch, Damian Lewis, Mike Moh, Timothy Olyphant, Al Pacino, Luke Perry, Brad Pitt, Margaret Qualley, Margot Robbie
Year Film Cast members 2020
(27th)
The Trial of the Chicago 7 Yahya Abdul-Mateen II, Sacha Baron Cohen, Joseph Gordon-Levitt, Kelvin Harrison Jr., Michael Keaton, Frank Langella, John Carroll Lynch, Eddie Redmayne, Mark Rylance, Alex Sharp, Jeremy Strong Da 5 Bloods Chadwick Boseman, Paul Walter Hauser, Nguyễn Ngọc Lâm, Lê Y Lan, Norm Lewis, Delroy Lindo, Jonathan Majors, Van Veronica Ngo, Johnny Trí Nguyễn, Jasper Pääkkönen, Clarke Peters, Sandy Hương Phạm, Jean Reno, Mélanie Thierry, Isiah Whitlock Jr. Ma Rainey's Black Bottom Chadwick Boseman, Jonny Coyne, Viola Davis, Colman Domingo, Michael Potts, Glynn Turman Minari Noel Kate Cho, Han Ye-ri, Scott Haze, Alan Kim, Will Patton, Steven Yeun, Youn Yuh-jung One Night in Miami... Kingsley Ben-Adir, Beau Bridges, Lawrence Gilliard Jr., Eli Goree, Aldis Hodge, Michael Imperioli, Joaquina Kalukango, Leslie Odom Jr., Lance Reddick, Nicolette Robinson 2021
(28th)
CODA Eugenio Derbez, Daniel Durant, Emilia Jones, Troy Kotsur, Marlee Matlin, Ferdia Walsh-Peelo Belfast Caitríona Balfe, Judi Dench, Jamie Dornan, Jude Hill, Ciarán Hinds, Colin Morgan Don't Look Up Cate Blanchett, Timothée Chalamet, Leonardo DiCaprio, Ariana Grande, Jonah Hill, Jennifer Lawrence, Melanie Lynskey, Scott Mescudi, Rob Morgan, Himesh Patel, Ron Perlman, Tyler Perry, Mark Rylance, Meryl Streep House of Gucci Adam Driver, Lady Gaga, Salma Hayek, Jack Huston, Jeremy Irons, Jared Leto, Al Pacino King Richard Jon Bernthal, Aunjanue Ellis, Tony Goldwyn, Saniyya Sidney, Demi Singleton, Will Smith 2022
(29th)
Everything Everywhere All At Once Jamie Lee Curtis, James Hong, Stephanie Hsu, Ke Huy Quan, Harry Shum Jr., Jenny Slate, Michelle Yeoh Babylon Jovan Adepo, P.J. Byrne, Diego Calva, Lukas Haas, Olivia Hamilton, Li Jun Li, Tobey Maguire, Max Minghella, Brad Pitt, Margot Robbie, Rory Scovel, Jean Smart, Katherine Waterston The Banshees of Inisherin Kerry Condon, Colin Farrell, Brendan Gleeson, Barry Keoghan The Fabelmans Jeannie Berlin, Paul Dano, Judd Hirsch, Gabriel LaBelle, David Lynch, Seth Rogen, Michelle Williams Women Talking Jessie Buckley, Claire Foy, Kate Hallett, Judith Ivey, Rooney Mara, Sheila McCarthy, Frances McDormand, Michelle McLeod, Liv McNeil, Ben Whishaw, August Winter 2023
(30th)
Oppenheimer Casey Affleck, Emily Blunt, Kenneth Branagh, Matt Damon, Robert Downey Jr., Josh Hartnett, Rami Malek, Cillian Murphy, Florence Pugh American Fiction Erika Alexander, Adam Brody, Sterling K. Brown, Keith David, John Ortiz, Issa Rae, Tracee Ellis Ross, Leslie Uggams, Jeffrey Wright Barbie Michael Cera, Will Ferrell, America Ferrera, Ryan Gosling, Ariana Greenblatt, Kate McKinnon, Helen Mirren, Rhea Perlman, Issa Rae, Margot Robbie The Color Purple Halle Bailey, Fantasia Barrino, Jon Batiste, Danielle Brooks, Ciara, Colman Domingo, Aunjanue Ellis-Taylor, Louis Gossett Jr., Corey Hawkins, Taraji P. Henson, Phylicia Pearl Mpasi, Gabriella Wilson "H.E.R." Killers of the Flower Moon Tantoo Cardinal, Robert De Niro, Leonardo DiCaprio, Brendan Fraser, Lily Gladstone, John Lithgow, Jesse Plemons
The award was not given at the 1st Screen Actors Guild Awards.
The Full Monty, The Lord of the Rings: The Return of the King, and Parasite are the only winners not to be nominated in any other category.
Gosford Park has the largest winning cast (20 credited actors).
Bobby has the largest nominated cast (24 credited actors).
Sideways has the smallest winning cast (4 credited actors).
Million Dollar Baby and Beasts of No Nation have the smallest nominated cast (3 credited actors).
Black Panther is the first superhero film to win the award.
Parasite is the first non-English language film to win the award.
Braveheart, The Shape of Water, Green Book, and Nomadland are the only films not to be nominated for the award and still go on to win the Academy Award for Best Picture
Two non-English language films have been nominated:
Life Is Beautiful
Parasite
Eighteen nominated films not to be nominated in any other category:
3:10 to Yuma
Babylon
Bobby
Crazy Rich Asians
Don't Look Up
The Full Monty
Get Shorty
Hairspray
How to Make an American Quilt
Hustle & Flow
In America
The Lord of the Rings: The Return of the King
The Lord of the Rings: The Two Towers
Midnight in Paris
Moulin Rouge!
My Big Fat Greek Wedding
Parasite
Straight Outta Compton
Women Talking
(Minimum of 5 nominations)
7 nominations
Cate Blanchett
Leonardo DiCaprio
Brad Pitt
6 nominations
Russell Crowe
Meryl Streep
5 nominations
Chris Cooper
Judi Dench
Philip Seymour Hoffman
Allison Janney
John C. Reilly
Tom Wilkinson
Note:
Cate Blanchett has the most consecutive nominations (four, from 2001 to 2004).
Leonardo DiCaprio has the most nominations without ever winning (seven).
Ed Harris (1995, won for Apollo 13)
David Paymer (1995)
John C. Reilly (2002, won for Chicago)
Meryl Streep (2002)
Christopher "Ludacris" Bridges (2005, won for Crash)
Terrence Howard (2005, won for Crash)
Martin Sheen (2006)
Josh Brolin (2007, won for No Country for Old Men)
Russell Crowe (2007)
Benedict Cumberbatch (2013)
Edward Norton (2014, won for Birdman)
Mahershala Ali (2016, won for Hidden Figures)
Janelle Monáe (2016, won for Hidden Figures)
Lucas Hedges (2017, won for Three Billboards Outside Ebbing, Missouri)
Caleb Landry Jones (2017, won for Three Billboards Outside Ebbing, Missouri)
Al Pacino (2019)
Margot Robbie (2019)
Chadwick Boseman (2020)
Issa Rae (2023)
3 wins
Michael Keaton: Birdman (2014), Spotlight (2015), The Trial of the Chicago 7 (2020)
2 wins
Ben Affleck: Shakespeare in Love (1998), Argo (2012)
Alan Arkin: Little Miss Sunshine (2006), Argo (2012)
Christine Baranski: The Birdcage (1996), Chicago (2002)
Don Cheadle: Traffic (2000), Crash (2005)
Colin Firth: Shakespeare in Love (1998), The King's Speech (2010)
Michael Gambon: Gosford Park (2001), The King's Speech (2010)
Woody Harrelson: No Country for Old Men (2007), Three Billboards Outside Ebbing, Missouri (2017)
Derek Jacobi: Gosford Park (2001), The King's Speech (2010)
Allison Janney: American Beauty (1999), The Help (2011)
Kelly Macdonald: Gosford Park (2001), No Country for Old Men (2007)
Ryan Phillippe: Gosford Park (2001), Crash (2005)
Geoffrey Rush: Shakespeare in Love (1998), The King's Speech (2010)
Andy Serkis: The Lord of the Rings: The Return of the King (2003), Black Panther (2018)
Octavia Spencer: The Help (2011), Hidden Figures (2016)
Emma Stone: The Help (2011), Birdman (2014)
Tom Wilkinson: The Full Monty (1997), Shakespeare in Love (1998)
Catherine Zeta-Jones: Traffic (2000), Chicago (2002)
Academy Award for Best Picture
Golden Globe Award for Best Motion Picture – Drama
Golden Globe Award for Best Motion Picture – Musical or Comedy
BAFTA Award for Best Film
Critics' Choice Movie Award for Best Acting Ensemble
Critics' Choice Movie Award for Best Picture
Independent Spirit Award for Best Film
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‘Oppenheimer,’ Lily Gladstone win at 30th Screen Actors Guild Awards
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2024-02-24T05:44:55+00:00
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“Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
|
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AP News
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https://apnews.com/article/2024-sag-awards-screen-actors-guild-netflix-0ef5ed6895af04c56237f07b138c8a61
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“Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
As the Academy Awards draw closer, Christopher Nolan’s blockbuster biopic — already a winner at the Golden Globes and the BAFTAs — has increasingly looked like the run-away favorite. The SAG Awards, one of the most telling Oscar predictors, will only add to the momentum for “Oppenheimer,” the lead Academy Awards nominee with 13 nods.
The SAG Awards were streamed live on Netflix, a first for a major Hollywood award show. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France — sometimes awkwardly, sometimes charmingly.
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (“The Trial of the Chicago 7” and “Black Panther”) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes — best ensemble and the four acting winners — have corresponded with the eventual Oscar winners, including the ensembles for “Everything Everywhere All at Once” and “CODA.”
That could mean the SAGs offered an Oscar preview in two of the closest contests: best actor and best actress.
The night’s most thrilling win went to Lily Gladstone for female actor in a leading role in Martin Scorsese’s “Killers of the Flower Moon.” No category has been more hotly contested, with analysts evenly split between Gladstone and Emma Stone for “Poor Things.”
But Gladstone won Saturday and the crowd erupted. Stone, too, stood and vigorously applauded. More is riding on Gladstone than perhaps any other Oscar contender this year. Her win would be a first for Native Americans.
“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanizes people. That brings people out of the shadows. It brings visibility.”
Murphy and Paul Giamatti (“The Holdovers”) have also been seen as in a neck-and-neck contest. But Murphy has now won at the SAGs, the BAFTAs and Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr. and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favorites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr., accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s “The Holdovers” has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host, too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Idris Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: “The Bear” (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri ); “Beef” (Ali Wong, Steven Yeun); and the cast of “Succession.”
One exception was Pedro Pascal, who won best male actor in a drama series for “The Last of Us” over a trio of “Succession” stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a grueling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,’” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush,” Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood.
“Now I dream of a world where such prejudice is a thing of the past,” she said.
Saturday’s show was one of Netflix’s most significant forays yet into live streaming events. Netflix has previously hosted a live Chris Rock comedy special, a celebrity golf tournament and a live reunion “Love Is Blind” episode that was marred by technical difficulties. But Netflix is gearing up for more. On March 3, it will stream a live tennis event.
___
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5893
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dbpedia
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https://www.eonline.com/news/1395755/sag-awards-2024-winners-see-the-complete-list
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en
|
SAG Awards 2024 Winners: See the Complete List
|
[] |
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2024-02-25T03:16:00+00:00
|
The 2024 Screen Actors Guild Awards featured big wins for Oppenheimer, The Bear, Succession, Barbra Streisand and, of course, Devil Wears Prada fans.
|
/images/icon.png
|
E! Online
|
https://www.eonline.com/news/1395755/sag-awards-2024-winners-see-the-complete-list
|
So, who did The Actor statue go to at the 2024 SAG Awards?
No need to panic, we've got you covered. ICYMI, the Feb. 24 event—streaming on Netflix at 8 p.m. ET from Los Angeles' Shrine Auditorium & Expo Hall—honored the best in TV and film, and this year's nominees were nothing short of fantastic.
Especially if you were Barbie's Margot Robbie and Ryan Gosling. Though the Greta Gerwig-directed movie ultimately lost Outstanding Performance by a Cast in a Motion Picture to Oppenheimer, the Barbie-Ken duo still walked away winners after they dropped jaws on the red carpet.
The competition was stiff on the TV side, too. While the fourth and final season of Succession earned five nominations—including noms for Sarah Snook, Kieran Culkin, Matthew MacFadyen and Brian Cox and a trophy for Outstanding Performance by an Ensemble in a Drama Series—The Bear and Ted Lasso weren't far behind, with each show nabbing four nods. (You need to see Jason Sudeikis' reaction to Jeremy Allen White winning Outstanding Performance by a Male Actor in a Comedy Series over him.)
Plus, Barbra Streisand now needs to make room in her trophy case as she received the Life Achievement Award, presented by Jennifer Aniston and Bradley Cooper.
"I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream, and a movie magazine," the EGOT winner shared while on stage accepting her accolade. "I didn't like reality. I wanted to be in the movies. Even though I knew I didn't look like the other women. My mother said you better learn to type but I didn't listen, and somehow, some way, it all came true."
As for who else's dreams came true when they won an Actor statue? Read on for the full list of winners...
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5893
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0
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https://www.vanityfair.com/hollywood/2021/04/oscar-winner-predictions-2021
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en
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Oscar Predictions 2021: Who Will Win at the Academy Awards?
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2021-04-22T14:03:25.668000-04:00
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Nomadland? Promising Young Woman? Minari? Ma Rainey? We think we might know who will walk away with hardware on Oscar night.
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What a long, strange trip it’s been, through date changes and delays, virtual film festivals and new eligibility rules and pervasive uncertainty. Yet here we are, on the precipice of the Academy Awards at long last—meaning it’s finally time to make our 2021 Oscar predictions, to gaze into our crystal balls and try to divine how the least predictable Oscar season in recent memory may finally wrap up. The upshot: We predict a spread-the-wealth approach that will see Nomadland, Promising Young Woman, Ma Rainey’s Black Bottom, and Minari walking away with major awards.
Want the long version? See below for Vanity Fair’s full Oscar predictions 2021, and don’t forget to fill out your own interactive ballot here before the show on Sunday. The Oscars, produced by Steven Soderbergh, Stacey Sher, and Jesse Collins, air April 25 on ABC at 8 p.m. Eastern.
Below, listen to the Little Gold Men team make their own predictions.
Best Picture
The Father
Judas and the Black Messiah
Mank
Minari
WINNER: Nomadland
Promising Young Woman
Sound of Metal
The Trial of the Chicago 7
Having picked up pretty much every precursor award, while dodging controversy, Nomadland is the absolute front-runner here. It will likely end its winning streak on a high note on Sunday night, concluding a story begun on the Lido in Venice and carrying on to a virtual Toronto, lots of drive-in screenings, and a run on Hulu. The Trial of the Chicago 7, which won the ensemble prize at the SAG Awards (where Nomadland was not nominated), has probably the best chance of spoiling—though we are of late hearing a quiet drumbeat for Promising Young Woman. A win for either of those alternates would be a big upset, one that doesn’t feel all that likely after a Nomadland-dominated season. Best picture is all about the preferential ballot now, and Nomadland will likely get not only lots of first-place votes, but many crucial second-place ones too. —Richard Lawson
Best Actress
Viola Davis, Ma Rainey’s Black Bottom
Andra Day, The United States vs. Billie Holiday
Vanessa Kirby, Pieces of a Woman
WINNER: Frances McDormand, Nomadland
Carey Mulligan, Promising Young Woman
The category might be the year’s most thrilling toss-up, as there is no clear winner and no filler nominee. Carey Mulligan claimed the Critics Choice Award, Andra Day nabbed the Golden Globe, Viola Davis snagged the SAG, and Frances McDormand was crowned by BAFTA. The most exciting win would be Mulligan, given that Promising Young Women is the kind of edgy feature that is usually knocked out of major award discussions by more traditional drama fare. But McDormand will likely add a third Oscar to her collection, given her performance, admirable commitment to living life on the road, and her work packaging the project—even recruiting Nomadland director Chloé Zhao herself. —Julie Miller
Best Actor
Riz Ahmed, Sound of Metal
WINNER: Chadwick Boseman, Ma Rainey’s Black Bottom
Anthony Hopkins, The Father
Gary Oldman, Mank
Steven Yeun, Minari
This one belongs to Chadwick Boseman. The late actor, who died last August of colon cancer, turned in the performance of his career as Levee, a talented but tormented cornet player who roves from monologue to monologue and slowly watches his dreams fade away over the course of the George C. Wolfe–helmed film. Though some pundits still think Anthony Hopkins might pull off a surprise win, all signs—including a slew of key wins over the course of awards season—point to a posthumous statuette for Boseman. —Yohana Desta
Best Director
Lee Isaac Chung, Minari
Emerald Fennell, Promising Young Woman
David Fincher, Mank
WINNER: Chloé Zhao, Nomadland
Thomas Vinterberg, Another Round
For all the last-minute efforts to predict a shake-up in the best-picture race, nobody has really had a doubt that this prize will go to Zhao—who’s already won the Directors Guild Award, the Golden Globe, and a whole raft of critics’ prizes. Zhao’s win would make history, making her the first woman of color—and only the second woman, ever—to win in this category. The appeal of the historic first might be enough to clinch her victory, but it’s also impossible to deny the directorial accomplishment of Nomadland, which coaxes wonderful performances from nonactors and fuses documentary-style filmmaking with expansive vistas that would make John Ford weep. —Katey Rich
Best Supporting Actress
Maria Bakalova, Borat Subsequent Moviefilm
Glenn Close, Hillbilly Elegy
Olivia Colman, The Father
Amanda Seyfried, Mank
WINNER: Yuh-Jung Youn, Minari
For months this felt like the wildest category at this year’s race, with a more limited group of potential nominees than the other acting races, and one would-be heavyweight (Glenn Close) with the apparent advantage—even though she’s in a movie that was widely loathed. Then Yuh-Jung Youn, a veteran actor in South Korea, won the SAG Award and gave a delightful speech through her visible surprise—and a narrative, at long last, emerged. Youn went on to win the BAFTA too, with yet another great speech, and it was impossible to imagine any Oscar voter who loved Minari not wanting to reward it with an award for the actor who is, in many ways, the heart of the film. We’re not going to say it’s locked up—after all, Olivia Colman has shocked the world before when nominated opposite Glenn Close—but Youn will go into the night as a prohibitive favorite. —K.R.
Best Supporting Actor
Sacha Baron Cohen, The Trial of the Chicago 7
WINNER: Daniel Kaluuya, Judas and the Black Messiah
Leslie Odom Jr., One Night in Miami…
Paul Raci, Sound of Metal
LaKeith Stanfield, Judas and the Black Messiah
Coming off of his Golden Globe win earlier this year, the clear front-runner and odds-on favorite to win the whole thing for his incendiary performance in Judas and the Black Messiah was Daniel Kaluuya. He has since won the BAFTA and the SAG awards, further cementing his 2021 Oscar gold narrative. There’s only one thing standing between Kaluuya and certain victory: his Judas and the Black Messiah costar LaKeith Stanfield. He was also nominated in this category, leaving many at home wondering who, exactly, is meant to be the lead in this film if both of its titular characters are up for supporting actor. If Kaluuya and Stanfield were to split the vote, then Kaluuya’s fellow Golden Globe winner, Sacha Baron Cohen, could swoop in and snatch up the prize. The odds for an upset here are unlikely, but never zero. — Joanna Robinson
Best Original Screenplay
Judas and the Black Messiah
Minari
WINNER: Promising Young Woman
Sound of Metal
The Trial of the Chicago 7
In recent years, this category has been dominated by bold, zeitgeist-grabbing films like Parasite and Get Out (and, uh, Green Book). While several of the screenplays on this list could lay claim to that mantle, none fits the bill quite so well as former Killing Eve showrunner and The Crown star Emerald Fennell’s Promising Young Woman, a twisted, #MeToo-inspired revenge tale that goes down like a poisoned lollipop. Fennell’s film got five Oscar nods total, but seems likely to be edged out in every other category—which is all the more reason to bet on Woman here, particularly after Fennell’s screenplay victories at the BAFTAs and Writers Guild Awards. The only real question is whether she’ll be welcomed to the podium to the strains of that creepy “Toxic” cover, or Paris Hilton’s eternal bop “Stars Are Blind.” —Hillary Busis
Best Adapted Screenplay
Borat Subsequent Moviefilm
WINNER*: The Father*
Nomadland
One Night in Miami…
The White Tiger
If there’s a vulnerability in the juggernaut that is Nomadland, it’s this category. The Father director Florian Zeller’s adaptation of his own beloved play, written with Christopher Hampton (Dangerous Liaisons), takes the viewer inside the mind of an aging man whose grip on reality is slipping away. It’s a powerful, emotional journey, leaving the audience at times as disoriented and fearful as the main character. Academy voters have been deeply affected by it. Nomadland had a similar impact, and could continue a winning streak here—but if voters decide to share the love, The Father is one that also captured their hearts. —Anthony Breznican
Best International Feature
WINNER: Another Round (Denmark)
Better Days (Hong Kong)
Collective (Romania)
The Man Who Sold His Skin (Tunisia)
Quo Vadis, Aida? (Bosnia and Herzegovina)
A toast is in order for Another Round, the boozy Danish dramedy starring Mads Mikkelsen. The film is currently the front-runner in this category (with Quo Vadis, Aida? nipping at its heels), beloved both in its native Denmark and overseas for its spirited subject matter: a group of friends experimenting with controlled drunkenness at work. Director Thomas Vinterberg made the film in honor of his 19-year-old daughter, Ida, who was cast in the film but died in a tragic car accident four days into shooting. Another Round’s message of embracing life in all its pain and chaos is impossible to extricate from this backstory, imbuing the film with a sense of urgency. Though Vinterberg has tried to avoid turning his daughter’s death into a press narrative, he has spoken openly about how nice it is to see people embrace the story she inspired: “I feel that every award this movie is being given is honoring her memory,” he told Vanity Fair. “It doesn’t feel wrong or weird; it feels like it’s for her.” How could the Academy resist both awarding this excellent film and bringing Vinterberg’s journey full circle? —Y.D.
Best Documentary Feature
Collective
Crip Camp
The Mole Agent
WINNER: My Octopus Teacher
Time
Diver and filmmaker Craig Foster’s gorgeously shot footage of the friendship he forged in a kelp forest with a playful octopus is the shoo-in here. It’s not only colorful, funny, and heartfelt, but it has a meaningful theme—the brevity of life on earth, and the beauty of sharing it in harmony with other living things. Crip Camp, the uplifting and brazen story of a summer camp for kids with disabilities, could make a surprise comeback here, but it’s going to be difficult to pry the trophy from My Octopus Teacher’s tentacles. —A.B.
Best Editing
The Father
Nomadland
Promising Young Woman
Sound of Metal
WINNER: The Trial of the Chicago 7
Once upon a time, best film editing was known as the category to watch for hints about which film would eventually win best picture; about half the time, best-editing winners went on to win the biggest prize at the Oscars as well. Since the 2010s though, only one film has won both best picture and best editing—2012’s Argo—and it looks as though 2021 will continue the un-correlative trend. The Trial of the Chicago 7, which skillfully and seamlessly weaves together a story that unfolds across multiple timelines and points of view, won the American Cinema Editors guild’s Eddie award, indicating support among editor Alan Baumgarten’s cohort; a SAG win for the film’s cast indicates support among the actors of the Academy as well, which happens to be the voting group’s largest branch. So while Trial may very well be bested by Nomadland in best picture, it’s got more than a solid shot here—unless sleeper favorite Sound of Metal, a technically dazzling film with its own deep well of industry fans, pulls off an upset win for editor Mikkel E. G. Nielsen. —H.B.
Best Original Song
“Husavik (My Hometown),” Eurovision Song Contest: The Story of Fire Saga
“Fight for You,” Judas and the Black Messiah
“Io Sì (Seen),” The Life Ahead
WINNER: “Speak Now,” One Night in Miami…
“Hear My Voice,” The Trial of the Chicago 7
Fun fact: Mary J. Blige made history in 2018, becoming the first person to be nominated for both an acting Oscar and best original song in the same year, for her work on Mudbound. Every year since then, someone else has repeated the feat. In 2019, best-actress nominee Lady Gaga took home the award, for “Shallow” from A Star Is Born. In 2020, Cynthia Erivo received her first two Oscar nominations for starring in and writing the song for the biopic Harriet. This year it’s Leslie Odom Jr.’s turn, nominated as a supporting actor for playing Sam Cooke in One Night in Miami… and also for his original song. It’s a bit of a problem that the real showstopper song moment of the film comes right before, when Odom Jr. performs Cooke’s iconic hit “A Change Is Gonna Come.” But as a Tony winner with the most star power in this category who’s also representing a well-liked film that isn’t likely to win elsewhere, Odom ought to have enough to sneak past the rest of the pack. The other two potential winners, to be fair, both have powerful narratives of their own: “Husavik” is a barn burner of a power ballad that packs a surprising emotional punch in a silly comedy, while “Io Sì (Seen)” marks the astonishing 12th nomination for Diane Warren, who has never won. A victory for either of them, let’s say, would be far less surprising than Iceland winning the Eurovision Song Contest. —K.R.
Best Score
Da 5 Bloods
Mank
Minari
News of the World
WINNER: Soul
Trent Reznor and Atticus Ross will probably pick up their second Oscar on Sunday, for their uncharacteristically sweet and wistful score for Pixar’s big 2020 film. The duo is also nominated for Mank, but we don’t think they’ll split the vote. We’d love to see Da 5 Bloods or Minari eke a win here—Emile Mosseri’s score for the latter is especially beautiful—but there are just too many big names and brands associated with Soul to be beat. —R.L.
Best Animated Feature
Onward
Over the Moon
A Shaun the Sheep Movie: Farmageddon
WINNER: Soul
Wolfwalkers
It’s no secret that Pixar’s Soul has run away with this category more often than not throughout the 2021 awards season. Its only real competition this year comes in the form of Cartoon Saloon’s wildly inventive Irish film Wolfwalkers, which has snatched up a few critics’ awards. But despite a creative awards campaign, Wolfwalkers was unable to defeat Soul even on its home turf at the BAFTAs. (Perhaps it was all the anti-Cromwell allusions.) As for everyone else, well, it’s an honor to be nominated. — J.R.
Best Cinematography
Judas and the Black Messiah
Mank
News of the World
WINNER: Nomadland
The Trial of the Chicago 7
Given that even detractors of Nomadland have praised Joshua James Richards’s cinematography, we think it has the best chance of winning. But Mank’s lush black-and-white compositions are putting up a strong fight. It all comes down to what Academy voters like more: moody portraits of old Hollywood, or magic-hour vistas captured in all their unfussy, natural beauty. We think the current culture will embrace the latter just a little bit more. —R.L.
Best Production Design
The Father
WINNER: Mank
News of the World
Tenet
Ma Rainey’s Black Bottom
The meticulous world of Mank seems to be right up the Academy’s alley this season. The painstakingly designed period piece is this year’s production design front-runner, preferred over fellow period pieces like Ma Rainey and News of the World. If all the punditry is right, Oscar-winning designer Donald Graham Burt, who has worked on many of Fincher’s projects, will nab his second Academy Award this year. His first win, shared with set decorator Victor J. Zolfo, arrived in 2009, courtesy of another Fincher project: The Curious Case of Benjamin Button. —Y.D.
Best Costume Design
Emma
WINNER: Ma Rainey’s Black Bottom
Mank
Mulan
Pinocchio
Look for Ann Roth, whose designs crucially transformed Viola Davis into the pioneering blues singer, to make a historic win on Sunday. At age 89, Roth would become one of the oldest Oscar winners ever, and the oldest in the costume category—knocking Edith Head, who won for The Sting at age 76. Roth’s only previous Oscar win was in 1997 for The English Patient. —J.M.
Best Hair and Makeup
Emma
Hillbilly Elegy
WINNER: Ma Rainey’s Black Bottom
Mank
Pinocchio
The team who transformed Viola Davis into the titular blues singer of Ma Rainey’s Black Bottom is favored to win this category after topping the MUAHS Guild Awards. Davis—who earned her fourth Oscar nomination for the role—was an eager partner, happy to wear a wig made of horsehair, charcoal-like makeup that looked like she had applied it herself, and gold teeth. “She came from vaudeville, so subtle was not a thing for her,” makeup artist Sergio Lopez-Rivera told Vanity Fair. “I did everything with my fingers; I didn’t want any straight lines.” —J.M.
Best Visual Effects
Love and Monsters
The Midnight Sky
Mulan
The One and Only Ivan
WINNER: Tenet
Christopher Nolan’s time-bending thriller had a rough year, struggling to find an audience amid the pandemic. Still, the film’s clever team of VFX artists used digital magic to enhance the story and create genuinely original imagery that challenged the imagination. Every other film in this category has solid effects, but the kinds that have been seen before. Even though Tenet wasn’t seen much at all on the big screen, the voters noticed. —A.B.
Best Sound
Greyhound
Mank
News of the World
Soul
WINNER: Sound of Metal
Usually, this is a space where we got lost in the technicalities of trying to clarify the difference between sound “editing” and sound “design.” But the Academy has decided to blend the two prizes this year into a solitary “sound” category, which may now take on more of an artistic bent. When it comes to the so-called below-the-line categories, it’s often helpful to take a cue from the pre-Oscars guild awards. In the case of sound, however, the editors and the designers are still divided into the Motion Picture Sound Editors and the Cinema Audio Society—so their prizes this year may be more confusing than helpful. The MPSE awarded both Tenet and Trial of the Chicago 7, neither of which are up for a prize here. CAS went with Sound of Metal. Both guilds awarded prizes to Soul, and there is a precedent for Pixar winning this Oscar category with 2004’s The Incredibles. But the idea of a film like Sound of Metal, where sound and the lack thereof is the story, just feels perfect for this newly consolidated category. —J.R.
Best Animated Short
Burrow
Genius Loci
WINNER: If Anything Happens I Love You
Opera
Yes-People
If voters are looking to award something perfectly sweet in this category, they might go with Burrow—the story of a bunny and the animal friends who help him build a new home. Burrow is part of Pixar’s SparkShorts program and, as we all know, Pixar is tough to beat. However, If Anything Happens I Love You—a traumatic study of the emotional fallout from school shootings—might inspire Academy members to vote with their social conscience instead. This film’s chances are bolstered by the star power behind it, including codirector Will McCormack—an actor and Rashida Jones’s frequent writing partner—and Academy darling Laura Dern serving as executive producer. —J.R.
Best Documentary Short
Colette
A Concerto Is a Conversation
Do Not Split
Hunger Ward
WINNER: A Love Song for Latasha
As is often the case in this category, all the nominated documentary shorts this year deal in harrowing subjects: the Holocaust (Colette), child famine (Hunger Ward), the Hong Kong protests (Do Not Split), the tragic shooting of Black Americans (A Love Song for Latasha), and segregation (A Concerto Is a Conversation). Only Concerto, which includes giddy footage of its subject, Green Book composer Kris Bowers, onstage at the 2019 Oscars, maintains a hopeful note. Of all these hard-to-watch films, by far the most effective is the Ava DuVernay–supported A Love Song for Latasha, which creatively explores the 1991 death of 15-year-old Latasha Harlins without using the infamous security footage that partially inspired the L.A. riots. Filmmaker Sophia Nahli Allison opted, instead, to film young Black girls in Latasha’s old neighborhood while audio of those who best knew Latasha and her potential plays over the sun-drenched images. —J.R.
Best Live Action Short
Feeling Through
The Letter Room
The Present
WINNER: Two Distant Strangers
White Eye
The dominant theme in this category is law enforcement behaving badly. When it comes to star power, it’s tough to beat The Letter Room, which stars Oscar Isaac as a downtrodden prison guard who gets emotionally attached to the girlfriend (Alia Shawkat) of one of his inmates. Bafflingly, his transgressive behavior goes unquestioned by the film’s director, Elvira Lind (who’s also Isaac’s wife). When it comes to flash, the leader is Two Distant Strangers, a Groundhog Day–inspired film about a young Black man who gets shot over and over again by a white cop, no matter which route he takes home. The peppy tone is off-putting, but the pro–Black Lives Matter messaging is clear. Flash and star power usually win out in this category, but there’s still hope for one hidden gem: The Present. The simple story of a Palestinian man and his young daughter enduring harassment and worse as they traverse the Israeli-occupied West Bank won the BAFTA, so maybe it will take home a deserving prize on Oscar night as well. —J.R.
More Great Oscar Stories From Vanity Fair
— Oscar Predictions 2021: Who Will Win at the Academy Awards?
— Julia Roberts and the Gladiator: Recapping the 2001 Oscar Ceremony
— Chadwick Boseman, Glenn Close, Frances McDormand: 2021 Nominees at Their First-Ever Oscars
— Chadwick Boseman’s Best and Boldest Roles
— Your Guide to Each Best-Picture Nominee’s Stars and Scandals
— How Inclusive Could the 2021 Winners List Be?
— Carey Mulligan’s Greatest Roles, From Doctor Who to Promising Young Woman
— Nomadland Is Stirring Up Controversy. Does the Academy Care?
— Not a subscriber? Join Vanity Fair to receive full access to VF.com and the complete online archive now.
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https://www.thetimes.com/culture/theatre-dance/article/rsc-director-quits-to-look-after-terminally-ill-antony-sher-l7ctkm55c
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RSC director takes leave to look after terminally ill Antony Sher
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[
"David Sanderson",
"Arts Correspondent"
] |
2021-09-10T11:00:00+00:00
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Sir Antony Sher, one of the greatest Shakespearean actors, has been diagnosed with a terminal illness.Sher’s husband, Gregory Doran, the artistic director of th
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https://www.thetimes.com/culture/theatre-dance/article/rsc-director-quits-to-look-after-terminally-ill-antony-sher-l7ctkm55c
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Sir Antony Sher, one of the greatest Shakespearean actors, has been diagnosed with a terminal illness.
Sher’s husband, Gregory Doran, the artistic director of the Royal Shakespeare Company, said today that he would be taking a leave of absence until early next year to care for him.
Sher, 72, has been a leading light in theatre for decades, winning an Olivier best actor award in 1984 for his breakthrough performance as Richard III for the RSC.
He has since performed almost all the leading roles in Shakespeare’s canon including Macbeth, Leontes, Prospero, Falstaff, Iago and King Lear and is an RSC honorary associate artist.
Three years ago the actor, whom the Prince of Wales has hailed as his favourite, revealed his enduring — and continually
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SAG Award winners 2024: The full list of nominees and wins
|
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2024-02-24T22:54:47+00:00
|
Oppenheimer, Barbie and American Fiction are among the films nominated at the event honouring actors.
|
en
|
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|
https://www.bbc.com/news/entertainment-arts-68395352
|
The SAG Awards took place in Los Angeles on Saturday, honouring the best acting performances of the year in TV and film.
Oppenheimer was the big winner of the night, cementing its status as the frontrunner ahead of the Oscars on 10 March.
There were also prizes for The Holdovers star Da'Vine Joy Randolph and Lily Gladstone for Killers of the Flower Moon,
Here are the SAG Award winners and nominees in full:
Film categories
Best actor
WINNER: Cillian Murphy - Oppenheimer
Bradley Cooper - Maestro
Colman Domingo - Rustin
Paul Giamatti - The Holdovers
Jeffrey Wright - American Fiction
Best actress
WINNER: Lily Gladstone - Killers of the Flower Moon
Annette Bening - Nyad
Carey Mulligan - Maestro
Margot Robbie - Barbie
Emma Stone - Poor Things
Best supporting actor
WINNER: Robert Downey Jr. - Oppenheimer
Sterling K. Brown - American Fiction
Willem Dafoe - Poor Things
Robert De Niro - Killers of the Flower Moon
Ryan Gosling - Barbie
Best supporting actress
WINNER: Da'Vine Joy Randolph - The Holdovers
Emily Blunt - Oppenheimer
Danielle Brooks - The Color Purple
Penélope Cruz - Ferrari
Jodie Foster - Nyad
Outstanding performance by a cast
WINNER: Oppenheimer
American Fiction
Barbie
The Color Purple
Killers of the Flower Moon
Best stunt ensemble in a film
WINNER: Mission: Impossible - Dead Reckoning Part One
Barbie
Guardians of the Galaxy Vol. 3
Indiana Jones and the Dial of Destiny
John Wick: Chapter 4
Television categories
Best actor in a TV movie or limited series
WINNER: Steven Yeun - Beef
Matt Bomer - Fellow Travelers
Jon Hamm - Fargo
David Oyelowo - Lawmen: Bass Reeves
Tony Shalhoub - Mr. Monk's Last Case: A Monk Movie
Best actress in a TV movie or limited series
WINNER: Ali Wong - Beef
Uzo Aduba - Painkiller
Kathryn Hahn - Tiny Beautiful Things
Brie Larson - Lessons in Chemistry
Bel Powley - A Small Light
Best actor in a drama series
WINNER: Pedro Pascal - The Last of Us
Brian Cox - Succession
Billy Crudup - The Morning Show
Kieran Culkin - Succession
Matthew Macfadyen - Succession
Best actress in a drama series
WINNER: Elizabeth Debicki - The Crown
Jennifer Aniston - The Morning Show
Bella Ramsey - The Last of Us
Keri Russell - The Diplomat
Sarah Snook - Succession
Best actor in a comedy series
WINNER: Jeremy Allen White - The Bear
Brett Goldstein - Ted Lasso
Bill Hader - Barry
Ebon Moss-Bachrach - The Bear
Jason Sudeikis - Ted Lasso
Best actress in a comedy series
WINNER: Ayo Edebiri - The Bear
Alex Borstein - The Marvelous Mrs. Maisel
Rachel Brosnahan - The Marvelous Mrs. Maisel
Quinta Brunson - Abbott Elementary
Hannah Waddingham - Ted Lasso
Best ensemble cast in a drama series
WINNER: Succession
The Crown
The Gilded Age
The Last of Us
The Morning Show
Best ensemble cast in a comedy series
WINNER: The Bear
Abbott Elementary
Barry
Ted Lasso
Ahsoka
Barry
Beef
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https://www.britannica.com/topic/The-Walking-Dead
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The Walking Dead | American television series
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Other articles where The Walking Dead is discussed: Danai Gurira: Early screen roles and The Walking Dead: …Gurira joined the cast of The Walking Dead, the popular television series about a zombie apocalypse, which premiered in 2010. Gurira’s portrayal of the sword-wielding character Michonne helped to catapult her to stardom. She remained with the show until 2020, by which time her character had grown from a wary…
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Encyclopedia Britannica
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https://www.britannica.com/topic/The-Walking-Dead
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In Danai Gurira: Early screen roles and The Walking Dead
…Gurira joined the cast of The Walking Dead, the popular television series about a zombie apocalypse, which premiered in 2010. Gurira’s portrayal of the sword-wielding character Michonne helped to catapult her to stardom. She remained with the show until 2020, by which time her character had grown from a wary…
Read More
In Steven Yeun: Career and personal life
…in the postapocalyptic horror series The Walking Dead, based on the comic book series of the same name. He performed in the series from 2010 to 2016.
Read More
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https://medium.com/%40sarahgordon5/all-meryl-streep-movies-in-order-9319d0b76d95
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All 124 Meryl Streep Movies (in Order)
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Get ready to dive into the world of Meryl Streep, one of Hollywood’s most accomplished and beloved actresses. In this roundup article, we’ll be exploring some of her most memorable movies throughout…
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Sarah Gordon
·
Follow
46 min read
·
Mar 17, 2024
--
Get ready to dive into the world of Meryl Streep, one of Hollywood’s most accomplished and beloved actresses. In this roundup article, we’ll be exploring some of her most memorable movies throughout the years, capturing her incredible range and versatility as an actress. From classic dramas to comedies and thrillers, we’re sure you’ll enjoy this journey through the amazing filmography of Meryl Streep.
1. Everybody Rides the Carousel (1976)
Everybody Rides the Carousel is an animated masterpiece that explores the profound concept of the eight stages of life, as described in the works of renowned psychoanalyst Erik H. Erikson. This enchanting film, produced by the talented Hubley family, is an independent gem that captures the essence of life’s journey, from infancy to old age.
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2. The Deadliest Season (1977)
In the fast-paced world of professional hockey, Gerry Miller (Michael Moriarty) becomes embroiled in a dangerous web of internal and external pressures, ultimately changing his game tactics into a more aggressive style on the ice. However, his newfound brutality on the rink comes to a head during a particularly violent game when a player on the opposing team tragically loses his life. Charged with the devastating crime of manslaughter, Miller must now face the consequences in the courtroom, exposing not only the brutal underbelly of the sport but also the dark secrets of those around him.
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3. Julia (1977)
In the drama “Julia” (1977), playwright Lillian Hellman embarks on a dangerous mission to smuggle funds into Nazi Germany at the behest of an old friend. Set against the backdrop of World War II, Lillian must navigate a treacherous web of secrecy and risk in her quest to save innocent lives. Directed by Fred Zinnemann and written by Lillian Hellman and Alvin Sargent, the film features an all-star cast including Jane Fonda, Vanessa Redgrave, and Jason Robards. With its gripping plot, stunning performances, and powerful themes, “Julia” won three Oscars and received widespread critical acclaim.
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4. The Deer Hunter (1978)
The Deer Hunter, “ a gripping Drama-War film from 1978, directed by Michael Cimino and written by Cimino, Deric Washburn, and Louis Garfinkle, takes the audience on an emotional journey through the lives of a group of friends living in a small steel mill town in Pennsylvania, whose fates are forever changed by the Vietnam War.
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5. The Seduction of Joe Tynan (1979)
The Seduction of Joe Tynan” is a gripping 1979 drama film about an esteemed liberal senator named Joe Tynan. The story takes a turn when he is asked to lead the opposition against a Supreme Court appointment which means compromising his values and straining his family life. Despite this, the opportunity to boost his career lures him into the challenge.
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6. Manhattan (1979)
Manhattan” is a 1979 romantic comedy-drama film directed by Woody Allen. The narrative revolves around a middle-aged divorced television writer who finds himself entangled in a complicated love triangle. With the added complication of the woman he falls in love with being his best friend’s mistress, his life becomes even more challenging.
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7. Kramer vs. Kramer (1979)
Kramer vs. Kramer is a gripping 1979 drama film directed by Robert Benton, featuring a star-studded cast including Dustin Hoffman and Meryl Streep. The movie follows the story of a work-driven Manhattan advertising executive who suddenly finds himself alone after his wife leaves him, forcing him to take on the responsibility of parenting their young son. However, things take a turn when a bitter custody battle ensues, leaving the family’s heartbroken and wounded.
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8. The Kennedy Center Honors: A Celebration of the Performing Arts (1981)
Experience the magic of the performing arts in 1981’s “The Kennedy Center Honors: A Celebration of the Performing Arts. “ This enchanting documentary takes viewers on a journey through the world of entertainment, honoring legendary entertainers and their immeasurable contributions to the arts.
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9. The 35th Annual Tony Awards (1981)
The 35th Annual Tony Awards is a vintage TV special from the 1980s, celebrating the best of Broadway. Released in June 1981, this prestigious awards show honored outstanding achievements in theater and showcased some of the most talented actors and performers of the era.
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10. The French Lieutenant’s Woman (1981)
In “The French Lieutenant’s Woman, “ set in 19th-century England, the story unfolds through the unique perspective of Anna and Mike, two characters portrayed by Meryl Streep and Jeremy Irons, respectively. Despite Mike’s character being engaged, the passion between them continues to grow, leading to tragedy and a love that transcends time. Based on a novel by John Fowles, this captivating drama-romance explores the intricacies of filmmaking and the human heart, all under the expert direction of Karel Reisz.
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11. Alice at the Palace (1982)
Step into the fantastical world of Wonderland and join Alice on her unforgettable adventure in “Alice at the Palace” (1982). As the young protagonist tumbles down a rabbit hole, she encounters a mesmerizing assortment of enchanting creatures, including anthropomorphic animals.
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12. Still of the Night (1982)
Still of the Night, “ directed by Robert Benton, is a suspenseful crime drama that takes you on an emotional journey through the life of a Manhattan psychiatrist named Dr. Sam Morrison. Set in 1982, the movie is centered around Dr. Morrison’s investigation of a patient’s murder, which leads him to fall for the victim’s enigmatic mistress.
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13. Sophie’s Choice (1982)
Nestled in the heart of the Second World War, “Sophie’s Choice” is a poignant and unforgettable cinematic experience. Meryl Streep delivers an exceptional performance on par with Oscar-caliber awards as Sophie, a resolute survivor of Nazi concentration camps.
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14. Silkwood (1983)
Silkwood” is a gripping and historically significant drama from 1983, directed by Mike Nichols and written by Nora Ephron and Alice Arlen. Meryl Streep, Kurt Russell, and Cher star in this intense tale, set in the nuclear industry during the Cold War era.
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15. In Our Hands (1983)
In Our Hands” is a compelling documentary that captures the energy and passion of the 1983 peace march, a historic event that brought together over one million people to protest against the nuclear arms race. The film documents the day’s events, showcasing the magic that unfolded as the largest peace demonstration in history took place. Even the police joined the marchers, demonstrating a rare unity in the pursuit of peace.
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16. The Best of Everything (1983)
The Best of Everything” (1983) is a captivating TV special that takes viewers on an inspiring journey through the world of American excellence. The two-hour celebration highlights the remarkable achievements of individuals who have triumphed in various spheres, from the glamour of the Oscars, Tonys, and Grammys to the thrill of the Kentucky Derby and other sports, and the prestige of being crowned Miss Universe. Featuring segments that showcase the determination, confidence, and winning spirit of these luminaries, “The Best of Everything” is a heartwarming tribute to the best of America.
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17. Falling in Love (1984)
Falling in Love, released in 1984, is a captivating drama-romance film directed by Ulu Grosbard and written by Michael Cristofer. The film, starring Robert De Niro, Meryl Streep, and Harvey Keitel, follows the unusual friendship between two strangers, who, despite their married lives, find themselves constantly crossing paths.
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18. Plenty (1985)
Plenty” is a gripping drama set in post-World War II England, starring Meryl Streep as a young Englishwoman on a twenty-year journey to create her own life. This intense journey often comes at the expense of those around her, as she navigates the challenges faced by a world in recovery. The film features themes of the French Resistance, one-night stands, the Suez Crisis, and parachutes, offering a unique perspective on the era.
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19. Out of Africa (1985)
Out of Africa” is a captivating drama romanticized from the heart of Africa. Set in the early 20th century, this cinematic masterpiece unfolds in colonial Kenya, where a Danish baroness/plantation owner and a free-spirited big-game hunter find themselves entangled in a passionate love affair.
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20. Heartburn (1986)
Heartburn (1986) is a tantalizing comedy-drama that unfolds the turbulent relationship between a dedicated magazine writer and a charismatic newspaper columnist. Directed by Mike Nichols and written by Nora Ephron, the film explores the highs and lows of love, career sacrifices, and the challenges of balancing it all.
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21. Ironweed (1987)
Ironweed” is a 1987 drama film that follows an alcoholic drifter named Francis Phelan, who returns to his hometown of Albany, New York, for the first time in decades. Set on Halloween, the film showcases the lives of Phelan’s estranged family and friends, while delving into the struggles and complexities of their relationships.
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22. A Cry in the Dark (1988)
In the heart of the Australian Outback, A Cry in the Dark (1988) unfolds a gripping tale of a mother’s relentless quest to clear her name when she is falsely accused of murder. After her child is killed in a harrowing dingo attack, the protagonist is met with skepticism, religious prejudice, and a biased judicial system.
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23. Cilla’s Goodbye to the ’80s (1989)
Taking a nostalgic journey back to the 80s, “Cilla’s Goodbye to the ‘80s” is a British television film that explores the music and cultural essence of the decade through the eyes of a legendary artist. Featuring the incomparable Cilla Black, this non-fiction gem brings to light an era of glam, pop, and rock that captivated the world.
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24. She-Devil (1989)
She-Devil” is a delightful 1989 comedy film starring Meryl Streep, Roseanne Barr, and Ed Begley Jr. Directed by Susan Seidelman and written by Fay Weldon, Barry Strugatz, and Mark R. Burns, the film is a fun take on the classic tale of revenge and embezzlement.
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25. Postcards from the Edge (1990)
In the bittersweet comedy-drama “Postcards from the Edge, “ a troubled actress struggles to maintain her equilibrium as she faces unemployment and is forced to move back into her mother’s home. Riddled with substance addiction, she tries to stay positive in the face of adversity, even as she’s ensnared in a battle with her domineering mother. As we delve into her spiraling life, “Postcards from the Edge” offers a candid exploration of drug rehabilitation and alcoholism, while also addressing the delicate bonds between mother and daughter.
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26. Defending Your Life (1991)
Defending Your Life” is a unique and thought-provoking film from 1991, directed by and starring the versatile comedian, Albert Brooks. The movie features a stellar cast, including Meryl Streep and Rip Torn, and received positive reviews, with an IMDb rating of 7.2.
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27. Age 7 in America (1991)
Age 7 in America” is a groundbreaking documentary that explores the lives of seven diverse and talented American children all aged 7. Filmed in 1991, this documentary was an adaptation of the long-running British series “Seven Up. “ Follow these seven kids as they navigate the complexities of growing up in a rapidly changing America, while capturing their hopes, dreams, and fears.
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28. Death Becomes Her (1992)
Death Becomes Her is a captivating and dark comedy film from 1992, directed by Robert Zemeckis and featuring an all-star cast, including Meryl Streep, Bruce Willis, and Goldie Hawn.
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29. Oscar’s Greatest Moments (1992)
Get ready to relive the magic and drama of the Academy Awards with “Oscar’s Greatest Moments” (1992). This captivating documentary offers an in-depth look at some of the most unforgettable moments at the Oscars ceremony from 1971 to 1991. From heartfelt acceptance speeches to shocking twists and turns, this film captures the essence of Hollywood’s most prestigious event.
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30. The House of the Spirits (1993)
The House of the Spirits” is a captivating drama and romance film directed by Bille August, released in 1994. Based on Isabel Allende’s best-selling novel, the movie revolves around the turbulent lives of a ranching family living in South America.
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31. The River Wild (1994)
The River Wild” is a thrilling adventure that takes viewers on a heart-pounding rafting trip gone wrong. When expert rafter Gail (Meryl Streep) and her estranged husband Tom (Kevin Bacon) embark on a family vacation, they must navigate a dangerous, unpredictable river filled with treacherous obstacles and unseen threats. Little do they know, the peaceful vacation quickly becomes a deadly game of survival, as they find themselves engaged in a deadly confrontation with a ruthless gang of violent criminals led by a mysterious figure.
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32. A Century of Cinema (1994)
A Century of Cinema” (1994) is an enlightening documentary that celebrates the art of filmmaking while coinciding with cinema’s 100th anniversary. This intriguing journey explores the impact of cinema on society and culture, as well as showcasing numerous interviews with some of the most influential film personalities of the 20th century. With a runtime of just 1 hour and 12 minutes, viewers are treated to a captivating exploration of the evolution of cinema, as well as its lasting effects.
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33. The Bridges of Madison County (1995)
The Bridges of Madison County” is a captivating and tender romance drama set in the 1960s, directed by Clint Eastwood and featuring outstanding performances by Meryl Streep and Clint Eastwood himself. The story revolves around photographer Robert Kincaid, who inexplicably wanders into the life of housewife Francesca Johnson, turning her simple farming world upside down.
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34. Before and After (1996)
Before and After” is a gripping, emotional crime-drama-mystery released in 1996. Directed by Barbet Schroeder and written by Rosellen Brown and Ted Tally, the movie stars Meryl Streep, Liam Neeson, and Edward Furlong.
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35. Marvin’s Room (1996)
Marvin’s Room” is a heartfelt drama that explores friendship, family, and the power of unity during the face of adversity. The film, released in 1997, follows the journey of a fiercely independent woman, played by Meryl Streep, who returns home after a 17-year absence. Alongside her rebellious son, they bring with them a new outlook and resilience that upends the family they left behind.
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36. The Universal Story (1996)
The Universal Story is a captivating documentary that takes viewers on an extraordinary journey through the illustrious history of Universal Pictures. Dive into the fascinating world of movie magic as we explore the timeless tales and iconic characters that have left an indelible mark on the silver screen.
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37. …First Do No Harm (1997)
In the heartwarming drama, First Do No Harm (1997), award-winning actress Meryl Streep brings to life the inspiring story of a determined woman fighting against a close-minded medical establishment. Set in the backdrop of a hospital, this film masterfully tackles the subject of child abuse and the power of forgiveness. With a star-studded cast that includes Fred Ward and Seth Adkins, this film offers a compelling commentary on the complexities of the medical profession and the importance of standing up for what is right.
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38. One True Thing (1998)
One True Thing” is a gripping drama film that explores the complexities of family, love, and mortality. Set in 1998, the film follows the story of Meryl Streep’s character, a career woman who is suddenly thrust into a new world when she is forced to care for her cancer-stricken mother, played by Renée Zellweger.
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39. Dancing at Lughnasa (1998)
Dancing at Lughnasa” captures the hearts of its characters and movie-goers alike. Set in rural Ireland during the 1930s, the story revolves around five unmarried sisters striving to make the best out of the hand they’ve been dealt. The drama unfolds at a pace that mimics the simple yet meaningful rhythm of their lives.
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40. Eternal Memory: Voices from the Great Terror (1998)
Eternal Memory: Voices from the Great Terror” is a compelling documentary that examines the atrocities and horrors of Stalinist purges that occurred in Ukraine in the 1930s and 1940s. The film draws on eyewitness and survivor accounts to offer a harrowing portrayal of the Soviet Union’s reign of terror.
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41. Music of the Heart (1999)
Music of the Heart” is an inspiring drama film released in 1999, starring Meryl Streep as a dedicated schoolteacher who embarks on a rewarding journey to teach violin to underprivileged inner-city children in Harlem. Directed by Wes Craven and written by Pamela Gray, this powerful story showcases the transformative power of music and the impact of one person’s passion on a community. Despite the challenges they face, Streep’s character and her students persist in their quest to create beautiful music, ultimately inspiring hope and healing in their impoverished neighborhood.
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42. A.I. Artificial Intelligence (2001)
A. I. Artificial Intelligence is a captivating drama-sci-fi film released in 2001, directed by the renowned Steven Spielberg.
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43. New York at the Movies (2002)
New York at the Movies” is a captivating documentary that takes viewers on a nostalgic journey through the annals of film history, specifically focusing on the portrayal of New York City in movies from the 1910s to the 1990s. Renowned actress Meryl Streep serves as our guide, illuminating the cultural importance and influence that the city has had on the world of cinema.
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44. The Hours (2002)
The Hours is a heart-wrenching drama that explores the interconnected lives of three women from different generations. Each woman grapples with the harsh realities of depression, suicide, and personal struggles. This compelling film is based on the novel “Mrs. Dalloway”, and its poignant narrative resonates with the audience as it delves into the depths of human emotion.
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45. Adaptation. (2002)
Adaptation. (2002) weaves a tale of loneliness, driven by a struggling screenwriter’s desperate attempts to adapt the unconventional ‘The Orchid Thief’ by Susan Orlean. This quirky comedy-drama, directed by Spike Jonze and starring Nicolas Cage, Meryl Streep, and Chris Cooper, brings to life a unique world filled with unconventional characters and themes.
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46. 9th Annual Screen Actors Guild Awards (2003)
Experience the glamour and excitement of the 9th Annual Screen Actors Guild Awards in this remarkable TV special. The event, hosted by renowned director Ron de Moraes, spotlights the American Awards presented by the esteemed Guild of movie actors for exceptional performances in both movies and television serials, dating back to 1995.
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47. Stuck on You (2003)
Stuck on You, also known as “Stuck on You! “, is a 2003 comedy film directed by Bobby Farrelly and Peter Farrelly. The movie stars Matt Damon, Greg Kinnear, Eva Mendes, and has a runtime of 1 hour and 58 minutes. It was released in December of the same year and received a PG-13 content rating.
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48. The Kennedy Center Honors: A Celebration of the Performing Arts (2003)
Experience a mesmerizing celebration of the performing arts in the enchanting film, “The Kennedy Center Honors: A Celebration of the Performing Arts”. Released in 2003, this unforgettable musical event boasts a stellar cast, including the inimitable James Brown and the captivating Carol Burnett, among others. This heartwarming family film, directed by Louis J. Horvitz, highlights the importance of honoring those who have made unforgettable contributions to the world of performing arts.
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49. Imaginary Witness: Hollywood and the Holocaust (2004)
Imaginary Witness: Hollywood and the Holocaust” (2004) is a compelling documentary that delves into the history of the Hollywood film industry’s relationship with the Nazis and its portrayal of the Holocaust. This thought-provoking movie provides a unique perspective on the role of Hollywood during what is perhaps one of the darkest periods in human history.
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50. The Manchurian Candidate (2004)
The Manchurian Candidate” is a gripping drama, mystery, and sci-fi film that combines a political thriller with elements of psychological terror. Released in 2004, the film is set in the midst of the Gulf War, where soldiers are brutally kidnapped and subjected to mind-bending brainwashing techniques for sinister purposes.
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51. A Series of Unfortunate Events (2004)
A delightful twist on the classic tragedy, A Series of Unfortunate Events comes to life with a captivating adventure, heartfelt humor, and a dash of the unexpected. When a fire claims the lives of the Baudelaire orphans’ parents, they are left in the custody of the nefarious Count Olaf, a cunning and ruthless stage actor.
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52. Stolen Childhoods (2005)
Stolen Childhoods, released in 2005, is a powerful and eye-opening documentary that sheds light on the heart-wrenching issue of global child labor. As the first feature of its kind, this film exposes the untold stories of child laborers from across the globe, allowing the children to speak for themselves. From hardship in waste dumps and unforgiving quarries to forced servitude on fishing platforms, viewers witness the grim realities faced by these innocent children.
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53. Prime (2005)
In the 2005 film Prime, the busy life of a career-focused woman from Manhattan takes an unexpected turn when she finds herself drawn to a young painter who happens to be the son of her psychoanalyst. As their relationship blossoms, the mother-son bond between the artist and his psychoanalyst becomes increasingly complicated.
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54. The 78th Annual Academy Awards (2006)
Get ready for an unforgettable night of glamour, drama, and high stakes as you join host Jon Stewart for the 78th Annual Academy Awards! . This star-studded ceremony, broadcast in March of 2006, celebrates the year’s most iconic films, including “Brokeback Mountain, “ “Capote, “ “Crash, “ “Good Night, and Good Luck, “ and “Munich. “ As you tune in to witness the magic unfold, prepare yourselves for an evening filled with captivating performances, unexpected surprises, and an awe-inspiring tribute to the timeless power of cinema.
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55. A Prairie Home Companion (2006)
In the heart-warming and bittersweet film “A Prairie Home Companion” (2006), audiences are invited to take a peek at what lies behind the curtains during the final broadcast of a beloved radio variety show. The talented ensemble of actors, including Lily Tomlin, Meryl Streep, and Woody Harrelson, bring to life engaging characters such as singing cowboys Dusty and Lefty, a melodious country music diva, and more. This enthralling mix of comedy, drama, and music is directed by Robert Altman, and its script is penned by Garrison Keillor and Ken LaZebnik.
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56. The Kennedy Center Honors: A Celebration of the Performing Arts (2006)
Experience a spectacular night of music and applause as The Kennedy Center Honors: A Celebration of the Performing Arts dazzles viewers in a two-hour television event. This 2006 production, directed by Louis J.
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57. The Devil Wears Prada (2006)
The Devil Wears Prada is a hilarious and heartwarming 2006 comedy-drama film that has taken the world by storm. Starring Anne Hathaway and Meryl Streep, this movie captures the essence of ambition, perseverance, and the art of fashion. The story revolves around a young and hardworking new graduate who lands a dream job as an assistant to the notoriously demanding editor-in-chief of a prestigious high-fashion magazine. As the assistant starts navigating the cutthroat world of fashion, she soon learns about the power dynamics, professional pressures, and unexpected humor that come with such a high-profile position.
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58. Boffo! Tinseltown’s Bombs and Blockbusters (2006)
Dive into the heart of Tinseltown with “Boffo! . Tinseltown’s Bombs and Blockbusters” (2006), a compelling documentary that puts Hollywood’s leading lights under the microscope to unravel the secrets behind blockbusters, flops and movie magic.
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59. Wrestling with Angels: Playwright Tony Kushner (2006)
Wrestling with Angels: Playwright Tony Kushner” is a captivating 2006 documentary that takes us on a journey through the personal and political life of the acclaimed Pulitzer Prize-winning playwright, Tony Kushner. The film starts in 2001 when Kushner was preparing for the production of his play “Homebody/Kabul” and continues until 2004, showcasing his involvement in President John Kerry’s campaign, his wedding to Mark Harris, his collaboration with Maurice Sendak, and the premiere of the Broadway musical “Caroline, Or Change. “ With a runtime of 1 hour and 38 minutes, the documentary provides a unique insight into the life and work of one of the most influential playwrights of our time. Directed by Freida Lee Mock and featuring interviews with Kushner and others close to his world, this film is a must-watch for anyone interested in theatre, politics, and the creative process.
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60. The Ant Bully (2006)
The Ant Bully” is a heartwarming, family-friendly animated adventure comedy that follows the journey of Lucas Nickle, a young boy who ends up shrunken to the size of an ant after flooding an ant colony with his water gun. Sentenced to hard labor in the ruins, Lucas learns valuable life lessons from his insect-sized colleagues about teamwork, friendship, and the importance of respect for all living creatures. Filled with humor and stunning visual effects, “The Ant Bully” is a delightful movie that explores the moral universe of an unidentified flying object and teaches the audience that even the smallest among us can make a big difference.
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61. In the Company of Actors (2007)
In the Company of Actors” is an intimate and revealing documentary that takes viewers behind the scenes into the world of Australian theatre. The film showcases the process of rehearsing a stage play, capturing the boundaries pushed, risks taken, and mistakes made by some of Australia’s finest actors. The audience is granted unparalleled access to this exclusive world, where vulnerabilities are exposed, and, at its best, magic is created.
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62. Evening (2007)
Evening” is a heartfelt drama that delves into the complex relationships of Ann Lord (Vanessa Redgrave) and her daughters, Constance Haverford (Natasha Richardson) and Nina Mars (Toni Collette). As Ann’s life comes to an end, she reflects on the defining moments of her past, which were filled with unrequited love and passion.
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63. Ocean Voyagers (2007)
Embark on a unique cinematic adventure with Ocean Voyagers (2007), an inspiring documentary that delves into the world of breathtaking ocean life while illuminating the timeless themes of motherhood and parenting. Narrated by renowned actress Meryl Streep, this captivating film offers a rare glimpse into the lives of a newborn humpback calf and its colossal 40-ton mother, taking viewers on a thrilling journey of discovery as they navigate the vast and fascinating oceanic environment.
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64. Dark Matter (2007)
Dark Matter” is a riveting dramatic film that captures the true essence of a Chinese university student’s journey. Set against the backdrop of a student’s pursuit of a Nobel Prize, the movie unfolds as a thrilling exploration of science, school politics, and the lengths one might go to achieve their dreams. Based on actual events, the film takes an intense and unexpected turn when the student’s aspirations are threatened by the power struggles within his academic institution.
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65. Manufacturing Dissent (2007)
In the age of media manipulation, Manufacturing Dissent is a provocative documentary that pulls back the curtain on the inner workings of influential filmmakers and the industry that surrounds them. This riveting film is a behind-the-scenes look at the infamous Michael Moore, as a camera crew follows him on his highly publicized tour for his groundbreaking film Fahrenheit 9/11 (2004).
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66. Lions for Lambs (2007)
Lions for Lambs” is a thought-provoking drama that delves into the unyielding spirit of those who serve their country and the sacrifices they make for their beliefs. Robert Redford directs and stars in this gripping story, alongside an A-list cast including Tom Cruise and Meryl Streep.
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67. Rendition (2007)
Rendition, “ released in 2007, is a powerful thriller and drama set in the backdrop of terrorism. The film focuses on a desperate wife and mother who turns to a senator for help after her Egyptian husband, a chemical engineer, is arrested on U. S.
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68. Doubt (2008)
Experience the intense drama of Doubt, set in 1960s New York City. When a dedicated Catholic school principal becomes suspicious of her priest’s questionable relationship with a troubled student, she’s forced to confront her own beliefs and face the consequences of her actions.
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69. Roman Polanski: Wanted and Desired (2008)
Roman Polanski: Wanted and Desired” is a gripping documentary that delves into the complex web of events that led to the sudden departure of legendary filmmaker Roman Polanski from the United States. This documentary not only examines the public scandal that unfolded but also addresses the private tragedy that Polanski faced.
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70. Valentino: The Last Emperor (2008)
Valentino: The Last Emperor is a riveting documentary that takes us on a fascinating journey through the life of the iconic fashion designer, Valentino Garavani. Known for his groundbreaking designs and unique vision, this film delves into the world of this legendary figure, offering an exclusive look at his creative process, personal life, and the impact he has had on the global fashion industry.
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71. Theater of War (2008)
Theater of War” delves into the captivating world of playwright Bertolt Brecht’s masterwork, “Mother Courage. “ This mesmerizing documentary offers an intimate, behind-the-scenes perspective on The Public Theater’s riveting production. The film not only focuses on the play but also explores Brecht’s life and the timeless ideas he shared with the world through his work. Renowned actors Meryl Streep and Kevin Kline join forces with renowned playwright Tony Kushner to bring Brecht’s words to life on stage; their journey transforming from actors to embodying the characters they portray.
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72. Mamma Mia! (2008)
Mamma Mia! . is a delightful musical comedy that takes audiences on a joyful journey to an idyllic Greek island, where a bride-to-be named Sophie embarks on a quest to discover her true father’s identity. Packed with irresistible ABBA hits that take center stage, the film unfolds with lively laughter and heartwarming romance.
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73. It’s Complicated (2009)
It’s Complicated” (2009) is a quirky, mature romantic comedy-drama that delves into the complexities of a divorced couple, Jane (Meryl Streep) and Jake (Alec Baldwin), who find themselves unexpectedly drawn back into each other’s lives. Their rekindling relationship is further complicated by the fact that Jake is now remarried to Agnes (Jane’s friend), played by Lake Bell.
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74. Fantastic Mr. Fox (2009)
In the charming animated adventure “Fantastic Mr. Fox, “ Wes Anderson brings Roald Dahl’s beloved tale to life with delightful stop-motion animation.
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75. Julie & Julia (2009)
Julie & Julia” is a warm and heartwarming drama-comedy released in 2009, starring Meryl Streep as the iconic Julia Child and Amy Adams as Julie Powell. This film tells two parallel stories — the journey of Child in the culinary profession and Powell’s personal challenge to cook all the recipes from Child’s first cookbook in 2002. Directed by Nora Ephron, the movie takes the audience through the intricacies and joys of French cuisine, the complexities of human relationships, and the thrilling journey of passion and dedication.
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76. Hope for Haiti Now: A Global Benefit for Earthquake Relief (2010)
Hope for Haiti Now: A Global Benefit for Earthquake Relief” is a 2010 documentary and music event that brought together artists and celebrities to support relief organizations working tirelessly to assist the victims of the devastating earthquake that struck Haiti on January 12, 2010. The telethon, produced by MTV Networks and Tenth Planet Productions, is an inspiring testament to the power of unity and compassion in the face of tragedy. With stars like Ben Affleck, Christina Aguilera, and Muhammad Ali, this event showcases the global community’s commitment to helping those affected by the disaster.
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77. Carrie Fisher: Wishful Drinking (2010)
Carrie Fisher: Wishful Drinking is a compelling documentary that delves into the personal life of the iconic Hollywood actress, Carrie Fisher. Based on her hit stage production, this film candidly recounts her journey through stardom, mental illness, addiction, and personal struggles.
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78. The 82nd Annual Academy Awards (2010)
The 82nd Annual Academy Awards, hosted by Steve Martin and Alec Baldwin, bring together Hollywood’s finest for a night of glamour, celebration, and recognition. With Carey Mulligan, Macaulay Culkin, and Bradley Cooper in attendance, the awards ceremony promises an unforgettable evening filled with heartfelt speeches, stunning performances, and unexpected surprises.
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79. The Kennedy Center Honors: A Celebration of the Performing Arts (2010)
Experience an unforgettable evening of musical celebration as The Kennedy Center Honors: A Celebration of the Performing Arts shines brightly in 2010. This 1h 31min film delves into the depths of jazz, singing, and dance, offering a captivating blend of genres. Hosted by Caroline Kennedy, the evening pays homage to legendary artists such as Merle Haggard and Jerry Herman.
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80. The Kennedy Center Honors: A Celebration of the Performing Arts (2011)
The Kennedy Center Honors: A Celebration of the Performing Arts” is a captivating 2011 TV special honoring individuals who have made significant contributions to the world of performing arts. This 1-hour and 30-minute celebration brings together some of the biggest names in music, orchestras, and singing.
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81. The Iron Lady (2011)
In “The Iron Lady, “ an elderly Margaret Thatcher, the first female British prime minister, grapples with the loss of her husband as she reminisces about her life’s journey. This captivating biographical drama, written by Abi Morgan and directed by Phyllida Lloyd, takes viewers on a moving flashback journey from Thatcher’s girlhood to her time as prime minister. Meryl Streep delivering a powerful performance as Thatcher, the film has received critical acclaim and notable awards, including two Oscars.
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82. Joe Papp in Five Acts (2012)
Joe Papp in Five Acts is a 2012 documentary film that explores the life and career of Joe Papp, an influential figure in the New York arts scene, particularly known for his work with The Public Theater and the Shakespeare in the Park festival. The film highlights Papp’s commitment to making arts accessible to everyone, regardless of their wealth or social status.
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83. A Fierce Green Fire: The Battle for A Living Planet (2012)
A Fierce Green Fire: The Battle for A Living Planet” is an insightful environmental documentary that delves into grassroots and global activism spanning five decades, from conservation to climate change. Directed by Mark Kitchell, the film explores the efforts of passionate environmentalists who have dedicated their lives to protecting the planet.
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84. Hope Springs (2012)
Hope Springs” is a heartwarming and humorous film that explores the ups and downs of marriage over time. With an all-star cast including Meryl Streep, Tommy Lee Jones, and Steve Carell, the movie delves into the lives of a middle-aged couple who have reached their thirty-year milestone.
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85. Final Cut: Ladies and Gentlemen (2012)
Final Cut: Ladies and Gentlemen” is a heartwarming and unique blend of comedy, drama, and romance. This 2012 film was masterfully directed by György Pálfi and written by Pálfi and Zsófia Ruttkay. The movie tells a simple yet timeless love story between a man and a woman, brought to life through a series of scenes edited together from hundreds of classic films, creating a delightful crossover of movie genres.
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86. Close Up (2012)
Close Up is a riveting documentary that takes an in-depth look at the lives of more than 150 silent short films featuring singers, actors, and directors captured during press conferences at Cannes, Venice, and Berlin. This anthropological experiment delves into the facial expressions of famous individuals, providing an intimate insight into their personalities.
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87. Radioman (2012)
Radioman is an inspiring documentary that follows the remarkable journey of Craig Castaldo, a mascot who went from being homeless to becoming a celebrated figure in the New York film industry. With over 100 small parts to his name, Castaldo’s story is a testament to resilience and determination in the face of adversity.
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88. The 84th Annual Academy Awards (2012)
Get ready for an unforgettable night filled with glitz, glamour, and endless laughter as you witness the 84th Annual Academy Awards! . Hosted by the legendary Billy Crystal and featuring a star-studded lineup, this awards ceremony honors the best film achievements of 2011.
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89. Girl Rising (2013)
Girl Rising” is an insightful documentary that offers a powerful, up-close look at the lives of nine girls from different continents, navigating the same dream — education. The story takes us on a transformative journey alongside these girls from diverse cultural backgrounds such as Haiti, Nepal, Ethiopia, India, Egypt, Peru, Cambodia, Sierra Leone, and Afghanistan.
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90. The Oscars (2013)
The Oscars, hosted by the charismatic Seth MacFarlane, brings forth a unique mix of music and comedy to celebrate the 2013 Academy Awards. This star-studded event, featuring the likes of William Shatner and Naomi Watts, embraces humor and musical performances, making it an unforgettable night of glamour and entertainment. The Oscars, known for showcasing the best of the best in cinema, takes you on a journey of memorable moments and heartfelt tributes to the industry’s brightest stars.
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91. Secret Voices of Hollywood (2013)
Secret Voices of Hollywood” takes viewers behind the glitz and glamour of Tinseltown to reveal the untold truths about the lives of those who dominate the silver screen. Executive producer Julie Andrews guides audiences on a journey with a star-studded line-up including Lindsay Duncan and India Adams. Directed by Guy Evans, this 90-minute documentary unravels the intricate web of ambition, success, and heartache of Hollywood’s most celebrated personalities.
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92. The 36th Annual Kennedy Center Honors (2013)
The 36th Annual Kennedy Center Honors, released in 2013, is a celebration of exceptional performers who have significantly shaped American culture. This year, the honorees include legendary talents like Martina Arroyo, Herbie Hancock, Billy Joel, Shirley MacLaine, and Carlos Santana. The event is a musical extravaganza, filled with heartfelt tributes, captivating performances, and moments of pure joy.
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93. August: Osage County (2013)
Discover the dark and dramatic world of the Weston family in the compelling film August: Osage County. Directed by John Wells and written by Tracy Letts, this captivating drama-comedy is based on Letts’ Pulitzer Prize-winning play. The story revolves around the strong-willed women of the Weston family who come together under the same roof amidst a family crisis, reuniting with the dysfunctional woman who raised them.
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94. The Homesman (2014)
In the harsh landscape of the American frontier, “The Homesman” unfolds a gripping tale of desperate situations and unexpected alliances. The movie follows Mary Bee Cuddy, a steadfast and compassionate woman, as she embarks on a perilous journey to transport three women driven mad by the hardships of pioneer life across the country. Joined by the enigmatic George Briggs, a low-life drifter with his own set of demons, Mary faces the perils of the wilderness and the challenges of their unconventional partnership.
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95. The Oscars (2014)
Experience the glitz, glamour, and heartfelt moments of Hollywood’s most prestigious event, The Oscars (2014). This year, the Academy celebrated the achievements of the film industry in 2013.
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96. The Concert for Valor (2014)
The Concert for Valor is a 2014 unique combination of music and patriotism, produced in collaboration with HBO. The event is a celebration of the valiant efforts of the United States military veterans, held in Washington DC.
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97. Into the Woods (2014)
Into the Woods” is a spellbinding cinematic experience that takes viewers on a magical journey into the depths of classic fairy tales. Directed by Rob Marshall and featuring captivating performances from stars like Meryl Streep, Chris Pine, and Anna Kendrick, this 2014 movie adaptation of James Lapine and Stephen Sondheim’s musical is a must-see for fans of both stage and screen. Set in a quaint village, the story follows a childless baker and his wife as they navigate through the enchanted woods in search of magical items to break the curse put on their family tree.
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98. And the Oscar Goes to… (2014)
And the Oscar Goes to. . “ — a riveting documentary that delves into the rich history of the Academy Awards. Directed by Rob Epstein and Jeffrey Friedman, the film brings to life the glitz and glamour, the triumphs and tribulations associated with this prestigious event.
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99. The Giver (2014)
Step into a world of perfect harmony and sameness, where every moment is controlled, and every decision is made for you. This is the community of “The Giver, “ a riveting 2014 dystopian drama that redefines the meaning of freedom. In this seemingly utopian society, a young boy named Jonas, played by Brenton Thwaites, discovers a hidden truth that challenges everything he knows about life.
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101. The Guardian Brothers (2015)
Experience the fascinating world of ‘The Guardian Brothers, ‘ released in 2015, and witness an extraordinary adventure in the Chinese Spirit World where humans don’t believe in gods any more! . When a Door God loses his job, he enters the human realm in search of proof of his worthiness. This journey leads to surprising encounters and transformations, not only for the spirits but also for the humans they meet! .
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102. Aktorka (2015)
Aktorka” is an inspiring documentary that delves into the life of renowned Polish actress Krystyna Czubówna. With a runtime of just over an hour and a half, viewers are treated to a rare glimpse of what it takes to make it in the world of stage, screen, and life.
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103. The Oscars (2015)
The Oscars” is a celebration of the year’s achievements in film, produced by the Academy of Motion Picture Arts and Sciences. Hosted by Neil Patrick Harris, the event features musical and comedy performances, as well as tributes to the year’s most memorable films and actors. The show is filled with unexpected surprises, showcasing the magic of cinema and the passion of the film community.
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104. Ricki and the Flash (2015)
In Ricki and the Flash, Meryl Streep takes on the role of Ricki, a musician who left her life behind to chase her dream of rock and roll stardom. Now, after years away, Ricki returns home to make amends with her family and confront the realities of her past.
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105. Everything Is Copy (2015)
Everything Is Copy is a compelling documentary that delves into the life and career of renowned writer and filmmaker, Nora Ephron. The film offers an in-depth look into her personal and professional life, capturing her journey as a trailblazing creator and exploring her influence on modern-day storytelling.
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106. Suffragette (2015)
Suffragette” is a riveting historical drama that unfolds in 1912 London, where a young working mother is passionately drawn into the fight for women’s suffrage. Refusing to back down, she becomes a radical activist, even resorting to violence to achieve her goal. With a star-studded cast including Carey Mulligan, Anne-Marie Duff, and Helena Bonham Carter, this intriguing film explores the struggles and triumphs of women’s liberation in a time of tremendous change.
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107. Becoming Mike Nichols (2016)
Becoming Mike Nichols is a captivating documentary film that delves into the personal life and illustrious career of renowned filmmaker Mike Nichols. Directed by Douglas McGrath, this insightful 1-hour, 12-minute masterpiece takes us on a journey through the experiences and stories of Nichols as he sits down for an intimate and honest conversation with theater director Jack O’Brien.
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108. Bright Lights: Starring Carrie Fisher and Debbie Reynolds (2016)
Bright Lights: Starring Carrie Fisher and Debbie Reynolds” is an engaging documentary that delves into the heartwarming relationship between actress Debbie Reynolds and her children, Carrie and Todd Fisher. The movie provides an intimate portrait of Debbie Reynolds, who rose to fame in Hollywood classics like “Singin’ in the Rain, “ and her personal journey as a mother and grandmother.
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109. Florence Foster Jenkins (2016)
Florence Foster Jenkins” is a delightfully quirky comedy-drama based on a true story. Meryl Streep stars as Florence Foster Jenkins, a wealthy New York heiress who dreams of becoming an opera singer. Despite having an inexplicably awful singing voice, this dedicated, yet tone-deaf, amateur musician aspires to perform before a captivated audience.
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110. The Oscars (2017)
Prepare to witness the grandeur of the 89th Annual Academy Awards ceremony, a celebration of the film industry’s finest achievements in cinema for the year 2016. Hosted by the charismatic Jimmy Kimmel, this star-studded event is brimming with excitement and prestige as it honors the best actors, directors, songs, original screenplays, and motion pictures.
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111. The Post (2017)
The Post” is a riveting 2017 drama film written by Liz Hannah and Josh Singer, directed by Steven Spielberg, and produced by Twentieth Century Fox, Dreamworks Pictures, and Reliance Entertainment. The film stars Meryl Streep, Tom Hanks, and Sarah Paulson, and features a gripping plot surrounding the world of journalism, press freedoms, and political power plays.
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112. The 40th Annual Kennedy Center Honors (2017)
Experience the spectacular 40th Annual Kennedy Center Honors, an unforgettable celebration of excellence and entertainment. This one-hour and 31-minute TV special pays tribute to legendary artists Gloria Estefan, Norman Lear, LL COOL J, Carmen de Lavallade, and Lionel Richie. With an impressive lineup of stars, including Quincy Jones and Gloria Estefan, the honorees are welcomed into the prestigious Kennedy Center family.
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113. Ken Burns: America’s Storyteller (2017)
Ken Burns: America’s Storyteller” is a captivating documentary that explores the life and work of the celebrated American filmmaker, Ken Burns. The film, released in 2017 and hosted by the enigmatic Tom Hanks, delves into the unique style and approach of Burns as he transforms American history into compelling narratives.
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114. Mamma Mia! Here We Go Again (2018)
Mamma Mia! Here We Go Again” is a vibrant and uplifting sequel to the 2008 hit musical comedy, “Mamma Mia! “ Set five years after the events of the first film, we return to the picturesque island of Greece, where young Sophie is preparing for the grand reopening of her mother Donna’s hotel, the Hotel Bella Donna.
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115. Mary Poppins Returns (2018)
Mary Poppins, a magical nanny, reenters the lives of the Banks siblings and their children in a heartwarming adventure set decades after her initial visit. This delightful family-friendly film, directed by Rob Marshall, features an all-star cast including Emily Blunt, Lin-Manuel Miranda, and Ben Whishaw.
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116. Every Act of Life (2018)
Every Act of Life” is a compelling documentary that delves into the life of Tony-winning playwright Terrence McNally, known for his groundbreaking work in both theater and musicals. From the struggles faced in his early days, the fight for LGBT rights, dealing with addiction, to finding true love, McNally’s journey is portrayed with raw honesty. Directed by Jeff Kaufman and written by himself, the film takes a deep dive into the world of McNally — his inspirations, highs, and lows.
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117. This Changes Everything (2018)
This Changes Everything” is a groundbreaking documentary exploring the gender disparity in the Hollywood industry. The film delves into the experiences of well-known actors, executives, and artists, providing a behind-the-scenes look at the challenges and inequalities faced by women in Hollywood.
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118. Beyond Boundaries: The Harvey Weinstein Scandal (2018)
Beyond Boundaries: The Harvey Weinstein Scandal” is a gripping documentary that explores the shocking revelations surrounding Hollywood powerhouse Harvey Weinstein. The film delves into the dark underbelly of the entertainment industry, as it unravels the intricate web of deceit and manipulation that Weinstein allegedly used to control the careers of countless women in Hollywood.
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119. The Oscars (2018)
Dive into the glamour and excitement of the 90th Annual Academy Awards ceremony, hosted by the charismatic Jimmy Kimmel. This prestigious event celebrates the achievements in the film industry for the year 2017, as the world’s biggest stars gather to recognize and pay tribute to their fellow artists.
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120. The Laundromat (2019)
The Laundromat” is a riveting comedy-crime drama that follows the gripping narrative of a grieving widow who embarks on a mysterious and perilous journey. A woman, driven by the loss of her husband, discovers an intricate web of insurance fraud and financial corruption, ultimately chasing down leads to a pair of ruthless Panama City law partners. This film masterfully breaks the fourth wall, captivating audiences with its unconventional storytelling approach.
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121. Museum Town (2019)
In the small, struggling American town of North Adams, an unexpected savior emerges: MASS MoCA, the country’s largest contemporary art museum. The museum’s presence breathes new life into the economically devastated town, with its closure of the city’s last factory prompting a search for unconventional ways to restore the local community. With MASS MoCA’s innovative approach and inspiring story, “Museum Town” provides a captivating look at the potential for change in the face of economic hardship.
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122. Untouchable (2019)
Untouchable” is a feature documentary that delves into the breathtaking downfall of media titan Harvey Weinstein. The film, released in 2019, takes an unflinching look at Weinstein’s rise to power and the abuses of power that led to his spectacular fall. Drawing from interviews with survivors, friends, and colleagues, the documentary paints a portrait of unchecked power and its devastating consequences. The story spans over forty years, offering a penetrating insight into the dark side of Hollywood and the entertainment industry.
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123. Alan Pakula: Going for Truth (2019)
Delve into the world of a celebrated yet enigmatic filmmaker with “Alan Pakula: Going for Truth. “ This captivating documentary reveals the personal and professional journey of Alan J. Pakula, a director known for his unwavering commitment to truth in storytelling. Explore the making of iconic movies and get a glimpse into the life of a man who preferred anonymity.
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124. Little Women (2019)
Little Women” is a captivating drama-romance film directed by Greta Gerwig, released in 2019. The movie is based on the acclaimed novel by Louisa May Alcott, and brings to life the story of the four March sisters — Jo, Meg, Beth, and Amy — each striving to forge their own path in life amidst the challenges of poverty and life in Concord, Massachusetts. Jo March, an aspiring writer, reflects on her life as she narrates the tale of these fiercely independent sisters, exploring the complexities of their relationships and the power of determination.
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That’s All Folks!
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Scopri (e salva) i tuoi Pin su Pinterest.
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://metro.co.uk/2021/12/03/sir-antony-sher-dies-aged-72-veteran-actor-dies-following-cancer-15710927/
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Sir Antony Sher dies aged 72: Veteran actor dies following cancer battle
|
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2021-12-03T00:00:00
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RIP.
|
en
|
Metro
|
https://metro.co.uk/2021/12/03/sir-antony-sher-dies-aged-72-veteran-actor-dies-following-cancer-15710927/
|
Sir Antony Sher has died following a battle with cancer, the Royal Shakespeare Company have confirmed.
The actor, who was 72, was widely regarded as one of the UK’s best contemporary classical actors.
The RSC said in a statement: ‘We are deeply saddened by this news and our thoughts and sincere condolences are with Greg [Doran, his husband], and with Antony’s family and their friends at this devastating time.
‘Antony had a long association with the RSC and a hugely celebrated career on stage and screen.
‘Antony’s last production with the Company was in the two-hander Kunene and The King, written by his friend and fellow South African actor, writer and activist, John Kani.’
It added: ‘Antony was deeply loved and hugely admired by so many colleagues. He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us.
‘We will ensure friends far and wide have the chance to share tributes and memories in the days to come.’
Sher’s husband, Gregory Doran, who is artistic director of the RSC, had taken compassionate leave to care for the actor.
As well as his stage work, Sher had also appeared in films including Shakespeare in Love and Mrs Brown, as well as TV series including The History Man and Murphy’s Law.
He had joined the RSC in 1982, winning an Olivier Award in 1985 for Richard III, later becoming an honorary associate artist with the company.
Sher was knighted in 2000, and in 2005 became one of the first gay couples to enter into a civil partnership in the UK with husband Doran.
Doran said earlier this year: ‘I am very sorry to say that my husband, Tony Sher, has been diagnosed with a terminal illness, and in order to look after him, and with the agreement of the Board, I will be taking a period of compassionate leave with immediate effect. I expect to return in early 2022.’
Got a story?
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https://www.everand.com/book/641421560/Year-of-the-Mad-King-The-Lear-Diaries
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en
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Year of the Mad King: The Lear Diaries by Antony Sher (Ebook)
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2018-03-15T00:00:00
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Read Year of the Mad King: The Lear Diaries by Antony Sher with a free trial. Read millions of eBooks and audiobooks on the web, iPad, iPhone and Android.
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1. The American Lear
Wednesday 27 May 2015
He’s known as the American Lear.
Willy Loman.
But are they really alike?
I’m about to find out…
These thoughts occur as I stand in the kitchen of our London home, wearing my dressing gown, my eyes still sleepy, my hair a tangle of thin strands – it’s from all the Brylcreem I put into it for last night’s show. I’m currently in Death of a Salesman at the Noël Coward Theatre, playing Willy Loman, and he has a shiny-neat, sharply parted 1940s haircut.
Meanwhile, my hand is resting on a script from the Royal Shakespeare Company’s Literary Department: King Lear.
I’ve been pestering Greg (Doran; RSC Artistic Director, and my partner) to arrange for the text to be typed up into this A4 format, so that we can both mark up some suggested cuts for the production scheduled for the second half of next year. It may be a long way ahead, but I’ll need to start learning the lines quite soon.
Greg was asleep when I got home from the theatre last night, and he had to drive up to Stratford early this morning, so he’s left the script on the kitchen table, with a note: ‘This is yours.’
He just means, ‘This is your copy’, but it could read as, ‘This is a part you should play, and we’re doing it now.’
In fact, we’ve been talking about the play for years, as one of our Shakespeare collaborations: Titus Andronicus, The Winter’s Tale, Macbeth and Othello, with the surprise addition in 2014 of Henry IV Parts I and II. But it’s one thing to talk about doing King Lear, and another to actually touch the script on your kitchen table on a bright May morning.
I feel lucky.
Older actors queue up to play Lear like younger ones do for Hamlet, and if they want to perform these roles at the RSC or the National, it’s not easy to get into the queue at all.
So despite all the years – no, decades – that I’ve spent working for the RSC, I still feel lucky that I’m going to be playing Lear there. And I’d never have imagined, when Greg and I first discussed the idea, that he’d be running the company when we finally came to do it.
Ahead is a hectic schedule. Salesman runs till July, then Greg directs Henry V, then the company revives the Henry IVs and Richard II (starring David Tennant), and plays the whole tetralogy at the Barbican, and then we take it on tour, to China and New York.
And then we do King Lear.
If I’m still standing.
Saturday 30 May
In between the matinee and evening shows of Salesman today, I went for a little stroll. Found myself heading towards the Pastoria Hotel in tiny St Martin’s Street, just off Leicester Square. This is where, having just arrived from my native South Africa, I spent my first ever night in the UK. It was Wednesday 17 July 1968, and my parents and I were to stay there while I auditioned for drama school.
Performing Willy Loman eight times a week is proving to be exhausting, and I was hoping that seeing the Pastoria again would wake me up to the big journey I’ve made – from being a teenage guest in that hotel to a leading actor in a neighbouring West End theatre. But I found the building covered in scaffolding and plastic sheeting. The renovation was unsightly, and didn’t give me the boost I needed. And Leicester Square itself was rather intimidating, with huge crowds, a gang of chanting football fans, and bouncers outside every bar and restaurant. This was the real West End, very different to the sedate and cultured atmosphere of the Noël Coward Theatre. I scurried back to its safety.
Preparing for the evening show, sitting in front of my dressing-room mirror, I was putting fresh Brylcreem into my hair when I started thinking about Willy Loman and Lear again.
I’m not sure the term ‘the American Lear’ means there are profound links between the two characters – it was probably just coined by actors to express the fact that the roles are, arguably, the most challenging that exist in British and American drama. Yet, now that I’ve got both in my sights, I can detect some traits which they do actually share.
A surprising consonance is that although one is a nobody, a failed salesman, and the other a powerful king, they both have a similar way of imposing their will on others, especially their families. They both have something monstrous in them.
Discovering Willy’s monstrous side was a major breakthrough for me during rehearsals. He is so iconically a victim figure – the little guy weighed down by two suitcases of merchandise he can no longer sell – that my performance was becoming hushed, self-pitying and passive, which simply didn’t drive the play the way it needs. I kept talking this through with Greg, who was directing, but no solution was immediately apparent.
Then I read a passage in Arthur Miller’s autobiography, Timebends, and Willy Loman was never to be the same again. Miller is describing one of his uncles, Manny Newman, who was a possible model for Willy. Uncle Manny was also a salesman, also had two sons (one of whom, like Biff in the play, excelled at sport, but not school studies), and also ended up committing suicide. Miller writes of Uncle Manny:
‘He was so absurd, so completely isolated from the ordinary laws of gravity, so elaborate in his fantastic inventions… that he possessed my imagination. Everyone knew his solution for any hard problem was always the same – change the facts.’
And of Uncle Manny’s home:
‘In that house… something good was always coming up, and not just good but fantastic, transforming, triumphant. It was a house without irony, trembling with resolutions and shouts of victories that had not yet taken place, but surely would tomorrow.’
This is the Loman household, and Willy is Uncle Manny: absurd, defying the laws of gravity, changing the facts, shouting with victory.
Suddenly Willy stopped being a victim. He’s a fantasist, a bully. Except that Miller’s masterstroke is to offset these flaws by showing us Willy’s place in society. He’s lost in the modern world, he’s being destroyed by it. We watch this happening, step by step. As Willy goes under, and as he continues to boast and bullshit, the more it breaks our heart.
This has never happened to me before – a playwright guiding me towards a character not just through the play, but a completely separate piece of writing: his autobiography.
Shakespeare does not offer the same help. Autobiography, auto-shmiography. If we know hardly anything about the Bard’s life, we know even less about the other people in it, people who might have inspired his characters. Imagine if there was an Uncle Jack who was the model for Falstaff, and an Uncle Lee the model for Lear…
Monday 1 June
It’s June but could be November. Cold, wet, windy. I’ve lived in England for forty-seven years now, so why does the weather still continue to surprise and appal me?
Never mind – I’m holed up in my warm study, with a little stack of Lear scripts on my desk.
I want to try reading it afresh, despite the fact that I know it well. It has cropped up rather frequently during my life in this country…
1968. On the first weekend after we checked into the Pastoria Hotel, my mother joined me on a special pilgrimage to a place which held mythic status for me. Stratford-upon-Avon. I was finally going to see the Royal Shakespeare Company in the flesh, and in action. We would have happily watched anything that was in their current repertoire, but the play at that Saturday matinee performance happened to be King Lear. Directed by the RSC’s new Artistic Director, the twenty-eight-year-old Trevor Nunn, and starring Eric Porter. In the first scene, Lear was carried in on a litter, and all the courtiers abased themselves, as if to a god. I was immediately on the edge of my seat, and I don’t think I sat back for the next few hours. I had never seen theatre like this. I remember the design was very dark, with a strong use of chiaroscuro: figures lit in the surrounding blackness, Rembrandt-like. I remember Norman Rodway as Edmund – his effortless amorality. I remember Alan Howard as Edgar, and the shock of his near-nakedness in the storm scenes (exposing what I was later to hear Terry Hands describe as ‘the strongest thighs on any Shakespearean actor’). Most of all, I remember Michael Williams as the Fool, his face frozen in the mask of Comedy, his heart visibly breaking. I’m afraid I don’t remember much about Porter himself. Years later when I worked with him (Uncle Vanya,National Theatre, 1992) he said that it was an unhappy and unsuccessful production. What? – but it was a revelation to me. Later, Tim Pigott-Smith (who talked to Porter about it when they worked on The Jewel in the Crown) told me that Porter simply resented having a young upstart as his director.
1972. My first proper job as an actor was at the Liverpool Everyman, and my first show there was King Lear, directed by the company’s great Artistic Director, Alan Dossor – though by Everyman standards it was a very conventional production. An Australian actor, Brian Young, was too young for Lear, Jonathan Pryce was electric as Edgar, and I was the Fool. Inspired entirely by Michael Williams’ performance, I tried to make the character both funny and tragic. He became a scruffy little figure in a huge overcoat, with a slight underbite which gave an unintentionally goonish sound to anything he said. He was being laughed at, as much as with. This suited the cruelty of the play.
1982. When I began my career with the RSC, it was again playing the Fool in King Lear. Adrian Noble directed a brilliant, anarchic production, and Michael Gambon was the best Lear I’ve ever seen. The Fool didn’t just have an underbite now, he was disabled, hobbling about on inward-twisted feet. But he also had a red nose, a white-painted face, a battered bowler hat, and carried a miniature violin which he couldn’t play. He and Lear did little routines together – a ventriloquist act, a front-cloth act – and later, still together, they were plunged into the chaos of the storm. It ended with Lear accidentally stabbing the Fool to death in the mock-trial scene. (Hence explaining the Fool’s mysterious disappearance from the play.)
Today, sitting in my study, I put aside the A4 text from the RSC Literary Department. That only has the dialogue, but to fully understand the play, I’ll need help from the editor’s notes in one of the published editions. I look at my script from the 1982 production. We didn’t get issued with A4 typed-up scripts then, and mine was the old Arden edition, with a beautiful portrait of Lear in his crown of flowers on the cover (done by the artist Graham Arnold, a member of the Brotherhood of Ruralists). I open it. No good. It’s full of my sketches – of Adrian, Gambon, the rest of the cast, and my efforts to work out what the Fool might look like – and there are scribbled notes, and my lines are underlined in red. All this would be distracting.
I pick up another edition, the RSC’s own, edited by Jonathan Bate and Eric Rasmussen. I start to read the Introduction. It quotes Charles Lamb:
‘The Lear of Shakespeare cannot be acted. The contemptible machinery by which they mimic the storm… is not more inadequate to represent the horrors of the real elements, than any actor can be to represent Lear.’
I lower the book, sighing.
Well, nobody said this was going to be easy. After all, Lear is known as the Everest of Acting.
I’m always surprised that people think that the creation of a character happens in rehearsals, and that rehearsals happen a few weeks before the show opens. Not so. Impossible, in fact, with Shakespeare’s major roles. The RSC may regard the beginning of King Lear rehearsals as 20 June next year, but for me the beginning of rehearsals was today.
Tuesday 2 June
Verne (my sister) rings from South Africa. She’s had bad news. When she went for her fortnightly chemo treatment yesterday, they couldn’t give it because her blood count was too low.
Verne was diagnosed with terminal cancer (of the colon and liver) last August. After the initial shock, which went through the family like an earth tremor, there was another surprise. The specialist gave his estimation of how much time she had left: six months without chemo, eighteen months with chemo.
That was almost a year ago, and a worrying new development is the situation with her blood count. Sometimes it’s too low for chemo, sometimes it’s okay.
Is this ‘the next stage’? Leading to ‘the final stage’, where they can no longer give chemo at all?
I try not to think about it.
Raef Jago’s memorial service at the Actors’ Church in Covent Garden.
Back in 1968 when I was staying at the Pastoria Hotel in order to audition for drama school, I was turned down by the top two: Central and RADA. The time came for my parents to return to South Africa, and I was left in London (now in a West Kensington bedsit), still auditioning for the different schools, growing increasingly lonely, anxious and confused. Which of them were any good? Then I learned that there was actually a top five: as well as Central and RADA, there was LAMDA, Guildhall and the Webber Douglas Academy. Still in time for the next Webber Douglas intake, I auditioned for them, and was accepted. Huge relief on either side of the world. The school was run by Raef Jago, a shortish, compact man with a sharp twinkle in light green eyes; he could be both tough and caring. When my training finished at Webber D., I became lost again, being unable to find either work or an agent. Raef arranged for me to do a postgraduate drama course in Manchester (with a bursary from Granada TV, no less), and this was to lead to the Liverpool Everyman. So I have a lot to thank Raef for. In fact, I owe him my career.
This afternoon’s memorial is a celebratory affair, with music, songs, and much laughter. Steven Berkoff (who was a student and then a teacher at Webber D.) has us rolling in the aisles, with an affectionate but debunking portrait of the academy: ‘Olivier and Gielgud, Finney and O’Toole… none of these people went to Webber D.! Rejects went to Webber D.!! And d’you know what – it made us all the more determined to succeed.’ A very funny tribute from Terence Stamp too. (I didn’t know he’d been there; other famous graduates include Penelope Keith and Donald Sinden.) John Heffernan read ‘Our revels now are ended’, and I did Hamlet’s advice to the Players.
Webber D. no longer exists. It amalgamated with Central in 2006.
During tonight’s performance of Salesman, I feel unusually joyful. Here I am, actually doing what at Webber D. I only dreamed of.
Thursday 4 June
Read Act One of Lear. Dear God, so much happens in the first scene, and there’s such speed to the action, it’s almost comical.
When Peter Brook did his legendary RSC production in 1962 – with Paul Scofield – he was influenced by the Polish critic Jan Kott who had written an essay called King Lear or Endgame’, which suggested that the unborn spirit of Samuel Beckett was present in Shakespeare’s play, creating, at times, scenes between a madman, a blind man, a clown and a fake demon.
I like this view of the play, and saw it work superbly in Adrian Noble’s 1982 production. But how to let the audience know they’re not watching a solemn tragedy, but a piece of absurdist theatre? In the first scene, could we enhance the comical element by having a court official who is forced to rapidly create documents to validate all the new decrees: the disowning of Cordelia, the banishment of Kent, the division of the kingdom not into three but two? Is there a little conveyor belt – the official writing the document, handing it to someone else who stamps it, handing it to Lear who signs it? Is the Fool in this?
Later in Act One, in the scene with the Fool – Act One, Scene Five – Lear is already worrying about going mad. How do we achieve the hurtle of this?
Friday 5 June
In today’s reading of Lear – Act Two and half of Act Three – I’m realising why it’s such a difficult part. His behaviour is so extreme. The issue is relatively trivial (the number of his followers), yet his insults to Goneril go the very limit: she’s a disease, a boil, a plaguesore. You could say he’s making an almighty fuss about nothing. But then again it’s good writing about old age, when people can become trapped in a prison of themselves, able only to live by a few strict rules and regulations (of their own making). Also, he’s just resigned as king, supreme monarch, where his every whim was catered for. I think it’s important to show him as truly powerful at the beginning. Maybe we should borrow the Nunn/Porter image of him being borne aloft for his entrance. In recent studio productions (the Almeida, the Donmar), it’s been tough on the lead actors. They have to just walk on. King Lear can’t just walk on…!
Tuesday 9 June
Verne emailed. She couldn’t have chemo again – blood count still too low. I emailed back, saying I could imagine how she felt. But can I? What is it like to face what she’s facing?
Finished reading Lear. Keenly felt the weakness of the second half, or rather the subplot. All the shenanigans with Edmund, Goneril and Regan simply aren’t as interesting as what’s happening to Lear and Gloucester. As for Lear’s journey itself, I’m puzzled. What is Shakespeare saying? That, deprived of everything, a brutish, unforgiving king turns into a lost old man? At the moment, I don’t feel excited or inspired. I just feel overwhelmed by the problems of the piece. But I have to remind myself that, seeing it in performance, it hits you like a force of nature, and seems to be the greatest play ever written.
Thursday 11 June
Beautiful weather at last. I sit in the garden, reading the interviews with directors (Adrian Noble, Trevor Nunn, Deborah Warner) in the RSC edition.
I am especially interested in Adrian’s insights, because, after our 1982 production, he did it again in 1993, with Robert Stephens as Lear. Adrian does not have encouraging news for an actor about to tackle the title role: ‘The truth is, it’s almost unplayable… it gets actors down a lot actually, because it magnifies your failures. The same is true for directors.’
There’s much mockery of what is called a Stonehenge setting. Adrian again: ‘I eschewed the old Stonehenge version, which seemed to me as silly as setting it in Wapping.’ While Trevor Nunn says: ‘I’ve seen Stonehenge-based productions… and frankly it does seem very odd that Lear should make such a fuss about being out on a heath in a storm when his normal domestic condition appears to be open to the elements.’
I feel vaguely embarrassed, since I have been thinking of suggesting to Greg that we go along those lines. Not Stonehenge, of course, but certainly Ancient Britain. I suppose the period will get blurred, as always in current theatre design, but it needs to be an older, pre-Christian time, where a king can be a demi-god, and the world is a more superstitious, more brutal place. Primal energies are at work, not just in the storm, but in man’s character. Shakespeare has created Lear’s story as a mighty, heavyweight thing, and however good a chamber-piece production may be, it will, by its very nature, sell the play short. We’re going to try and be brave – we’re going to try for the epic.
Sunday 14 June
My birthday.
Sixty-six.
A special birthday, because my elder brother Randall has come over for it. And to see Salesman, one of his favourite plays. And to give himself a break.
Unfortunately, it isn’t only Verne who is seriously sick in our family. Randall’s wife, Yvette, needs kidney dialysis three times a week, and the rest of the time she is housebound, in a wheelchair. Randall is her full-time carer, and, as anyone who’s done that job knows, it’s not easy. At the moment, Yvette has to stay in hospital for a period, so we’ve treated Randall to a flight over here. When he arrived yesterday, and we were carrying in his luggage, he said to me, casually, over his shoulder, ‘This is saving my life, hey.’
After I did my Saturday matinee and evening shows (Randall will see it on Monday), Greg drove us up to Stratford. Oh, the smell as we got out of the car, of fresh night air, of trees and meadows…!
This was the first time Randall was seeing our new Stratford home, ‘the Artistic Director’s house’, near the Welcombe hills (where Shakespeare owned some land). He said, ‘With due respect to your place in Islington, this is what I call a real house!’ I smiled. It’s only because in Islington we live
|
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https://www.vulture.com/2020/01/sag-awards-2020-winners-the-complete-list.html
|
en
|
SAG Awards 2020 Winners The Complete List
|
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2020-01-19T20:30:34.623000-05:00
|
The 26th Annual Screen Actors Guild Awards kick off with wins for Phoebe-Waller Bridge, Tony Shalhoub and The Marvelous Mrs. Maisel winning the night’s first three awards.
|
en
|
Vulture
|
https://www.vulture.com/2020/01/sag-awards-2020-winners-the-complete-list.html
|
Awards season continues apace Sunday, January 19, as nominees from both the silver and TV screens gather at Los Angeles’ Shrine Auditorium for this year’s Screen Actors Guild Awards, which premiered at 8:00pm EST and 5:00pm PST.
The evening’s awards began with the usual suspects, with Phoebe Waller-Bridge taking home Outstanding Female Actor in a Comedy Series for Fleabag, and Tony Shalhoub winning Outstanding Male Actor in a Comedy Series for The Marvelous Mrs. Maisel. Despite their protests to the contrary (even they voted for Fleabag!), the cast of The Marvelous Mrs. Maisel also took home Outstanding Comedy Ensemble.
Over in the film categories, Joaquin Phoenix took home Outstanding Performance by a Male Actor in a Leading Role for his turn in Joker, while Renée Zellweger won Outstanding Performance by a Female Actor in a Leading Role for Judy. To close out the evening, Parasite stars Park So-dam, Lee Sun-kyun, Choi Woo-shik, Lee Jung-eun and Song Kang-ho took the stage to accept their award for Outstanding Performance by a Cast in a Motion Picture, the first foreign language film cast to do so, while their director Bong Joon-ho excitedly looked on and (fittingly) filmed them.
And that’s not even getting into the fact both Brad Pitt and Jennifer Aniston won SAG Awards tonight! To read about their victories and more, check out the full list of tonight’s winners below.
Outstanding Male Actor in a TV Movie or Limited Series
Mahershala Ali, True Detective
Russell Crowe, The Loudest Voice
Jared Harris, Chernobyl
Jharrel Jerome, When They See Us
Sam Rockwell, Fosse/Verdon
Outstanding Female Actor in a TV Movie or Limited Series
Patricia Arquette, The Act
Toni Collette, Unbelievable
Joey King, The Act
Emily Watson, Chernobyl
Michelle Williams, Fosse/Verdon
Outstanding Male Actor in a Comedy Series
Alan Arkin, The Kominsky Method
Michael Douglas, The Kominsky Method
Bill Hader, Barry
Andrew Scott, Fleabag
Tony Shalhoub, The Marvelous Mrs. Maisel
Outstanding Female Actor in a Comedy Series
Christina Applegate, Dead to Me
Alex Borstein, The Marvelous Mrs. Maisel
Rachel Brosnahan, The Marvelous Mrs. Maisel
Catherine O’Hara, Schitt’s Creek
Phoebe Waller-Bridge, Fleabag
Outstanding Comedy Ensemble
Barry
Fleabag
The Kominsky Method
The Marvelous Mrs. Maisel
Schitt’s Creek
Outstanding Male Actor in a Drama Series
Sterling K. Brown, This Is Us
Steve Carell, The Morning Show
Billy Crudup, The Morning Show
Peter Dinklage, Game of Thrones
David Harbour, Stranger Things
Outstanding Female Actor in a Drama Series
Jennifer Aniston, The Morning Show
Helena Bonham Carter, The Crown
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Elisabeth Moss, The Handmaid’s Tale
Outstanding Drama Ensemble
Big Little Lies
The Crown
Game of Thrones
The Handmaid’s Tale
Stranger Things
Outstanding Performance by a Male Actor in a Supporting Role
Jamie Foxx, Just Mercy
Tom Hanks, A Beautiful Day in the Neighborhood
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood
Outstanding Performance by a Female Actor in a Supporting Role
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Nicole Kidman, Bombshell
Jennifer Lopez, Hustlers
Margot Robbie, Bombshell
Outstanding Performance by a Male Actor in a Leading Role
Christian Bale, Ford v Ferrari
Leonardo DiCaprio, Once Upon a Time in Hollywood
Adam Driver, Marriage Story
Taron Egerton, Rocketman
Joaquin Phoenix, Joker
Outstanding Performance by a Female Actor in a Leading Role
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Lupita Nyong’o, Us
Charlize Theron, Bombshell
Renée Zellweger, Judy
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https://www.the-sun.com/news/4197964/antony-sher-dead-legendary-stage-actor-prince-charles-favourite/
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en
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Antony Sher dead - legendary stage actor, 72, who was Prince Charles' favourite performer loses battle with cancer
|
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"Imogen Braddick"
] |
2021-12-03T08:17:24-05:00
|
PRINCE Charles' favourite actor Antony Sher has died at the age of 72.The legendary stage actor, best known for his work performing Shakespeare, was&n
|
en
|
The US Sun
|
https://www.the-sun.com/news/4197964/antony-sher-dead-legendary-stage-actor-prince-charles-favourite/
|
PRINCE Charles' favourite actor Antony Sher has died at the age of 72.
The legendary stage actor, best known for his work performing Shakespeare, was diagnosed with terminal cancer in September.
The Royal Shakespeare Company announced the double Olivier Award-winning actor's death in a statement on Friday.
Acting artistic director Catherine Mallyon said: “We are deeply saddened by this news and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time.
“Antony was deeply loved and hugely admired by so many colleagues. He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us.
"We will ensure friends far and wide have the chance to share tributes and memories in the days to come.”
Born in Cape Town, Sher joined the Royal Shakespeare Company in 1982 and appeared in productions including The Tempest, Macbeth and Othello.
His last show with the company was John Kani’s Kunene and The King in 2019, while he also recently starred in King Lear, the Henry IV plays and Death of a Salesman.
On the big screen, the star appeared in the Oscar-winning film Shakespeare in Love and film adaptations of Macbeth and The Winter’s Tale.
He was also known for his writing, penning four novels, an autobiography, three plays, a TV screenplay and theatre journals.
During his 2017 Commonwealth Tour, Prince Charles referred to Sher as his favourite actor.
Tributes have poured in from fellow actors and artists following the news of the legendary stage performer's death.
Harriet Walter, an honorary associate artist at the Royal Shakespeare Company, said: "On stage he was a powerhouse, bold and uncompromising. Offstage he was surprisingly unassuming, private and unostentatious. He could also be wickedly funny.
"I so enjoyed working with him and watching him work and feel so sad that I won’t have that pleasure again."
Actor and playwright John Kani said: "We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists and we both had the honour of celebrating together 25 years of South Africa’s Democracy in my latest play Kunene and the King.
"I am at peace with you my friend and myself. Exit my King. Your Brother."
Actor Mark Rylance said: "I first saw Tony's work as an actor in the theatre with Mike Leigh and was captivated by his immersion and definition as an actor.
"In 1982 we both joined the RSC and became friends. I remember his infectious laugh and sense of humour most.
"His meticulous artwork and visual imagination. He was always most generous and kind to me. A gentleman and devoted man of the theatre. A great loss."
'FEROCIOUS TALENT'
Janet Suzman, an honorary associate artist at the company, described Sher as a "ferocious talent".
"His South African heritage - we share this burden - was only discovered by him quite late in his life, but it surely added to the rich mixture that made him such a magnetic actor," she said.
Sher's husband Gregory Doran, the artistic director of the Royal Shakespeare Company, had taken a leave of absence to care for him following his cancer diagnosis.
Sher and Doran became one of the first gay couples to enter into a civil partnership in the UK in 2005 and married in 2015.
Susie Sainsbury, former deputy chairwoman of the company, said: "Tony and Greg were together for over 30 years, and their careers as actor and director have brought them international acclaim, both individually and in the many productions where they worked together so productively.
"Tony will be remembered for many exceptional roles on stage and screen, but also for his passion for painting and drawing, which occupied his days increasingly in recent years.
"Their many friends and colleagues will each have particular memories - mine is an image of the two of them, bearded and smiling, on the window seat in their sitting room, utterly content in each other’s company.
"It is impossible to imagine one without the other, and our thoughts and deep sympathy are with Greg and their families."
Sher's publisher Nick Hern described the actor as a "bit of a wonder".
He said: "A magnetic actor, of course, but also and equally an artist and author.
"I should know: I published five books by him, and in every case the vivid words were illuminated by equally vivid sketches.
"Furthermore, he’s a delight to work with: punctilious, of course, but open to and eager for comment and improvement. If only every author were as receptive."
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https://www.ign.com/articles/screen-actors-guild-awards-2020-all-the-winners
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Screen Actors Guild Awards 2020: All the Movie and TV Winners
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[] |
[] |
[
""
] | null |
[
"Matt Fowler"
] |
2020-01-20T01:01:47+00:00
|
Joaquin Phoenix, Peter Dinklage, Jennifer Aniston, and Parasite were among those honored.
|
en
|
https://kraken.ignimgs.com/favicon.ico
|
IGN
|
https://www.ign.com/articles/screen-actors-guild-awards-2020-all-the-winners
|
The 26th Screen Actors Guild Awards were held on Sunday evening, honoring the best performances of 2019 in both film and television! Joaquin Phoenix and Renee Zellweger took home the top acting prizes for movies while Peter Dinklage, Phoebe Waller-Bridge, and Fosse/Verdon's Sam Rockwell and Michelle Williams were among those who won for TV. Bong Joon-ho's Parasite was the biggest surprise of the night, taking home the trophy for Outstanding Performance by a Cast in a Motion Picture while both Avengers: Endgame and Game of Thrones were honored for their stunt teams.
Check out the SAG awards results below, updated as they roll in, with the winners noted in red and bold!
Motion Picture Honors
Outstanding Performance by a Male Actor in a Leading Role
Christian Bale, Ford v Ferrari
Leonardo DiCaprio, Once Upon a Time in Hollywood
Adam Driver, Marriage Story
Taron Egerton, Rocketman
Joaquin Phoenix, Joker (WINNNER)
Outstanding Performance by a Female Actor in a Leading Role
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Lupita Nyong'o, Us
Charlize Theron, Bombshell
Renee Zellweger, Judy (WINNER)
Outstanding Performance by a Male Actor in a Supporting Role
Jamie Foxx, Just Mercy
Tom Hanks, A Beautiful Day in the Neighborhood
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood (WINNER)
Outstanding Performance by a Female Actor in a Supporting Role
Laura Dern, Marriage Story (WINNER)
Scarlett Johansson, Jojo Rabbit
Nicole Kidman, Bombshell
Jennifer Lopez, Hustlers
Margot Robbie, Bombshell
Outstanding Performance by a Cast in a Motion Picture
Bombshell
The Irishman
Jojo Rabbit
Once Upon a Time in Hollywood
Parasite (WINNER)
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Television, Cable and New Media Program Honors
Outstanding Performance by a Male Actor in a Television Movie or Limited Series
Mahershala Ali, True Detective
Russell Crowe, The Loudest Voice
Jared Harris, Chernobyl
Jharrel Jerome, When They See Us
Sam Rockwell, Fosse/Verdon (WINNER)
Outstanding Performance by a Female Actor in a Television Movie or Limited Series
Patricia Arquette, The Act
Toni Collette, Unbelievable
Joey King, The Act
Emily Watson, Chernobyl
Michelle Williams, Fosse/Verdon (WINNER)
Outstanding Performance by a Male Actor in a Drama Series
Sterling K. Brown, This Is Us
Steve Carell, The Morning Show
Billy Crudup, The Morning Show
Peter Dinklage, Game of Thrones (WINNER)
David Harbour, Stranger Things
Outstanding Performance by a Female Actor in a Drama Series
Jennifer Aniston, The Morning Show (WINNER)
Helena Bonham Carter, The Crown
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Elisabeth Moss, The Handmaid's Tale
Outstanding Performance by a Male Actor in a Comedy Series
Alan Arkin, The Kominsky Method
Michael Douglas, The Kominsky Method
Bill Hader, Barry
Andrew Scott, Fleabag
Tony Shalhoub, The Marvelous Mrs. Maisel (WINNER)
Outstanding Performance by a Female Actor in a Comedy Series
Christina Applegate, Dead to Me
Alex Borstein, The Marvelous Mrs. Maisel
Rachel Brosnahan, The Marvelous Mrs. Maisel
Catherine O'Hara, Schitt's Creek
Phoebe Waller-Bridge, Fleabag (WINNER)
Outstanding Performance by an Ensemble in a Drama Series
Big Little Lies
The Crown (WINNER)
Game of Thrones
The Handmaid’s Tale
Stranger Things
Outstanding Performance by an Ensemble in a Comedy Series
Barry
Fleabag
The Kominsky Method
The Marvelous Mrs. Maisel (WINNER)
Schitt’s Creek
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Stunt Ensemble Honors
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
Avengers: Endgame (WINNER)
Ford v Ferrari
The Irishman
Joker
Once Upon a Time in Hollywood
Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series
Game of Thrones (WINNER)
Glow
Stranger Things
The Walking Dead
Watchmen
Matt Fowler is a writer for IGN and a member of the Television Critics Association. Follow him on Twitter at @TheMattFowler and Facebook at Facebook.com/MattBFowler.
|
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5893
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dbpedia
|
0
| 74
|
https://poplifestl.com/tag/michael-james-scott/
|
en
|
Michael James Scott
|
[
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"https://poplifestl.com/wp-content/uploads/2018/07/PopLifeSTL_logo_150pdi-e1580434577256.png",
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] |
[] |
[] |
[
""
] | null |
[
"Lynn Venhaus"
] | null |
by Lynn Venhaus
|
en
|
Pop Life STL
|
https://poplifestl.com/tag/michael-james-scott/
|
By Lynn Venhaus
Managing Editor
You go, girls! Local singer-actors get national attention, and the St. Louis-produced Broadway musical “The Prom” made Thanksgiving Parade television history.
BREAKING OUT: We have a talented trio of local ladies who are living their dreams right now.
Lexi Krekorian, 27, of Waterloo, Ill., is one of the nine struggling musicians featured on the Netflix reality series, “Westside,” now available. She goes by the stage name, Alexandra Kay, and has released her first single, “You Think You Know Someone,” and several music videos of songs on the “Westside” soundtrack. She started out in school and community theater, and is chasing her dream in L.A. Here is the feature I wrote for the Belleville News-Democrat about her rising star.
https://www.bnd.com/living/magazine/article221600685.html
Kennedy Holmes of Florissant, the John Burroughs student and Muny Kid who is wowing the nation as a contestant on “The Voice,” made it through to the Top 11 Live Playoffs on Nov. 20. She sang “Wind Beneath My Wings” and is on Jennifer Hudson’s team, headed for the Top 10 showdown Nov. 26. Here is her Top 11 performance:
https://www.nbc.com/the-voice/video/kennedy-holmes-wind-beneath-my-wings/3832852
Thirteen proved to be lucky for Kennedy, as she was not among the 12 eliminated from the Top 24 Live Playoffs in Episode 13. She sang Beyonce’s “Halo.” “The Voice” is on Mondays and Tuesdays on NBC, with live voting the first night and results the second night. She is 13.
Meadow Nguy, providedMeadow Nguy, 23, of O’Fallon, Ill., performed in two musicals at Stray Dog Theatre (Marta in “Spring Awakening” in 2012 and the female lead in the original musical “Spellbound” in 2015), and in community and school theater. She guest-starred on the Nov. 18 episode of “Madam Secretary” called “Baby Steps,” as a Southeast Asia surrogate caught up in a human trafficking imbroglio . She made her crime-drama debut in ‘The Blacklist” earlier this year. Both shows available on demand. Here is the news article I wrote for the Belleville News-Democrat:
https://www.bnd.com/news/local/article221829910.html
***ATTABOY: Congratulations to Cory Finley, who scored a Film Independent Spirit Award nomination for Best First Screenplay for his “Thoroughbreds.” The annual awards, held since 1984, honor independent filmmakers working with small budgets. The awards are always announced the day before the Oscars, and this year, it will be Saturday, Feb. 23.
Focus Features photoIn fall 2017, the St. Louis Actors’ Studio presented Finley’s play, “The Feast.” A John Burroughs School grad, Finley’s movie opened nationwide in March after premiering at the Sundance Film Festival in January. It played the St. Louis International Film Festival in 2017.
Olivia Cooke (“Ready Player One,” “Me and Earl and the Dying Girl”) and Anya Taylor-Joy (“Split,” “The Witch”) play upper-class Connecticut teenagers who rekindle their unlikely friendship and hatch a plan to solve both of their problems — no matter what the cost. It’s the last film of Anton Yelchin. Finley, who grew up in Clayton, is based in New York City. He is a member of the Obie-winning Youngblood playwrights group at Ensemble Studio Theater, has received a commission from the Alfred P. Sloan foundation for playwrighting, and was the inaugural recipient of the Gurney Playwrights Fund for his play, “The Feast,” at The Flea Theater. Check out www.thoroughbredsmovie.com
***STANDING O’s: Standing ovation for stand-up guy, Kwofe Coleman, who started as an usher at the Muny the summer of 1998, and now has been named managing director! He has served as Director of Marketing and Communications since 2013.
Kudos to the Cinema St. Louis team on their record-setting attendance of 28,723 at this year’s St. Louis International Film Festival Nov. 1 – 11. SLIFF screened 413 films, including 88 narrative features, 77 documentary features, and 248 shorts. Local actors are often seen in the regionally produced short films.
|
|||||
5893
|
dbpedia
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2
| 82
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https://www.theatermania.com/news/antony-sher-to-star-in-tricycles-broken-glass-casting-announced-for-the-great-game-afghanistan_28072/
|
en
|
Antony Sher to Star in Tricycle’s Broken Glass; Casting Announced for The Great Game: Afghanistan
|
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[] |
[
""
] | null |
[] |
2010-06-11T08:23:00+00:00
|
Antony Sher will star in a revival of Arthur Miller's Broken Glass, to run September 30 - November 27 at the Tricycle Theatre. Iqbal Khan will direct the production, which will be designed by Mike Britton and have lighting design by Matthew Eagland. The play focuses on a Jewish couple living in New York in
|
en
|
TheaterMania.com -
|
https://www.theatermania.com/news/antony-sher-to-star-in-tricycles-broken-glass-casting-announced-for-the-great-game-afghanistan_28072/
|
Antony Sher will star in a revival of Arthur Miller’s Broken Glass, to run September 30 – November 27 at the Tricycle Theatre. Iqbal Khan will direct the production, which will be designed by Mike Britton and have lighting design by Matthew Eagland.
The play focuses on a Jewish couple living in New York in the late 1930s. Further casting will be announced shortly.
Sher won Olivier Awards for his performances in Richard III and Torch Song Trilogy. In addition, he won a third Olivier Award, as well as a Tony Award, for his performance in Stanley. Among his many other theater credits are An Enemy of the People, The Tempest, Othello, and Kean, as well as Primo, which toured the U.K. and played on Broadway, earning Sher Outer Critics’ Circle and Drama Desk Awards for Outstanding Solo His film and television credits include God on Trial, Primo, Churchill: The Hollywood Years, Shakespeare in Love, Mrs Brown, and Alive and Kicking.
Along with this news, the theater has announced the complete company for the three-part The Great Game: Afghanistan, which, as previously announced, will run July 23 – August 29 at the Tricycle before touring the U.S. The company will feature Daniel Betts, Sheena Bhattessa, Michael Cochrane, Karl Davies, Vincent Ebrahim, Nabil Elouahabi, Tom McKay, Shereen Martineau, Daniel Rabin, Danny Rahim, Raad Rawi, Jemma Redgrave, Cloudia Swann and Rick Warden.
|
|||||
5893
|
dbpedia
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1
| 43
|
https://templeofgeek.com/winners-from-the-the-30th-annual-screen-actors-guild-awards/
|
en
|
Winners from the The 30th Annual Screen Actors Guild Awards
|
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2024-02-25T05:42:10+00:00
|
List of Winners from The 30th Annual Screen Actors Guild Awards. Winners were honored for outstanding film and television performances.
|
en
|
TEMPLE OF GEEK
|
https://templeofgeek.com/winners-from-the-the-30th-annual-screen-actors-guild-awards/
|
The 30th Annual Screen Actors Guild Awards honored the outstanding film and television performances of 2023, with Cillian Murphy, Lily Gladstone, Steven Yeun, and Elizabeth Debicki among the winners. Oppenheimer and Succession took home top ensemble awards, while Barbra Streisand received the SAG Life Achievement Award.
The 30th Annual Screen Actors Guild Awards
Hosted by Idris Alba, this award show held particular significance as union members directly voted for their peers. The event carried a celebratory atmosphere, a welcome reprieve after the arduous year marked by the union strike. SAG-AFTRA members chose the 30th Annual Screen Actors Guild Awards nominees in two separate committees, one for film and one for television, each composed of 2,500 randomly selected members.
This celebratory tone was further amplified by the show’s streaming on Netflix, allowing both hosts and winners more freedom of expression on stage. Consequently, tonight we had a noticeable number of swear words that would not have been tolerated on traditional broadcast television.
Barbra Streisand, a legend in entertainment, received the SAG Life Achievement Award for her acting, singing, producing, writing, and directing prowess. Streisand’s career spans film, television, and stage, earning her numerous accolades including Oscars, Grammys, Emmys, and Tonys. Jennifer Anniston and Bradley Cooper presented this prestigious award. Hope you weren’t watching with your kids.
List of Winner
Outstanding Performance by a Male Actor in a Leading Role
CILLIAN MURPHY / J. Robert Oppenheimer – “OPPENHEIMER”
Outstanding Performance by a Female Actor in a Leading Role
LILY GLADSTONE / Mollie Burkhart – “KILLERS OF THE FLOWER MOON”
Outstanding Performance by a Male Actor in a Supporting Role
ROBERT DOWNEY JR. / Lewis Strauss – “OPPENHEIMER”
Outstanding Performance by a Female Actor in a Supporting Role
DA’VINE JOY RANDOLPH / Mary Lamb – “THE HOLDOVERS”
Outstanding Performance by a Cast in a Motion Picture
OPPENHEIMER
CASEY AFFLECK / Boris Pash
EMILY BLUNT / Kitty Oppenheimer
KENNETH BRANAGH / Niels Bohr
MATT DAMON / Leslie Groves
ROBERT DOWNEY JR. / Lewis Strauss
JOSH HARTNETT / Ernest Lawrence
RAMI MALEK / David Hill
CILLIAN MURPHY / J. Robert Oppenheimer
FLORENCE PUGH / Jean Tatlock
Outstanding Performance by a Male Actor in a Television Movie or Limited Series
STEVEN YEUN / Danny Cho – “BEEF”
Outstanding Performance by a Female Actor in a Television Movie or Limited Series
ALI WONG / Amy Lau – “BEEF”
Outstanding Performance by a Male Actor in a Drama Series
PEDRO PASCAL / Joel – “THE LAST OF US”
Outstanding Performance by a Female Actor in a Drama Series
ELIZABETH DEBICKI / Princess Diana – “THE CROWN”
Outstanding Performance by a Male Actor in a Comedy Series
JEREMY ALLEN WHITE / Carmen “Carmy” Berzatto – “THE BEAR”
Outstanding Performance by a Female Actor in a Comedy Series
AYO EDEBIRI / Sydney Adamu – “THE BEAR”
Outstanding Performance by an Ensemble in a Drama Series
SUCCESSION
NICHOLAS BRAUN / Greg Hirsch
JULIANA CANFIELD / Jess Jordan
BRIAN COX / Logan Roy
KIERAN CULKIN / Roman Roy
DAGMARA DOMINCZYK / Karolina Novotney
PETER FRIEDMAN / Frank Vernon
JUSTINE LUPE / Willa
MATTHEW MACFADYEN / Tom Wambsgans
ARIAN MOAYED / Stewy Hosseini
SCOTT NICHOLSON / Colin Stiles
DAVID RASCHE / Karl Muller
ALAN RUCK / Connor Roy
ALEXANDER SKARSGÅRD / Lukas Matsson
J. SMITH-CAMERON / Gerri Kellman
SARAH SNOOK / Shiv Roy
FISHER STEVENS / Hugo Baker
JEREMY STRONG / Kendall Roy
ZOË WINTERS / Kerry Castellabate
Outstanding Performance by an Ensemble in a Comedy Series
THE BEAR
LIONEL BOYCE / Marcus
JOSE CERVANTES JR. / Angel
LIZA COLÓN-ZAYAS / Tina
AYO EDEBIRI / Sydney Adamu
ABBY ELLIOTT / Natalie “Sugar” Berzatto
RICHARD ESTERAS / Manny
EDWIN LEE GIBSON / Ebraheim
MOLLY GORDON / Claire
COREY HENDRIX / Sweeps
MATTY MATHESON / Neil Fak
EBON MOSS-BACHRACH / Richard “Richie” Jerimovich
OLIVER PLATT / Jimmy “Cicero” Kalinowski
JEREMY ALLEN WHITE / Carmen “Carmy” Berzatto
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
Sia Alipour, Daryl Andrews, James Apps, Nina Armstrong, Ray Armstrong , Scott Armstrong, Luis Arranz, Miguel Arranz, Faycal Attougui, Daniel Awde, Luciano Bacheta, Albert Baude, Randy Beckman, Marvin Berrembou, Marco Bianco, Adrien Bour, Chad Bowman, Tamiko Brownlee, Mauro Calo, Kieran Clarke, Steve Coleman, Lucy Cork, Miles Daisher, Kachina Dechert, Juan Antonio Del Fresno Guillemi, Valentin Delluc, Jon Devore, Craig Dolby, Wade Eastwood, Yousseff El Hibaoui, Medhi El Naji, Alexa Eusepi, Benoit Fabre, Espen Fadness, Niko Fava, Stephane Fiossonangaye, Valentina Flammini, Matthew Fraser-Dawson, Kyle Freemantle, Suzie Frize-Williams, Eduardo Gago Munoz, Andrea Giglio, Angel Gomez, Christopher Gordon, Terry Grant, Federico Grillo, Clayton Grover, Thomas Hacikoglu, Allan Hewitt, Theo Hill, Maria Hippolyte, Adam Horton, Robert Houillion, Erol Ismail, John Kaye, Tomasz Krzemieniecki, Marco Lascari, Pascal Lavanchy, Balazs Lengyel, Mike Li, Harry Makanga, Niall McShea, John-Eric Medalin, Iliescu Mihail, Peter Olivant, Jake Osborn, Claudio Pacifico, Adrian Palmer, Jorian Ponomareff, Cedric Proust, Razvan Puiu, Simon Rizzoni, Eduardo Rodriguez Munoz, Fabio Santos, Steven Shackleton, Ian Streetz, Laura Swift, Mens-Sana Tamakloe, Rocky Taylor, Malachi Templeton, Jenny Tinmouth, Lukas Tomsik, Aaron Toney, Luke Tumber, James Unsworth, David Van Zeyl, Jeremie Vigot, Laura Vortler, Ruda Vrba, Elmo Walker, Nicolas Yang Wang, Marcus White, Tessa Whittock, Martin Williams, Pierre Yves-Rosoux, Mirko Zamperla, and Manuel Zolda.
Outstanding Action Performance by a Stunt Ensemble in a Television Series
THE LAST OF US
Kelsey Andries, Guy Bews, Peter Bews, Tim Bruisedhead, Wyatt Cameron, Patrick Chan, Colby Chartrand, Tommy Clarke, Martin Cochingco, Fraser Corbett, Chad Cosgrave, Denton Edge, Ryan Ennis, Jason Glass, Victoria Goodman, Kory Grimm, Leif Havdale, Taylor Henrich, Jenn Klapstein, Mark Krysko, Atlin Mitchell, Gaston Morrison, Jonathan Nickerson, Jeffrey Olynek, Ty Provost, Taryn Roberts, Andrea Ross, Jeff Sanca, Greg SchlosserPatrick Shmeikal, Jim Sinclair, Heath Stevenson, Jonathan Vellner, Samara Von Rad, Lindsay Woolsey, and Tristin Woolsey.
Also Check Out:
Duncan Crabtree-Ireland, SAG-AFTRA Chief Negotiator on Replica Studios AI Deal, AMPTP, and more
Dave Filoni talks the Live-Action Ahsoka and Anakin Reunion
2024 Tech and Gaming – Retro Rebel Podcast Episode 176
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5893
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dbpedia
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https://www.amazon.com/Year-King-Antony-Sher/dp/1854597531
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Amazon.com
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https://www.independent.co.uk/news/uk/charles-royal-shakespeare-company-judi-dench-prince-of-wales-commonwealth-b1969688.html
|
en
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Charles: Sir Antony Sher was ‘a giant of the stage at the height of his genius’
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2021-12-04T18:28:39+00:00
|
Sir Antony was the Prince of Wales’s favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/news/uk/charles-royal-shakespeare-company-judi-dench-prince-of-wales-commonwealth-b1969688.html
|
The Prince of Wales has paid tribute to Sir Antony Sher as “a giant of the stage at the height of his genius” following the actor’s death at the age of 72.
The Olivier Award-winning actor and director was diagnosed with terminal cancer earlier this year, and his death was announced by the Royal Shakespeare Company (RSC) on Friday.
In a statement to the PA news agency, Charles said he was “deeply saddened” to learn of Sir Antony’s passing.
“As the president of the Royal Shakespeare Company (RSC), I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role,” the prince said.
“My most treasured memory of him was as Falstaff in a brilliant production of Greg Doran’s. I feel particularly blessed to have known him, but we have all lost a giant of the stage at the height of his genius.”
Charles offered his sympathy to Sir Antony’s husband, the RSC’s artistic director, saying: “My heart goes out to Greg Doran and to all at the RSC who will, I know, feel the most profound sorrow at the passing of a great man and an irreplaceable talent.”
Dame Judi Dench earlier described Sir Antony, with whom she starred in the 1997 film Mrs Brown, as a “sublime” actor who performed with “incredible intensity”.
The 86-year-old described his performance as former prime minister Benjamin Disraeli as “spectacular”.
Speaking to BBC Radio 4’s PM programme, she said: “He could completely immerse himself in a character and make it completely remarkable, but not necessarily on his own terms.
“He was sublime. He was totally engrossed whenever he was working in that part and in that character.
“He was one of those remarkable actors who reserved that incredible intensity for the time he was on the stage.”
Brian Blessed, who performed alongside Sir Antony in Richard III in Stratford-upon-Avon, told the programme: “He revolutionised Richard III entirely. Amazing imagination, amazing vocal power. He hobbled around the set like a great bottled spider. He would terrify the audience in the first few rows.”
Blessed said to be on stage with Sir Antony was “mind-blowing” and added: “It was from another century. It was from another galaxy.”
The National Theatre posted a statement on Twitter from director Rufus Norris, saying: “With the tragic passing of Antony Sher, one of the great titans has left us.
“His contribution and example to our theatre world was exemplary, and his standing within the ranks of National Theatre actors could not be higher.”
Mr Doran announced in September that he was taking a period of compassionate leave to care for Sir Antony.
The South African-born actor tied the knot with Doran on 21 December 2005, the first day same sex couples could legally form a civil partnership in the UK.
Sir Antony starred in a number of RSC productions, including a role in 2016 in King Lear, as well as playing Falstaff in the Henry IV plays and Willy Loman in Arthur Miller’s Death of s Salesman.
He was the Prince of Wales’s favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour.
Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth and Tamburlaine The Great, as well as his career-defining Richard III.
He moved to Britain to study drama in the late 1960s and joined the RSC in 1982. His breakthrough role came two years later in Richard III, a part which earned him the best actor accolade at the Olivier Theatre Awards.
His theatrical skills were not limited to the West End, and his adaptation of If This Is A Man, by Primo Levi, into a one-man show titled Primo, ran on Broadway.
Off stage he had roles in films including Shakespeare In Love and Mrs Brown, and played Adolf Hitler in 2004’s Churchill: The Hollywood Years.
His final production with the RSC was John Kani’s Kunene And The King, which saw him star opposite Kani as Jack, an actor acclaimed for his roles in Shakespeare who is diagnosed with liver cancer.
RSC executive director Catherine Mallyon and acting artistic director Erica Whyman said in a statement: “We are deeply saddened by this news, and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time.
“Antony had a long association with the RSC and a hugely celebrated career on stage and screen.
The RSC said Doran will remain on compassionate leave and is expected to return to work in 2022.
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https://www.vogue.com/article/2024-sag-awards-winners-list
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All the Winners at the 2024 SAG Awards
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2024-02-24T19:38:30.848000-05:00
|
The 30th Annual Screen Actors Guild Awards—celebrating the very best in film and television from the last year—took place on Saturday. How did the top contenders, including “Barbie,” “Oppenheimer,” “Succession,” and “The Bear,” fare? Find out here.
|
en
|
https://www.vogue.com/verso/static/vogue/assets/us/favicon.ico
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Vogue
|
https://www.vogue.com/article/2024-sag-awards-winners-list
|
The 30th Annual Screen Actors Guild Awards—celebrating the very best in film and television from the last year—took place on Saturday night, bringing with them all manner of finely dressed celebrities fondly reminiscing about earning their SAG cards. Going into the night, Barbie and Oppenheimer led the film field with four nominations each, while Succession’s five nods put it squarely ahead of other small-screen favorites, including The Bear (which earned four) Barry (three), Beef (three), and The Crown (two). But how did they all fare? Catch up on all the winners at the 2024 SAG Awards right here.
Outstanding Performance by a Cast in a Motion Picture
WINNER: Oppenheimer
American Fiction
Barbie
Killers of the Flower Moon
The Color Purple
Outstanding Performance by a Female Actor in a Leading Role
WINNER: Lily Gladstone, Killers of the Flower Moon
Annette Bening, Nyad
Carey Mulligan, Maestro
Margot Robbie, Barbie
Emma Stone, Poor Things
Outstanding Performance by a Male Actor in a Leading Role
WINNER: Cillian Murphy, Oppenheimer
Bradley Cooper, Maestro
Colman Domingo, Rustin
Paul Giamatti, The Holdovers
Jeffrey Wright, American Fiction
Outstanding Performance by an Ensemble in a Drama Series
WINNER: Succession
The Crown
The Gilded Age
The Last of Us
The Morning Show
Outstanding Performance by a Female Actor in a Drama Series
WINNER: Elizabeth Debicki, The Crown
Jennifer Aniston, The Morning Show
Bella Ramsey, The Last of Us
Keri Russell, The Diplomat
Sarah Snook, Succession
Outstanding Performance by a Male Actor in a Supporting Role
WINNER: Robert Downey Jr., Oppenheimer
Sterling K. Brown, American Fiction
Willem Dafoe, Poor Things
Robert De Niro, Killers of the Flower Moon
Ryan Gosling, Barbie
Outstanding Performance by an Ensemble in a Comedy Series
WINNER: The Bear
Abbott Elementary
Barry
Only Murders in the Building
Ted Lasso
Outstanding Performance by a Male Actor in a Television Movie or Limited Series
|
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https://www.imdb.com/event/ev0000598/2017/1/
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en
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Screen Actors Guild Awards (2017)
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Award-winners and contenders from Screen Actors Guild Awards (2017)
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IMDb
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https://www.imdb.com/event/ev0000598/2017/1/
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https://thedailyguardian.com/oppenheimer-takes-sag-award-for-best-cast/
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'Oppenheimer' Takes SAG Award for Best Cast
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The cast of ‘Oppenheimer’ wins big at the 30th Screen Actors Guild Awards. People said that the entire team was filled with pride after winning the award for outstanding performance by a cast in a motion picture. Other nominations included ‘American Fiction’, ‘Barbie’, ‘The Color Purple’, and ‘Killers of the Flower Moon’. Kenneth Branagh, who […]
- TheDailyGuardian
|
en
|
TheDailyGuardian
|
https://thedailyguardian.com/oppenheimer-takes-sag-award-for-best-cast/
|
The cast of ‘Oppenheimer’ wins big at the 30th Screen Actors Guild Awards. People said that the entire team was filled with pride after winning the award for outstanding performance by a cast in a motion picture.
Other nominations included ‘American Fiction’, ‘Barbie’, ‘The Color Purple’, and ‘Killers of the Flower Moon’.
Kenneth Branagh, who played Danish physicist Niels Bohr in the film, accepted the award on behalf of the entire cast.
“Thank you. It’s my it’s my honor to say a few words briefly on behalf of this incredible cast on stage and to the extended family of Oppenheimer, who can’t be here,” he began. “So, thank you so much, Chris Nolan and Emma Thomas. Thank you for the opportunity. Thank you for the respect. Thank you for the invitation to play a genuine part in making this scarily important film. Thank you to Donna Langley and Universal Pictures for believing us, believing in us and in the film. Thank you Chuck Roven, Andy Thompson, and John Papsidera, thank you very much.”
“And, of course… thank you SAG-AFTRA. Thank you for this. Thank you for fighting for us. Thank you for every SAG-AFTRA member whose support and whose sacrifice allows us to be standing here better than we were before,” he continued.
“When we were all last together, it was at the premiere of this film on July 14, last year when the strike was just about to begin. And led by our fearless leader, the great Cillian Murphy, we went from the red carpet and we didn’t see the film that night. We happily went in the direction of solidarity with your good selves,” he added.
“So this, this is a full circle moment for us and to receive this recognition in a year of spectacular achievement from all of the people in this room, our acting friends, our acting heroes, it means the world to us,” he concluded.
“We know how lucky we are. And we are grateful and we are humbled and we are proud not just to be in Mr. Nolan’s masterpiece, but proud to be in your company. Thank you so much.”
Christopher Nolan’s film ‘Oppenheimer’ became one of the year’s biggest box office successes. The film is a biopic of J. Robert Oppenheimer, the physicist who designed the nuclear bomb used in WWII, and stars Cillian Murphy, Emily Blunt, Robert Downey Jr., Matt Damon, and Florence Pugh.
Murphy, Blunt, and Downey Jr. all garnered solo nominations for their performances, tying the film with Barbie for the most nominations this year, according to People.
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https://books.google.com/books/about/Year_of_the_King.html%3Fid%3DIo6RAAAAIAAJ
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Google Books
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https://books.google.com/
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Search the world's most comprehensive index of full-text books.
My library
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2021-2022 Screen Actors Guild Awards in Memoriam (Predictions):
|
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Award-winning actress Helen Elizabeth McCrory was born in London, England, to Welsh-born Anne (Morgans) and Scottish-born Iain McCrory, a diplomat from Glasgow. After training at the Drama Centre London, Helen began her career on stage in the UK and won the Manchester Evening News' Best Actress Award for her performance in the National Theatre's "Blood Wedding" and the Ian Charleson award for classical acting for playing "Rose Trelawney" in "Trelawney of the Wells." Helen's theatre work continued to win her critical praise and a large fan base through such work as the Royal Shakespeare Company's "Les Enfant du Paradis" opposite Joseph Fiennes, Rupert Graves and James Purefoy. At the Almeida Theatre, her productions included "The Triumph of Love" opposite Chiwetel Ejiofor and the radical verse production, "Five Gold Rings," opposite Damian Lewis.
Helen also worked extensively at the Donmar Warehouse playing lead roles in "How I Learnt to Drive," "Old Times" directed by Roger Michel, and in Sam Mendes' farewell double bill of "Twelfth Night" and "Uncle Vanya" (a triumph in both London and New York). For her performance in "Twelfth Night," Helen was nominated for the Evening Standard Best Actress Award, and the New York Drama Desk Awards. She also founded the production company "The Public" with Michael Sheen, producing new work at the Liverpool Everyman, The Ambassadors and the Donmar (in which she also starred).
With over twenty productions under her belt, Mike Coveney recently wrote "We celebrate the careers of great actors Olivier, Ashcroft, Richardson, Gielgud, Dench, the Redgraves, Gambon, Walter, Sher, Russell Beale and McCrory."
On the small screen, Helen's first television film, Karl Francis' Streetlife (1995) with Rhys Ifans, won her the Welsh BAFTA, Monte Carlo Best Actress Award and the Royal Television Society's Best Actress Award, for her extraordinary performance as "Jo." The Edinburgh Film Festival wrote "simply the best performance this year." She went on to win Critics Circle Best Actress Award for her role as the barrister "Rose Fitzgerald" in the Channel 4 series North Square (2000), having been previously nominated for her performance in The Fragile Heart (1996). Helen showed diversity as an actress, appearing in comedies such as Lucky Jim (2003) with Stephen Tompkinson or Dead Gorgeous (2002) with Fay Ripley, as well as dramas such as Joe Wright's The Last King (2003) (for which she was nominated for the LA Television Awards) and Anna Karenina (2000).
Helen McCrory died on 16 April, 2021, in London, of cancer. She was 52, and was survived by her husband Damian Lewis and their two children.
Long a vital, respected thespian of the classic and contemporary stage, this grand lady did not become a household name and sought-after film actress until age 56 when she turned in a glorious, Oscar-winning performance as Cher's sardonic mother in the romantic comedy Mondsüchtig (1987). Movie (and TV) fans then discovered what East coast theater-going audiences had uncovered decades before -- Olympia Dukakis was an acting treasure. Her adaptability to various ethnicities (Greek, Italian, Jewish, Eastern European, etc.), as well her chameleon-like versatility in everything from cutting edge comedy to stark tragedy, kept her in high demand for 30 years as one of Hollywood's topnotch character players.
Olympia Dukakis was born on June 20, 1931, in Lowell, Massachusetts, the daughter of Greek immigrants, Alexandra (Christos), from the Peloponnese, and Constantine S. Dukakis, from Anatolia. She majored in physical therapy at Boston University, where she graduated with a BA. Olympia practiced as a physical therapist during the polio epidemic. She later returned to her alma mater and entered the graduate program in performing arts, earning a Master of Fine Arts degree.
Olympia found early success by distinguishing herself first on stage performing in summer stock and with several repertory and Shakespearean companies throughout the county. She made her Broadway debut as an understudy in "The Aspern Papers" at age 30, followed by very short runs in the plays "Abraham Cochrane" (1964) and "Who's Who in Hell" (1974). In 1999, she premiered a one-woman play "Rose," at the National Theatre in London and subsequently on Broadway in 2000. The play earned her an Outer Critics Circle Award and Drama Desk Award nomination and she continues to tour the country with it.
Olympia was seen on the New York stage in the Roundabout Theatre's production of "The Milk Train Doesn't Stop Here Anymore" (2011), in San Francisco in A.C.T.'s production of "Vigil" (2011) and as "Prospera" in "The Tempest" (2012) at Shakespeare & Co. She has performed in over 130 productions Off-Broadway and regionally at theaters including the Public Theatre, A.C.T., Shakespeare in the Park, Shakespeare & Co., and the Williamstown Summer Theatre Festival, where she also served as Associate Director. She was seen again at Shakespeare & Co. in the summer of 2013 as the title role in "Mother Courage and Her Children."
Olympia married Yugoslav-American actor Louis Zorich in 1962. The New York-based couple went on to co-found The Whole Theatre Company in Montclair, New Jersey, and ran the company for 19 years (1971-1990). As actress, director, producer and teacher, she still found the time to raise their three young children. She also became a master instructor at New York University for fourteen years. She scored theater triumphs in "A Man's a Man," for which she won an Off-Broadway Obie Award in 1962; several productions of "The Cherry Orchard" and "Mother Courage"; "Six Characters in Search of an Author"; "The Rose Tattoo"; "The Seagull"; "The Marriage of Bette and Boo" (another Obie Award); and, more notably, her many performances as the title role in "Hecuba." A good portion of her successes was launched within the walls of her own theater company, which encouraged the birth of new and untried plays.
Olympia's prolific stage directing credits include many of the classics: "Orpheus Descending," "The House of Bernarda Alba," "Uncle Vanya," and "A Touch of the Poet," as well as the more contemporary ("One Flew Over the Cuckoo's Nest" and "Kennedy's Children"). She also adapted such plays as "Mother Courage" and "The Trojan Women" for the theater company. Over the duration of their marriage, she and her husband have experienced shared successes, appearing together in "Long Day's Journey Into Night," "Camino Real, "The Three Sisters" and "The Seagull," among many others. Both are master interpreters of Chekhovian plays -- one of their more recent acting collaborations was in "The Chekhov Cycle" in 2003.
Making an inauspicious debut in a bit role as a mental patient in Lilith (1964), she tended to gravitate toward off-the-wall films with various offshoots of the ethnic mother. She played mom to such leads as Dustin Hoffman in John und Mary (1969), Joseph Bologna in the cult comedy Made for Each Other (1971) and Ray Sharkey in Idolmaker - Das schmutzige Geschäft des Showbusiness (1980). Interestingly, it was her scene-stealing work on Broadway in the comedy "Social Security" (1986) that caught director Norman Jewison's eye and earned her the Mondsüchtig (1987) movie role. The Academy Award win for Best Supporting Actress was the last of a stream of awards she earned for that part, including the Los Angeles Film Critics, Golden Globe and American Comedy awards.
From then on, silver-haired Olympia was frequently first in line for a number of cream-of-the-crop matron roles: Magnolien aus Stahl - Die Stärke der Frauen (1989), Dad (1989), Kuck' mal wer da spricht! (1989), Die sieben besten Jahre (1993), Mr. Holland's Opus (1995) and Mörderisches Herz (1995).
On TV, she received high praise for her work especially for her sympathetic trans-gendered landlady Anna Madrigal in the acclaimed miniseries Armistead Maupin's Geschichten aus San Franzisko (1993) and its sequels Sweet Home San Francisco (1998) (Emmy Nominee) and Noch Mehr Stadtgeschichten (2001). She was additionally seen in episodes of Bored to Death (2009), and TV movies Die legendären blonden Bombshells (2000) (Judi Dench), Frank Sinatra - Der Weg an die Spitze (1992) (Golden Globe Nominee), and Johanna von Orleans (1999) (Emmy Nominee). This work is among more than 40 other series, mini-series and guest starring roles she accumulated over her long career. Several recurring TV roles also came her way with Center of the Universe (2004), Bored to Death (2009), Sex & Violence (2013), Forgive Me (2013), Switch (2018) and one last return to her popular Anna Madrigal role with the series sequel Stadtgeschichten (2019).
The septuagenarian hardly slowed down and continued strongly into the millennium with top supporting film credits including The Intended (2002), The Event (2003), the title role in the mystery Charlie's War (2003), The Thing About My Folks (2005), Jesus, Mary and Joey (2005), An ihrer Seite (2006), Day on Fire (2006), Im Land der Frauen (2007), The Last Keepers (2013), A Little Game (2014), 7 Chinese Brothers (2015), The Infiltrator (2016), Secret Links (2016) and Change in the Air (2018). The film Cloudburst (2011), in which she shared a co-lead with Brenda Fricker, became a critical and audience darling, winning a multitude of "Best Film" awards and several "Best Actress" honors (Seattle, San Diego) at various film festivals.
An ardent liberal and Democrat, she was the cousin of 1988 presidential nominee Michael Dukakis. Moreover, she was a strong advocate of women's rights and environmental causes. Olympia published her best-selling autobiography "Ask Me Again Tomorrow: A Life in Progress" in 2003, an introspective chronicle full of her trademark candor and wry humor. She was also a figure on the lecture circuit covering topics as widespread as life in the theater to feminism, Alzheimer's, diabetes, and osteoporosis.
A hardcore New Yorker, she resided there following the death of her husband in 2018, and until her death in May 2021. She received the Lifetime Achievement Award from the Greek America Foundation, the National Arts Club Medal of Honor, and a star on the Hollywood Walk of Fame.
Deadpan comedian Charles Sidney Grodin was born in Pittsburgh, Pennsylvania of Russian/Polish ancestry and raised in a Jewish orthodox home. He attended the University of Miami but dropped out, opting instead for the life of a struggling actor. The movie Ein Platz an der Sonne (1951) was said to have steered him towards his chosen profession. In his own words: "It was two things. One is I think I developed an overwhelming crush on Elizabeth Taylor. And two, Montgomery Clift made acting look like 'Gee, well that looks pretty easy - just a guy talking.'".
After a spell with Uta Hagen (1956-59), he attended Lee Strasberg's Actors Studio before making his stage debut on Broadway in 1962. Though he appeared on screen from as early as 1954, Grodin did not make a great deal of headway in this medium until he attracted critical notice playing the small but crucial role of obstetrician Dr. C.C. Hill in Rosemaries Baby (1968). More substantial roles soon followed. His first major starring turn was in Pferdewechsel in der Hochzeitsnacht (1972), a black comedy written by Neil Simon and directed by Elaine May. Grodin managed to inject charm and humanity in what was essentially an egotistical central character. Film reviewer Roger Ebert praised his performance, describing the actor as a "kind of Dustin Hoffman-as-overachiever", an opinion which was echoed by Vincent Canby of the New York Times. Ironically, Grodin had earlier turned down the pivotal role in Die Reifeprüfung (1967) which propelled Hoffman to stardom (he also -- probably unwisely -- spurned the role of oceanographer Matt Hooper in Der weiße Hai (1975) which instead went to Richard Dreyfuss).
Grodin's ultimate breakthrough came on the Broadway stage in "Same Time Next Year" (1975) (opposite Ellen Burstyn), a hugely successful romantic comedy about two people, each married to someone else, who conduct an extramarital affair for a single day over the course of 24 years in the same room of a northern Californian inn. Though the two leads left the show after seven months, Grodin was now much sought-after in Hollywood as a droll comic actor and cast in a string of hit comedies: Der Himmel soll warten (1978), Fast wie in alten Zeiten (1980), Ein Single Kommt Selten Allein (1984) and Midnight Run - 5 Tage bis Mitternacht (1988). He also appeared to sterling effect in the underrated farce Der Couch-Trip (1988), in which he co-starred with Walter Matthau and Dan Aykroyd as the brittle psychiatrist and radio host Dr. George Maitlin. Arguably his most popular box office success was opposite the titular Saint Bernard canine in the family-oriented comedy Ein Hund namens Beethoven (1992). Despite less than enthusiastic critical reviews, the film was a hit with audiences, grossed $147.2 million worldwide and spawned a sequel.
In the mid-1990s, Grodin reinvented himself as a television host (Charles Grodin (1995)) and political commentator. He made frequent guest appearances on talk shows with Carson or Letterman, typically adopting the persona of a belligerent tongue-in-cheek character to facilitate "comically uncomfortable situations on the set". Grodin was also a prolific author, both of fiction and non-fiction. An autobiography was entitled "It Would Be So Nice If You Weren't Here: My Journey Through Show Business" (1989). Charles Grodin died at age 86 of bone marrow cancer on May 18, 2021 at his home in Wilton, Connecticut.
Gavin MacLeod's pleasing, agreeable manner on two hit TV series in the 1970s and '80s belied a number of shady villains he portrayed in his early career. Born Allan George See in Mt. Kisco, New York, on February 28, 1931, and raised in Pleasantville, he was the son of Margaret (Shea) and George See, a gas station owner who was part Chippewa Indian (Ojibwa). He followed his 1952 graduation from Ithaca College (Fine Arts major) with Air Force military duty, then moved to New York City and worked for a while as an usher and elevator operator at Radio City Music Hall. Focusing on acting, he changed his stage name to "Gavin McLeod."
A solid break on Broadway in "A Hatful of Rain" in 1956 led to a move to Los Angeles in an attempt to break into film and TV. MacLeod began to earn a minor reputation as a second-string heavy in such crime shows as "The Thin Man," "Steve Canyon," "Manhunt," "Mr. Lucky," "Peter Gunn," "Michael Shayne," "The Untouchables" and "Perry Mason." This led to a regular comedy role as part of the McHale's Navy (1962) TV series. He also managed several film roles, although far down the credits, with Laßt mich leben (1958), Der Zwang zum Bösen (1959), Mit Blut geschrieben (1959), Unternehmen Petticoat (1959), Zwölf Stunden lauert der Tod (1960), Der Spätzünder (1960), Hinter feindlichen Linien (1962) and Unternehmen Pferdeschwanz (1964). He was a member of the superb supporting cast of The Sand Pebbles (1966). He returned to Broadway in "The Captains and the Kings" in 1962.
MacLeod's career more or less flowed and ebbed until 1972, when his shiftless typecast was shattered forever. As Murray Slaughter, the balding, beaming, wisecracking, gleaming-toothed news writer on Oh Mary (1970), MacLeod became a happy household name. From then on, he could only be envisaged as a lovable schmuck and nice guy. From there he went on to another benign starring role with the TV series, Love Boat (1977), as the ingratiating Captain Stubing.
On the down side, "Love Boat" marred MacLeod's chances to be considered for more challenging work, and his inability to cope with success led to alcoholism and divorce from second wife Patti. However, he later turned his life around, remarried his wife, and they both wrote a book called "Back on Course" (1987). MacLeod continued sporadically on the musical stage ("Gypsy," "Annie Get Your Gun," "Gigi"), in TV reunions ("Love Boat" specials) and as a TV guest ("Murder, She Wrote," "Touched by an Angel," "The King of Queens," "Oz," "That 70s Show," "JAG" and "The Comeback Kid").
Born on August 21, 1939, the son of a displaced musician, Harlem-born actor Clarence Williams III was raised by his musical grandparents, the legendary jazz and boogie-woogie composer/pianist Clarence Williams, who wrote such classics as "T'Aint Nobody's Business If I Do" and "Baby, Won't You Please Come Home," and blues singer Eva Taylor. While attending a local YMCA as a teen, Williams became interested in dramatics.
After a two-year hitch with the U.S. Air Force, he started his acting career, making a minor New York stage debut with "The Long Dream" in 1960. He continued impressively with roles in "Walk in Darkness" (1963), "Sarah and the Sax" (1964) and "Doubletalk" (1964), and capped his early career with a Theatre World Award and Tony-nomination for the three-person play "Slow Dance on the Killing Ground" (1964). Continuing on with powerful work in "Does a Tiger Wear a Necktie?" (1966) and "King John," Vietnam-era Hollywood finally began to take notice of his "angry young man" charisma.
His casting as former delinquent-turned-undercover cop Linc Hayes on the highly popular TV cop series Twen-Police (1968) along with fellow white partners Michael Cole and Peggy Lipton was a huge break for all three relative unknowns. Sporting a huge Afro, paisley shirts, dark shades and spouting catchprase language like "dig it" and "solid," the gap-toothed Linc (and his mod partners) showed the requisite anti-establishment defiance and coolness to attract the hip generation--while still playing good guys.
Following the series' demise in 1973, he purposely avoided the "blaxploitation" Hollywood scene and returned to the stage, notably on Broadway opposite Maggie Smith in Tom Stoppard's play "Night and Day" (1979). In the 80s he launched an enviable character career in films, often playing a cool, streetwise character or threatening menace. Among his better-known on-screen assignments is the role of Prince's abusive father in Purple Rain (1984), a burnt-out political activist in the spoof Ghettobusters (1988), the recurring part of Roger Hardy in the twisted cult TV series Das Geheimnis von Twin Peaks (1990), a good-guy cop in Jenseits der weißen Linie (1992), an rioter in the Attica-themed mini-series Against the Wall (1994) and Wesley Snipes heroin-addicted dad in Sugar Hill (1993), among others. Powerful roles on such shows as "Law & Order," "Profiler" and "Judging Amy" has kept him strongly in the limelight.
Millennium acting work included solid performances in the films Wild Christmas (2000), Ritual (2000), Blue Hill Avenue (2001), The Extreme Team (2003), Constellation (2005), The Blue Hour (2007),The Way of War (2009), A Day in the Life (2009), Der Butler (2013) and Mr. Malevolent (2018), as well as his interesting role as mysterious book store manager Philby in the lengthy Mystery Woman (2003) series of TV movies (2003-2007). Clarence also made guest appearances on TV programs, "Cold Case," "Memphis Beat," "Justified" and "Empire," to name a few.
Wed to wife Kelly until his death, Clarence was first married to actress Gloria Foster (1967-1984). The two appeared together in the movie Die lässige Welt (1963). Following their divorce, they remained friendly and, upon her death in 2001, it was he who made the formal announcement.
Stocky, genial-looking supporting actor Ned Beatty was once hailed by Daily Variety as the "busiest actor in Hollywood."
Ned Thomas Beatty was born in Louisville, Kentucky, to Margaret (Fortney) and Charles William Beatty. He grew up fishing and working on farms. His hometown of St. Matthews, Kentucky, is hardly the environment to encourage a career in the entertainment industry, though, so when asked, "How did you get into show business?" Beatty responded, "By hanging out with the wrong crowd." That "crowd" includes some of the industry's most prominent names, such as John Huston, Steven Spielberg, Robert Altman, Paul Newman, Richard Burton, Charlton Heston, Marlon Brando and Robert Redford.
Beatty garnered praise from both critics and peers as a dedicated actor's actor. He started as a professional performer at age ten, when he earned pocket money singing in gospel quartets and a barber shop. The big city and bright lights did not come easy, though. The first ten years of Beatty's career were spent at the Barter Theater in Abingdon, Virginia. He then moved on to the Erie Playhouse in Pennsylvania, the Playhouse Theater in Houston, Texas, and the prestigious Arena Stage Company in Washington, D.C. He was also a member of Shakespeare in Central Park, Louisville, Kentucky. Later, he appeared in the Broadway production of "The Great White Hope". At the Mark Taper Forum in Los Angeles, he won rave reviews when he starred in "The Accidental Death of an Anarchist."
In 1971, Beatty was chosen by director John Boorman for the role of Bobby Trippe in the hit film/backwoods nightmare Beim Sterben ist jeder der Erste (1972). Co-star Burt Reynolds and Beatty struck up a friendship, and Ned was then cast by Burt in several other films together, including Der Tiger hetzt die Meute (1973), Ein Supertyp haut auf die Pauke (1975), and the abysmal Der rasende Gockel (1983). Ned's talents were also noticed by others in Hollywood and he was cast in many key productions of the 1970s turning in stellar performance, including an Academy Award nomination of Best Supporting Actor for his role in Network (1976). Beatty was also marvelous in Nashville (1975), under fire from a crazed sniper in Turm des Schreckens (1975), an undercover FBI man in the action comedy Trans-Amerika-Express (1976), as Lex Luthor's bumbling assistant, Otis, in the blockbuster Superman - Der Film (1978) ... and he returned again with Gene Hackman to play Otis and Lex Luthor again in Superman II: Allein gegen alle (1980).
Beatty continued to remain busy throughout the 1980s with appearances in several big budget television productions including Die Tage von Pompeji (1984). However, the overall caliber of the productions in general did not match up to those he had appeared in during the 1970s. Nonetheless, Beatty still shone in films including The Big Easy - Der große Leichtsinn (1986) and Das vierte Protokoll (1987). Into the 1990s, Beatty's work output swung between a mixture of roles in family orientated productions (Gullivers Reisen (1996), Tom Sawyer und Huckleberry Finn - Die Rückkehr nach Hannibal (1990), etc.) taking advantage of his "fatherly" type looks, but he could still accentuate a hard edge, and additionally was cast in Radioland Murders - Wahnsinn auf Sendung (1994) and Im Sumpf des Verbrechens (1995). His many other films include Der Spielgefährte (1982), Alle Männer des Präsidenten (1976), Der Ketzer (1979), Touchdown - Sein Ziel ist der Sieg (1993), Spring Forward (1999), Hear my Song - Ein Traum wird wahr (1991) -- for which he earned a Golden Globe nomination for Best Supporting Actor -- Bodyswitch - Verhexte Küsse (1992), Spiel des Lebens (1998) and Cookies Fortune - Aufruhr in Holly Springs (1999). Beatty's numerous television credits include three years on the NBC series Homicide (1993), Der letzte Ritt (1995) and The Boys (1993).
Beatty received an Emmy Award nomination for Best Actor for his performance in Fürs Vaterland zu sterben (1979) opposite Carol Burnett, and a Best Supporting Actor nomination for Family Channel's Last Train Home (1989). Other notable credits include Der Schutzengel (2004), The Execution of Private Slovik (1974), Golda Meir (1982), Pray TV (1982), the miniseries Robert Kennedy and His Times (1985), Lockerbie: A Night Remembered (1998) and T-Bone und Weasel (1992). He also had a recurring role on Roseanne (1988) and performed musically on television specials for Dolly Parton and The Smothers Brothers.
In 2001, Beatty returned to his theatrical roots starring in London's West End revival production of Tennessee Williams' "Cat on a Hot Tin Roof" with Brendan Fraser. He also appeared in the production on Broadway in 2003/2004 with Jason Patric and Ashley Judd. In 2006, Beatty completed three features to be released next year: The Walker (2007); Paul Schrader's film also starring Woody Harrelson, Kristin Scott Thomas and Lily Tomlin; Paramount Pictures' Shooter (2007) starring Mark Wahlberg; and Der Krieg des Charlie Wilson (2007), Mike Nichols's film with Tom Hanks, Philip Seymour Hoffman and Julia Roberts. Also in the 21st century, Beatty turned out a terrific performance in the popular WO DER ROTE FARN WÄCHST (2003). Blessed with eight children, Ned Beatty enjoyed golf and playing the bass guitar. He gave himself until the age of 70 to become proficient at both. He died at age 83 of natural causes on June 13, 2021 in Los Angeles, California.
Suzzanne Douglas is an award-winning actress of both screen and stage, whose work has led her through all walks of creative life. Driven by her desire to constantly grow as an artist, Suzzanne has developed a canon of enigmatic and complex roles, and hopes to encourage younger artists to do the same.
Her theater credits include Dorothy Brock in "42nd Street" at the Drury Lane Theaterm Mertreuil in the Baltimore Center Stage Theater's production of "Les Liaisons Dangereuses", and Kendra in George Street Playhouse's "American Son." Other theater credits include "The Tap Dance Kid", "Night in Tunisia", "Julius by Design", "The Drowning Crow", "Crowns" (NAACP Image Award for Best Ensemble), "Women of Brewster Place", and Arthur Laurent's "Hallelujah, Baby!", which he re-wrote especially for her. Suzzanne was also the first African-American to play the role of Dr. Bearing in the Pulitzer-Prize-winning play "Wit" at the George Street Playhouse.
On television, she is best known for her co-starring role with Robert Townsend in the long-running Warner Brothers sitcom "The Parent 'Hood", which is in syndication in most markets. She has also appeared in such highly acclaimed shows as CBS' "Bull" with Michael Weatherly, "The Good Wife", "Bones", and "Law & Order" ("SVU" and "Criminal Intent"). Suzzanne has also brought her numerous talents to the big screen. Her filmography runs the gamut from made-for-television, to independent, to mainstream cinema including "Whitney", "How Stella Got Her Groove Back" (Black Oscar, NAACP Image Award Nominee), "School of Rock", "The Inkwell", "Jason's Lyric", "Tap" (NAACP Image Award), the ABC remake of the classic "Sounder" (Black Reel Award, NAACP Image Award Nominee), "Black N' Blue", "Happy Yummy Chicken"--for which she wrote the title track, and "Changing the Game", which was selected for the prestigious Cannes Film Festival.
As a producer, Suzzanne won the award for Best Short film at the Hollywood Black Film Festival awards for "The Last Weekend." She co-produced Theresa Rebeck's Love on the Rocks starring Julie White.
Suzzanne's vocal talents have taken her from Broadway, starring opposite Sting in "The Threepenny Opera", to the concert halls of Russia with Jon Faddis. A singer and composer, Suzzanne performs regularly with her trio, performing music from the American Songbook as well as her original compositions. She has traveled and performed with many renowned musicians including Nate Adderley, Don Braden, T.S. Monk, Helen Sung, Stanley Turrentine, Gene Harris, and Kenney Burrell.
Suzzanne earned a Bachelor of Arts degree at Illinois State University and a Master in Music degree at the Manhattan School of Music. She is a dedicated patron of the arts and an advocate for teaching artistic expression in the educational system. Through this, she hopes to engage and empower individuals and their communities. Suzzanne is a former board member at George Street Playhouse, and a current member of the Artistic Board at Luna Stage in West Orange, NJ. She is a lifetime member of Girl Scouts of America, The National Council of Negro Women, Sigma Alpha Lambda, and Jack and Jill of America, Inc. She is an Honorary Member of Delta Sigma Theta Sorority, Inc. where she serves on its National Board.
During the early times of the Depression when life was more famine than feast, child stars became the blue plate special of the day, served up by Hollywood to help nourish a nation besieged with troubles. Following 20th Century-Fox monumental success with Shirley Temple in the early 1930s, every studio was out searching for its own precocious little commodity who could pack 'em in the aisles despite the lean times. While Paramount whipped up "Little" Mitzi Green, MGM offered Jackie Cooper in the hopes of finding a similar box office jingle. Wildly talented Janie Withers fit the bill, too, and although she earned pint-sized prominence just like the others, it was also for Temple's Fox Studios. As such, Jane remained somewhat of a side course to Temple's main dish (what child star didn't?) throughout much her young "B" level reign. Nevertheless, she became a major bright star in her own right.
The freckled, dark-haired hellraiser was born in Atlanta, Georgia, on April 12, 1926. The daughter of Walter and Lavinia Ruth (Elble) Withers, her parents wasted no time in prodding little Jane quickly into the world of entertainment. Jane was a natural--performing by the time she could walk and talk. By age three, she was taking singing and dancing lessons and at age 4, was starring on her own radio program in Atlanta. A spot-on mimic, she was simply uncanny when it came to impersonating the superstars of her day (W.C. Fields, Marie Dressler, Charles Chaplin) and was a veteran pint-sized performer by the time her family moved to Los Angeles after her father was transferred by his company. Jane was enrolled in Lawlor's Professional School and was soon modeling in shows, entertaining at benefits and making the usual rounds of the studios nabbing extra work while waiting for that one big film break.
She found it at age 8 when she won the plum role of the spoiled, obnoxious, doll-ripping, bicycle-riding brat who terrorizes sweet Shirley Temple in Twentieth Century-Fox's Bright Eyes (1934). The infamy earned Jane a sweet contract at Fox and for the next seven years she did it her way as the tyke star of close to 50 "B" level films. Where Shirley was cuddly and ultra huggable, brunette-banged Jane was fun, rambunctious and full of kinetic energy--a scrappy little tomboy who could take on any boy at any time. Her lively vehicles took full advantage of her talents for impersonating movie stars, too. Her first major success came in the form of the title role in Ginger (1935) in which Jane imitated the balcony scene from Romeo and Juliet and was rewarded by the studio with a contract of $125 weekly for six months. Her singing and dancing skills were utilized in such vehicles as This Is the Life (1935) and Paddy O'Day (1936). As the star, she was toned down, of course, from the all-out brat she played against Temple. Jane kept filmgoers entertained throughout the late 1930s with pictures like Pepper (1936) and Angel's Holiday (1937), in which she did an hilarious impression of Martha Raye. She ended 1937 with a bang when she was named one of Motion Picture's Poll's "Top Ten" (#6) box office favorites. Guess who was #1?
The early 1940s would tell the story as to whether Jane could survive the dreaded awkward teen transition that haunted every popular child star. She received her first screen kiss at age 13 in Boy Friend (1939) and was singled out for her work in The Ritz Brothers' Pack Up Your Troubles (1939), but Jane's antics simply didn't play as well and the studio began to lose interest. In fact, both Shirley and Jane felt the pressures of growing up and Darryl F. Zanuck let both of them go in July of 1942. Jane signed a three-year picture deal with Republic Pictures with lukewarm results. Her best dramatic role at that time came with The North Star (1943).
In 1947, the same year as her last picture of the decade, Jane married a wealthy Texas oil man, William Moss, and had three children by him--William, Wendy, and Randy. The marriage was not a happy one and lasted only six years. She also was suffering from rheumatoid arthritis. In 1955, she remarried, this time to Kenneth Errair, one-quarter of the harmonizing group "The Four Freshmen." They had two children, Ken and Kendall Jane. At the same time, she attempted a Hollywood comeback. While studying directing at the USC film school, she met producer/director George Stevens who cast her in an enviable character role in the epic-sized Giganten (1956) supporting Rock Hudson, Elizabeth Taylor, and James Dean. Other film roles followed with The Right Approach (1961) and Captain Newman (1963).
It was TV, however, that would turn Jane into a wealthy woman as a friendly household pitchwoman. Her decades-long job as the dress-downed Josephine the Plumber pushing Comet cleanser made her one popular gal when working in films became a non-issue. From time to time she made guest appearances on such fun, lightweight shows as Die Munsters (1964), Love Boat (1977), Mord ist ihr Hobby (1984), and Hart aber herzlich (1979). Known for her strong spiritualism and charitable contributions, Jane's buoyant, indefatigable nature was still, at age 90+, highly infectious. She not only did voiceover work for Disney's animated features but still popped up here and there for interviews and convention signings--as bright-eyed and bushy-tailed as she was in her childhood heyday. A widow in 1968, (her second husband perished in a June 14th plane crash in California), she also lost one of her five children, Randy, to cancer when he was only 33.
Born Alexander Viespi, Jr. in Floral Park, New York in 1933, handsome, often mustachioed Alex Cord was stricken with polio at the age of 12. Confined to a hospital and iron lung for a long time, he overcame the illness after being sent to a Wyoming ranch for therapy. He soon regained his dream and determination of becoming a jockey or professional horseman.
A high school dropout at the age of sixteen, he grew up to be too tall to be a jockey so he joined the rodeo circuit and earned a living riding bulls and bareback horses. During another extended hospital stay, this time suffering major injuries after being thrown by a bull at a rodeo in New York City's Madison Square Garden, he reevaluated his life's direction and decided to finish his high school education by way of night school. A voracious reader during his long convalescence, he later studied and received his degree in literature at New York University.
Prodded by an interest in acting, Alex received dramatic training at the Actors Studio and began his professional career in summer stock (The Compass Players in St. Louis, Missouri) and at the American Shakespeare Festival in Stratford, Connecticut where he played "Laertes" in a production of "Hamlet". A British producer saw his promise and invited him to London where he co-starred in four plays ("Play With a Tiger", "The Rose Tattoo", "A Midsummer Night's Dream" and "The Umbrella"). He was nominated for the "Best Actor Award" by the London Critics' Circle for the first-mentioned play.
He sought a Hollywood "in" and found one via his equestrian skills in the early 1960s. Steady work came to him on such established western TV series as Am Fuß der Blauen Berge (1959) and Geächtet (1965) and that extended itself into acting roles on crime action series (Route 66 (1960) and Gnadenlose Stadt (1958)). Gaining a foothold in feature films within a relatively short time, he starred or co-starred in more than 30 feature films, including Die Gierigen (1965), San Fernando (1966), Stiletto (1969) and Auftrag Mord (1968).
After his film career declined in the late 1970s he turned to action adventure overseas with the "spaghetti western" Mehr tot als lebendig (1967) [A Minute to Pray, A Second to Die] and the British war drama The Last Grenade (1970) with Stanley Baker and Richard Attenborough. Around that time as well, he played the murderer opposite Sam Jaffe's old man in Edgar Allan Poe's dramatic short, The Tell-Tale Heart (1971). It was TV, however, that provided more career stability. Cord has more than 300 credits, including roles in Hotel (1983), Fantasy Island (1977), Simon und Simon (1981), Jake und McCabe - Durch dick und dünn (1987), Kobra, übernehmen Sie (1966), Walker, Texas Ranger (1993) and Mord ist ihr Hobby (1984). He situated himself in a number of series, notably Airwolf (1984), in which he co-starred with Jan-Michael Vincent and Ernest Borgnine as the mysterious white-suited, eye-patched, cane-using "Michael Archangel".
Later commercial interest was drawn from his title role in Grauadler (1977), a remake of the John Wayne film, Der schwarze Falke (1956), in which he played the Indian kidnapper of Ben Johnson's daughter. Lana Wood, sister of star Natalie Wood (who appeared in the original), also co-starred in this film. Alex can still be seen from time to time in low-budget films and the occasional television appearance, but other interests took up his time. His last film role was in the dismissible thriller Fire from Below (2009) in support of Kevin Sorbo.
Alex's love for horses extended itself into work for numerous charities and benefits. He was a regular competitor in the Ben Johnson Pro-Celebrity Rodeos that raised money for children's charities, and he is one of the founders of the Chukkers for Charity Celebrity Polo Team which has raised more than $3 million for worthy causes. He chairs "Ahead with Horses", an organization that provides therapeutic riding programs for the physically and emotionally challenged. Alex also turned to writing, thus far publishing several novels including A Feather in the Rain (2005), Days of the Harbinger (2013), The Man Who Would Be God (2014 and High Moon (2016). He has also sold three screenplays.
The actor's three marriages all ended in divorce. His second wife was British-born actress Joanna Pettet and third, Susannah, was a horse trainer. He had three children -- Toni Aluisa, Wayne and Damien Zachary. His son by Pettet, Damien, died tragically in 1995 of a heroin overdose at the age of 26.
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https://www.laopera.org/performances/202425-season/butterfly/
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Madame Butterfly
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[
"madame butterfly\r\nmadame butterfly opera\r\nopera m butterfly\r\npuccini madama butterfly\r\nkarah son\r\njonathan tetelman\r\njames conlon\r\ngiacomo puccini"
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LA Opera starts the 2024-25 season with Giacomo Puccini's Madame Butterly, starring Karah Son and Jonathan Tetelman, led by James Conlon. Book your seats!
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https://www.laopera.org/performances/202425-season/butterfly/
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Lauded for his "vocally magnificent, radiant and distinctive tenor” voice (Opera Aktuell), Jonathan Tetelman has rapidly risen to become a major star of his generation. Chilean-born and New Jersey-raised, Tetelman continues to thrill on the world’s greatest stages with "balmy verve" (Der Tagesspiegel) and a "darkly colored tenor timbre" (SZ).
In the 2023/24 season, Tetelman makes his tremendously anticipated Metropolitan Opera debut as Ruggero in La Rondine under the baton of Speranza Scappucci, followed closely by appearances as Pinkerton in the Met’s iconic Madama Butterfly staging by Anthony Minghella. He sees additional performances of Pinkerton with Teatro Massimo di Palermo, Festival Aix-en-Provence, and Deutsche Oper Berlin, where he also debuts the opera Il Tabarro as Luigi in Pınar Karabulut’s new production of Il Trittico. Further operatic highlights of the season include a return to the title role of Werther for the Festspielhaus in Baden-Baden in a new production by Robert Carsen, and an exclusive one-night-only performance of Rodolfo in La Bohème at Theater Dortmund.
On the concert stage, Jonathan appears as soloist in gala concerts with the Rundfunk-Sinfonieorchester Berlin at the Berlin Konzerthaus, and with the Prague Philharmonia at Dvorak Hall in the Rudolfinum for an evening of Puccini. He performs New Year’s 2024 concerts with the Gulbenkian Orchestra in Lisbon, Elīna Garanča at Baden-Baden Festspielhaus and the Borusan Festival in Istanbul. Tetelman also sings a solo recital in Gstaad, Switzerland, and is heard as soloist on mainland China for the opening gala concert of the Shenzhen Belt Road Music Festival held at the Shenzhen Concert Hall.
Jonathan Tetelman made highly auspicious debuts last season with the San Francisco Opera in a new production as Alfredo in La Traviata, with Houston Grand Opera as Cavaradossi in Tosca, and finally with the Salzburger Festspiele as Macduff in a new production of Verdi’s Macbeth by Krzysztof Warlikowski. Additionally, he was Rodolfo for Semperoper Dresden, Cavaradossi and Paolo in Francesca da Rimini at Deutsche Oper Berlin, and Loris Ipanov in Fedora with Ópera de Las Palmas. In concert, Tetelman appeared with the Houston Symphony Orchestra as tenor soloist in Verdi’s Requiem, performed at the Tivoli Festival in Copenhagen, Peralada Festival in Spain, Festival Ljubljana in Slovenia alongside baritone, Ludovic Tézier and joined soprano Angela Gheorghiu for concerts in Brussels and Paris, among others.
In the 2021/2022 season, Tetelman starred as Rodolfo in an opera film of La Bohème, co-produced by RadiotelevisioneItalia (RAI) and Opera di Roma. He made his house debut at Theater an der Wien in a new production of Tosca and performed the role of Jacopo Foscari alongside Plácido Domingo in The Two Foscari with Teatro del Maggio Musicale Fiorentino. He also was heard in Verdi’s rarity Stiffelio with Opéra National du Rhin and sang Loris Ipanov in Fedora with Oper Frankfurt. He presented numerous concerts in that season, touring Austria, Spain and Latvia alongside superstar mezzo Elīna Garanča and maestro Karel Mark Chichon. Tetelman was a soloist at the 169th Tivioli Festival Birthday Gala, sang a gala concert of Un Ballo in Maschera honoring Birgit Nilsson in Sweden, and was heard as Rodolfo at the Grand Teton Music Festival in concert performances of La Bohème.
After completing his performance studies program at the New School of Music, Mannes College and earning his undergraduate degree from Manhattan School of Music, Jonathan Tetelman made a series of acclaimed house and role debuts in rapid succession. These include his Covent Garden debut as both Alfredo in La Traviata and Rodolfo in La Bohème; Canio in Pagliacci and Cavaradossi in Tosca with Teatro Regio Torino; Pinkerton in Madama Butterfly with Opéra National de Montpellier; Tosca and Madama Butterfly at the Dresden Semperoper; Tosca at the Gran Teatre del Liceu and Opéra de Lille; Werther with both the Gran Teatro Nacional de Lima and Opera del Teatro Solis in Montevideo; La Bohème with Komische Oper Berlin, English National Opera and Fujian Grand Theatre in China; and the Duke of Mantua in Rigoletto with the Berkshire Opera Festival.
Tetelman’s concert appearances in this period included the role of Don José in Carmen in further collaboration with Elīna Garanča on tour through Eastern Europe, broadcast on Bartók Radio. He saw performances with soprano Nadine Sierra at Festival Napa Valley, and joined soprano Kristine Opolais for gala performances in Moscow and with the Wurth Philharmoniker in Künzelsau, Germany. He sang a Verdi gala with the Copenhagen Philharmonic, was the soloist in Verdi’s Requiem with the Boston Symphony Orchestra at Tanglewood under Andris Nelsons, and was twice heard in Beethoven’s Symphony No. 9 first with the San Francisco Symphony under Michael Tilson Thomas, and subsequently with the Stuttgart Philharmonic, led by Dan Ettinger.
Jonathan Tetelman recently signed an exclusive multi-album contract with Deutsche Grammophon. Together with the Orquesta Filarmónica de Gran Canaria and its principal conductor Karel Mark Chichon, he recorded his first album, entitled Arias, with music by Verdi and famous verismo composers, a selection from the lyrical French repertoire, and duets with the Lithuanian soprano Vida Miknevičiûtė. It was released in 2022. His highly anticipated second album The Great Puccini was released by Deutsche Grammophon in 2023. The album features excerpts from nine of Puccini's operas, including famous arias such as "Nessun dorma,” "Che gelida manina” and "E lucevan le stelle.” Among myriad standout moments of Jonathan Tetelman's season, his album Arias, soared to multiple triumphant achievements including the esteemed Opus Klassik Award, honoring him as the break-out artist of the year in 2023, and the Oper Magazine Awards for best solo album of the year in 2023.
Learn more at JonathanTetelman.com.
Lauded by the New York Times as a “vibrant mezzo soprano” and a “dark toned, agile mezzo-soprano,” Hyona Kim joined the Dortmund Opera in Germany as a member of the ensemble in 2018 and made her much acclaimed house and role debut singing Amneris in Aïda. Other parts that she performed at the Dortmund Opera are Suzuki in Madama Butterfly, Tzippie in Oliver Knussen’s Where The Wild Things Are and the title role in the German premiere of Frédégonde by Ernest Guiraud, Paul Dukas and Camille Saint-Saëns, Ortrud in Lohengrin and Nancy Tang in Nixon in China. Kim joined the Metropolitan Opera for the 2022/23 season covering the role of Eboli in Don Carlo. She made her San Francisco Opera debut singing a leading role, Lady Wang in Bright Sheng’s world premiere Dream of the Red Chamber under George Manahan in 2016 and was critically acclaimed as an “Unstoppable powerhouse” by the San Francisco Chronicle and performed the same role with Hong Kong Arts Festival under Muhai Tang. She returned to San Francisco Opera for the revival of Dream of the Red Chamber and for Madama Butterfly.
She has also sung with the New York City Opera, Romanian National Opera Cluj-Napoca, Opera Carolina, Opera Lancaster, Opera Company of Middlebury among others. Other roles which she has performed around the world include Azucena in Il Trovatore, Mistress Quickly in Falstaff, Hermia in A Midsummer Night’s Dream, Wowkle in The Girl of the Golden West, Olga and Larina in Eugene Onegin and many more.
Hyona Kim was a national finalist in the Metropolitan Opera National Council Auditions and performed with the Metropolitan Opera Orchestra conducted by Marco Armiliato at Lincoln Center. She also was the grand winner of the Joy in Singing Competition and performed the winner’s solo recital at Merkin Concert Hall in New York City. She was a first prize winner of the Gerda Lissner Competition, and a multiple grant winner at the Licia Albanese-Puccini and Giulio Gari Competitions. She is a grant recipient of the Olga Forrai Foundation and won the Jennie Tourel prize in the Poulenc Competition. She also won the Suri Competition and the Schubert Lied Competition in her native country, South Korea, where she earned her bachelor’s degree at Ewha Womans University. She received her master’s degree and professional studies diploma from Mannes College of Music in New York City and was chosen to be the recipient of the Marian Marcus Wahl Memorial Award, awarded to a graduating singer showing particular excellence. During her time as a member of the Mannes Opera, she performed many roles with the Metropolitan Opera conductor Joseph Colaneri such as Dorabella in Cosi fan tutte, Marcellina in The Marriage of Figaro and Annina in La Traviata.
Apart from the Mannes College of Music, she has participated in many festivals and projects, including the Aspen Music Festival, the Music Academy of the West, International Vocal Arts Institute, the Natchez Music Festival and the Martina Arroyo Foundation. She made her Houston Grand Opera debut originating the role of Hal-Mo-Ni (grandmother) in Jeeyoung Kim’s From My Mother’s Mother at HGOco, and also has performed the lead role, Lily in Su Lian Tan’s opera Lotus Lives at Distler Hall at Tufts University in Boston. Kim has sung with the Nashville Symphony and the Sinfonia da Camera as the soloist in Handel’s Messiah and Verdi’s Requiem respectively.
She made her Carnegie Hall debut with New England Symphonic Ensemble singing the alto solo in Vivaldi’s Gloria and also performed with PyeongChang Music Festival in South Korea as the alto soloist in Beethoven’s Symphony No. 9. She was invited by Harare International Festival of the Arts in Zimbabwe for an opera gala concert and song recital. She was the featured alto soloist in numerous concerts including performances of Bach’s St. John Passion, St. Matthew Passion and Mendelssohn’s Elijah. Passionate about chamber music and art song, Ms. Kim has appeared in many chamber music concerts and recitals with Mannes Baroque Chamber Players, the Guinnes Quartet as part of Viva Virginia International Festival of Music, and also in several concerts of Ensemble 212, in works such as: Mahler’s Symphony No. 2 and No. 3, world premieres for Chamber Orchestra both by Yoon Jae Lee, and Der Abschied from Das Lied von der Erde featured with Michael Mao Dance. She has participated in Stephanie Blythe and Alan Smith’s Fall Island Vocal Arts Seminar which only performs art songs by living American composers. Kim also has sung with Brooklyn Art Song Society in their concert series of Les six: Francis Poulenc and Songs of Mahler. Upcoming engagements include a house debut at the Royal Danish National Opera in Copenhagen as Suzuki in Madama Butterfly as well as the Belgrade Philharmonic Orchestra in Serbia in the same role. Her Metropolitan Opera return includes participation in the production of Tannhäuser.
Learn more at KimHyona.com.
In the 2023/24 season, American bass-baritone Michael Sumuel, lauded as having “vocals that are smooth and ingratiating” (Daily Camera), will sing Reginald in a new production of X: The Life and Times of Malcolm X at the Metropolitan Opera, Sharpless in Madama Butterfly with Houston Grand Opera and the Forester in The Cunning Little Vixen at Detroit Opera. A busy concert artist, Mr. Sumuel joins Jaap van Zweden and the New York Philharmonic for Mozart’s Requiem, Jonathan Cohen for Handel’s Messiah with the San Francisco Symphony, Les Violons du Roy in Québec for Bach’s Christmas Oratorio, also with Jonathan Cohen, Jane Glover and Music of the Baroque for Mozart’s Requiem and Bach’s Magnificat, Bernard Labadie and the Seattle Symphony for Bach’s Passion According to St. John, the National Symphony Orchestra for the Fauré Requiem and Washington National Cathedral as Jesus in St. Matthew Passion.
In the 2022/23 season, Mr. Sumuel returned to the Metropolitan Opera, singing Belcore in L’Elisir d’Amore. Other debuts included Elviro in Xerxes with Detroit Opera, and Figaro in The Marriage of FIgaro with Pittsburgh Opera. In concert, Mr. Sumuel performed Mozart’s Requiem with the Cincinnati Symphony and James Conlon, Bach cantatas BWV 61 and 140 with the Handel and Haydn Society in Boston, opened Washington Concert Opera’s season performing in a gala with soprano Tamara Wilson, and returned to Mercury Houston for Handel’s Messiah. Finally, with Pacific Chorale, Mr. Sumuel took part in a European tour, performing in Haydn’s Lord Nelson Mass and Florence Price’s Abraham Lincoln Walks at Midnight.
In the 2021/22 season, Mr. Sumuel made his debut as Jesus and the bass soloist in Bach’s St. Matthew Passion with LA Opera, a semi-staged production conducted by James Conlon with choreography by the Hamburg Ballet, Figaro in The Marriage of Figaro with Seattle Opera, Escamillo in Carmen for his debut with the Santa Fe Opera, a concert of arias to open the Dallas Opera season, the King in Massenet’s Cendrillon with the Metropolitan Opera, Leporello in Don Giovanni with Opera San Antonio and Escamillo with Chicago Opera Theater. In concert, Mr. Sumuel returned to the Los Angeles Philharmonic at Walt Disney Concert Hall to sing Mozart’s Mass in C minor with Zubin Mehta, Bach’s Easter Oratorio with Music of the Baroque and Mozart’s Requiem with the Orchestra of St. Luke’s.
Highlights of past opera seasons have included the Lyric Opera of Chicago as Masetto in a new production of Don Giovanni, conducted by Sir Andrew Davis, the San Francisco Opera to perform the title role in a new production of The Marriage of Figaro, Tom in the world premiere of Christopher Theofanidis’ Heart of a Soldier, Escamillo in Calixto Bieito’s production, Masetto, conducted by Marc Minkowski, and Elviro in Handel’s Xerxes. At Houston Grand Opera, he has performed Belcore in L’Elisir d’Amore, Papageno in The Magic Flute, Frank in Die Fledermaus, Masetto, Sharpless, Marcello and Schaunard in La Bohème. With Glyndebourne Festival Opera, he performed Sharpless, Junius in The Rape of Lucretia, Schaunard and Theseus in A Midsummer Night’s Dream. At Norwegian National Opera and Ballet, he performed Alidoro (La Cenerentola) and Escamillo, Figaro in The Marriage of Figaro with Dayton Opera, later reprising the role for his company debut with Central City Opera and Leporello in Don Giovanni for his debut with Seattle Opera.
An in demand concert artist, previous work has included Messiah with San Francisco Symphony, Baltimore Symphony Orchestra, Houston Symphony, the United States Naval Academy, New Jersey Symphony, Phoenix Symphony and University Musical Society in Ann Arbor. He has performed Mozart’s Mass in C minor with Cleveland Orchestra, the Orchestra of St. Lukes, and the Concertgebouw in Amsterdam, and Beethoven’s Symphony No. 9 with the Los Angeles Philharmonic, Seattle Symphony, American Classical Orchestra in David Geffen Hall at Lincoln Center, and the Oklahoma City Philharmonic. Other repertoire includes Beethoven’s Missa Solemnis (Grant Park Music Festival), Mozart’s Requiem (North Carolina Symphony), Haydn’s Theresienmesse (Grant Park Music Festival), and Puccini’s Messa di Gloria (San Diego Symphony).
Mr. Sumuel’s competition accolades include being awarded a Richard Tucker Career Grant, Metropolitan Opera National Council audition Grand Finalist and a winner of the Dallas Opera Guild Vocal Competition. A Texas native, he is an alumnus of the Houston Grand Opera Studio, Merola Opera Program at San Francisco Opera and the Filene Young Artist program at Wolf Trap Opera.
Since his debut that year with La Traviata, he has conducted 67 different operas and more than 455 performances to date with the company.
(Click here to visit James Conlon's Corner, where you can find essays, videos and conversations he has created especially for LA Opera.)
Internationally recognized as one of today’s most versatile and respected conductors, James Conlon has cultivated a vast symphonic, operatic and choral repertoire. Since his 1974 debut with the New York Philharmonic, he has conducted virtually every major American and European symphony orchestra, and at many of the world’s leading opera houses including the Metropolitan Opera. Through worldwide touring, an extensive discography and filmography, numerous writings, television appearances, and guest speaking engagements, Conlon is one of classical music’s most recognized and prolific figures.
Conlon has been Principal Conductor of the RAI National Symphony Orchestra in Torino, Italy (2016–20); Principal Conductor of the Paris Opera (1995–2004); General Music Director of the City of Cologne, Germany (1989–2003), simultaneously leading the Gürzenich Orchestra and the Cologne Opera; and Music Director of the Rotterdam Philharmonic Orchestra (1983–91). Conlon was Music Director of the Ravinia Festival (2005–15), summer home of the Chicago Symphony, and is now Music Director Laureate of the Cincinnati May Festival―the oldest choral festival in the United States―where he was Music Director for 37 years (1979–2016), marking one of the longest tenures of any director of an American classical music institution. He also served as Artistic Advisor of the Baltimore Symphony Orchestra (2021–2023). He has conducted over 270 performances at the Metropolitan Opera since his 1976 debut. He has also conducted at leading opera houses and festivals such as the Vienna State Opera, Salzburg Festival, La Scala, Teatro dell’Opera di Roma, Mariinsky Theatre, Covent Garden, Chicago Lyric Opera, Teatro Comunale di Bologna, and Teatro del Maggio Musicale Fiorentino.
As Music Director of LA Opera, Conlon has led more operas than any other conductor in company history. Highlights of his LA Opera tenure include the company’s first Ring cycle; initiating the groundbreaking Recovered Voices series, an ongoing commitment to staging masterpieces of 20th-century European opera suppressed by the Third Reich; spearheading Britten 100/LA, a city-wide celebration honoring the composer’s centennial; and conducting the West Coast premiere of The Anonymous Lover by Joseph Bologne, Chevalier de Saint-Georges, a prominent Black composer in 18th-century France.
Conlon opens his 18th season at LA Opera conducting Mozart’s Don Giovanni directed by Kasper Holten. His groundbreaking Recovered Voices initiative, dedicated to rescuing works from historical neglect or censorship, returns to the company with a double-bill featuring the company premiere of William Grant Still’s Highway 1, USA in a new production directed by Kaneza Schaal, and a revival of Zemlinsky’s The Dwarf (Der Zwerg)—an opera that launched the Recovered Voices initiative in 2008—directed by Darko Tresnjak. He also conducts Verdi’s La Traviata—the first opera he led as Music Director of LA Opera—continuing his multi-season focus on the works of the great Italian composer. To date, Conlon has conducted more than 500 international performances of Verdi’s repertoire. Conlon closes his LA Opera season honoring the 100th anniversary of Puccini’s death, conducting Turandot, Puccini’s final opera composed in 1924.
Additional highlights of his season include returning to the Chicago Symphony Orchestra to lead Mendelssohn’s Elijah, and conducting Wagner’s Lohengrin at Deutsche Oper Berlin. He also returns to Switzerland’s Bern Symphony, where he is Principal Guest Conductor, to lead three programs including Schubert and Beethoven symphonies, a celebratory New Years Day concert, and a season finale with Shostakovich’s Symphony No. 5.
Conlon is dedicated to bringing composers silenced by the Nazi regime to more widespread attention, often programming this lesser-known repertoire throughout Europe and North America. In 1999 he received the Vienna-based Zemlinsky Prize for his work bringing the composer’s music to a broader audience; in 2013 he was awarded the Roger E. Joseph Prize at Hebrew Union College-Jewish Institute of Religion for his efforts to eradicate racial and religious prejudice and discrimination; and in 2007 he received the Crystal Globe Award from the Anti-Defamation League. His work on behalf of silenced composers led to the creation of The OREL Foundation, an invaluable resource on the topic for music lovers, students, musicians, and scholars; the Ziering-Conlon Initiative for Recovered Voices at the Colburn School; and a recent virtual TEDx Talk titled “Resurrecting Forbidden Music.”
Conlon is deeply invested in the role of music in civic life and the human experience. At LA Opera, his popular pre-performance talks blend musicology, literary studies, history, and social sciences to discuss the enduring power and relevance of opera and classical music. He also frequently collaborates with universities, museums, and other cultural institutions and works with scholars, practitioners, and community members across disciplines. He frequently appears throughout the country as a speaker on a variety of cultural and educational topics.
Conlon’s extensive discography and filmography spans the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and for Kurt Weill’s Rise and Fall of the City of Mahagonny. Additional highlights include an ECHO Klassik Award-winning recording cycle of operas and orchestral works by Alexander Zemlinsky; a CD/DVD release of works by Viktor Ullmann, which won the Preis der deutschen Schallplattenkritik; and the world-premiere recording of Liszt’s oratorio St. Stanislaus.
Conlon holds four honorary doctorates, was one of the first five recipients of the Opera News Awards, and was distinguished by the New York Public Library as a Library Lion. He received a 2023 Cross of Honor for Science and Art (Österreichische Ehrenkreuz für Wissenschaft und Kunst) from the Republic of Austria, and was named Commendatore Ordine al Merito della Repubblica Italiana by Sergio Mattarella, President of the Italian Republic. He was also named Commandeur de L’Ordre des Arts et des Lettres by the French Minister of Culture and, in 2002, personally accepted France’s highest honor, the Legion d’Honneur, from then-President of the French Republic Jacques Chirac.
Learn more at JamesConlon.com.
Mr. Conlon’s first season as Artistic Advisor of the Baltimore Symphony Orchestra includes three weeks of concerts, starting with an October 2021 program of music by historically marginalized composers. The featured works are Alexander Zemlinsky’s Die Seejungfrau (The Mermaid), which is the piece that sparked Mr. Conlon’s interest in suppressed music from the early 20th century, and William Levi Dawson’s Negro Folk Symphony, which reflects a theme that will recur throughout Mr. Conlon’s advisorship—the bringing of attention to works by American composers neglected due to their race. He returns in February 2022 for performances including Beethoven’s Eighth Symphony and the final scene of Wagner’s Die Walküre, with guest artists Christine Goerke and Greer Grimsley. The BSO season concludes in June 2022 with Mr. Conlon conducting an orchestra co-commission from Wynton Marsalis, Rachmaninoff’s Rhapsody on a Theme of Paganini with Beatrice Rana, and Shostakovich’s Seventh Symphony (“Leningrad”). As Artistic Advisor, in addition to leading these performances, Mr. Conlon will help ensure the continued artistic quality of the orchestra and fill many duties off the podium, including those related to artistic personnel—such as filling important vacancies and attracting exceptional musicians.
Additional highlights of Mr. Conlon’s season include Bach’s St. Matthew Passion at Rome Opera, Wagner’s The Flying Dutchman at New National Theatre, Tokyo, the Paris Opera’s Gala lyrique with Renée Fleming, and concerts with the Cincinnati Symphony Orchestra (Dawson’s Negro Folk Symphony and works by Beethoven and Bernstein), Gürzenich Orchester Köln (Sinfoniettas by Zemlinsky and Korngold), Hamburg Philharmonic State Orchestra (works by Shostakovich and Zemlinsky), and at Maggio Musicale Fiorentino. Mr. Conlon’s 2021/22 season follows a spring and summer in which he was highly active amidst the re-opening of many venues to live performance. These engagements included concerts with the Detroit Symphony Orchestra, Deutsche Symphonie-Orchester Berlin, Orchestra del Teatro Comunale di Bologna, and RAI National Symphony Orchestra. He also led a series of performances in Spain scheduled around World Music Day (June 21). In Madrid, over a period of two days, he conducted the complete symphonies of Schumann and Brahms in collaboration with four different Spanish orchestras: the Orquesta Nacional de España, Orquesta Sinfónica de Galicia, Orquesta Sinfónica de Castilla y León, and Joven Orquesta Nacional de España (JONDE). He subsequently conducted JONDE at the Festival de Granada and Seville’s Teatro de la Maestranza. Additional summer 2021 engagements included the Aspen, Napa, Ravello, and Ravinia Festivals.
In an effort to call attention to lesser-known works of composers silenced by the Nazi regime, Mr. Conlon has devoted himself to extensive programming of this music throughout Europe and North America. In 1999 he received the Vienna-based Zemlinsky Prize for his efforts in bringing that composer’s music to international attention; in 2013 he was awarded the Roger E. Joseph Prize at Hebrew Union College-Jewish Institute of Religion for his extraordinary efforts to eradicate racial and religious prejudice and discrimination; and in 2007 he received the Crystal Globe Award from the Anti-Defamation League. His work on behalf of suppressed composers led to the creation of The OREL Foundation, an invaluable resource on the topic for music lovers, students, musicians, and scholars; the Ziering-Conlon Initiative for Recovered Voices at the Colburn School; and a recent virtual TEDx Talk titled “Resurrecting Forbidden Music.”
Mr. Conlon is an enthusiastic advocate of public scholarship and cultural institutions as forums for the exchange of ideas and inquiry into the role music plays in our shared humanity and civic life. At LA Opera, he leads pre-performance talks, drawing upon musicology, literary studies, history, and social sciences to contemplate—together with his audience—the enduring power and relevance of opera and classical music in general. Additionally, he frequently collaborates with universities, museums, and other cultural institutions, and works with scholars, practitioners, and community members across disciplines. His appearances throughout the country as a speaker on a variety of cultural and educational topics are widely praised.
Mr. Conlon’s extensive discography and videography can be found on the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and Kurt Weill’s Rise and Fall of the City of Mahagonny. Additional highlights include an ECHO Klassik Award-winning recording cycle of operas and orchestral works by Alexander Zemlinsky; a CD/DVD release of works by Viktor Ullmann, which won the Preis der deutschen Schallplattenkritik; and the world-premiere recording of Liszt’s oratorio St. Stanislaus.
Mr. Conlon holds four honorary doctorates and has received numerous other awards. He was one of the first five recipients of the Opera News Awards, and was honored by the New York Public Library as a Library Lion. He was named Commendatore Ordine al Merito della Repubblica Italiana by Sergio Mattarella, President of the Italian Republic. He was also named Commandeur de L’Ordre des Arts et des Lettres by the French Minister of Culture and, in 2002, personally accepted France’s highest honor, the Legion d’Honneur, from then-President of the French Republic Jacques Chirac.
Learn more at JamesConlon.com.
Ezio Frigerio (1930-2022) was a prominent set designer, recognized for his work in theater, opera, and film. In the 1950s he met Giorgio Strehler who persuaded him to create the stage design for Garcia Lorka’s The House of Bernarda Alba for the Piccolo Teatro in Milan (1955). A year after the debut, he developed his first design for opera, creating costumes for Cimarosa’s Il matrimonio Segreto for the opening of La Piccola Scala. For the Piccolo Teatro he designed also the set and costumes for productions of plays by Shakespeare, Goldoni, Brecht, Ruzant, Zardi, Pirandell and Ferrari.
In 1959 he began designing for film. He worked with Italy’s top directors: Vittorio de Sica (The Condemned of Altona), Liliana Cavani (Francis of Assisi and other films), Bernardo Bertolucci (1900), Jean Paul Rappeneau (Cyrano de Bergerac, for which he won a Silver Ribbon, European Film Award, César, and an Oscar nomination), and Volker Schlöndorff (The Ogre).
Mr Frigerio took up theater design again in 1960 when he became Giorgio Strehler’s permanent collaborator at the Piccolo Teatro. He designed costumes and sets for productions of plays by Shakespeare, Strindberg, Brecht, Beckett, Rizzotto and Sciascia, Cappelli, Pirandello, Wesker, Roversi, Maggi, Bulhakov, Lessing, and De Filippo. He also collaborated with Liliana Cavani on a production of Medea by Cherubini at the Paris Opera, with Strehler on a staging of L’Illusion comique by Corneille and Chekhov’s The Seagull at the Théâtre de l’Europe in Paris, as well as with Planchon on Molière’s The Miser in Lyon. He was invited as guest designer by Europe’s leading theatres.
The list of his operatic designs is as long. He worked for the world’s most prominent opera houses. He debuted at La Scala with Simon Boccanegra, followed by Falstaff, Lohengrin, Ernani, Don Giovanni, The Queen of Spades and Rigoletto. His also worked for the Metropolitan Opera, Paris Opera, Opéra Bastille, Royal Opera House, Théâtre de la Monnaie, Opera de Lyon, Scottish Opera, Teatro de la Zarzuela in Madrid, Teatro Liceo in Barcelona, San Francisco Opera, and the Salzburg Festival. He created designs for the first stagings of Pederecki’s Paradise Lost: the world premiere at the Lyric Opera in Chicago (1978) and the European premiere at the Teatro alla Scala (1979).
He worked for ballet as well in Paris, Berlin, Marseille, and elsewhere. Together with Roland Petit, he designed Coppélia, The Nutcracker, The Phantom of the Opera, Can-Can, The Miraculous Mandarin, and The Blue Angel. With Rudolf Nureyev, he produced Swan Lake, La Bayadère, and The Sleeping Beauty.
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https://www.thetimes.com/culture/theatre-dance/article/we-ve-all-got-darkness-inside-us-the-late-great-actor-antony-sher-7l08xskj8
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‘We’ve all got darkness inside us’: the late, great actor Antony Sher
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"Benedict Nightingale"
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2022-01-15T00:01:00+00:00
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I first suspected that Antony Sher would become a significant actor, even a great one, during the curtain call at the close of a production of Lear in 1982. Ins
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https://www.thetimes.com/culture/theatre-dance/article/we-ve-all-got-darkness-inside-us-the-late-great-actor-antony-sher-7l08xskj8
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I first suspected that Antony Sher would become a significant actor, even a great one, during the curtain call at the close of a production of Lear in 1982. Instead of taking the leading man’s bow, Michael Gambon, who had been majestic as the mad king, reached behind him, took Sher by the hand and presented him to the audience. And why not? Tony’s performance as the Fool had been electric: dangerous yet vulnerable, mischievous yet poignant and, without becoming pushy, one that had come close to upstaging as powerful an actor as Britain possessed.
It was a performance that embodied qualities that became familiar throughout the long career that earned him a theatrical knighthood: imagination, focus, unerring commitment. And by a paradoxically nasty yet
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https://www.pbs.org/newshour/arts/oppenheimer-lily-gladstone-score-wins-at-30th-screen-actors-guild-awards
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‘Oppenheimer,’ Lily Gladstone score wins at 30th Screen Actors Guild Awards
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2024-02-25T11:45:12-04:00
|
“Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
|
en
|
PBS News
|
https://www.pbs.org/newshour/arts/oppenheimer-lily-gladstone-score-wins-at-30th-screen-actors-guild-awards
|
“Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
As the Academy Awards draw closer, Christopher Nolan’s blockbuster biopic — already a winner at the Golden Globes and the BAFTAs — has increasingly looked like the run-away favorite. The SAG Awards, one of the most telling Oscar predictors, will only add to the momentum for “Oppenheimer,” the lead Academy Awards nominee with 13 nods.
WATCH: Christopher Nolan on ‘Oppenheimer’ and the responsibility of technology creators
The SAG Awards were streamed live on Netflix, a first for a major Hollywood award show. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France — sometimes awkwardly, sometimes charmingly.
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (“The Trial of the Chicago 7” and “Black Panther”) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes — best ensemble and the four acting winners — have corresponded with the eventual Oscar winners, including the ensembles for “Everything Everywhere All at Once” and “CODA.”
That could mean the SAGs offered an Oscar preview in two of the closest contests: best actor and best actress.
The night’s most thrilling win went to Lily Gladstone for female actor in a leading role in Martin Scorsese’s “Killers of the Flower Moon.” No category has been more hotly contested, with analysts evenly split between Gladstone and Emma Stone for “Poor Things.”
But Gladstone won Saturday and the crowd erupted. Stone, too, stood and vigorously applauded. More is riding on Gladstone than perhaps any other Oscar contender this year. Her win would be a first for Native Americans.
“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanizes people. That brings people out of the shadows. It brings visibility.”
WATCH: Lily Gladstone on her historic Oscar nomination for ‘Killers of the Flower Moon’
Murphy and Paul Giamatti (“The Holdovers”) have also been seen as in a neck-and-neck contest. But Murphy has now won at the SAGs, the BAFTAs and Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr. and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favorites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr., accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s “The Holdovers” has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host, too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Idris Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: “The Bear” (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri ); “Beef” (Ali Wong, Steven Yeun); and the cast of “Succession.”
One exception was Pedro Pascal, who won best male actor in a drama series for “The Last of Us” over a trio of “Succession” stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a grueling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,'” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush,” Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood.
“Now I dream of a world where such prejudice is a thing of the past,” she said.
Saturday’s show was one of Netflix’s most significant forays yet into live streaming events. Netflix has previously hosted a live Chris Rock comedy special, a celebrity golf tournament and a live reunion “Love Is Blind” episode that was marred by technical difficulties. But Netflix is gearing up for more. On March 3, it will stream a live tennis event.
|
|||||
5893
|
dbpedia
|
2
| 6
|
https://www.rsc.org.uk/news/archive/antony-sher-wins-2019-theatre-book-prize
|
en
|
Antony Sher wins 2019 Theatre Book Prize
|
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The actor won for his 2018 book, Year of the Mad King, which covers his time preparing for and performing King Lear at the RSC.
|
en
|
https://cdn.rsc.org.uk/sitefinity/images/rsc/icons/favicon.ico
|
https://www.rsc.org.uk/news/archive/antony-sher-wins-2019-theatre-book-prize
|
The book was chosen from a shortlist of six 2018 books about theatre by the Society for Theatre Research. The annual prize was established in 1998 to encourage writing on British theatre history and practice, with Antony announced as winner at the Prince of Wales Theatre this morning (11 June).
You can buy the book, as well as a DVD of our 2016 production of King Lear, from our shop.
|
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5893
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dbpedia
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1
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https://www.thehindu.com/entertainment/movies/oppenheimer-lily-gladstone-win-at-30th-screen-actors-guild-awards/article67884527.ece
|
en
|
‘Oppenheimer,’ Lily Gladstone win at 30th Screen Actors Guild Awards
|
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[] |
2024-02-25T08:22:30+00:00
|
Oppenheimer continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/entertainment/movies/oppenheimer-lily-gladstone-win-at-30th-screen-actors-guild-awards/article67884527.ece
|
Oppenheimer continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
As the Academy Awards draw closer, Christopher Nolan’s blockbuster biopic — already a winner at the Golden Globes and the BAFTAs — has increasingly looked like the run-away favorite. The SAG Awards, one of the most telling Oscar predictors, will only add to the momentum for Oppenheimer, the lead Academy Awards nominee with 13 nods.
The SAG Awards were streamed live on Netflix, a first for a major Hollywood award show. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France — sometimes awkwardly, sometimes charmingly.
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (The Trial of the Chicago 7 and Black Panther) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes — best ensemble and the four acting winners — have corresponded with the eventual Oscar winners, including the ensembles for Everything Everywhere All at Once and CODA.
That could mean the SAGs offered an Oscar preview in two of the closest contests: best actor and best actress.
The night’s most thrilling win went to Lily Gladstone for female actor in a leading role in Martin Scorsese’s Killers of the Flower Moon. No category has been more hotly contested, with analysts evenly split between Gladstone and Emma Stone for Poor Things.
But Gladstone won Saturday and the crowd erupted. Stone, too, stood and vigorously applauded. More is riding on Gladstone than perhaps any other Oscar contender this year. Her win would be a first for Native Americans.
“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanizes people. That brings people out of the shadows. It brings visibility.”
Murphy and Paul Giamatti (The Holdovers) have also been seen as in a neck-and-neck contest. But Murphy has now won at the SAGs, the BAFTAs and Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr. and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favorites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr., accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s The Holdovers has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host, too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Idris Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: The Bear (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri ); Beef (Ali Wong, Steven Yeun); and the cast of Succession.
One exception was Pedro Pascal, who won best male actor in a drama series for The Last of Us over a trio of Succession stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a grueling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,’” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush,” Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood. “Now I dream of a world where such prejudice is a thing of the past,” she said.
|
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5893
|
dbpedia
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1
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https://www.moviefone.com/news/2024-screen-actors-guild-awards-winners/
|
en
|
2024 Screen Actors Guild Awards Winners
|
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2024-02-24T19:37:37
|
The likes of Lily Gladstone and Da’Vine Joy Randolph collected more trophies, while ‘The Bear’, ‘Beef’ and ‘Succession’ all repeated in their cate
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en
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https://cdn.moviefone.com/legacy/assets/favicon/mf_favicon_rounded.ico
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Moviefone
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https://www.moviefone.com/news/2024-screen-actors-guild-awards-winners/
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Preview:
‘Oppenheimer’ dominated the movie section of the 2024 SAG Awards.
In the TV categories, ‘The Bear’ and ‘Beef were predictable winners.
The show was carried by Netflix for the first time.
This year’s Screen Actors Guild Awards ceremony happened Saturday evening, and while they’re extremely limited in their Oscar prognostication (since this is all about acting), there were still few surprises, but shared love among a variety of movies and shows.
Perhaps the most unusual element was the venue –– not the location, but the fact that it is being carried live via Netflix after years on broadcast cable.
The show itself had some fun elements –– like the Emmys, it opted for a number of reunions from much-loved shows and movies, including ‘The Devil Wears Prada’ (Anne Hathaway, Meryl Streep and Emily Blunt), ‘The Lord of the Rings’ Elijah Wood and Sean Astin, and the casts of ‘Breaking Bad’ and ‘Modern Family’, among others.
On the movie front, ‘Oppenheimer’ and ‘Barbie’ led the nominations, with the former taking Motion Picture Cast, Male Actor in a Leading Role for Cillian Murphy (does this point to him taking the Oscar instead of ‘The Holdovers’ Paul Giamatti?) and Male Actor in a Supporting Role for Robert Downey Jr. (who is a big Oscar favorite for playing Lewis Strauss in Christopher Nolan’s film). “Why me? Why now? Why do things seem to be going my way?,” RDJ quipped. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice....”
‘Killers of the Flower Moon’ only saw Lily Gladstone winning another award as Female Actor in a Lead Role, while ‘The Holdovers’ Da’Vine Joy Randolph added Female Actor in a Supporting Role to her considerable collection, pointing to her surely nabbing an Oscar next month.
TV-wise, there were even fewer shockers since the delayed Emmys and other shows had featured many of the same winners. So ‘The Bear’ duo Jeremy Allen White and Ayo Edebiri once again took the stage to collect trophies (both deserving winners, even though the debate remains as to whether the tension-filled show is truly a comedy), as well as being part of the series wining the Comedy ensemble award. ‘Succession’ meanwhile, nabbed the Drama Ensemble trophy.
In other no-real-surprise news, Ali Wong and Steven Yeun both won for ‘Beef’.
A mild surprise given what has happened so far? Pedro Pascal took Male Actor in a Drama Series for ‘The Last of Us’, beating out ‘Succession’s Kieran Culkin. Pascal was typically charming, admitting he’d thought he was allowed to get a little drunk and concerned he was making a fool of himself.
Related Article: ‘Barbie’, ‘Oppenheimer’ and ‘Succession’ Lead 2024 SAG Nominations
Screen Actors Guild: Full Movie Winners List
Outstanding Performance by a Cast in a Motion Picture
‘American Fiction’
‘Barbie’
‘The Color Purple’
‘Killers of the Flower Moon'
‘Oppenheimer’
Outstanding Performance by a Male Actor in a Leading Role
Bradley Cooper – ‘Maestro’
Colman Domingo – ‘Rustin’
Paul Giamatti – ‘The Holdovers’
Cillian Murphy – ‘Oppenheimer’
Jeffrey Wright – ‘American Fiction’
Outstanding Performance by a Female Actor in a Leading Role
Annette Bening – ‘Nyad’
Lily Gladstone – ‘Killers of the Flower Moon’
Carey Mulligan – ‘Maestro’
Margot Robbie – ‘Barbie’
Emma Stone – ‘Poor Things’
Outstanding Performance by a Male Actor in a Supporting Role
Sterling K. Brown – ‘American Fiction’
Willem Dafoe – ‘Poor Things’
Robert De Niro – ‘Killers of the Flower Moon’
Robert Downey Jr. – ‘Oppenheimer’
Ryan Gosling – ‘Barbie’
Outstanding Performance by a Female Actor in a Supporting Role
Emily Blunt – ‘Oppenheimer’
Danielle Brooks – ‘The Color Purple’
Penelope Cruz – ‘Ferrari’
Jodie Foster – ‘Nyad’
Da’Vine Joy Randolph – ‘The Holdovers’
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
‘Barbie’
‘Guardians of the Galaxy Vol. 3’
‘Indiana Jones and the Dial of Destiny’
‘John Wick: Chapter 4’
‘Mission: Impossible – Dead Reckoning Part One’
Screen Actors Guild: Full TV Winners List
Outstanding Performance by an Ensemble in a Drama Series
‘The Crown’
‘The Gilded Age’
‘The Last of Us’
‘The Morning Show’
‘Succession’
Outstanding Performance by an Ensemble in a Comedy Series
‘Abbot Elementary’
‘Barry’
‘The Bear’
‘Only Murders in the Building’
‘Ted Lasso’
Outstanding Performance by a Male Actor in a Drama Series
Brian Cox – ‘Succession’
Billy Crudup – ‘The Morning Show’
Kieran Culkin – ‘Succession’
Matthew Macfadyen – ‘Succession’
Pedro Pascal – ‘The Last of Us’
Outstanding Performance by a Female Actor in a Drama Series
Jennifer Aniston – ‘The Morning Show’
Elizabeth Debicki – ‘The Crown’
Bella Ramsey – ‘The Last of Us’
Keri Russell – ‘The Diplomat’
Sarah Snook – ‘Succession’
Outstanding Performance by a Female Actor in a Comedy Series
Alex Borstein – ‘The Marvelous Mrs. Maisel’
Rachel Brosnahan – ‘The Marvelous Mrs. Maisel’
Quinta Brunson – ‘Abbott Elementary’
Ayo Edebiri – ‘The Bear’
Hannah Waddingham – ‘Ted Lasso’
Outstanding Performance by a Male Actor in a Comedy Series
Brett Goldstein – ‘Ted Lasso’
Bill Hader – ‘Barry’
Ebon Moss-Bachrach – ‘The Bear’
Jason Sudeikis – ‘Ted Lasso’
Jeremy Allen White – ‘The Bear’
Outstanding Performance by a Female Actor in a Television Movie or Limited Series
Uzo Aduba – ‘Painkiller’
Kathryn Hahn – 'Tiny Beautiful Things’
Brie Larson – ‘Lessons in Chemistry’
Bel Powley – ‘A Small Light’
Ali Wong – ‘Beef’
Outstanding Performance by a Male Actor in a Television Movie or Limited Series
Matt Bomer – ‘Fellow Travelers’
Jon Hamm – ‘Fargo’
David Oyelowo – ‘Lawmen: Bass Reeves’
Tony Shalhoub – ‘Mr. Monk’s Last Case: A Monk Movie’
Steven Yeun – ‘Beef’
Outstanding Action Performance by a Stunt Ensemble in a Television Series
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https://www.usmagazine.com/entertainment/news/oppenheimer-wins-motion-picture-cast-at-2024-sag-awards/
|
en
|
Oppenheimer Wins Motion Picture Cast at 2024 SAG Awards
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2024-02-25T03:29:55+00:00
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Some of the past year’s most critically acclaimed films went head-to-head at the 2024 SAG Awards on Saturday, February 24
|
en
|
/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all
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Us Weekly
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https://www.usmagazine.com/entertainment/news/oppenheimer-wins-motion-picture-cast-at-2024-sag-awards/
|
Oppenheimer received a top honor at the 2024 Screen Actors Guild Awards on Saturday, February 24.
The stars of the film, including Cillian Murphy, Emily Blunt, Robert Downey Jr. and more, won Outstanding Performance by a Cast in a Motion Picture at the awards show, which was held at the Shrine Auditorium and Expo Hall in Los Angeles. The movie competed against Barbie, Killers of the Flower Moon, American Fiction and The Color Purple in the category.
Kenneth Branagh, who played Niels Bohr in the film, led the speech after Murphy previously took the stage for Outstanding Performance by a Male Actor in a Leading Role. “Thank you so much Chris Nolan and Emma Thomas,” Branagh said, thanking the Oppenheimer director and producer.
“Thank you SAG-AFTRA,” Branagh continued. “Thank you for this. Thank you for fighting for us. Thank you to every SAG-AFTRA member whose support and whose sacrifice allowed us to be here.”
The actor recalled how the SAG-AFTRA strike went into affect the night of the July Oppenheimer premiere. “”We went from the red carpet and we didn’t see the film that night,” he explained. “We happily went in the direction of solidarity with your good selves. So this is a full-circle moment, and to receive this recognition in a year of spectacular acting achievement … it means the world to us.”
The five movies nominated for Outstanding Performance by a Cast in a Motion Picture were well-represented in other categories. Barbie’s Margot Robbie and Killers of the Flower Moon’s Lily Gladstone both received nods for Outstanding Performance by a Female Actor in a Leading Role, while Oppenheimer’s Cillian Murphy and American Fiction’s Jeffrey Wright were up for Outstanding Performance by a Male Actor in a Leading Role.
Oppenheimer’s Emily Blunt and The Color Purple’s Danielle Brooks earned nods for Outstanding Performance by a Female Actor in a Supporting Role, and Barbie’s Ryan Gosling, Oppenheimer’s Robert Downey Jr., Killers of the Flower Moon’s Robert De Niro and American Fiction’s Sterling K. Brown garnered nominations for Outstanding Performance by a Male Actor in a Supporting Role. Barbie also scored an additional nod for Outstanding Action Performance by a Stunt Ensemble in a Motion Picture.
Oppenheimer already won big at the 2024 Golden Globe Awards in January, with accolades for Best Motion Picture – Drama, Best Performance by a Male Actor in a Motion Picture – Drama for Murphy, Best Performance by a Male Actor in a Supporting Role in Any Motion Picture for Downey Jr., Best Director – Motion Picture for Christopher Nolan and Best Original Score – Motion Picture.
Barbie, meanwhile, took home the award for Cinematic and Box Office Achievement, and Gladstone earned Best Performance by a Female Actor in a Motion Picture – Drama.
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dbpedia
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https://nickhernbooksblog.com/2021/12/03/a-tribute-to-antony-sher/
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en
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‘He was a bit of a wonder’ – a tribute to Antony Sher
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2021-12-03T00:00:00
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Antony Sher, who sadly died this week, was one of the most respected actors of his generation. Most closely associated with the Royal Shakespeare Company – with whom he performed many of the most famous roles in the Shakespearean canon including Richard III, Macbeth, Lear, Prospero, Iago, Falstaff, Shylock, Malvolio and Leontes, as well as…
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en
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https://secure.gravatar.com/blavatar/2111f53206f4a816226552e526031a1243058168e1e4eaf50d1cd5632fd1237a?s=32
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The Play Ground
|
https://nickhernbooksblog.com/2021/12/03/a-tribute-to-antony-sher/
|
Antony Sher, who sadly died this week, was one of the most respected actors of his generation. Most closely associated with the Royal Shakespeare Company – with whom he performed many of the most famous roles in the Shakespearean canon including Richard III, Macbeth, Lear, Prospero, Iago, Falstaff, Shylock, Malvolio and Leontes, as well as other classical and contemporary roles, and for whom he was an Honorary Associate Artist – he enjoyed a hugely successful career on stage and screen that spanned nearly fifty years. He was awarded a knighthood in 2000, for services to theatre.
In addition to skill as a performer, Sher also possessed many other talents, including as an artist and writer. Nick Hern Books is incredibly proud to publish many of his books and plays, including Year of the King – his gripping account of his breakthrough performance in Richard III for the RSC in 1984 – which has gone on to firmly establish itself as a classic of theatre writing.
Here, to mark the sad occasion of his passing, we share an extract from Sher’s autobiography Beside Myself, in which he reflects how he first fell in love with performing. And NHB’s founder and publisher, Nick Hern, remembers his own relationship with Antony – as author, interlocutor, passenger and gift-giver…
This is an edited extract from Beside Myself: An Actor’s Life by Antony Sher.
I owe Esther Caplan my career.
Esther was known as Auntie Esther to all her pupils, though I had a special claim to this name, for my brother Randall had married her daughter Yvette. Esther was officially a teacher of Elocution. This word was more respectable than Acting and more comprehensible to any parents sending their little darlings for tutelage. To learn to speak nicely made sense; to learn to act made none. Who would anyone in Sea Point [a suburb of Cape Town, South Africa, where Antony Sher grew up] become an actor? There was the Cape Performing Arts Board, which did occasional shows at the Hofmeyr [a theatre in Cape Town], and there was Maynardville, which did an annual Shakespeare in its leafy open-air auditorium, but there was little other theatre, no film industry whatsoever and television didn’t yet exist. There was some radio work, yes. In other words employment for about five and a half actors in Cape Town. It certainly wasn’t a career for me.
Esther had been an actress herself, during her youth in Johannesburg, and even worked with the most famous Jewish South African actor there’s ever been, Solly Cohen (later known as Sid James, the lovable Cockney of Carry On fame), but now she was a teacher: this had become her Great Role. She was an outrageously theatrical figure, Sybil Thorndike with a touch of Ethel Mermen thrown in. Tall, proud, big-bosomed, with a crash helmet of lacquered blond hair, skin darkly tanned and quite leathery, splashed with turquoise eyeshadow and bright-pink lipstick. She didn’t talk, she boomed and trilled. She didn’t walk, she strode. She didn’t gesture, she carved the air – thumb arched, forefinger splayed from the rest. Ballet dancers use their hands like this to compensate for not being allowed to speak. Esther was sometimes lost for words too, but only after emptying the dictionary: ‘Oh, my darling, that monologue was so outstandingly, brilliantly marvellous that… it was so superbly, fantastically, unbelievably amazing that… oh my darling, I don’t know what to say!’
She called everyone ‘my darling’. She was the warmest of warm springs; she bubbled, she gushed, she overflowed.
Given her style, the surprising thing is that she was fascinated by modern drama. By improvisation, by the Method School in New York, by the new plays coming from England by Osborne, Pinter and Wesker. So my first lessons in acting were not one might expect from a grand dame elocution teacher in some former corner of the empire – not Rattigan, Coward or even Shakespeare – but something altogether more contemporary.
I quickly developed an appetite for my weekly visit to Auntie Esther’s studio: a bare room above some Main Road shops. I ceased to be Little Ant, hopeless at sport, mocked in the showers. Instead I became anyone I wanted to be.
At first the work was very private – just me and Auntie Esther – but I soon grew greedy for the next phase: a public audience.
Every year there was a local Eisteddfod [performing arts competition] in Cape Town’s City Hall. Along with Esther’s other pupils I entered several categories, Monologues, Duologues, and my favourite, Improvisation. You’d be given a subject, five minutes to think about it and then you were on. I used to cheat. I’d prepare situation, speeches and characters, usually based on favourite film performances – Oskar Werner in Ship of Fools, Harry Andrews in The Hill – and somehow adapt these to whatever subject I’d been landed with. No one seemed particularly fazed by the arrival of world-weary Viennese doctor or sadistic British RSM into a scene entitled ‘A quarrel on Clifton Beach’ and I did well; I won prizes.
In my penultimate year at school the English teacher, Quinn, mounted a production of the Whitehall farce Simple Spymen. I got one of the two leads: the Brian Rix role, the dupe, the clown. The gales of laughter that night were overwhelming; a storm of approval from the same people who’d scoffed at us in the playground. I was hooked.
The drug of laughter, the megalomanic thrill of the cheering crowd…
As I hear the tinny echo of cliché drift into the story, it strikes me that I’m not being altogether fair to myself. The attraction in acting is more deep-seated. I recall one late afternoon, finishing a game of Cowboys and Indians in the garden – me aged about ten or eleven – and my sister Verne unwittingly playing the critic again. She said, ‘You’re going to stop this soon, y’know, it’s puerile.’ I had no idea what the second half of her statement meant, but the first was unequivocal. You’re going to have to stop this soon. I remember staring at the churned black soil under a hedge where I’d been hiding and thinking how beautiful that place looked – a dark and dreamy place of make-believe – and how I didn’t want to leave it. Ever. Was there really no way to cheat fate: this inevitable business of growing up, of becoming sensible, of stepping politely on the earth instead of rolling in it? Was there no way of playing on?
Well, yes, there was, I discovered during that performance of Simple Spymen; yes, there were people – adult people – who did this for a living.
I decided I should go to drama school in London. When I told Esther she swelled her great bosom, gestured with balletic poise and boomed assurances: ‘You’re going to make it, my darling, I know you will, I promise you will. And in England, in London – the very heart of world theatre! Oh, it’s so incredibly, marvellously, fantastically exciting that… oh, my darling, I don’t know what to say!’
We started making enquiries about London drama schools and working on audition speeches.
NHB’s founder and publisher, Nick Hern, reflects on his forty-year relationship with Antony Sher.
Tony was a bit of a wonder. A magnetic actor, of course, but also and equally an artist and author. I published five books by him, and in every case the vivid words were illuminated by equally vivid sketches. Also two plays, and a whole volume of his paintings and drawings. Furthermore, he was a delight to work with: punctilious, of course, but open to and eager for comment and improvement. If only every author were as receptive!
I first met him in 1980 in the wake of publication of his first, and most famous, book Year of the King. I had kicked myself for not having had the idea myself of asking him to keep a diary of his preparations for what turned out to be an iconic performance of Richard III. But the paperback rights were still available, so I seized them with both hands. Several equally illuminating diaries followed, on Falstaff, on Lear, on playing Primo Levi – and an eye-opening autobiography, Beside Myself.
With each publication came obligatory appearances at ‘author events’, and I was flattered that Tony, rightly nervous of being interviewed by someone he didn’t know, would ask me if I’d step in. We began to refer to ourselves as the Abbott and Costello of the literary circuit. I was also his chauffeur (Tony didn’t drive and admitted to a total lack of sense of direction), and I would ferry him up and down the country to satisfy the many fans who would congregate at such events – often clutching an ancient, dog-eared copy of Year of the King for him to sign.
As I delivered him back home at the end of what was to be the last of such tours – for Year of the Mad King – we were met at the door by his husband, Greg Doran, clutching a bottle of Bollinger. ‘For you,’ said Tony, ‘for all your hard work’. If only every author were as appreciative!
All of us at NHB are devastated to learn of the death of Antony Sher, who has died at the age of 72. May his memory be a blessing.
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https://www.sagawards.org/awards/nominees-and-recipients/29th-annual-screen-actors-guild-awards
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en
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The 29th Annual Screen Actors Guild Awards
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https://www.sagawards.org/awards/nominees-and-recipients/29th-annual-screen-actors-guild-awards
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SUNDAY, FEBRUARY 23, 2025
LIVE ON NETFLIX
8PM PT / 5PM ET
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https://www.londontheatre.co.uk/theatre-news/news/antony-sher-has-died-aged-72
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en
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Antony Sher has died aged 72
|
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"Sophie Thomas"
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2022-01-25T20:14:18.352000+00:00
|
<p>The actor was awarded a knighthood in 2000.</p> Read more on LondonTheatre.co.uk.
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en
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London Theatre
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https://www.londontheatre.co.uk/theatre-news/news/antony-sher-has-died-aged-72
|
The Royal Shakespeare Company has announced the death of Sir Antony Sher, aged 72. Sher was diagnosed with terminal cancer earlier this year, and was being cared for by husband, Royal Shakespeare Company artistic director Gregory Doran.
In a joint statement, Catherine Mallyon, RSC executive director and Erica Whyman, acting artistic director said: "We are deeply saddened by this news and our thoughts and sincere condolences are with Greg, and with Antony's family and their friends at this devastating time.
Antony had a long association with the RSC and a hugely celebrated career on stage and screen. Antony's last production with the Company was in the two-hander Kunene and The King, written by his friend and fellow South African actor, writer and activist, John Kani.
Other recent productions at the RSC include King Lear, Falstaff in the Henry IV plays and Willy Loman in Death of a Salesman. Earlier landmark performances included Leontes in The Winter's Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth, Tamburlaine the Great, Peter Flannery's Singer, Cyrano de Bergerac, as well as his career defining Richard III.
Antony was deeply loved and hugely admired by so many colleagues. He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. We will ensure friends far and wide have the chance to share tributes and memories in the days to come."
During his career, Sher won the Olivier Award for Best Actor twice: Richard II and Torch Song Trilogy in 1985, and Stanley in 1997. In 2000, he was awarded a knighthood for services to acting and writing.
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https://www.apple.com/tv-pr/news/2024/01/apple-scores-11-sag-award-nominations-for-standout-performances-in-acclaimed-apple-original-film-killers-of-the-flower-moon-and-series-ted-lasso-the-morning-show-and-lessons-in-chemistry/
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en
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Apple scores 11 SAG Award nominations for standout performances in acclaimed Apple Original Film “Killers of the Flower Moon,” and series “Ted Lasso,” “The Morning Show” and “Lessons in Chemistry”
|
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Apple was recognized with 11 nominations for the 30th Annual SAG Awards for Apple Original Film “Killers of the Flower Moon,” as well as “Ted Lasso,” “The Morning Show” and “Lessons in Chemistry.”
|
en
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Apple TV+ Press
|
https://www.apple.com/tv-pr/news/2024/01/apple-scores-11-sag-award-nominations-for-standout-performances-in-acclaimed-apple-original-film-killers-of-the-flower-moon-and-series-ted-lasso-the-morning-show-and-lessons-in-chemistry/
|
Martin Scorsese’s National Board of Review and AFI Award and Golden Globe Award-winning “Killers of the Flower Moon” lands nominations for Lily Gladstone, Robert De Niro and Outstanding Performance by a Cast in a Motion Picture Global phenomenon “Ted Lasso” scores back-to-back nominations for Outstanding Performance by an Ensemble in a Comedy Series, and nominations for stars Jason Sudeikis, Brett Goldstein and Hannah Waddingham “The Morning Show” stars Jennifer Aniston and Billy Crudup earn SAG nominations, alongside Outstanding Performance by an Ensemble in a Drama Series “Lessons in Chemistry” star Brie Larson honored with nomination for Outstanding Performance by a Female Actor in a Limited Series
Apple was recognized today with 11 nominations for the 30th Annual Screen Actors Guild (SAG) Awards for its broadly acclaimed Apple Original Film “Killers of the Flower Moon,” as well as Emmy Award-winning hits “Ted Lasso” and “The Morning Show,” and Critics Choice Award nominee “Lessons in Chemistry.” The 30th Annual SAG Awards will be presented on February 23, 2024 in Los Angeles.
Following her history-making Golden Globe Award win as the first Indigenous actress to earn the award for Best Performance, “Killers of the Flower Moon” star Lily Gladstone lands a SAG Award nomination for Outstanding Performance by a Female Actor in a Leading Role. Additionally, the film earns a nomination for Outstanding Performance by a Cast in a Motion Picture, and star Robert De Niro receives a nomination for Outstanding Supporting Actor.
Apple’s Emmy, SAG, AFI and Critics Choice Award-winning comedy “Ted Lasso” scores back-to-back nominations for its third season, with nods for Outstanding Lead Actors Jason Sudeikis, Brett Goldstein and Hannah Waddingham, alongside Outstanding Performance by an Ensemble. Global hit series “The Morning Show” earns nominations from the Screen Actors Guild for stars Jennifer Aniston and Billy Crudup, as well as an Outstanding Performance by an Ensemble nod. The Screen Actors Guild also recognized Apple Original Limited series “Lessons in Chemistry” with a nomination for Outstanding Performance in a Limited Series for Brie Larson’s widely celebrated lead role as Elizabeth Zott.
Broadly hailed as a “masterpiece” and one of the best films of the year, “Killers of the Flower Moon” has been honored as the Best Film of the Year by the National Board of Review, named to the American Film Institute's list of Motion Pictures of the Year and landed 12 Critics Choice Award nominations. The film has also been named to the American Film Institute's list of Motion Pictures of the Year, and landed 12 Critics Choice Award nominations. Additionally, “Killers of the Flower Moon” has landed on the Academy of Motion Picture Arts and Sciences’ Oscars shortlists in the Best Makeup and Hair, Best Sound, Best Original Score and Best Original Song categories, nominated by the Art Directors Guild for Period Feature Film, the Costumer Designers Guild for Excellence in Period Film and selected as the No. 1 Best Film of 2023 by The New York Times and The New Yorker, in addition to its recognition by over 20 critics groups globally, including being awarded Best Film by the New York Film Critics Circle. Since the premiere of “Killers of the Flower Moon,” Gladstone has received global praise for her iconic performance as Mollie Burkhart, winning the Golden Globe Award for Best Performance by an Actress in a Motion Picture, Drama; has been recognized by the National Board of Review as Best Actress of the year; and nominated by the Critics Choice Awards for Best Actress, among many other recognitions. Supporting actor Robert De Niro has been recognized for his performance by the National Board of Review, the Critics Choice Awards, the Golden Globes and many more.
These nominations are the latest in a string of accolades for global phenomenon “Ted Lasso,” this year’s most Emmy-nominated comedy for the third consecutive year with 21 nods in total, including Best Comedy and multiple performance nods. In 2022, “Ted Lasso” joined the ranks of comedy legends with its win for Outstanding Comedy Series for its first and second seasons, becoming only the eighth series in the genre in 74 years of Emmy history to do so. The second season of “Ted Lasso” was also the most Emmy-winning comedy for the second year in a row with four total wins, including Emmy Awards for Outstanding Lead Actor in a Comedy Series (Jason Sudeikis), Outstanding Supporting Actor in a Comedy Series (Brett Goldstein) and Outstanding Directing for a Comedy Series (M.J. Delaney).
In addition to today’s SAG Award honors for its third season, Apple’s Emmy, SAG, AFI and Critic Choice Award-winning global hit series “The Morning Show” has previously been honored with a SAG Award for Outstanding Performance by a Female Actor in a Drama Series for Aniston's powerful performance as Alex Levy. The series has also landed past SAG Award nominations for stars Reese Witherspoon and Billy Crudup, as well as Outstanding Performance by an Ensemble in a Drama Series for its second season. In its first season, Crudup earned an Emmy Award win in the Supporting Actor in a Drama Series category, in addition to a Critics Choice Award. Director Mimi Leder has been honored with an Emmy Award nomination for Outstanding Directing for a Drama Series for helming the season one finale. The debut season of the series also landed a Critics Choice Award, and received nominations from the Television Critics Association for Outstanding New Program and a TV Choice Award for Best New Drama.
The SAG Award nomination for widely acclaimed limited series “Lessons in Chemistry” expands recent honors for the series including multiple nominations from the Critics Choice Awards, Golden Globes, DGA Awards, Film Independent Spirit Awards and Hollywood Make-Up Artist and Hair Stylist Guild Awards, among many others.
To date, Apple Original films, documentaries and series have earned 638 wins and 1,836 award nominations and counting, including multi-Emmy Award-winning comedy “Ted Lasso” and historic Oscar Best Picture winner “CODA.”
In total, Apple received 11 SAG Award nominations today, including:
“Killers of the Flower Moon”
Outstanding Performance by a Cast in a Motion Picture
Outstanding Performance by a Female Actor in a Leading Role — Lily Gladstone
Outstanding Performance by a Male Actor in a Supporting Role — Robert De Niro
“Ted Lasso”
Outstanding Performance by an Ensemble in a Comedy Series
Outstanding Performance by a Male Actor in a Comedy Series — Jason Sudeikis
Outstanding Performance by a Male Actor in a Comedy Series — Brett Goldstein
Outstanding Performance by a Female Actor in a Comedy Series — Hannah Waddingham
“The Morning Show”
Outstanding Performance by an Ensemble in a Drama Series
Outstanding Performance by a Female Actor in a Drama Series — Jennifer Aniston
Outstanding Performance by a Male Actor in a Drama Series — Billy Crudup
“Lessons in Chemistry”
Outstanding Performance by a Female Actor in a Television Movie or Limited Series — Brie Larson
“Killers of the Flower Moon”
“Killers of the Flower Moon” is set at the turn of the 20th century, when oil brought a fortune to the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted and stole as much Osage money as they could before resorting to murder. Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Gladstone), “Killers of the Flower Moon” is an epic western crime saga, where real love crosses paths with unspeakable betrayal. Also starring De Niro and Jesse Plemons, “Killers of the Flower Moon” is directed by Scorsese from a screenplay by Eric Roth and Scorsese, based on David Grann’s bestselling book.
“Lessons in Chemistry”
Set in the early 1950s, “Lessons in Chemistry” follows Elizabeth Zott (played by Larson), whose dream of being a scientist is put on hold in a patriarchal society. When Elizabeth finds herself fired from her lab, she accepts a job as a host on a TV cooking show, and sets out to teach a nation of overlooked housewives — and the men who are suddenly listening — a lot more than recipes.
“The Morning Show”
“The Morning Show” explores the cutthroat world of morning news and the lives of the people who help America wake up in the morning. Along with Witherspoon and Aniston, the star-studded season three ensemble cast is led by Billy Crudup, Mark Duplass, Nestor Carbonell, Karen Pittman, Greta Lee, Jon Hamm, Nicole Beharie and Julianna Margulies. In season three, the future of the network is thrown into question and loyalties are pushed to the brink when a tech titan takes an interest in UBA. Unexpected alliances form, private truths are weaponized and everyone is forced to confront their core values both in and out of the newsroom.
“Ted Lasso”
Jason Sudeikis is Ted Lasso, a small-time college football coach from Kansas hired to coach a professional soccer team in England, despite having no experience. But what he lacks in knowledge, he makes up for with optimism, underdog determination and biscuits. The widely acclaimed series also stars Waddingham, Brendan Hunt, Jeremy Swift, Juno Temple, Goldstein, Phil Dunster and Nick Mohammed.
In addition to starring, Sudeikis serves as executive producer, alongside Bill Lawrence via his Doozer Productions, in association with Warner Bros. and Universal Television, a division of Universal Studio Group. Doozer’s Jeff Ingold also serves as an executive producer, with Liza Katzer as co-executive producer. The series was developed by Sudeikis, Lawrence, Hunt and Joe Kelly, and is based on the preexisting format and characters from NBC Sports.
All series are currently streaming on Apple TV+. “Killers of the Flower Moon” from Scorsese, will be available to stream globally on Apple TV+ beginning Friday, January 12.
Apple TV+ offers premium, compelling drama and comedy series, feature films, groundbreaking documentaries, and kids and family entertainment, and is available to watch across all your favorite screens. After its launch on November 1, 2019, Apple TV+ became the first all-original streaming service to launch around the world, and has premiered more original hits and received more award recognitions faster than any other streaming service in its debut.
About Apple TV+
Apple TV+ is available on the Apple TV app in over 100 countries and regions, on over 1 billion screens, including iPhone, iPad, Apple TV, Apple Vision Pro, Mac, popular smart TVs from Samsung, LG, Sony, VIZIO, TCL and others, Roku and Amazon Fire TV devices, Chromecast with Google TV, PlayStation and Xbox gaming consoles, and at tv.apple.com, for $9.99 per month with a seven-day free trial for new subscribers. For a limited time, customers who purchase and activate a new iPhone, iPad, Apple TV, Mac or iPod touch can enjoy three months of Apple TV+ for free.*
For more information, visit apple.com/tvpr and see the full list ofsupported devices.
*Special offer is good for three months after the first activation of the eligible device. One offer per Family Sharing group. Plans automatically renew until cancelled. Other restrictions and terms apply; visit apple.com/promo for more information.
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AFI AWARDS 2009
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is a theological shaggy dog story that could only spring from the miraculous minds of Joel and Ethan Coen. The film marks the 25th anniversary of moviemaking for these American masters, and from its audacious Yiddish-language prologue to its apocalyptic conclusion, A SERIOUS MAN grapples with themes of temptation and divine retribution in a world only the Coen brothers could create. Midwestern isolation and Jewish angst are the frame for Michael Stuhlbarg’s Larry Gopnik, the film’s Job-like protagonist who finds comfort in the certainty of physics as the uncertainty of his own life threatens to destroy him while he fiddles with the antennae on his suburban roof. Read the AFI Catalog entry
marks the singular and stylish debut of writer-director Tom Ford, whose astoundingly assured transition from fashion to film — from the human body to the human spirit — is a perfect fit for Christopher Isherwood’s story of love and loss. As a heartbroken college professor and his lovelorn compatriot, Colin Firth and Julianne Moore offer achingly honest performances that inhabit a perfectly realized 1962 Los Angeles. A SINGLE MAN is a meditation on grief, a sensuous lament, a memento mori that reminds us to love well, to cherish the human encounters that color our lives and to be aware, in the end, that everything is as it should be. Read the AFI Catalog entry
will have you rubbing your head in the morning and wishing you hadn’t had so much fun. Director Todd Phillips and screenwriters Jon Lucas and Scott Moore have created an anthem to arrested male adolescence that is unashamed, unapologetic and unbelievably funny. Though what happens in Vegas may stay in Vegas, THE HANGOVER brought laughter to a world when it needed it most and deserves a toast for its mastery of the comedic form, one of filmmaking’s most challenging feats. Read the AFI Catalog entry
is the celebration of a life lived against all odds. Director Lee Daniels and writer Geoffrey Fletcher bring the spirit of Sapphire’s novel to the screen in this movie about a person passed each day, whose story has never made it to the movies. Gabourey Sidibe blossoms in the title role, and Mo’Nique’s monstrous turn as her mother achieves the seemingly impossible by making audiences understand her as she understands herself. Together, they lead a powerful ensemble cast in a film that offers no false hope or happy ending, but instead commands us to look in the mirror and celebrate the image that smiles back, because in that reflection, we are all precious. Read the AFI Catalog entry
shines a bright light on the American dream through the cheers and jeers heaped upon those who embody its national pastime. Writer/directors Anna Boden and Ryan Fleck have shaped a screenplay as elegant as a well-turned double play and assembled a remarkable lineup of acting talent led by rookie Algenis Perez Soto. SUGAR is as ambitious as it is intimate, allowing audiences a clear-eyed look at the immigrant experience while celebrating both the trials and triumphs of swinging for the fences — and reaching for an ideal. Read the AFI Catalog entry
is a triumphant tale for our turbulent times. With the clarity of perspective that comes from a window seat at 30,000 feet, Jason Reitman proves again to soar among the art form’s finest storytellers. Together, with co-screenwriter Sheldon Turner, he has taken the words from Walter Kirn’s novel and given them flight in a film that both harkens back to the glory of Hollywood past and assures audiences that smart, witty and painfully human stories are here for the future. This sentiment is best embodied in George Clooney, an American treasure who captivates again with his signature alchemy of gentleman and jester, charmer and chump. The film is also a showcase for two of the most original female characters of the year, played with grace and gusto by Vera Farmiga and Anna Kendrick. UP IN THE AIR is a film that defines the challenges of a generation — to consider what one truly values in life — and where we call home. Read the AFI Catalog entry
explodes with laughter week after week proving life still springs from the multi-camera sitcom. This valentine to science geekdom is both funny and smart, embodied in the virtuoso performance of Jim Parsons as Sheldon Cooper. Here the familiar is fresh, with an extraordinary ensemble whose characters may lack social graces, but live in a show that celebrates them with finesse and panache. Creators Chuck Lorre and Bill Prady have mined an old field to find new treasure, and in this third season, have polished it into a brilliant gem.
embraces religion, politics and rural life in such an ambitious way that to watch it grow and prosper only further adds to its delicious appeal. Particularly in this pivotal season, creators Mark V. Olsen, Will Scheffer and their expansive creative ensemble paint an epic portrait of a family and present it through a fractured prism. In this light, the role of women is integrated in unexpected and complicated ways, as is the darker side of being different in one nation under God.
goes deep, always, and scores again this year. The show remains true to its game plan, capturing the essence of small town America with honest performances and an outstanding ensemble that audiences cheer for with more emotion each passing season. Particularly this year, when Peter Berg’s show found a second life on a satellite cable service, the theme of the “underdog” became even stronger for the people of Dillon, Texas, where life is lived in the margins, where silence speaks eloquently of dreams deferred and where victory isn’t necessarily winning the game — it’s just being able to play.
is an explosion of joy that brings a powerful new voice to network television. Created by Ian Brennan, Brad Falchuk and Ryan Murphy, GLEE is a wink and a smile to the musicals of Mickey Rooney and Judy Garland, but also a spin and a step that sing of what it is to be gay, pregnant, disabled — different. The show is extraordinarily in tune with America’s musical lexicon, and the inspired creative ensemble is a singing, dancing sensation — one that has struck a chord with a nation eager to find joy in our differences.
continued to fulfill its ambitious promise in this third and transformative season. As creator Matt Weiner’s compelling period drama charts its grand narrative between the idealistic days of Eisenhower and the chaos of the 1960s, audiences must look in the mirror to consider the transitions in today’s America. MAD MEN remains the most stylish show on television, its perfectly designed past a foil to the dissolution of a man and his marriage. Jon Hamm and January Jones lead an elegant ensemble while placing the Drapers, despite their despair, in the pantheon of television’s married couples.
is television’s best-kept secret. Creators John Enbom, Dan Etheridge, Paul Rudd and Rob Thomas have combined their creative talents to tell a wickedly funny tale of a catering company run by a smorgasbord of LA actor wannabes. This clever conceit has the show’s devoted audience cheering for a collection of characters that flub their way through life, each depicted with real affection and an aching authenticity. PARTY DOWN knows its world and mocks it with authority, though at its significant heart, the show is a celebration of the joy and despair of aspiring to something that may never come to pass.
takes flight from the razor’s edge between camp and classic. Creator Alan Ball’s vampire drama is Southern Gothic gone wild, feeding on the popular obsession with the supernatural while creating its own rich world through a knowing, seductive concoction of sex, violence and soap opera. Michelle Forbes’ brilliant performance as Maryann Forrester is the magnetic center of an audacious and orgiastic season that not only unleashes the ids in its audience, but also asks penetrating questions about what it is to be human — to desire, to discriminate and to dig deep into the delights of television.
James Cameron’s pioneering effort to unleash the human imagination was fully realized in 2009 with the release of AVATAR, a film that firmly established itself as a landmark in the way stories are told.
With an army of technological wizards at his side, writer/director/producer/co-editor Cameron called upon the forces of art and technology to create new tools for storytelling that are groundbreaking in both scope and scale.
The magic of the motion picture — and the transfer of its power to television and now video games — has always found its truest power in its immersive qualities, and with Cameron’s advances in CGI (computer-generated images) and 3-D, AVATAR enters AFI’s almanac as an achievement that will have profound effects on the future of the art form.
Twitter, the Internet platform for messages of up to 140 characters, has become a powerful force in the worlds of film and television. It has long been proven that the most effective way to attract an audience is through “word of mouth,” and Twitter allows for these influential conversations to be immediate and international.
Twitter has also created new and direct channels of communication for artists to speak directly to their fan base. Most notably, in 2009, Ashton Kutcher enlisted over one million followers to his “tweets.”
In marketing terms, Twitter and other forms of social networking have allowed motion pictures and television programs the opportunity to both expand and unite their audiences. For example, PARANORMAL ACTIVITY became a cultural sensation in 2009 for mastering “word of mouth” marketing via social networks, in addition to telling a terrifying tale very well. In television, Twitter helped to ensure “appointment television” by creating venues for viewers to comment on shows as they aired. For example, GLEE employed Twitter to broaden its fan base of “Gleeks.”
On September 14, 2009, NBC premiered THE JAY LENO SHOW, a reformatted version of THE TONIGHT SHOW WITH JAY LENO, to run Monday through Friday at 10:00 p.m.
As a result, five hours traditionally reserved for episodic drama were dropped from the broadcast television landscape. The move had a harsh effect in job losses for the creative ensembles whose stories were told at that time, and also among national affiliate stations whose ratings for 11:00 p.m. local news programs dropped significantly.
This experiment can be viewed as another chapter in the evolution of television to less expensive programming, which began in force with the emergence of reality television. However, audiences have found quality dramas moving in force to cable and pay cable television, and the world awaits the first breakout drama scripted for the Internet.
On June 12, 2009, analog television switched off, and the digital revolution saw a new day. This moment is mostly symbolic, but signaled further change across many former television traditions:
• Several long-running soap operas were cancelled in 2009. GUIDING LIGHT, the longest-running drama in television and radio history, aired its final episode on September 18, 2009. The program began in 1937, during the second Presidency of Franklin Delano Roosevelt. It was also announced that AS THE WORLD TURNS, a daytime staple since 1956, would air its last episode on September 10, 2010.
The demise of the soap opera can be linked to the omnipresent melodrama presented in news, reality and other programs that are now available instantaneously, around the clock and on many platforms.
• Long-form television became more scarce in 2009. While excellent programs like GREY GARDENS, INTO THE STORM and PRAYERS FOR BOBBY proved there was still quality work being done in the field, the fragmentation of the television audience strained the economics of the old business model for TV movies and mini-series.
Other notable moments in the sea of change include Comcast’s bid to acquire NBC Universal to ensure content for distribution to its more than 23 million subscribers, as well as the continued rise in the reliance of DVRs (digital video recorders) so that audiences have shows when and where they wish to view them.
Though animation has been a genre of great impact since the dawn of the moving image, 2009 marked a year that saw a dazzling explosion of noteworthy work from many of the nation’s finest artists, and in forms vast and varied — from classic hand-drawn stories like THE PRINCESS AND THE FROG; to stop-motion splendors like CORALINE and FANTASTIC MR. FOX; to computer-generated creations like UP, 9, CLOUDY WITH A CHANCE OF MEATBALLS, ICE AGE: DAWN OF THE DINOSAURS and MONSTERS VS. ALIENS.
Michael Jackson died on June 25, 2009. One of the most influential entertainers in modern day, Jackson’s death was met with a worldwide expression of grief.
In the months that followed his death, Jackson’s talents were celebrated on-line, with a renewed interest in the musical and video gifts he had given the world over five decades; on television, as millions tuned in for his memorial and funeral services; and, most notably, in theatres, with the film THIS IS IT, a documentary crafted from the rehearsal footage for an upcoming concert tour. The film proved an unprecedented global eulogy for fans and friends of the “King of Pop.”
Just as Americans flocked to musicals and screwball comedies during the Great Depression of the 1930s, audiences in 2009 escaped their worries by going to the movies. Though total admissions do not compare, it is worthy to note that in the world’s darkest economic time since the Depression, American films grossed more money than any time in the history of the art form. Aliens, vampires and wizards may have replaced Fred Astaire and Ginger Rogers on the silver screen, but the movies still provide joy and refuge in a story well told.
AFI AWARDS was created in 2000 to recognize the films and television programs which contribute to our collective cultural legacy. When placed in an historical context, these stories provide a complex, rich, visual record of our modern world. Since then, AFI AWARDS has honored 10 outstanding films and 10 outstanding TV programs deemed culturally and artistically representative of the year’s most significant achievements in the art of the moving image.
Unique in its celebration of the art form’s collaborative nature, AFI AWARDS is the only national program that honors creative teams as a whole – recognizing those in front of and behind the camera.
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The editors of The Modern Library were privileged to have the assistance of a distinguished Board made up of celebrated authors, historians, critics, and publishing luminaries. In 1998 and 1999, members of the Modern Library Board participated in the “100 Best” project.
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1. ULYSSES by James Joyce
Written as an homage to Homer’s epic poem The Odyssey, Ulysses follows its hero, Leopold Bloom, through the streets of Dublin. Overflowing with puns, references to classical literature, and stream-of-consciousness writing, this is a complex, multilayered novel about one day in the life of an ordinary man. Initially banned in the United States but overturned by a legal challenge by Random House’s Bennett Cerf, Ulysses was called “a memorable catastrophe” (Virginia Woolf), “a book to which we are all indebted” (T. S. Eliot), and “the most faithful X-ray ever taken of the ordinary human consciousness” (Edmund Wilson). Joyce himself said, “There is not one single serious line in [Ulysses].
2. THE GREAT GATSBY by F. Scott Fitzgerald
Set in the Jazz Age, The Great Gatsby tells the story of the mysterious millionaire Jay Gatsby, his decadent parties, and his love for the alluring Daisy Buchanan. Dismissed as “no more than a glorified anecdote, and not too probable at that” (The Chicago Tribune), The Great Gatsby is now considered a contender for “the Great American Novel.” Fitzgerald wanted to title the novel “Trimalchio in West Egg,” but both his wife and his editor preferred “The Great Gatsby.” Fitzgerald gave in, though he still thought that “the title is only fair, rather bad than good.”
3. A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce
Published in 1916, James Joyce’s semiautobiographical tale of his alter ego, Stephen Dedalus, is a coming-of-age story like no other. A bold, innovative experiment with both language and structure, the work has exerted a lasting influence on the contemporary novel; Alfred Kazin commented that “Joyce dissolved mechanism in literature as effectively as Einstein destroyed it in physics.” Reviewing the book in The New Republic, H. G. Wells wrote, “Like some of the best novels in the world it is the story of an education; it is by far the most living and convincing picture that exists of an Irish Catholic upbringing.”
4. LOLITA by Vladimir Nabokov
Lolita tells the story of middle-aged Humbert Humbert’s love for twelve-year-old Dolores Haze. The concept is troubling, but the novel defies any kind of label, though it has been heralded as a hilarious satire, a bitter tragedy, and even an allegory for U.S.-European relations. In Reading Lolita in Tehran, Azar Nafisi summarized the book as “hopeful, beautiful even, a defense not just of beauty but of life . . . Nabokov, through his portrayal of Humbert, has exposed all solipsists who take over other people’s lives.”
5. BRAVE NEW WORLD by Aldous Huxley
Though Brave New World is less famous than George Orwell’s 1984, it arguably presents a world that more closely resembles our own: a world of easy sex, readily available and mood-altering pharmaceuticals, information overload, and mass production. Juxtaposing Orwell’s and Huxley’s dystopias, the critic Neil Postman commented: “What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. . . . Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance.”
6. THE SOUND AND THE FURY by William Faulkner
Narrated by the Compson siblings—Benjy, a source of shame for his family due to his diminished mental capacity; brilliant and obsessive Quentin; and Jason, the cynic—as well as Dilsey, the powerful matriarch of their black servants, The Sound and the Fury is a tragedy of haunted lives. As each of these characters reflect on the fourth sibling, beautiful and free-spirited Caddy, Faulkner paints an indelible portrait of a family in disarray. While The Sound and the Fury was dismissed by its author as a “splendid failure,” it is now considered a masterpiece and played a crucial role in Faulkner being awarded the 1949 Nobel Prize in Literature.
7. CATCH-22 by Joseph Heller
This satirical novel follows U.S. Captain John Yossarian and his squadron of World War II fighters as they navigate the horrors and paradoxes of war. Based on American author Joseph Heller’s own wartime experiences, the novel explores the many facets of war and employs a unique narrative structure. Catch-22 is widely seen as one of the most significant American novels of the twentieth century. The New York Times called it “a dazzling performance that will outrage nearly as many readers as it delights.”
8. DARKNESS AT NOON by Arthur Koestler
Set in the midst of Stalin’s 1936–1938 purges—when Stalin executed as many as 1.75 million peasants, government officials, and Communist party members—Darkness at Noon is the story of a man named Rubashov, who is arrested in the middle of the night by the state’s secret police. The Party he has long served tortures him and demands he confess to crimes they know he has not committed. Darkness at Noon sold over 400,000 copies when it was published and its portrait of Communism was a major factor in the Communist Party’s defeat in France.
9. SONS AND LOVERS by D.H. Lawrence
This intensely autobiographical novel recounts the story of Paul Morel, a young artist growing to manhood in a British working-class family rife with conflict. The author’s vivid evocation of life in a Nottingham mining village in the years before the First World War and his depiction of the all-consuming nature of possessive love and sexual attraction make this one of Lawrence’s most powerful novels. The poet Philip Larkin said, “If Lawrence had been killed off after writing [Sons and Lovers], he’d still be England’s greatest novelist.”
10. THE GRAPES OF WRATH by John Steinbeck
Winner of the National Book Award and the Pulitzer Prize, this 1939 novel follows the Joad family as they leave the Oklahoma Dust Bowl and travel to California in search of work. A moving story about migration and abject poverty, The Grapes of Wrath is a candidate for the Great American Novel. Steinbeck himself claimed that he wanted the book “to put a tag of shame on the greedy bastards who are responsible for [the Great Depression and its effects].”
11. UNDER THE VOLCANO by Malcolm Lowry
November 2, 1938: It is the Day of the Dead, and Geoffrey Firmin, an alcoholic bureaucrat, is stumbling around the small Mexican town of Quauhnahuac in a last-ditch attempt to win his wife back. Set over the course of the day, Under the Volcano follows Firmin as he drinks wine, beer, mezcal, and tequila in a world that is as menacing and meaningless as it is exhilarating. Many publishers rejected this book but Lowry defended it as “a kind of symphony, or in another way as a kind of opera—or even a horse opera. It is hot music, a poem, a song, a tragedy, a comedy, a farce.”
12. THE WAY OF ALL FLESH by Samuel Butler
Written between 1873 and 1884 but not published until 1903, Butler’s novel about the fortunes of the Pontifex family is a thinly veiled account of his own upbringing and a scathingly funny depiction of the hypocrisy underlying nineteenth-century domestic life. George Bernard Shaw hailed the novel as “one of the summits of human achievement” and William Maxwell claimed that it was the one Victorian novel he would save if his house caught on fire.
13. 1984 by George Orwell
The most famous dystopian novel of all time, 1984 is the story of Winston Smith as he struggles to survive in the sinister world of Big Brother. This novel has so defined the twentieth century that many terms from it—Big Brother, doublethink, thought police—have seeped into popular culture. When it was first published in 1949, the novelist V. S. Pritchett commented: “I do not think I have ever read a novel more frightening and depressing; and yet, such are the originality, the suspense, the speed of writing and withering indignation that it is impossible to put the book down.”
14. I, Claudius by Robert Graves
A classic of historical fiction, this book is the fictionalized autobiography of the Roman Emperor Claudius, born partially deaf and afflicted with a limp, and his rise to power. Along the way, you see the inner workings of the First Family of Rome and the vicious, murderous in-fighting and poisonings that Claudius—considered too stupid, lame, and ugly to fear—observes. The book ends with Claudius’s ascension to emperor; Graves continues the saga in Claudius the God (also worth reading, though not on this list).
15. TO THE LIGHTHOUSE by Virginia Woolf
The Ramsays spend summers in their holiday home off the coast of Scotland, welcoming a motley assortment of guests into their warm family fold. But the First World War looms, and when it has passed, everything will be changed. Writer Arnold Bennett criticized the novel’s slight narrative: “A group of people plan to sail in a small boat to a lighthouse. In the end, some of them reach the lighthouse in a small boat. That is the externality of the plot.” But if the plot is superficially small, Woolf’s prose is infinitely expansive, capturing gorgeous, ephemeral moments of family joy and heartbreak.
16. AN AMERICAN TRAGEDY by Theodore Dreiser
Published in 1925, An American Tragedy is the story of the naive Clyde Griffiths and his desperate search for success. Dreiser based the story on a 1906 murder trial, and the resulting novel paints a damning portrait of early twentieth-century society. Over nine hundred pages long, this isn’t a quick read, but if you enjoy long studies of sexual obsession and ambition gone horribly wrong, this is the book for you.
17. THE HEART IS A LONELY HUNTER by Carson McCullers
Published in 1940, The Heart Is a Lonely Hunter follows a handful of outsiders in a small Georgia town: a young girl, a doctor, a deaf-mute, the owner of a diner, and an antagonistic wanderer. The novel was an overnight sensation and made Carson McCullers extremely famous. When it was first reviewed in The New York Times, Rose Feld wrote: “No matter what the age of its author, The Heart Is a Lonely Hunter would be a remarkable book. . . . When one reads that Carson McCullers is a girl of 22 it becomes more than that. . . . [McCullers] writes with a sweep and certainty that are overwhelming.”
18. SLAUGHTERHOUSE-FIVE by Kurt Vonnegut
An American classic, Slaughterhouse-Five is one of the world’s great antiwar books. Centering on the infamous firebombing of Dresden that Vonnegut, then a POW, himself survived, Slaughterhouse-Five includes time travel, a voyage to an alien planet, a love affair with a movie star, and an assassination in its vast scope. Despite these fantastical elements, Billy Pilgrim’s odyssey reflects the mythic journey of our own fractured lives. Michael Crichton, author of The Andromeda Strain and Jurassic Park, praised Slaughterhouse-Five as “beautifully done, fluid, smooth, and powerful.”
19. INVISIBLE MAN by Ralph Ellison
Invisible Man is one man’s story of how the world around him has decided that he is invisible, and therefore disposable. Moving from the unnamed hero’s high school days, to the campus of a Southern college and then to New York’s Harlem, the hero is sometimes befriended but more often deceived and betrayed by the duplicity of others. Winner of the 1953 National Book Award, and described by Saul Bellow as “a book of the very first order, a superb book,” Invisible Man is a bold classic whose take on race in America remains as searing today as when it was first published.
20. NATIVE SON by Richard Wright
The story of Bigger Thomas, a poor, twentysomething African-American man living in Chicago, Native Son unflinchingly portrays the damage poverty and racism can inflict. Bigger Thomas is a difficult, even unsympathetic character, but his experiences force the reader to confront the real cost of societal injustice. Loosely based on a series of “brick bat” murders in 1939, Native Son was an immediate bestseller, selling 250,000 copies within three weeks of its publication.
21. HENDERSON THE RAIN KING by Saul Bellow
Eugene Henderson is an American millionaire living off his inherited wealth. Dissatisfied with his life, he leaves his comfortable world behind and travels to Africa. In a fictional village, his prayers for rain are answered, transforming him into a messiah figure. Saul Bellow also wrote The Adventures of Augie March, Herzog, and Humboldt’s Gift, but Henderson the Rain King was his personal favorite.
22. APPOINTMENT IN SAMARRA by John O’Hara
In December 1930, just before Christmas, the Gibbsville, PA, social circuit is filled with parties and dances, rivers of liquor, and music playing late into the night. At the center of the social elite stand Julian and Caroline English, the envy of friends and strangers alike. But in one rash moment born inside a highball glass, Julian breaks with polite society and begins a rapid descent—the book takes place over thirty-six hours—toward self-destruction. A twentieth-century classic, Appointment in Samarra is the first and most widely read book by the writer Fran Leibowitz called “the real F. Scott Fitzgerald.”
23. U.S.A.(trilogy) by John Dos Passos
A collection of three novels—The 42nd Parallel, 1919, and The Big Money—this work by Dos Passos combines the stories of different characters with current events, small biographies of famous men, and stream-of-consciousness moments to create a portrait of the United States itself. A massive 1,300-page saga, U. S.A. was hailed by The Washington Post as “the most ambitious attempt by any American writer of fiction to contain this vast, heterogeneous and elusive nation.”
24. WINESBURG, OHIO by Sherwood Anderson
Sherwood Anderson's timeless cycle of loosely connected tales—in which a young reporter named George Willard probes the hopes, dreams, and fears of a small Midwestern town at the turn of the century—embraced a new frankness and realism that helped usher American literature into the modern age. “Here [is] a new order of short story,” said H. L. Mencken when Winesburg, Ohio was published in 1919. “It is so vivid, so full of insight, so shiningly life-like and glowing, that the book is lifted into a category all its own.”
25. A PASSAGE TO INDIA by E.M. Forster
In E. M. Forster’s epic yet intimate 1924 novel, his last to be written and published in a long lifetime, a day trip to explore the enigmatic Marabar Caves explodes into accusations of sexual assault. Forster’s beautifully rendered characters illuminate the tensions of British-occupied India and make A Passage to India a work not only of historical impact but of deep humanity. Of Forster’s masterworks, including A Room with a View, Howards End, and the long-suppressed Maurice, A Passage to India may well be the richest and most ambitious. The Guardian recently described it as “a strangely timeless achievement . . . eerily prescient on the subject of empire.”
26. THE WINGS OF THE DOVE by Henry James
Published in 1902 and set amid the splendor of fashionable London drawing rooms and gilded Venetian palazzos, The Wings of the Dove concerns a pair of lovers who conspire to obtain the fortune of Milly, a doomed American heiress. But the naïve young woman becomes both their victim and their redeemer in James's meticulously designed drama of treachery and self-betrayal. Writing in 1959, James Thurber described the book as “a kind of femme fatale of literature . . . a masterpiece.”
27. THE AMBASSADORS by Henry James
Henry James’s 1903 novel, written at the peak of “The Master’s” powers, follows the trip of Lewis Lambert Strether to Europe in pursuit of Chad, his widowed fiancée’s supposedly wayward son. Charged with bringing back the young man to the family business, Lewis soon encounters unexpected complications and a world of subtlety previously unknown to him. A finely drawn portrait of a man’s awakening to life, The Ambassadors is a timeless masterpiece of James’s late period and the book that James himself considered his best.
28. TENDER IS THE NIGHT by F. Scott Fitzgerald
Scott Fitzgerald’s final completed novel, Tender Is the Night, follows the charming American couple Dick and Nicole Diver—loosely based on real-life 1920s socialites Gerald and Sara Murphy—as they cavort around the French Riviera. One summer, Dick and Nicole befriend a young American actress named Rosemary Hoyt, but their idyllic life is threatened when the truth behind Dick and Nicole's marriage is revealed. Fitzgerald claimed that this was his favorite of all his works, writing in a friend’s copy, “If you liked The Great Gatsby, for God's sake read this. Gatsby was a tour de force but this is a confession of faith.”
29. THE STUDS LONIGAN TRILOGY by James T. Farrell
Written during the Great Depression, these three novels (Young Lonigan; The Young Manhood of Studs Lonigan; Judgment Day) follow their eponymous hero as he roams through raw, energetic, 1930s-era Chicago, complete with the American Nazi Party headquarters, the White Sox, and the stockyards. The first volume, Young Lonigan, was considered so incendiary when it was first published that it was issued in a wrapper identifying it as a “clinical document” to be read only by social workers and psychologists.
30. THE GOOD SOLDIER by Ford Madox Ford
The Ashburnhams and the Dowells are wealthy, charming, and refined. They have been close friends for years. Their lives are apparently perfect. But in this short novel set just before World War I, nothing is what it seems. Told by an unreliable narrator, with a nonlinear plot, this portrait of Edwardian society is, says Jane Smiley, “a masterpiece, almost a perfect novel” that depicts “the world of Jane Austen a hundred years on, depopulated, lonely, and dark.”
31. ANIMAL FARM by George Orwell
This short novel, set on an English farm, is an allegory about the Soviet Union and its transition from an idealistic workers’ revolution to a brutal dictatorship. The young pigs Snowball and Napoleon lead a revolution, ousting the farmer in favor of animal self-rule. Their new regime is based on one core principle: “All animals are equal.” Complete with a wise donkey, rebellious hens, and suspiciously urbane pigs, this book is considered one of the best satires of all time.
32. THE GOLDEN BOWL by Henry James
The Golden Bowl is the story of the rich American Adam Verver, and his daughter, Maggie. The two fall in love—Adam with Maggie’s friend Charlotte, and Maggie with Prince Amerigo, an impoverished Italian prince—unaware that Charlotte and Prince Amerigo are former lovers. The story is one of passion, betrayal, and manipulation, told in James’s signature elaborate style. Gore Vidal wrote that The Golden Bowl “is a story radiant with the art of a master fulfilled; and dark with the profound knowledge of how force [in this case, money] is motor to all our lives.”
33. SISTER CARRIE by Theodore Dreiser
Sister Carrie transformed the conventional “fallen woman” story into a bold and truly innovative piece of fiction when it appeared in 1900. Naïve young Caroline Meeber, a small-town girl seduced by the lure of the modern city, becomes the mistress of a traveling salesman and then of a saloon manager, who elopes with her to New York. Both its subject matter and Dreiser’s unsparing, nonjudgmental approach made Sister Carrie a controversial book in its time, and the work retains the power to shock readers today.
34. A HANDFUL OF DUST by Evelyn Waugh
The title is a reference to a line from T. S. Eliot’s “The Wasteland” (“I will show you fear in a handful of dust”) in this satire about a disaffected country squire who travels to the Brazilian jungle in order to find a meaningful life. In 2010 Time magazine named A Handful of Dust to its list of “All-Time 100 Best Novels” and wrote: “If this is Waugh at his bleakest, it’s also Waugh at his deepest, most poisonously funny.”
35. AS I LAY DYING by William Faulkner
In this harrowing stream-of-consciousness novel, Faulkner tells the story of the Bundren family’s odyssey across the Mississippi countryside to bury Addie, their wife and mother. Narrated in turn by each of the family members—including Addie herself from beyond the grave—As I Lay Dying is a complex chorus of familial love and angst. Faulkner said of the novel that he “set out deliberately to write a tour-de-force,” and this family saga, which he wrote in just six weeks, certainly fits the bill.
36. ALL THE KING’S MEN by Robert Penn Warren
Winner of the 1947 Pulitzer Prize, All the King’s Men is the story of the populist politician Willie Stark, as narrated by the reporter Jack Burden. Burden watches as Willie Stark rises to power, changing as he does from a naïve idealist to a charismatic, powerful, and corrupt state governor. Most people assume that Willie Stark was based on real-life politician Huey Long, a controversial senator who was assassinated in 1935, but Warren always disavowed any resemblance between the two.
37. THE BRIDGE OF SAN LUIS REY by Thornton Wilder
Winner of the 1928 Pulitzer Prize, The Bridge of San Luis Rey takes a single event—a bridge collapsing on July 20, 1714—and expands it into a meditation on life and faith. A monk named Brother Juniper witnesses the collapse and, curious about why God would allow such a tragedy, decides to compile a book about the five people who died in an attempt to understand God’s purpose. A novella that carries the emotional weight of a much longer book, The Bridge of San Luis Rey was a bestseller when it was published and has never been out of print.
38. HOWARDS END by E.M. Forster
Howards End, a story about who would inhabit a charming old country house (and who, in a larger sense, would inherit England), was the novel that earned E. M. Forster recognition as a major writer. Centered around the conflict between the wealthy, materialistic Wilcox family and the cultured, idealistic Schlegel sisters—and informed by Forster’s famous dictum “Only connect”—it is full of tenderness. Zadie Smith’s novel On Beauty is an homage to Howard’s End, with aspects of the plot and various characters drawn straight from Forster’s original.
39. GO TELL IT ON THE MOUNTAIN by James Baldwin
Go Tell It on the Mountain, published in 1953, is Baldwin’s first major work, a novel that has established itself as an American classic. With lyrical precision, psychological directness, and a rage that is at once unrelenting and compassionate, Baldwin chronicles one day in the life of a fourteen-year-old boy. Baldwin’s rendering of his protagonist’s spiritual, sexual, and moral struggle of self-invention opened new possibilities in the American language and in the way Americans understand themselves. “Mountain,” Baldwin said, “is the book I had to write if I was ever going to write anything else.”
40. THE HEART OF THE MATTER by Graham Greene
Major Henry Scobie is an assistant police commissioner for a West African colony. Disillusioned but compassionate, he leads a quiet existence married to a woman he does not love. But when a new police inspector and a young widow arrive in town, the resulting love triangles and dilemmas will up-end his life. Generally considered Greene’s masterpiece, The Heart of the Matter was an immediate bestseller, selling 300,000 copies in the UK alone. In 1948, The New York Times raved: “From first page to last, this record of one man's breakdown on a heat-drugged fever-coast makes its point as a crystal-clear allegory—and as an engrossing novel.”
41. LORD OF THE FLIES by William Golding
A group of British schoolboys are marooned on an island with no grown-ups. At first, they enjoy their freedom. But the realization that there are no rules, and the ensuing struggle for order and dominance, transforms this book into a brutal story about human nature. Written while Golding was teaching at a boys’ grammar school, The Lord of the Flies was famously dismissed by an editor as an “absurd and uninteresting fantasy . . . Rubbish & dull. Pointless.” However, a younger editor at the same publishing house disagreed, and the book was published in 1954. Since then it has sold over 10 million copies.
42. DELIVERANCE by James Dickey
Famously made into a 1972 film with Burt Reynolds and Jon Voight, this story of a weekend canoe trip gone horribly, horribly wrong won critical acclaim when it was first published. The New York Times Book Review praised it as “a novel that will curl your toes . . . Dickey's canoe rides to the limits of dramatic tension,” The New Yorker called it “a brilliant and breathtaking adventure,” and The New Republic called it “a tour de force.” It is impossible to put down and terrifying to read.
43. A DANCE TO THE MUSIC OF TIME (series) by Anthony Powell
Inspired by the sixteenth-century painting by Nicolas Poussin, this series of novels chronicles one man’s life. Published from 1951 to 1975, these novels were critical darlings, with Arthur Schlesinger Jr. proclaiming them “an unsurpassed picture, at once gay and melancholy, of social and artistic life in Britain between the wars.” An excellent book for fans of Evelyn Waugh or Edward St. Aubyn’s “Patrick Melrose” novels.
44. POINT COUNTER POINT by Aldous Huxley
Point Counter Point follows a large cast of characters, many based on people Huxley actually knew, as they argue and sleep with one another. The title references musical counterpoint, a compositional technique that relies on melodic interaction to make independent voices or chords sound harmonic together—and, similarly, Huxley attempted to create a harmonic whole with independent characters, instead of a unifying plot. The storylines are linked but not always easy to follow; still, it is a humorous if dry satire of 1920s intellectual life.
45. THE SUN ALSO RISES by Ernest Hemingway
Perhaps the ultimate novel of the “Lost Generation,” The Sun Also Rises is the story of WWI veteran Jake Barnes, the beautiful and seductive Lady Brett Ashley, and the raucous café society of 1920s Paris. Written in Hemingway’s signature terse style, and populated by characters based on people Hemingway knew, the book came out to mixed reviews. Some critics found the characters unlikable, and older critics especially disliked Hemingway’s spare prose. Nevertheless, the book was a bestseller, making Hemingway famous, and it inspired a generation of readers and writers.
46. THE SECRET AGENT by Joseph Conrad
One of Joseph Conrad's most accessible novels, The Secret Agent is the chilling story of a terrorist plot. Based loosely on the failed Greenwich bombing of 1894, this short novel follows Adolf Verloc, who appears to be a successful businessman, happily married and living in London, but is in fact an anarchist spy for an unnamed country. The New York Times called The Secret Agent “the most brilliant novelistic study of terrorism as viewed from the blood-spattered outside.”
47. NOSTROMO by Joseph Conrad
Originally published in 1904, Nostromo is considered Conrad's supreme achievement. Set in the imaginary South American republic of Costaguana, the novel reveals the effects of unbridled greed and imperialist interests on many different lives. Although each character's potential for good is ultimately corrupted, Nostromo underscores Conrad’s belief in fidelity, moral discipline, and the need for human communion. The author himself described the book as “an intense creative effort on what I suppose will remain my largest canvas.”
48. THE RAINBOW by D.H. Lawrence
The Rainbow is the epic story of three generations of the Brangwens, a Midlands family. A visionary novel, it explores the complex sexual and psychological relationships between men and women in an increasingly industrialized world. Originally published in England in 1915, The Rainbow was the subject of an obscenity trial, as a result of which over a thousand copies were burned. Although it was available in the United States, it would be banned in England for many years.
49. WOMEN IN LOVE by D.H. Lawrence
A sequel to The Rainbow, Women in Love is D. H. Lawrence’s magnificent exploration of human sexuality in the days surrounding World War I. The story of two sisters, Ursula and Gudrun Brangwen, Women in Love illuminates their characters and their relationships with the men that they love. The character of Ursula was based on Lawrence’s wife, Frieda, and Gudrun was loosely based on the writer Katherine Mansfield.
50. TROPIC OF CANCER by Henry Miller
Often described as lewd, outrageous, and pornographic, Tropic of Cancer is the story of Henry Miller, a writer living in Paris. Blurring the line between fact and fiction, this novel was banned in the United States until an obscenity trial in 1961. The trial went all the way up to the Supreme Court, which overturned a lower court’s ruling in 1964, allowing the book to be published in the United States. Norman Mailer called Tropic of Cancer “one of the ten or twenty great novels of our century, a revolution in consciousness equal to The Sun Also Rises.”
51. THE NAKED AND THE DEAD by Norman Mailer
Based on Mailer’s own experiences during World War II, The Naked and the Dead is the story of a U.S. platoon in the Philippines. Mailer’s decision to use a range of characters instead of a single hero was inspired by Leo Tolstoy; Mailer used to read parts of Anna Karenina every morning, before he worked on his own writing. Perhaps as a result, he felt that The Naked and the Dead was “the greatest war novel since War and Peace.”
52. PORTNOY’S COMPLAINT by Philip Roth
A long monologue delivered by Alexander Portnoy to his psychologist, many U.S. libraries banned the book because of its unbelievably frank and incredibly detailed accounts of the female form, masturbation, and fellatio (among other things). The literary critic Irving Howe dismissed the book as “vulgar” and claimed that “the cruelest thing anyone can do with Portnoy’s Complaint is to read it twice.” But the novel was a literary sensation, selling millions of copies and making Philip Roth a household name overnight.
53. PALE FIRE by Vladimir Nabokov
Pale Fire is a stylistic masterpiece in true Nabokovian fashion: a 999-line poem by reclusive genius John Shade with an adoring foreword and commentary by Shade’s self-styled Dr. Boswell, Charles Kinbote, adding up to a satiric novel of literature and intrigue. Nabokov loved wordplay, and this novel shows his skills at their finest. While Time initially dismissed Pale Fire as “an exercise in agility – or perhaps bewilderment,” this did not prevent the magazine from naming it one of their top 100 English-language novels, and it remains one of Nabokov’s most popular works to date.
54. LIGHT IN AUGUST by William Faulkner
Light in August, a novel about hopeful perseverance in the face of mortality, features some of Faulkner’s most memorable characters: guileless, dauntless Lena Grove, in search of the father of her unborn child; Reverend Gail Hightower, who is plagued by visions of Confederate horsemen; and Joe Christmas, a desperate, enigmatic drifter consumed by his mixed ancestry. The book was originally called Dark House, but Faulkner changed it to Light in August, based on a comment that his wife made.
55. ON THE ROAD by Jack Kerouac
A loosely fictionalized version of Kerouac’s road trips with Neal Cassady (Dean Moriarty, in the novel), this novel’s tone captures the wild rhythm of life on the road. Jack Kerouac described On the Road as “a journey through post-Whitman America to FIND that America and to FIND the inherent goodness in American man. It was really a story about 2 Catholic buddies roaming the country in search of God. And we found him.” When Kerouac delivered his 120-foot-long scroll of a manuscript to his publisher, Robert Giroux, he supposedly unfurled the scroll and “tossed it right across the office like a piece of celebration confetti.”
56. THE MALTESE FALCON by Dashiell Hammett
When Sam Spade is hired by the sultry, gorgeous Miss Wonderly to track down her little sister, he does not realize that he’s been brought into the search for an incredibly valuable figurine of a falcon. But as events unfold (and the body count rises), it becomes clear that Spade can trust no one—least of all his beautiful client. The Maltese Falcon is the detective novel that introduced the archetype of the world-weary, cynical private detective to a wide audience, and the 1941 movie based on the novel (starring Humphrey Bogart and Mary Astor) is considered the first major film noir.
57. PARADE’S END by Ford Madox Ford
Set before, during, and slightly after World War I, Parade’s End is the story of Christopher Tietjens, whose decency is consistently taken advantage of by his beautiful and devious wife Sylvia. When Tietjens meets Valentine Wannop, a suffragette with an independent spirit, the stage is set for a love triangle that touches on class, money, and a changing world.
58. THE AGE OF INNOCENCE by Edith Wharton
Newland Archer saw little to envy in the marriages of his friends, yet he prided himself that in May Welland he had found the perfect woman—tender and impressionable, with equal purity of mind and manners. Enter Countess Olenska, a woman of quick wit sharpened by experience, determined to find freedom in divorce. Against his judgment, Newland is drawn to the socially ostracized Ellen Olenska. He knows that he can expect stability and comfort in a marriage with sweet-tempered May. But what new worlds could he discover with Ellen? Written with elegance and wry precision, this is a Pulitzer Prize-winning masterpiece and a tragic love story.
59. ZULEIKA DOBSON by Max Beerbohm
Written in 1911, just before World War I, the various absurdities of plot and all of the characters are best seen as a satire of Downton Abbey–era society, class, and wealth. A beautiful young woman goes to Oxford and meets the handsome, rich, and snobbish Duke of Dorset. He proposes, and Zuleika, believing that she can only love someone who doesn’t love her, refuses him. More men fall in love with Zuleika, and chaos is unleashed in suitably ridiculous, Oscar Wilde–ish fashion. The Guardian called Zuleika Dobson “the finest, and darkest kind of satire: as intoxicating as champagne, as addictive as morphine.”
60. THE MOVIEGOER by Walker Percy
Binx Bolling is a young Korean War veteran, adrift in his own life. He goes to movies and has a series of meaningless flings with his secretaries. But in this laconic novel, this premise expands to become a meditation on emotion and self-examination. Walker Percy won the National Book Award for The Moviegoer, beating the following nominees, among others: Catch-22 by Joseph Heller, Franny and Zooey by J. D. Salinger, and Revolutionary Road by Richard Yates.
61. DEATH COMES FOR THE ARCHBISHOP by Willa Cather
Based on the life of Jean-Baptiste Lamy, the first archbishop of the (newly created) diocese of New Mexico, Death Comes for the Archbishop portrays the clash between Old World, New World, and Native American culture. Cather’s love for American land shines through the beautiful prose as the reader moves from scene to scene, following hero Jean Marie Latour as he wrestles with corruption and the requirements of his mission.
62. FROM HERE TO ETERNITY by James Jones
Diamond Head, Hawaii, 1941: Pvt. Robert E. Lee Prewitt is a champion welterweight and a fine bugler. But when he refuses to join the company's boxing team, he gets “the treatment” that may break him or kill him. First Sgt. Milton Anthony Warden knows how to soldier better than almost anyone, yet he’s risking his career to have an affair with the commanding officer's wife. In this magnificent but brutal classic of a soldier’s life, James Jones portrays the courage, violence, and passions of men and women in the most important American novel to come out of World War II, a masterpiece that captures as no other the honor and savagery of men.
63. THE WAPSHOT CHRONICLE by John Cheever
Winner of the 1958 National Book Award, The Wapshot Chronicle is the story of Moses and Coverly Wapshot, two brothers growing up in the fictional New England town of St. Botolphs, Massachusetts. Both brothers wrestle with the lessons and expectations of their father, and both struggle to create their own identity away from St. Botolphs. A story of eccentric, warm characters in an archetypal Massachusetts fishing community, The Wapshot Chronicle established John Cheever as a novelist (he had previously focused on short stories) and a humorist.
64. THE CATCHER IN THE RYE by J.D. Salinger
The hero-narrator of The Catcher in the Rye is Holden Caulfield, a sixteen-year-old who leaves his prep school in Pennsylvania and goes underground in New York City for three days. As we spend time in his head, we see him experience the pain and pleasure of adolescence, and the particular ache of finding one’s place in the world. Holden Caulfield made his first appearance in the short story “Slight Rebellion off Madison,” which was published in The New Yorker in 1946. Among the book’s many fans is Bill Gates, who proclaimed it his favorite read.
65. A CLOCKWORK ORANGE by Anthony Burgess
In A Clockwork Orange, Anthony Burgess depicts a dystopian future where gangs of teenage criminals rule the streets; among them a fifteen-year-old “droog” named Alex. Narrated in a brutal invented slang that brilliantly renders his and his friends’ social pathology, Alex’s story is a frightening fable about good and evil, and the meaning of human freedom. Burgess has offered several explanations for the meaning of the novel’s mysterious title—from East London Cockney slang to a pun on the Malay word “orang,” meaning “man,” to an oxymoronic juxtaposition of the mechanical and the organic.
66. OF HUMAN BONDAGE by W. Somerset Maugham
Originally published in 1915, this story of infatuation begins with Philip Carey, a sensitive boy raised by a religious aunt and uncle. Philip yearns for adventure, and at eighteen leaves home to pursue a career as an artist in Paris. When he returns to London to study medicine, he meets the androgynous but alluring Mildred and begins a love affair that will change the course of his life. “Here is a novel of the utmost importance,” wrote Theodore Dreiser on the book's publication. “One feels as though one were sitting before a splendid Shiraz of priceless texture and intricate weave, admiring, feeling, responding sensually to its colors and tones.”
67. HEART OF DARKNESS by Joseph Conrad
Originally published in 1902, and written several years after Conrad’s grueling sojourn in the Belgian Congo, the novel tells the story of Marlow, a seaman who undertakes his own journey into the African jungle to find the tormented white trader Kurtz. Rich in irony and spellbinding prose, Heart of Darkness is a complex meditation on colonialism, evil, and the thin line between civilization and barbarity. The basis for Francis Ford Coppola’s movie Apocalypse Now, Heart of Darkness remains one of the most searing and relevant books of the twentieth century.
68. MAIN STREET by Sinclair Lewis
When Carol Milford marries Will Kennicott, she moves to his small hometown of Gopher Prairie but is quickly dismayed by the backwardness of her new surroundings. She endeavors to reform the town and the people around her in this satire about the rapid modernization of early twentieth-century America. Lewis Mumford observed: “Young people had grown up in this environment, suffocated, stultified, helpless, but unable to find any reason for their spiritual discomfort. Mr. Lewis released them.”
69. THE HOUSE OF MIRTH by Edith Wharton
Edith Wharton never wrote a more compelling or tragic heroine than the beautiful Lily Bart, whose attempts to navigate turn-of-the-twentieth-century society founder on her lack of the only commodity that matters: money. As Lily is brought low by circumstance, Wharton brings to life the alluring, dangerous, and stifling world of Old New York. Published in 1905, The House of Mirth is the first of Edith Wharton’s major novels—Ethan Frome, The Custom of the Country, and The Age of Innocence and it remains a memorably vibrant, and still wrenchingly heartbreaking, masterpiece.
70. THE ALEXANDRIA QUARTET by Lawrence Durrell
Set in Alexandria, Egypt, these interlinked novels explore the city over the 1930s and 1940s. Justine was published in 1957, Balthazar and Mountolive in 1958, and Clea in 1960. The novels follow the same characters, but from different perspectives and different times—a tactic that Durell claimed was inspired by Einstein’s theory of relativity (which gives you some idea of his ambitions for this tetralogy).
71. A HIGH WIND IN JAMAICA by Richard Hughes
Set in the nineteenth century, this novel revolves around six children who are seized by pirates on a voyage from Jamaica to England. What begins as an adventure becomes a darker story about the childrens’ naïve lack of morality. In a 1969 interview with The New Yorker, Hughes claimed he was inspired by an old lady’s description of being captured by surprisingly considerate pirates as a child. Hughes commented, “This was a new idea—that pirates were sentimental about children. I began to wonder what would happen if a group of pirates were suddenly landed with a group of children. In the ensuing conflict, which side would go under?”
72. A HOUSE FOR MR BISWAS by V.S. Naipaul
Mohun Biswas is born with an extra finger and inadvertently causes his own father’s death. Affable but unlucky, Mr. Biswas grows up, gets a job, and inadvertently proposes to a woman (whose family accepts on her behalf). What he really wants, though, is a home of his own. The novel’s premise is simple, but the language is rich, textured, and humorous. Naipaul, who would win the Nobel Prize for Literature in 2001, confessed: “Of all my books A House for Mr. Biswas is the one closest to me. It is the most personal, created out of what I saw and felt as a child. It also contains, I believe, some of my funniest writing.”
73. THE DAY OF THE LOCUST by Nathanael West
A panoramic account of the desperate ambitions, and equally desperate miseries, of an array of Los Angeles denizens at the height of the Hollywood studio era, this 1939 novel is as unsparing as it is compulsively readable. With a cast of characters including an avaricious, only marginally talented starlet, an innocuous-seeming retiree under whose dull surface violence lurks, and the painter whose vision of a “Burning of Los Angeles” canvas imagines the apocalypse of the American Dream, The Day of the Locust is a grisly masterpiece—a “nightmare of lust and violence, of distortions and cruel comedy,” as The New York Times described it.
74. A FAREWELL TO ARMS by Ernest Hemingway
Frederic Henry is an American paramedic in the Italian Army during World War I. He meets Catherine Barkley, a nurse, and they fall in love. Loosely based on Hemingway’s relationship with Red Cross nurse Agnes von Kurowsky, A Farewell to Arms was censored for its expletives and frank descriptions of Frederic and Catherine’s romance. Fun fact: When Ernest Hemingway sent a draft of A Farewell to Arms to F. Scott Fitzgerald, Fitzgerald wrote back with ten pages of suggestions and possible edits. Hemingway’s response? “Kiss my ass.”
75. SCOOP by Evelyn Waugh
A send-up of tabloid journalism in the 1930s, Waugh drew inspiration for Scoop from his time working as a special correspondent for the Daily Mail. In the novel, the two biggest newspapers, The Daily Beast and The Daily Brute, report on the Italian invasion of Ethiopia. As the newspapers (and their megalomaniacal owners) vie for supremacy, they create news as needed and report the war as they see fit. Even The Atlantic admitted, “There is perhaps no more uproarious burlesque of the workings of the press.” This is a wickedly funny novel that feels all too relevant in the age of Internet journalism.
76. THE PRIME OF MISS JEAN BRODIE by Muriel Spark
“Give me a girl at an impressionable age,” the title character boasts, “and she is mine for life.” The Prime of Miss Jean Brodie tells the story of a glamorous, unconventional schoolteacher and her favorite students, who worship but ultimately betray her. Upon its 1961 publication, The Prime of Miss Jean Brodie, which is frank in its exploration of sexuality, was deemed “not read-aloudable” by the audiobook industry, a code for “too X-rated.”
77. FINNEGANS WAKE by James Joyce
When James Joyce finished writing Ulysses—his long, complicated masterpiece about one day in the life of Dublin—he decided to write Finnegans Wake: a long, complicated novel about one night in the life of Dublin. A nonlinear dream narrative, the first sentence of Finnegans Wake reads: “riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodious vicus of recirculation back to Howth Castle and Environs.” The book defies summary, though many critics and scholars have tried. Still, Joyce maintained that Finnegans Wake made sense—he told his biographer that he could “justify every line of this book.”
78. KIM by Rudyard Kipling
Kim is the tale of an Irish orphan raised as an Indian vagabond on the rough streets of colonial Lahore: a world of high adventure, mystic quests, and secret games of espionage played out between the Russians and the British in the mountain passages of Asia. Kim is torn between his allegiance to the ascetic lama, who becomes his beloved mentor, and the temptations of those who want to recruit him as a spy in the “great game” of imperial conflict. In a series of thrilling escapades, he crisscrosses India on missions both spiritual and military before the two forces in his life converge in a dramatic climax in the high Himalayas.
79. A ROOM WITH A VIEW by E.M. Forster
Published in 1908 to both critical and popular acclaim, A Room with a View is a whimsical comedy of manners that owes more to Jane Austen than perhaps any other of Forster’s works. The central character is a muddled young girl named Lucy Honeychurch, who runs away from the man who stirs her emotions, remaining engaged to a rich snob. Forster considered it his “nicest” novel, and today it remains probably his most well liked. Its moral is utterly simple: Throw away your etiquette book and listen to your heart.
80. BRIDESHEAD REVISITED by Evelyn Waugh
In post–World War I England, a young middle-class man is infatuated with an aristocratic family and their glittering but decaying way of life, particularly the family’s flamboyant younger son and beautiful older daughter. There are many autobiographical facts in Waugh’s life that are tantalizingly close to elements of Brideshead, but the novel opens with this author’s note: “I am not I; thou art not he or she; they are not they.”
81. THE ADVENTURES OF AUGIE MARCH by Saul Bellow
“I am an American, Chicago born, and go at things as I have taught myself, free-style, and will make the record in my own way: first to knock, first admitted.” So begins The Adventures of Augie March, a modern picaresque (a genre of literature that follows a loveable rogue through a series of misadventures) that won the 1954 National Book Award is considered a contender for the Great American Novel Apparently the novel was very easy to write—Saul claimed that “the book just came to me. All I had to do was be there with buckets to catch it.”
82. ANGLE OF REPOSE by Wallace Stegner
Winner of the Pulitzer Prize when it was published in 1971, Wallace Stegner’s American classic centers on Lyman Ward, a historian who relates a fictionalized biography of his pioneer grandparents. Through a combination of research, memory, and exaggeration, Ward voices ideas concerning the relationship between history and the present, art and life, parents and children, husbands and wives. Set in many parts of the West, Angle of Repose is a story of discovery—personal, historical, and geographical—that endures as Wallace Stegner's master
83. A BEND IN THE RIVER by V.S. Naipaul
First published in 1979, A Bend in the River is a profound and richly observed novel of postcolonial Africa. Salim, a young Indian man, moves to a town on a bend in the river of a recently independent nation. As Salim strives to establish his business, he comes to be closely involved with the fluid and dangerous politics of the newly created state, the remnants of the old regime clashing inevitably with the new.
84. THE DEATH OF THE HEART by Elizabeth Bowen
Portia is sixteen, recently orphaned, and living in London with her brother and Anna, his fashionable but unfriendly wife. Then she meets Eddie, a young man and a friend of Anna’s; the novel follows Portia as she discovers the delights of first love and the sorrow of heartbreak. Bowen is often compared to Jane Austen—she skewers drawing-room society with similarly exquisite writing and explores the intricacies of the human heart with the same sharp-eyed wisdom. John Banville, winner of the Booker Prize, has stated: “Had Elizabeth Bowen been a man she would be recognized as one of the finest novelists of the twentieth century.”
85. LORD JIM by Joseph Conrad
Lord Jim is the story of Jim, a sailor who abandons a sinking ship and its passengers to near-certain death; but, as with any Conrad novel, this novel only loosely captures this startling masterpiece. Conrad, who also wrote The Heart of Darkness, Nostromo, and The Secret Agent (all of which appear on the Top 100), is regarded as one of the greatest writers to write in English, despite it being his third language. His stories portray the weight of outside forces—globalism, racism, colonialism—as they compress and constrain individuals, in prose that is like liquid gold.
86. RAGTIME by E.L. Doctorow
Ragtime opens in 1906 in New Rochelle, New York, at the home of an affluent American family. One lazy Sunday afternoon, the famous escape artist Harry Houdini swerves his car into a telephone pole outside their house. And almost magically, the line between fantasy and historical fact, between real and imaginary characters, disappears. Henry Ford, Emma Goldman, J. P. Morgan, Evelyn Nesbit, Sigmund Freud, and Emiliano Zapata slip in and out of the tale, crossing paths with Doctorow’s imagined family and other fictional characters. The New Yorker called Ragtime “an extraordinarily deft, lyrical, rich novel that catches the spirit of this country.”
87. THE OLD WIVES’ TALE by Arnold Bennett
First published in 1908, The Old Wives’ Tale tells the story of the Baines sisters—shy, retiring Constance and defiant, romantic Sophia—over the course of nearly half a century. Bennett traces the sisters’ lives from childhood during the mid-Victorian era, through their married lives, to the modern industrial age, when they are reunited as old women. The setting moves from the Five Towns of Staffordshire to exotic and cosmopolitan Paris, while the action moves from the subdued domestic routine of the Baines household to the siege of Paris during the Franco-Prussian War.
88. THE CALL OF THE WILD by Jack London
Buck, a dog stolen from his home and sold to become a sled dog during the Klondike Gold Rush of the 1890s, is the central character of this classic adventure novel. Faced with new challenges and an unforgiving environment, Buck is forced to learn the harsh rules of the wild. A novel of survival, loyalty, and the realities of nature, The Call of the Wild is “a story well and truly told” (E. L. Doctorow). Jack London lived in the Klondike for almost a year, gaining inspiration for the story that would become one of his most popular.
89. LOVING by Henry Green
Set in an Irish country house during World War II, Loving is a literary version of Gosford Park. The Tennants are an aristocratic family, and Eldon, their loyal butler, manages the household staff. But the seemingly calm appearance of the Tennants and their staff masks the relationships, insecurities, and rivalries roiling beneath the surface; meanwhile, the country is at war, bombarded and bracing for a German invasion. In 2013, the Los Angeles Review of Books declared: “No English novel of the 1940s has better stood the test of time.”
90. MIDNIGHT’S CHILDREN by Salman Rushdie
Saleem Sinai is born at the stroke of midnight on August 15, 1947, the very moment of India’s independence. Greeted by fireworks displays, cheering crowds, and Prime Minister Nehru himself, Saleem grows up to learn that his every act is mirrored and magnified in events that sway the course of national affairs; his health and well-being are inextricably bound to those of his nation; and, most remarkably, his telepathic powers link him with India’s 1,000 other “midnight’s children.” Midnight’s Children won the 1981 Booker Prize and the “Booker of Bookers” in 1993, when it was voted the most beloved novel to have ever won the Booker.
91. TOBACCO ROAD by Erskine Caldwell
Set in Georgia during the Great Depression, Tobacco Road follows the Lesters, a family of poor white sharecroppers. Caldwell’s blunt, grotestque portrayal of the Lesters infuriated Southern readers, but the novel has sold over 10 million copies since it was published in 1932. The New York Times critic Dwight Garner wrote of the novel: “You can’t stop turning the pages, because you want to see how much further your jaw can drop. . . . The pulpiest—and arguably the most unforgettable—Southern novel you’ll ever read.”
92. IRONWEED by William Kennedy
Francis Phelan is a former basketball player, now grave digger, living in Albany. An alcoholic who accidentally killed his son many years ago, Phelan now wanders around town, occasionally encountering the ghosts of his son and other people he killed. Ironweed won the Pulitzer Prize for Fiction and the National Book Critics Circle Award in 1984, despite being rejected by thirteen publishing houses.
93. THE MAGUS by John Fowles
The Magus is a genre-bending story about a young Englishman drawn into the manipulative psychological games of a wealthy recluse. The novel was widely praised when it was published in 1966; in perhaps the most effusive review of all time, The New York Times called The Magus “a pyrotechnical extravaganza, a wild, hilarious charade, a dynamo of suspense and horror, a profoundly serious probing into the nature of moral consciousness, a dizzying, electrifying chase through the labyrinth of the soul, an allegorical romance, a sophisticated account of modern love, a ghost story that will send shivers racing down the spine.”
94. WIDE SARGASSO SEA by Jean Rhys
In this “beautiful and subversive” novel (The Paris Review), Rhys gives a backstory to Bertha Mason, first wife of Edward Rochester and the “insuperable impediment” to marriage between Jane Eyre and Mr. Rochester. In Rhys’s telling, Bertha is a lively and inquisitive Creole heiress, growing up in the unstable and racially charged environment of the West Indies. Her marriage to an unnamed Englishman, and her forced move to chilly England, heightens her unhappiness. If you have read Jane Eyre, you know how the story ends—but Rhys’s interpretation will transform your understanding of the classic, too.
95. UNDER THE NET by Iris Murdoch
Under the Net catalogues the comic trials and tribulations of Jack Donaghue, an unsuccessful writer and shameless mooch, as he attempts to become a successful writer. Iris Murdoch was a philosopher at St. Anne’s College, Oxford whose work on free will and choice shaped twentieth-century moral philosophy. Her novels, however, are intellectually stimulating and easy to read, in part because of Murdoch’s belief that the ideal reader was “someone who likes a jolly good yarn and enjoys thinking about the book as well, about the moral issues.”
96. SOPHIE’S CHOICE by William Styron
Three stories are told in Styron’s National Book Award–winning novel: a young Southerner journeys to New York, eager to become a writer; a turbulent love-hate affair between Nathan, a brilliant Jew, and Sophie, a beautiful Polish woman who survived internment at Auschwitz; and of an awful wound in Sophie’s past that impels both her and Nathan toward destruction. The Washington Post called it “Styron’s most impressive performance. . . . It belongs on that small shelf reserved for American masterpieces.”
97. THE SHELTERING SKY by Paul Bowles
Kit and Port Moresby are an American couple touring North Africa with another man, Turner. As they travel deeper into the Sahara desert, tensions rise and a love triangle emerges: the landscape informs the emotional lives of the characters, who are by turns suffocated by their surroundings and moved by its beauty. Writing in The New York Times, Tennessee Williams called The Sheltering Sky “enthralling . . . powerful, bringing to mind one of those clouds that you have seen in summer, close to the horizon and dark in color and now and then silently pulsing with interior flashes of fire.”
98. THE POSTMAN ALWAYS RINGS TWICE by James M. Cain
Roughly one hundred pages long, this dark tale of lust and murder was banned in 1934 for its then-shocking depictions of sex and violence. The Postman Always Rings Twice even managed to shock fellow noir writer Raymond Chandler, who called Cain “a Proust in greasy overalls” and The Postman “the offal of literature.” Cain, who also wrote Mildred Pierce and Double Indemnity, has since been recognized as one of the great noir writers, with The New York Times noting that “Cain can get down to the primary impulses of greed and sex in fewer words than any writer we know of.”
99. THE GINGER MAN by J.P. Donleavy
The Ginger Man is the story of Sebastian Dangerfield, an American student studying in post-WWII Dublin (but mostly getting drunk and sleeping around). Now considered a modern classic, The Ginger Man has sold over 10 million copies worldwide. Jay McInerney claimed that the book “has undoubtedly launched thousands of benders, but it has also inspired scores of writers with its vivid and visceral narrative voice and the sheer poetry of its prose.”
100. THE MAGNIFICENT AMBERSONS by Booth Tarkington
Today The Magnificent Ambersons is best known through the 1942 Orson Welles movie, but it won the Pulitzer Prize when it was first published in 1918. A chronicle of the changing fortunes of three generations of an American dynasty, The Magnificent Ambersons follows George Amberson Minafer, the spoiled and arrogant grandson of the founder of the family’s magnificence. Eclipsed by a new breed of developers, financiers, and manufacturers, this pampered scion begins his gradual descent from the midwestern aristocracy to the working class.
1. THE EDUCATION OF HENRY ADAMS by Henry Adams
Written by the historian, novelist, world traveler, caustic observer, and informal presidential advisor, The Education of Henry Adams was privately printed in 1907 and posthumously published in 1918 to great acclaim. It was a popular bestseller and won the Pulitzer Prize. If you read nothing else, check out pages 17 to the top of page 19 (in the Modern Library edition) for a study in concision, empathy, and cutting criticism in his narrative portrait of his grandmother, “The Madam,” wife of John Quincy Adams and daughter-in-law of the “stern” and “efficient” Abigail Adams.
2. THE VARIETIES OF RELIGIOUS EXPERIENCE by William James
The Varieties of Religious Experience was an immediate bestseller upon its publication in June 1902. James discusses conversion, repentance, mysticism, and fears of punishment in the hereafter—as well as the religious experiences of such diverse thinkers as Voltaire, Whitman, Emerson, Luther, Tolstoy, and others. The result is a book that encourages readers to ask new questions rather than feel that the old ones have been answered.
3. UP FROM SLAVERY by Booker T. Washington
Published to great acclaim in 1901, this memoir helped make Washington the most prominent black spokesman of his time. Washington vividly recounts his birth into slavery, his yearning for education, and his vision of an educational center for black students. A shrewd politician and a tireless promoter of the importance of education, Washington was devoted to advancing the cause of racial equality. On reading this classic autobiography, Langston Hughes noted, “[Washington’s] story of himself, as half-seen by himself, is one of America’s most revealing books.”
4. A ROOM OF ONE'S OWN by Virginia Woolf
Based on a series of lectures Woolf delivered at Cambridge in 1928, A Room of One’s Own argues that there are hundreds, if not thousands, of great books that could have been written by women—if they had been given the time, means, education, and space that have always been granted to men. A brilliant, early feminist text, Woolf argues for a woman’s right to create, rather than be relegated to the role of domestic angel or idealized beauty.
5. SILENT SPRING by Rachel Carson
First published in The New Yorker in 1962, Silent Spring documented the many environmental problems caused by pesticides, from alarming mutations to cancer in human beings. As a result of Carson’s compelling argument, as well as public outcry, the U.S. government banned the use of DDT (a synthetic pesticide), and the EPA was formed. Sir David Attenborough (narrator of Planet Earth and other documentaries) believes that Silent Spring and The Origin of Species by Charles Darwin are the two books that have most changed the scientific world.
6. SELECTED ESSAYS, 1917-1932 by T. S. Eliot
Witty, learned, and filled with quips like “It is a question of some nicety to decide how much must be read of any particular poet,” this collection of literary criticism from T. S. Eliot, the author of “The Wasteland” and other poems, provides insight into Eliot’s literary theory with essays on Seneca, Shakespeare, Dante, William Blake, and Charles Dickens. This is an insightful—if slightly academic—take on Western literary tradition by one of the most brilliant minds of the twentieth century.
7. THE DOUBLE HELIX by James D. Watson
The autobiographical account of the discovery of the structure of DNA, The Double Helix is unusual because of its memoir-like and colorful approach. Harvard University Press declined to publish it for that very reason, while other readers criticized Watson for dismissing Rosalind Franklin (whose data Watson used). Nonetheless, The New York Times said that “anyone seeking to understand modern biology and genomics could do much worse than start with the discovery of the structure of DNA, on which almost everything else is based.”
8. SPEAK, MEMORY by Vladimir Nabokov
Written by the author of Lolita and Pale Fire, this memoir traces Nabokov’s life from his childhood up until his emigration to the United States. Nabokov describes his aristocratic background, his lifelong love of butterflies, his education in Cambridge, a young love affair, and meeting his wife, Vera, in his signature rhapsodic style. John Updike, author of The Witches of Eastwick and the Rabbit series, wrote that “Nabokov has never written English better than in these reminiscences. . . Nabokov makes of his past a brilliant icon—bejewelled, perspectiveless, untouchable.”
9. THE AMERICAN LANGUAGE by H. L. Mencken
Published in 1919, this book defends American English as a language in its own right, instead of a perversion of British English. Mencken also celebrated the fact that American English was, despite the massive sprawl of the United States, a single dialect: “There may be slight differences in pronunciation and intonation—a Southern softness, a Yankee drawl, a Western burr—but in the words they use and the way they use them all Americans, even the least tutored, follow the same line. . . . A Boston street-car conductor could go to work in Chicago or San Francisco without running the slightest risk of misunderstanding his new fares.”
10. THE GENERAL THEORY OF EMPLOYMENT, INTEREST, AND MONEY by John Maynard Keynes
Keynes departed from classical economics by suggesting that a free market required government structure to operate efficiently. In doing so, The General Theory made economics and economists socially relevant and introduced the idea that economics and politics were intertwined. Keynes argued against the “long run” view of economics, quipping that “this long run is a misleading guide to current affairs. In the long run we are all dead. Economists set themselves too easy, too useless a task, if in tempestuous seasons they can only tell us, that when the storm is long past, the ocean is flat again.” In 1971, President Nixon stated: “We are all Keynesians now.”
11. THE LIVES OF A CELL by Lewis Thomas
What does the mitochondria do? How are men similar to giant clams? How does language affect science? Weaving together music, biology, and medicine, this collection of essays tackles these questions in an introduction to science that is also a pleasure to read. When it was first published in 1974, Joyce Carol Oates praised Thomas for his “effortless, beautifully toned style” and described Thomas’s essays themselves as “undogmatic, graceful, gently persuasive . . . insist[ing] upon the interrelatedness of all life.” The book would go on to receive two National Book Awards.
12. THE FRONTIER IN AMERICAN HISTORY by Frederick Jackson Turner
In this hugely influential essay, Turner introduced the idea that the frontier—from the first Puritan settlers to the pioneers—shaped American democracy. Turner suggested that Americans had essentially “evolved” from a more European mindset to a distinctly American one, and argued that this evolution was a product of the American population moving west. The frontier mindset was distrustful of centralized authorities and hierarchies, more violent, and less artistic—and that, Turner thought, explained a great deal about the United States.
13. BLACK BOY by Richard Wright
Originally titled American Hunger, this book is an autobiographical account of life in the Jim Crow South. Renowned for its radical portrayal of the realities of African American life under the oppression of Jim Crow, Black Boy was an instant success, a landmark achievement that earned Wright an audience unlike any other African American writer of the time commanded. Wright's powerful, pressing work foretold his eventual ascendance to being one of the most important American authors of the twentieth century, and paved the way for authors like James Baldwin, Gwendolyn Brooks, and Lorraine Hansberry after him
14. ASPECTS OF THE NOVEL by E. M. Forster
A series of lectures on the essential parts of the novel, delivered in 1927 by the author of Howards End, A Room with a View, A Passage to India, Where Angels Fear to Tread, and others. Forster distinguishes between “flat” vs. “round” characters, discusses the importance of rhythm, and explains the difference between plot and story: “ ‘The King died, and then the Queen died’ is a story; ‘the King died and then the Queen died of grief’ is a plot.”
15. THE CIVIL WAR by Shelby Foote
Shelby Foote’s tremendous, sweeping narrative of a war that lasted four long, bitter years begins with Jefferson Davis’s resignation from the United States Senate and Abraham Lincoln’s departure from Springfield for the national capital. These two leaders are only the first of scores of exciting personalities that in effect make The Civil War a multiple biography set against the crisis of an age. When the novelist Walker Percy read the final book, he wrote to Foote: “It’s a noble work. I’m still staggered by the size of the achievement. . . . It is The Iliad.”
16. THE GUNS OF AUGUST by Barbara Tuchman
In this Pulitzer Prize–winning account, renowned historian Barbara W. Tuchman re-creates the first month of World War I: thirty days in the summer of 1914 that determined the course of the conflict, the century, and ultimately our present world. Beginning with the funeral of Edward VII and spectacularly peopled by the war’s key players, Tuchman’s magnum opus is a classic for the ages. The Chicago Tribune called it “more dramatic than fiction . . . a magnificent narrative—beautifully organized, elegantly phrased, skillfully paced and sustained.”
17. THE PROPER STUDY OF MANKIND by Isaiah Berlin
When Isaiah Berlin died in 1997, one of his obituaries declared him “the world’s greatest talker, the century’s most inspired reader, [and] one of the finest minds of our time.” The Proper Study of Mankind brings together essays on everything from Machiavelli’s morality, Tolstoy’s theory of history, the meaning of liberty, and his own conversations with the great poet Anna Akhmatova. The New York Review of Books praised Berlin as the “everyman's guide to everything exciting in the history of ideas.”
18. THE NATURE AND DESTINY OF MAN by Reinhold Niebuhr
A collection of theological lectures delivered by Niebuhr in 1939, The Nature and Destiny of Man tackles the Christian concept of human nature, the powerlessness of man, and Christianity’s impact on human history. Delivered just before the outbreak of World War II, these lectures were so influential that Cold War containment policies and aspects of realpolitik can be traced back to them. Highly recommended for fans of ontology.
19. NOTES OF A NATIVE SON by James Baldwin
Written by the author of Go Tell It on the Mountain, Giovanni’s Room, Another Country, and The Fire Next Time, this series of essays confronts the issue of race in both the United States and Europe. Reviewing the collection for the New York Times, the poet Langston Hughes wrote: “Few American writers handle words more effectively in the essay form than James Baldwin. . . . I much prefer Notes of a Native Son to his novel Go Tell It on the Mountain.”
20. THE AUTOBIOGRAPHY OF ALICE B. TOKLAS by Gertrude Stein
A faux-memoir told in the voice of Stein’s partner, Alice B. Toklas, the wryly titled The Autobiography of Alice B. Toklas is an account of life in the avant-garde and love on the Left Bank. The Autobiography became a runaway success for its portrayal of life as, and among, artists, invoking a cast of characters like Picasso, Hemingway, and Fitzgerald, which cemented its legacy as a classic account of an American in Paris. Hemingway called it a “damned pitiful book,” but many cherish it today as a testament of love to Alice, Gertrude’s enduring muse.
21. THE ELEMENTS OF STYLE by William Strunk and E. B. White
William Strunk Jr. was a professor at Cornell University when he self-published a simple guide to American grammar in 1919. Decades later, Strunk’s former student E. B. White worked with Strunk to revise the text; the resulting book was published in 1959 and it swiftly became a revered guide to grammar and usage. Dorothy Parker quipped: “If you have any young friends who aspire to become writers, the second-greatest favor you can do them is to present them with copies of The Elements of Style. The first-greatest, of course, is to shoot them now, while they’re happy.”
22. AN AMERICAN DILEMMA by Gunnar Myrdal
Published in 1944 and nearly 1,500 pages long, An American Dilemma is a thorough study of race and democracy in America. Funded by the Carnegie Corporation and written by a Swedish American (in an attempt to find an unbiased author), the book details the many ways in which racism impedes African-American success and social mobility. Myrdal came to the happy conclusion that democracy would triumph over racism—and, while that day of ultimate triumph is still TBA, Myrdal’s book was cited in the landmark case of Brown v Board of Education.
23. PRINCIPIA MATHEMATICA by Alfred North Whitehead and Bertrand Russell
A three-volume examination of formal logic, this text is most popularly known for proving that 1+1=2 and was hailed by the poet T.S. Eliot as “perhaps a greater contribution to our language than [it is] to mathematics.” Principia Mathematica created a new kind of mathematical notation—one that all mathematicians could use—as well as fostering connections between mathematics and philosophy. A fundamental text, but not a fun read.
24. THE MISMEASURE OF MAN by Stephen Jay Gould
Published in 1981, The Mismeasure of Man argues that the notion of an IQ—that intelligence can be accurately measured—is not only wrong, but often classist and racist. This book, part theory, part history of science, explores how the definition of intelligence has been shaped by unconscious bias and sloppy conflations of correlation and causation—effectively calling out scientists for limp reasoning and forcing their facts to fit their hypotheses. Gould reserved special scorn for The Bell Curve, a bestseller which argued that poverty was the result of inherited lower intelligence. Recommended reading for those opposed to eugenics.
25. THE MIRROR AND THE LAMP by Meyer Howard Abrams
A work of scholarly analysis, The Mirror and the Lamp explores the difference between eighteenth- and nineteenth-century English literature. The “mirror” is a metaphor for the eighteenth-century approach, which held that literature should reflect the real world. The “lamp” is a metaphor for the approach of the Romantics, who believed that the soul of the author should illuminate their work. If you’ve ever wanted to know how John Locke’s notion of mind-dependent secondary qualities influenced Wordsworth, this is the book for you.
26. THE ART OF THE SOLUBLE by Peter B. Medawar
Dubbed “the wittiest of all science writers” (Richard Dawkins) and “perhaps the greatest science writer of his generation” (New Scientist), Sir Peter Medawar won a Nobel Prize in 1960 for his work on skin grafts. The Art of the Soluble is a meditation on the joys of science that also compares scientists who prioritize data over hypotheses to “cows grazing on the pasture of knowledge.” Equal parts snark and brilliant observation.
27. THE ANTS by Bert Hoelldobler and Edward O. Wilson
Winner of the 1991 Pulitzer Prize for General Nonfiction, this scientific textbook details everything you ever wanted to know (and then some) about ants. The Ants received rave reviews from nonscientists, with The Chicago Tribune calling it “a monumental achievement,” and The New York Times Book Review noting that “science is rarely good literature. The Ants is an exalting exception.” At 746 pages, it’s a long read but—if you like ants—a riveting one.
28. A THEORY OF JUSTICE by John Rawls
Regarded as the twentieth century’s most important work of political philosophy, A Theory of Justice explores how a modern civil society can be just and fair to as many of its citizens as possible. A Theory of Justice was widely reviewed and discussed when it was published in 1971, with many critics comparing it to the work of Immanuel Kant and Jean-Jacques Rousseau. Writing in Civilization, Will Blythe praised “the simple carpentry of its arguments, its egalitarian leanings, and its preoccupation with fairness” and claimed that “A Theory of Justice is as American a book as, say, Mark Twain’s Adventures of Huckleberry Finn.”
29. ART AND ILLUSION by Ernest H. Gombrich
“Works of art are not mirrors,” Gombrich wrote, “but they share with mirrors that elusive magic of transformation which is hard to put into words.” Nevertheless, Gombrich tried to do just that in this exploration of how and why art changes over time. Blending the history of art with a scientific theory of perception, Gombrich writes crisply and clearly about a wide range of topics, including (but not limited to) Ancient Greek society, Renaissance art, and how artists develop style. A useful book if you’ve ever wondered why babies in Medieval paintings look nothing like babies in Renaissance paintings.
30. THE MAKING OF THE ENGLISH WORKING CLASS by E. P. Thompson
Published in 1963, Thompson’s book focuses on the working class of the Industrial Revolution: the weavers, artisans, and croppers whose collective class identity, he argues, was formed during this time. Thompson’s conclusions were highly controversial, since hypothesizing about the hopes and dreams of an entire socioeconomic class is tricky business. But by choosing to focus on the story of a class, rather than an individual with power and clout, Thompson changed how history is studied. An excellent book for readers interested in mass political identity.
31. THE SOULS OF BLACK FOLK by W.E.B. Du Bois
When first published in 1903, The Souls of Black Folk redefined the history of the black experience in America and introduced the now famous “problem of the color line.” Today it ranks as one of the most influential and resonant works in the history of American thought. It was so contentious when first published that the Nashville Banner warned its readers that “This book is dangerous for the Negro to read, for it will only incite discontent and fill his imagination with things that do not exist, or things that should not bear upon his mind.”
32. PRINCIPIA ETHICA by G. E. Moore
Regarded among philosophers as a revolutionary guide to ethics and logic, this knotty text defines right acts as those acts that produce the most good, and also states that “good” is indefinable. Filled with sentences like, “Philosophers are constantly endeavoring to prove that ‘Yes’ or ‘No’ will answer questions, to which neither answer is correct, owing to the fact that what they have before their minds is not one question, but several, to some of which the true answer is ‘No,’ to others ‘Yes.’”
33. PHILOSOPHY AND CIVILIZATION by John Dewey
A collection of eighteen essays by one of the most influential minds in twentieth-century education reform. Dewey wrote extensively about the importance of educating children in order to advance civilization, and feared that American philosophy was hampered by its reliance on borrowed ideas and borrowed institutions. Though copies are now hard to find, you might agree with the review in the January 1934 edition of The International Journal of Ethics, which declared this book “an imaginative delight.”
34. ON GROWTH AND FORM by D'Arcy Thompson
Written in 1917, this heavy tome—over 1,100 pages—introduced many readers to the field of mathematic biology. Examining everything from soap bubbles to molluscs to humans, Thompson explores how living things grow and, more amazingly, why they take a particular shape when they do. Scientists, architects, and anthropologists alike have all praised the book for its intellectual daring, though the science writer Phillip Ball noted that “like Newton’s Principia, D’Arcy Thompson's On Growth and Form is a book more often cited than read.”
35. IDEAS AND OPINIONS by Albert Einstein
A collection of the essays, letters, speeches, and interviews of Albert Einstein, Ideas and Opinions provides a quick glimpse into the mind of one of the most brilliant men of all time. Discussing everything from classic literature to Marie Curie to explanations of general relativity, this book brings a reader into close contact with Einstein’s genius, his wide-ranging interests, and even his sense of humor.
36. THE AGE OF JACKSON by Arthur Schlesinger by Jr.
Winner of the 1946 Pulitzer Prize for History, The Age of Jackson was praised by The New York Times as “a remarkable piece of analytical history, full of vitality, rich in insights and new facts, and casting a broad shaft of illumination over one of the most interesting periods of our national life.” (It has since been criticized for failing to discuss slavery and the plight of Native Americans.) Arthur Schlesinger, Jr. would later serve as a Special Assistant to President John F. Kennedy and would win another Pulitzer Prize for A Thousand Days, his book about JFK’s presidency.
37. THE MAKING OF THE ATOMIC BOMB by Richard Rhodes
A character-driven narrative about the history of the atomic bomb, from the nineteenth century to Nagasaki, this nonfiction classic reads like a compelling novel (it opens with Leo Szilard, the scientist who patented the nuclear reactor, being grumpy about the rain in London). Isaac Asimov described The Making of the Atomic Bomb as “the best, the richest, and the deepest description of the development of physics in the first half of this century that I have yet read, and it is certainly the most enjoyable.” Could you wish for a better recommendation?
38. BLACK LAMB AND GREY FALCON by Rebecca West
Born in 1892, Rebecca West was a British journalist, early feminist, and writer. The famously witty George Bernard Shaw claimed that “Rebecca West could handle a pen as brilliantly as ever I could and much more savagely” and President Truman called her “the world’s best reporter.” Black Lamb and Grey Falcon is West’s combined history and travelogue of modern-day Yugoslavia, based on a six-week journey she made in 1937. West dedicated the book “To my friends in Yugoslavia, who are now all dead or enslaved.” (The Nazis invaded Yugoslavia shortly after she left.) Larry McMurtry, the author of Lonesome Dove, wrote “there are only a few great travel books. Rebecca West's Black Lamb and Grey Falcon is one.”
39. AUTOBIOGRAPHIES by W. B. Yeats
Autobiographies brings together six volumes of Yeats’s personal memoirs, each one detailing a different period of his life. From his Reveries over Childhood and Youth to his 1923 Nobel Prize lecture, the Autobiographies lay bare the inner thoughts of this famous Anglo-Irish poet. The Autobiographies do roam from subject to subject, but readers who are fond of Yeats’s poetry may be interested in gaining an in-depth understanding of the man.
40. SCIENCE AND CIVILIZATION IN CHINA by Joseph Needham
Joseph Needham was a well-known historian and biochemist when he began working on this series of books in 1954. Over the course of fifty years and seven volumes (the most recent volume was published in 2004), Joseph Needham and his research team sought to understand the long history of Chinese science, mathematics, astronomy, nautical technology, mechanical engineering, windmills, aeronautics, civil engineering, metallurgy, botany, physiological alchemy, and printing. More textbook than beach read.
41. GOODBYE TO ALL THAT by Robert Graves
A classic of World War I literature that is a memoir of childhood and a farewell to the pre-WWI way of life. Graves’s honest account of trench warfare, which faithfully records the heroism and brutality of military life, was extremely unpopular with the reading public. One contemporaneous reader wrote to Graves: “You are a discredit to the Service, disloyal to your comrades and typical of that miserable breed which tries to gain notoriety by belittling others.”
42. HOMAGE TO CATALONIA by George Orwell
A personal account of the Spanish Civil War (1936–1939), written by the author of 1984 and Animal Farm. Orwell was thirty-three when he traveled to Spain to fight against the nationalist and fascist forces led by General Franco. Homage to Catalonia depicts the evils of both sides of the war, the filth and the grime, the idealism and the intrigue. According to the historian Raymond Carr: “The Spanish Civil war produced a spate of bad literature. Homage to Catalonia is one of the few exceptions and the reason is simple. Orwell was determined to set down the truth as he saw it.”
43. THE AUTOBIOGRAPHY OF MARK TWAIN by Mark Twain
Dictated during the last years of his life, The Autobiography of Mark Twain is more like a transcription of a standup routine than a traditional memoir. Filled with scathing, winding anecdotes—many of which Twain did not want published until he had been dead for a century—The Autobiography is Mark Twain in exactly, precisely his own words, from his concerns about money to his dislike of Theodore Roosevelt and everything in between.
44. CHILDREN OF CRISIS by Robert Coles
A Pulitzer Prize–winning series of interviews with American children, Children of Crisis focuses on how children of different ages, races, and social classes confront change and construct personal identities. In his attempt to “evoke, apprehend, and come to terms with the psychological realities of particular men, women, and children,” Robert Coles lived with the migrant workers, urban poor, and sharecroppers whose children he interviewed, and his study destroyed long-held stereotypes about these men and women.
45. A STUDY OF HISTORY by Arnold J. Toynbee
Toynbee traces the rise and fall of nineteen different civilizations in this twelve-volume, 7,000- page work of history. Arguing that civilizations arise out of society-wide responses to challenges, Toynbee attempted to create a universal theory of civilizations, identifying and labeling different phases. The first volume was published in 1934, and the last in 1961; this monumental effort was hailed by Clifton Fadiman as the book “most assured of being read a hundred years from now.” (We’ll let you, the reader, be the judge of that.)
46. THE AFFLUENT SOCIETY by John Kenneth Galbraith
The Affluent Society tackles how the post-WWII American economy was making the rich richer, yet keeping the poor just as poor. Galbraith was a committed capitalist who also argued for a government willing to invest in roads, schools, and hospitals as well as businesses. Ultimately, Galbraith was interested in finding tailored solutions to l
47. PRESENT AT THE CREATION by Dean Acheson
A Pulitzer Prize–winning memoir by a former secretary of state and architect of government foreign policy during World War II, the beginning of the Cold War, and the Korean War. Foreign Policy revisited the memoir in 2017, writing that “Acheson stood like a ringmaster at the center of a complex diplomatic and political circus. . . . This is a must-read book not only for historians, but also for anyone interested in national policy, diplomacy, or military strategy. It is essential, especially today, to understand how America came to play the central role in the world, and the consequences of failure.”
48. THE GREAT BRIDGE by David McCullough
The Great Bridge reveals the saga behind the construction of the Brooklyn Bridge: one of the oldest suspension bridges in the world and a beautiful feat of engineering. The Los Angeles Times praised The Great Bridge as “a book so compelling and complete as to be a literary monument.” Newsday wrote that The Great Bridge is “a stupendous narrative about the building of the Brooklyn Bridge, with a cast of thousands (give or take 100), whose major characters come alive on the page as authentically, as creatively, as would their fictional counterparts if one had the imagination to dream up such a yarn.”
49. PATRIOTIC GORE by Edmund Wilson
A survey of American Civil War literature, with thumbnail portraits of various novelists, poets, and diarists. Wilson read many forgotten memoirs and novels in an attempt to find the best Civil War literature—he wanted Northerners to read Southern literature, and vice versa. Wilson also included unknown writers, including women and some African Americans, in his survey. The result is a wide-ranging look at how the United States chronicled the Civil War.
50. SAMUEL JOHNSON by Walter Jackson Bate
The son of a bookseller, Samuel Johnson is considered one of the greatest minds in English history. He was a well-known critic, political commentator, and the author of Rasselas, and later A Dictionary of the English Language (which reigned supreme until the Oxford English Dictionary was published a hundred years later). Published in 1977, Bate’s biography of Samuel Johnson won an astonishing array of prizes: the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award. A marvelous book about a genius who literally defined the English language.
51. THE AUTOBIOGRAPHY OF MALCOLM X by Alex Haley and Malcolm X
The Autobiography of Malcolm X is the “brilliant, painful, important” (New York Times) story of one of the twentieth century’s most celebrated and controversial figures. Malcolm talks frankly about his conversion to Islam, his fight against racism, his belief that “American society makes it next to impossible for humans to meet in America and not be conscious of their color difference.” Eloquent, brutally honest, and humorous, this book is as relevant now as it was when it was first published in 1964.
52. THE RIGHT STUFF by Tom Wolfe
Published in 1979, The Right Stuff contrasts the first astronauts (also known as the “Mercury Seven”) with the Edwards AFB test pilots. A portrait of the space age and a pulse-pounding look at daring pilots and courageous astronauts, The Right Stuff was called “an exhilarating flight into fear, love, beauty and fiery death” (People), “superb” (The New York Times), “breathtaking” (Los Angeles Times), and “the best book I have read in the last ten years” (Chicago Tribune). The 1983 film The Right Stuff, starring Sam Shepard, Ed Harris, and Dennis Quaid was based on this book.
53. EMINENT VICTORIANS by Lytton Strachey
Eminent Victorians debunks old myths of high Victorianism by revealing the chauvinism, hypocrisy, and not-so-stiff upper lips that characterized many of its heroes from the self-seeking ambitions of Cardinal Manning to the neuroticisms of Florence Nightingale. The famous mathematician Bertrand Russell read the book while he was imprisoned in Brixton for his antiwar campaigning, and wrote that: “I often laughed out loud in my cell while I was reading the book. The warder came to my cell to remind me that prison was a place of punishment.”
54. WORKING by Studs Terkel
Bestselling oral histories are rare, but when Working was published in 1974, it struck a chord with readers. A series of interviews with different workers, from parking attendants and gravediggers to prostitutes and brokers, Terkel explored what work means to the individual, and how our self-worth is often tied to what we do, and how we feel about what we do. There is little to no plot, but Terkel’s portraits of men and women are deeply moving.
55. DARKNESS VISIBLE by William Styron
A work of great personal courage and a literary tour de force, this bestseller is Styron’s true account of his descent into a crippling and almost suicidal depression in 1985. The author of Sophie’s Choice, Styron is perhaps the first writer to convey the full terror of depression’s psychic landscape, as well as the illuminating path to recovery. A short and incredibly powerful memoir of despair and inner strength.
56. THE LIBERAL IMAGINATION by Lionel Trilling
Published at the beginning of the Cold War, Trilling’s thoughts on Huckleberry Finn, the Kinsey Report, and F. Scott Fitzgerald challenged many commonly held beliefs of postwar America and had an immense impact on Hannah Arendt, Mary McCarthy, Susan Sontag, Saul Bellow, Irving Howe, and others. Upon publication of The Liberal Imagination, Trilling became the United States’ most recognizable intellectual—a fact he hated. He wrote in a journal, “I have one of the great reputations in the academic world. This thought makes me retch.”
57. THE SECOND WORLD WAR by Winston Churchill
The Second World War is Winston Churchill’s six-volume memoir from the end of World War I to the end of World War II. Though this is a personal account, British law prevented many wartime files—as well as many top secret missions—from being openly discussed. As such, The Second World War is patchy in places, and far from objective in others; nevertheless, it is a chronicle of a crucial period, written by one of the key men of that era.
58. OUT OF AFRICA by Isak Dinesen
“In Africa,” Isak Dinesen would later comment, “I learned how to tell tales.” First published in 1937, this memoir is a reminiscence on the years the author spent living on a coffee plantation in Kenya. It is a nostalgic picture of African colonial life and the characters that populated it. Written after her return to her native Denmark, the descriptions of the Africa she knew are an evocative portrait of the country she had once called home.
59. JEFFERSON AND HIS TIME by Dumas Malone
This massive six-volume biography of Thomas Jefferson was published over the course of thirty-four years: the first volume was published in 1948, and the sixth in 1982. Praised as a “masterly achievement of scholarship” by The New York Times Book Review, the book has fallen out of favor, due to its extreme length. Nevertheless, Malone’s dedication to his subject is remarkable: he lost his eyesight in 1977, but continued work on the biography for another five years. At over 3,000 pages, this is a daunting read but likely an exciting one for anyone who felt that Jon Meacham’s The Art of Power was too easy.
60. IN THE AMERICAN GRAIN by William Carlos Williams
Published in 1925, In the American Grain was Williams’s attempt to “get inside the heads of some of the American founders or ‘heroes,’ if you will, by examining their original records.” Beginning with the Vikings and including Ponce de Lyon, Cotton Mather, Aaron Burr, and Abraham Lincoln, this unorthodox approach to U.S. history involves Williams writing as his heroes, in order to understand what being American means. Short but complicated, this is a thought-provoking take on U.S. history.
61. CADILLAC DESERT by Marc Reisner
Subtitled “The American West and Its Disappearing Water,” this 1986 book explores the history of the American West through a single lens: the human demand for water. The most precious natural resource of all, water determines how cities grow, and which ones die—a fact that the U.S. Army Corps of Engineers and the Reclamation Bureau were keenly aware of. Ultimately, their efforts to control the flow of water continue to have serious long-term effects on water quality. Tales of corruption, price rigging, and “water wars” abound in this eye-opening book.
62. THE HOUSE OF MORGAN by Ron Chernow
Written by the author of Alexander Hamilton, the National Book Award–winning The House of Morgan is the story of J. P. Morgan’s empire, from its beginnings as his father’s company to the crash of 1987. Along the way J. P. Morgan bailed out the United States government; his son helped finance World War I; and subsequent generations helped finance World War II and pioneered the hostile takeover. More than a story of a company, this is a guide to the key people and events of the twentieth century.
63. THE SWEET SCIENCE by A. J. Liebling
Named “The Greatest Sports Book of All Time” by Sports Illustrated, this collection of essays is a taut, beautiful homage to the sport of boxing. Written between 1951 and 1955, Liebling’s pieces covered some of the greatest fights of the twentieth century: Louis-Savold, Cerdan-Marciano, Ray Robinson-Turpin, Robinson-Maxim, and Marciano-Walcott, to name a few. Liebling created moving portraits of the boxers and their trainers, and paid attention to boxing lore and history. The result is a tribute to the golden days of American boxing.
64. THE OPEN SOCIETY AND ITS ENEMIES by Karl Popper
A work of political philosophy that explores, among other things, the dangers of fascism, The Open Society raised eyebrows because Popper criticized Plato, Hegel, and Marx. However, Popper defended his argument by saying that his “motive was not, I hope, the wish to belittle them. It springs rather from my conviction that, if our civilization is to survive, we must break with the habit of deference to great men.” Upon its publication in 1945, Bertrand Russell praised the book as “a vigorous and profound defense of democracy, timely, very interesting, and very well written.”
65. THE ART OF MEMORY by Frances A. Yates
The Art of Memory is a history of human memory before the printed page made storing and referencing information simple. What mnemonic systems and tricks did other civilizations use to remember information that we can jot down with a pen? The answers are surprising. For example, a Roman lawyer pictured a man lying in bed holding a cup in his right hand and the testicles of a ram in his left to remember details of a poisoning case. Other systems used puns, or a memory structure (ie, Sherlock Holmes’s “memory palace”) to store vast amounts of information. A groundbreaking look at what the human mind is capable of, sans paper.
66. RELIGION AND THE RISE OF CAPITALISM by R. H. Tawney
This historical work argued that the rise of Protestantism made industrial organization possible in Europe. Indeed, two tenets that we now consider essential to modern capitalism—hard work and the importance of individuals—are foundational aspects of the Protestant faith. However, Tawney was no fan of capitalism, declaring that: “The revolt of ordinary men against Capitalism has had its source . . . in the straightforward hatred of a system which stunts personality and corrupts human relations by permitting the use of man by man as an instrument of pecuniary gain.”
67. A PREFACE TO MORALS by Walter Lippmann
Written in 1929, and addressed to the nonreligious, A Preface to Morals argues that humanist values—as espoused by thinkers like Plato, Confucius, and Buddha—are eternal, while religious values rely on outdated understandings of government, law, and social custom. Lippmann is renowned as a leading thinker of the twentieth century; he won two Pulitzer Prizes, helped found The New Republic, created modern journalism as we understand it, coined the term “stereotype,” influenced President Woodrow Wilson, and feuded with President Lyndon B. Johnson.
68. THE GATE OF HEAVENLY PEACE by Jonathan D. Spence
A history of the Chinese revolution told through the letters and testimonials of different Chinese authors and essayists. Foreign Affairs praised Spence for bringing “the past 100 years of the Chinese revolution to life with a novelist’s flair and an historian’s grounding in fact” and called the book “intellectual history of the first order.” Spence also includes women writers as well, bringing their often overlooked voices to the fore.
69. THE STRUCTURE OF SCIENTIFIC REVOLUTIONS by Thomas S. Kuhn
Before Kuhn, it was believed that science advanced by gathering data, with each new data point contributing to the upward trajectory of human knowledge. But Kuhn argued that scientific progress was actually dependent on short, explosive periods where scientists discarded old models, or “paradigms,” in favor of new ones. These revolutions, in turn, were dependent on social change. The idea that science could depend on irrational social forces was widely scoffed at by scientists. But Kuhn’s ideas have seeped into the mainstream, as evidenced by the fact that terms like “the Copernican Revolution” are accepted labels for periods of time.
70. THE STRANGE CAREER OF JIM CROW by C. Vann Woodward
Based on a series of lectures that Woodward delivered at the University of Virginia, The Strange Career of Jim Crow discusses the history of segregation. Woodward argues that Jim Crow was not an inevitable result of slavery, the Civil War, or even the Reconstruction era; the fact that Jim Crow laws were enacted in the 1890s, a quarter of a century after the Civil War ended, was part of Woodward’s proof. This slim volume (150 pages) was hugely influential when it was published in 1955, with Martin Luther King, Jr. dubbing it “the historical bible of the Civil Rights movement.”
71. THE RISE OF THE WEST by William H. McNeill
Winner of the 1964 National Book Award, The Rise of the West examines how different civilizations rose, fell, and interacted with one another, and argues that these interactions contributed to the ultimate fate of said civilizations. Though this conclusion is taken for granted now, it was a new and startling conclusion when The Rise of the West was first published. Reviewing the book in The New York Times, Hugh Trevor-Roper wrote: “This is not only the most learned and the most intelligent, it is also the most stimulating and fascinating book that has ever set out to recount and explain the whole history of mankind.”
72. THE GNOSTIC GOSPELS by Elaine Pagels
In 1945 an Egyptian peasant unearthed what proved to be the Gnostic Gospels, thirteen papyrus volumes that expounded a radic
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'Everything Everywhere All at Once' Dominates at SAG Awards
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The clearest result of the SAG Awards was the overwhelming success of Daniel Kwan and Daniel Scheinert's madcap multiverse tale
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https://www.voanews.com/a/everything-everywhere-all-at-once-dominates-at-sag-awards/6980276.html
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The unlikely awards-season juggernaut “Everything Everywhere All at Once” marched on at the Screen Actors Guild Awards on Sunday, and even gathered stream with wins not just for best ensemble, Michelle Yeoh and Ke Huy Quan but also for Jamie Lee Curtis.
The SAG Awards, often an Oscar preview, threw some curve balls into the Oscars race in a ceremony streamed lived on Netflix's YouTube page from Fairmont Century Plaza in Los Angeles.
But the clearest result of the SAG Awards was the overwhelming success of Daniel Kwan and Daniel Scheinert's madcap multiverse tale, which has now used its hotdog fingers to snag top honors from the acting, directing and producing guilds. Only one film (“Apollo 13”) has won all three and not gone on to win best picture at the Oscars.
After so much of the cast of “Everything Everywhere All at Once” had already been on the stage to accept awards, the night's final moment belonged to 94-year-old James Hong, a supporting player in the film and a trailblazer for Asian-American representation in Hollywood. He brought up the ignoble yellowface history of the 1937 film “The Good Earth.”
“The leading role was played with these guys with their eyes taped up like this and they talked like this because the producers said the Asians were not good enough and they were not box office,” said Hong. “But look at us now!”
Hong added that the cast of “Everything Everywhere All at Once” wasn't all Chinese, though he granted Jamie Lee Curtis had a good Chinese name. Curtis’ win was one of the most surprising of the night, coming over the longtime favorite, Angela Bassett (“Black Panther: Wakanda Forever”), who had seemed to be on a clear path to becoming the first actor to win an Oscar for a performance in a Marvel movie.
A visibly moved Curtis said she was wearing the wedding ring her father, Tony Curtis, gave her mother, Janet Leigh.
“I know you look at me and think ‘Nepo baby,’” said Curtis, who won in her first SAG nomination. “But the truth of the matter is that I'm 64 years old and this is just amazing.”
The actors guild, though, lent some clarity to the lead categories. Though some have seen best actress as a toss-up between Yeoh and BAFTA winner Cate Blanchett (“Tar”), Yeoh again took home the award for best female lead performance.
“This is not just for me,” said Yeoh, the first Asian actress to win the SAG Award for female lead. “It's for every little girl that looks like me.”
Quan, the former child star, also won for best supporting male actor. The “Everything Everywhere All at Once” co-star had left acting for years after auditions dried up. He's also the first Asian to win best male supporting actor at the SAG Awards.
“When I stepped away from acting, it was because there were so few opportunities,” said Quan. “Now, tonight we are celebrating James Hong, Michelle Yeoh, Stephanie Hsu, Hong Chau, Harry Shum Jr. The landscape looks so different now.”
Best actor has been one of the hardest races to call. Austin Butler (“Elvis”), Brendan Fraser (“The Whale”) and Colin Farrell (“The Banshees of Inisherin”) have all been seen as possible winners. But it was Fraser who went home with the SAG Award for his comeback performance as an obese shut-in in “The Whale.”
“Believe me, if you just stay in there and put one foot in front of the other, you'll get where you need to go,” said Fraser, who anxiously eyed the actor-shaped trophy and left the stage saying he was going to go look for some pants for him.
The SAG Awards are considered one of the most reliable Oscar bellwethers. Actors make up the biggest percentage of the film academy, so their choices have the largest sway. Last year, “CODA” triumphed at SAG before winning best picture at the Oscar s, while Ariana DeBose, Will Smith, Jessica Chastain and Troy Kotsur all won a SAG Award before taking home an Academy Award.
After the SAG Awards, presented by the film and television acting guild SAG-AFRTA, lost their broadcast home at TNT/TBS, Netflix signed on to stream Sunday's ceremony. Next year's show is to be on Netflix, proper.
Sunday's livestream meant a slightly scaled-down vibe. Without a broadcast time limit, winners weren't played off. A regal and unbothered Sam Elliott, winner for male actor in a TV movie or limited series for “1883,” spoke well past his allotted time. The show sped through early winners, including awards for Jean Smart (“Hacks”), Jeremy Allen White (“Bear”) and Jason Bateman (“Ozark”).
Another streaming effect: No bleeping.
Quinta Brunson and Janelle James of “Abbott Elementary” kicked off the ceremony with a few opening jokes, including one that suggested Viola Davis, a recent Grammy winner, is beyond EGOT status and has transcended into “ShEGOTallofthem.”
Brunson later returned to the stage with the cast of “Abbott Elementary” to accept the SAG award for best ensemble in a comedy series. Brunson, the sitcom's creator and one of its producers, said of her castmates, “These people bring me back down to Earth.”
“The White Lotus” also took a victory lap, winning best ensemble in a drama series and another win for Jennifer Coolidge, coming off her wins at the Emmys and the Golden Globes. A teary-eyed Coolidge traced her love of acting to a first-grade trip to see a Charlie Chaplin film. She then thanked her date, a longtime friend, the actor Tim Bagley.
“You're a wonderful date tonight,” said Coolidge. “I can't wait until we get home.”
The ceremony's first award went to a winner from last year: Jessica Chastain. A year after winning for her lead performance in the film “The Eyes of Tammy Faye,” Chastain won best female actor in a TV movie or limited series for Showtime's country music power couple series “George & Tammy.” Chastain jetted in from previews on the upcoming Broadway revival of “A Doll's House.”
One award was announced ahead of the show from the red carpet: “Top Gun: Maverick” won for best stunt ensemble. Though some have cheered that blockbusters like “Maverick” and “Avatar: The Way of Water” are best picture nominees to the March 12 Oscars, the indie smash “Everything Everywhere All at Once” increasingly looks like the biggest blockbuster at this year's Academy Awards.
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https://www.cambridge-news.co.uk/news/uk-world-news/charles-mourns-loss-favourite-actor-22363903
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en
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Charles mourns loss of his favourite actor Sir Antony Sher
|
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2021-12-04T03:54:58+00:00
|
Dame Judi Dench and Brian Blessed also pay tribute to the 72-year-old Royal Shakespeare Company 'genius'
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en
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https://s2-prod.cambridge-news.co.uk/@trinitymirrordigital/chameleon-branding/publications/cambridgenews/img/favicon.8c096c26062281cd.ico
|
Wales Online
|
https://www.walesonline.co.uk/news/uk-news/charles-mourns-loss-favourite-actor-22363903
|
The Prince of Wales has paid tribute to Sir Antony Sher as “a giant of the stage at the height of his genius” following the actor’s death at the age of 72.
The Olivier Award-winning actor and director was diagnosed with terminal cancer earlier this year, and his death was announced by the Royal Shakespeare Company (RSC) on Friday.
In a statement to the PA news agency, Charles said he was “deeply saddened” to learn of Sir Antony’s passing.
“As the President of the Royal Shakespeare Company (RSC), I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role,” the prince said. “My most treasured memory of him was as Falstaff in a brilliant production of Greg Doran’s.
"I feel particularly blessed to have known him, but we have all lost a giant of the stage at the height of his genius.”
Charles offered his sympathy to Sir Antony’s husband, Gregory Doran, the RSC’s artistic director, saying: “My heart goes out to Greg Doran and to all at the RSC who will, I know, feel the most profound sorrow at the passing of a great man and an irreplaceable talent.”
Dame Judi Dench earlier described Sir Antony, with whom she starred in the 1997 film Mrs Brown, as a “sublime” actor who performed with “incredible intensity”.
The 86-year-old described his performance as former prime minister Benjamin Disraeli as “spectacular”.
Speaking to BBC Radio 4’s PM programme, she said: “He could completely immerse himself in a character and make it completely remarkable, but not necessarily on his own terms.
“He was sublime. He was totally engrossed whenever he was working in that part and in that character.
“He was one of those remarkable actors who reserved that incredible intensity for the time he was on the stage.”
Brian Blessed, who performed alongside Sir Antony in Richard III in Stratford-upon-Avon, told the programme: “He revolutionised Richard III entirely. Amazing imagination, amazing vocal power. He hobbled around the set like a great bottled spider. He would terrify the audience in the first few rows.”
Blessed said to be on stage with Sir Antony was “mind-blowing” and added: “It was from another century. It was from another galaxy.”
The National Theatre posted a statement on Twitter from director Rufus Norris, saying: “With the tragic passing of Antony Sher, one of the great titans has left us. His contribution and example to our theatre world was exemplary, and his standing within the ranks of National Theatre actors could not be higher.”
Mr Doran announced in September that he was taking a period of compassionate leave to care for Sir Antony.
The South African-born actor tied the knot with Doran on December 21 2005, the first day same sex couples could legally form a civil partnership in the UK.
Sir Antony starred in a number of RSC productions, including a role in 2016 in King Lear, as well as playing Falstaff in the Henry IV plays and Willy Loman in Arthur Miller’s Death Of A Salesman.
He was the Prince of Wales’ favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour.
Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth and Tamburlaine The Great, as well as his career-defining Richard III.
He moved to Britain to study drama in the late 1960s and joined the RSC in 1982. His breakthrough role came two years later in Richard III, a part which earned him the best actor accolade at the Olivier Theatre Awards.
His theatrical skills were not limited to the West End, and his adaptation of If This Is A Man, by Primo Levi, into a one-man show titled Primo, ran on Broadway.
Off stage he had roles in films including Shakespeare In Love and Mrs Brown, and played Adolf Hitler in 2004’s Churchill: The Hollywood Years.
His final production with the RSC was Kani’s Kunene And The King, which saw him star opposite Kani as Jack, an actor acclaimed for his roles in Shakespeare who is diagnosed with liver cancer.
RSC executive director Catherine Mallyon and acting artistic director Erica Whyman said in a statement: “We are deeply saddened by this news, and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. Antony had a long association with the RSC and a hugely celebrated career on stage and screen."
The RSC said Doran will remain on compassionate leave and is expected to return to work in 2022.
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https://people.com/awards/sag-awards-2017-best-ensemble-motion-picture-hidden-figures/
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en
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SAG Awards 2017: 'Hidden Figures' Wins Outstanding Performance by a Cast in a Motion Picture
|
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[
"EW Staff",
"Jodi Guglielmi",
"www.facebook.com"
] |
2017-01-29T22:10:41-05:00
|
The 23rd annual Screen Actors Guild Awards aired live from Los Angeles Sunday on TNT and TBS
|
en
|
/favicon.ico
|
Peoplemag
|
https://people.com/awards/sag-awards-2017-best-ensemble-motion-picture-hidden-figures/
|
The cast of Hidden Figures has broken another barrier in a monumental year for diversity in mainstream movies.
Fronted by Taraji P. Henson, Hidden Figures‘ predominantly African-American ensemble earned the Screen Actors Guild Award for outstanding performance by a cast in a motion picture Sunday night, beating out the band of actors behind fellow contenders Moonlight, Manchester by the Sea, Fences and Captain Fantastic.
Henson dedicated the acceptance speech to the three “American heroes” who inspired the film.
“This film is about unity,” she said. “The shoulders of the women that we stand on are three American heroes: Katherine Johnson, Dorothy Vaughan and Mary Jackson. Without them, we would not know how to reach the stars.”
“This story is about what happens when we put our difference aside and we come together as a human race,” she concluded. “They are hidden figures no more!”
She also paid tribute to John Glenn, the first astronaut to orbit earth, who died on Dec. 8.
“God rest his sole in peace, John Glenn,” she said as the rest of the cast applauded.
The Theodore Melfi-directed crowd-pleaser follows three female, African-American NASA mathematicians who successfully aided the U.S. space program amid racial tensions in the 1960s.
Stars Mahershala Ali and Janelle Monáe were also nominated this year as part of the ensemble cast of Barry Jenkins’ Moonlight.
“African-American women were living at the time where segregation was the letter of the law,” Octavia Spencer, whose performance in Hidden Figures earned her an Oscar nomination Tuesday morning, previously told PEOPLE and Entertainment Weekly‘s editorial director, Jess Cagle, about the real-life women who inspired the film’s story. “They were basically treated as second-class citizens, but they weren’t complaining. They knew that they had more to offer, and they basically rolled up their sleeves and they did the work to be a part of something greater than themselves.”
RELATED VIDEO: Taraji P. Henson Shows How to Handle a Fall With Grace at SAG Awards
Across the past 22 SAG Awards ceremonies, only one film has won the guild’s ensemble award without a corresponding Best Picture nomination from the Academy: 1996’s The Birdcage. Nine prior films won the SAG award but did not go on to translate their Best Picture nominations into an Oscar victory.
Since the SAG Awards’ inaugural ceremony in 1995, Mel Gibson’s Braveheart remains the only film to have won the Academy Award for Best Picture without a SAG ensemble nod. This year, despite SAG’s nearly 200,000-strong ranks providing crossover membership for AMPAS’ largest voting branch, Damien Chazelle’s La La Land — which earned a record-tying 14 Oscar nominations and won the Producers Guild of America’s top award earlier this week — was ignored by the SAG voting committee in the ensemble category.
The 23rd annual Screen Actors Guild Awards aired live from Los Angeles Sunday on TNT and TBS.
|
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5893
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1
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https://www.usatoday.com/picture-gallery/entertainment/movies/2024/02/24/screen-actors-guild-awards-show/72688730007/
|
en
|
Best behind-the-scenes moments from the 2024 Screen Actors Guild Awards
|
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[
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[
"Laura Faherty"
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2024-02-24T00:00:00
|
Hollywood's biggest stars showed up to celebrate with their celebrity friends at Saturday's 2024 SAG Awards. Next stop, Oscars!
|
en
|
https://www.usatoday.com/picture-gallery/entertainment/movies/2024/02/24/screen-actors-guild-awards-show/72688730007/
|
66 PHOTOS
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5893
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3
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https://www.vulture.com/2018/04/theater-review-anthony-sher-as-a-slow-burning-king-lear.html
|
en
|
Theater Review: Anthony Sher as a Slow-Burning, Intense King Lear
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[
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2018-04-15T09:23:12.275000-04:00
|
“Sher is most fascinating to watch in the nooks and crannies.”
|
en
|
Vulture
|
https://www.vulture.com/2018/04/theater-review-anthony-sher-as-a-slow-burning-king-lear.html
|
In a notable instance of one behemoth assessing another, the director Peter Brook once called King Lear “a mountain whose summit has never been reached, the way up strewn with the shattered bodies of earlier visitors.” Shakespeare’s tragedy — with its vertiginous star turn for an older actor, its twisting politics, its currents of nihilism, and its often shockingly modern, almost expressionist language — has a reputation for impossibility. The critic Kenneth Tynan referred to it as “a labyrinthian citadel, all but impregnable.” It’s a play that drives men to metaphor.
Now a new attempt on the mountain — or the citadel, take your pick —has arrived at BAM from the Royal Shakespeare Company, under the rigorous direction of the RSC’s artistic director, Gregory Doran. His mad king is the 68-year-old Olivier-winning actor Sir Antony Sher, a constant presence in the U.K. if less of an American household name than BAM’s recent Lears, Ian McKellen and Frank Langella. Sher is also Doran’s partner — the couple were among the first to obtain a civil partnership in the U.K. — so the collaboration now onstage at the Harvey Theater is a strikingly intimate one.
It’s also, in a deliberate, slow-burn way, deeply powerful. This may not be the most explosive Lear you’ve ever seen, but it might be the smartest. Doran and Sher are consummate masters of Shakespeare’s text — indeed, the entire company attacks the play’s layered language with such focus and clarity that not only do we maintain our grip on the story’s intricacies, but we’re also often able to hear and process the poetry’s images and echoes in real time. We follow both the language’s thrust and its art, an accomplishment that, in this country at least, is tragically rare. If all productions of Shakespeare resonated this clearly, we might not be so preoccupied with “translating” his plays.
If, despite its technical mastery, this Lear ever falters on its way up the mountain, it’s in its tendency to appeal to our heads more successfully than to our hearts. Doran’s production is both meticulous and majestic, and Sher’s declining monarch is a fiercely precise performance, if not always a heartrending one — I couldn’t always feel their Lear, but I could always see it.
And perhaps, for Doran, seeing clearly is what matters most. The play is rich with imagery of sight and sightlessness, from Lear’s malicious myopia at the story’s beginning to the eventual brutal blinding of his courtier and dramatic foil, Gloucester (the wonderful David Troughton, compelling in both his character’s rashness and his compassion). A brief catch-up: King Lear tells the story of an aging monarch who, in the play’s first scene, publically divests his title and announces his intention to divide his lands and power among his three daughters, Goneril, Regan, and Cordelia. But first he has a question for them: “Which of you shall we say doth love us most?” (What could possibly go wrong?) Lear’s elder daughters flatter their father, but Cordelia, the youngest, refuses to “heave [her] heart into her mouth.” Her honesty sparks Lear’s reckless anger, setting the stage for her banishment, her sisters’ cruelty to their father, and the king’s spiral into madness. Meanwhile, a subplot involving another aging father, Gloucester, and his two sons — the well-intentioned Edgar and the machiavellian Edmund — interweaves with Lear’s story, creating a vast tapestry of parents and children, political intrigue, existential crises, untimely awakenings, and moral blindness.
“See better, Lear,” growls the loyal, upright Kent at the play’s beginning, as he watches the king viciously attack his own daughter. Antony Byrne is an excellent, hard-nosed Kent, one of the play’s two good-guy-undercover roles (the other is Edgar, and they’re both deceptively challenging). In this production, Byrne’s Kent and Mimi Ndiweni’s straight-backed Cordelia are a matched pair: They both draw gasps from the surrounding courtiers with the blunt disapproval they throw at Lear in the play’s opening. Ndiweni gives a wonderfully tough performance in a part that can easily slip into saintly sweetness — there’s nothing soft about her Cordelia, who reenters the play later on in a shining breastplate, clearly leading the armies of France (whose king she’s married) against her sisters. Even her reunion with her father, who by that point is flitting in and out of sanity, is played low on sentiment. Ndiweni’s Cordelia is more comfortable in her rage against those who’ve wronged him than she is in her sadness at his plight. She fights back her tears with a modern woman’s painful awareness that the world of men regards them as weak, as, in Lear’s words, “women’s weapons.”
Cordelia and Kent might even be the kind of people whose uncompromising natures, under other circumstances, could get a little insufferable. When Regan’s husband, the ruthless Cornwall (a suitably nasty James Clyde), confronts the disguised Kent for insulting his servant, his description holds eerie echoes of a certain current world leader who built a reputation on “saying what he thinks.” “This is some fellow,” sneers Cornwall, “Who, having been praised for bluntness, doth affect / A saucy roughness … / These kind of knaves I know, which in this plainness / Harbour more craft and more corrupter ends …” Cornwall is one of King Lear’s incontestable villains, but it’s to Doran’s credit, and in this instance to Clyde’s, that we can always clearly hear the present resonances and powerful complexities of Shakespeare’s play: Keen insights into human nature aren’t the provenance of “good” characters alone. Indeed, in a corrupt world, the “bad guys” often see better.
Such a bad guy is Edmund, Gloucester’s bastard son, who plots in a series of villainous asides to discredit his brother and usurp his father. “I see the business,” Edmund scoffs, sneering at the trust of his unsuspecting family. Paapa Essiedu (who played an award-winning Hamlet for the RSC in 2016) is a delightfully still and sociopathic Edmund. In his soliloquies, he addresses us with bored contempt, tilting his head disgustedly to one side and hardly shifting his body. His Edmund can’t be bothered to move unless he’s putting on a show, lying to his brother or father or the court. In honest solitude, he seems almost dead from the neck down and terrifyingly alive from there on up — a lurking, vengeful singularity, sucking the world into himself to be consumed and destroyed.
This dark magnetism eventually attracts both of Lear’s older daughters, who end up at each other’s throats trying to claim him. The fight over Edmund is only one of the ways Doran’s production brilliantly distinguishes Goneril and Regan, who often feel like carbon copies of one another, twin witches united in their cackling heartlessness from the word go. Not so here. Kelly Williams’ Regan is the more opportunistic, the more truly sadistic of the two (maybe it’s a middle child thing). She’s the second to declare her love for Lear at the play’s beginning and she immediately one-ups her older sister (“I find she names my very deed of love, / Only she comes too short”), and her bid for Edmund is a bid for power. Her husband Cornwall has died and she needs an influential male consort to stay in the game. The electric Nia Gwynne’s Goneril, on the other hand, is a suffering creature of violent passions, driven to savagery, not born to it. Her husband Albany (Clarence Smith, who gets that his character aspires to honor but is still something of a weathervane) is very much alive, but it hardly matters. Her desire for Edmund is an all-consuming hunger, not a power play. She wants him with her entire body.
At least in the play’s first half, Gwynne’s Goneril is one of the revelations of Doran’s production. When Lear makes his grand entrance, he does so as part of a lavish procession, carried atop a tall litter inside a glass box, and his daughters have to stand in front of this monument, facing away from him and out toward us, to make their public professions of love. It’s a cruel performance, forced by the arrogant king upon his children, and Gwynne thrillingly departs from mustache-twirling tradition in her response. Her first line —“Sir, I love you more than words can wield the matter”— is halting, frightened, threaded with anger. She does love her father and she’s trying to give him what he wants. She’s also pissed at him. I mean, what the hell, Dad?!
It’s one of those brilliant readings in which a character is split open simply by taking her words at face value. And it’s an interpretation with far-reaching implications: Gwynne’s initially sympathetic, increasingly rageful, and arguably justified (up to a point) Goneril casts a merciless light on the character of her father. It reveals him in all his awfulness, and one of the best things about Sher’s Lear is that he’s unafraid of making the monarch a monster. Never before have I heard the character’s ingrained misogyny ring out as sickeningly as in Sher’s performance. He rains down hideous, sexualized curses on his daughters when they fail to please him. He and his train of boorish knights wreak havoc in Goneril’s home (Doran plays up just how vile they are, as they openly mock her and harass her women servants); and in one horrifying moment that initially looks like a reconciliation between father and daughter, Sher turns an embrace of Gwynne’s Goneril into a violent vise-grip. When she escapes she clutches her bruised ribs, tears and terror in her eyes.
Sher is a slight actor, but he uses his size to great effect. He’s a tyrant who makes hotheaded displays of his power — the power he’s addicted to, that he vainly expects to maintain despite abdicating all the accompanying responsibilities — and in moments like this one with Gwynne his brutality feels like a sneak attack. His Lear isn’t a big man, but he can still hurt you, and he wants you to know it.
Sher makes clear that whatever proud mania has Lear in its grip, it’s a kind of sickness. Watching him, it dawned on me that the character’s true madness isn’t his ultimate confusion — which is in fact a kind of fractured coming to consciousness — but his initial cruelty. Despite Lear’s protestations, Sher never plays him as “a man more sinned against than sinning.” He doesn’t court our sympathy, and so his decline becomes less an exercise in pathos than a moral question posed to the audience: Can we pity a man who doesn’t deserve it? Can we forgive the monster who discovers his own humanity too late?
If these vital questions sometimes engaged my brain without taking my breath away, I put it down mainly to Doran’s taste for clarity over chaos, and to that big glass box. Doran and Niki Turner, who designed both set and costumes, have created a dark, severe world, a svelte, faux-medieval landscape of black and wine-dark red, where Lear’s court is bedecked in gold and furs, and around the edges of the stark, stony space, unknown peasants skulk, faceless in dirty gray rags (these are the “poor naked wretches,” the souls that vain Lear has “ta’en too little care of”). All this works, but then Doran introduces a central scenic element that feels both aesthetically out of place and unnecessarily conceptual. A larger version of the glass box in which Lear makes his first entrance appears twice more during the show, sliding out into the space on an automated track. Lear rides it in during the famous storm scene, along with the Fool (a brooding, unsettling Graham Turner, whose aching portrayal of abandonment by his master came closer than anything else in the play to breaking my heart). Sher has to stand atop the box, at least 8 feet up, roaring his lines as a massive deluge is projected behind him and lighting flashes on all sides. Later, the box houses the de-eyeing of Gloucester, a sequence that feels too American Psycho for the world Doran has built: blood spurting against glass and, suddenly, neon lights inside the box outlining its shape.
It’s one gesture, yes, but it’s a crucial one, and one that ends up undermining some of the play’s most potentially visceral moments with an extraneous layer of theatrical “cool.” Visually, the box belongs in a different production, and physically, it cuts Sher off from his fellow actors at moments in which connection might have proved crucial. Having him elevated and monumental in the first scene makes a kind of sense, but for the character, it’s all downhill from there. Doran’s staging, however, continues to aggrandize the character in ways that Sher’s own canny performance smartly avoids. Jonathan Ruddick’s sound design often furthers this unfortunate effect by giving us an underscore of deep, echoing booms every time Lear raises a hand to heaven to curse one of his daughters. There’s cognitive dissonance here between performance and design. The design says, This man has power; the heavens listen to him. The performance — and the play — says, No, this man is a man — cruel, vain, frightened, small.
In the end, Sher’s most devastating moments as King Lear are the small ones. He’s an actor of immense delicacy and intelligence, and I’ll remember him sitting side by side with the Fool — or later, in a wonderful visual echo, side by side with Gloucester — sharing jokes whose lightness belies their dire consequence, far longer than I’ll remember his “Blow, winds, and crack your cheeks!” Instead of his “Howl, howl, howl, howl, howl,” I’ll remember that every time he said the word “how” throughout the play, I heard him make it ring — an actor’s progress, a calculated preparation of my ears for that final scream. Though that moment, in which Lear enters with the dead Cordelia in his arms, might be the mountain’s frightful peak, Sher is most fascinating to watch in the nooks and crannies along the climb. He and Doran have crafted a thinking Lear, intellectually wide-ranging, necessarily imperfect, but one that undoubtedly helps us see Shakespeare’s Everest better.
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https://www.spotlight.com/news-and-advice/the-industry/2024-screen-actors-guild-awards-winners-announced/
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en
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2024 Screen Actors Guild Awards - Winners Announced
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2024-02-26T11:28:29+00:00
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Christopher Nolan’s 'Oppenheimer', 'The Bear' and 'Succession' win big at the Screen Actors Guild Awards 2024.
|
en
|
Spotlight
|
https://www.spotlight.com/news-and-advice/the-industry/2024-screen-actors-guild-awards-winners-announced/
|
Christopher Nolan’s historical epic ‘Oppenheimer’ picks up three major awards, while ‘The Bear’ and ‘Succession’ share big TV wins.
After a challenging year of strikes, the Screen Actors Guild gathered in Hollywood on Saturday, 24th February, to celebrate the outstanding performances from the last 12 months. For the first time ever this year, the SAG Awards were streamed live via Netflix worldwide, giving the Guild and their awards a brand new platform and a chance for everyone to witness the excitement and fashions of the night.
One of the many elements of the SAG awards that make it stand out in the awards calendar is its entire dedication to the craft of performance. But, as well as the exciting awards and the recognition of performances from the past year, the SAG awards bring groups of actors back together in reunions to present the awards.
This year saw a number of iconic reunions, including Meryl Streep, Emily Blunt and Anne Hathaway from The Devil Wears Prada, Sean Astin and Elijah Wood from The Lord of the Rings and the whole cast of Breaking Bad.
This year’s SAG Lifetime Achievement award went to the one and only Barbra Streisand, who was presented her award by colleagues and close friends Bradley Cooper and Jennifer Anniston. At the helm of the night was Spotlight member Idris Elba, who opened and closed the show in an exceedingly cool manner – while keeping the show moving at an entertaining pace. It was a fun, exciting ceremony with the winners thanking their peers and the support of their fellow SAG members over the past year. Leading the winners with three wins were The Bear for television and Oppenheimer for film, both winning in their respective fields for Best Ensemble Cast.
The full list of winners for the 2024 SAG Awards are…
Television:
Outstanding Action Performance by a Stunt Ensemble in a Television Series
The Last of Us (WINNER)
Barry
Beef
The Mandalorian
Outstanding Performance by a Female Actor in a Television Movie or Limited Series
Ali Wong – Beef (WINNER)
Uzo Aduba – Painkiller
Kathryn Hahn – Tiny Beautiful Things
Brie Larson – Lessons in Chemistry
Bel Powley – A Small Light
Outstanding Performance by a Male Actor in a Television Movie or Limited Series
Steven Yeun – Beef (WINNER)
Matt Bomer – Fellow Travelers
Jon Hamm – Fargo
David Oyelowo – Lawmen: Bass Reeves
Tony Shalhoub – Mr. Monk’s Last Case: A Monk Movie
Outstanding Performance by a Female Actor in a Comedy Series
Ayo Edebiri – The Bear (WINNER)
Alex Borstein – The Marvellous Mrs. Maisel
Rachel Brosnahan – The Marvellous Mrs. Maisel
Quinta Brunson – Abbott Elementary
Hannah Waddingham – Ted Lasso
Outstanding Performance by a Male Actor in a Comedy Series
Jeremy Allen White – The Bear (WINNER)
Brett Goldstein – Ted Lasso
Bill Hader – Barry
Ebon Moss-Bachrach – The Bear
Jason Sudeikis – Ted Lasso
Outstanding Performance by an Ensemble in a Comedy Series
The Bear (WINNER)
Abbott Elementary
Barry
Only Murders in the Building
Ted Lasso
Outstanding Performance by a Male Actor in a Drama Series
Pedro Pascal – The Last of Us (WINNER)
Brian Cox – Succession
Billy Crudup – The Morning Show
Kieran Culkin – Succession
Matthew MacFadyen – Succession
Outstanding Performance by a Female Actor in a Drama Series
Elizabeth Debicki – The Crown (WINNER)
Jennifer Aniston – The Morning Show
Bella Ramsey – The Last of Us
Keri Russell – The Diplomat
Sarah Snook – Succession
Outstanding Performance by an Ensemble in a Drama Series
Succession (WINNER)
The Crown
The Gilded Age
The Last of Us
The Morning Show
Film:
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
Mission: Impossible – Dead Reckoning Part One (WINNER)
Barbie
Guardians of the Galaxy volume 3
Indiana Jones and the Dial of Destiny
John Wick: Chapter 4
Outstanding Performance by a Female Actor in a Supporting Role
Da’vine Joy Randolph – The Holdovers (WINNER)
Emily Blunt – Oppenheimer
Danielle Brooks – The Color Purple
Penélope Cruz – Ferrari
Jodie Foster – NYAD
Outstanding Performance by a Male Actor in a Supporting Role
Robert Downey Jr. – Oppenheimer (WINNER)
Sterling K. Brown – American Fiction
Willem Dafoe – Poor Things
Robert De Niro – Killers of the Flower Moon
Ryan Gosling – Barbie
Outstanding Performance by a Female Actor in a Motion Picture
Lily Gladstone – Killers of the Flower Moon (WINNER)
Annette Bening – NYAD
Carey Mulligan – Maestro
Margot Robbie – Barbie
Emma Stone – Poor Things
Outstanding Performance by a Male Actor in a Leading Role
Cillian Murphy – Oppenheimer (WINNER)
Bradley Cooper – Maestro
Colman Domingo – Rustin
Paul Giamatti – The Holdovers
Jeffrey Wright – American Fiction
Outstanding Performance by a Cast in a Motion Picture
Oppenheimer (WINNER)
American Fiction
Barbie
The Color Purple
Killers of the Flower Moon
From all of us at Spotlight, congratulations to all the winners! You can watch the full ceremony now on Netflix.
|
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| 89
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https://www.suzanneford.com/single-post/long-live-the-king
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en
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Long Live the King
|
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[
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2021-12-08T15:20:54.297000+00:00
|
In 1999, I read Year of the King, Anthony Sher's brilliant memoir about playing Richard III with the Royal Shakespeare Company. I'd been looking for something to help prepare my mind and heart for a summer at the American Conservatory Theater's professional training program, which for years I'd longed to attend. Now that I had the chance, I wanted to make the most of it.This book changed me as an actor, in the best possible way. I'll always be grateful that I read it, especially at that formativ
|
en
|
suzanneford.com
|
https://www.suzanneford.com/single-post/long-live-the-king
|
In 1999, I read Year of the King, Anthony Sher's brilliant memoir about playing Richard III with the Royal Shakespeare Company.
I'd been looking for something to help prepare my mind and heart for a summer at the American Conservatory Theater's professional training program, which for years I'd longed to attend. Now that I had the chance, I wanted to make the most of it.
This book changed me as an actor, in the best possible way. I'll always be grateful that I read it, especially at that formative time.
Richard was Sher's breakthrough role in 1984, and he went on to play all the coveted roles, among them Falstaff in the Henry IV plays, Leontes in The Winter’s Tale, Shylock in The Merchant of Venice, Iago in Othello and the title characters in Macbeth and King Lear. He won countless Best Actor awards including the BAFTA, Olivier and Drama Desk, and wrote ten more books and several plays. In 2000 he was knighted by Queen Elizabeth II. Universally admired by other actors, he inspired the great Helen Mirren to say this about their first artistic encounter:
“I read the first words of our scene together and he answered. I raised my eyes above the pages to look at him more precisely, as with simply those minimal words I immediately realized I was opposite a great actor. Of course he went on to become the celebrated artist he was, but the extraordinary ability was born in him, as natural to him as breathing: it was as clear as a summer sky.”
My stomach lurched when I read about Sher's death last week at the age of 72. Of cancer, dammit. Another irreplaceable, uniquely gifted, precious artist is gone. May he rest in peace.
His obituary atThe Hollywood Reporter
If you haven't read Year of the King I envy you; you'll be both hugely entertained and uniquely inspired. Here's the publisher's description:
In 1984 Antony Sher, hailed as “the most exciting actor of his generation” by the Observer, made his debut – on homemade crutches – as the infamous Richard III in the Royal Shakespeare Company production of the play. He would go on to win the Laurence Olivier and Evening Standard Awards for best actor. In his own words and sketches, he chronicles his personal and professional journey to this award-winning performance, from the moment he was offered the role to opening night, in the critically acclaimed book Year of the King.
From his brainstorm to use crutches to bring the king's deformity to life, to his research for the role, which included watching interviews with psychopaths, reading about mass murderers, and speaking with doctors and physically challenged individuals, to his visit to his homeland of South Africa, to his experiences in working with the Royal Shakespeare Company, the reader is given a front-row seat to Sher's physical and mental preparation – or rather transformation – for his landmark performance as “the bottled spider.”
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https://en.as.com/entertainment/full-list-of-2024-screen-actors-guild-awards-winners-which-film-series-claimed-most-awards-n/
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en
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Full list of 2024 Screen Actors Guild Awards winners: which film, series claimed most awards?
|
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[] |
[] |
[
""
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[
"Daniela Barrera",
"William Allen"
] |
2024-02-25T01:30:02-05:00
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Check out all the prize winners at the 30th edition of the SAG Awards, which took place in Los Angeles, California, on Saturday.
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/pf/resources/images/favicon/favicon.ico?d=504
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AS USA
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https://en.as.com/entertainment/full-list-of-2024-screen-actors-guild-awards-winners-which-film-series-claimed-most-awards-n/
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Check out all the prize winners at the 30th edition of the SAG Awards, which took place in Los Angeles, California, on Saturday.
Oppenheimer and The Bear scooped the most honours at Saturday’s 2024 Screen Actors Guild Awards, winning three prizes each.
What awards did Oppenheimer, The Bear win?
In the SAG Awards’ film categories, Oppenheimer stars Cillian Murphy and Robert Downey Jr won the Best Male Actor and Best Supporting Male Actor gongs, respectively. Christopher Nolan’s blockbuster also claimed the award for Outstanding Performance by a Cast in a Motion Picture.
In television, The Bear’s Jeremy Allen White and Ayo Edebiri were named as the top male and female actors in the comedy genre, respectively, while the FX/Hulu show also picked up the award for Outstanding Performance by an Ensemble in a Comedy Series.
What other notable winners were there?
For her performance in the Martin Scorsese movie Killers of the Flower Moon, Lily Gladstone won Outstanding Performance by a Female Actor in a Leading Role.
Meanwhile, television’s best actor gongs also included a clean sweep by a single production in the TV Movie or Limited Series section, with Beef pair Steven Yeun and Ali Wong taking the awards.
Take a look at the full list of 2024 SAG Awards winners:
Outstanding Performance by a Cast in a Motion Picture
Outstanding Performance by a Male Actor in a Leading Role
Outstanding Performance by a Female Actor in a Leading Role
Outstanding Performance by a Male Actor in a Supporting Role
Outstanding Performance by a Female Actor in a Supporting Role
Outstanding Performance by an Ensemble in a Drama Series
Outstanding Performance by an Ensemble in a Comedy Series
Outstanding Performance by a Male Actor in a Drama Series
Outstanding Performance by a Female Actor in a Drama Series
Outstanding Performance by a Female Actor in a Comedy Series
Outstanding Performance by a Male Actor in a Comedy Series
Outstanding Performance by a Female Actor in a Television Movie or Limited Series
Outstanding Performance by a Male Actor in a Television Movie or Limited Series
Outstanding Performance by a Stunt Ensemble in a Comedy or Drama Series
Outstanding Performance by a Stunt Ensemble in a Motion Picture
Streisand handed Lifetime Achievement Award
In addition to the 15 competitive TV and film categories, the gala included special recognition for the actor and singer Barbra Streisand, who received the Screen Actors Guild Life Achievement Award for her extensive and outstanding career in the world of entertainment.
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https://www.latimes.com/entertainment-arts/movies/story/2022-02-27/sag-winners-2022-full-list
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en
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Full list of winners for the 2022 Screen Actors Guild Awards
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[
"Times Staff"
] |
2022-02-27T00:00:00
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SAG Awards 2022: "Coda," "Succession" and the winners of this year's honors.
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/entertainment-arts/movies/story/2022-02-27/sag-winners-2022-full-list
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“CODA,” “Ted Lasso” and “Succession” were the big ensemble cast winners of the 2022 Screen Actors Guild Awards that was held from the Barker Hangar in Santa Monica.
Chosen by their peers, SAG nominees and winners are generally considered better indicators of who might triumph in the acting categories at the Oscars this spring. Leading the film nominees this year were “House of Gucci” and “The Power of the Dog,” with three nominations apiece, while TV series winners “Ted Lasso” and “Succession” were tied for five.
Among the other films landing SAG nominations this year were “Belfast,” “King Richard,” “West Side Story,” “Don’t Look Up,” “Being the Ricardos,” while series including “The Morning Show” and “Only Murders in the Building” fared well on the TV side. Netflix sensation “Squid Game” was the most awarded show.
Here are the winners and nominees for the 28th SAG Awards.
Outstanding performance by a cast in a motion picture
“CODA” | WINNER
“Belfast”
“Don’t Look Up”
“House of Gucci”
“King Richard”
Outstanding performance by a male actor in a leading role
Will Smith, “King Richard” | WINNER
Javier Bardem, “Being the Ricardos”
Benedict Cumberbatch, “The Power of the Dog”
Andrew Garfield, “Tick, Tick ... Boom!”
Denzel Washington, “The Tragedy of Macbeth”
Outstanding performance by a female actor in a leading role
Jessica Chastain, “The Eyes of Tammy Faye” | WINNER
Olivia Colman, “The Lost Daughter”
Lady Gaga, “House of Gucci”
Jennifer Hudson, “Respect”
Nicole Kidman, “Being the Ricardos”
Outstanding performance by a male actor in a supporting role
Troy Kotsur, “CODA” | WINNER
Ben Affleck, “The Tender Bar”
Bradley Cooper, “Licorice Pizza”
Jared Leto, “House of Gucci”
Kodi Smit-McPhee, “The Power of the Dog”
Outstanding performance by a female actor in a supporting role
Ariana DeBose, “West Side Story” | WINNER
Caitríona Balfe, “Belfast”
Cate Blanchett, “Nightmare Alley”
Kirsten Dunst, “The Power of the Dog”
Ruth Negga, “Passing”
Outstanding performance by a male actor in a television movie or miniseries
Michael Keaton, “Dopesick” | WINNER
Murray Bartlett, “The White Lotus”
Oscar Isaac, “Scenes from a Marriage”
Ewan McGregor, “Halston”
Evan Peters, “Mare of Easttown”
Outstanding performance by a female actor in a television movie or miniseries
Kate Winslet, “Mare of Easttown” | WINNER
Jean Smart, “Mare of Easttown”
Jennifer Coolidge, “The White Lotus”
Cynthia Erivo, “Genius: Aretha”
Margaret Qualley, “Maid”
Outstanding performance by a cast in a drama series
“Succession” | WINNER
“The Handmaid’s Tale”
“The Morning Show”
“Squid Game”
“Yellowstone”
Outstanding performance by a female actor in a drama series
Jung Ho-yeon, “Squid Game” | WINNER
Jennifer Aniston, “The Morning Show”
Elisabeth Moss, “The Handmaid’s Tale”
Sarah Snook, “Succession”
Reese Witherspoon, “The Morning Show”
Outstanding performance by a male actor in a drama series
Lee Jung-jae, “Squid Game” | WINNER
Brian Cox, “Succession”
Billy Crudup, “The Morning Show”
Kieran Culkin, “Succession”
Jeremy Strong, “Succession”
Outstanding performance by a cast in a comedy series
“Ted Lasso” | WINNER
“The Great”
“Hacks”
“The Kominsky Method”
“Only Murders in the Building”
Outstanding performance by a female actor in a comedy series
Jean Smart, “Hacks” | WINNER
Elle Fanning, “The Great”
Sandra Oh, “The Chair”
Juno Temple, “Ted Lasso”
Hannah Waddingham, “Ted Lasso”
Outstanding performance by a male actor in a comedy series
Jason Sudeikis, “Ted Lasso” | WINNER
Michael Douglas, “The Kominsky Method”
Brett Goldstein, “Ted Lasso”
Steve Martin, “Only Murders in the Building”
Martin Short, “Only Murders in the Building”
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
“No Time to Die” | WINNER
“Black Widow”
“Dune”
“The Matrix Resurrections”
“Shang-Chi and the Legend of the Ten Rings”
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dbpedia
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https://www.cate-blanchett.com/category/theatre/
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en
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Cate Blanchett Fan @Cate-Blanchett.com
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| null |
Cate Blanchett has won a total of 169 awards (not including the awards she has won for her performance in TÁR) for her film works.
Below is the list of the awards and nominations for her lead role in Todd Field’s TÁR.
Awards:
> Venice Film Festival – Volpi Cup for Best Actress
> British Academy of Film and Television Arts – Leading Actress
> Golden Globes – Best Actress in a Motion Picture Drama
> Critics Choice Awards – Best Actress
> Telluride Film Festival – Silver Medallion (Tribute)
> New York Film Critics Circle – Best Actress
> Los Angeles Film Critics Association – Best Lead Performance
> National Society of Film Critics – Best Actress
> London Film Critics Circle Awards – Actress of the Year
> Palm Springs International Film Festival – Desert Palm Achievement Award, Actress
> Santa Barbara International Film Festival – Outstanding Performer of the Year Award
> AACTA International – Best Lead Actress
> Toronto Film Critics Association – Best Actress
> Washington DC Film Critics Association – Best Actress
> Chicago Film Critics Association – Best Actress
> Phoenix Critics Circle – Best Actress
> Boston Online Film Critics Association – Best Actress
> Philadelphia Film Critics Circle – Best Actress
> Indiana Film Journalist Association – Best Actress
> Dallas-Fort Worth Film Critics Association – Best Actress
> Florida Film Critics Circle – Best Actress
> Atlanta Film Critics – Best Lead Actress
> Oklahoma Film Critics Circle – Best Actress
> Columbus Film Critics Association – Best Lead Performance
> San Francisco Bay Area Film Critics Circle – Best Actress
> Iowa Film Critics Association – Best Actress
> North Dakota Film Society – Best Actress
> Seattle Film Critics Society – Best Actress
> Midnight Critics Circle – Best Actress
> Houston Film Critics Society – Best Actress
> Minnesota Film Critics Alliance – Best Actress
> International Film Society Critics – Best Lead Actress
> Irish Film and Television Awards – Best International Actress
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https://www.screendaily.com/news/oppenheimer-the-bear-win-big-at-2024-sag-awards/5190966.article
|
en
|
‘Oppenheimer’, ‘The Bear’ win big at 2024 SAG Awards
|
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[
"Jeremy Kay",
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2024-02-25T03:44:00+00:00
|
Ceremony streamed live on Netflix. Idris Elba dropped F-bomb.
|
en
|
/magazine/dest/graphics/favicons/favicon-32x32.png
|
Screen
|
https://www.screendaily.com/news/oppenheimer-the-bear-win-big-at-2024-sag-awards/5190966.article
|
Oppenheimer and TV’s The Bear were the big winners at the 30th Screen Actors Guild (SAG) Awards on Saturday (February 24), which streamed live on Netflix in a first for the platform.
Oppenheimer won best cast as lead male actor winner and Oscar favourite Cillian Murphy and his ‘Oppenhomies’ filled the stage at Los Angeles’ Shrine Auditorium & Expo Hall at the climax of the show, setting up Universal’s blockbuster for a potentially huge weekend ahead of Sunday’s PGA Awards. The Oscars follow on March 10.
Lily Gladstone became the first Indigenous performer to win a SAG Award for lead female actor for Apple Original Films’ Killers Of The Flower Moon, beating her ongoing main awards season rival Emma Stone. It is a strong endorsement from the actors guild, although the sense is this contest may not be over.
Far more of a foregone conclusion at the Academy Awards is supporting female, which went to the season’s one sure thing, Da’Vine Joy Randolph for The Holdovers. Robert Downey Jr. is looking increasingly like an Oscar lock for Oppenheimer, and won supporting male on Saturday,
SAG Awards are strong indicators of Oscars glory. The actors bloc within the Academy is comprised of Guild members and Saturday’s awards come as Academy members are in the middle of final Oscars voting, which runs through February 27.
Individual SAG winners tend to be highly reliable bellwethers of Academy Awards success. Last year’s SAG winners Michelle Yeoh, Brendan Fraser, Jamie Lee Curtis and Ke Huy Quan all went on to win Oscars.
The SAG cast award can augur success in the best picture Oscar category, too. In the last two years Everything Everywhere All At Once and CODA both translated SAG triumphs into best picture Oscars.
Oppenheimer started the night on four nominations including Murphy, Downey Jr., Emily Blunt, and cast; while Barbie earned four for Margot Robbie and Ryan Gosling, cast, and stunt ensemble. It went home empty-handed after Paramount’s Mission: Impossible – Dead Reckoning Part One won best feature stunt ensemble.
HBO’s Succession once again led the television nominations with five nods for Brian Cox, Golden Globe winners Kieran Culkin, Matthew Macfadyen, and Sarah Snook, and cast.
The show won the best dramatic cast award but the male actor contenders lost out to The Last Of Us star Pedro Pascal, who sliced through the category and brushed aside Cox, Culkin, and Macfayden, not to mention Billy Crudup ofThe Morning Show.
Succession’s other Globe winner, Sarah Snook, lost out in the female actor category to Elizabeth Debicki for The Crown, who had won the Globe in the supporting category.
In the comedy categories, the night belonged to FX’s The Bear, which took best show and acting honours for Jeremy Allen White and Ayo Adebiri.
SAF-AFTRA president Fran Drescher addressed the audience towards the end of the show and hailed the ”billion dollar contract” won at the end of last year’s contract negotiations, warned of the dangers of AI, and applauded members for last year’s “hot labour summer”, promising members they were entering “the Golden Age”.
Barbra Streisand earned a standing ovation as she received the lifetime achievement award.
British star Idris Elba was among the presenters in the hostless show and dropped an F-bomb. That’s live TV, folks.
Winners appear below in bold.
SAG Awards 2024 nominations
FILM
Outstanding performance by a cast in a motion picture
American fiction
Barbie
The Color Purple
The Killers Of The Flower Moon
Oppenheimer
Outstanding performance by a male actor in a leading role
Bradley Cooper, Maestro
Colman Domingo, Rustin
Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer
Jeffrey Wright, American Fiction
Outstanding performance by a female actor in a leading role
Annette Bening, Nyad
Lily Gladstone, Killers Of The Flower Moon
Carey Mulligan, Maestro
Margot Robbie, Barbie
Emma Stone, Poor Things
Outstanding Performance by a male actor in a supporting role
Sterling K Brown, American Fiction
Willem Dafoe, Poor Things
Robert De Niro, Killers Of The Flower Moon
Robert Downey Jr, Oppenheimer
Ryan Gosling, Barbie
Outstanding Performance by a female actor in a supporting role
Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
Penelope Cruz, Ferrari
Jodie Foster, Nyad
Da’Vine Joy Randolph, The Holdovers
Outstanding action performance by a stunt ensemble in a motion picture
Barbie
Guardians Of The Galaxy Vol. 3
Indiana Jones And The Dial Of Destiny
John Wick Chapter 4
Mission: Impossible – Dead Reckoning Part One
TELEVISION
Outstanding performance by an ensemble in a drama series
The Crown
The Gilded Age
The Last Of Us
The Morning Show
Succession
Outstanding performance by an ensemble in a comedy series
Abbott Elementary
Barry
The Bear
Only Murders
Ted Lasso
Outstanding performance by a male actor in a drama series
Brian Cox, Succession
Billy Crudup, The Morning Show
Kieran Culkin, Succession
Matthew Macfayden, Succession
Pedro Pascal, The Last Of Us
Outstanding performance by a female actor in a drama series
Jennifer Aniston, The Morning Show
Elizabeth Debicki, The Crown
Bella Ramsey, The Last Of US
Keri Russell, The Diplomat
Sarah Snook, Succession
Outstanding performance by a male actor in a comedy series
Brett Goldstein, Ted Lasso
Bill Hader, Barry
Ebon Moss-Bachrach, The Bear
Jason Sudeikis, Ted Lasso
Jeremy Allen White, The Bear
Outstanding performance by a female actor in a comedy series
Alex Borstein, The Marvelous Mrs. Maisel
Rachel Brosnahan, The Marvelous Mrs. Maisel
Quinta Brunson, Abbott Elementary
Ayo Adebiri, The Bear
Hannah Waddingham, Ted Lasso
Outstanding performance by a male actor in a television movie or limited series
Matt Bomer, Fellow Travelers
Jon Hamm, Fargo
David Oyelowo, Lawmen: Bass Reeves
Tony Shalhoub, Mr. Monk’s Last Case: A Monk Movie
Steven Yeun, Beef
Outstanding performance by a female actor in a miniseries or television movie
Uzo Aduba, Painkiller
Kathryn Hahn, Tiny Beautiful Things
Brie Larson Lessons In Chemistry
Bel Powley, A Small Light
Ali Wong, Beef
Outstanding action performance by a stunt ensemble in a television series
|
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0
| 2
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https://en.wikipedia.org/wiki/Shakespeare_in_Love
|
en
|
Shakespeare in Love
|
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2002-09-20T06:49:56+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Shakespeare_in_Love
|
1998 film by John Madden
For the theatre adaptations, see Shakespeare in Love (play) and Shakespeare in Love (South Korean play).
Shakespeare in LoveDirected byJohn MaddenWritten byProduced byStarringCinematographyRichard GreatrexEdited byDavid GambleMusic byStephen Warbeck
Production
company
Distributed by
Miramax Films (United States)
Universal Pictures (International)
Release dates
Running time
123 minutes[1]Countries
United States[2]
United Kingdom[3]
LanguageEnglishBudget$25 million[4]Box office$289.3 million[4]
Shakespeare in Love is a 1998 period romantic comedy film directed by John Madden, written by Marc Norman and Tom Stoppard, and produced by Harvey Weinstein. It stars Gwyneth Paltrow, Joseph Fiennes, Geoffrey Rush, Colin Firth, Ben Affleck and Judi Dench. The film depicts a fictional love affair involving playwright William Shakespeare (Fiennes) and Viola de Lesseps (Paltrow) while Shakespeare was writing Romeo and Juliet. Several characters are based on historical figures, and many of the characters, lines, and plot devices allude to Shakespeare's plays.
Shakespeare in Love received acclaim from critics and was a box office success, grossing $289 million worldwide and becoming the ninth highest-grossing film of 1998. The film was noted for its highly skilled plotting and balancing of comedy and drama and for the high quality of its dialogue, performances, and production design. It received numerous accolades; it won three Golden Globe Awards (including Best Motion Picture - Musical or Comedy and Best Actress - Motion Picture Comedy or Musical for Paltrow), two Screen Actors Guild Awards (Outstanding Performance by a Cast in a Motion Picture and Outstanding Performance by a Female Actor in a Leading Role for Paltrow), and four British Academy Film Awards (including Best Film).[5][6][7] The film ultimately won a leading seven Oscars out of thirteen nominations at the 71st Academy Awards: Best Picture (Parfitt, Gigliotti, Weinstein, Zwick, & Norman), Best Actress (Paltrow), Best Supporting Actress (Dench), Best Screenplay Written Directly for the Screen (Norman & Stoppard), Best Original Musical or Comedy Score (Warbeck), Best Art Direction (Childs & Quertier), and Best Costume Design (Powell).[8]
Plot
[edit]
In 1593 London, William Shakespeare is a sometime player in the Lord Chamberlain's Men and playwright for Philip Henslowe, owner of The Rose Theatre. Suffering from writer's block with a new comedy, Romeo and Ethel, the Pirate's Daughter, Shakespeare attempts to seduce Rosaline, mistress of Richard Burbage, owner of the rival Curtain Theatre, and to convince Burbage to buy the play from Henslowe. Shakespeare receives advice from rival playwright Christopher Marlowe, but is despondent to learn Rosaline is sleeping with Master of the Revels Edmund Tilney. The desperate Henslowe, in debt to ruthless moneylender Fennyman, begins auditions anyway.
Viola de Lesseps, daughter of a wealthy merchant, who has seen Shakespeare's plays at court, disguises herself as a man named Thomas Kent to audition. Kent gains Shakespeare's interest with a speech from Two Gentlemen of Verona, but runs away when Shakespeare questions her. He pursues Kent to Viola's house and leaves a note with her nurse, asking Kent to begin rehearsals at the Rose.
Shakespeare sneaks into a ball at the house, where Viola's parents arrange her betrothal to Lord Wessex, an aristocrat in need of money. Dancing with Viola, Shakespeare is struck speechless. Confronted by Wessex, Shakespeare introduces himself as Christopher Marlowe. Wessex ejects "Marlowe" and threatens to kill him. Shakespeare finds Viola on her balcony, where they confess their mutual attraction before he is discovered by her nurse and flees.
Inspired by Viola, Shakespeare quickly transforms the play into what will become Romeo and Juliet. Rehearsals begin, with Thomas Kent as Romeo, the leading tragedian Ned Alleyn as Mercutio, and the stagestruck Fennyman in a small role. After Shakespeare discovers Viola's true identity, they begin a secret affair.
Viola is summoned to court to receive approval for her proposed marriage to Wessex. Shakespeare accompanies her, disguised as her nurse's female cousin, and anonymously persuades Wessex in public to wager £50 that a play can capture the true nature of love, the amount Shakespeare requires to buy a share in the Chamberlain's Men. Queen Elizabeth I declares that she will judge the matter.
Burbage learns Shakespeare has seduced Rosaline and cheated him out of payment for the play, and starts a brawl at the Rose with his company. The Rose players repel Burbage and his men and celebrate at the pub, where a drunken Henslowe lets slip to Viola that Shakespeare is married, albeit separated from his wife. News arrives that Marlowe has been murdered. A guilt-ridden Shakespeare assumes Wessex had Marlowe killed, believing him to be Viola's lover, while Viola believes Shakespeare to be the victim. Shakespeare appears at her church, allaying Viola's fears and terrifying Wessex, who believes he is a ghost. Viola confesses her love for Shakespeare, but both recognize she cannot escape her duty to marry Wessex.
John Webster, an unpleasant boy who hangs around the theatre, spies on Shakespeare and Viola making love and informs Tilney, who closes the Rose for breaking the ban on women actors. Viola's identity is exposed, leaving Shakespeare without a stage or a lead actor, until Burbage offers his theatre and the heartbroken Shakespeare takes the role of Romeo. Following her wedding, Viola learns the play will be performed that day, and runs away to the Curtain. She overhears that the boy playing Juliet cannot perform, his voice having broken, and Henslowe asks her to replace him. She plays Juliet to Shakespeare's Romeo to an enthralled audience.
Just after the play has concluded, Tilney arrives to arrest everyone for indecency due to Viola's presence, but the Queen reveals herself in attendance and restrains him, pretending that Kent is a man with a "remarkable resemblance" to a woman. Powerless to end a lawful marriage, she orders Viola to sail with Wessex to Virginia. The Queen also tells Wessex, who followed Viola to the theatre, that Romeo and Juliet has won the bet for Shakespeare, and has Kent deliver his £50 with instructions to write something "a little more cheerful next time, for Twelfth Night".
Viola and Shakespeare say their goodbyes, and he vows to immortalize her, as he imagines the beginning of Twelfth Night, in character as a castaway disguised as a man after a voyage to a strange land.
Cast
[edit]
Joseph Fiennes as William Shakespeare
Gwyneth Paltrow as Viola de Lesseps
Geoffrey Rush as Philip Henslowe
Colin Firth as Lord Wessex
Ben Affleck as Ned Alleyn
Judi Dench as Queen Elizabeth I
Simon Callow as Edmund Tilney
Jim Carter as Ralph Bashford
Martin Clunes as Richard Burbage
Antony Sher as Dr. Moth
Imelda Staunton as Nurse
Tom Wilkinson as Hugh Fennyman
Mark Williams as Wabash
Daniel Brocklebank as Sam Gosse
Nicholas Le Prevost as Sir Robert de Lesseps
Jill Baker as Lady de Lesseps
Patrick Barlow as Will Kempe
Joe Roberts as John Webster
Rupert Everett as Christopher "Kit" Marlowe
John Inman as Lady Capulet in play
Sandra Reinton as Rosaline
Paul Bigley as Peter
Production
[edit]
The original idea for Shakespeare in Love was suggested to screenwriter Marc Norman in the late 1980s by his son Zachary.[9] Norman wrote a draft screenplay which he presented to director Edward Zwick, which attracted Julia Roberts, who agreed to play Viola. However, Zwick disliked Norman's screenplay and hired the playwright Tom Stoppard to improve it (Stoppard's first major success had been with the Shakespeare-themed play Rosencrantz and Guildenstern Are Dead).[10]
The film went into production in 1991 at Universal, with Zwick as director, but although sets and costumes were in construction, Shakespeare had not yet been cast, because Roberts insisted that only Daniel Day-Lewis could play the role. Day-Lewis was uninterested, and when Roberts failed to persuade him, she withdrew from the film, six weeks before shooting was due to begin.[11] Zwick and the studio had tried to hold chemistry tests between Roberts and several then-unknown actors, including Hugh Grant, Ralph Fiennes, Jeremy Northam, Rupert Graves, Colin Firth, and Sean Bean, but Roberts either skipped the meetings or found faults with them all. After one last screen test with Paul McGann, Roberts pulled out of the production, which Zwick attributed to insecurity about the pressure she was under to succeed in the role.[12][13] The production went into turnaround, and Zwick was unable to persuade other studios to take up the screenplay. Canceling the film cost Universal $6 million.[10]
Eventually, Zwick got Miramax Films interested in the screenplay, but Miramax chose John Madden as director. Miramax Films boss Harvey Weinstein acted as producer. For the president of a studio to have given himself a producer credit created a firestorm within the industry that resulted in what has come to be known as “the Harvey Rule,” which stipulates that to earn the Producers Guild credit, a producer must have performed some real role in making the finished film.[14] To justify his producer credit, Harvey claimed he took a leave of absence from his executive duties at Miramax Films to work on this movie, which longtime Miramax Films senior executive, Mark Gill, dismissed as “complete bullshit.”[15]
Weinstein persuaded Ben Affleck to take a small role as Ned Alleyn.[16] Kate Winslet was offered the role of Viola after the success of Titanic, but she rejected it to pursue independent films.[17] Winona Ryder, Diane Lane and Robin Wright were also considered for the lead role.
Principal photography began on March 2, 1998, and ended on June 10, 1998.[18]
The film was considerably reworked after the first test screenings. The scene with Shakespeare and Viola in the punt was re-shot, to make it more emotional, and some lines were re-recorded to clarify the reasons why Viola had to marry Wessex. The ending was re-shot several times, until Stoppard eventually came up with the idea of Viola suggesting to Shakespeare that their parting could inspire his next play.[19]
Among the locations used in the production were Hatfield House, Hertfordshire (for the fireworks scene), Broughton Castle, Oxfordshire (which played the role of the de Lesseps mansion), the beach at Holkham in Norfolk, the chapel at Eton College, Berkshire, and the Great Hall of Middle Temple, London.[20]
References to Elizabethan literature
[edit]
Much of the action of the film echoes that of Romeo and Juliet. Will and Viola play out the famous balcony and bedroom scenes; like Juliet, Viola has a witty nurse, and is separated from Will by a gulf of duty (although not the family enmity of the play: the "two households" of Romeo and Juliet are supposedly inspired by the two rival playhouses). In addition, the two lovers are equally "star-crossed" – they are not ultimately destined to be together (since Viola is of rich and socially ambitious merchant stock and is promised to marry Lord Wessex, while Shakespeare himself is poor and already married). Rosaline, with whom Will is in love at the beginning of the film, is a namesake of Romeo's love-interest at the beginning of the play. There are references to earlier cinematic versions of Shakespeare, such as the balcony scene pastiching the Zeffirelli Romeo and Juliet.[21]
Many other plot devices used in the film are common in Shakespearean comedies and other plays of the Elizabethan era: the monarch moving unrecognized among the common people (cf. Henry V), the cross-dressing disguises, mistaken identities, the sword fight, the suspicion of adultery, the ostensible appearance of a ghost (cf. Hamlet and Macbeth), and the "play within a play". According to Douglas Brode, the film deftly portrays many of these devices as though the events depicted were the inspiration for Shakespeare's own use of them in his plays.[22]
Christopher Marlowe is presented in the film as the master playwright whom the characters consider the greatest English dramatist of that time – this is historically accurate, yet also humorous, since the film's audience knows what will eventually happen to Shakespeare's reputation. Marlowe gives Shakespeare a plot for his next play, "Romeo and Ethel the Pirate's Daughter" ("Romeo is Italian...always in and out of love...until he meets...Ethel. The daughter of his enemy! His best friend is killed in a duel by Ethel's brother or something. His name is Mercutio.")[23] Marlowe's Doctor Faustus is quoted repeatedly: "Was this the face that launched a thousand ships/ And burned the topless towers of Ilium?" A reference is also made to Marlowe's final, unfinished play The Massacre at Paris in a scene wherein Marlowe (Rupert Everett) seeks payment for the final act of the play from Richard Burbage (Martin Clunes). Burbage promises the payment the next day, so Marlowe refuses to part with the pages and departs for Deptford, where he is killed.[24][25] The only surviving text of The Massacre at Paris is an undated octavo that is probably too short to represent the complete original play. It has been suggested that it is a memorial reconstruction by the actors who performed the work.[26]
The child John Webster (Joe Roberts), who plays with rats, is a reference to a leading figure in the next, Jacobean, generation of playwrights. His plays (The Duchess of Malfi, The White Devil) are known for their 'blood and gore', which is humorously referred to by the child saying that he enjoys Titus Andronicus, and also saying of Romeo and Juliet, when asked his opinion by the Queen, "I liked it when she stabbed herself."[27] Likewise, the Thames waterman who ferries Shakespeare to the estate of Robert de Lesseps, and tries to get Shakespeare's opinion of his own writing, references John Taylor.[28]
When the clown Will Kempe (Patrick Barlow) says to Shakespeare that he would like to play in a drama, he is told that "they would laugh at Seneca if you played it", a reference to the Roman tragedian renowned for his sombre and bloody plot lines which were a major influence on the development of English tragedy.[29]
Will is shown signing a paper repeatedly, with many relatively illegible signatures visible. This is a reference to the fact that several versions of Shakespeare's signature exist, and in each one he spelled his name differently.[30]
Plot precedents and similarities
[edit]
After the film's release, certain publications, including Private Eye, noted strong similarities between the film and the 1941 novel No Bed for Bacon, by Caryl Brahms and S. J. Simon, which also features Shakespeare falling in love and finding inspiration for his later plays. In a foreword to a subsequent edition of No Bed for Bacon (which traded on the association by declaring itself "A Story of Shakespeare and Lady Viola in Love") Ned Sherrin, Private Eye insider and former writing partner of Brahms', confirmed that he had lent a copy of the novel to Stoppard after he joined the writing team,[31] but that the basic plot of the film had been independently developed by Marc Norman, who was unaware of the earlier work.
The film's plot can claim a tradition in fiction reaching back to Alexandre Duval's "Shakespeare amoureux ou la Piece a l'Etude" (1804), in which Shakespeare falls in love with an actress who is playing Richard III.[32]
The writers of Shakespeare in Love were sued in 1999 by bestselling author Faye Kellerman. She claimed that the plotline was stolen from her 1989 novel The Quality of Mercy, in which Shakespeare romances a Jewish woman who dresses as a man, and attempts to solve a murder. Miramax Films spokesman Andrew Stengel derided the claim, filed in the US District Court six days before the 1999 Academy Awards, as "absurd", and argued that the timing "suggests a publicity stunt".[33][34] An out-of-court settlement was reached, but the sum agreed between the parties indicates that the claim was "unwarranted".[35]
Historical inaccuracies
[edit]
The film is "not constrained by worries about literary or historical accuracy" and includes anachronisms such as a reference to Virginia tobacco plantations, at a time before the Colony of Virginia existed.[36] A leading character is an Earl of Wessex, a title which in Shakespeare's time had not existed for over 500 years. Queen Elizabeth I never entered a public theatre, as she does in the film. Between Romeo and Juliet and Twelfth Night, Shakespeare wrote ten other plays over a period of six years.[37] Another historical liberty concerns the central theme of Shakespeare struggling to create the story of Romeo and Juliet, as in real life he simply adapted an existing story for theatre. Arthur Brooke translated the Italian verse tale The Tragical History of Romeus and Juliet into English in 1562, 32 years before Shakespeare's Romeo and Juliet.[38]
Release
[edit]
Box office
[edit]
Shakespeare in Love was among 1999's box office number-one films in the United Kingdom. The U.S. and Canadian box office reached over $100 million and in the U.K. it grossed $34 million; including the box office from the rest of the world, the film took in over $289 million.[4][39]
Critical reception
[edit]
Rotten Tomatoes gives the film a 92% approval rating based on 141 critical reviews, averaging 8.30/10. The website's critical consensus states: "Endlessly witty, visually rapturous, and sweetly romantic, Shakespeare in Love is a delightful romantic comedy that succeeds on nearly every level."[40] On Metacritic, the film holds a score of 87 out of 100 based on 33 critical reviews, indicating "universal acclaim".[41]
Janet Maslin of The New York Times made the film an "NYT Critics' Pick", calling it "pure enchantment". According to Maslin, "Gwyneth Paltrow, in her first great, fully realized starring performance, makes a heroine so breathtaking that she seems utterly plausible as the playwright's guiding light."[36]
Roger Ebert, who gave the film four stars out of four, wrote: "The contemporary feel of the humor (like Shakespeare's coffee mug, inscribed 'Souvenir of Stratford-Upon-Avon') makes the movie play like a contest between Masterpiece Theatre and Mel Brooks. Then the movie stirs in a sweet love story, juicy court intrigue, backstage politics and some lovely moments from Romeo and Juliet... Is this a movie or an anthology? I didn't care. I was carried along by the wit, the energy and a surprising sweetness."[23]
Filmmaker David Cronenberg was critical of the film stating that it "really annoyed me" as it was "deconstructionist film-making, but it's also just Romeo and Juliet again".
The Sunday Telegraph claimed that the film prompted the revival of the title of Earl of Wessex. Prince Edward was originally to have been titled Duke of Cambridge following his marriage to Sophie Rhys-Jones in 1999, the year after the film's release. However, after watching Shakespeare in Love, he reportedly became attracted to the title of the character played by Colin Firth, and asked his mother Queen Elizabeth II to be given the title of Earl of Wessex instead.[43]
In the wake of sexual abuse allegations against Weinstein, many of the cast and crew began to distance themselves from the producer and his past behavior. Madden, while condemning Weinstein, stated that the producer "craved power and had power and, as we now know, he was using it in ways that are repugnant and should be utterly condemned".[44]
Awards and nominations
[edit]
Best Picture and Best Actress Oscar controversy
[edit]
Shakespeare In Love won the Best Picture Oscar at the 71st Academy Awards, controversially defeating critically favored Saving Private Ryan and becoming the first comedy to win the award since Annie Hall (1977). The Academy's decision was criticized by many for awarding the film over Saving Private Ryan,[45][46][47] and Gwyneth Paltrow winning Best Actress over frontrunner Cate Blanchett for Elizabeth.
Many industry pundits speculated that this win was attributed to the awards campaign led by Weinstein.[48][49] Weinstein was reported to have strong-armed the movie's talent into participating in an unprecedented blitzkrieg of press.[48] Terry Press, an executive at DreamWorks at the time, stated that Weinstein and Miramax "tried to get everybody to believe that Saving Private Ryan was all in the first 15 minutes".[50] Mark Gill, an executive at Miramax at the time, claimed that Weinstein had a reliance on relatively cheap publicity. He stated, "This was not saying to the stars, 'O.K., you can go on a couple of talk shows to open the movie and do a weekend of interviews at a junket and thanks so much for helping'", Gill said. "That was just 'Good morning. You've got three more months of shaking hands and kissing babies in you.'"[50]
In 2015, The Hollywood Reporter magazine, claiming to have interviewed "hundreds" of Academy members, indicated that, having to choose between Shakespeare in Love and Saving Private Ryan, a majority of them would award the Oscar for Best Picture to the latter.[51] In 2020, Glenn Close revealed in an interview with Peter Travers that she thought Paltrow winning Best Actress over Fernanda Montenegro for Central Station did not "make sense".[52] In response to that, Montenegro said she was "grateful" for Close's praise, but thought the Oscar should've gone to Blanchett.[53]
Accolades
[edit]
Award Category Nominee(s) Result Ref. Academy Awards Best Picture David Parfitt, Donna Gigliotti, Harvey Weinstein,
Edward Zwick, and Marc Norman Won [54] Best Director John Madden Nominated Best Actress Gwyneth Paltrow Won Best Supporting Actor Geoffrey Rush Nominated Best Supporting Actress Judi Dench Won Best Screenplay – Written Directly for the Screen Marc Norman and Tom Stoppard Won Best Art Direction Art Direction: Martin Childs;
Set Decoration: Jill Quertier Won Best Cinematography Richard Greatrex Nominated Best Costume Design Sandy Powell Won Best Film Editing David Gamble Nominated Best Makeup Lisa Westcott and Veronica Brebner Nominated Best Original Musical or Comedy Score Stephen Warbeck Won Best Sound Robin O'Donoghue, Dominic Lester, and Peter Glossop Nominated American Society of Cinematographers Awards Outstanding Achievement in Cinematography in Theatrical Releases Richard Greatrex Nominated [55] Art Directors Guild Awards Excellence in Production Design for a Feature Film Martin Childs Nominated [56] Berlin International Film Festival Golden Bear John Madden Nominated [57] Silver Bear Marc Norman and Tom Stoppard Won British Academy Film Awards Best Film David Parfitt, Donna Gigliotti, Harvey Weinstein,
Edward Zwick, and Marc Norman Won [7] Best Direction John Madden Nominated Best Actor in a Leading Role Joseph Fiennes Nominated Best Actress in a Leading Role Gwyneth Paltrow Nominated Best Actor in a Supporting Role Geoffrey Rush Won Tom Wilkinson Nominated Best Actress in a Supporting Role Judi Dench Won Best Original Screenplay Marc Norman and Tom Stoppard Nominated Best Cinematography Richard Greatrex Nominated Best Costume Design Sandy Powell Nominated Best Editing David Gamble Won Best Make-Up and Hair Lisa Westcott Nominated Best Original Film Music Stephen Warbeck Nominated Best Production Design Martin Childs Nominated Best Sound Robin O'Donoghue, Dominic Lester, Peter Glossop, and
John Downer Nominated British Society of Cinematographers Awards Best Cinematography in a Theatrical Feature Film Richard Greatrex Nominated [58] Chicago Film Critics Association Awards Best Film Nominated [59] Best Actress Gwyneth Paltrow Nominated Best Screenplay Marc Norman and Tom Stoppard Won Most Promising Actor Joseph Fiennes Won Chlotrudis Awards Best Director John Madden Nominated [60] Best Supporting Actor Geoffrey Rush (also for Elizabeth) Nominated Best Supporting Actress Judi Dench Nominated Best Screenplay Marc Norman and Tom Stoppard Nominated Critics' Choice Movie Awards Best Picture Nominated [61] Best Original Screenplay Marc Norman and Tom Stoppard Won Breakthrough Artist Joseph Fiennes (also for Elizabeth) Won Directors Guild of America Awards Outstanding Directorial Achievement in Motion Pictures John Madden Nominated [62] Golden Globe Awards Best Motion Picture – Musical or Comedy Won [5] Best Actress in a Motion Picture – Musical or Comedy Gwyneth Paltrow Won Best Supporting Actor – Motion Picture Geoffrey Rush Nominated Best Supporting Actress – Motion Picture Judi Dench Nominated Best Director – Motion Picture John Madden Nominated Best Screenplay – Motion Picture Marc Norman and Tom Stoppard Won Grammy Awards Best Instrumental Composition Written for a Motion Picture, Television or
Other Visual Media Shakespeare in Love – Stephen Warbeck Nominated [63] Los Angeles Film Critics Association Awards Best Screenplay Marc Norman and Tom Stoppard Runner-up [64] National Board of Review Awards Top Ten Films 5th Place [65] National Society of Film Critics Awards Best Supporting Actress Judi Dench Won [66] Best Screenplay Marc Norman and Tom Stoppard Nominated New York Film Critics Circle Awards Best Supporting Actress Judi Dench Runner-up [67] Best Screenplay Marc Norman and Tom Stoppard Won Producers Guild of America Awards Outstanding Producer of Theatrical Motion Pictures David Parfitt, Donna Gigliotti, Harvey Weinstein,
Edward Zwick, and Marc Norman Nominated [68] Satellite Awards Best Motion Picture – Musical or Comedy Won [69] Best Actress in a Motion Picture – Comedy or Musical Gwyneth Paltrow Nominated Best Actor in a Supporting Role in a Motion Picture – Comedy or Musical Geoffrey Rush Nominated Best Original Screenplay Marc Norman and Tom Stoppard Nominated Best Art Direction Martin Childs Nominated Best Cinematography Richard Greatrex Nominated Best Costume Design Sandy Powell Nominated Best Editing David Gamble Nominated Screen Actors Guild Awards Outstanding Performance by a Cast in a Motion Picture Ben Affleck, Daniel Brocklebank, Simon Callow,
Jim Carter, Martin Clunes, Judi Dench, Joseph Fiennes,
Colin Firth, Gwyneth Paltrow, Geoffrey Rush, Antony Sher,
Imelda Staunton, Tom Wilkinson, and Mark Williams Won [6] Outstanding Performance by a Male Actor in a Leading Role Joseph Fiennes Nominated Outstanding Performance by a Female Actor in a Leading Role Gwyneth Paltrow Won Outstanding Performance by a Male Actor in a Supporting Role Geoffrey Rush Nominated Outstanding Performance by a Female Actor in a Supporting Role Judi Dench Nominated Southeastern Film Critics Association Awards Best Picture 2nd Place [70] Best Actress Gwyneth Paltrow Runner-up Best Supporting Actress Judi Dench Runner-up Best Original Screenplay Marc Norman and Tom Stoppard Won Writers Guild of America Awards Best Screenplay – Written Directly for the Screen Won [71]
In 2005, the Writers Guild of America ranked its script the 28th greatest ever written.[72]
American Film Institute recognition:
AFI's 100 Years...100 Passions – #50[73]
Stage adaptation
[edit]
Lee Hall's Shakespeare in Love
[edit]
Main article: Shakespeare in Love (play)
In November 2011, Variety reported that Disney Theatrical Productions intended to produce a stage version of the film in London with Sonia Friedman Productions.[74] The production was officially announced in November 2013.[75] Based on the film screenplay by Norman and Stoppard, it was adapted for the stage by Lee Hall. The production was directed by Declan Donnellan and designed by Nick Ormerod, the joint founders of Cheek by Jowl.
The production opened at the Noël Coward Theatre in London's West End on 23 July 2014, receiving rave reviews from critics. It was called "A joyous celebration of theatre" in the Daily Telegraph,[76] "Joyous" in The Independent,[77] and "A love letter to theatre" in The Guardian.[78]
Japanese adaptation
[edit]
From December 2016 to January 2017, Shakespeare of True Love (Japanese: シェイクスピア物語～真実の愛), a Japanese adaptation of Shakespeare in Love written by Shigeki Motoiki and Sakurako Fukuyama, was produced in Kanagawa Arts Theatre.[79][80] It was not related to Lee Hall's play. Takaya Kamikawa played Will Shakespeare and Alisa Mizuki played Viola.[79][80]
See also
[edit]
BFI Top 100 British films
References
[edit]
Works cited
[edit]
Cronenberg, David (2006). David Cronenberg: Interviews with Serge Grünberg. Plexus Publishing. ISBN 0859653765.
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Curse of the character actor? Antony Sher doubted he could play Falstaff
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2015-05-13T08:00:14+00:00
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Tonight, Antony Sher opens in the West End in the RSC’s transfer of Death of […]
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Terri Paddock
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https://terripaddock.com/curse-of-the-character-actor-antony-sher-doubted-he-could-play-falstaff/
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Tonight, Antony Sher opens in the West End in the RSC’s transfer of Death of a Salesman. But, as acclaimed as the production is, as important as it is in this centenary year of Arthur Miller’s birth, and as epic a part as life’s underdog Willy Loman (who Sher plays) is, the truth is this is a little bit of a sandwich season.
In Stratford-upon-Avon, where it ran on the RSC’s main home base stage, the Royal Shakespeare Theatre, Death of a Salesman followed on the heels of one of the biggest, juiciest challenges of Sher’s career: playing Shakespeare’s ultimate comic (-tragic?) role, the larger-than-life Sir John Falstaff in Henry IV, Parts 1 and 2.
Both Shakespeare and Miller stagings are directed by Greg Doran, artistic director of the RSC and Sher’s life partner since they met in 1987 on an RSC production of The Merchant of Venice, in which Sher, already a ‘name’, starred as Shylock and a younger Doran, before he gave up acting, played Solanio.
Despite the director’s intimate access to his actor of choice, however, persuading Sher to accept the role of Falstaff was no easy task – as is made abundantly clear in Sher’s latest book, Year of the Fat Knight: The Falstaff Diaries. Sher, the consummate character actor, was riddled with doubts; doubts that assailed him throughout his time considering, researching, rehearsing and performing the role, which has already won him the Critics’ Circle Award for Best Shakespearean Performance.
Year of the Fat Knight is a fascinating read for many reasons. Apart from his insights into the pleasures and pains of acting for a living, Sher writes beautifully about life, art, relationships and, of course, Shakespeare. And, also a painter (is there no end to this man’s talents?!), his sketches and other illustrations add – literal – colour to the book.
Below is an edited extract from Year of the Fat Knight‘s first chapter, in which Sher struggles with the very idea of himself at Falstaff and delays accepting the role, despite the urgings of no less than Ian McKellen, Derek Jacobi and, of course, Greg Doran – who, by the way, seems like an ideal husband and human being. In fact, they both do. So…
Antony, Greg, just in case you’re reading this, if you’re ever free for dinner, please come round to mine in SE1, anytime. Open invitation.
For the rest of you, read on and enjoy!
From Year of the Fat Knight
Monday 11 February 2013
It’s all Ian McKellen’s fault.
A month or so ago, Greg (Doran; Royal Shakespeare Company Artistic Director, and my partner) was talking to Ian about whether he’d like to come back to the company, and what parts he might play. Greg mentioned that he was directing Henry IV Parts I and II next year, and what about Falstaff? Ian said it wasn’t of interest to him, and then added, ‘But why are you looking for Falstaff when you’re living with him?’
Ian was making reference to a performance of mine that he’d seen at the National Theatre: Jacob in Travelling Light. Nicky Wright’s play is about the early days of film-making, set in an East European shtetl, circa 1900, and Jacob is the local timber merchant (and embryonic movie mogul), described in the stage directions as ‘a big and ebullient man, a Tolstoyan peasant’. As a character, he is what is called larger-than-life. And yes, looking back now, I suppose Jacob could have been Falstaff’s Jewish cousin.
Anyway, Greg told me what Ian had said, and we smiled at it, and didn’t take it seriously at all. Falstaff has never been a part I’ve remotely thought of as being mine.
Casting it has preoccupied Greg for a couple of years now, and I’ve been his sounding board from time to time. All sorts of names have been mooted – including Patrick Stewart, Jim Broadbent, Brian Cox – but Greg eventually decided his first choice was Derek Jacobi. The offer is presently with him….
I didn’t know how to react to Greg. I had no problem about not being the first choice for the part – if you live with a director, you understand the nature of these things – but the idea was still baffling. Me as Falstaff? Short, Jewish, gay, South African me as Shakespeare’s gigantically big, rudely hetero, quintessentially English, Fat Knight? It made no sense.
But this is an ongoing problem for the character actor. He never feels ideally right for any part.
I said, ‘Well… let’s talk about it again… if Derek says no.’ And we moved on to other things.
Wednesday 13 February
Greg rang from Oxford. He’s just spoken to Derek Jacobi, who has said no. Not because of other commitments, but because he’s reread it and can’t see himself in the role.
‘So,’ said Greg; ‘I am now officially proposing that you do it.’
After a pause, I said, ‘I’ll think about it, okay?’ Then put the phone down, feeling I’d just had bad news.
Sunday 17 February
[Greg said:] ‘You can change yourself… you’re a “shape-shifter”.’
‘But it’s not just Falstaff’s shape. There’s something about his spirit. That’s the truly big bit of him.’
‘You could do it.’
‘Then why haven’t I been thought of before? You’ve talked about all sorts of actors. We’ve talked about them together. I’ve never been in the frame. Never – in either of our heads.’
‘And that’s fine,’ said Greg confidently. ‘Happens all the time in casting. The best idea, the person you end up with, wasn’t even on your original list.’
‘Well… there’s something else. And it’s not easy to talk about.’
Greg frowned. This wasn’t like us.
I proceeded slowly: ‘We’re in a funny position. That crazy Observer thing about power couples. I mean, when we met, I was already established, you were starting out… and yet now, in terms of power, you’re much more powerful than me. You know I have no problem with that. You know I rejoice in you having The Job. But with something like this, where I’m a completely left-field idea for the part, and maybe completely wrong… we could be accused of nepotism.’
‘Oh that’s nonsense – you’re a leading classical actor!’
‘You’re not thinking about this properly. Nepotism. I mean it seriously. I’d hate that charge to be made. I’d hate it for you especially. And actually it could be bad for you – this early on in The Job – if you get this wrong.’
‘I’m not getting this wrong.’
Greg was calm. I was not.
He said, ‘And if it’s of any comfort to you, the Board would have to ratify your casting. It comes under a clause called Conflict of Interests. At the next Board meeting, I’d have to step out of the room while they discussed exactly what you’re scared of – the question of nepotism.’ He paused. ‘So how do we proceed?’
Wednesday 13 March
‘Piss or get off the pot.’
Greg says this lightly, but I’ve heard it before – when actors keep him waiting to say yes or no to an offer – and I know he’s running out of patience. My inability to make a decision means that we’re both stuck to the spot. He can’t move on: find another Falstaff, or cast the other parts. If it was another director, I wouldn’t care about their problems – this is too important a decision for me – but it isn’t another director, it’s Greg.
Monday 18 March
Isn’t that reason enough to do Falstaff – a work project so big I’ll not be bored for years?
No. It isn’t enough.
Then what about the simple fact that it’s another great Shakespeare role? I’m proud of the Shakespeare notches on my belt, and here would be one more, a giant one, a fabulous one, and one I never dreamed of. How could I not do it?
Well, why didn’t McKellen or Jacobi do it? They’ve both spent their careers notching up a line of Shakespeares, and they’ve done their Lears now, and there’s nothing left. What was it about Falstaff that they shied away from? Maybe a generational thing. They’re the last group from a theatrical tradition which said that, for the classical actor, certain roles (like Hamlet, Macbeth, etc.) lead to Lear, while others (like Touchstone, Bottom, etc.) lead to Falstaff, and never the twain shall meet.
This is a blind alley. You can’t judge yourself against other actors.
What is it then? Why is this decision harder than any other?
Look at the eyes in the portrait. Half-closed. Defensive.
The thing I’ve said again and again is that I don’t want to be laughed at.
Friday 22 March
It’s not good enough to have a good part if the play isn’t good enough!!
And here I am now, with Falstaff – being offered not just a good part, but a great one, in two plays which are not just good, but great. And am I seriously farting and faffing around, wondering whether to do it or not?!
Fuck tradition, fuck the normal notions of who should play Falstaff, fuck its status as an iconic role, fuck the fact that I’m not fat enough or tall enough or whatever…!
I’m a character actor, and this is the greatest character part ever written. It presents me with a tremendous feast of the kind of acting that I like best, that I do best – it’ll take all my imagination and creativity to invent his shape, his voice, his very being, and I will enjoy doing that. And yes, it’s a humungous job, and will feed my workaholism to the limit, and that is important, and I’ll enjoy that too. And Greg and I will be working together on Shakespeare again, and I will especially enjoy that.
Year of the Fat Knight comes thirty years after Antony Sher published Year of the King, about his experience playing Richard III for the RSC, which has since become a classic of theatre literature. According to publishers Nick Hern Books, Year of the Fat Knight “is destined to rank with the Year of the King as one of the most enduring accounts of the creation of a giant Shakespearean role”. It’s hard to disagree. The hardback is priced £16.99 and there are a limited number of signed copies available.
Visit www.nickhernbooks.co.uk for more information.
Father and son relationship x2
The relationship between Antony Sher and Greg Doran isn’t the only one fuelling the success of both Death of a Salesman and Henry IV, Parts 1 and 2. A striking one has also developed onstage, and seemingly off, between Sher and his young co-star, Alex Hassell.
The father-son connection between their characters in both plays is critical. In the Shakespeare, Falstaff is like a second dad to Prince Hal, while in the Miller, Willy is Biff’s actual dad, however strained and destined to disappoint their relationship is.
The RSC is a big family, they say. So it seems.
Death of a Salesman continues its limited season at the West End’s Noel Coward Theatre until 18 Jul 2015.
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https://uk.news.yahoo.com/sag-awards-oppenheimer-wins-outstanding-031400732.html
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en
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SAG Awards: Oppenheimer wins Outstanding Performance by a Cast in a Motion Picture
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2024-02-25T03:14:00+00:00
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'Oppenheimer' scooped the coveted Outstanding Performance by a Cast in a Motion Picture accolade at the Screen Actors Guild (SAG) Awards on Saturday (24.02.24).
|
en
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https://s.yimg.com/rz/l/favicon.ico
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Yahoo News
|
https://uk.news.yahoo.com/sag-awards-oppenheimer-wins-outstanding-031400732.html
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'Oppenheimer' scooped the coveted Outstanding Performance by a Cast in a Motion Picture accolade at the Screen Actors Guild (SAG) Awards on Saturday (24.02.24).
The atomic bomb drama won the night's biggest prize - which is widely viewed as a predictor for the Best Picture honour at the upcoming Academy Awards - and the cast were delighted to celebrate working on director Christopher Nolan's "masterpiece".
Speaking on behalf of the cast - including Cillian Murphy and Robert Downey Jr., who had won individual honours earlier in the evening - Sir Kenneth Branagh said: "It's my honour to say a few words briefly on behalf of this incredible cast on stage and the extended family of 'Oppenheimer' who can't be here.
"Thank you so much Chris Nolan and Emma Thomas, thank you for the opportunity, the respect, the invitation to play a genuine part in making this scarily important film.
"Thank you to Donna Langley and Universal Pictures for believing in us and the film..."
The ceremony is organised by acting union SAG-AFTRA and the 63-year-old actor-and-director went on to reflect on the "full circle" moment of the premiere of the movie taking place at the start of last year's strike before coming together again at the Shrine Auditorium in Los Angeles for the awards show.
He continued:
"And of course thank you, thank you SAG-AFTRA for this, thank you for fighting for us, thank you to every member who's support and sacrifice allows us to be standing here better than we wee before.
"When we were last together, it was the premiere of this film in July when the strike was about to begin and led by our fearless leader, Cillian Murphy, we went from the red carpet and we didn't see the film that night.
"We happily went in the direction of solidarity with your good selves so this is a full circle moment for us and to receive this recognition in a year of spectacular achievement from all the people in this room, our acting friends, our acting heroes, it means the world to us.
"We know how lucky we are. and we are grateful and humbled and we are proud, not just to be in Mr Nolan's masterpiece but proud to be in your company. Thank you so much."
The movie was shortlisted alongside 'American Fiction', 'Barbie', 'The Color Purple', 'and Killers of the Flower Moon'.
|
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https://apnews.com/article/academy-awards-entertainment-california-hollywood-arts-and-entertainment-1e285d9a6c0fe5f42d86d55adf641c9c
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en
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‘CODA’ takes top honors at SAG Awards, Will Smith wins
|
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[] |
[] |
[
"Sian Heder",
"California",
"Marlee Matlin",
"Europe",
"Russia-Ukraine war",
"Will Smith",
"Hollywood",
"Screen Actors Guild Awards",
"Movies",
"Troy Kotsur",
"Emilia Jones",
"General news",
"Academy Awards Oscars",
"Screen Actors Guild",
"Arts and entertainment",
"Entertainment"
] | null |
[
"Jake Coyle",
"Jake Coyle Film",
"critic twitter mailto"
] |
2022-02-28T11:26:17+00:00
|
In an upset, the deaf family drama “CODA” has won top honors at a very unpredictable 28th Screen Actors Guild Awards that also saw wins for the leads of “Squid Game,” the cast of “Ted Lasso” and Will Smith.
|
en
|
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AP News
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https://apnews.com/article/academy-awards-entertainment-california-hollywood-arts-and-entertainment-1e285d9a6c0fe5f42d86d55adf641c9c
|
In an upset, the deaf family drama “CODA” took top honors at an unpredictable and history-making 28th Screen Actors Guild Awards that also saw wins for the leads of “Squid Game,” the cast of “Ted Lasso” and Will Smith.
The ceremony, held Sunday at Barker Hangar in Santa Monica, California, and broadcast on both TNT and TBS, was notably border-breaking, with historic wins for deaf actors, Korean stars and some of Hollywood’s biggest names. It culminated with “CODA,” Sian Heder’s heartwarming Apple TV+ coming-of-age film featuring a trio of deaf actors in Marlee Matlin, Troy Kotsur and Daniel Durant, along with newcomer Emilia Jones, winning best ensemble. The film has been seen as a watershed moment for the deaf community in Hollywood.
“This validates the fact that we, deaf actors, can work just like anybody else. We look forward to more opportunities for deaf actors,” said Matlin on stage before teaching the crowd sign language for “I love you.”
Matlin is the only deaf actor to win an Oscar, but her “CODA” co-star, Kotsur, may be in line to join her. Kotsur won best supporting actor Sunday, becoming the first deaf actor win an individual SAG award. When his name was read, the 53-year-old veteran actor plunged his head into his hands. On stage, he thanked his wife for “reminding me to check my fly before walking the red carpet.”
Netflix’s “Squid Game,” the first non-English language series nominated by the actors guild, came on strong with three awards, including Lee Jung-jae for best male actor in a drama series and Jung Hoyeon for best female actor in a drama series. Those wins came over the likes of “Succession” stars Brian Cox and Jeremy Strong, and Reese Witherspoon and Jennifer Aniston of “The Morning Show.”
“I have sat many a times watching you on the big screen dreaming of one day becoming an actor,” Jung told the crowd, fighting back tears.
Still, HBO’s “Succession” ultimately reigned in the best drama series category. Cox fittingly accepted the award with an expletive printed on his face mask, and another uttered as he struggled to take it off. But Cox turned serious when discussing Russia’s invasion of Ukraine. In the evening’s bluntest remarks on the invasion, he noted that the president of Ukraine, Volodymyr Zelenskyy, was a comic — and thus a fellow performer. He urged censored dissenters in Russia to speak out.
“The people in Russia who don’t like what’s going on — and particularly the artists — I think we should join and celebrate them and hope that they can make a shift, as I believe they can,” said Cox while the audience stood and applauded.
The SAG Awards are considered one of the most reliable predictors of the Academy Awards. Actors make up the largest percentage of the Academy of Motion Pictures Arts and Sciences, and their picks often align. In 2020, when the cast of “Parasite” and Brad Pitt won, they matched exactly.
Though the actors guild and the academy diverged last year when Aaron Sorkin’s 1960s courtroom drama “Trial of the Chicago 7” topped the SAG Awards and “Nomadland” triumphed at the Oscars, the win for “CODA” suggests it’s a major threat to win best picture over Kenneth Branagh’s “Belfast” (which went winless Sunday) and Jane Campion’s leading Oscar nominee “The Power of the Dog” (which failed to get an ensemble nod even though three of its actors were individually nominated).
SAG’s track record may also mean Will Smith, star of the Williams family tennis drama “King Richard,” is heading for his first Oscar. Smith took best actor, scoring his first SAG award.
“That may have been one of the greatest moments of my career just now because my name was called for ‘King Richard’ sitting next to Venus Williams,” beamed Smith.
Best actress has been more difficult category to track. Many have seen Olivia Colman (“The Lost Daughter”) as the favorite to win her second Oscar. In an especially competitive category, those snubbed have often drawn the most focus. Kristen Stewart of “Spencer” was passed over by SAG, while Lady Gaga (“House of Gucci”) missed with the film academy.
Yet it was Jessica Chastain, who plays the infamous televangelist in “The Eyes of Tammy Faye,” who won Sunday, notching her first individual SAG award. Heading into the Oscars on March 27, no category may be more uncertain.
Meanwhile, Ariana DeBose of “West Side Story” confirmed her frontrunner status with a win Sunday for best supporting performance by a female actor. DeBose’s award, too, had historic resonance.
“It’s indicative that doors are opening,” said DeBose, speaking to reports in a virtual backstage media room. “It’s an honor to be seen, it’s an honor to be an Afro-Latina, an openly queer woman of color, a dancer, a singer, and an actor. It’s indicative to me that I will not be the last, and that’s the important part.”
The SAG Awards, which will be available to stream Monday on HBO Max, are presented by the Hollywood actors guild SAG-AFTRA. After the January Golden Globes were a non-event, they were Hollywood’s first major, televised, in-person award show — complete with a red carpet and teary-eyed speeches — this year. The “Hamilton” trio of Lin-Manuel Miranda, Leslie Odom Jr. and Daveed Diggs kicked off the broadcast with the declared theme of “together again.”
“We’ve returned to a world where all we have to do to hang out like this is get dressed up, show up, get swabbed, sanitized, screened, masked, vaccinated, boosted, rapid-tested and PCR-cleared within 24 hours,” said Odom Jr. “Now who’s ready to party?”
Some casts, citing quarantine regulations related to production schedules, attended remotely — including the lead television nominee, “Ted Lasso.” Appearing by video link with his castmates around him, Jason Sudeikis accepted the award for best actor in a comedy series. The Apple TV+ show was later named best comedy series ensemble.
While the Academy Awards aren’t mandating vaccination for presenters (just attendees), it was required for the SAG Awards, which are voted on by the Hollywood actors’ guild SAG-AFTRA. Other awards went to Jean Smart of “Hacks,” Kate Winslet of “Mare of Easttown and Michael Keaton of “Dopesick,” who dedicated his award to his nephew, Michael. Keaton has previously said he died from fentanyl and heroin use in 2016.
The SAG Awards also coronated “The Queen” actress Helen Mirren. The five-time SAG winner was honored with a lifetime achievement award.
“Honestly, any achievement that I’ve succeed in is the result of my mantra which is basically: Be on time and don’t be ass,” said the 76-year-old Mirren. “Thank you, thank you, S-A-G so much for this. I hate to say the word ‘sag’ at my age.”
___
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dbpedia
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3
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https://timesofindia.indiatimes.com/entertainment/english/hollywood/news/shakespeare-in-love-star-antony-sher-passes-away/articleshow/88101315.cms
|
en
|
'Shakespeare In Love' star Antony Sher passes away
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2021-12-05T10:26:00+05:30
|
Antony Sher, one of the most respected stage actors known for his Shakespearean roles, has died. He was 72 when he breathed his last.
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/english/hollywood/news/shakespeare-in-love-star-antony-sher-passes-away/articleshow/88101315.cms
|
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travel
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5893
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dbpedia
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2
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https://en.wikipedia.org/wiki/Antony_Sher
|
en
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Antony Sher
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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2004-09-03T08:24:34+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Antony_Sher
|
South African-born British actor (1949–2021)
Sir Antony Sher (14 June 1949 – 2 December 2021) was a British actor, writer and theatre director of South African origin. A two-time Laurence Olivier Award winner and a four-time nominee, he joined the Royal Shakespeare Company in 1982 and toured in many roles, as well as appearing on film and television. In 2001, he starred in his cousin Ronald Harwood's play Mahler's Conversion, and said that the story of a composer sacrificing his faith for his career echoed his own identity struggles.
During his 2017 "Commonwealth Tour", Prince Charles referred to Sher as his favourite actor.[1] Sher and his partner and collaborator Gregory Doran became one of the first same-sex couples to enter into a civil partnership in the UK.
Early life and education
[edit]
Sher was born on 14 June 1949 in Cape Town, South Africa, the son of Margery (Abramowitz) and Emmanuel Sher, who worked in business.[2][3] He was a first cousin once removed of the playwright Sir Ronald Harwood.[4][5]
He grew up in the suburb of Sea Point, where he attended Sea Point High School.[6]
Sher moved to the United Kingdom in 1968[2] and auditioned at the Central School of Speech and Drama and the Royal Academy of Dramatic Art (RADA), but was unsuccessful. He instead studied at the Webber Douglas Academy of Dramatic Art from 1969 to 1971 and subsequently on the one-year postgraduate course run jointly by Manchester University Drama Department and the Manchester School of Theatre.[citation needed]
Sher became a British citizen in 1979.[2]
Career
[edit]
In the 1970s, Sher was part of a group of young actors and writers working at the Liverpool Everyman Theatre.[7] Comprising figures such as writers Alan Bleasdale and Willy Russell and fellow actors Trevor Eve, Bernard Hill, Jonathan Pryce, and Julie Walters, Sher summed up the work of the company with the phrase "anarchy ruled". He also performed with the theatre group Gay Sweatshop, before joining the Royal Shakespeare Company (RSC) in 1982.
While a member of the RSC, Sher was cast in the title role in Molière's Tartuffe, and played the Fool in King Lear. His major break came in 1984, when he performed the title role in Richard III and won the Laurence Olivier Award. Also for the RSC, Sher performed the lead in such productions as Tamburlaine, Cyrano de Bergerac, Stanley, and Macbeth, and in 2014 played Falstaff in Henry IV Part 1 and Henry IV Part 2 in Stratford-upon-Avon and on national tour. He played the eponymous 'King Lear' from 2016 to 2018. He also played Johnnie in Athol Fugard's Hello and Goodbye, Iago in Othello, Malvolio in Twelfth Night, and Shylock in The Merchant of Venice. Sher received his second Laurence Olivier Award in 1997 for his performance as Stanley Spencer in Stanley.
In 2001, Sher played the role of the composer Gustav Mahler in Ronald Harwood's play Mahler's Conversion, about Mahler's decision to renounce his Jewish faith prior to his appointment as conductor and artistic director of the Vienna State Opera House in 1897. Speaking about the role to The Guardian's Rupert Smith, Sher revealed:
When I came to England in 1968, at 19, I looked around me and I didn't see any Jewish leading men in the classical theatre, so I thought it best to conceal my Jewishness. Also, I quickly became conscious of apartheid when I arrived here, and I didn't want to be known as a white South African. I was brought up in a very apolitical family. We were happy to enjoy the benefits of apartheid without questioning the system behind it. Reading about apartheid when I came to England was a terrible shock. So I lost the accent almost immediately, and if anyone asked me where I was from I would lie. If they asked where I went to school, I'd say Hampstead, which got me into all sorts of trouble because of course everyone else went to school in Hampstead and they wanted to know which one. Then there was my sexuality. The theatre was full of gay people, but none of them were out, and there was that ugly story about Gielgud being arrested for cottaging, so I thought I'd better hide that as well. Each of these things went into the closet until my entire identity was in the closet. That's why this play appealed to me so much: it's about an artist changing his identity in order to get what he wants.[4]
In 2015, he played Willy Loman in Death of a Salesman.
He also had several film credits to his name, including Yanks (1979), Superman II (1980), Shadey (1985), and Erik the Viking (1989). Sher starred as the Chief Weasel in the 1996 film adaptation of The Wind in the Willows and as Benjamin Disraeli in the 1997 film Mrs Brown.
Sher's television appearances include the mini-series The History Man (1981) and The Jury (2002). In 2003, he played the central character in an adaptation of the J. G. Ballard short story "The Enormous Space", filmed as Home and broadcast on BBC Four. In Hornblower (1999), he played the role of French royalist Colonel de Moncoutant, Marquis de Muzillac, in the episode "The Frogs and the Lobsters". Sher's more recent credits included a cameo in the British comedy film Three and Out (2008) and the role of Akiba in the television play God on Trial (2008).
Sher was cast in the role of Thráin II, father of Thorin Oakenshield in Peter Jackson's The Hobbit: The Desolation of Smaug, but appears only in the Extended Edition of the film.
In 2018, he played the title role in King Lear and was the only person to play both the Fool and King Lear at the Royal Shakespeare Company. He returned to Stratford-upon-Avon in 2019 to perform in Kunene and the King with John Kani.[8]
Other work
[edit]
Sher's books included the memoirs Year of the King (1985), Woza Shakespeare: Titus Andronicus in South Africa (with Gregory Doran, 1997), Beside Myself (an autobiography, 2002), Primo Time (2005), and Year of the Fat Knight (2015), a book of paintings and drawings, Characters (1990), and the novels Middlepost (1989), Cheap Lives (1995), The Indoor Boy (1996). and The Feast (1999). His 2018 book Year of the Mad King won the 2019 Theatre Book Prize, awarded by the Society for Theatre Research.[9]
Sher also wrote several plays, including I.D. (2003) and Primo (2004). The latter was adapted as a film in 2005. In 2008, The Giant, the first of his plays in which Sher did not feature, was performed at the Hampstead Theatre. The main characters are Michelangelo (at the time of his creation of David), Leonardo da Vinci, and Vito, their mutual apprentice.
In 2005, Sher directed Breakfast With Mugabe at the Swan Theatre, Stratford-upon-Avon. The production moved to the Soho Theatre in April 2006 and the Duchess Theatre one month later. In 2007, he made a crime documentary for Channel 4, titled Murder Most Foul, about his native South Africa.[10] It examines the double murder of actor Brett Goldin and fashion designer Richard Bloom. In 2011, Sher appeared in the BBC TV series The Shadow Line in the role of Glickman.[11]
Personal life
[edit]
In 2005, Sher and the director Gregory Doran, with whom he frequently collaborated professionally, entered into a civil partnership in the UK. They married on 30 December 2015, a little over ten years after their civil partnership.[12]
On 10 September 2021 it was announced that Sher was terminally ill, and Doran took compassionate leave from the RSC to care for him.[13] Sher died from cancer at his home in Stratford-upon-Avon on 2 December 2021, aged 72.[14][15][16][17]
Stage performances
[edit]
Theatre
[edit]
1972–74: Multiple roles at the Everyman Theatre, Liverpool.
1974: Ringo Starr in Willy Russell's John, Paul, George, Ringo ... and Bert at the Everyman Theatre, where it opened in May 1974. Transferred to the Lyric Theatre in August.
1975: Teeth 'n' Smiles by David Hare at the Royal Court Theatre where it opened in September 1975, subsequently transferring to Wyndham's Theatre in May 1976.
1979: American Days by Stephen Poliakoff at the ICA, London.
1982: Mike Leigh's Goosepimples in the West End.
1982: The Fool in King Lear at the Royal Shakespeare Theatre. Transferred to the Barbican Centre in 1983.
1984: Richard III with the Royal Shakespeare Company. Transferred to the Barbican Centre in 1985.
1985: Torch Song Trilogy at the Albery Theatre, West End.
1985: Red Noses at the Barbican Theatre, London.
1987: Shylock in The Merchant of Venice with the RSC.
1987: Henry Irving in Happy Birthday, Sir Larry at the Royal National Theatre, London (Laurence Olivier 80th birthday tribute).
1988: Vendice in The Revenger's Tragedy with the RSC.
1990: Peter Flannery's Singer with the RSC, Barbican Theatre.
1991: Kafka's The Trial and Brecht's The Resistible Rise of Arturo Ui at the National Theatre.
1993: Henry Carr in Travesties at the Barbican Centre with the RSC, later at the Savoy Theatre, West End. Tambourlaine with the RSC, Swan Theatre, Stratford.
1994–95: Titus Andronicus at the Market Theatre, Johannesburg. Transferred to the National Theatre and for a UK tour.
1997: Stanley at the National Theatre (repeated on Broadway at the Circle in the Square Theatre)
1997: Cyrano de Bergerac at the Lyric Theatre, West End.
1998–99: The Winter's Tale at the Barbican Centre with the RSC
1999: Macbeth at the Swan Theatre, Stratford-upon-Avon, with the RSC
2000–01: Macbeth and The Winter's Tale with the RSC
2002: RSC's Jacobean season transfers to the West End.
2003: I.D. at the Almeida Theatre, London
2004: Primo at the Cottesloe Theatre, Royal National Theatre, London (repeated on Broadway at the Music Box Theatre, July–August 2005)
2007: Kean in Kean at the Yvonne Arnaud Theatre, Guildford. Transferred to the Apollo Theatre, West End in May.
2008: Prospero in The Tempest at the Baxter Theatre, Cape Town; Courtyard Theatre, Stratford-upon-Avon; and on tour in Richmond, Leeds, Bath, Nottingham and Sheffield
2010: Tomas Stockmann in An Enemy of the People at the Sheffield Crucible
2011: Phillip Gellburg in Arthur Miller's Broken Glass at the Vaudeville Theatre
2012: Jacob Bindel in Travelling Light at the Royal National Theatre, Sigmund Freud in Hysteria by Terry Johnson at Theatre Royal Bath, later revived at Hampstead Theatre in 2013.
2013: Wilhelm Voigt in The Captain of Köpenick at the Olivier Theatre, Royal National Theatre, London.
2014: Falstaff in Henry IV, Part 1 and Henry IV Part 2 with the Royal Shakespeare Company.
2015: Willy Loman in Death of a Salesman by Arthur Miller with the Royal Shakespeare Company.
2016: The title role in King Lear with the Royal Shakespeare Company (reprised in 2018).
2018: Nicolas in One for the Road from Pinter One at the Harold Pinter Theatre with The Jamie Lloyd Company.
2019-20: Jack Morris in Kunene and the King with the Royal Shakespeare Company.
Filmography
[edit]
Film
[edit]
Year Title Role 1976 The Madness Militia man/Young man in café 1978 ITV Playhouse Morris 1979 Collision Course Tasic Play for Today Nathan One Fine Day Mr Alpert Yanks G.I. at cinema 1980 Superman II Bell Boy 1985 Shadey Oliver Shadey 1989 Erik the Viking Loki 1990 ScreenPlay David Samuels 1993 Screen Two Genghis Cohn 1994 Shakespeare: The Animated Tales Richard III 1995 The Young Poisoner's Handbook Ernest Zeigler Look at the State We're In! The Don 1996 The Wind in the Willows Chief Weasel Indian Summer Jack The Moonstone Sergeant Cuff 1997 Mrs Brown Benjamin Disraeli 1998 Shakespeare in Love Dr Moth 1999 The Winter's Tale Leontes, King of Sicilia The Miracle Maker Ben Azra (voice) 2001 Macbeth Macbeth 2004 Churchill: The Hollywood Years Adolf Hitler 2005 A Higher Agency Chef Great Performances Primo Levi Primo Primo Levi 2008 Three and Out Maurice Masterpiece Contemporary 2010 The Wolfman Dr Hoenneger 2013 The Hobbit: The Desolation of Smaug Thráin II (Extended Edition only) 2014 War Book David
Television
[edit]
Year Title Role Notes 1981 The History Man Howard Kirk Episodes: "Part 1: October 2nd 1972"
"Part 2: October 3rd 1972 (a.m.)"
"Part 3: October 3rd 1972 (p.m.)"
"Part 4: Gross Moral Turpitude" 1982 The Further Adventures of Lucky Jim Maurice Victor 1 episode 1992 The Comic Strip Presents... : "The Crying Game (Season 6, Episode 2)" Scum editor 1995 One Foot in the Grave: "Rearranging the Dust" Mr Prothrow Acted without dialogue 1999 Hornblower: "The Frogs and the Lobsters" Colonel Moncoutant 2002 The Jury Gerald Lewis QC 2003 Home Gerald Ballantyne 2004 Murphy's Law Frank Jeremy 1 episode 2007 The Company Ezra ben Ezra, the Rabbi 2008 God on Trial Akiba 2011 The Shadow Line Peter Glickman Episodes: "Episode #1.5"
"Episode #1.6" 2013 Agatha Christie's Marple: A Caribbean Mystery Jason Rafiel
Awards and nominations
[edit]
BAFTA TV Awards
[edit]
0 win, 1 nomination
British Academy Television Awards Year Nominated work Category Result 2008 Primo British Academy Television Awards 2008 Best Actor Nominated
Laurence Olivier Awards
[edit]
2 wins, 4 nominations
Laurence Olivier Award Year Nominated work Category Result 1983 King Lear Laurence Olivier Award for Best Actor in a Supporting Role Nominated 1985 Richard III and Torch Song Trilogy Laurence Olivier Award for Best Actor Won 1997 Stanley Won 2000 The Winter's Tale Nominated
Drama Desk Awards
[edit]
1 win and 1 nomination
Drama Desk Award Year Nominated work Category Result 2006 Primo Outstanding One-Person Show "Primo" Won
Evening Standard Theatre Awards
[edit]
1 win and 1 nomination
Evening Standard Theatre Awards Year Nominated work Category Result 1985 Richard III Best Actor Won
Evening Standard British Film Awards
[edit]
1 win and 1 nomination
Evening Standard British Film Awards Year Nominated work Category Result 1997 Mrs Brown Peter Sellers Award for Comedy Won
Screen Actors Guild Awards
[edit]
1 win and 1 nomination
Screen Actors Guild Award Year Nominated work Category Result 1997 Shakespeare in Love Outstanding Performance by a Cast in a Motion Picture Won
Theatre Awards UK (TMA)
[edit]
1 win and 1 nomination
Theatre Awards UK Year Nominated work Category Result 1997 Titus Andronicus Best Actor in a Play [18] Won
Tony Awards
[edit]
0 win and 1 nomination
Tony Awards Year Nominated work Category Result 1997 Stanley Best Actor in a Play Nominated
Honours
[edit]
1998: Honorary Doctor of Letters (Hon. Litt.D.) from the University of Liverpool
2000: Knight Commander of the Most Excellent Order of the British Empire (KBE) for services to theatre
2007: Honorary Doctor of Letters (Hon. Litt.D.) from the University of Warwick
2010: Honorary Doctor of Letters (Hon. Litt.D.) from the University of Cape Town
References
[edit]
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| 92
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https://www.wits.ac.za/news/sources/alumni-news/2021/dr-john-kani-honoured-with-pragnell-shakespeare-award.html
|
en
|
Dr John Kani honoured with Pragnell Shakespeare Award
|
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2021-04-28T10:44:00
|
en
|
/media/wits-university-style-assets/images/favicon.ico
| null |
Veteran actor and playwright adds one more accolade to his list of achievements.
Veteran actor and playwright Dr Bonisile John Kani (honoris causa DLitt 2020) has been awarded the 2021 Pragnell Shakespeare Birthday Award.
Introduced in 1990, the Pragnell Shakespeare Birthday Award is an international award, presented annually, on the occasion of the Shakespeare Birthday Celebrations luncheon in Stratford-upon-Avon. Each year, the recipient is chosen by a committee of representatives from The Shakespeare Institute, The Shakespeare Birthplace Trust and the Royal Shakespeare Company. The award recognises “outstanding achievement in extending the appreciation and enjoyment of the works of William Shakespeare and in the general advancement of Shakespearian knowledge and understanding.”
Dr Kani has had a lifetime of interaction with Shakespeare’s work as an actor and playwright. His own play Kunene and the King (2019) deals with the effects of apartheid 25 years into democracy as seen through the lens of King Lear. He wrote the play for the Royal Shakespeare Company, and performed it at the Swan Theatre in Stratford-upon-Avon. It has also been named as one of the 10 best productions put on by the Royal Shakespeare Company to celebrate its 60th anniversary.
Dr Kani said on Twitter: “I am overwhelmed by this honour with pride.” In his acceptance speech he described his introduction to Shakespeare at the age of 11 in the “little dusty town of New Brighton in Port Elizabeth” through the isiXhosa translation of Julius Caesar by WB Mdledle. “That was unbelievable. It opened my mind to another world, great thoughts, another understanding of the world.”
“Shakespeare has been an integral part of my life…Shakespeare transcends culture, geography, lands, groups and ethnicity…He is a heritage to everybody who walks this earth. Therefore, it is my great honour to accept this prize with incredible humility. It is one of the things that will be a highlight of my life.”
Dr Kani joins an elite group of actors, such as Wits alumna Dame Janet Suzman (BA 1959) who was the recipient of the award in 2012, and Sir Antony Sher in 2017.
Professor Michael Dobson, Director of The Shakespeare Institute, described Dr Kani as “the theatrical equivalent of Nelson Mandela. Not only does he have tremendous gravitas, but he is an accomplished actor on and off screen, who has helped introduce Shakespeare to new audiences around the world.”
Dr Kani was nominated for an Olivier Award for his performance in My Children! My Africa!, and won a Tony Award for his role in the anti-apartheid Broadway plays Sizwe Banzi is Dead and The Island, which he co-wrote. Dr Kani appeared as Othello in Suzman’s 1987 production in Johannesburg, which was credited with helping to accelerate the end of apartheid. In 2014, the Main Theatre in the city’s Market Theatre, where he performed, was renamed the John Kani Theatre in his honour.
Dr Kani’s extraordinary career has led to countless awards and honours, including honorary doctorates from the universities of Durban-Westville, Rhodes, Cape Town, Nelson Mandela University as well as Wits in 2020. He has also received the Hiroshima Foundation Award for Peace, as well as Fleur du Cap and Naledi lifetime achievement awards (in addition to a Naledi International Impact Award). The Afrikaans community rewarded him with the kykNET lifetime achievement award, and in 2005 he also received a national honour from the South African president – the Order of Ikamanga in Silver – recognising his contribution in the struggle through his work in the arts.
Dr Kani will receive a decorative silver scroll and medallion, handcrafted in Pragnell’s workshop.
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BBC puts theatre centre stage with major season this November
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The BBC is putting theatre centre stage this November with a major season of programming that will celebrate Britain’s incredible theatre talent, from world-class actors to cutting-edge regional theatre.
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https://www.bbc.co.uk/bbc.com/mediacentre/latestnews/2015/bbc-puts-theatre-centre-stage/
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BBC On Stage celebrates the everyday heroism of our theatres, the diversity of the work and talent they support, and the ambition and derring-do that makes British theatre the best in the world.
— Jonty Claypole, Director of Arts, BBC
With BBC Two’s major new adaptation of Sir Ronald Harwood’s The Dresser, starring Sir Anthony Hopkins and Sir Ian McKellen leading the season across television, radio and, online, new content announced today includes:
Lenny Henry to present major 10-part Radio 4 documentary series on 100 year history of black British theatre and screen
Across the regions, BBC One will be broadcasting 11 half-hour theatre specials, with actors including Sheila Hancock, Antony Sher and Alison Steadman talking about the health of regional theatres and the role they have played in their careers
BBC English Regions will announce the findings of the first ever comprehensive analysis of box office data and audience trends gathered by UK Theatres at a range of venues around the country
CBeebies broadcasts acclaimed stage show The Tale Of Mr Tumble starring Justin Fletcher
Derek Jacobi presents BBC Four documentary on godfather of British stage David Garrick
Royal Court artistic director Vicky Featherstone to curate BBC Arts online for a week, focussing on the migrant crisis
Regular BBC Arts strands Imagine, Artsnight and Radio 2’s Arts Show dedicate special programmes to theatre
Plus already announced: the BBC is partnering with Battersea Arts Centre and Arts Council England for Live from Television Centre on BBC Four, Harriet Walter’s season of drama on Radio 3 and Radio 2’s partnership with the Evening Standard Theatre Awards
Jonty Claypole, Director of Arts, BBC says: "British actors, writers and directors are famous across the globe. This is down in no small part to the extraordinary commitment and passion of theatres and theatre companies right across the UK. Working with our partners, BBC On Stage puts a spotlight on that world. It celebrates the everyday heroism of our theatres, the diversity of the work and talent they support, and the ambition and derring-do that makes British theatre the best in the world.”
In a major 10-part documentary series for Radio 4, Lenny Henry will tell the story of black British theatre and screen through ten landmark works and events. The series will span more than 100 years, from the first professional and successful black actor in Britain to the confident black performers and productions in the West End mainstream today. The exuberant story of this transformation will cover major markers of the period’s black history, riots, sus laws and legal injustices.
Commenting on his BBC Radio 4 series, Raising the Bar: 100 Years of Black British Theatre and Screen, Lenny Henry (pictured with playwright Winsome Pinnock) says: “I wanted to make a series which tells the history and struggle of black British creativity, which looks at the diaspora contribution to the UK’s cultural scene, predating the arrival of the Windrush generation, and which elicits passion, excitement and perhaps even anger amongst listeners due to some of our heroes remaining unsung.
"This Radio 4 series covers a huge span of black British theatre, TV and film - from Ira Aldridge to Steve McQueen and Nina Baden Semper to Bola Agbaje - it’s a great sweep of history that excites and stimulates the imagination. It is easy to forget that there were precedents to our current age of BAME breakthroughs, and by talking to the likes of Roy Williams and Mustapha Matura we acknowledge that the young reach their current heights by standing on the shoulders of those that went before.”
On BBC One across the regions, eleven documentaries will capture the challenges facing theatres across England. Actors including Sheila Hancock, Antony Sher and Alison Steadman talk about the health of regional theatres and the role they have played in their careers, while narrators of the programmes include Richard Wilson, Maureen Lipman, Derek Jacobi and Miriam Margolyes.
In addition BBC English Regions will announce the findings of box office data from theatres across the UK and gathered by UK Theatres.
On BBC Four, Sir Derek Jacobi presents a documentary on the most famous actor of the 18th century, David Garrick, and the In Conversation series returns as Mark Lawson talks to award-winning writer Sir David Hare. The Dresser writer Sir Ronald Harwood talks to The Dresser director Sir Richard Eyre, and Sue MacGregor talks to RSC artistic director Greg Doran and award-winning actor Sir Antony Sher.
CBeebies brings the hit stage show The Tale Of Mr Tumble from Manchester International Festival to the screen. The show follows Mr Tumble’s journey from a bouncing baby Tumble to the joyful entertainer familiar to so many.
Royal Court Theatre artistic director Vicky Featherstone will curate the BBC Arts Online for a week, focussing on British theatre’s response to the refugee and migrant crisis including a look at Good Chance, a creative space in the refugee camp in Calais.
KM
Television
Regional Theatre documentaries
9 November TBC, BBC One (English Regions)
Eleven documentaries will capture the challenges facing regional theatres across England, shown simultaneously on BBC One. Actors including Sheila Hancock, Sir Antony Sher and Alison Steadman talk about the health of regional theatres and the role they have played in their careers, while narrators of the programmes include Richard Wilson, Maureen Lipman, Sir Derek Jacobi and Miriam Margolyes. The theatres featured are Theatre by the Lake Keswick, Everyman Theatre Liverpool, The Curve Leicester, T.i.E Coventry, Frinton Summer Theatre, York Theatre Royal, Bristol Old Vic , theatres in Soho London, Exeter Northcott, New Theatre and The Kings Portsmouth, Theatre Royal Margate.
imagine… My Curious Documentary
10 November TBC, BBC One
Opening in 2012 at the National Theatre, the stage production of Mark Haddon’s bestselling book The Curious Incident Of The Dog In The Night-Time has gone on to win seven Olivier Awards, is touring the UK and Ireland, and the Tony Award-winning Broadway production is taking New York by storm. The story in both the book and the play is told by a 15 year-old boy who finds other people frightening and confusing, and it has helped transform our understanding of a neurological condition that affects one in 100 children. Imagine... meets those involved in the play from early rehearsals and research to stage performances in both London and New York. This is interwoven with moving testimony from other children and families on the challenges they face as they live with autism.
imagine… The Last Impresario
17 November TBC, BBC One
In Gracie Otto’s film, we meet the most famous man you have never heard of - Michael White. White’s career as a theatre and film producer has spanned over 50 years. He paved the way for internationally acclaimed stage hits including A Chorus Line, Sleuth, Monty Python’s The Holy Grail and The Rocky Horror Show and has produced more than 300 shows, often against the odds and at great personal cost. His gregarious personality and philanthropic largesse have endeared him to some of the world’s most celebrated stars.
Ronald Harwood’s The Dresser
31 October TBC, BBC Two
One of the greatest portraits of life in the theatre, Ronald Harwood’s The Dresser has been adapted for television. The production brings Ian McKellen and Anthony Hopkins together on screen for the first time. Reverting to Harwood’s original text, adapted for television and directed by Richard Eyre, the play tells the story of one fateful night in a small regional theatre during World War Two as a troupe of touring actors stage a production of Shakespeare’s King Lear. Bombs are falling, the sirens are wailing, the curtain is up in an hour but the actor/manager Sir (Hopkins) who is playing Lear is nowhere to be seen. His dresser Norman (McKellen) must scramble to keep the production alive, but will Sir turn up in time and if he does, will he be able to perform that night? The Dresser is a wickedly funny and deeply moving story of friendship and loyalty as Sir reflects on his lifelong accomplishments and seeks to reconcile his turbulent friendships with those in his employ before the final curtain.
Artsnight special curated by Josie Rourke - Does Art Mirror Life?
20 November TBC, BBC Two
Josie Rourke, artistic director of the Donmar Warehouse, delves into the complicated relationship between art and representation by asking the question: does art mirror life? Josie considers the difficulty of depicting real-life people in films and discusses ‘colour-blind’ casting in theatre.
Live from Television Centre
15 November TBC, BBC Four
The BBC is partnering with Battersea Arts Centre and Arts Council England in a collaboration with independent theatre-makers from across England, bringing them together to create five pieces of genre-busting theatre for BBC Four and iPlayer.
Live From Television Centre will feature interweaving and eclectic performances from Gecko, Richard Dedomenici, Touretteshero and Common Wealth across a two-hour live broadcast on BBC Four on Sunday 15 November 2015 at 9pm (transmission date TBC). Islington Community Theatre will create a fifth performance released exclusively on BBC iPlayer the same day.
All will be filmed in the iconic Television Centre complex, the headquarters of BBC Television between 1960 and 2013, at locations within Studio One and the Drama Block for the BBC’s first live broadcast there since 2013. This exciting development in theatre for television will include brand new performances and adaptations of existing pieces, with short pre-recorded segments integrated with the live broadcast.
David Garrick: Godfather Of British Stage
Week 44, BBC Four
At the height of his fame in the mid 18th century, David Garrick was the most famous actor the world had ever seen. During his undisputed reign as lord and master of London’s theatreland he reinvented acting for the modern era and fashioned the cult of celebrity as we know it today. In this special Secret Knowledge Sir Derek Jacobi uncovers the secret of Garrick’s success, to tell the story of how a penniless young man from Lichfield became a national cultural icon.
In Conversation… Mark Lawson talks to David Hare
Week 46, BBC Four
Critically acclaimed award winning writer and director Sir David Hare talks to Mark Lawson, following the publication of his much anticipated memoir The Blue Touch Paper. Hare, one of Britain’s foremost political playwrights, made his name in the 1960s and rose to fame in the 1970s with Plenty, his play about post-war disillusion. He then went on to write a string of successes for The National Theatre, most notably his trilogy, of plays Racing Demon, Murmuring Judges and The Absence Of War, which critiqued Britain’s public institutions.
Hare has also written extensively for film and television, including The Reader, The Hours and Licking Hitler. In The Blue Touch Paper which begins with his birth in 1947 to the election of Margaret Thatcher, he interweaves the history of that period with the story of how a young boy from suburbia became a writer.
In Conversation… Sue MacGregor talks to Antony Sher and Greg Doran
Tx TBC, BBC Four
Sue MacGregor talks to Antony Sher and Greg Doran about their stage work together and their shared passion for Shakespeare. Over the last two decades the actor and director have collaborated on ten shows including Macbeth, Henry IV pts 1 and 2 and Death Of A Salesman. Next year Doran will direct Sher in King Lear for the RSC, the company of which he is artistic director. The conversation affords an intimate insight into their long-running professional and personal partnership that is unique in British theatre.
In Conversation… Ronald Harwood talks to Richard Eyre
1 November TBC, BBC Four
To coincide with Richard Eyre’s new television version of Ronald Harwood’s play The Dresser, the two knights discuss Harwood’s long and distinguished career as a writer of plays and screenplays. The conversation will cover how Harwood’s own experience as dresser to the great Shakespearean actor Sir Donald Wolfit inspired The Dresser and take in other highlights of Harwood’s theatrical career, including Taking Sides and Collaboration, as well as films such as Quartet, The Diving Bell And The Butterfly and The Pianist, for which he won the Oscar for Best Adapted Screenplay in 2003.
The Tale of Mr Tumble
7 November TBC, CBeebies
This original stage show starring Justin Fletcher premiered to great acclaim at Manchester International Festival in July. It was recorded for transmission on CBeebies and will air as two 40’ programmes.
The show tells how Mr Tumble became the joyful entertainer familiar to so many, following his journey from bouncing baby Tumble (with his bright red nose already in place), through his singing and dancing school years, right up to the present day.
Mr Tumble is joined by his friends and family, including Grandad Tumble and features Miss Eerie (Ronni Ancona) who runs a very serious stage school. There are lots of songs to join in with, comedy routines and Makaton signs. Find out how Mr Tumble got his starry waistcoat, spotty bag and bow tie in this funny, exciting show recorded at Manchester Opera House in front of a live theatre audience.
Radio
Radio 2
Friday Night is Music Night
Friday 13 November, 2000 – 2200 TBC
This special Friday Night Is Music Night will celebrate the Dance Masters of stage and screen, from Gene Kelly to Bob Fosse, Busby Berkely to Gillian Lynne, and Hermes Pan to Tommy Tune.
In the words of the Johnny Mercer and Harold Arlen song, these are the choreographers who left their 'footsteps on the sands of rhythm and rhyme'. Coming from The Mermaid, London, the evening will feature three leading West End stars - Michael Xavier (Showboat), Stephen Ashfield (Book Of Mormon), and Louise Dearman (Wicked). Broadway maestro Larry Blank conducts the 70-piece BBC Concert Orchestra as they perform music from stage favourites including West Side Story, Sweet Charity, White Christmas, Saturday Night Fever, Cats, Dirty Dancing, Top Hat and many more.
Arts Show Theatre Special
Friday 27 November, 2200-2300 TBC
In a new media partnership with BBC Radio 2 and the London Evening Standard Theatre Awards, Radio 2 launched the inaugural Radio 2 Audience Award for Best Musical on Elaine Paige’s programme in October this year, with listeners casting their vote for the winner at bbc.co.uk/radio2
In its 61st year, the annual London Evening Standard Theatre Awards celebrate outstanding achievement and performance in London theatre.
The winner of the award will be announced live from the awards ceremony on Sunday 22 November 2015, as part of Claire Teal’s Radio 2 Sunday night programme between 9-11pm. On Friday 27 November at 10pm and presented by Anneka Rice, BBC Radio 2 will broadcast highlights of the London Evening Standard Theatre Awards with backstage interviews, performances and reporting from the red carpet in a special Radio 2 Arts Show.
Radio 3
Harriet Walter-curated season in Drama
Radio 3 presents three new productions starring or chosen by one of our leading stage actors, Dame Harriet Walter, as part of the BBC’s On Stage season in November 2015.
Ashes To Ashes/A Kind Of Alaska, by Harold Pinter
Sunday 15 November 2100-2230 TBC, Radio 3
Two new productions of powerful Pinter plays, starring Harriet Walter. In Ashes To Ashes from 1996, a troubling conversation between a wife and her husband about the past merges into the violence of unnamed political barbarity. A Kind of Alaska from 1982 tells the story of a woman emerging from 'sleeping sickness' and was written by Pinter after reading the book Awakenings by neurologist Oliver Sacks, who died in August of this year. Harriet Walter takes the role played by Judi Dench in the original production.
Dinner, by Moira Buffini
Sunday 22 November 2100-2230 TBC, Radio 3
Harriet Walter reprises her role as a Paige, a sharp-tongued hostess in this West End black comedy about an evening party. On the surprise menu to celebrate the publication of her husband’s new book, she lists Primordial Soup, Apocalypse of Lobster - and for dessert, Frozen Waste. It soon becomes a darkly comic dinner party from hell.
A Human Being Died That Night, by Nicholas Wright
Sunday 29 November 2100-2230 TBC, Radio 3
In Pretoria Central Prison, South Africa, a black psychologist prepares to sit opposite the apartheid regime's most notorious assassin: Eugene de Kock, nicknamed Prime Evil. She is a member of the Truth and Reconciliation Commission, and is interviewing de Kock while he serves 212 years for crimes against humanity, murder, conspiracy to murder, attempted murder, assault, kidnapping, illegal possession of firearms, and fraud. How did he become one of the most reviled figures in apartheid history? A Human Being Died That Night is based on the best-selling book by Pumla Gobodo-Madikizela and explores her extraordinary interviews with Eugene de Kock - and how a fundamentally moral person could become a mass murderer.
The original cast of the stage production bring this play to Radio 3 at Harriet Walter’s request. Since the play was recorded for Radio 3 Eugene de Kock has himself - controversially - been released on parole.
Sunday Feature: Making an Entrance – Asian Theatre in Britain
Sunday 22 November 1845-1930 TBC, Radio 3
Sarfraz Manzoor charts the history of Asian theatre in Britain, a tale which ranges from The Bayaderes, 'Priestesses of Pondicherry' - temple dancers who came to London from India in the 1830s, through to the current generation of actors, directors and writers.
Sarfraz examines how political and social unrest in the 1970s sparked the founding of the first high-profile Asian theatre company in Britain, and looks at how the 21st century has seen an increasingly wide range of work – from controversial plays and new, sometimes radical versions of classic texts to Bollywood-inspired musicals. With contributors including Hanif Kureishi, Tanika Gupta, Ayub Khan-Din, Gurpreet Kaur Bhatti, Jatinder Verma and Sudha Bhuchar.
Radio 4
Raising the Bar – 100 Years of Black British Theatre and Screen
Monday 9 November – Friday 20 November TBC
Monday-Friday, 13:45-14:00 (10 part series)
Radio 4
Lenny Henry tells the story of black British theatre and screen through ten landmark works and events. In 1833 Ira Aldridge, the first professional and successful black actor in Britain (American by birth, he settled here and toured across the whole of Europe) performed Othello at Covent Garden. The press was outraged and after only two performances Aldridge was forced to leave the London mainstream theatre. A century later, playing Desdemona opposite the legendary Paul Robeson’s Othello, Peggy Ashcroft was asked by the press if she minded kissing him.
In the eight decades since then, black writers and performers have become a major presence on Britain’s stages, screens and TV. In a narrative history built round ten canonical works, creative artists and events, Lenny Henry tells the exuberant story of this transformation, weaving themes of roots, racism, colonialism, slavery, black consciousness, gender, sexuality, criminality - and not an inconsiderable dose of laughter - with the major markers of the period’s black history, riots, sus laws and legal injustices.
By the early days of this century, black theatre had moved from the territory of the subsidised theatre and ambitious but confident black theatre companies into the West End mainstream, which is where the series begins. It was a very long journey from the uncomfortable experiences of the 1930s and the racism of the early 1950s, when so many of the Empire Windrush generation arrived in the UK from the Caribbean.
The series will have theatre - playwrights, texts and performers - at its heart; but screenwriting, for both film and TV audience, was for many more recent performers and writers their point of realisation that a career in stage and screen drama was a realistic possibility. Featuring interviews with Mustapha Matura, Kwame Kwei-Armah, Steve McQueen, Winsome Pinnock, Yvonne Brewster, Paulette Randall, Roy Williams, Bola Agbaje, Lolita Chakrabarti, Isaac Julien, Michael Buffong, Alby James and Stephen Bourne amongst others.
Online
Vicky Featherstone curates BBC Arts Online
Royal Court Theatre artistic director Vicky Featherstone will curate BBC Arts Online for a week, focussing on British theatre’s response to the refugee and migrant crisis including a look at Good Chance, a creative space in the refugee camp in Calais.
RSC’s Volpone
BBC Arts Online
We’ll capture Trevor Nunn’s brilliant adaptation from Stratford as co-commissioned by The Space.
iWonder
BBC iWonder will be publishing two guides as part of the season: one celebrating the qualities our great British actors bring to the stage, and the other a timeline of our rich theatrical culture. Included in these guides will be performance clips from our most treasured theatrical actors and audiences will be invited to vote for their favourite theatre actor from our shortlist. Look out for them on the 31 October and 8 November 2015.
BBC Get Creative
On Saturday 21 November the public will be invited behind the scenes of theatres around the country to experience the magic of the stage. Organised by UK Theatre and ITC in support of Get Creative, events will be free to take part and details will be listed on the BBC’s Get Creative website.
Production Credits
Arts Show Theatre
Producer: Anna Richards
Ashes to Ashes/A Kind of Alaska, by Harold Pinter
Producer: Toby Swift for the BBC
Dinner, by Moira Buffini
Producer: Jonquil Panting for the BBC
A Human Being Died That Night, by Nicholas Wright
Producer: Toby Swift for the BBC
Sunday Feature: Making an Entrance – Asian Theatre in Britain
Producer: Mohini Patel for the BBC
Raising the Bar – 100 Years of Black British Theatre and Screen
Producer: Simon Elmes for the BBC
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SAG Awards Surprise Creates A Capricious Road to the Oscars
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Last night a number of our favorite film and television actors attended the 19th annual Screen Actors Guild (SAG) Awards, the only event that exclusively honors performers (both individual performances as well as the work of ensemble casts). While I could use this posting to talk about the winners of each of the 13 award categories…
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https://s1.wp.com/i/favicon.ico
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A Night at the Movies
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https://anightsatthemovies.wordpress.com/2012/01/30/sag-awards-surprise-creates-a-capricious-road-to-the-oscars/
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Last night a number of our favorite film and television actors attended the 19th annual Screen Actors Guild (SAG) Awards, the only event that exclusively honors performers (both individual performances as well as the work of ensemble casts). While I could use this posting to talk about the winners of each of the 13 award categories or fashion faux pas, I am going to explore what the SAG Awards mean for the “Road to the Oscars.”
Last night when Brad Pitt took center stage to announce Outstanding Performance By a Cast in Motion Picture, a collective silence filled the room as the nominations were listed one by one –Bridesmaids…The Artist…The Descendants…The Help…and Midnight in Paris. The front runners for the evening were The Artist and The Descendants; however, based on actor Jean Dujardin’s winning of the Outstanding Performance By A Male Actor, many were certain that The Artist had the award in the bag. But, then the most peculiar thing happened, The Help was announced as the winner. You could hear the excited applause fill the room, but you could also see the look of bewilderment on many people’s faces. What just happened? In a single moment, two things were confirmed. One, The Help has overwhelmingly strong support and backing by the SAG, the largest branch of the Academy, and two, The Descendants and The Artists will not be the only Oscar night heavy weight contenders. If either of these films had of won last night, it would have been a sure bet to win the Oscars.
So who are the Oscar heavy weights? In my opinion – The Artist, Hugo and The Help. Why?
The Artist – Jean Dujardin’s winning of the Best Male Actor in a Leading Role suggests that The Descendents starring George Clooney is not as loved by actors as previously thought. It still has a chance to win, but this is an early sign that The Artist, a filming pay homage to the silent film era, might just have the gusto to outshine it.
The Help – The SAGs proved it has major backing by the Actors Guild. The major accolades that it received last night for Outstanding Performance by a Cast and Outstanding Performance by a Female Actor speaks volumes. In one united, resounding voice the SAG told us – This film has clout and deserves a place right up there with the other front runners.
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Sir Antony Sher, Award-Winning Stage and Screen Actor, Dies At Age 72
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He was known for his roles in the films 'Mrs. Brown' and 'Shakespeare in Love'.
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(Photo: Getty Images)
Tributes are being paid to prolific stage and screen actor Sir Antony Sher (pictured above right), who has died at age 72.
The Royal Shakespeare Company (RSC), with which Sher had a lengthy and incredibly successful professional association, announced the sad news on Twitter earlier today (December 3).
"Anthony was deeply loved and hugely admired by so many colleagues," the RSC said in its statement. "He was a groundbreaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. We will ensure friends far and wide have the chance to share tributes and memories in the days to come."
Sher's husband Sir Gregory Doran (pictured above left, with Sher) is the RSC's Artistic Director. It was announced in September that he would be going on compassionate leave to care for Sher, who had been diagnosed with a terminal illness. In 2005, Sher and Doran became one of the first gay couples in the U.K. to enter into a civil partnership. They then married in 2015, a year after same-sex marriage was legalized in the U.K.
Sher was best known for his stage work, for which he won two Olivier Awards, the top honor in British theater. However, he also made fairly frequent film and TV appearances over the years. Perhaps most notably, he portrayed Prime Minister Benjamin Disraeli opposite Dame Judi Dench as Queen Victoria in the 1997 biopic Mrs. Brown. The following year, he appeared as Dr. Moth in the Oscar-winning rom-com Shakespeare in Love.
In 2008, Sher received a BAFTA nomination for his performance in Primo, a televised taping of a play about a man recalling his time at Auschwitz.
Broadway legend Harvey Fierstein is among those who have paid tribute to Sher, who starred in the London production of his play Torch Song Trilogy. On Twitter, Fierstein described the late actor as "brilliant, kind, [and] funny."
(Photo: Twitter)
Rest in peace, Sir Anthony Sher, and thank you for your contribution.
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November 20 Monday Night PlayGround Playbill – PlayGround
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https://playground-sf.org/monday-night-playground-playbill-nov-2023/
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November 20 Monday Night PlayGround Playbill
Posted by on November 19, 2023
PlayGround presents Season 30
MONDAY NIGHT PLAYGROUND
Topic: “The Legacy of the Land We Inhabit”
Presented in partnership with the Association of Ramaytush Ohlone
Sponsored by Avenue Greenlight & California Humanities
November 20, 2023 7pm PT
Live at Potrero Stage + Simulcast & On-Demand
Acknowledging the Legacy of the Land We Inhabit
PlayGround acknowledges that we are on the unceded ancestral homeland of the Ramaytush (RAH-my-toosh) Ohlone (oh-LOW-nee) and Lisjan (lih-SHAH-n) Ohlone, the original inhabitants of the San Francisco Peninsula and East Bay, respectively. As the past and present Indigenous stewards of this land and in accordance with their traditions, the Ramaytush Ohlone and Lisjan have never ceded, lost, nor forgotten their responsibilities as the caretakers of this place, as well as for all peoples who reside in their traditional territory. We recognize the historic injustice of the forcible removal of the Ohlone people from their ancestral lands, and that we benefit from living and working on their traditional homeland. We wish to pay our respects by acknowledging the Ancestors, Elders and Relatives of the Ramaytush and Lisjan Communities and by affirming their sovereign rights as First Peoples. We honor the storytellers of the Ohlone and are grateful for our ability to share and uplift Indigenous stories and those of other historically marginalized communities.
To learn about the legacy of the land you inhabit, visit Native-Land.ca | Our home on native land. To read the complete Land Acknowledgment Policy, click here.
PlayGround’s Anti-Racist Policy
PlayGround recognizes the impact of racial oppression within society and the American Theater and that we have been complicit in White Supremacy culture. Our goal is to co-create safety for our community by identifying and interrupting instances of racism and all forms of oppression when we witness them, through specific actions rooted in the principles of anti-racism and accessibility. In its endeavor to address the implications of our history, PlayGround is committed to its compliance with the following fundamental rights:
The recognition of inherent dignity and worth of each human being.
The recognition of equality of all human beings.
Recognition of rights of ethnic, racial, cultural, linguistic and religious groups.
Equality and non-discrimination.
PlayGround’s Anti-Racist Policy applies to: all members of the PlayGround community, including employees, independent contractors, volunteers, audience members, donors, and general members of the community.
To read the complete Anti-Racist Policy, click here.
Monday Night PlayGround Memberships
We are deeply grateful to our 2023-24 Monday Night PlayGround Members, whose direct support helps to underwrite artists fees for the Monday Night series across all four regions:
Sharon Baldwin, Jaisey Bates, Tim Bishop, Ms. Linda B Breaux-Smith, Summer Broyhill, Madeleine Butler, Ben Cain, Julie Campbell, Sidney Glass & Eleanor Clement Glass, Joan Cleveland, Ms. Marilyn Berg Cooper, Ann Ehrmann, Ms. Cherielyn Ferguson, Krystyna Finlayson, Sheri Flanders, Conde Freeman, Dr. Jan Gilman, Michael Tonjum & Jan Gilman, Hollis Greenwood, Dana Hall, Rachel Harner, Gail Hillebrand & Hugh Barroll, Brandy T Jones, Ms. Anne M. Krause, Emily Kuroda, Ms. Kristy Lin Billuni, Mr. John Lindner, Jonathan Luskin & Leslie Katz, Rhea MacCallum, Brian Markley, Linda Marks, Dr. Sheila McCormick, Ms. Cynthia L Morishige, Molly Noble & Bob Guilbault, Annette Oliveira, Ms. Vicki Oswald, Bridgette Dutta Portman, Mrs. Elizabeth Poston, Mr. George Rose, Jessica June Rowe, Michelle Ruscetta, John J. Ruskin, Kathryn Ryan, Miyoko Sakatani, Louel Senores, Mark Sherstinsky, Nancy W. Smith, Stan Stone, Mr. Richard Dana Swart, Kim Tram, Michael E Tuton, Dr. Eidell Wasserman, and Janine Wilburn. Thank you!
To learn more about the Monday Night PlayGround membership program, click here.
BECOME A MEMBER TODAY!
Reality Check
by Justin P. Lopez
Directed by Karina Guttierez
Ayvn/Ann…..Katherine Bahena-Benitez
Nvwel/Manuel………..Christian Jimenez
Iluney/DJ Lane……………………L. Duarte
Toquis…………….Tessa Koning-Martinez
Fertile Soil
by Bridgette Dutta Portman
Directed by Jenna Stein-Corman
Leah……………..Krystle Piamonte
Susan…..Tessa Koning-Martinez
Iris………………...April Ballesteros
Indigo Dusk
by Robyn Brooks
Directed by Kimberly Ridgeway
Golden…………….Jeunee Simon
Cousin #1……….Rolanda D. Bell
Cousin #2…………..Rezan Asfaw
Cousin #3…………Alicia Stamps
Mom and Dad’s House
by Sarena Kuhn
Directed by Alan Quismorio
Grant……….Leon Goertzen
Lily..………Karen Offereins
Evie…………………Isabel To
Acknowledgment
by Louel Señores
Directed by Linda Amayo-Hassan
John………………….GG Grilli
Brian.….Mark Rafael Truitt
Sami…………….Thea Franco
Life on Mars
by Sam Hurwitt
Directed by Jim Kleinmann
Marcus….Khary L. Moye
Carla………….L. Duarte
Ted.……………GG Grilli
Stage Manager: Jenna Stein-Corman
This live stream is produced under a SAG-AFTRA New Media Agreement.
PlayGround is a member of Theatre Bay Area and Theatre Communications Group.
People’s Choice Award
Following tonight’s performance, we invite your participation in this month’s People’s Choice Award. Through the People’s Choice Award, our audience can play a direct impact in furthering the career of a promising new playwright. To vote, make a People’s Choice Award tax-deductible donation on behalf of your favorite play(s)/playwright(s) from the evening. Every donated dollar counts as a vote while directly supporting PlayGround’s award-winning incubator programs.
Cast your vote for your favorite play(s) by making a People’s Choice donation via Zelle (info@playground-sf.org), Venmo (our account ID is @playgroundsf and if they ask for the last four digits of my phone, it’s 8541) or on our website at https://tickets.playground-sf.org/TheatreManager/1/online?donationquick=16 (you can also visit the Monday Night PlayGround page for the People’s Choice donation button). Add a note/memo with your gift to indicate your favorite play(s) or email your selection to boxoffice@playground-sf.org.
At the end of the week, we’ll tally up the top vote-getter and automatic semi-finalist for our season-ending Best of PlayGround. It’s a powerful way of showing your support for new writers and their work, while helping PlayGround continue doing what we do!
Biographies
PLAYWRIGHTS
ROBYN BROOKS (Indigo Dusk), she/her, M.F.A., author of the poetry chapbook, “venus in retrograde” (Finishing Line Press, 2015), is a poet, playwright, and director. Brooks participated in the playwriting residency PlayGround, in residence at Berkeley Repertory Theatre, from 2007-2013. Her plays have been staged at Berkeley Repertory Theatre; Tennessee Women’s Theater Project; Theatre of Yugen; Theatre Rhinoceros; and Los Angeles Women’s Theater Project. Brooks, a recent graduate from Goddard College, M.F.A. in playwriting, is a model in the internationally renowned Women En Large: Images of Fat Nudes, included in Martin Parr’s photo book collection, in the permanent collection at Tate Modern, London, UK.
SAM HURWITT (Life of Mars), he/him, is a Bay Area arts journalist who writes frequently for the Mercury News, East Bay Times and Marin Independent Journal. He’s been a member of the PlayGround Writers Pool since 2017 and was part of 2019’s Best of PlayGround. His trilogy of full-length plays about Helen, Penelope and Medea, Ellen’s Undone, The Weavers and Kill Your Darlings, had staged readings in the San Francisco Olympians Festival. He’s had shorts produced in PianoFight’s ShortLived and Pint Sized Plays, Awesome Theatre’s (In Search of) The Funniest Play Ever, the San Francisco Fringe Festival, and Stage@Leeds’ Gi60 in the UK.
SARENA KUHN (Mom and Dad’s House), she/her, is a Japanese American writer and transportation engineer living in San Francisco. She received her bachelor’s degree from UC Berkeley where she studied civil engineering and creative writing; wrote as an arts and entertainment reporter at The Daily Californian; and produced a staged reading of Hideaki Nagahara’s The Ones Who Leave.
JUSTIN P. LOPEZ (Reality Check), he/him, is a mixed-race Indigenous, Latino, and Asian actor, singer, writer, and boba–milk–tea enthusiast, who is passionate about new works and loves finding true connection and humanity in each script. As an actor, recent credits include the world premieres of Kiss My Aztec! (Berkeley Repertory Theatre) and Unbreakable by Andrew Lippa (SFGMC). As a writer, Justin’s work has been recognized by the Bay Area Playwrights Festival, Ashland New Play Festival, and many organizations around the country, including Teatro Chelsea, Custom Made Theatre Company, and Town Hall Theatre. Find out what else Justin is up to at www.justinplopez.com
BRIDGETTE DUTTA PORTMAN (Fertile Soil), she/her, is a playwright and novelist. More than two dozen of her plays have been produced locally, nationally, and internationally. She is president of the Pear Theatre board of directors and a member of the Pear Playwrights’ Guild, the PlayGround SF writers pool, and the Dramatists’ Guild. She received the 2023 June Anne Baker Prize from PlayGround and is currently working on a full-length play commission. She teaches composition and creative writing at UC Berkeley.
LOUEL SEÑORES (Acknowledgment), he/him, is a Berkeley-based actor and stage manager. You may have last seen him in Tea Party (One of Our Own), Dream Hou$e (Shotgun Players) or you can come see him in The Engine of our Disruption playing at Central Works now! It’s also possible you didn’t see him stage managing Yerma (Shotgun Players) and Water by the Spoonful (SF Playhouse). He’s a proud company member of PlayGround SF and Berkeley Interactive Theater, which specializes in delivering custom made EDIB workshops for universities and other intact organizations. When he’s not doing theater, Louel is likely to be found managing a frozen yogurt shop, karaoke-ing with strangers online, playing video games, and/or dueling other nerds with foam weapons. LouelSenores.com
ACTORS
REZAN ASFAW (Indigo Dusk, “Cousin #2”), she/her, Recent Staged Readings: “The Slave Who Loved Caviar,” by Ishmael Reed, directed by L. Peter Callender, African American Shakespear Company; “Hyphenated,” by Lilia Houshmand, directed by Amal Bisharat; “Return To Sender,” by Star Finch, directed by Leigh Rondon-Davis; “Pilgrimage, ” by Humaira Ghilzai and Bridgette Dutta Portman, directed by Peter Kuo; “KARA,” by Lisa Marie Rollins, directed by Elizabeth Carter all at Crowded Fire Theatre; “Deadass Part 2,” by Nia Akilah Robinson, directed by Leigh Rondon-Davis, Berkeley Repertory Theatre.
KATHERINE BAHENA-BENITEZ (Reality Check, “Ayvn/Ann”), they/them, is a Queer Mexican-Indigenous Theatre & Film Actor, Dancer, Poet, Playwright, Advocate and more. They are also a Graduate of California State University, Sacramento. In their art, they center BIPOC/LGBTQIA+ stories, lived experiences, joy and voice. They realize how important it is to continue telling our Ancestors stories, so as to say “shine light to our resilience.” They based in California but have recently trained in the East Coast with the National Theatre Institute at the Eugene O’Neill Theatre Center. They are winner of the Kennedy Center’s Runner-up Irene Ryan acting award (Region 7). They’ve also had the great pleasure of working in many facets of performance with the Sacramento Shakespeare Festival, the Latino Center of Art and Culture, Teatro Espejo, and Lime Arts Production.
APRIL BALLESTEROS (Fertile Soil, “Iris”), she/her, is an actor, director, and stage manager. She is the Associate Artistic Director for Theatre Cultura and Artistic Learning & Development Associate at the California Shakespeare Theater. Her most recent credits, both via Zoom and in-person, include: Corazón of a Latina and Cheer! Story of a Dreamer (Theatre Cultura).
ROLANDA D. BELL (Indigo Dusk, “Cousin #1”), she/her, is an actress, model, singer and storyteller from West Oakland, Calif. She earned acclaim for her performance as Anaia in Aleshea Harris’s Is God Is at Oakland Theater Project. Her feature film debut was in 2018’s Blindspotting, and she has appeared on stage at Berkeley Rep, Aurora Theatre Company, African American Shakespeare Company, and Shotgun Players. Upcoming projects in 2024 will include A Midsummer Night’s Dream with Shotgun Players and Shipping & Handling with Crowded Fire. She is recipient of the 2023 RHE Foundation Artistic Fellowship.
L DUARTE (Reality Check, “Iluney/DJ Lane”; Life on Mars, “Carla”), they/them, is a Bay Area actor, playwright, activist and teaching artist whose recent projects include: SPARC Science Plays Festival with Livermore Shakespeare, Cry of Curs with Tabard Theatre, The Review with Theatre Rhinoceros, Particle of Dread with Anton’s Well, Helen! With Theatre of Yugen, Into the Beautiful North & The King of Cuba with Central Works. They have worked with Willows Theatre Co, Berkeley Rep., Crowded Fire, Playwrights Foundation, SF Playground, Bay Area Children’s Theatre and various others. Duarte is a graduate of UCLA, UCSC, and has trained with A.C.T., Shakespeare & Co., & SITI Co. Duarte is a member of Latinx Mafia, In Full Color and Lez Writes. Find a full range of work by Duarte at www.sfcasting.com/leticiaduarte
THEA FRANCO (Acknowledgment, “Sami”), she/her, is a Native & Mexican American actor. This is her Monday Night PlayGround debut. She earned a BA in Theatre Arts from California State University, East Bay and hails from Castro Valley. She’d like to thank her family and friends for their love and support in achieving her dreams!
LEON GOERTZEN (Mom and Dad’s House, “Grant”), he/they, has worked at theaters in northern and southern California, including Capital Stage, East West Players, Ferocious Lotus, Berkeley Repertory Theatre, Will and Company, Magic Theatre, Asian American Theater Company, San Francisco Mime Troupe, Road Theatre Company, Cutting Ball Theater, PlayGround, Aurora Theater Company, Bay Area Playwright’s Festival, Inverness Shakespeare and New Conservatory Theater. Film credits include Quitters (with Kieran Culkin and Mira Sorvino) and Beauty and The Blade. Leon is a graduate of the School of Drama at UNC School of the Arts and is a member of Actors’ Equity Association and Screen Actors Guild.
GG GRILLI (Acknowledgment, “John”; Life on Mars, “Ted”), he/him, is an actor, director, writer, producer, filmmaker, and teacher. He’s worked at theaters in the Bay Area, New York City, and around the country for over three decades, and he’s been a PlayGround member since 2007! Locally, he recently appeared as Shakespeare in Something Rotten! with Woodminster Musicals and directed Fuddy Meers at the Lesher Center with his students from Bentley School. He was the Founding Artistic Director of BrickaBrack, a multidisciplinary ensemble company, from 2012 – 2020. GG is currently directing his students in The Drowsy Chaperone. www.gggrilli.com
CHRISTIAN JIMINEZ (Reality Check, “Nvwel/Manuel”), he/him, is an actor, playwright and graduate of the Ruth Asawa School of the Arts Theatre Department. He is a San Francisco native. He was most recently seen in A Midsummer Nights Dream at Sausalito shakes, SF Batcos Sign My Name To Freedom, YPTMTCs Legally Blonde and Z space and Word for words Citizen. He is Represented by JE Talent.
TESSA KONING-MARTINEZ (Fertile Soil, “Susan”; Reality Check, “Toquis”), she/her, is a long-time Bay Area actor who has worked with The Eureka, The Magic, Z-Space, El Teatro Campesino, The New Mexico Rep, Marin Theater Company, San Jose Repertory, S.C.O.T.U.S., 3-Girls, Thick Description and Word for Word among others, and has originated roles in plays by Josefina Lopez, Cherrie Moraga, and Octavio Solis. Most recently she had the great pleasure of directing a reading of her father’s play “The Blood-Red Cafe”. *member Actors’ Equity
KHARY L. MOYE (Life on Mars, “Marcus”), he/him, is an actor originally from N.Y. who now resides in the Bay Area. He is beyond thrilled to make his PlayGround return and to have live audience members again!! Instagram: kharylmoye
KAREN OFFEREINS (Mom and Dad’s House, “Lily”), she/her, is a company member of PlayGround and was last seen on stage in Quicksand Club Sketch Comedy. Recent credits include Evolution (Ferocious Lotus, where she is also a company member), How to Transcend a Happy Marriage (Custom Made Theatre Company), Elevada (Shotgun Players), and Two Mile Hollow (Ferocious Lotus). Past credits include Phèdre (Cutting Ball Theater), The Potrero Nuevo Project (PlayGround), The Rules (SF Playhouse), The Mousetrap, Top Girls, and Our Town (Shotgun Players), The Pain and the Itch (Custom Made Theatre Company), and Twelfth Night, A Midsummer Night’s Dream, The Big Funk, and No Exit (AtmosTheatre).
KRYSTLE PIAMONTE (Fertile Soil, “Leah”), she/her, in STARLIGHT; Sarah in SEASONAL SWEETS), she/her, is a San Francisco-based actor. Theatre credits include work at Z Space, SF Playhouse, Ferocious Lotus, Magic Theatre, TheatreWorks, TheatreFirst, Bindlestiff Studio, 59E59 in collaboration with Artistic Stamp, and a radio play, THE FOREVER WAVE by Nicole Gluckstern. Screen credits include the award-winning short films BOUND 4 HEAVEN and MEDIAN. She is a 2x Theatre Bay Area Award Finalist for Outstanding Performance in a Principal Role in a Play and was named an MVP of Bay Area Theatre by KQED. Krystle is a Co-Founder/Co-Artistic Director of The Chikahan Company and a company member of PlayGround. www.krystlepiamonte.com
MARK RAFAEL (Acknowledgment, “Brian”), he/him, has appeared in Titanic, Star Trek Voyager, Chance, and The Practice among other television and film appearances. He has appeared with the Magic theatre, Golden Thread productions, and has been a member of Playground here in the Bay area for over 20 years. He teaches at Cal, USF, ACT, and the Academy of Art University, and is author of the book “Telling Stories a Grand Unifying Theory of Acting Techniques.”
JEUNEE SIMON (Indigo Dusk, “Golden”), she/her, is an actor, director, and intimacy choreographer based in the Bay Area. In all of her work, she is dedicated to creating braver spaces where artists can be vulnerable and play. Simon has worked with Aurora Theatre Company, Berkeley Repertory Theatre, American Conservatory Theater, TheatreFIRST and more. Simon is a proud recipient of the 2017 RHE Artistic Fellowship. She is a believer the collaborative nature of original plays and has been honored to be part of the new and emerging work being developed in the Bay Area. She is a graduate of Stanford University’s drama program and has trained with Intimacy Directors and Coordinators and Intimacy Coordinators Of Color. Her family hails from Guyana and immigrated to the US when she was 4 years old.
ALICIA STAMPS (Indigo Dusk, “Cousin #3”), she/her, is currently starring in NCTC’s production of WE ARE CONTINUOUS. She was last seen in Awesome Theatre’s THE JERSEY DEVIL. She is a founding member of SF Shakes’ Resident Teaching Artist Program and has toured in their productions of MACBETH, THE TEMPEST and JULIUS CAESAR. Other credits include SWEAT and INTIMATE APPAREL at the Pear Theatre. She holds a BFA from Cornish College of the Arts. Thank you for supporting live theatre!
ISABEL TO (Mom and Dad’s House, “Evie”), she/her, is an actor, singer, aspiring voice actor, and avid cross-stitcher living on Tamyen Ohlone land also known as San Jose, California. She is thrilled to be reprising her role in this play after performing in its original February MNP debut. Isabel had the honor of being a part of PlayGround’s inaugural Zoom Fest of 2020, performing in staged readings of Victoria Chong Der’s Translations as well as Geetha Reddy’s Safe House. Other past credits include The Song of the Nightingale at Town Hall Theatre Co. and Avenue Q at New Conservatory Theatre Center. www.isabelanneto.com
DIRECTORS
LINDA AMAYO-HASSAN (Acknowledgment), she/her, is a Chicana/Native playwright and is the Artistic Director of Theatre Cultura. Linda is an Equity actor, singer, director and a theatre professor at Chabot College. She is a member of the Pear Playwrights Guild, SameBoat Theatre Collective, Native Writers and had the honor of attending The Kennedy Center Playwriting 2018 Intensive.
KARINA GUTIÉRREZ (Reality Check), she/her, is a Bay Area-based director, dramaturg, and scholar. As a director and dramaturg, Karina has had the pleasure of working with Bay Area Children’s Theatre, BRAVA, Magic Theatre, Crowded Fire, Huntington Theatre, Magic Theatre, PlayGround, Playwright’s Foundation, Shotgun Players, Stanford University, TheatreFirst, Townhall Theatre, UC Berkeley, West Edge Opera, and Word for Word. She is additionally a member of the Latinx Theatre Commons Steering Committee, Theatre Bay Area, and a founding member of the Bay Area Latinx Theatre Alliance Network (BALTAN). Karina received her Ph.D. in Theatre and Performance Studies from Stanford University, where she was awarded the Carl Weber Prize for integration of Creative Practice and Scholarly Research. Her scholarship concentrates on the intersection of politics and performance, specifically how digital interventions, institutionalization efforts, and historical narrative affect the development and sustainability of social and politically engaged performance companies and collectives in the Americas. She is currently a professor of Theatre History and Performance Studies in the Department of Theatre and Dance and Santa Clara University.
JIM KLEINMANN (Life on Mars; Artistic Director & Co-Founder), he/him, co-founded PlayGround in 1994, along with playwright Brighde Mullins and director Denise Shama, and has served as Artistic Director since 1996. For PlayGround, he has provided artistic and administrative leadership for the past twenty-four seasons, developing PlayGround’s unique array of new playwright and new play incubator programs, including Monday Night PlayGround, the PlayGround Festival of New Works, the full-length play Commissioning Initiative, the New Play Production Fund, Potrero Stage: PlayGround Center for New Plays, and most recently the Innovator Incubator. For PlayGround, he has directed more than one hundred short and full-length plays, including works by Garret Jon Groenveld, Aaron Loeb, Geetha Reddy, Lauren Yee, Katie May, and many others. Recent directing and dramaturgy credits include David Steele’s Vignettes on Love and Ruben Grijalva’s Value Over Replacement. He is a veteran arts administrator with more than thirty years of experience, including stints leading Traveling Jewish Theatre, Smuin Ballet and Berkeley Symphony, and received his MFA from the Yale School of Drama.
ALAN QUISMORIO (Mom and Dad’s House), he/him/siya, is the Managing Director (and formerly a Co-Artistic Director) of The Chikahan Company, a Filipinx American theatre company based in the San Francisco Bay Area. He served as Artistic Director for the Alchemy Program for Emerging Playwrights at the Jon Sims Center, Asian American Theater Company, and Bindlestiff Studio. His credits include DOOLEY (Alchemy Program & New Conservatory Theatre), THUNDER ABOVE, DEEPS BELOW (Bindlestiff Studio), and A GUIDE FOR THE HOMESICK (Theatre Rhino). As an actor, he recently appeared in Cutting Ball’s production of Aimee Suzara’s THE REAL SAPPHO. He is an alumni of Crowded Fire Theatre.
KIMBERLY RIDGEWAY (Indigo Dusk), she/her, is a Director, Actor, Playwright, and Producer. Kimberly has directed projects locally for SF Playground, Altarena Playhouse, African American Shakespeare Company, Contra Costa Civic Theatre, Dragon Productions Theatre Company, Ubuntu Theatre Project, Bay Area Performing Arts Collective, Bay Area Drama Company, SF Playhouse, Town Hall Theatre, Playwrights Center of San Francisco, Theatre Rhinoceros, 3Girls Theatre and TheatreFirst. She has also directed projects for Three Willows Theatre (TX), National Black Theatre (NY), and Spokane Civic Theatre (WA). Next, Kimberly is directing Misery at Palo Alto Players, opening January 2024.
JENNA STEIN-CORMAN (Fertile Soil, Stage Manager), she/her, grew up immersed in the bay area theatre community. After graduating from Sarah Lawrence College, she has gone on to work as a teaching artist, stage manager, and director in theaters all over the bay. Currently, she works with Town Hall Theatre, The Berkeley Playhouse, and the San Francisco Mime Troupe. She has learned so much from her directing apprenticeship these past few months!
PRODUCTION
ASSOCIATION OF RAMAYTUSH OHLONE (Presenting Partner). The Ramaytush (pronounced rah-my-toosh) are the original peoples of the San Francisco Peninsula. Prior to the arrival of the Spanish, the Ramaytush Ohlone numbered approximately 1,500 to 2,000 persons, but by the end the Mission Period only a few families had survived. Today, only one lineage is known to have produced living descendants in the present. Today, those descendants comprise the membership of the Ramaytush Ohlone peoples and the staff of the Association of Ramaytush Ohlone.
PLAYGROUND, California’s leading playwright incubator, provides unique development opportunities for the Bay Area’s, Los Angeles’ and now New York’s best new playwrights, including the monthly Monday Night PlayGround staged reading series, annual PlayGround Festival of New Works, full-length play commissions and support for the production of new plays by local playwrights through the New Play Production Fund. To date, PlayGround has supported over 250 early career playwrights, developing and staging more than 1000 of their original short plays through the Monday Night PlayGround staged reading series and the PlayGround Festival. PlayGround has also commissioned 90 new full-length plays by 60 of these writers through its Commissioning Initiative and, through the innovative New Play Production Fund, has directly facilitated the premiere of 34 plays at theatres of every size, including three that have gone on to NYC and other major theater communities. Most recently, PlayGround renovated and relaunched the former Thick House Theater in San Francisco’s Potrero Hill as Potrero Stage, a state-of-the-art center for new plays, home to PlayGround’s expanding artistic programs and some of the Bay Area’s most distinguished new play developers and producers. Over the past twenty-four years, PlayGround has served to identify some of the most important new local voices for the theatre. PlayGround’s alumni have gone on to win local, national, and international honors for their short and full-length work, including recognition at the Humana Festival, O’Neill National Playwrights Conference, Bay Area Playwrights Festival, The Lark’s Playwrights’ Week, New York International Fringe Festival, and others. PlayGround received the 2009 Paine Knickerbocker Award for outstanding contributions to Bay Area theatre, 3 BATCC Awards for Best Original Script for PlayGround commissions, a 2014 National Theatre Company Grant from the American Theatre Wing (founder of the Tony Awards®), and a 2016 Edgerton Foundation New Play Award. Visit https://PlayGround-sf.org for more information.
POTRERO STAGE is a 99-seat state-of-the-art performance space located in the heart of San Francisco’s Potrero Hill neighborhood, operated by PlayGround, and serving as home to some of the Bay Area’s leading new play developers and producers, including PlayGround, Crowded Fire, Golden Thread, and Playwrights Foundation, among others. While the venue is closed during the COVID pandemic, Potrero Stage will highlight the best in online programming by PlayGround, Potrero Stage resident companies and other Potrero Stage producers. For more information, visit https://potrerostage.org.
PLAYGROUND CONTRIBUTORS
PlayGround is deeply grateful for the generous contributions of the many individuals, foundations, corporations and government agencies whose contributions make our work possible. This list reflects gifts of $125 or more committed between November 1, 2022 & November 20, 2023.
GOVERNMENT, CORPORATE, & FOUNDATION DONORS
Alameda County Arts Commission • Amazon • American Rescue Plan Act & CARES Act • Art Space Development Corporation • Avenue Greenlight • Berkeley Civic Arts • The Bernard Osher Foundation • Bill Graham Supporting Foundation of the Jewish Community Federation & Endowment Fund • California Arts Council • California Humanities • California Nonprofit Performing Arts Grant Program • Creative Capacity Fund • Grants For The Arts • KFF • Koret Foundation • LA County Arts Commission • Lenore & Howard Klein Foundation • The Leo J. & Celia Carlin Fund • Negley Flinn Charitable Foundation • NIAC • Nvidia • Phyllis C. Wattis Foundation • Planet Earth Arts • Rock Paper Scissors Landscape Inc. • Rye Financial Services • San Francisco Arts Commission • The Shubert Foundation • The William & Flora Hewlett Foundation
SEASON SPONSORS ($5000+)
Emilie T. & Gordon C. Brooks, Daniel E. Cohn & Lynn Brinton, Lara Gilman & Jim Kleinmann
EXECUTIVE PRODUCERS ($2500+)
John H. Gilman, Carlie Wilmans, Anonymous (2)
PRODUCERS CIRCLE ($1000-$2499) Randy Adams, Meriko Borogove, David Goldman, Regina S. Guggenheim, E. Craig Moody, Nitin, David Steele, Anonymous (2)
PLAYWRIGHTS CIRCLE ($500-$999)
Ruth & Robert Brayton, Steve & Gretchen Debenham, Keith Goldstein and Donna Warrington, Jennifer & Sean Jeffries, Paul & Pam Kleinmann, Gregg & Jennifer Le Blanc, Dr. Gary W. London, Pam MacKinnon, Danny & Dolores Martinez, Molly Noble and Bob Guilbault, Pam & John Walker, Janine Wilburn, Maury Zeff, Anonymous (4)
PATRON ($250-$499)
Mary E. Baird, Wendy Bear, Jerome Solberg, Jon & Susan Sweedler, Jon Tracy, Anonymous
ASSOCIATE MEMBER ($125-$249)
Lynda H Barber, Gerhard and Kathleen Bette, Jack Codd, Fair & Levit Family, Eric Garcia, Anirvan Ghosh, Cindy Goldfield, Gina Harris, Gregg Le Blanc, Jonathan Luskin, Lisa A. Mammel, Tobi Marcus, Paris McCarthy, Michelle Nedboy, Doug Peckler & Evelyn Jean Pine , Jesus Reyes, Mary Ann and Malcolm Rodgers, Emily Brauer Rogers, John J. Ruskin, Kathryn Ryan, Diane Sampson, Christine Sheppard, Susan Terris, Bex White, Christian Edward Wilburn, Susannah Wise & Scott Lebus, Anonymous (2)
To contribute to PlayGround, visit https://playground-sf.org/contribute or contact PlayGround Associate Director of Development Lana Richards at lana@playground-sf.org or by phone at (415) 992-6677.
DONATE
PlayGround Company
PlayGround Writers Pool 2023-24
Daniel Baxter, Robyn Brooks, Nicole Apostol Bruno, Madeleine Butler, Jediah Craig, Cherielyn Ferguson, Elizabeth Flanagan, Ipsheeta Furtado, KT Frances Hartline, Sam Hurwitt, Tejahra Jacobs, Ruth Kirschner, Steve Koppman, Sarena Kuhn, Greg Lam, Jennifer Le Blanc, Kristy Lin Billuni, Justin P. Lopez, Mikee Loria, Daniel Martinez, Jr, Alanna McFall, Matthew Morishige, Richard Perez, Bridgette Dutta Portman, Xinyuan Pu, Kimberly Ridgeway, George Rose, David Schweidel, Louel Senores, Stan Stone, Lisa Thompson, Mike Tuton, Kaz Valtchev, Michael Waterson, Christian Wilburn, Maury Zeff
PlayGround Resident Playwrights 2023-24
Cass Brayton, Bailey Jordan Garcia, M.J. Kang, Samuel Kelly Fair Levit, Daniel Martinez, Jr., Matthew Y. Morishige, Molly Olis Krost, Evelyn Jean Pine, Bridgette Dutta Portman, Alexis Standridge, Leela Velautham, Jennie Webb
PlayGround Company
Molly Aaronson-Gelb, Angel Adedokun, Patrick Alparone, Linda Amayo-Hassan, Liz Anderson, Rinabeth Apostol, Michael Asberry, Michael Barrett Austin, Mary Baird, April Ballesteros, Tanika Baptiste, Aldo Billingslea, Millie Brooks, Julia Brothers, Nicole Apostol Bruno, Lizzie Calogero, Ron Campbell, Joy Carlin, Nancy Carlin, Ben Chau-Chiu, Tessa Corrie, David Cramer, Will Dao, Anne Darragh, Roshni Datta, Khalia Davis, Natalia Delgado, Dodds Delzell, Livia Gomes Demarchi, Carolyn Doyle, Leticia Duarte, Nora el Samahy, Rebecca Ennals, Gisela Feied, Britney Frazier, Michael French, Claire Ganem, Sarah Gasser, Norman Gee, Douglas B. Giorgis, Linda Giron, Amy Glazer, Cindy Goldfield, BW Gonzalez, Gabriel Grilli, Rudy Guerrero, Rosie Hallett, Katherine Hamilton, Eric Fraisher Hayes, Brian Herndon, Monica Ho, Champagne Hughes, J Jha, Colin Johnson, Jennifer King, Dean Koya, Danielle Levin, Amy Lizardo, Jeffrey Lo, Gwen Loeb, George Maguire, Melanie Marshall, Alicia Mason, Leontyne Mbele-Mbong, Julia McNeal, Sam Misner, Brady Morales-Woolery, Lisa Morse, Khary L. Moye, Molly Noble, Karen Offereins, Annette Oliveira, Soren Oliver, Ely Sonny Orquiza, Tony Ortega, Doyle Ott, June Palladino, Carla Pantoja, Louis Parnell, Jed Parsario, Michael Phillis, Krystle Piamonte, Rebecca Pingree, Stephanie Prentice, Ezra Reaves, Virginia Reed, Cathleen Riddley, Kimberly Ridgeway, Katja Rivera, Adrian Roberts, Stacy Ross, Adam Roy, Katie Rubin, Patrick Russell, Miyoko Sakatani, Louel Senores, Robert Sicular, Jeunee Simon, M. Graham Smith, Ken Sonkin, Lauren Spencer, Teddy Spencer, Chris Steele, Howard Swain, Jomar Tagatac, Emilie Talbot, Danielle Thys, Isabel Anne To, Jon Tracy, Dane Troy, Mark Rafael Truitt, Liam Vincent, Ian Walker, Maryssa Wanlass, Tracy Ward, Reggie D. White, Christian Wilburn, Elena Wright, Hector Zavala
PlayGround Staff
Jim Kleinmann, Co-Founder & Artistic Director
Jacque Bugler, Production Manager/General Manager
Lana Richards, Associate Director of Development
Bacilio Mendez II, Executive Producer
Norman Gee, Associate Producer
Katja Rivera, Associate Producer
Tessa Corrie, Casting Associate
Patricia Cotter, Casting Associate
Brittany Mellerson, Resident Designer
Sarah Gasser, Resident Stage Manager
Darius Adamson Jr., 2023-24 Producing Fellow
River Bermudez Sanders, 2023-24 Producing Fellow
Zoe Chien, 2023-24 Producing Fellow
Carmia Imani, 2023-24 Producing Fellow
Julie Lippert-Pasco, 2023-24 Producing Fellow
Xinyuan Pu, 2023-24 Producing Fellow
Christy Spence, 2023-24 Producing Fellow
Emily Zhou, 2023-24 Producing Fellow
PlayGround Ambassadors 2022-23
Jomar Tagatac (Co-Chair) , Aaron Wilton (Co-Chair) , Aldo Billingslea, Tessa Corrie, Livia Demarchi, Britney Frazier, Claire Ganem, Cindy Goldfield, Rosie Hallett, Jeffrey Lo, Gwen Loeb, Brady Morales-Woolery, Karen Offereins, Ely Sonny Orquiza
PlayGround Equity Workgroup
Diana Burbano, Victoria Evans Erville, Norman Gee, Jim Kleinmann, Brittany Mellerson, Tiana Randall-Quant, Katja Rivera, M. Graham Smith
PlayGround Board of Directors
Stephanie Prentice, Chair
James A. Kleinmann, President
Emilie Talbot, Vice President
Nitin, Treasurer
Diana Burbano, Secretary
Regina Guggenheim, Chair Emeritus
Tanvi Agrawal
Linda Amayo-Hassan
Hillary DeMartino
Katie May
Bacilio Mendez II
Rebecca Martinez
David Steele
Christian Wilburn
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