Latest news with #Hamlet
Irish Times
7 hours ago
- Entertainment
- Irish Times
Dublin Theatre Festival programme revealed
This year's Dublin Theatre Festival opens with an ensemble of actors from Peru with Down syndrome, sharing their desires and frustrations in a new version of Hamlet. Built between Shakespeare's text and the actors' lives, its starting point is the existential question: To be or not to be? In a number of shows, the festival is set to centre the stories and experiences of D/deaf people, neurodivergent people, and people with disabilities, with sensitivity and imagination. It's part of the line-up of shows unveiled today by Róise Goan, in her first programme as the festival's new artistic director and CEO. Running from 25 Sept 25th to Oct 12th, Dublin Theatre Festival's programme ranges from classical repertoire to work pushing theatre's boundaries, with 29 productions from across the globe, for all ages, over 18 days and nights. 'As an island nation on the edge of Europe, that punches above our weight with our global contribution to culture, Dublin Theatre Festival is a really important moment in the calendar for Irish audiences to see the outside world on our stages', says Goan. 'With a world in turmoil, the shared experience of witnessing stories from artists from all corners, as well as excellent home-grown theatre, has never felt more important.' There's a renewed focus on international companies bringing work to Ireland, from Ukraine, Peru, Scotland, England, France, Poland, Belgium, India and Spain. Another thread in the festival features the perspectives and vision of extraordinary female artists, telling sometimes their own, or other women's stories. READ MORE Among the highlights this year: I Fall Down: A Restoration Comedy by Gina Moxley sees the former art student inflamed by women's erasure in the prescribed history of art and the omission of female genitalia in classical statuary, and enlists the audience in her brazen attempt to right these wrongs, in a show involving a lecture, an operatic promenade, contemporary dance and a clay modelling workshop (meeting point Samuel Beckett Theatre). In What Are You Afraid Of? actor Peter Hanly returns to the stage after many years' absence following severe performance anxiety, searching through past and present and asking himself, and audiences, the broad question, in a Rough Magic and Kilkenny Arts Festival production at Smock Alley. Druid Theatre's 50th anniversary production, of Macbeth, is at the Gaiety, directed by Tony Award winner Garry Hynes, led by Marty Rea as Macbeth and fellow Tony winner Marie Mullen as Lady Macbeth. At the Abbey, The Boy: A Two-Play Theatrical Event, written by Marina Carr and directed by Caitríona McLaughlin, will be an epic production offering three ancient Greek myths and two new Irish plays. Also at the Abbey is BÁN by Carys D Coburn, a raw and dark reworking of Lorca's The House of Bernarda Alba, going beyond simply mapping Franco's Spain on to de Valera's Ireland. The Gate Theatre and Belgrade Theatre Coventry present the world premiere of Poor by Katriona O'Sullivan, adapted by Sonya Kelly from O'Sullivan's bestselling memoir, and directed by Róisín McBrinn. L'Addition (UK and France) directed by Tim Etchells, and created with the brilliant performance duo Bert and Nasiplays with the mechanisms of theatre as much as with power relationships at play in restaurants. (New Theatre) Shane O'Reilly fuses theatre, opera and film in an ambitious new work, Her Father's Voice. A young girl is about to have cochlear implant surgery as her parents wrestle with the weight of their choices in this contemporary family drama (O'Reilly Theatre). An Taibhdhearc presents Beckett sa Chreig: Guth na mBan / The Women's Voice, four short works by Samuel Beckett, the second part in a series by Company SJ. Promising a compelling visual experience in an immersive Irish language production (Project Cube). Konstantin, inspired by Chekhov's The Seagull, imagines what happens after the final act. Blending live-performance with immersive sound design at Project Arts Centre, the audience experiences the world through Konstantin's ears — hearing every word, unable to speak back. Written by Lauren Jones and directed by Eoghan Carrick, produced by Cian O'Brien Arts & Once Off Productions. Adapted from the poems of Ukrainian-American author Ilya Kaminsky, Deaf Republic (Dead Centre and the Royal Court) is an epic modern fable of war, humanity and collective resistance. Told through a mix of spoken English, Irish Sign Language, creative captioning and silence, Deaf Republic brings together an ensemble of deaf and hearing actors, aerial performers, puppetry, live cinema and poetry (Samuel Beckett Theatre). In DEEPER at Project Arts Centre, Polish theatre maker Gosia Wdowik deals with representations of deep-fakes in contemporary culture. Based on personal experience and interviews with teenagers in Warsaw, and the production and reproduction of altered images depicting female bodies without their consent. The Belfast Ensemble (Abomination, a DUP opera) premiere their queer opera Dublin Jack in concert, ahead of the 2026 production inspired by the life and writings of notorious Irish sex worker, Jack Saul. A work that explores Anglo-Irish queer identity, a sneak preview of a major new work from one of the most exciting companies on the international opera scene (The Depot @ The Complex). The Making of Pinocchio is a true tale of love and transition from Rosana Cade and Ivor MacAskill (Scotland and England) told through the story of Pinocchio (Samuel Beckett Theatre). Whitewashing from Rébecca Chaillon and Aurore Déon (France) explores the white gaze as experienced by Black women in contemporary France. (Project Arts Centre). The Irish premiere of Adam Rapp's (Red Light Winter) critically acclaimed Tony-nominated Pulitzer-finalist drama The Sound Inside intimate and haunting story about the intersection between art and the most private corners of the human heart (Pavilion, Dun Laoghaire). At Project Arts Centre, Be Careful, from Mallika Taneja (India) is a performance work that challenges the notion of safety and the burden of responsibility placed on women to ensure they are not attacked in public space. How do you live your life in four short years? This is the question actor and writer Michael Patrick is faced with in My Right Foot, after being diagnosed with Motor Neurone Disease — the same disease that killed his father. A true story about disability, perseverance, and living life to the full. Directed by Oisín Kearney at Axis Ballymun. At the Samuel Beckett Theatre, Caligula is a visually striking Ukrainian production created in the aftermath of Russia's invasion. A bold, urgent and unflinching production confronting fear, complicity and resistance. €10 tickets are available for people displaced by war. From Ivan Franko National Academic Drama Theatre, Ukraine. A new adaptation and a contemporary Irish take on the Chekhov classic Three Sisters, by award-winning playwright Ciara Elizabeth Smyth, at The Gaiety Theatre. Directed by Marc Atkinson Borrull and designed by Molly O'Cathain, featuring Megan Cusack (Call The Midwife), Saoirse-Monica Jackson (Derry Girls), Alex Murphy (The Young Offenders) and Máiréad Tyers (Extraordinary). At O'Reilly Theatre, set against the backdrop of present-day Warsaw, 30-year-old Maja comes to terms with a traumatic loss. Pieces of a Woman is from the writer (Kata Wéber) and director (Kornél Mundruczó) behind the award-winning hit Netflix film adaptation; witness the Irish stage premiere from TR Warszawa Poland. From FUEL (UK), Nowhere, an intricate and playful solo show, inspired by his involvement in the Egyptian revolution of 2011,and his experience of the counter-revolution that followed, actor and activist Khalid Abdalla (United 93, The Kite Runner, The Crown) takes us on a surprising journey into his own history, set against a cartography of seismic world events (Project Arts Centre). The Quiet Man by John Breen with Mikel Murfi is based on the short story that inspired the film with John Wayne and Maureen O'Hara. Promising a raucous, emotionally charged show at The Civic. This year's Family season includes six productions for younger audiences. The Theatre for Children programme, curated by The Ark presents 4 productions, for ages 0 years up: From Engruna Teatre Spain, Univers is a poetic sensory experience for babies ages 0-2 is layered with stunning visual imagery and live music where children are slowly drawn into the space, interacting in their own way. Beyond Universe is an adaptation of Univers created especially for children with complex needs (3+). Inspired by the book by Stephen Hogtun, Leaves is a world premiere from Branar about learning how to be in the world and those who guide us all through. This non-verbal adaptation combines stunning puppetry, a signature original score by Colm Mac Con Iomaire, design by Maeve Clancy and direction by Marc Mac Lochlainn (ages 4-8). Toby Thompson's adaptation of Antoine de Saint-Exupéry's beloved novel, The Little Prince, captures its poetic essence and philosophical depth. With his signature style, Thompson brings this enchanting tale to life, inviting audiences to embrace curiosity, wonder and the magic of imagination (7+). From Dan Colley at Draíocht Studio, The Maker invites audiences into a world full of visual surprises, physical comedy, and strange magical experiments that teeter between brilliance and disaster (ages 7+) From Fishamble: The New Company, The Leap by Gavin Kostick, takes us to a place where ancient wrongs may be righted, new worlds are created and a young girl's sad heart may be cured. It might be possible to piece together what's been broken. But only if she chooses (Draíocht Studio). The festival also has a new talks programme, Dublin Theatre Festival Thinks, with highlights includes a talk by feminist philosopher Sara Ahmed and Sarah Durcan on the publication of her new book about the #WakingTheFeminists movement, chaired by Emma Dabiri. To make the festival more accessible various initiatives include DTF's 10 for 10, with 10 per cent of tickets for €10 to under 30s, unwaged and freelance arts workers (sponsored by Aviva). And Fair Play provides accessible performances, group initiatives, and an Access Pass to simplify booking and access. There's an Access Guide, with information on accessible performances, wheelchair accessible entrances, exits and toilets at venues, public transport options, and a video journey outlining how to get to and from venues. (Sponsored by Clinch Wealth Management). Priority booking for friends of the festival from noon today. Public booking from noon, July 31st.
Indian Express
2 days ago
- Entertainment
- Indian Express
Nawazuddin Siddiqui's three-storey mansion ‘Nawab' recreates his home in the village – has a personal gym, theatre, and a wall of fame. Watch
Nawazuddin Siddiqui, who used to share a room with 4-5 people in Mumbai's Goregaon during his initial phase of career, built his dream bungalow five years ago. The plush mansion, named 'Nawab' after his late father Nawabuddin Siddiqui, is located at Yari Road, Versova. It is a recreation of his childhood home back in his village Budhana, Uttar Pradesh. In a recent video, the actor gave a house tour of his three-storey luxury bungalow, which he designed himself. He then started the tour with the living area that mostly had walls and furniture with muted colours like beige, white, and brown. When asked about the vibe he had in mind, he said, 'This was always the plan to keep it vintage. When we used to see houses in the olden times, during the colonial period, I wanted something like that. Whenever someone gifts a painting, I am not able to hang it on the wall because it doesn't match the colour family. Hence, I buy paintings according to the colour theme.' The only colourful element in the space was his bright red pool table. 'When there's free time, I play. More than me, my guests play here,' the actor added. ALSO READ | Nawazuddin Siddiqui builds a mansion, names it after his father. See photos The walls in the hall had many posters of scenes from famous plays and characters such as Hamlet, Romeo and Othello, which Nawazuddin has played during his theatre time at the National School Of Drama. 'All these posters are from plays, mostly Shakespeare (Macbeth, Merchant Of Venice, Hamlet). Meri chaahat thi ki main jab ghar mein ghusu toh NSD theatre ke time wala time yaad rahe. I should feel I am new, still learning. There aren't any film posters in my house,' he shared. The 51-year-old said that his mansion has three floors – the first floor has a hall and theatre, the second floor has his makeup room, and on the third floor, there are some more rooms. The personal theatre room had beautiful brown sofas with a huge screen to watch films. The room also opened to a balcony, with lush greenery around. 'I have a hobby of flowers of different colours. The idea behind it was to have flowers and plants around,' he said. He also revealed that the balcony was designed keeping Romeo and Juliet's balcony in mind as an inspiration. Nawazuddin Siddiqui also has his own makeup room, with wooden detailing in the floor, walls, and furniture. It looks like a green room, with bright lights all around the big mirror. Whenever he has to go for a shoot or any professional commitment, he ensures to get ready there. In the house-walk, he also flaunted his small home gym. He admitted, 'Main zyada gym waala hu nahi par bana diya maine bas yeh.' The hall area also had his daughter's London acting workshop distinction hanging on one of the walls. 'Paagal hai vo acting ke lie,' said the proud father. The entire house' flooring, pillars, arches, and railings were like an old-school home, similar to his childhood property. The last area to showcase was the staircase which had a 'wall of fame' of his achievements – with all his awards and trophies in display. However, Nawazuddin mentioned that he doesn't believe in awards, but feels grateful to receive them.
New York Times
4 days ago
- Entertainment
- New York Times
Listen to ‘Hamlet.' Feel Better.
'It is we who are Hamlet,' wrote the essayist and critic William Hazlitt. Though that observation is more than 200 years old, the similarities between Shakespeare's bewildered, semi-deranged prince and his audience — all of us — have rarely been clearer than they are today. His circumstances may not match yours in every particular (your newly widowed mother might not have married your uncle, who maneuvered you out of your claim to the throne) but, after the traumas of the past few years, Hamlet's sorrow is likely to feel familiar, as is his sense of powerlessness. Amid political unrest, military deployments in the streets, an unfolding climate crisis and the unforeseeable, possibly apocalyptic disruptions of A.I., who among us hasn't felt, as Hamlet does, that 'the time is out of joint'? A boomlet in productions of 'Hamlet' offers further evidence for the perennial relevance of this bloody tragedy — the story of a young man cracking up as he discovers that his life, his family, the kingdom and very possibly the divine order are not what he thought they were. Eddie Izzard has been touring a solo version of the play; the Royal Shakespeare Company has produced not one but two high-profile revivals, including 'Hamlet Hail to the Thief,' which fuses Shakespeare's text and a Radiohead album; and this year saw the American release of 'Grand Theft Hamlet,' a documentary about the play being staged inside a video game. This surge in popularity for the Dane need not be seen as an ill portent. Hamlet can, these days, seem like the distant forebear of a heavily scrutinized modern type — the lonely, paranoid boy prone to violent speechifying — but there's more than darkness in 'Hamlet,' and more than despair in its title character. You just need to see the story from the right angle — specifically, his. Hamlet's despair is so pervasive, and rendered so vividly by Shakespeare, that even people who have never seen the play or only dimly remember reading it in high school are familiar with the persona of the melancholy Dane: clad in black, moping around, unable to take action. Laurence Olivier gave the definitive description of Hamlet's paralysis when he opened his 1948 film adaptation by calling it the story of a man 'who could not make up his mind.' But there's a different way of interpreting the play. When you keep the focus on Hamlet — that is, when you omit all of the scenes when he's offstage, many of which are spent speculating on what he intends to do — you see that in the ways that matter most, he's not paralyzed at all. Contrary to what Olivier said, making up his mind is precisely the story of 'Hamlet.' Would you like to submit a Letter to the Editor? Use the form below to share your thoughts on this or any other piece published in The New York Times in the past seven days. If your submission is selected, an editor will contact you to review any necessary edits before publication. Most published letters will appear in both the online and print editions. Your submission must be exclusive to The New York Times. We do not publish open letters or third-party letters. Click here for more information about the selection process. Want all of The Times? Subscribe.
Winnipeg Free Press
5 days ago
- Entertainment
- Winnipeg Free Press
Fringe reviews #5 : You sit down at the Cube Stage and wake up in the beer tent
THE DIRTY BUCKET COMEDY SHOW No Cheat Codes Productions Manitoba Sports Hall of Fame (Venue 24), to Saturday, July 26 ⭐⭐⭐ This later-night (9 p.m. throughout its run) standup comedy show features a rotating cast of comics who take some thematic cues from slips of paper dropped into the dirty bucket of the show's title — so depending on who's performing and the calibre of the subject matter provided by the audience, the show could go in a number of directions. Opening night was hosted by Mike Green and featured shorts sets from him, Benji Rothman, Emmanuel Lomuro and Jordan Wellwood, who all did good work with the subject matter provided. The subject voted best of the night wins a prize — 'Winnipeggers on the Epstein list' took top honours on opening night (disclosure: this reviewer's suggestion) and led to a couple of hilarious moments. The comedy had some edge to it, but was hampered slightly by the sometimes odd or uninspired suggestions, which also impacted the 45-minute-long show's flow. For the comics to truly shine, fringe-goers best bring their raunchiest ideas for the dirty bucket and see what kind of magic they can cook up. — Ben Sigurdson FIJI Theatre by the River Asper Centre for Theatre & Film (Venue 10), to Sunday, July 27 ⭐⭐⭐⭐⭐ Equal parts disturbing and endearing, Fiji might be the most twisted rom-com you'll ever see. Winnipeg-based Theatre by the River, known for producing 'theatre that gets you talking,' delivers a sharp, high-stakes staging of this 60-minute dramedy. What begins as a seemingly awkward hookup quickly takes a dark and unexpected turn in a story inspired by a grisly early-2000s true-crime case. The heartfelt and darkly funny show premièred at the Edinburgh Festival Fringe in 2021 and is captivating enough to be expanded into a full-length mainstage production. Chris Sousa and Chase Winnicky share undeniable chemistry, skilfully shifting between macabre discussions and playful banter. Both actors are charming and talented, but it's Winnicky's scene-stealing a cappella rendition of Tiffany's I Think We're Alone Now, paired with his lovable performance, that will make you want to just eat him up. And in a show like this, that's only partly a metaphor. — Jeffrey Vallis IAGO VS HAMLET Rod Peter Jr. MTC Up the Alley (Venue 2), to Sunday, July 27 ⭐⭐⭐⭐ British Columbia-based fringe stalwarts Jon Paterson and Rod Peter Jr. have honed the popular Iago vs. Hamlet into a well-oiled, delightfully funny 45-minute (not 60 as advertised) mashup of some of the Bard's best-known lines delivered by two of his most fascinating characters. In the fast-paced comedy, Iago (Paterson) and Hamlet (Peter Jr.) bump into each other in a warehouse space they've each purportedly rented, which has clearly been double booked, leaving the two moody leading men to verbally spar before seemingly hatching a plan to sort out the prince's family problems. Hamlet and Iago each have ulterior motives, of course, which they share in asides to the crowd (although, hilariously, they can hear each other's schemes). Paterson, in particular, shines as Iago; Peter Jr. is quite good as Hamlet as well, but his delivery is at times a little hurried. Still, there are plenty of laughs throughout, particularly for Shakespeare fans, and an epic, uproarious final duel is worth the price of admission alone. — Ben Sigurdson OVERSET FOLLOWS:POOL (NO WATER) Kinetica Creative Théâtre Cercle Molière (Venue 3), to Saturday, July 26 ⭐⭐⭐½ Winnipeg's Kinetica Creative takes a deep dive into artistic obsession and the lengths one will go to achieve 'success' in this darkly conceived drama by Mark Ravenhill. Four artist friends (Destiny Klassen, Ciera Durrant, Lauryn Mestito-Dao and Mateo Cardona) take turns narrating their tale of the privileged 'Pool Girl' (Sydney Pacheco), who suffers a catastrophic injury after plunging into a drained swimming pool. As the narrative unfolds, each character reveals their inner demons, including jealousy, resentment and addiction. The ensemble, directed/choreographed by Katelyn Mestito-Dao, works well as a cohesive unit, with actors crisply delivering their staccato lines in the 65-minute (billed as 75) show with conviction, further underscored by effective dance-like movement. However, a few wonky things threaten to submerge the plot, including how the Pool Girl could so miraculously recover from her near fatal accident. But these foibles are forgiven after Cardona's Dylan sums up, 'We took a wrong turn into art and ruined our lives,' the play becoming a cautionary tale for the siren call of temptation in our own, all-too-fallible lives. — Holly Harris THE RAUNCHY ROMP WITH THE RAGING QUEEN François le Foutre Asper Centre for Theatre & Film, U of W (Venue 10), to Sunday, July 27 ⭐⭐⭐ The 'most fearsome fruit in all of France,' François le Foutre, makes his fringe debut in this one-man adult comedy. Jam-packed with double entendres and sexual innuendo, the show brings audience members onstage to act out swashbuckling scenes. But heavy reliance on audience participation can backfire, and with only 10 people at the afternoon matinee, the performance wrapped after just 35 minutes (billed as 60). Le Foutre explained the show changes each time, with rotating readings and excerpts shaped by the crowd's energy. The Texas-based performer's physical storytelling — adapted from his self-published romance-adventure series The Seamen Sexology — may be better suited to busking at Renaissance street fairs, where he typically tours his act. Still, this is the kind of show you might enjoy with a group of friends looking for easy laughs, raunchy antics or the chance to get humped on stage by a gay pirate. — Jeffrey Vallis REVIEWING THE FREE PRESS 2 Happy Capybara Productions Manitoba Sports Hall of Fame (Venue 24), to Sunday, July 27 ⭐⭐⭐ ½ Benji Rothman is back again to gently pillory the Free Press and its fringe reviews in his 45-minute show that's in turns funny, sharp and surprisingly endearing. In Reviewing the Free Press 2, he offers modest updates to last year's slide show and monologue detailing gaffes the Freep has made in the past, the inconsistencies/bias in the paper's fringe reviews, and the sometimes-ridiculous nature of reviews in general. One of the additions to the show, of course, is last year's 3 1/2-star review from arts and life editor Jill Wilson. (And yes, Jill, the projection height has been adjusted.) So, assuming this review will appear in the slide show of shame in Reviewing the Free Press 3 (or maybe even sooner): Rothman's delivery and timing work well (brief technical glitch on opening night aside), earning plenty of laughs from the small but engaged crowd. While some of the review snippets highlighted were cherry-picked a little fast and loose to fit his argument about the inconsistent nature of reviews, it doesn't change the fact that he's mostly right. — Ben Sigurdson ROB AND JENNY'S FIRST DATE Dark Horse Theatre John Hirsch Mainstage (Venue 1), to Sunday, July 27 ⭐⭐ ½ Longtime friends Rob and Jenny, finally unattached to others, have decided to get together, hitting La Grenouille for their first date. Over the course of the next 70-ish minutes it's one calamity after another. Front and back of house are disasters from top to bottom, from cantankerous outgoing server Diego (the slyly funny Mike Seccombe) to Simon, the stuffy manager, to the over-the-top French chef Gaston. More bad news: feared restaurant critic Liselle shows up with her date Jasmine, who has dated both Rob and Jenny. Awkward. Unfortunately 'awkward' is the best description of the production, which could stand to be tightened up to an hour and can't seem to decide what it wants to be. The restaurant staff's interactions with the diners provide some clever laughs, but by contrast the over-the-top physical comedy from the nervous, bumbling Rob (think Jack Tripper from Three's Company) feels misplaced. Jenny's innuendo-laden dirty talk and some offstage raunchiness hint at something sexier, but is contrasted by tender, well-timed wisdom and heartfelt reflections by Ambrose, a fellow diner (played touchingly by Dave Pruden). Many of the components are good, but they don't come together to form a satisfying whole. — Ben Sigurdson SHAKESPEARE: SAY IT! Schindel Says Productions Rachel Browne Theatre (Venue 8), to Saturday, July 26 ⭐⭐⭐ Vancouver-based performer Dana Schindel sells her interpretation of Romeo and Juliet as a 'goofy, fun time' — and for the most part, she's not wrong. In this bare bones staging of the pared-down text, handpicked lines from Shakespeare are projected onto the wall for the audience to shout out from their seats, with a handful of pre-assigned audience participants featured in character roles. It's the kind of interactive concept that might work well in a high school theatre class, but during the 45-minute performance, the balance occasionally tipped too far toward the audience, who ended up doing most of the work. In several moments, Schindel's audience soloists even outshone her. That said, it's easy to root for the earnest and affable Schindel in her playful fringe debut. She takes her role as director and guide seriously, keeping the crowd engaged even if the mid-show dance break drags on longer than it needs to. — Jeffrey Vallis SMALL FISH Small Fish Rachel Browne Theatre (Venue 8), to Sunday, July 27 ⭐⭐⭐⭐ ½ Small Fish is a very silly fishbowl brimming with queer humour and joyful absurdity. Created and performed by Ottawa comedy pals Glenys Marshall and Maggie Harder, this hour-long revue features super sexy standup and sweet, sweet keytar music. But the sketches are where things get weird. Good weird. Marshall and Harder have a comfy onstage chemistry that shines during bits about superheroes, the homoerotic magnetism of in-ground pools and disappointing gift horses. Familiar tropes are turned on their heads and stretched beyond recognition. It's the kind of comedy that leans into cringe and somehow lands at wholesome. There are also moments of prop work so smooth they feel like sleight of hand. The action is supported by simple but effective backdrops and sound. Whether doling out regional jokes gleaned from Google or singing about long lost tampon strings, Small Fish is inventive and endearing. — Eva Wasney STACEY-JEAN: LIFE LINES SJeanSProductions MTC Up the Alley (Venue 2), to Sunday, July 27 ⭐ ½ Winnipeg's own Arlene Libich debuts her new work, a monologue chronicling the early life of character Stacey-Jean Sandbury. The 40-minute performance sees Libich take centre stage and pick colourful images off a clothes drying rack, describing how they represent Sandbury's life — from memories of long drives in the countryside, to recalling her mother's struggle with mental illness, and her own rejection in social circles. While the memories are vividly described, Libich's monotone delivery falls short of captivating the audience. She dutifully follows notes written on the back of the images, and at times, continues reading as she turns away from the audience to reach for the next chapter of her life. Despite a complex and challenging childhood, Sandbury finds success professionally and online helping others. It's an interesting premise with an uplifting ending that is wrapped up too quickly. The performance could be refined with stage markings to ensure our protagonist doesn't find herself out of the spotlight as often as she did. — Nadya Pankiw
Global News
7 days ago
- Entertainment
- Global News
Magic of ‘The Lion King' comes to life at the Jubilee Auditorium
Based on the 1994 Disney animated film, Broadway favourite The Lion King has taken over the stage of the Northern Alberta Jubilee Auditorium. This isn't just any musical — bringing to life the royal coming-of-age story based on Shakespeare's Hamlet, reimagined to feature a pride of lions in Africa, as a live production is no easy task. View image in full screen The character of Simba in Broadway Across Canada's 'The Lion King.' 1 Humans transform into hyenas, birds, gazelles and, of course, lions, while other cast members control larger-than-life puppets of giraffes and elephants. Story continues below advertisement View image in full screen Puppeteers performing in Broadway Across Canada's 'The Lion King.' 1 Michael Reilly has been the puppet supervisor for the touring production of The Lion King since 1999. 'I'm in charge of 230 puppets, a lot of different styles of puppets. Anything that could possibly happen to them is my job to fix,' Reilly said. 'I just love being backstage and putting all that work into something. Get daily National news Get the day's top news, political, economic, and current affairs headlines, delivered to your inbox once a day. Sign up for daily National newsletter Sign Up By providing your email address, you have read and agree to Global News' Terms and Conditions and Privacy Policy 'You throw it out on stage, and you watch, and you hear that audience reaction, especially after Circle of Life.'' Tweet This Click to share quote on Twitter: "You throw it out on stage, and you watch, and you hear that audience reaction, especially after Circle of Life."' View image in full screen The ensemble of Broadway Across Canada's 'The Lion King.' 1 Everything in the production is made by hand. Story continues below advertisement 'That means that they can break pretty easily, because they're all very, very delicate and very, very light — so a lot of carbon fiber,' Reilly explained. View image in full screen Bringing the magic of The Lion King to life on stage. 1 The actors are the puppeteers and some of the puppets have an additional electronic element — like Scar. 'He's built around all these wires and all these mechanical boxes,' said Peter Hargrave, the actor who plays Scar. Hargrave guides Scar's movements with a finger control. 'There's a little 'go' button on the side that makes the mask go out — this is when Scar is feeling angry, more animalistic in his nature,' Hargrave explained. Hargrave has played Scar for three years. He said there's a learning curve, but everyone knows their puppets so intricately. Story continues below advertisement 'We have dancers that come into the show that learn to walk on stilts as a giraffe. Everybody's just learning a very specific thing,' he said. View image in full screen A giraffe puppeteer performing in Broadway Across Canada's 'The Lion King.' 1 When it all comes together on stage, it's a spectacle. 'It's just a celebration of language, it's a celebration of dance, it's a celebration of puppetry, and it's all based in this really nostalgic, familiar tale that means so much to us,' Hargrave said. Broadway Across Canada's The Lion King plays in Edmonton at the Jubilee Auditorium until July 27th.
