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https://eagleeyebooks.com/book/9781250897589
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Living the Artist's Way: An Intuitive Path to Greater Creativity
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Discover the revolutionary new Artist’s Way tool, from "the Queen of Change" (New York Times) In her internationally bestselling book, The Artist’s Way, Julia Cameron shared with her millions of readers the three main tools needed to unlock creativity. Now, in her revolutionary new book, Living the Artist’s Way, Cameron finally reveals the vital fourth Artist’s Way tool that she relies upon daily to find creative inspiration: writing for guidance. Over the course of six weeks, readers learn the radical new skill needed to take their creativity and their creative work to the next level: how to connect with the intuitive power within themselves and trust the answers they receive. For followers of the Artist’s Way program and newcomers alike, this exciting new guidebook will teach readers how to find greater happiness, productivity, and creative inspiration.
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Description
Discover the revolutionary new Artist’s Way tool, from "the Queen of Change" (New York Times)
In her internationally bestselling book, The Artist’s Way, Julia Cameron shared with her millions of readers the three main tools needed to unlock creativity. Now, in her revolutionary new book, Living the Artist’s Way, Cameron finally reveals the vital fourth Artist’s Way tool that she relies upon daily to find creative inspiration: writing for guidance.
Over the course of six weeks, readers learn the radical new skill needed to take their creativity and their creative work to the next level: how to connect with the intuitive power within themselves and trust the answers they receive. For followers of the Artist’s Way program and newcomers alike, this exciting new guidebook will teach readers how to find greater happiness, productivity, and creative inspiration.
About the Author
Hailed by the New York Times as “The Queen of Change,” JULIA CAMERON is credited with starting a movement in 1992 that has brought creativity into the mainstream conversation—in the arts, in business, and in everyday life. She is the best-selling author of more than forty books, fiction and nonfiction; a poet, songwriter, filmmaker and playwright. Commonly referred to as “The Godmother” or “High Priestess” of creativity, her tools are based in practice, not theory, and she considers herself “the floor sample of her own toolkit.” The Artist’s Way has been translated into forty languages and sold over five million copies to date.
Praise for Living the Artist's Way: An Intuitive Path to Greater Creativity
"Cameron’s lovely prose is grounded in a keen awareness of her inner and outer worlds, which are described so vividly that the reader comes to feel like one of her many 'intimates.' Artists and others looking to tap into their intuition will find plenty of wisdom here." —Publishers Weekly
"Sometimes, when we feel stuck or afraid, we look to others for guidance. In Living the Artist's Way Julia Cameron shows us that the guidance we seek actually comes from somewhere deep within and is available at any time. This wise and encouraging book is a series of invitations to connection, creative confidence and commitment to the writing path. Accept those invitations and a whole world will open up for you." —Beth Kempton, bestselling author of Wabi Sabi
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Encyclopedia of Alabama
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Alabama has a rich literary heritage and can boast of extraordinary literary activity and achievement in the present, including such genres as travel and nature writing, autobiography, and humor, as well as poetry, drama, and fiction. Among well-known writers either from Alabama or with strong Alabama connections are William Bartram, Philip Henry Gosse, Carl Carmer, […]
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https://encyclopediaofalabama.org/article/alabama-literature/
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To Kill A Mockingbird Cover Alabama has a rich literary heritage and can boast of extraordinary literary activity and achievement in the present, including such genres as travel and nature writing, autobiography, and humor, as well as poetry, drama, and fiction. Among well-known writers either from Alabama or with strong Alabama connections are William Bartram, Philip Henry Gosse, Carl Carmer, Booker T. Washington, Zora Neale Hurston, Harper Lee, Truman Capote, Walker Percy, Winston Groom, and Fannie Flagg. With Lee's To Kill a Mockingbird (1960), Alabama joined the rare company of states that have contributed a classic not only to American but also to world literature.
Early writings emerging from what would become the state of Alabama prefigure a number of literary focuses and forms that would later help define the literary output of the state. André Pénigaut, who wrote about the French presence along the Gulf Coast in the early eighteenth century and has been called Alabama's first literary figure, reported the life and culture of the indigenous peoples of the region. So also did William Bartram in his 1791 Travels, although Bartram directed his interest more toward the native fauna and, especially, flora.
The Red Eagle Early Edition European-American conflict with Native Americans and specifically the Creek War of 1813-1814 was the subject of more traditional literary efforts, both poetry and prose and both serious and not. Lewis Sewall's The Last Campaign of Sir John Falstaff II, Or, The Hero of the Burnt-Corn Battle; A Serio-Comic Poem appeared in 1815, and the Creek leader William Weatherford was the epic title hero of Alexander Beaufort Meek's The Red Eagle, a lengthy poem in varying verse forms published in New York in 1855 and achieving at least five subsequent editions. The first novel published in Alabama, in 1833, was written by "Don Pedro Cassender" (actually, either Wiley Connor or Michael Smith) and titled The Lost Virgin of the South; An Historical Novel, Founded on Facts, Connected with the Indian War in the South, in 1812 to '15. A quite different kind of book—humorous, satiric short stories—was Johnson Jones Hooper's widely read Some Adventures of Captain Simon Suggs (1845), which grew out of the turbulent period of Indian removal in 1836-37.
Coming out of the state many years later was the nationally embraced The Education of Little Tree (1976), which appeared to be a poignant autobiographical account of a modern Cherokee Indian boy. In fact, it was a literary hoax written not by "Forrest Carter" but by Asa Carter, a white supremacist who authored Gov. George Wallace's infamous 1963 "Segregation Today, Segregation Tomorrow, Segregation Forever" inauguration speech.
Depictions of War
Macaria Decorative Cover Beyond the violent early confrontation with Native Americans, warfare has occupied an unusually large number of writers with Alabama connections. Poets such as Mirabeau Buonaparte Lamar and Theodore O'Hara found inspiration in the U. S.-Mexican War of 1846-48, O'Hara's "The Bivouac of the Dead" becoming the nation's most quoted elegiac tribute to the casualties of military combat. Despite Mobile's being known as the "Capital of Lost Cause Poetry" in the later nineteenth century, the literary impact of the Civil War was diffuse and divergent. Among the earliest Civil War novels to be published in a reuniting nation, Tobias Wilson: A Tale of the Great Rebellion (1865) was anti-Confederate—written by Jeremiah Clemens, a relative of Mark Twain and a former U.S. senator from Alabama. Alabama native and Confederate veteran Kittrell J. Warren's Life and Public Services of an Army Straggler, a burlesque parody of soldiering, also appeared in 1865. More sympathetically southern were Augusta Jane Evans Wilson's Macaria (1863) and the 1867 novels of the Confederate veteran brothers Sidney and Clifford Lanier: Tiger-Lilies and Thorn-Fruit, respectively (both written in Montgomery), which reflected their combat experiences. Also in that vein was Mary Anne Cruse's Cameron Hall: A Story of the Civil War, written during the war and focusing on the devastated home front; it found a northern publisher in 1867. Several noteworthy Civil War novels from state residents appeared considerably later, including Andrew Lytle's The Long Night (1936) and Perry Lentz's The Falling Hills (1967) and It Must Be Now the Kingdom Coming (1973).
A decorated combat Marine in World War I, William March in his Company K (1933) produced one of the most internationally powerful novels written about that war. Robert Bowen dealt with the Pacific front of World War II in his novel The Weight of the Cross (1951), as Eugene B. Sledge did autobiographically in his acclaimed memoir With the Old Breed at Peleliu and Okinawa (1981). Korean War veteran William E. Butterworth, the most prolific writer to live in Alabama in the twentieth century, has sold millions of books of military fiction and nonfiction, many under the pseudonym of W. E. B. Griffin. Works of fiction growing out of individuals' Vietnam War experiences include Winston Groom's Better Times Than These (1978) and Gustav Hasford's The Short-Timers (1979). Dealing with armed battle on a smaller scale, Tom Franklin's Hell at the Breech (2002) is an impressive contemporary novel based on the so-called Mitcham War, a bloody confrontation between social classes in Clarke County in the 1890s.
Nature and Travel Writing, and Social Critique
Franklinia altamaha William Bartram's famous Travels created a fertile legacy for the state, realized in the nonfiction subgenres of nature writing, travel literature, and autobiography. Another engaging volume of nature writing (and talented illustration), this time by a British sojourner in Alabama, is Letters from Alabama, Chiefly Relating to Natural History (1859) by Philip Henry Gosse, who was a plantation schoolmaster in the state in 1838. Edward O. Wilson, internationally acclaimed entomologist, provocative ecologist, evolutionary theorist, and two-time Pulitzer Prize winner, has authored a number of books, including the memoir Naturalist (1994). A different type of nature writing marked by its more personal essay form, Tom Kelly's The Tenth Legion (1973) is a distinctively toned, appropriately passionate, and finely crafted book about the art of turkey hunting.
Philip Henry Gosse Philip Henry Gosse also wrote perceptively about the human inhabitants of Alabama, as did another sojourner, Anne Royall, who produced a book with the same title as his, Letters from Alabama, in 1830. The subtitle of Royall's book, however, was On Various Subjects, fitting and predictive for an author who was one of the first women in the United States to succeed as a muckraking journalist in Washington, D.C. Social critic and sometime Florence resident Rebecca Harding Davis is best known for her novel Life in the Iron-Mills, set in Massachusetts, but she also wrote perceptively about the New South in her serialized work "Here and There in the South," which appeared in Harper's New Monthly Magazine in 1887 and was set in Alabama. Both written by native Alabamians, Daniel R. Hundley's Social Relations in Our Southern States (1860) provided incisive social and cultural analysis in very readable prose, and Clarence Cason's 90 Degrees in the Shade (1935) did the same thing the following century. A nonnative but residential perspective was offered in Carl Carmer's best-selling Stars Fell on Alabama (1934), while a nonresident's travel back to his home state yielded the very rich South to a Very Old Place (1971) by Albert Murray. James Agee's and Walker Evans's Let Us Now Praise Famous Men (1941) offers a highly personal, outsider account of limited time spent with west Alabama sharecropper families during the Great Depression. The work combines Agee's powerful prose with Evans's stark photographs and is an artful tour de force that defies conventional classification. Focusing closer to its author's home, Dennis Covington's Salvation on Sand Mountain was a National Book Award finalist in 1995.
Alabamians also have written about their travels elsewhere. The most prominent nineteenth-century example is Octavia Walton Le Vert's two-volume Souvenirs of Travel (1857) about Europe, which, ironically, attracted famous visitors from all over the world to her salon in Mobile. A twentieth-century Mobile example would be Jay Higginbotham's Fast Train Russia (1983). Montgomery-born syndicated columnist Rheta Grimsley Johnson has published her affecting accounts of other U.S. locales in two books, and journalist, poet, and novelist Wayne Greenhaw, who divided his time between Alabama and Mexico, wrote movingly about both of these homes.
Autobiography
Angela Davis in Germany For more straightforward autobiography, Alabama has claim to two American classics: Booker T. Washington's Up from Slavery (1901) and Helen Keller's The Story of My Life (1903). An earlier example is the 1889 Reminiscences of a Long Life by poet, politician, and publisher William Russell Smith, who has been called "the father of Alabama literature." A slave-narrative precedent for the state's extensive African American autobiography, a literary type that historically involved transcription by another person, was the Narrative of James Williams, An American Slave, Who Was for Several Years a Driver on a Cotton Plantation in Alabama (1838), which raised debate in the contemporary press about its authenticity. Co-written life stories following Up from Slavery in this direct lineage have come, in the later twentieth century, from Nate Shaw (also known as Ned Cobb), Onnie Lee Logan, Sara Brooks, Sara Rice, J. L. Chestnut Jr., and Rosa Parks. Beginning in the 1930s, African Americans who published autobiographies that have connections to Alabama include Angelo Herndon, Hosea Hudson, Angela Davis, James Haskins, Willie Ruff, Ellen Tarry, Deborah McDowell, and Trudier Harris.
Rick Bragg Some nationally published autobiographies intimately connected to Alabama places and people are volumes by Viola Goode Liddell, Kathryn Tucker Windham, Nancy Huddleston Packer, Judith Hillman Patterson, and Patricia Foster. Recently, wide attention has been given to Barbara Robinette Moss's Change Me into Zeus's Daughter (2000) and Pulitzer Prize-winning journalist Rick Bragg's trilogy about his family, which begins with All Over but the Shoutin' (1997). Published outside the region, Alan Shelton's Dreamworlds of Alabama appeared in 2007, and Melissa J. Delbridge's Family Bible in 2008.
Children's Literature
A nineteenth-century Alabama book that became a national children's classic was Diddie, Dumps, and Tot (1882) by Louise Clarke Pyrnelle. It was a forerunner of other popular young-reader books featuring minorities to come out of the state, including writer-illustrator Annie Vaughan Weaver's Frawg (1930). Ultimately, many quite different works of juvenile, adolescent, or young adult literature were to follow. Their authors, both black and white—and a number of them the winners of special awards in these publication fields over the years—include Maud McKnight Lindsay, Rose B. Knox, Ellen Tarry, Wyatt Blassingame, Hilary Milton, Lucile Watkins Ellison, Charles Ghigna, Stephen Gresham, Faye Gibbons, James Haskins, Ann Waldron, Nancy Van Laan, Julia Fields, Mark Childress, Aileen Kilgore Henderson, Jimmy Buffett, Cindy Wheeler, Janice Harrington, and Angela Johnson.
Drama
Drama is one of the few areas of literary activity in Alabama that has not proved so fertile. During the nineteenth century, traveling professionals such as Noah Ludlow, Sol Smith, and Joseph M. Field helped theater and drama to flourish in many antebellum communities. Today, the state is home to several fine theatre companies, with some commissioning local writers; however, few Alabama playwrights have found national audiences for their work. Kate Porter Lewis, whose "Alabama folkplays" were produced by the Carolina Players, was perhaps the chief exception until, recently, Rebecca Gilman's award-winning dramas began to be produced in New York and London as well as in Chicago, her current home.
Old Southwest Humor
Simon Suggs Jr. Dramatists Noah Ludlow, Sol Smith, and Joseph M. Field also wrote comic prose tales and sketches that place them among the so-called Old Southwest humorists, writers of a rowdy frontier literature and satiric social realism that gained both national and international readerships and that had Alabama as its center, geographically and otherwise. Hardin E. Taliaferro, Thomas Kirkman, John Gorman Barr, George Washington Harris, and, especially, Johnson Jones Hooper and Joseph Glover Baldwin all lived and wrote at one time in the state. The title of Baldwin's well-known collection of sketches is The Flush Times of Alabama and Mississippi (1853). Old Southwest humor tales gained the positive attention of British authors such as Charles Dickens and William Makepeace Thackeray and directly influenced American writers such as Mark Twain and William Faulkner. Its heritage is clear in some of Alabama's own best writers after the nineteenth century—William March, Eugene Walter, and Tom Franklin, for instance.
Early to Contemporary Fiction
Alabama has had important participants in many of the movements of American literary history, particularly those involving fiction. Caroline Lee Hentz and, especially, Augusta Jane Evans Wilson were stars in the mid-nineteenth-century vogue of the so-called domestic-sentimental novel, the best-sellers of their day. In the late nineteenth century, Samuel Minturn Peck, a state Poet Laureate, and John Trotwood Moore joined authors from across the nation in securing national readers for "local-color" stories about their home regions. Alabama's most notable contribution to local-color literature, however, is Idora McClellan Plowman Moore's "Betsy Hamilton" sketches.
The Store Cover Although their reputations have not proved as enduring as those of some writers from other southern states who created the southern literary renaissance and the Harlem renaissance of the 1920s and 1930s, authors from Alabama played noteworthy roles in these movements. T. S. Stribling earned wide praise for his critical social realism in a trilogy of novels—The Forge, The Store (winner of the 1933 Pulitzer Prize), and Unfinished Cathedral. In these works, Stribling told the extended story of a family over historical time in north Alabama, just as William Faulkner did in north Mississippi. Also like Faulkner with his mythical Yoknapatawpha County, William March (the pen name of William Edward Campbell) created and peopled the imagined Pearl County in Alabama in multiple works of fiction. Remembered mostly because of his first and last novels, Company K (1933) and The Bad Seed (1954), both shocking in their different ways, March was an ironic writer who worked particularly well in short fiction. He was often compared with Faulkner in contemporary reviews, and at least one British critic thought March far superior.
Their Eyes Were Watching God Cover Zora Neale Hurston and George Wylie Henderson are the most notable of Alabama's participants in the Harlem renaissance. Henderson was trained as a printer at Tuskegee Institute, close to where he was born, and in 1935 published Ollie Miss, a novel whose strong title character has been compared to the protagonist of Hurston's 1937 masterpiece, Their Eyes Were Watching God. Born in Notasulga, not far from Henderson's birthplace, Hurston grew up in Florida, but she wrote about the town and her parents' lives there in her first book, Jonah's Gourd Vine (1935).
Often favorably compared by reviewers with Gone with the Wind, Lella Warren's Foundation Stone (1940) is based on her Alabama family's history and was at one time the best-selling American novel in the world. Less regionally grounded and for a long time not considered as serious or worthy literature was the extremely popular genre of supernatural or science fiction writing, which also began to flourish at this time, literature to which Mary Counselman made impressive pioneering contributions. Two other talented women writers, Zelda Sayre Fitzgerald and Sara Haardt Mencken (both natives of Montgomery), had their work eclipsed by the reputations of their famous husbands.
Alabama's Literary Renaissance
Wolf Whistle Cover In the 1950s and 1960s, in the second wave of the southern literary renaissance, Alabama writers were more enduringly active. Walker Percy, who was born and grew up in Birmingham and who wrote both highly respected fiction and nonfiction indebted to modern European philosophy, is one of the major figures in this activity. Eugene Walter and Borden Deal both reacted to the darkly gothic, past-haunted reputation of earlier twentieth-century southern literature. Walter, who lived in Paris and Rome for 25 years before returning to his native Mobile, won the Lippincott Prize for The Untidy Pilgrim in 1954. Deal, the most prolific of the many nationally published authors from Hudson Strode's famous creative writing program at the University of Alabama, called for serious literary attention to contemporary southern life and society. Such attention was certainly and notoriously given by William Bradford Huie, both as novelist and as pioneering investigative journalist in, for example, Wolf Whistle and Other Stories, about the Emmett Till murder. Influenced by a class- and race-conscious coming of age in Birmingham, poet John Beecher devoted a lifetime to human-rights in his writing, which was directly in the protest tradition.
Historical civil rights concerns, of course, lie at the heart of Harper Lee's To Kill a Mockingbird (1960), and this Pulitzer Prize-winning novel, set in 1930s Alabama, achieved for that concern a humane universality that brought Lee international celebrity. Another widely known writer capable of writing with moving tenderness about youthful life in small-town Alabama was Truman Capote, a childhood playmate of Harper Lee and the model for one of her characters in Mockingbird. Other writers native to the state or with significant Alabama connections who secured major national publishers and favorable critical reviews include James Still, Elise Sanguinetti, Jesse Hill Ford, Margaret Walker, Ralph Ellison, and Shirley Ann Grau, whose Keepers of the House won the Pulitzer Prize for fiction in 1965. Albert Murray, who began a sequence of autobiographical novels with his Train Whistle Guitar in 1974, produced incisive books and essays on African American and American culture that emphasize the central aesthetic of the blues.
Ahab’s Wife Cover To characterize recent output and present literary activity in the state, literary historians are now employing such terms as "explosion" and "renaissance." The idea of renaissance or rebirth is wonderfully symbolized in the careers of two writers who gained national critical attention later in their lives. Helen Norris published her first novel in 1940, but it was not until the 1980s that her fine short stories began to appear in multiple book collections and be made into television movies. Mary Ward Brown, also with a long hiatus in her writing, was almost 70 years old when her short-story collection Tongues of Flame won the 1986 Hemingway Foundation/PEN Award for best first book of fiction by an American author. Madison Jones, who taught for 30 years at Auburn University, had his first novel published in 1957 and his most recent in 2008. His masterwork, lauded for its elements of classic tragedy, is A Cry of Absence (1971), set in Alabama during the civil rights movement. Sena Jeter Naslund, who captured a wide audience of both scholars and general readers with Ahab's Wife in 1999, also produced a novel dealing with this turbulent time: Four Spirits emerged from her deeply personal knowledge of 1960s Birmingham and, centrally, the Sixteenth Street Baptist Church bombing.
Among the many other contemporary writers in or from the state, including poets, who have gained more than regional recognition are Sonia Sanchez, Gail Godwin, William Cobb, Andrew Hudgins, Rodney Jones, Mark Childress, C. Eric Lincoln, Caitlin R. Kiernan, Gerald Barrax, Thomas McAfee, H. E. Francis, Phyllis Alesia Perry, Howell Raines, Robert McCammon, Paul Hemphill, Robert Inman, Dennis Covington, Vicki Covington, Roy Hoffman, Michael Knight, Charles Gaines, Cassandra King, Judy Troy, Daniel Wallace, Julia Fields, Homer Hickam, and Marlin Barton.
From Print to Film
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https://www.bookey.app/quote-author/julia-cameron
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30 Best Julia Cameron Quotes With Image
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2023-07-25T14:11:28+08:00
|
1.Make creativity a habit.2.There is no failure, only lessons to be learned.
|
en
|
/favicon.ico
|
https://www.bookey.app/quote-author/julia-cameron
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Julia Cameron | Introduction
Julia Cameron is a highly acclaimed American author, artist, filmmaker, and teacher. Born on March 4, 1948, in Libertyville, Illinois, Cameron has made significant contributions to the fields of creativity and spirituality through her various works. Cameron's career in the arts began at an early age, with her love for music and theater. She attended Georgetown University in Washington, D.C., where she studied drama and fine arts. After completing her education, Cameron moved to New York City, where she pursued a career in writing and theater. She worked as a playwright, screenwriter, and journalist, and even had a stint in Hollywood, writing movies such as "Taxi Driver" and "New York, New York." However, it was in the field of creative self-help that Cameron found her true calling. In the early 1990s, she published her groundbreaking book, "The Artist's Way: A Spiritual Path to Higher Creativity." This book, which has since become a classic, outlines a 12-week program designed to help individuals unleash their creative potential and overcome obstacles such as negative self-talk and creative blocks. It has become a staple among artists, writers, and anyone seeking to explore and enhance their creativity. Since the success of "The Artist's Way," Cameron has written numerous other books focused on creativity, spirituality, and personal growth. Some of her notable works include "Finding Water: The Art of Perseverance," "The Vein of Gold: A Journey to Your Creative Heart," and "The Right to Write: An Invitation and Initiation into the Writing Life." These works continue to inspire and empower people around the world to embrace their creativity and live more fulfilling lives. In addition to her writing, Cameron is also an accomplished visual artist. Her artwork has been exhibited in galleries and museums worldwide, and she has even created a line of art-inspired products such as journals and notecards. Cameron's teachings and philosophy have had a profound impact on countless individuals seeking to tap into their creative potential and live more authentic lives. Her work is characterized by a unique blend of spirituality, creativity, and practicality, making it accessible to a wide audience. Today, Julia Cameron continues to inspire others through her books, workshops, and online courses. Her teachings have transcended boundaries and reached people from all walks of life, fostering a worldwide community of artists, writers, and creatives who support and encourage each other on their creative journeys. In summary, Julia Cameron's contributions to the fields of creativity and spirituality are immense. Through her writing, art, and teaching, she has helped countless individuals unlock their creative potential, overcome obstacles, and live more fulfilling lives. Her work continues to inspire and empower people around the world, making her an influential figure in the world of creativity and personal growth.
5 Facts About Julia Cameron
1. Julia Cameron is not only known for her writing, but also for her work as a filmmaker. She directed the critically acclaimed film "God's Will" in 1989, which won several awards at international film festivals.
2. Before becoming a successful writer, Cameron pursued a career in music. She was a singer-songwriter in the 1970s and released several albums, one of which was nominated for a Grammy Award.
3. Cameron battled with addiction for a significant part of her life. She has been open about her struggles with alcoholism and drug addiction, and her journey to recovery has been an important aspect of her creative process and teachings.
4. Besides her books on creativity, Cameron has also authored a series of crime novels under the pseudonym "Juliet Mayne." These novels have received moderate success and have developed a dedicated following.
5. As a spiritual seeker, Cameron has explored various religious and spiritual practices. She has expressed an interest in Buddhism, Hinduism, and shamanism, and incorporates elements from these belief systems into her writing and workshops.
Julia Cameron Related Book Summaries
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https://theworkingtheater.org/mpcfhistory/
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Mark Plesent Commission Fund History
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2022-07-12T17:59:52+00:00
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Working Theater
|
https://theworkingtheater.org/mpcfhistory/
|
Chisa Hutchinson (B.A. Vassar College; M.F.A NYU – TSoA) (Valerie’s Mentor) has presented her plays, which include She Like Girls, Somebody’s Daughter, Surely Goodness & Mercy, Whitelisted and Dead & Breathing at such venues as Atlantic Theater Company, Contemporary American Theater Fest, the National Black Theatre, Second Stage, and Arch 468 in London. Her radio drama, Proof of Love, can be found on Audible (with a boss rating). She’s been a New Dramatist, a Dramatists Guild Fellow, a Lark Fellow, a Humanitas Fellow, a NeoFuturist, and a staff writer for the Blue Man Group. Chisa has also won a GLAAD Award, a Lilly Award, a New York Innovative Theatre Award, a Helen Merrill Award, and the Lanford Wilson Award. She’s currently on strike with the WGA, but has staffed on two television series—Three Women (Starz) and Tell Me Lies (Hulu)— and is currently creating another with producers Karamo Brown (Queer Eye) and Stephanie Allain (Hustle & Flow, Dear White People). Her first original feature, THE SUBJECT, in which a white documentarian deals with the moral fallout from exploiting the death of a black teen, is available on various VOD platforms after a successful film festival circuit during which it won over 30 prizes. To learn more, visit www.chisahutchinson.com .
Ed Cardona Jr. (Harry’s Mentor) is a Connecticut native who has made significant achievements in the field of playwriting. He graduated from Western Connecticut State University and went on to obtain his M.F.A. in playwriting from Columbia University. Ed is the author of numerous full-length, one-act, and ten-minute plays. His most recently produced works have garnered attention and recognition. Among them is “American Jornalero,” which was staged by Intar Theatre, Oakland Theater Project, Teatro Vista, and Urban Theater Company. Ed’s contribution to community and collaborative initiatives is commendable. He wrote “Bamboo in Bushwick” for the Five Boroughs/One City project, which aimed to bring together various communities through theater. Furthermore, he penned “La Ruta,” a New York Times Critics’ Pick, for the Working Theater. Additionally, “Maria Se Fue” was performed as a one-act play at the As Performance Series, NYU | Steinhardt Drama Therapy Program. His ten-minute play titled “Rip 60, Z Split, Hot Read, Ear Hole on 3 – BREAK” was featured at the Source Festival by Source Theater, and his play “Lychee Martini” was a finalist at the 2020 National Playwrights Conference, Eugene O’Neill Theater Center. His talent and dedication have earned him accolades and opportunities as an artistic associate with the Working Theater, a collaborator with Urban Arts Partnership/The New Group/Life Stories, and a resident playwright with Theatre 4 The People, St. Andrews College, Hispanic Playwrights-in-Residence Lab at Intar Theatre, The Professional Playwrights Unit at the Puerto Rican Traveling Theatre, and The Hall Farm Center for the Arts & Education in Townsend, VT. Ed’s written works have been published by renowned publishing houses such as Dramatic Publishing, Smith and Kraus Publishing, and NoPassport Press. Notably, his thesis play, “PICK UP POTS,” earned him the prestigious John Golden Award during his time at Columbia University. Outside of his playwriting endeavors, Ed is an IT professional in Higher Education. He has resided in New York City for over twenty years, calling the borough of The Bronx his home. Despite living in New York, Ed remains a die-hard Red Sox fan. Throughout his journey, he is grateful for the love and support of his family.
Chisa Hutchinson (B.A. Vassar College; M.F.A NYU – TSoA) (Nina’s Mentor) has presented her plays, which include She Like Girls, Somebody’s Daughter, Surely Goodness & Mercy, Whitelisted and Dead & Breathing at such venues as Atlantic Theater Company, Contemporary American Theater Fest, the National Black Theatre, Second Stage, and Arch 468 in London. Her radio drama, Proof of Love, can be found on Audible (with a boss rating). She’s been a New Dramatist, a Dramatists Guild Fellow, a Lark Fellow, a Humanitas Fellow, a NeoFuturist, and a staff writer for the Blue Man Group. Chisa has also won a GLAAD Award, a Lilly Award, a New York Innovative Theatre Award, a Helen Merrill Award, and the Lanford Wilson Award. She staffed on two television series currently in production—Three Women (Showtime) and Tell Me Lies (Hulu)— and is currently creating another with producers Karamo Brown (Queer Eye) and Stephanie Allain (Hustle & Flow, Dear White People) for Showtime. Her first original feature, THE SUBJECT, in which a white documentarian deals with the moral fallout from exploiting the death of a black teen, is available on various VOD platforms after a successful film festival circuit during which it won over 30 prizes. To learn more, visit www.chisahutchinson.com.
Lucy Thurber (John’s Mentor) is the author of twelve plays. Her five play cycle THE HILL TOWN PLAYS was produced Off-Broadway by Rattlestick Playwright’s Theater in conjunction with The Cherry Lane Theater, The Axis Theater and The New Ohio Theatre. Lucy’s theatrical homes are Rattlestick Playwright’s Theater, The Atlantic Theater, LAByrinth Theater, New Dramatists and The Lark where they have produced and supported her. Lucy is published by Dramatists Play Service. She is an alumni of New Dramatists, A member of 13P, LAByrinth Theater Company, Rising Phoenix Rep and New Neighborhood. Lucy has been commissioned by Playwrights Horizons, The Contemporary American Theatre Festival, Houses on The Moon, Yale Rep, Williamstown Theatre Festival, A.C.T. and Steppenwolf Theatre. She is the recipient of Manhattan Theatre Club Playwriting Fellowship, the first Gary Bonasorte Memorial Prize for Playwriting, a proud recipient of a LILLY AWARD, an OBIE Award for THE HILL TOWN PLAYS and The Helen Merrill Distinguished Playwriting Award. She has written for SWEETBITER on STARZ and is a writer/producer on AMC’s NOS4A2 and Amazon’s OUTER RANGE. She has written screenplays for Debra Granik and Rachel Weisz and Maven. Lucy has upcoming projects with AMC, HBO, Nanette Burstein and Sarah Paulson.
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https://en.wikipedia.org/wiki/List_of_plays_adapted_into_feature_films
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List of plays adapted into feature films
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This is a list of plays that have been adapted into feature films followed by a list of feature films based on stage plays.
Shakespeare plays
[edit]
The Guinness Book of Records lists 410 feature-length film and TV versions of William Shakespeare's plays as having been produced, which makes him the most filmed author ever in any language.[1]
The Internet Movie Database lists Shakespeare as having writing credit on 1,171 films, with 21 films in active production, but not yet released, as of June 2016 . The earliest known production is King John from 1899.[2]
Other plays
[edit]
This is a list of plays other than those written by William Shakespeare (covered by the above section) that have been adapted into feature films. The title of the play is followed by its first public performance, its playwright, the title of the film adapted from the play, the year of the film and the film's director. If a film has an alternate title based on geographical distribution, the title listed will be that of the widest distribution area.
Play Playwright Film Film director 8 femmes (1958) Robert Thomas 8 Women (2002) François Ozon The 24th Day Tony Piccirillo The 24th Day (2004) Tony Piccirillo 27 Wagons Full of Cotton (1946), and The Longest Stay Cut Short or The Unsatisfactory Supper (1946)[3] Tennessee Williams Baby Doll (1956) Elia Kazan[4] Abe Lincoln in Illinois (1938) Robert E. Sherwood Abe Lincoln in Illinois (1940) John Cromwell Abie's Irish Rose (1922) Anne Nichols Abie's Irish Rose (1928) Victor Fleming Abie's Irish Rose (1946) A. Edward Sutherland Accent on Youth (1934) Samson Raphaelson Accent on Youth (1935) Wesley Ruggles Mr. Music (1950) Richard Haydn But Not for Me (1959) Walter Lang The Admirable Crichton (1902) J. M. Barrie The Admirable Crichton (1918) G. B. Samuelson The Admirable Crichton (1957) Lewis Gilbert After Love (1924) Henri Duvernois
Pierre Wolff After Love (1924) Maurice Champreux When Love Is Over (1931) Léonce Perret After Love (1959) Maurice Tourneur Agnes of God (1979) John Pielmeier Agnes of God (1985) Norman Jewison Ah, Wilderness! (1933) Eugene O'Neill Ah, Wilderness (1935) Clarence Brown Summer Holiday (1948) Rouben Mamoulian Alfie (1963) Bill Naughton Alfie (1966)[5] Lewis Gilbert Alfie (2004)[5] Charles Shyer Amadeus (1979) Peter Shaffer Amadeus (1984) Miloš Forman American Buffalo (1975) David Mamet American Buffalo (1996) Michael Corrente Anastasia (1952) Marcelle Maurette Anastasia (1956)[6] Anatole Litvak Anastasia (1997) Don Bluth
Gary Goldman Anna Christie (1921) Eugene O'Neill Anna Christie (1923) John Griffith Wray Anna Christie (1930) Clarence Brown Anna Christie (1930) Jacques Feyder Another Country (1981) Julian Mitchell Another Country (1984) Marek Kanievska Arsenic and Old Lace (1941) Joseph Kesselring Arsenic and Old Lace (1944) Frank Capra As Is (1985) William M. Hoffman As Is (1986) Michael Lindsay-Hogg Assunta Spina (1909) Salvatore di Giacomo Assunta Spina (1915) Gustavo Serena Bad Girl Viña Delmar Bad Girl (1931) Frank Borzage Bar Girls (1994) Lauran Hoffman Bar Girls (1994)[7] Marita Giovanni Barefoot in the Park (1963) Neil Simon Barefoot in the Park (1967) Gene Saks The Barretts of Wimpole Street (1930) Rudolf Besier The Barretts of Wimpole Street (1934) Sidney Franklin The Barretts of Wimpole Street (1957) Sidney Franklin Barstool Words Josh Ben Friedman Killing Zelda Sparks (2006) Jeff Glickman Bashir Lazhar Évelyne de la Chenelière Monsieur Lazhar (2011)[8] Philippe Falardeau Beautiful Thing (1993) Jonathan Harvey Beautiful Thing (1995) Hettie MacDonald Becket or The Honor of God (1959) Jean Anouilh Becket (1964) Peter Glenville Becky Sharp Langdon Mitchell Becky Sharp (1935) Rouben Mamoulian The Big Knife Clifford Odets The Big Knife (1955) Robert Aldrich L'Oiseau Bleu (The Blue Bird) Maurice Maeterlinck The Blue Bird (1910) The Blue Bird (1918) Maurice Tourneur The Blue Bird (1940) Walter Lang The Blue Bird (1970) Vasily Livanov The Blue Bird (1976) George Cukor Biloxi Blues (1984) Neil Simon Biloxi Blues (1988) Mike Nichols Blithe Spirit Noël Coward Blithe Spirit (1945) David Lean Blithe Spirit (2020) Edward Hall Blue Denim James Leo Herlihy (1958) Blue Denim (1959)[9] Philip Dunne Born Yesterday Garson Kanin Born Yesterday (1950) George Cukor Born Yesterday (1993) Luis Mandoki The Boys in the Band Mart Crowley The Boys in the Band (1970) William Friedkin The Boys in the Band (2020) Joe Mantello Breaker Morant: A Play in Two Acts Kenneth G. Ross Breaker Morant (1980) Bruce Beresford Brighton Beach Memoirs (1982) Neil Simon Brighton Beach Memoirs (1986)[10] Gene Saks A Bronx Tale (1988) Chazz Palminteri A Bronx Tale (1993) Robert De Niro The Browning Version (1948) Terence Rattigan The Browning Version (1951) Anthony Asquith The Browning Version (1955) The Browning Version (1985) Michael A. Simpson The Browning Version (1994) Mike Figgis Bug (1996) Tracy Letts Bug (2007) William Friedkin Bus Stop (1955) and People in the Wind William Inge Bus Stop (1956) Joshua Logan Butterflies Are Free (1969) Leonard Gershe Butterflies Are Free (1972) Milton Katselas California Suite (1976) Neil Simon California Suite (1978) Herbert Moss Cat on a Hot Tin Roof (1955) Tennessee Williams Cat on a Hot Tin Roof (1958) Richard Brooks Chalked Out (1937) Lewis E. Lawes You Can't Get Away with Murder (1939) Lewis Seiler Chapter Two (1977) Neil Simon Chapter Two (1979) Robert Moore Cher Antoine ou l'Amour raté (1969) Jean Anouilh You Ain't Seen Nothin' Yet (2012) Alain Resnais Chicago (1926) Maurine Dallas Watkins Chicago (1927) Cecil B. DeMille Roxie Hart (1942) William A. Wellman Chicago (2002) Rob Marshall Children of a Lesser God (1979) Mark Medoff Children of a Lesser God (1986) Randa Haines The Church Mouse (1928) Ladislas Fodor The Church Mouse (1934) Monty Banks Closer (1997) Patrick Marber Closer (2004) Mike Nichols Come Blow Your Horn (1961) Neil Simon Come Blow Your Horn (1963) Bud Yorkin The Connection (1959) Jack Gelber The Connection (1961) Shirley Clarke Connie Goes Home (1923) Edward Childs Carpenter The Major and the Minor (1942) Billy Wilder You're Never Too Young (1955) Norman Taurog Coquette (1927) George Abbott
Ann Preston Bridgers Coquette (1929) Sam Taylor Crimes of the Heart (1978) Beth Henley Crimes of the Heart (1986) Bruce Beresford The Crucible (1953) Arthur Miller Les Sorcières de Salem (1957) Raymond Rouleau The Crucible (1996) Nicholas Hytner The Dark at the Top of the Stairs (1957) William Inge The Dark at the Top of the Stairs (1960) Delbert Mann Death of a Salesman (1949) Arthur Miller Death of a Salesman (1951) László Benedek Death of Yazdgerd (1979) Bahram Beyzai Death of Yazdgerd (1982) Bahram Beyzai Haute Surveillance (1947) Jean Genet Deathwatch (1965) Vic Morrow Desk Set (1955) William Marchant Desk Set (1957) Walter Lang A Doll's House (1879) Henrik Ibsen A Doll's House (1918) Maurice Tourneur A Doll's House (1922) Charles Bryant A Doll's House (1943) Ernesto Arancibia A Doll's House (1959) George Schaefer A Doll's House (1973) Joseph Losey A Doll's House (1973)[11] Patrick Garland Don't Drink the Water (1966) Woody Allen Don't Drink the Water (1969) Howard Morris Don't Drink the Water (1994) Woody Allen Doubt: A Parable (2004) John Patrick Shanley Doubt (2008) John Patrick Shanley Dracula (1924) Hamilton Deane
John L. Balderston Dracula (1931) Tod Browning Dracula (1979) John Badham Driving Miss Daisy (1987) Alfred Uhry Driving Miss Daisy (1989) Bruce Beresford The Doughgirls (1942) Joseph Fields The Doughgirls (1944) James V. Kern The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1965) Paul Zindel The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1971) Paul Newman Egor Bulychev (1932) Maxim Gorky Yegor Bulychov and Others (1953) Yuliya Solntseva Yegor Bulychyov and Others (1971) Sergei Solovyov The Emperor Jones (1920) Eugene O'Neill The Emperor Jones (1933) Dudley Murphy Equus (1973) Peter Shaffer Equus (1977)[12] Sidney Lumet Eurydice (1941) Jean Anouilh You Ain't Seen Nothin' Yet (2012) Alain Resnais Experience (1914) George V. Hobart Experience (1921) George Fitzmaurice Fanny (1931) Marcel Pagnol Fanny (1932) Marc Allégret Fanny (1933) Mario Almirante The Black Whale (1934) Fritz Wendhausen Port of Seven Seas (1938) James Whale Fanny (1961) Joshua Logan Fanny (2013) Daniel Auteuil Fences (1985) August Wilson Fences (2016) Denzel Washington A Few Good Men (1989) Aaron Sorkin A Few Good Men (1992) Rob Reiner For Love or Money (1947) F. Hugh Herbert This Happy Feeling (1959) Blake Edwards Frankie and Johnny in the Clair de Lune (1987) Terrence McNally Frankie and Johnny (1991) Garry Marshall The Front Page (1928) Ben Hecht
Charles MacArthur The Front Page (1931) Lewis Milestone His Girl Friday (1940) Howard Hawks The Front Page (1974) Billy Wilder Switching Channels (1988) Ted Kotcheff Gas Light (1938) Patrick Hamilton Gaslight (1940) Thorold Dickinson Gaslight (1944) George Cukor Geschäft mit Amerika Paul Franck and Ludwig Hirschfeld A Bit of Love (1932) Max Neufeld Monsieur, Madame and Bibi (1932) Jean Boyer and Max Neufeld Two Happy Hearts (1932) Baldassarre Negroni Yes, Mr Brown (1933) Herbert Wilcox Glengarry Glen Ross (1984) David Mamet Glengarry Glen Ross (1992) James Foley God of Carnage (2008) Yasmina Reza Carnage (2011)[13] Roman Polanski The Golden Legend of Schults (1939) James Bridie There Was a Crooked Man (1960) Stuart Burge Goodbye Again George Haight
Allan Scott Goodbye Again (1933) Michael Curtiz Goodbye Charlie (1959) George Axelrod Goodbye Charlie (1964) Vincente Minnelli The Grass is Greener (1956) Hugh Williams
Margaret Williams The Grass Is Greener (1960) Stanley Donen The Great Magoo (1932) Ben Hecht
Gene Fowler Shoot the Works (1934) Wesley Ruggles The Great White Hope (1967) Howard Sackler The Great White Hope (1970) Martin Ritt The Greeks Had a Word for It (1930) Zoe Akins The Greeks Had a Word for Them (1932) Lowell Sherman How to Marry a Millionaire (1953) Jean Negulesco Green Grow the Lilacs (1930) Lynn Riggs Oklahoma (1955) Fred Zinnemann Happy Birthday, Wanda June (1970) Kurt Vonnegut Happy Birthday, Wanda June (1971) Mark Robson Harvey (1944) Mary Chase Harvey (1950) Henry Koster Heath Cobblers (1864) Aleksis Kivi The Village Shoemakers (1923) Erkki Karu Nummisuutarit (1938) Wilho Ilmari Nummisuutarit (1957) Valentin Vaala The History Boys (2004) Alan Bennett The History Boys (2006) Nicholas Hytner A Hole in the Head (1957) Arnold Schulman A Hole in the Head (1959) Frank Capra Holiday (1928) Philip Barry Holiday (1930) Edward H. Griffith Holiday (1938) George Cukor I Am a Camera (1951) John Van Druten I Am a Camera (1955) Henry Cornelius Cabaret (1972) Bob Fosse I'm Not Rappaport (1984) Herb Gardner I'm Not Rappaport (1996) Herb Gardner The Iceman Cometh (1946) Eugene O'Neill The Iceman Cometh (1973) John Frankenheimer An Ideal Husband (1895) Oscar Wilde An Ideal Husband (1935) Herbert Selpin An Ideal Husband (1947) Alexander Korda An Ideal Husband (1999) Oliver Parker An Ideal Husband (2000) William P Cartlidge Idioglossia Mark Handley Nell (1994)[14] Michael Apted Illatszertár (1937) Miklós László The Shop Around the Corner (1940) Ernst Lubitsch In the Good Old Summertime (1949) Robert Z. Leonard You've Got Mail (1998) Nora Ephron The Importance of Being Earnest (1895) Oscar Wilde The Importance of Being Earnest (1932) Franz Wenzler Al Compás de tu Mentira (1950) Héctor Canziani The Importance of Being Earnest (1952) Anthony Asquith The Importance of Being Earnest (2002) Oliver Parker Incendies (2003) Wajdi Mouawad Incendies (2010)[15] Denis Villeneuve Inherit the Wind (1955) Jerome Lawrence
Robert E. Lee Inherit the Wind (1960) Stanley Kramer It's Only the End of the World (1990) Jean-Luc Lagarce It's Only the End of the World (2016)[16] Xavier Dolan The Jazz Singer (1925) Samson Raphaelson The Jazz Singer (1927)[17] Alan Crosland The Jazz Singer (1952) Michael Curtiz The Jazz Singer (1980) Richard Fleischer Kind Sir (1953) Norman Krasna Indiscreet (1958) Stanley Donen Kiss and Tell (1943) F. Hugh Herbert Kiss and Tell (1945) Richard Wallace The Lady of the Camellias Alexandre Dumas, fils Kameliadamen (1907) Viggo Larsen Camille (1909) Ugo Falena La Dame aux Camélias (1912) André Calmettes
Louis Mercanton
Henri Pouctal La Signora delle Camelie (1915) Baldassarre Negroni Camille (1915) Albert Capellani Camille (1917) J. Gordon Edwards Camille (1921) Ray C. Smallwood Damen med kameliorna (1925) Olof Molander Camille (1926) Fred Niblo La Dame aux Camélias (1934) Fernand Rivers
Abel Gance Camille (1936) George Cukor La Dame aux Camélias (1953) Raymond Bernard La Mujer de las camelias (1953) Ernesto Arancibia La Dame aux Camélias (1981) Mauro Bolognini Camille (1984) Desmond Davis Life During Wartime Keith Reddin The Alarmist (1997) Evan Dunsky Liliom (1909) Ferenc Molnár Carousel (1956) Henry King The Lion in Winter (1966) James Goldman The Lion in Winter (1968) Anthony Harvey The Lion in Winter (2003) A. Konchalovsky Loco (1947) Dale Eunson
Katherine Albert How to Marry a Millionaire (1953) Jean Negulesco Long Day's Journey into Night (1956) Eugene O'Neill Long Day's Journey into Night (1962) Sidney Lumet Long Day's Journey into Night (1996) David Wellington Look Back in Anger (1956) John Osborne Look Back in Anger (1959) Tony Richardson Lost in Yonkers (1990) Neil Simon Lost in Yonkers (1993) Martha Coolidge Love! Valour! Compassion! (1994) Terrence McNally Love! Valour! Compassion! (1997) Joe Mantello Luv (1964) Murray Schisgal Luv (1967) Clive Donner Lysistrata (411 BC) Aristophanes The Second Greatest Sex (1955) George Marshall Şalvar Davası (1983) Kartal Tibet The Source (2011) Radu Mihăileanu Chi-Raq (2015) Spike Lee Ma Rainey's Black Bottom (1982) August Wilson Ma Rainey's Black Bottom (2020) George C. Wolfe The Madness of George III (1991) Alan Bennett The Madness of King George (1994) Nicholas Hytner Major Barbara (1905) George Bernard Shaw Major Barbara (1941) Gabriel Pascal A Majority of One (1959) Leonard Spigelgass A Majority of One (1961) Mervyn LeRoy The Marriage-Go-Round (1958) Leslie Stevens The Marriage-Go-Round (1960) Walter Lang Marius (1929) Marcel Pagnol Marius (1931) Alexander Korda Marius (2013) Daniel Auteuil The Matchmaker (1954) Thornton Wilder The Matchmaker (1958) Joseph Anthony Hello, Dolly! (1969) Gene Kelly Merry Andrew (1929) Lewis Beach Handy Andy (1934) David Butler Young as You Feel (1940) Malcolm St. Clair The Milk Train Doesn't Stop Here Anymore (1963) Tennessee Williams Boom! (1968)[18] Joseph Losey The Miss Firecracker Contest (1979) Beth Henley Miss Firecracker (1989) Thomas Schlamme The Moon Is Blue (1951) F. Hugh Herbert The Moon Is Blue (1953) Otto Preminger Die Jungfrau auf dem Dach (1953) Otto Preminger Mouthpiece (2015) Norah Sadava and Amy Nostbakken Mouthpiece (2018) Patricia Rozema Mourning Becomes Electra (1931) Eugene O'Neill Mourning Becomes Electra (1947) Dudley Nichols Mrs. Black Is Back (1904) George V. Hobart Mrs. Black Is Back (1914) Thomas N. Heffron My Lady Friends (1919) Frank Mandel
Emil Nyitray My Lady Friends (1921) Lloyd Ingraham 'night, Mother (1982) Marsha Norman 'night, Mother (1986) Tom Moore The Odd Couple (1965) Neil Simon The Odd Couple (1968) Gene Saks Ofoti (1970) John Wheatcroft The Boy Who Loved Trolls (1984) Harvey Laidman Once More, with Feeling (1958) Harry Kurnitz Once More, with Feeling! (1960) Stanley Donen One Way Pendulum (1959) N. F. Simpson One Way Pendulum (1965) Peter Yates The Only Game in Town (1968) Frank D. Gilroy The Only Game in Town (1970) George Stevens Orphans (1983) Lyle Kessler Orphans (1987) Alan J. Pakula Out of the Frying Pan (1941) Francis Swann Young and Willing (1943) Edward H. Griffith Peter Pan, or The Boy Who Wouldn't Grow Up (1904) J. M. Barrie Peter Pan (1924) Herbert Brenon Peter Pan (1953) Clyde Geronimi
Wilfred Jackson
Hamilton Luske Peter Pan (2003) P. J. Hogan The Petrified Forest (1935) Robert E. Sherwood The Petrified Forest (1936) Archie Mayo Picnic (1953) William Inge Picnic (1955) Joshua Logan Plaza Suite (1968) Neil Simon Plaza Suite (1971) Arthur Hiller Polly of the Circus (1907) Margaret Mayo Polly of the Circus (1917) Charles T. Horan
Edwin L. Hollywood Polly of the Circus (1932) Alfred Santell Pour avoir Adrienne Louis Verneuil The Cheeky Devil (1932) Carl Boese
Heinz Hille You Will Be My Wife (1932) Carl Boese
Heinz Hille
Serge de Poligny Prelude to a Kiss (1988) Craig Lucas Prelude to a Kiss (1992) Norman René The Prisoner of Second Avenue (1971) Neil Simon The Prisoner of Second Avenue (1975) Melvin Frank Private Lives (1930) Noël Coward Private Lives (1931) Sidney Franklin Pygmalion (1913) George Bernard Shaw Pygmalion (1938) Anthony Asquith
Leslie Howard My Fair Lady (1964) George Cukor Quartet (1999) Ronald Harwood Quartet (2012) Dustin Hoffman The Queen Was in the Parlour (1926) Noël Coward The Queen Was in the Parlour (1927) Graham Cutts Tonight Is Ours (1933) Stuart Walker Rabbit Hole (2006) David Lindsay-Abaire Rabbit Hole (2010) John Cameron Mitchell A Raisin in the Sun (1959) Lorraine Hansberry A Raisin in the Sun (1961) Daniel Petrie Real Women Have Curves (1990) Josefina López Real Women Have Curves (2002) Patricia Cardoso Rita Coventry (1923) Hubert Osborne Don't Call It Love (1923) William C. deMille Reigen (1897) Arthur Schnitzler The Merry-Go-Round (1920) Richard Oswald La Ronde (1950) Max Ophüls Circle of Love (1964) Roger Vadim The Ritz (1975) Terrence McNally The Ritz (1976) Richard Lester Rope (1929) Patrick Hamilton Rope (1948) Alfred Hitchcock Rosencrantz and Guildenstern Are Dead (1966) Tom Stoppard Rosencrantz and Guildenstern Are Dead (1990) Tom Stoppard The Seven Year Itch (1952) George Axelrod The Seven Year Itch (1955) Billy Wilder Seventh Heaven (1922) Austin Strong Seventh Heaven (1927)[19] Frank Borzage Seventh Heaven (1937)[19] Henry King Sexual Perversity in Chicago (1974) David Mamet About Last Night... (1986)[20] Edward Zwick About Last Night (2014)[20] Steve Pink Shirley Valentine (1986) Willy Russell Shirley Valentine (1989) Lewis Gilbert Shore Leave (1922) Hubert Osborne Shore Leave (1925) John S. Robertson Follow the Fleet (1936) Mark Sandrich Six Degrees of Separation (1990) John Guare Six Degrees of Separation (1993) Fred Schepisi Sleuth (1970) Anthony Shaffer Sleuth (1972) Joseph L. Mankiewicz Sleuth (2007) Kenneth Branagh Tamanna (2014) Steven Moore So This Is London (1922) Arthur Goodrich So This Is London (1930) John G. Blystone So This Is London (1939) Thornton Freeland Sonny (1920) George V. Hobart and Raymond Hubbell Sonny (1922) Henry King A Sound of Hunting (1945) Harry Brown Eight Iron Men (1952) Edward Dmytryk Still Life (1936) Noël Coward Brief Encounter (1945) David Lean Stop That Man (1918) George V. Hobart Stop That Man! (1928) Nat Ross Strange Interlude (1928) Eugene O'Neill Strange Interlude (1932) Robert Z. Leonard A Streetcar Named Desire (1947) Tennessee Williams A Streetcar Named Desire (1951) Elia Kazan The Subject Was Roses (1964) Frank D. Gilroy The Subject Was Roses (1968) Ulu Grosbard Sunday in New York (1961) Norman Krasna Sunday in New York (1963) Peter Tewksbury Sunrise at Campobello (1958) Dore Schary Sunrise at Campobello (1960) Vincent J. Donehue The Sunshine Boys (1972) Neil Simon The Sunshine Boys (1975) Herbert Ross That Championship Season (1972) Jason Miller That Championship Season (1982) Jason Miller They Might Be Giants (1961) James Goldman They Might Be Giants (1971) Anthony Harvey A Thousand Clowns (1962) Herb Gardner A Thousand Clowns (1965) Fred Coe Thunder Rock (1939) Robert Ardrey Thunder Rock (1942) Roy Boulting Thieves (1974) Herb Gardner Thieves (1977) John Berry The Tiger (1963) Murray Schisgal The Tiger Makes Out (1967) Arthur Hiller Tin Pan Alley (1928) Hugh Stanislaus Stange New York Nights (1929) Lewis Milestone Tropical Twins (Unpublished) Maxwell Anderson
Lawrence Stallings The Cock-Eyed World (1929) Raoul Walsh Twelve Angry Men (1954) Reginald Rose Twelve Angry Men (1954) Franklin Schaffner 12 Angry Men (1957)[21] Sidney Lumet Twentieth Century (1932) Ben Hecht
Charles MacArthur Twentieth Century (1934) Howard Hawks Two for the Seesaw (1958) William Gibson Two for the Seesaw (1962) Robert Wise Two Worlds John Golden
Hubert Osborne Strange Experiment (1937) Albert Parker Veneer (1929) Hugh Stanislaus Stange Young Bride (1932) William A. Seiter Venus in Fur (2010) David Ives La Vénus à la Fourrure (2013) Roman Polanski Victoria Regina (1934) Laurence Housman The Young Victoria (1963) Alan Burke A View from the Bridge (1955) Arthur Miller Vu du pont (1962) Sidney Lumet What Price Glory? (1924) Maxwell Anderson
Lawrence Stallings What Price Glory? (1926) Raoul Walsh What Price Glory? (1952) John Ford What's Your Husband Doing? (1917) George V. Hobart What's Your Husband Doing? (1920) Lloyd Ingraham What Say They? (1939) James Bridie You're Only Young Twice (1952) Terry Bishop When We Are Married (1938) J. B. Priestley When We Are Married (1943) Lance Comfort Who's Afraid of Virginia Woolf? (1962) Edward Albee Who's Afraid of Virginia Woolf? (1966) Mike Nichols Who Was That Lady I Saw You With? (1958) Norman Krasna Who Was That Lady? (1960) George Sidney Wildfire (1908) George V. Hobart and George Broadhurst Wildfire (1915) Edwin Middleton Wildfire (1925) T. Hayes Hunter Will Success Spoil Rock Hunter? (1955) George Axelrod Will Success Spoil Rock Hunter? (1957) Frank Tashlin Woman to Woman (1921) Michael Morton Woman to Woman (1923) Graham Cutts Woman to Woman (1929) Victor Saville Woman to Woman (1947) Maclean Rogers Women of Twilight (1951) Sylvia Rayman Women of Twilight (1952) Gordon Parry The Yankee Girl (1910) George V. Hobart The Yankee Girl (1915) Jack J. Clark The Years Between (1944) Daphne du Maurier The Years Between (1946) Compton Bennett Yellow Jack (1934) Sidney Howard and Paul de Kruif Yellow Jack (1938) Guthrie McClintic The Yellow Ticket (1914) Michael Morton The Yellow Passport (1916) Edwin August The Yellow Ticket (1918) William Parke The Yellow Ticket (1931) Raoul Walsh Yerma (1934) Federico García Lorca Yerma (1984) Imre Gyöngyössy
Barna Kabay Yerma (1998) Pilar Távora Yes, My Darling Daughter (1937) Mark Reed Yes, My Darling Daughter (1939) William Keighley Yes or No (1917) Arthur Goodrich Yes or No? (1920) Roy William Neill You Can't Fool Antoinette (1927) Maurice Hennequin and
Pierre Veber You Can't Fool Antoinette (1936) Paul Madeux You Can't Take It with You (1936) George S. Kaufman
Moss Hart You Can't Take It with You (1938) Frank Capra Young America (1915) John Frederick Ballard Young America (1932) Frank Borzage Young Medardus (1910) Arthur Schnitzler Young Medardus (1923) Michael Curtiz Young Mrs. Winthrop (1882) Bronson Howard Young Mrs. Winthrop (1915) Young Mrs. Winthrop (1920) Walter Edwards Young Romance William C. deMille Young Romance (1915) George Melford Young Woodley (1925) John Van Druten Young Woodley (1928) Thomas Bentley Young Woodley (1930) Thomas Bentley Zaza (1898) Pierre Berton and Charles Simon Zaza (1913) Adrien Caillard Zaza (1915) Edwin S. Porter and Hugh Ford Zaza (1923) Allan Dwan Zaza (1939) George Cukor Zaza (1944) Renato Castellani Zaza (1956) René Gaveau Zoot Suit (1979) Luis Valdez Zoot Suit (1981) Luis Valdez
Films based on stage plays
[edit]
This is a list of feature films based on stage plays.
0–9
[edit]
7 Minutes (2016)
7th Heaven (1927)
8 Women (2002, musical)
9/11 (2017)
10 Things I Hate About You (1999)
21 Days (1941)
24 Hours (1931)
The 24th Day (2004)
29+1 (2017)
39 East (1920)
40 Carats (1973)
The 47 Ronin (1941)
77 Park Lane (1931)
77 Rue Chalgrin (1931)
84 Charing Cross Road (1987)
360 (2011)
1918 (1985)
50 Million Frenchmen (1931)
600,000 Francs a Month (1933)
A
[edit]
Aaron Slick from Punkin Crick (1952)
Abe Lincoln in Illinois (1940)
Abie's Irish Rose (1928)
Abie's Irish Rose (1946)
About Last Night... (1986)
About Last Night (2014)
Aces High (1976)
Accent on Youth (1935)
The Acquittal (1923)
Across the Pacific (1926)
A Performance of Hamlet in the Village of Mrdusa Donja (1973)
The Actress (1928)
The Actress (1953)
Adam and Eva (1923)
The Adding Machine (1969)
The Admirable Crichton (1918)
The Admirable Crichton (1957)
Admirals All (1935)
The Admiral's Secret (1934)
Adolescence of Cain (1959)
Adorable Julia (1962)
Adrien (1943)
Adrienne Lecouvreur (1938)
Adriana Lecouvreur (1955)
The Adulteress (1946)
Adventure in Iraq (1943)
Adventure Ltd. (1935)
Adventurer at the Door (1961)
The Adventures of Sherlock Holmes (1939)
Advice from a Caterpillar (1999)
Affairs of a Gentleman (1934)
The Affairs of Anatol (1921)
Afraid to Love (1927)
Afraid to Talk (1932)
Afsar (1950)
After Dark (1915)
After Five (1915)
After Love (1948)
After Office Hours (1932)
After Tomorrow (1932)
Aftermath (1914)
Age-Old Friends (1989, TV)
Agnes of God (1985)
Agonija (1998)
Ah, Wilderness! (1935)
Äktenskapsbrottaren (1964)
Aladdin's Other Lamp (1917)
The Alarmist (1997)
L'altra metà del cielo (1977)
Alec Mapa: Baby Daddy (2015, TV)
Alexander Hamilton (1931)
Alfie (1966)
Alfie (2004)
Alias French Gertie (1930)
Alias Jimmy Valentine (1920)
Alias Jimmy Valentine (1928)
Alias the Deacon (1927)
Alias the Deacon (1940)
Alibi (1929)
Alibi (1931)
All at Sea (1935)
All for Mary (1955)
All in a Night's Work (1961)
All in Good Time (2012)
All My Friends Are Leaving Brisbane (2007)
All My Sons (1948)
All of a Sudden Peggy (1920)
All of Me (1934)
All Remains to People (1963)
All Soul's Eve (1921)
All the King's Horses (1935)
All the Way (2016, TV)
All the Way Home (1963)
All the Way Up (1970)
Almost a Honeymoon (1930)
Almost a Honeymoon (1938)
Aloma of the South Seas (1926)
Aloma of the South Seas (1941)
Alsace (1916)
Always a Bride (1940)
Always in My Heart (1942)
Amadeus (1984)
The Amazing Dr. Clitterhouse (1938)
The Amazons (1917)
The Ambassador (1936)
Amen. (2002)
American Buffalo (1996)
An American Citizen (1914)
An American Daughter (2000, TV)
American Love (1931)
Americathon (1979)
Amma (1949)
Amphitryon (1935)
L'Amore (1948)
L'Amour, Madame (1952)
The Amorous Prawn (1962)
Andre's Mother (1990, TV)
Angel (1937)
An Angel from Texas (1940)
An Ardent Heart (1953)
An Enemy of the People (1978)
An Ideal Husband (2000)
An Inspector Calls (1954)
Anastasia (1956)
Anastasia (1997)
The Ancestor (1936)
The Ancestress (1919)
Androcles and the Lion (1952)
Angel (1937)
Angels in America (2003, TV)
Anima nera (1962)
Animal Crackers (1930)
The Animal Kingdom (1932)
Anna Ascends (1922)
Anna Christie (1923)
Anna Christie (1930, English-language talkie)
Anna Christie (1931, German-language talkie)
Anna-Liisa (1922)
Anna Lucasta (1949)
Annabelle's Affairs (1931)
Anne of the Thousand Days (1969)
The Anniversary (1968)
The Annunciation (1984)
The Annunciation of Marie (1991)
The Anonymous Roylott (1936)
Another Country (1984)
Another Dawn (1937)
Another Harvest Moon (2009)
Another Language (1933)
Another Man's Poison (1951)
Another Part of the Forest (1948)
Another Scandal (1924)
Antony and Cleopatra (1974, TV)
Antigone (1961)
Any Wednesday (1966)
Anything (2017)
Appassionatamente (1954)
Appearances (1921)
The Architect (2006)
Are You a Mason? (1915)
Are You Being Served? (1977)
Aren't Men Beasts! (1937)
Aren't We All? (1932)
The Argyle Case (1917)
The Argyle Case (1929)
Aristocracy (1914)
Arizona (1913)
Arizona (1918)
Arizona (1931)
Arlette and Love (1943)
Arms and the Girl (1917)
Arms and the Man (1932)
Arms and the Man (1958)
The Army Game (1961)
Arsène Lupin (1916)
Arsene Lupin (1917)
Arsène Lupin (1932)
Arsenic and Old Lace (1944)
Arsenic & Old Lace (1962, TV)
As Husbands Go (1934)
As Is (1986, TV)
As Long as They're Happy (1955)
As You Desire Me (1932)
As You Like It (1936)
As You Like It (2006)
Ashta Chamma (2008)
Ask Beccles (1933)
The Astonished Heart (1950)
Assunta Spina (1915)
Assunta Spina (1930)
Assunta Spina (1948)
A Talent for Murder (1981)
At the End of the World (1921)
At Your Orders, Madame (1939)
At War with the Army (1950)
Até que a Sbórnia nos Separe (2013)
Atlantic (1929)
Atlantik (1929)
The Auctioneer (1927)
August (1996)
August: Osage County (2013)
Autumn Crocus (1934)
Auntie Mame (1958)
Avanti! (1972)
L'Avare (1980)
L'Aventurier (1934)
The Awakening of Helena Richie (1916)
The Awful Truth (1925)
The Awful Truth (1929)
The Awful Truth (1937)
The Aviator (1929)
B
[edit]
The Baby Dance (1998, TV)
Baby Doll (1956)
Baby Face Harrington (1935)
Baby Mine (1917)
Baby Mine (1928)
Baby Take a Bow (1934)
Baby the Rain Must Fall (1965)
The Bacchantes (1961)
The Bacchae (2002)
The Bachelor Father (1931)
Bachelor Flat (1961)
Bachelor's Affairs (1932)
Background (1953)
Bad Company (1986)
Bad Girl (1931)
Bad Manners (1997)
The Bad Seed (1956)
Badger's Green (1934)
Badger's Green (1949)
The Bait (1921)
Bajo la metralla (1983)
Bajó un ángel del cielo (1942)
Balalaika (1939, musical)
The Balcony (1963)
Balkan Spy (1984)
The Ballad of the Sad Cafe (1991)
Bang Bang You're Dead (2002)
Bankers Also Have Souls (1982)
Bannerline (1951)
Bar Girls (1994)
Barbara Frietchie (1924)
The Barbarian (1933)
Barbarians (1953, Russian)
Barefoot in Athens (1966)
Barefoot in the Park (1967)
The Barker (1928)
The Baroness and the Butler (1938)
The Bargain (1921)
The Bargain (1931)
The Baroness and the Butler (1938)
The Barretts of Wimpole Street (1934)
The Barretts of Wimpole Street (1957)
The Barton Mystery (1920)
The Barton Mystery (1949)
Barrymore (2011)
The Bat (1926)
The Bat (1959)
The Bat Whispers (1930)
Beat the Band (1947)
The Beast (1988)
Beasts of the Southern Wild (2012)
Beau Brummel (1924)
Beau Brummell (1954)
Beaumarchais (1996)
The Beautiful Adventure (1932, French language)
The Beautiful Adventure (1932, German language)
The Beautiful Adventure (1942)
The Beautiful Days of Aranjuez (2016)
The Beautiful Sailor (1932)
Beautiful Thing (1996)
Beauty and the Barge (1914)
Beauty and the Barge (1937)
Beauty and the Boss (1932)
The Beaver Coat (1928)
The Beaver Coat (1937)
The Beaver Coat (1949)
Becket (1964)
Becky Sharp (1935)
Before Morning (1933)
Before Sundown (1956)
Beggar on Horseback (1925)
Behind the Scenes (1914)
Being at Home with Claude (1992)
Believe Me, Xantippe (1918, silent)
Bell, Book and Candle (1958)
Bella Donna (1915)
Bella Donna (1923)
La Belle Russe (1919)
The Bells (1926)
The Bells (1931)
Bellyfruit (1999)
Benilde or the Virgin Mother (1975)
Bent (1997)
Berkeley Square (1933)
Bernardine (1957, musical)
Besame Mucho (1987)
The Best Man (1964)
The Best People (1925)
Betrayal (1932)
Betrayal (1983)
Better Living (1998)
Between Night and Day (1932)
Between Two Worlds (1944)
Between Us (2012)
Beware, My Lovely (1952)
Beyond (1921)
Beyond Therapy (1987)
Big City Blues (1932)
Big Hearted Herbert (1934)
The Big Fight (1930)
The Big Kahuna (1999)
The Big Knife (1955)
The Big Pond (1930)
The Bigger Man (1915)
A Bill of Divorcement (1922)
A Bill of Divorcement (1932)
A Bill of Divorcement (1940)
Billie (1965)
Billions (1920)
Billy Bishop Goes to War (2010)
Billy Budd (1962)
Billy Liar (1963)
Biloxi Blues (1988)
Biography of a Bachelor Girl (1935)
Bird of Paradise (1932)
Bird of Paradise (1951)
Birds of Prey (1930)
The Birdcage (1996), based on La Cage aux Folles (1978)
The Bishop Misbehaves (1935)
The Birth of a Nation (1915)
The Birthday Party (1968)
Bitter Sweet (1933)
Bitter Sweet (1940)
The Bitter Tears of Petra von Kant (1972)
Black Coffee (1931)
Black Fury (1935)
Black Girl (1972)
The Black Hand Gang (1930)
Black Joy (1977)
Black Orpheus (1959)
Black Waters (1929)
Blackbirds (1915)
Blackbirds (1920)
Blackmail (1929)
Blackrock (1997)
The Blaireau Case (1923)
The Blaireau Case (1932)
Bleacher Bums (1979, TV)
Bleacher Bums (2002, TV)
Bleak Moments (1971)
Blessed (2009)
Blind Alley (1939)
The Blind Goddess (1948)
Blind Justice (1934)
Blind Man's Bluff (1936)
Blind Wives (1920)
Blind Youth (1920)
The Bliss of Mrs. Blossom (1968)
Blithe Spirit (1945)
Blonde Fever (1944)
Blonde Inspiration (1941)
Blood (2004)
Blood Wedding (1981)
The Blossoming of Kamiya Etsuko (2006)
The Blue Fox (1938)
The Blue Bird (1918)
The Blue Bird (1940)
The Blue Bird (1970)
The Blue Bird (1976)
Blue Bird (2011)
Blue City Slammers (1987)
Blue Denim (1959)
Bluebeard's 8th Wife (1923)
Bluebeard's Eighth Wife (1938)
Blues for Willadean (2012)
Blues in the Night (1941)
Bodies, Rest & Motion (1993)
Boeing Boeing (1965)
De Boezemvriend (1982)
The Bofors Gun (1968)
La Bohème (1926)
Bombshell (1933)
Bonheur, impair et passe (1977, TV)
Le Bonheur (1934)
Bonds of Love (1919)
Boom! (1968)
The Boarder (1953)
Bordertown Café (1991)
Boris Godunov (1954)
Boris Godunov (1989)
Born Yesterday (1950)
Born Yesterday (1956, TV)
Born Yesterday (1993)
The Boss (1915)
The Boudoir Diplomat (1930)
Boudu (2005)
Boudu Saved from Drowning (1932)
The Boy Friend (1926)
Boy Meets Girl (1938)
The Boy Who Loved Trolls (1984, TV)
Boys in Brown (1949)
The Boys in the Band (1970)
The Boys in the Band (2020)
The Boys Next Door (1996, TV)
Bracelets (1931)
The Branded Woman (1920)
The Brass Bottle (1923)
The Brass Bottle (1964)
The Brat (1931)
Die Bräutigamswitwe (1931)
Breaker Morant (1980)
Breakfast at Sunrise (1927)
The Breaking of the Drought (1920)
Breaking Up (1997)
A Breath of Scandal (1960)
The Breed of the Treshams (1920)
Brewster's Millions (1914)
Brewster's Millions (1921)
Brewster's Millions (1935)
Brewster's Millions (1945)
Bride of the Regiment (1930, musical)
The Bride Wore Red (1937)
Brides Are Like That (1936)
The Bride's Play (1922)
Brief Encounter (1945)
Brief Encounter (1974)
Brief Moment (1933)
The Brig (1964)
Brighton Beach Memoirs (1986)
The Brighton Twins (1936)
Brilliant Lies (1996)
British Intelligence (1940)
Broadway (1929)
Broadway (1942)
Broadway Bound (1992, TV)
Broadway Jones (1917)
The Broken Circle Breakdown (2012)
The Broken Jug (1937)
Broken Lullaby (1932)
The Broken Melody (1929)
The Broken Wing (1923)
The Broken Wing (1932)
A Bronx Tale (1993)
Broth of a Boy (1959)
Brother Alfred (1932)
A Brother's Kiss (1997)
Brown of Harvard (1918)
Brown of Harvard (1926)
Brown Sugar (1922)
Brown Sugar (1931)
The Browning Version (1951)
The Browning Version (1994)
Brumby Innes (1927)
Bulldog Drummond (1922)
Bulldog Drummond (1929)
Butcher, Baker, Nightmare Maker (1981)
Buddy Buddy (1981)
Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)
Bug (2006)
A Bunch of Violets (1916)
Bunker Bean (1936)
The Burgomaster of Stilemonde (1929)
Burglars(1930)
Buridan's Donkey (1932)
Burning Blue (2013)
The Burning Question (1943)
Burnt Wings (1920)
Bus Stop (1956)
Business Under Distress (1931)
But the Flesh Is Weak (1932)
But Not for Me (1959)
Butley (1974)
The Butter and Egg Man (1928)
Butterflies Are Free (1972)
By Candlelight (1933)
Byzantium (2012)
C
[edit]
Cabaret Balkan (1998)
Cabin in the Sky (1943, musical)
Cactus Flower (1969)
Caesar and Cleopatra (1945)
Caesar and Cleopatra (2009)
La Cage aux Folles (1978)
Cain XVIII (1963)
A Caixa (1994)
La calandria (1933)
La calandria (1972)
El Calavera (1954)
The Calendar (1931)
The Calendar (1948)
California Suite (1978)
Call It a Day (1937)
Call Me Madam (1953)
The Call of Her People (1917)
The Call of the North (1914)
The Call of the North (1921)
Calle Mayor (1956)
Called Back (1911)
Calzonzin Inspector (1977)
Cameo Kirby (1914)
Cameo Kirby (1923)
Cameo Kirby (1930)
Camille (1915)
Camille (1917)
Camille (1921)
Camille (1926)
Camille (1936)
Camille (1984)
Al Compás de tu Mentira (1950)
Comrades (1919)
The Canadian (1926)
Canaries Sometimes Sing (1930)
Canción de cuna (1941)
Candida, Millionairess (1941)
Caprice (1913)
Captain Alvarez (1914)
Captain Applejack (1931)
The Captain from Köpenick (1931)
The Captain from Köpenick (1956)
The Captain Is a Lady (1940)
Captain Kidd, Jr. (1919)
Captain Midnight, the Bush King (1911)
The Captive (1915)
The Cardboard Lover (1928)
Cardinal Richelieu (1935)
Career (1959)
The Careless Age (1929)
The Caretaker (1963)
Carlos (1971)
Carnage (2011), based on the play God of Carnage
Carolina (1934)
Carry On Admiral (1957)
La casa del pelícano (1977)
Casablanca (1942)
Casanova Brown (1944)
The Case of Becky (1915)
The Case of Becky (1921)
The Case of Lady Camber (1920)
The Case of the Frightened Lady (1940)
Cast a Dark Shadow (1955)
La Casta Susana (1944)
The Cat and the Canary (1927)
The Cat and the Canary (1939)
The Cat and the Canary (1979)
Cat on a Hot Tin Roof (1958)
Cat on a Hot Tin Roof (1984, TV)
The Cat Creeps (1930)
The Catered Affair (1956)
Catherine de Heilbronn (1980, TV)
Cats (1998)
Cats (2019)
Caught in the Act (1931)
Cavalcade (1933)
The Cave Girl (1921)
The Caveman (1915)
A Celebrated Case (1914)
The Chalice of Sorrow (1916)
The Chalk Garden (1964)
The Chance of a Night Time (1931)
Chance the Idol (1927)
The Changeling (1998)
Chapter Two (1979)
Charlemagne (1933)
Charley's Aunt (1925)
Charley's Aunt (1926)
Charley's Aunt (1930)
Charley's Aunt (1941)
Charley's Aunt (1963)
Charlie Chan in City in Darkness (1939)
Charming Sinners (1929)
The Chase (1966)
The Chaste Libertine (1952)
Chatroom (2010)
Chatterbox (1936)
A che servono questi quattrini? (1942)
The Cheater (1920)
Cheating Cheaters (1919)
Cheating Cheaters (1927)
Cheating Cheaters (1934)
Cheech (2006)
The Cheeky Devil (1932)
The Cheerful Soul (1919)
Chelsea Walls (2001)
The Cherry Orchard (1974)
The Cherry Orchard (1981, TV)
The Cherry Orchard (1999)
Chicago (1927)
Chicago (2002, musical)
Chicken Every Sunday (1949)
La Chienne (1931)
Child of Manhattan (1933)
Children of a Lesser God (1986)
Children of Jazz (1923)
The Children's Hour (1961)
Child's Play (1972)
Chimmie Fadden (1915)
Chinese Coffee (2000)
The Chinese Puzzle (1919)
Chi-Raq (2015, musical)
The Chocolate Girl (1932)
The Chocolate Girl (1950)
The Chocolate Soldier (1941)
The Choice (2015)
The Chorus Lady (1915)
The Chorus Lady (1924)
A Chorus of Disapproval (1989)
Chotard et Cie (1933)
The Christian (1911)
The Christian (1914)
The Christian (1923)
Christmas in July (1940)
Christine (1958)
Christopher Bean (1933)
The Church Mouse (1934)
Ciboulette (1933)
Cinderella (1957, TV)
The Circle (1925)
Circle of Love (1964)
The City (1916)
The City (1926)
City Girl (1930)
A City Upside Down (1933)
Civilian Clothes (1920)
The Clairvoyant (1924)
Clarence (1922)
Clarence (1937)
Clara Gibbings (1934)
Clash by Night (1952)
Classmates (1914)
Claudia (1943)
Clérambard (1969)
Cleopatra (1912)
Cleopatra (1917)
The Climax (1930)
The Climax (1944)
The Climbers (1915)
The Climbers (1919)
The Climbers (1927)
The Clinging Vine (1926)
Closed Door (1962)
Closer (2004)
Clothes (1914)
Clothes (1920)
The Club (1980)
The Cobweb (1917)
Cocoanut (1939)
The Cockeyed Miracle (1946)
The Cock-Eyed World (1929, musical)
The Cockroach that Ate Cincinnati (1996)
The Cohens and Kellys (1926)
Cold Comfort (1989)
The College Widow
The College Widow
The Colleen Bawn (1911, American)
The Colleen Bawn (1911, Australian)
The Colleen Bawn (1924)
The Colonel (1917)
Come Again Smith (1919)
Come Back, Little Sheba (1952)
Come Back, Little Sheba (1978, TV)
Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982)
Come Blow Your Horn (1963)
Come Look at Me (2001)
Come Out of the Kitchen (1919)
Command Decision (1948)
The Common Cause (1919)
Common Clay (1919)
Common Clay (1930)
Comrades (1919)
The Commuters (1915)
The Concert (1921)
The Concert (1931)
The Condemned of Altona (1962)
A Coney Island Princess (1916)
The Connection (1961)
The Conspiracy (1914)
Conspiracy (1930)
The Constant Nymph (1928)
The Constant Nymph (1933)
The Constant Nymph (1943)
The Constant Woman (1933)
Convicts (1991)
Cooee and the Echo (1912)
Copenhagen (2002, TV)
The Copperhead (1920)
Coquette (1929)
Coriolanus (2011)
The Corn Is Green (1945)
The Corn Is Green (1979, TV)
Cosi (1996)
Les Côtelettes (2003)
Cottage to Let (1941)
Counsellor at Law (1933)
Counsel's Opinion (1933)
The Count of Brechard (1938)
The Count of Charolais (1922)
Counter-Attack (1945)
Country Life (1994)
The Country Girl (1954)
The County Chairman (1914)
The County Fair (1920)
Courage (1930)
The Courier of Moncenisio (1927)
Courtship (1987)
Cousin Kate (1921)
The Cow (1969)
The Cowboy and the Lady (1915)
The Cowboy and the Lady (1922)
Cowboys (2013)
The Cradle (1922)
Cradle Snatchers (1927)
Cradle Song (1933)
Cradle Song (1953)
Cradle Song (1994)
Craig's Wife (1936)
The Cranes Are Flying (1957)
Crashing Hollywood (1938)
The Crazy Day or The Marriage of Figaro (2003, TV)
Creditors (1988)
Creditors (2015)
Creeping Shadows (1931)
Crimes of the Heart (1986)
The Criminal Code (1931)
Critic's Choice (1963)
The Cross-Patch (1935)
Cross My Heart (1946)
Crossing Delancey (1988)
The Crowded Hour (1925)
The Crucible (1957)
The Crucible (1996)
A Cruel Romance (1984)
The Crusader (1932)
Cry 'Havoc' (1943)
The Cub (1915)
Cuchillos de fuego (1989)
A Cuckoo in the Nest (1933)
The Cuckoos (1930)
The Cucuroux Family (1953)
Los Cuervos están de luto (1965)
The Curious Conduct of Judge Legarde (1915)
Curse of the Golden Flower (2006)
Curse of the Starving Class (1994)
Cymbeline (2014)
Cynthia (1947)
Cyrano Agency (2010)
Cyrano and d'Artagnan (1964)
Cyrano de Bergerac (1925)
Cyrano de Bergerac (1946)
Cyrano de Bergerac (1950)
Cyrano de Bergerac (1972, TV)
Cyrano de Bergerac (1990)
Cyrano de Bergerac (2008, TV)
Cyrano Fernandez (2007)
D
[edit]
Da (1988)
Daddy (2015)
Daddy Gets Married (1936)
Daddy's Gone A-Hunting (1925)
La dama de Chez Maxim's (1923)
Damaged Goods (1914)
Damaged Goods (1919)
Damaged Lives (1933)
La dame de chez Maxim's (1933)
A Damsel in Distress (1937)
Dance Charlie Dance (1937)
The Dance of Death (1948)
Dance of Death (film) (1969)
The Dance of Death (1967)
The Dance of Life (1929)
The Dancers (1925)
The Dancers (1930)
Dancing at Lughnasa (1998)
The Dancing Girl (1915)
Dancing in the Dark (1949)
Dancing Mothers (1926)
The Danger Mark (1918)
Dangerous Afternoon (1961)
Dangerous Corner (1934)
Dangerous Crossing (1953)
The Dangerous Game (1933)
Dangerous Liaisons (1988)
De Dans van de Reiger (1966)
Danton (1921)
Danton (1983)
The Dark Angel (1925)
The Dark Angel (1935)
The Dark at the Top of the Stairs (1960)
The Dark Past (1948)
Dark Victory (1939)
Darkness Falls (1999)
Darling, How Could You! (1951)
The Daughter (2015)
Daughter of Deceit (1951)
Daughters Courageous (1939)
David Garrick (1916)
David Harum (1915)
The Dawn of a Tomorrow (1915)
A Day in the Death of Joe Egg (1968)
Day of Wrath (1943)
Daybreak (1918 film)
Days and Nights (2013)
Days of Wine and Roses (1962)
Dead End (1937)
Dear Ruth (1947)
Dear Mr. Prohack (1949)
Dear Octopus (1943)
Death and the Maiden (1994)
Death of a Salesman (1951)
Death of a Salesman (1966, TV)
Death of a Salesman (1985, TV)
Death of a Salesman (2000, TV)
Death of an Angel (1952)
Death of Yazdgerd (1982)
Death Takes a Holiday (1934)
Deathtrap (1982)
Deathwatch (1965)
Decadence (1994)
The Decision of Christopher Blake (1948)
Deception (1946)
Déclassée (1925)
The Deep Blue Sea (1955)
The Deep Blue Sea (2011)
The Deep Purple (1915)
The Deep Purple (1920)
A Delicate Balance (1973)
Delusions of Grandeur (1971)
The Denial (1925)
Departure (1986)
The Desert Song (1929)
The Desert Song (1953)
Deserted at the Altar (1922)
Design for Living (1933)
The Designated Mourner (1997)
Desire (1936)
Désiré (1996)
Desire Under the Elms (1958)
Desk Set (1957)
Desperate Hours (1990)
The Desperate Hours (1955)
Detective Story (1951)
Detention of the Dead (2012)
The Devil (1915)
The Devil (1918)
The Devil (1921)
Devil-May-Care (1929)
A Devil of a Woman (1951)
The Devils (1971)
The Devil's Brother (1933)
The Devil's Disciple (1959)
The Devil's Maze (1929)
Dial M for Murder (1954)
The Diary of a Chambermaid (1946)
Diary of a Mad Black Woman (2005)
The Diary of Anne Frank (1959)
The Diary of Anne Frank (1967)
The Dictator (1915)
The Dictator (1922)
Dicky Monteith (1922)
Die große Liebe (1931)
Die, Mommie, Die! (2003)
Different Morals (1931)
Dimboola (1979)
Dinner at Eight (1933)
Dinner at Eight (1989, TV)
The Dinner Game (1998)
Dinner with Friends (2001, TV)
Diplomacy (1916)
Diplomacy (1926)
Diplomacy (2014)
Dionysus in '69 (1970)
Dishonored Lady (1947)
Disco Pigs (2001)
Disraeli (1921)
Disraeli (1929)
The Distant Land (1987)
Distress (1946)
Divinas palabras (1977)
Divinas palabras (1987)
The Divorce of Lady X (1938)
The Divorcee (1919)
The Divorcee (1930)
Do Not Disturb (1965)
Do Not Disturb (2014)
Do Not Part with Your Beloved (1980)
Doctor Bertram (1957)
Doctor Faustus (1967)
The Doctor in Spite of Himself (1999)
The Doctor of the Mad (1954)
Doctor Praetorius (1950)
The Doctor's Dilemma (1958)
Dodsworth (1936)
The Dog in the Manger (1978)
The Dog in the Manger (1996)
A Dog's Will (2000)
Doll Face (1945)
A Doll's House (1917)
A Doll's House (1918)
A Doll's House (1922)
A Doll's House (1943)
A Doll's House (1959)
A Doll's House (1973)
A Doll's House (1973)
A Doll's House (1992, TV)
The Dominant Sex (1937)
Don Cesar, Count of Irun (1918)
Don Cesare di Bazan (1942)
Don Juan (1998)
Don Juan in Hell (1991)
Don Quixote (1957)
Doña Clarines (1951)
Don's Party (1976)
Don't Call It Love (1923)
Don't Drink the Water (1969)
Don't Drink the Water (1994, TV)
Don't Give Up (film) (1947)
Don't Tell the Wife (1927)
Door on the Left as You Leave the Elevator (1988)
Doorsteps (1916)
Dora Nelson (1935)
Dora Nelson (1939)
Dorothea Angermann (1959)
Double Door (film) (1934)
The Double Event (1921)
Double Harness (1933)
A Double Life (1954)
Double Suicide (1918)
Double Suicide (1969)
Double Wedding (1937)
Doubt (2008)
Doubting Thomas (1935)
The Doughgirls (1944)
The Dove (1927)
Down and Out in Beverly Hills (1986)
Downhill (1927)
Dr. Monica (1934)
Dracula (1931, English language)
Dracula (1931, Spanish language)
Dracula (1979)
Drake of England (1935)
Dramatic School (1938)
The Drawer Boy (2017)
Dream Girl (1948)
A Dream of Passion (1978)
Dream of Love (1928)
Dreaming Lips (1932)
Dreaming Lips (1937)
Dreaming Lips (1953)
Dreamplay (1994)
Drei Mann auf einem Pferd (1957)
Dressed to Thrill (1935, musical)
The Dresser (1983)
The Dresser (2015, TV)
The Dressmaker of Luneville (1932)
Dreyfus (1931)
Drifting (1923)
Driven (1916)
Driving Miss Daisy (1989)
Driving Miss Daisy (2014)
Drums O' Voodoo (1934)
Drunks (1995)
Dry Rot (1956)
DuBarry (1915)
Du Barry Was a Lady (1943)
Du Barry, Woman of Passion (1930)
The Duchess of Benameji (1949)
Duck in Orange Sauce (1975)
Duet for One (1986)
Dulcinea (1963)
Dulcy (1923)
Dulcy (1940)
The Dumb Girl of Portici (1916)
Dusty Ermine (1936)
Dutchman (1966)
The Dybbuk (1938)
The Dying Gaul (2005)
E
[edit]
The Eaglet (1913 film)
Earth Spirit (film) (1923)
The Easiest Way (1917 film)
The Easiest Way (1931)
East Is East (1916 film)
East Is East (1999 film)
East Is West (1922 film)
East Is West (1930)
Easy Money (1948 film)
East of Suez (film) (1925)
Easy to Love (1934 film)
Easy Virtue (1928 film)
Easy Virtue (2008 film)
Edmond (2005)
Educating Rita (1983)
The Education of Elizabeth (1921)
Education of a Prince (1927)
The Education of Mr. Pipp (1914)
Edward II (film) (1991)
Edward, My Son (1949)
The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1972)
Eight Iron Men (1952)
Elckerlyc (film) (1975)
The Elder Son (2006 film)
Electra (1962 film)
The Elephant Man (film) (1980)
The Elephant Man (1982 film) (TV)
The Eleventh Commandment (1924 film)
Elmer, the Great (1933)
Emerald City (film) (1988)
The Emperor Jones (1933)
Emilia Galotti (film) (1958)
L'emmerdeur (1973)
Emmett Stone (1985)
Employees' Entrance (1933)
The Enchanted Cottage (1924 film)
The Enchanted Cottage (1945 film)
Endgame (1989 film) (from play by Samuel Beckett
Endless Nights in Aurora (2014)
An Enemy of the People (film) (1978)
An Enemy to the King (film) (1916)
Enter Laughing (film) (1967)
Enter Madame (1922 film)
Enter Madame (1935 film)
The Entertainer (film) (1960)
Entertaining Mr Sloane (film) (1970)
L'Épervier (1933)
Equus (1977)
Erotikon (1920 film)
Erstwhile Susan (1919)
Escanaba in da Moonlight (2001)
Escapade (1955 film)
The Escape (1914 film)
Escape (1930 film)
Escape (1948 film)
Escape Me Never (1935 film)
Escape Me Never (1947 film)
Escuela para suegras (1958)
Esmeralda (1915 film)
Espionage (film) (1937)
La estatua de carne (1951)
The Eternal City (1915 film)
Ethir Neechal (1968)
Étienne (film) (1933)
The Eve of St. Mark (1944)
Eve's Daughter (1918)
Eve's Secret (1925)
Evening Clothes (1927)
Evensong (film) (1934)
Eve's Secret (1925)
The Ever Open Door (1920)
Everybody Wins (1990)
Everynight ... Everynight (1994)
Everywoman (1919 film)
Evidence (1915 film)
Evidence (1929 film)
Excess Baggage (1928 film)
Un extraño en la escalera (1955)
Extravagance (1916 film)
Excuse Me (1925 film)
The Expert (1932 film) (1932)
Extremities (film) (1986, TV)
Eye for Eye (1918 film)
Eyes of Youth (1919)
F
[edit]
The F Word (2013 film)
The Face Behind the Mask (1941 film)
The Face at the Window (1920 film)
The Face of Jizo (film) (2004)
The Faces of Love (film) (1924)
Faces of Love (1977)
Face to Face (2011 film)
Fair and Warmer (film) (1919)
The Fair Co-Ed (1927)
Fair Game (1928 film)
Fairy tales... fairy tales... fairy tales of the old Arbat (1982)
The Faith Healer (1921)
The Fake (1927 film)
La falena (film) (1916)
The Fall Guy (1930 film)
False Servant (2000)
A Family Affair (1937 film)
The Family Way (1966)
The Famous Mrs. Fair (1923)
The Fan (1949 film)
Fando y Lis (1968)
Fanny (1932 film)
Fanny (2013 film)
The Far Cry (1926)
Far Side of the Moon (2003)
The Farmer from Texas (1925)
The Farmer Takes a Wife (1935)
The Farmer Takes a Wife (1953 film)
The Farmer's Daughter (1947 film)
The Farmer's Wife (1928)
Fashions in Love (1929)
Fast and Loose (1930 film)
Fast and Loose (1954 film)
Fast Company (1929 film)
Fast Life (1929 film)
The Fast Set (1924)
Father Cigarette (1946 film)
Father Cigarette (1955 film)
Father For a Night (1939)
Father Is a Prince (1940)
The Father of the Girl (1953)
A Father Without Knowing It (1932)
The Fatted Calf (1939)
Faun (film) (1918)
Faust (1926 film)
Faust (1960 film)
Faust (1994 film)
Faust (2011 film)
Faustina (1957 film)
Fausto 5.0 (2001)
Fazil (film) (1928)
Frederica (1932 film) (1932)
Fedora (1918 film)
Fedora (1926 film)
Feet of Clay (1924 film)
Felicita Colombo (1937)
Feminine Wiles (1951)
Fences (film) (2016)
The Fever (2004 film) (TV)
A Few Good Men (1992)
The Field (film) (1990)
Figaro (film) (1929)
The Fighting Hope (1915)
Fighting Odds (1917)
Filomena Marturano (1951, musical)
Find the Lady (1936 film)
Finding Neverland (film) (2004)
Fine Clothes (1925)
A Fine Romance (film) (1991)
The Fire Patrol (1924)
The Firebird (1934 film)
Fires of Fate (1923 film)
Fires of Fate (1932 film)
The First Gentleman (1948)
First Lady (film) (1937)
First Monday in October (film) (1981)
The First Mrs. Fraser (1932 film)
The First Year (1926 film)
The First Year (1932 film)
Fit (2010 film)
Five Evenings (1978)
Five Finger Exercise (1962)
Five Graves to Cairo (1943)
Five on the Black Hand Side (1973)
Fixer Dugan (1939)
The Flag Lieutenant (1926 film)
The Flag Lieutenant (1932 film)
The Flame (1926 film)
The Flame (1936 film)
The Flame (1952 film)
Flame in the Streets (1961)
Flamingo Road (film) (1949)
Flapper Wives (1924)
A Flea in Her Ear (film) (1968)
The Fleet's In (1942)
Flesh and Blood (1951 film)
The Flight (film) (1970)
The Flight in the Night (1926)
Flirtation (1927 film) (1927)
Floretta and Patapon (1913 film)
Floretta and Patapon (1927 film)
A Florida Enchantment (1914)
Floride (film) (2015)
Flying Down to Rio (1933)
Fog Island (1937)
Folies Bergère de Paris (1935)
Follow Me! (1972 film)
Follow the Fleet (1936)
Follow Thru (1930)
The Fool (1925 film)
Fool for Love (1985)
A Fool There Was (1915 film)
A Foolish Maiden (1929)
Fools Rush In (1949 film)
Footsteps (2003 film) (2003, TV)
Footsteps in the Dark (film) (1941)
For Colored Girls (2010)
For colored girls who have considered suicide/when the rainbow is enuf (Television) (1982)
For Heaven's Sake (1950 film)
For Men Only (1960 film)
For the Defense (1922 film)
For the Love of Mike (1932 film)
For Wives Only (1926)
Forbidden Paradise (1924)
Forever Female (1953)
Forever Plaid: The Movie (2008)
Forgotten Melody for a Flute (1987)
The Forgotten Pistolero (1969)
The Former Mattia Pascal (1937)
The Fornaretto of Venice (1939)
Fortunato (film) (1942)
Fortune and Men's Eyes (1971)
The Fortune Hunter (1914 film)
The Fortune Hunter (1920 film)
The Fortune Hunter (1927 film)
Forty Winks (1925 film)
Four (2012 film)
Four Hours to Kill! (1935)
The Four Masked Men (1934)
The Four Poster (1952 film)
Four Walls (film) (1928)
Four White Shirts (1967)
Foxfire (1987 film)
Frankenstein (1931 film)
Frankie and Johnny (1991 film)
Fräulein Veronika (1936)
Freak (film)
A Free Soul (1931)
Free and Easy (1941 film)
Freedom of the Seas (film) (1934)
French Leave (1930 film)
French Leave (1937 film)
A French Mistress (1960)
Freshman Love (1936)
Fric-Frac (1939)
Friend of the World (2020)
Friendly Enemies (1925 film)
Friendly Enemies (1942)
Friends (1988 film)
Friends and Neighbours (1959)
The Frightened Lady (1932 film)
The Frisky Mrs. Johnson (1921)
Frøken Kirkemus (1941)
From Hell to Heaven (1933)
From Morn to Midnight (1920)
The Front Page (1931)
The Front Page (1974)
Frost/Nixon (2008)
The Fugitive Kind (1960)
Fun (film) (1994)
Fun in the Barracks (1932)
Funny Money (2006 film)
The Furies (1930 film)
G
[edit]
Il gabbiano (1977)
Gaby (film) (1956)
The Gaieties of the Squadron (1913)
Galileo (1975 film)
The Galley Slave (1915)
A Gamble in Lives (1920)
Gambling (film) (1934)
The Gamblers (1929 film)
The Garden of Eden (1928 film)
The Garden of Weeds (1924)
Gaslight (1940)
Gaslight (1944)
Gastone (film) (1960)
The Gay Adventure (1936)
The Gay Deceiver (1926)
The Gay Lord Quex (1917 film)
The Gazebo (1959)
Gebo and the Shadow (2012)
Geliebte Hochstaplerin (1961)
General John Regan (1933 film)
General Post (1920)
Get Off My Foot (1935)
The Gentle Gunman (1952, TV)
A Gentleman in Tails (1931)
A Gentleman of Leisure (1915 film)
A Gentleman of Leisure (1923 film)
Gentlemen of the Press (1929)
A Gentleman of the Ring (1926 film)
A Gentleman of the Ring (1932 film)
The Gentleman Without a Residence (1915 film)
The Gentleman Without a Residence (1934 film)
George Washington Jr. (film) (1924)
George Washington Slept Here (1942)
Gertrud (film) (1964)
Get Off My Foot (1935)
Get Real (film) (1998)
Get Your Man (1927 film)
Get Your Man (1934 film)
Getting Gertie's Garter (1927 film)
Getting Gertie's Garter (1945)
The Ghost Breaker (1914 film)
The Ghost Breaker (1922 film)
The Ghost Breakers (1940)
The Ghost Comes Home (1940)
The Ghost Talks (1929 film)
Ghosts (1915 film)
Ghosts – Italian Style (1967)
Ghost Ship (1952 film)
Ghost Train (1927 film)
The Ghost Train (1931 film)
The Ghost Train (1941 film)
Ghost Train International (1976)
Ghosts (1915 film)
The Ghoul (1933 film)
Gideon (play) (TV)
Gigi (1958)
The Gin Game (1981, TV)
Ginger Ale Afternoon (1989)
The Girl and the Boy (1931)
The Girl and the Gambler (1939)
Girl from Avenue A (1940)
The Girl from 10th Avenue (1935)
The Girl from Barnhelm (1940)
The Girl from Maxim's (1933, musical)
The Girl from Maxim's (1950 film) (1950)
The Girl in the Limousine (1924)
The Girl in the Show (1929)
The Girl Irene (1936)
The Girl of the Golden West (1915 film)
The Girl of the Golden West (1923 film)
The Girl of the Golden West (1930 film)
The Girl of the Golden West (1938 film) (musical)
Girl of the Rio (1932, musical)
The Girl on the Train (2009 film)
The Girl Who Forgot (1940)
The Girl Who Had Everything (1953)
Girls (1919 film)
The Girls (1968 film)
Girls at Sea (1958 film)
Girls' Dormitory (1936)
Girls in Uniform (1951 film)
Give Me a Sailor (1938)
Give Me Your Heart (film) (1936)
The Glad Eye (1920 film)
The Glad Eye (1927 film)
Glad Tidings (film) (1953)
The Glass Menagerie (1950 film)
The Glass Menagerie (1966 film) (TV)
The Glass Menagerie (1973 film) (TV)
The Glass Menagerie (1987 film)
A Glass of Water (1923 film)
A Glass of Water (1960 film)
A Glass of Water (1979 film) (TV)
The Glembays (1988)
Glengarry Glen Ross (1992)
Glorious Betsy (1928)
Go West, Young Man (1936)
God's Gift to Women (1931)
Goetz von Berlichingen (film) (1955)
Going Crooked (1926)
Going Places (1938 film)
Going Wild (1930)
The Gold Diggers (1923 film)
Gold Diggers of Broadway (1929, musical)
Gold Diggers of 1933 (1933, musical)
Golda's Balcony (2019 film)
Golden Boy (film) (1939)
Golden Dawn (film) (1930, musical)
Gone Are the Days! (1963)
Good and Naughty (1926)
The Good Companions (1933 film)
The Good Earth (film) (1937)
The Good Fairy (1935 film) (1935)
Good Gracious, Annabelle (1919)
A Good Little Devil (1914)
Good Night, Paul (1918)
The Good Old Soak (1937)
The Good Fairy (1935 film) (1935)
A Good Woman (film) (2004)
Goodbye Again (1933 film)
Goodbye Charlie (1964)
The Goodbye Girl (1977)
Goodbye Mr. Loser (2015)
Goodbye, My Fancy (1951)
The Goodbye People (film) (1984)
Goodbye Youth (1918 film)
Goodbye Youth (1927 film)
Goodbye Youth (1927 film)
The Gorgon (1942 film)
The Gorilla (1927 film)
The Gorilla (1930 film)
The Gorilla (1939 film)
The Gospel According to the Blues (2010)
La governante (1974)
The Governor's Lady (1915 film)
The Grand Duchess and the Waiter (1926)
Grande École (film) (2004)
Grand Hotel (1932 film)
Grand National Night (1953)
Grandstand for General Staff (1926 film)
Grandstand for General Staff (1953 film)
Great Catherine (film) (1968)
Great Day (1945 film)
The Great Divide (1915 film)
The Great Divide (1925 film)
The Great Divide (1929 film)
The Great Game (1953 film)
The Great Garrick (1937)
The Great Well (1924)
The Great White Hope (film) (1970)
The Greeks Had a Word for Them (1932)
The Green Goddess (1923 film)
The Green Goddess (1930 film)
The Green Jacket (1937)
The Green Man (film) (1956)
The Green Pack (1934)
The Green Pastures (film) (1936)
The Green Goddess (1923 film)
The Green Goddess (1930 film)
The Green Man (film) (1956)
The Green Pastures (film) (1936)
Gretna Green (1915 film)
Grimaldi (film) (1914)
The Grip of Iron (1920)
Den grønne heisen (1981)
Grumpy (1923 film)
Die Gstettensaga: The Rise of Echsenfriedl (2014, TV)
The Guardsman (1925 film)
The Guardsman (1931)
Guess Who's Sleeping in My Bed? (1973, TV)
The Guilty Man (1918)
Guilty of Love (film) (1920)
The Guinea Pig (film) (1948)
A Gust of Wind (1942)
H
[edit]
Habit (1921 film)
Half a Sinner (1934 film)
The Hairy Ape (film) (1944)
The Haller Case (1933)
Hamlet (1948)
Hamlet (1964)
Hamlet (1969)
Hamlet (1990)
Hamlet (1996)
Hamlet (2009 film) (TV)
Handy Andy (1934 film)
The Hanging Judge (film) (1918)
Hangman's Noose (1940)
Hannele's Journey to Heaven (1922)
Hanneles Himmelfahrt (film) (1934)
The Happiest Days of Your Life (1950)
The Happiest Millionaire (1967, musical)
The Happiness of Three Women (1954)
Happy Anniversary (1959 film)
Happy Birthday, Wanda June (1971)
The Happy Ending (1925 film)
The Happy Family (1952 film)
Happy Go Lucky (1946 film)
Happy Is the Bride (1958)
The Happy Time (1952)
The Happy Village (1955)
Harakiri (1919 film)
The Harbour Lights (1914 film)
Harriet Craig (1950)
Harvey (1950)
Hashtag Roxy (2018)
The Hasty Heart (1949)
The Hatchet Man (1932)
A Hatful of Rain (1957)
Hawthorne of the U.S.A. (1919)
He Couldn't Say No (1938)
He Stayed for Breakfast (1940)
He Who Gets Slapped (1924)
Head of a Tyrant (1959)
Head over Heels (1937 film)
Heading for Heaven (1947)
The Headmaster (film) (1921)
The Heart of a Hero (1916)
Heart of Gold (1941 film)
The Heart of Maryland (1915 film)
The Heart of Maryland (1921 film)
The Heart of Maryland (1927)
Heart of the Sun (1998)
Hearts Divided (1936, musical)
Hearts of Oak (film) (1924)
Heat Lightning (film) (1934)
Heaven Can Wait (1943 film)
Heaven Can Wait (1978 film)
Heaven in the Dark (2016)
Hedda Gabler (1920 film)
Hedda Gabler (1925 film)
Hedda (film) (1975)
Hedda Gabler (2004 film)
Hedda Gabler (2016 film)
The Heidi Chronicles (film) (1995, TV)
Heimat (1938 film) (1938)
The Heiress (1949)
Held by the Enemy (film) (1920)
The Hellcat (1928)
Hello Again (2017 film)
Hello, Dolly! (1969, musical)
Hello, I'm Your Aunt! (1975)
Hello, Sweetheart (1935)
Henry IV (film) (1984)
Her Cardboard Lover (1942)
Her Final Role (1946)
Her First Affaire (1932)
Her First Mate (1933)
Her Gilded Cage (1922)
Her Great Match (1915)
Her Imaginary Lover (1933)
Her Last Affaire (1935)
Her Luck in London (1914)
Her Master's Voice (1936)
Her Own Way (1915)
Her Private Life (1929)
Her Redemption (1924)
Her Reputation (1931)
Her Temporary Husband (1923)
Her Sister from Paris (1925)
Her Wedding Night (1930)
Hercules Unchained (1959)
Here Comes Mr. Jordan (1941)
Here Comes the Bride (1919 film)
Here is My Heart (1934, musical)
The Hero (1923 film)
Herr Puntila and His Servant Matti (1960 film)
Herra Lahtinen lähtee lipettiin (1939)
Der Herrscher (1937)
The Hide (2008)
Hideaway (1937 film)
High and Low (1933 film)
High Life (2009 film)
High Pressure (film) (1932)
High Society (1956, musical)
High Tor (play) (1950) (see 1956 TV musical)
High Treason (1929 British film)
High Wall (1947)
Hilda Crane (1956)
The Hill (film) (1965)
Hills of Peril (1927)
Him and His Sister (1931)
Himmeluret (1925)
Hindle Wakes (1918 film)
Hindle Wakes (1927)
Hindle Wakes (1931 film)
Hindle Wakes (1952 film)
His Double Life (1933)
His Family Tree (1935)
His Girl Friday (1940)
His Glorious Night (1929)
His House in Order (1920 film)
His Lordship (1936 film)
His Lordship Regrets (1938)
His Majesty, Bunker Bean (1925 film)
His Royal Highness (1932 film)
His Tiger Lady (1928)
His Wife's Lover (1931, musical)
His Wife's Mother (1932 film)
Historia de una noche (1941)
The History Boys (film) (2005)
Hobson's Choice (1920 film)
Hobson's Choice (1931 film)
Hobson's Choice (1954 film)
Hocuspocus (1930 film)
Hocuspocus (1953 film)
Hocuspocus (1966 film)
A Hole in the Head (1959)
A Hole in the Wall (1930 film)
A Hole in the Wall (1950 film)
The Hole in the Wall (1921 film)
Holiday (1930)
Holiday (1931 film)
Holiday (1938)
Holiday for Lovers (1959)
The Holly and the Ivy (film) (1952)
Homage at Siesta Time (1962)
Los hombres las prefieren viudas (1943)
Home at Seven (film) (1952)
The Home Towners (1928)
A Home with a View (2019)
The Homecoming (1973)
Os Homens São de Marte... E é pra Lá que Eu Vou! (2014)
The Honey Pot (1967)
Honeymoon for Three (1941 film)
The Honeymoon Machine (1961)
Honeysuckle (film) (1938)
Honor of the Family (1931)
An Honourable Murder (1960)
Hoodman Blind (1923)
Hoop-La (1933)
Horvat’s Choice (1985)
Hot Spell (film) (1958)
Hotel Imperial (1927 film)
Hotel Imperial (1939 film)
The Hotel Mouse (1923)
Hotel Paradiso (film) (1966)
Hotel Imperial (1939 film)
Hotel Sorrento (1995)
The Hottentot (1922 film)
The Hottentot (1929)
The Hour Before My Brother Dies (1986, TV)
House (1995 film)
The House by the Sea (1924 film)
The House in Montevideo (1951 film)
The House in Montevideo (1963 film)
The House of Bernarda Alba (1987 film)
The House of Discord (1913)
The House of Fear (1939 film)
The House of Lies (1926 film)
The House of Peril (1922)
The House of Rothschild (1934)
The House of the Arrow (1930 film)
The House of Yes (1997)
The House Opposite (1917 film)
Housemaster (film) (1938)
How to Be Very, Very Popular (1955)
How to Marry a Millionaire (1953)
A Huey P. Newton Story (2001)
Huis clos (1954 film)
Human Hearts (film) (1922)
The Human Voice (1954)
The Humming Bird (1924)
A Hungry Heart (1917)
Hunting Scenes from Bavaria (1969)
Hurlyburly (1998)
Hurrah! I Live! (1928)
Husband of His Wife (1961)
The Husbands of Leontine (1947)
Hyde Park Corner (film) (1935)
The Hypocrites (1916 film)
The Hypocrites (1923 film)
I
[edit]
I Am a Camera (film) (1955)
I cannibali (1970)
I Confess (film) (1953)
The I Inside (2003)
I Killed the Count (1939)
I Lived with You (1933)
I Love You, I Love You Not (1996)
I Loved You Wednesday (1933)
I Never Sang for My Father (1970)
I Remember Mama (film) (1948)
The Iceman Cometh (The Play of the Week) (1960)
The Iceman Cometh (1973)
An Ideal Husband (1947 film)
An Ideal Husband (1999 film)
An Ideal Husband (2000 film)
The Ides of March (2011 film)
Idiot's Delight (film) (1939)
The Idle Rich (1929 film)
The Idol of Paris (1914 film)
I'd Give My Life (1936)
If I Were Free (1933)
If I Were King (1938)
If I Were for Real (film) (1981)
If I Were Rich (1936)
I'm Not Rappaport (film) (1996)
I'll Be Yours (1947)
I'll Never Forget You (film) (1951)
Illicit (film) (1931)
Illuminata (film) (1998)
The Imaginary Invalid (1952 film) (1952)
The Impassive Footman (1932)
The Importance of Being Earnest (1932 film)
The Importance of Being Earnest (1952)
The Importance of Being Earnest (1957 film) (TV)
The Importance of Being Earnest (2002 film) (2002)
The Importance of Being Earnest (2011 film) (TV)
The Impossible Years (1968)
The Improper Duchess (1936)
In Celebration (1975)
In Hollywood with Potash and Perlmutter (1924)
In High Places (1943 film)
In Love with Love (film) (1924)
In Mizzoura (1919)
In Old Kentucky (1919 film)
In Old Kentucky (1927 film)
In Old Kentucky (1935 film)
In the Company of Men (1997)
In the House (film) (2012)
In the Good Old Summertime (1949, musical)
In the Line of Duty (1917 film)
In the Soup (1936 film)
Inadmissible Evidence (film) (1968)
Incendies (2010)
Incident at Vichy (1973, TV)
Incognito from St. Petersburg (1977)
Indiscreet (1958)
Infatuation (1925 film) (1925)
The Inferior Sex (1920)
Ingeborg (film) (1960)
Inherit the Wind (1960 film)
Inherit the Wind (1988 film) (TV)
Inherit the Wind (1999 film) (TV)
The Innkeeper (1944)
The Innocents (1961 film)
The Innocents of Chicago (1932)
Inquest (1931 British film)
Inquest (1939 film)
Insects (film) (2018)
Inside the Lines (1930)
Insignificance (film) (1985)
An Inspector Calls (1954 film)
An Inspector Calls (2015 TV film)
An Inspector Calls (2015 Hong Kong film)
The Inspector General (1933 film)
The Inspector General (1949 film)
The Inspector-General (1952)
Inspector Vargas (1940)
Instinct (1930 film)
Interference (film) (1928)
The Interrupted Honeymoon (1936)
Intimate Relations (1953 film)
Intoxication (film) (1919)
Intrigue and Love (film) (1959)
Invitation to the Waltz (film) (1935)
Iphigenia (film) (1977)
Irene (1926 film)
Iris (1916 film)
Is Your Honeymoon Really Necessary? (1953)
Is Zat So? (1927)
Isle of Missing Men (1942)
Isn't Anyone Alive? (2012)
It Happened in New York (1935, musical)
It Happened in Paris (1935)
It Happened One Sunday (1944)
It Happened Tomorrow (1944)
It Is the Law (1924)
It Pays to Advertise (1919 film)
It Pays to Advertise (1931 film)
It's a Boy (film) (1933)
It's Always the Woman (1916)
It's Never Too Late (1956 film)
It Is Never Too Late to Mend (1911 film)
It's Not My Fault and I Don't Care Anyway (2017)
It's Only the End of the World (2016)
It's the Rage (film) (1999)
The Italian Straw Hat (1928 film) (1928)
Ivan Vasilievich: Back to the Future (1988)
J
[edit]
Les J3 (1946)
Jack Goes Boating (film) (2010)
Jack of All Trades (1936 film)
Jack Straw (1920 film)
Jack Tar (film) (1915)
Jacques Brel Is Alive and Well and Living in Paris (film) (1975)
Jake's Women (1996, TV)
Jane (1915 film)
Janice Meredith (1924, silent)
Janie (1944 film)
Janika (film) (1949)
The Jazz Singer (1927)
The Jazz Singer (1952 film)
The Jazz Singer (1980)
Jealousy (1929 film)
Jedermann (film) (1961)
Jeffrey (1995 film)
Její pastorkyně (1938)
Jeannie (film) (1941)
Jeppe på bjerget (1933 film)
Jeppe på bjerget (film) (1981)
The Jester's Supper (film) (1942)
Jewel Robbery (1932)
The Jeweller's Shop (film) (1988)
The Jewess of Toledo (film) (1919)
Jezebel (film) (1938)
The Jimmy Show (2001)
Jo (film) (1971)
Joan of Arc (1948 film)
Joan of Arc at the Stake (1954)
Joe Butterfly (1957)
John Loves Mary (1949)
Johnny Belinda (1948 film)
Johnny Belinda (1967 film) (TV)
Jolanta the Elusive Pig (1945)
Journal of a Crime (1934)
Journey's End (1930 film)
Journey's End (2017 film)
Juarez (film) (1939)
The Judas of Tyrol (1933)
Judgment at Nuremberg (1961)
Judith of Bethulia (1914)
Judy (film) (2019)
Juliette, or Key of Dreams (1951)
Julius Caesar (1914 film)
Julius Caesar (1953 film)
Jump (2012)
June Bride (1948)
June Moon (film) (1931)
Jungfer, Sie gefällt mir (1969)
Die Jungfrau auf dem Dach (1953)
Junior Miss (film) (1945)
Jungle Patrol (1948 film)
Juno and the Paycock (1930)
Jupiter's Darling (1955)
Just a Wife (1920)
Just a Woman (1918 film)
Just a Woman (1925 film)
Just Married (1928 film)
Just My Luck (1933 film)
Just Suppose (1926)
Justice (1917 film)
K
[edit]
Kaksi Vihtoria (1939)
Karin Månsdotter (film) (1954)
Kathleen Mavourneen (1919 film)
Kathleen Mavourneen (1930 film)
Katharina Knie (film) (1929)
Kean (1921 film)
Kean (1924 film)
Kean (1940 film)
Kean: Genius or Scoundrel (1956)
Keane of Kalgoorlie (1911)
Keep an Eye on Amelia (1949)
Keepers of Youth (1932)
The Kentucky Derby (1922 film)
Keto and Kote (film) (1948)
Key Largo (film) (1948)
Khanuma (1978, TV)
The Kibitzer (1930)
Kick In (1917 film)
Kick In (1922 film)
Kick In (1931 film)
Kiki (1926 film)
Kiki (1931 film)
Kill Me, Deadly (2015)
Killer Joe (film) (2011)
The Killing of a Sacred Deer (2017)
The Killing of Sister George (film) (1968)
Killing Zelda Sparks (2008)
Kind Lady (1935 film)
Kind Lady (1951 film)
The King (1936 film)
King and Country (1964)
The King and the Clown (2005)
King Charles III (film) (2017, TV)
King Dave (2016)
The King is the Best Mayor (1974)
The King of Paris (1934 film) (1934)
King of the Castle (1926 film)
King of the Hotel (1932)
King of the Ritz (1933, musical)
The King on Main Street (1925)
King Rikki (2002)
The King Steps Out (1936)
The King's Jester (1941)
Kismet (1920 film)
Kismet (1930 film)
Kismet (1931 film)
Kismet (1944 film)
Kismet (musical) (1955, musical)
Kiss and Make-Up (1934)
Kiss and Tell (1945 film)
The Kiss Before the Mirror (1933)
A Kiss in a Taxi (1927)
A Kiss in the Dark (1925 film)
Kiss Me (1929 film)
Kiss Me (1932 film)
Kiss Me Again (1925 film)
Kiss Me Again (1931 film)
Kiss Me, Stupid (1964)
Kiss the Boys Goodbye (1941)
Kiss Them for Me (film) (1957)
Kisses for Breakfast (film) (1941)
Kissing Jessica Stein (2001)
The Kitchen (1961 film)
Klondike Annie (1936)
Knickerbocker Holiday (film) (1944, musical)
Knocks at My Door (1994)
Kongo (1932 film)
Kosher Kitty Kelly (1926)
Krechinsky's Wedding (1953 film)
The Kreutzer Sonata (1915 film)
Kyrsyä – Tuftland (2017)
L
[edit]
Laburnum Grove (1936)
Lackawanna Blues (2005)
The Lacquered Box (1932)
Ladies' Day (1943)
Ladies in Retirement (1941)
Ladies in Love (1936)
Ladies Love Brutes (1930)
Ladies Must Live (1940 film)
Ladies of Leisure (1930)
Ladies of the Jury (1932)
Ladies Should Listen (1934)
Ladies They Talk About (1933)
Ladies' Night in a Turkish Bath (1928)
Lady Be Careful (1936)
Lady Gangster (1942)
The Lady Is Willing (1934 film)
The Lady of Scandal (1930)
The Lady from Trévelez (film) (1936)
Lady in Ermine (1947)
A Lady Mislaid (1958)
Lady Tetley's Decree (1920)
Lady Windermere's Fan (1925 film)
A Lady's Name (1918)
Lakeboat (2000)
The Lamb (1915 film)
The Lame Devil (film) (1948)
The Land of Promise (1917)
Landslide (1940 film)
Lantana (film) (2001)
The Laramie Project (2002)
Larceny, Inc. (1942)
The Lark (play) (1957, see TV adaptation)
The Lark (1959 film)
The Lash (1934 film)
The Last Chance (1937 film)
The Last Mile (1932 film)
The Last Mile (1959 film)
The Last Night (1949 film)
The Last of Mrs. Cheyney (1929 film)
The Last of Mrs. Cheyney (1937 film)
Last of the Mobile Hot Shots (1970)
Last of the Red Hot Lovers (film) (1972)
The Last Shot You Hear (1969)
The Last Warning (1928)
The Late Edwina Black (1951)
The Late George Apley (film) (1947)
Latin Quarter (1945 film)
Laugh, Clown, Laugh (1928)
The Laughing Lady (1929 film)
Laughing Sinners (1931)
The Laughter of Fools (1933)
Laughter on the 23rd Floor (2001, TV)
The Law and the Lady (1951 film) (1951)
The Law and the Woman (1922)
The Law of the Land (film) (1917)
Law of the Underworld (1938)
Lawful Larceny (play), Lawful Larceny (1923 film), Lawful Larceny (1930 film)
Lazybones (1925 film)
The Lay of the Land (film) (1997)
Leathernecking (1930)
Leave It to Me (1933 film)
Leave It to Smith (1933)
Leaving (2011 film)
Leaving Metropolis (2002)
The Legend of 1900 (1998)
The Legend of Faust (1949)
The Leghorn Hat (1939)
Lenny (1974)
Leo the Last (1970)
Leontine's Husbands (1928)
The Leopard Lady (1928)
Let Me Explain, Dear (1932)
Let Us Be Gay (1930)
Let's Be Happy (1947)
Let's Do It Again (1953 film)
Let's Face It (film) (1943)
Let's Get a Divorce (1918)
Let's Get Married (1926 film)
Let's Get Married (1931 film)
Let's Love and Laugh (1931)
Let's Make a Night of It (1937, musical)
The Letter (1929)
The Letter (1940)
Libahunt (1968)
Libel (film) (1959)
The Libertine (2000 film)
The Libertine (2004 film)
Liberty Hall (film) (1914)
The Lie (1918 film)
Liebelei (film) (1933)
Life (1928 film)
Life Begins (film) (1932)
Life Begins at Eight-Thirty (1942)
Life for Ruth (1962)
A Life in the Theatre (1979 film)
A Life in the Theatre (1993 film)
The Life Line (1919)
Life of Riley (2014 film)
Life of an Expert Swordsman (1959)
Life With Father (1947)
Light Up the Sky! (film) (1960)
Lightnin' (1925 film)
Lightnin' (1930 film)
Lights of London (1914 film)
Lights of London (1923 film)
Like the Leaves (1935)
Lilac Time (1928 film)
Lili (1918 film)
Lilies (film) (1996)
Lilies of the Field (1924 film)
Lilies of the Field (1930 film)
Liliom (1930 film)
Liliom (1934 film)
Lilly Turner (1933)
Lily in Love (1984)
Lily of Killarney (1929 film)
Lily of Killarney (1934 film)
Lily of the Dust (1924)
The Limping Man (1936 film)
The Lincoln Highwayman (1919)
Liolà (film) (1963)
The Lion and the Mouse (1914 film)
The Lion and the Mouse (1919 film)
The Lion and the Mouse (1928 film)
The Lion in Winter (1968 film)
The Lion in Winter (2003 film) (TV)
The Lioness of Castille (1951)
Lip Service (1988)
The Little Accident (1930)
Little Accident (film) (1939)
A Little Bit of Fluff (1919 film)
A Little Bit of Fluff (1928 film)
The Little Cafe (1919 film)
The Little Cafe (1931 film)
The Little Clown (1921)
The Little Foxes (1941)
The Little Hut (1957)
Little Johnny Jones (1923 film)
Little Johnny Jones (1929 film)
A Little Journey (1927)
Little Malcolm (1974)
The Little Minister (1934 film)
Little Miss Nobody (1923 film)
Little Murders (1971)
Little Nellie Kelly (1940)
Little Old New York (1923 film)
Little Old New York (1940)
Little Voice (film) (1998)
The Littlest Rebel (1935)
The Living Corpse (1929 film)
Living Dangerously (film) (1936)
Living It Up (1954)
La locandiera (film) (1980)
The Locked Door (1929)
Lola Leaves for the Ports (1947)
Lola the Coalgirl (1952, musical)
Lock Up Your Daughters (1969 film)
London by Night (film) (1937)
London Suite (1996, TV)
Lonelyhearts (1958)
The Long and the Short and the Tall (film) (1961)
Long Day's Journey Into Night (1962)
The Long Intermission (1927)
The Long Voyage Home (1940)
Look Back in Anger (1959 film)
Look Back in Anger (1980 film) (TV)
Looking Forward (1933 film) (1933)
Loot (1970 film)
Lord Babs (1932)
Lord Camber's Ladies (1932)
Lorenzaccio (film) (1951)
Lost: A Wife (1925)
Lost in the Stars (1974 film) (1974)
Lost in Yonkers (1993)
Lost Kisses (1945 film)
A Lost Letter (film) (1953)
The Lottery Man (1919 film)
Love '47 (1949)
Love and Kisses (film) (1965)
Love and Fear (film) (1988)
Love and Human Remains (1993)
Love at First Child (2015)
The Love Ban (1973)
The Love Captive (1934)
Love Comes Along (1930)
Love Lies (1932 film)
The Love Contract (1932)
The Love Doctor (1929)
Love 'Em and Leave 'Em (film) (1926)
Love from a Stranger (1937 film)
Love from a Stranger (1947 film)
The Love Habit (1931)
Love, Honor, and Oh Baby! (1933)
Love in a Wood (1915)
Love Is All There Is (1996)
Love, Live and Laugh (1929)
Love Letters (1999 film) (TV)
Love Me Tonight (1932, musical)
The Love of Sunya (1927)
The Love Race (1931)
Love Songs (1930 film)
A Love Story (1933 film)
Love Under Fire (1937)
Love! Valour! Compassion! (1997)
Love Watches (1918)
Love's a Luxury (1952)
Love's Carnival (1930 film)
Love Watches (1918)
Love's Whirlpool (2014 film)
The Lovable Cheat (1949)
The Lover of Camille (1924)
Lovers (1927 film) (1927)
Lovers and Other Strangers (1970)
Lovers' Lane (1924 film)
Lovers in Quarantine (1925)
The Loves of Letty (1919)
Lovin' the Ladies (1930)
The Lower Depths (1936 film)
The Lower Depths (1957 film)
Loyalties (1933 film)
Luck of the Navy (1938)
The Luck of the Navy (film) (1927)
The Luck of Roaring Camp (1911 film)
A Lucky Man (1930)
Lucky to Me (1939)
Luise Millerin (1922)
Lulu (1917 film)
Lulu (1962 film)
Lulu Belle (film) (1948, musical)
Lulu by Night (1986)
Lumpaci the Vagabond (1936, musical)
The Lure (1914 film)
The Lure of London (1914)
Luther (1974 film)
Luv (film) (1967)
Lydia Gilmore (1915)
The Lyons Mail (1916 film)
The Lyons Mail (1931)
M
[edit]
M. Butterfly (film) (1993)
Macbeth (2015)
The Mad Genius (1931)
Mad Love (2001 film)
The Mad Room (1969)
Madame (1961 film) (1961)
Madame Butterfly (1915 film)
Madame Butterfly (1932 film)
Madame Butterfly (1954 film)
Madame Louise (1951)
Madame Sans-Gêne (1911 film)
Madame Sans-Gêne (1925 film)
Madame X (1929 film)
Madame X (1955 film)
Madame X (1966 film)
Madame X (1981 film)
Das Mädchen vom Pfarrhof (1955)
Mädchen in Uniform (1931)
Mädchen in Uniform (1958 film)
Maddalena, Zero for Conduct (1940)
Madea's Big Happy Family (film) (2011)
A Madea Christmas (film) (2013)
Madea Goes to Jail (2009)
Madea's Family Reunion (2006)
Mademoiselle Gobete (1952)
Mademoiselle Josette, My Woman (1926 film)
Mademoiselle Josette, My Woman (1933 film)
Mademoiselle Josette, My Woman (1950 film)
Mademoiselle ma mère (1937)
Mademoiselle Modiste (film) (1926)
Madness for Love (1948)
The Madness of King George (1994)
The Madwoman of Chaillot (film) (1969)
Magda Expelled (1938)
Maggie Pepper (1919)
The Magic Flame (1927)
Magic Waltz (1918)
The Magistrate (1921 film)
The Magnificent Cuckold (1964)
The Magnificent Yankee (1950 film)
The Magnificent Yankee (1965 film)
The Maid of the Mountains (film) (1932)
Maids (film) (2001)
The Maids (film) (1975)
La Maison du Bonheur (2006)
Maître après Dieu (1951)
The Major and the Minor (1942)
Major Barbara (film) (1941)
A Majority of One (film) (1961)
Make Me a Star (film) (1932)
Make Mine Mink 1960)
Make Way for Tomorrow (1937)
Maku ga Agaru (2015)
Il malato immaginario (1979)
Male and Female (1919)
The Male Animal (1942)
Malvaloca (1926 film)
Malvaloca (1942 film)
Malvaloca (1954 film)
Mama, I Want to Sing! (film) (2009)
Mama's Affair (1921)
Mammy (film) (1930)
The Man at Midnight (1931)
Man, Beast and Virtue (1953)
A Man for All Seasons (1966 film)
The Man from Home (1914 film)
The Man from Home (1922 film)
The Man from Mexico (1914)
The Man in Evening Clothes (1931)
The Man in Half Moon Street (1945)
The Man in Possession (1931)
The Man in the Glass Booth (1975)
A Man of Sorrow (1916)
Man's Castle (1933)
A Man's World (1918 film)
The Man Who Broke the Bank at Monte Carlo (film) (1935)
The Man Who Came Back (1931 film)
The Man Who Came to Dinner (1942 film)
The Man Who Came to Dinner (1972 film) (TV)
The Man Who Changed His Name (1928 film)
The Man Who Could Cheat Death (1959)
The Man Who Forgot (1919 film)
The Man Who Loved Redheads (1955)
The Man Who Murdered (1931)
The Man Who Played God (1932 film) (1932)
The Man with Two Faces (1934 film) (1934)
The Mandrake (1965 film)
Mangeuses d'Hommes (1988)
Mandingo (film) (1975)
Many Waters (film) (1931)
The Marathon Family (1982)
Marat/Sade (film) (1967)
Marcella (film) (1937)
Margin for Error (1943)
Marie and Bruce (2004)
Marie Tudor (1912 film)
Marigold (1938 film)
Marika (film) (1938)
The Marionettes (film) (1918)
Marius (1931 film)
Marius (2013 film)
Marjorie Prime (2017)
The Marriage Circle (1924)
The Marriage-Go-Round (film) (1961)
Marriage Italian Style (1964)
The Marriage Maker (1923)
The Marriage of Figaro (1920 film)
The Marriage of Figaro (1949 film)
The Marriage of Figaro (1960 film) (TV)
The Marriage of Kitty (1915)
The Marriage of Mademoiselle Beulemans (1927 film)
Married Life (1921 film)
Marry the Girl (1935 film)
Marty (film) (1955)
Martyr (film) (1927)
Marvin's Room (film) (1996)
Mary Magdalene (1914 film)
Mary, Mary (film) (1963)
Mary of Scotland (film) (1936)
The Masked Woman (1927)
The Masquerader (1933 film)
The Masqueraders (film) (1915)
Mass Appeal (film) (1984)
The Master and His Servants (1959)
A Master Builder (2013)
Master Harold...and the Boys (1985)
Master Harold...and the Boys (2010 film)
The Master Mind (1920 film)
Master of the House (1925)
Mateo (1937 film)
The Matchmaker (1958 film)
The Mating Season (film) (1951)
Matrimonial Agency (1953 film)
The Matrimonial Bed (1930)
Matroni and Me (1999)
May Blossom (film) (1915)
May Nights (1952)
Maybe It's Love (1930)
The Mayor (1997 film)
The Mayor of Zalamea (1920 film)
The Mayor of Zalamea (1954 film)
Maytime (1923 film)
Maytime (1937 film)
Me and the Colonel (1958)
The Meanest Man in the World(1943)
Medea (1988 film) (TV)
Médée (2001 film) (TV)
The Medicine Man (1930 film)
A media luz los tres (1958)
Meet Joe Black (1998)
Meet Me Tonight (1952)
Meet Mr. Lucifer (1953)
Meet the Browns (film) (2008)
The Meeting Point (1989)
Mélo (1986 film)
Melody Lane (1929 film)
The Melody Man (1930, musical)
The Melting Pot (film) (1915)
Melvin Goes to Dinner (2003)
The Member of the Wedding (film) (1952)
A Memory of Two Mondays (film) (1971, TV)
Memories of Murder (2003)
Men and Women (1925 film)
Men Are Like That (1930)
Men in White (1934 film)
Men Must Fight (1933)
The Men Who Tread on the Tiger's Tail (1945)
Merely Mary Ann (1931)
The Merchant of Venice (1916 film)
The Merchant of Venice (2004 film)
Merrily We Live (1938)
The Merry-Go-Round (film) (1920)
The Merry Vineyard (1927 film)
The Merry Vineyard (1952 film)
The Merry Wives of Windsor (1965 film)
Merton of the Movies (1924 film)
Merton of the Movies (1947 film)
A Message from Mars (1913 film)
The Messenger (1937 film)
The Method (film) (2005)
Metti, una sera a cena (1969)
Mexican Hayride (1948)
Mice and Men (film) (1916)
Miche (film) (1932)
Mickey Magnate (1949)
Mickybo and Me (2004)
Middle Age Spread (1979)
Middle of the Night (1959)
The Middle Watch (1930 film)
The Middle Watch (1940 film)
A Midnight Bell (1921)
Midnight Lace (1960)
Midnight Mystery (1930)
The Midshipmaid (1932)
Midsummer Night's Fire (1939)
The Mighty Barnum (1934)
Milestones (1916 film)
The Milky Way (1936 film)
Le Million (1931)
A Million Bid (1914 film)
A Million Bid (1927)
The Millionairess (1960)
Minha Mãe é uma Peça (2013)
Miquette (1934 film)
Miquette (1940 film)
Miquette (1950 film)
The Miracle (1912 film)
The Miracle (1959 film)
The Miracle Child (1932)
The Miracle Man (1919 film)
The Miracle Man (1932 film)
The Miracle Woman (1931)
The Miracle Worker (1962 film)
Miranda (1948 film)
Miranda (1985 film)
The Misanthrope (1974 film) (TV)
Mischief (1931 film)
Mischievous Susana (1945)
The Miser (1990 film)
Miska the Magnate (1916)
The Misleading Lady (1916 film)
The Misleading Lady (1920 film)
The Misleading Lady (1932 film)
Miss Bluebeard (1925)
Miss Brewster's Millions (1926)
Miss Firecracker (1989)
Miss Julie (1922 film)
Miss Julie (1951 film)
Miss Julie (1999 film)
Miss Julie (film) (2014)
Miss Lulu Bett (film) (1921)
Miss Rose White (1992, TV)
Miss Tatlock's Millions (1948)
Mister Roberts (1955)
Mister Roberts (1984, TV)
Mistigri (film) (1931)
Mistress Nell (1915)
Mixed Doubles (1933 film)
The Model Husband (1937 film)
The Model Husband (1956 film)
The Model Husband (1959 film)
A Modern Magdalen (1915)
The Moment Before (1916)
Money (1921 film)
Mogambo (1953)
The Moment Before (1916)
The Monk and the Woman (1917)
The Monk from Santarem (1924)
Monna Vanna (1922 film)
Monsieur Brotonneau (1939)
Monsieur de Pourceaugnac (film) (1985)
Monsieur Hector (1940)
Monsieur Lazhar (2011)
Monsoon (1952 film)
The Monster (1925 film)
Monster in a Box (1991)
Monster Mash (1995 film)
Monte Cristo (1922 film)
The Moon Is Blue (1953)
Moon Over Miami (film) (1941)
Moonlight (2016 film)
Moonlight and Honeysuckle (1921)
Moonlight and Valentino (1995)
The Moorish Queen (1937 film)
Morena Clara (1954)
Morning Departure (1950)
Morning Glory (1933 film)
Morning's at Seven (1982, see TV productions)
Morocco (film) (1930)
The Moth and the Flame (1915 film)
Mother (1914 film)
Mother (1937 film)
Mother Carey's Chickens (film) (1938)
Mother Courage and Her Children (1961)
Mournful Unconcern (1987)
Mourning Becomes Electra (film) (1947)
The Mouthpiece (1932)
Mouthpiece (film) (2018)
Mr. Imperium (1951)
Mr. Music (1950)
Mr. Pim Passes By (film) (1921)
Mr. Topaze (1961)
Mr. Sycamore (1975)
Mr. What's-His-Name? (1935)
Mr. Wu (1919 film)
Mrs. Dane's Defense (1918 film) (1918)
Mrs. Dane's Defence (1933 film)
Mrs. Gibbons' Boys (film) (1962)
Mrs. Warren's Profession (film) (1960)
Mrs. Wiggs of the Cabbage Patch (1914 film)
Mrs. Wiggs of the Cabbage Patch (1919 film)
Mrs. Wiggs of the Cabbage Patch (1934 film)
Mrs. Wiggs of the Cabbage Patch (1942 film)
Much Ado About Nothing (2012 film)
Muhammad bin Tughluq (1971)
Mumsie (1927)
Murder by the Clock (1931)
Music in the Air (film) (1934)
Murder in the Cathedral (1951 film)
Murder in the Private Car (1934)
Murder on the Second Floor (1932)
Murder Without Crime (1951)
The Music Master (1927 film) (1927)
My Best Friend's Wife (1998)
My Bill (1938)
My Boy Jack (film) (2007, TV)
My Cousin from Warsaw (film) (1931)
My Fair Lady (1964, musical)
My Life with Caroline (1941)
My Night with Reg (film) (1996)
My Old Dutch (1926 film)
My Old Dutch (1934 film)
My Old Lady (film) (2014)
My Sin (1934)
My Sister and I (1929 film)
My Sister Eileen (1942 film)
My Sister Eileen (1955 film)
My Wife's Teacher (1930)
My Wild Irish Rose (1922)
The Mystery of Oberwald (1980)
Mystery Submarine (1963 film)
N
[edit]
Naked Boys Singing! (film) (2007)
The Naked Man (1923 film)
The Naked Truth (1914 film)
Nathan the Wise (film) (1922)
The National Health (film) (1973)
Naughty Marietta (film) (1935)
Neapolitan Turk (1953)
Neil Simon's I Ought to Be in Pictures (1982)
Nell (1994)
Nemo's Bank (1934)
The Net (1923 film) (1923)
Never Say Die (1939 film)
Never Say Goodbye (1956 film)
Never Steal Anything Small (1959)
Never Take Sweets from a Stranger (1960)
Never Too Late (1965 film)
New Faces (1954)
The New Gentlemen (1929)
New Moon (1940 film) (1940, musical)
New Morals for Old (1932)
The New York Idea (1920 film)
New York Nights (1929)
Niagara Motel (2005)
Nice Girl? (1941)
Nice People (film) (1922)
Nicole and Her Virtue (1932)
Night Alone (1938)
The Night Before the Divorce (1942)
The Night Belongs to Us (1929)
The Night Club Queen (1934)
Night Court (film) (1932)
Night Inn (1947)
The Night Is Ours (1930 film)
The Night Is Ours (1953 film)
A Night Like This (film) (1932)
'night, Mother (1986)
Night Must Fall (1937 film)
Night Must Fall (1964 film)
A Night of Adventure (1944)
The Night of Decision (1931 film)
The Night of January 16th (film) (1941)
The Night of Love (1927)
A Night of Mystery (1928)
Night of the Garter (1933)
The Night of the Iguana (film) (1964)
Night Parade (1929)
Night Watch (1928 film)
Night Watch (1973 film)
The Night We Got the Bird (1961)
The Night Without Pause (1931)
The Nightbirds of London (1915)
Nine till Six (1932)
Ninette (film) (2005)
Niniche (1918 film)
Niobe (film) (1915)
No (2012 film)
No Exit (1962 film)
No My Darling Daughter (1961)
No One's Son (2008)
No Other Woman (1933 film)
No Place to Go (1939 film)
No Room at the Inn (1948)
No Time for Comedy (1940)
No Time for Sergeants (1958)
Nobody's Money (1923)
Nobody's Widow (1927)
Noises Off... (1992)
Non ti pago! (1942)
Nonna Felicità (1938)
Noose (1948 film)
The Noose (film) (1928)
Nora (1923 film)
Nora (1944 film)
Normal (2003 film) (TV)
The Normal Heart (2014, TV)
Norman... Is That You? (1976)
North to Alaska (1960)
Not Now, Comrade (1976)
Not Now, Darling (film) (1973)
Not Quite Paradise (1985)
Not So Dumb (1930)
Not Wanted on Voyage (1957)
Nothing but the Truth (1929 film)
Nothing but the Truth (1941 film)
A Notorious Affair (1930)
The Notorious Lady (1927)
Now Barabbas (1949)
The Nude Woman (1922)
The Nude Woman (1926 film)
The Nude Woman (1932 film)
Number 17 (1928 film)
Number 17 (1949 film)
Number Seventeen (1932)
Nurse Marjorie (1920)
Nuts (1987 film) (1987)
Nutty, Naughty Chateau (1963)
O
[edit]
Odette (1916 film)
Odette (1928 film)
Odette (1934 film)
The Odd Couple (1968)
Oedipus Mayor (1996)
Oedipus Rex (1957 film)
Oedipus Rex (1967 film)
Oedipus the King (1968 film)
Of Mice and Men (1939 film)
Off the Map (film) (2003)
The Offence (1973)
Office Romance (1977)
Oh, Boy! (1919 film)
Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad (film) (1967)
Oh, Daddy! (1935)
Oh, Kay! (film) (1928)
Oh, Lady, Lady (1920)
Oh, Men! Oh, Women! (1957)
Oh, Mr Porter! (1937)
Oh Sailor Behave (1930, musical)
Oh, What a Night (1935 film)
O-Kay for Sound (1937)
Oklahoma! (1955, musical)
Old Acquaintance (1940)
The Old Country (1921)
Old English (film) (1930)
Old Lady 31 (1920)
The Old Maid (1939 film)
The Old Soak (1926)
Oleanna (1994)
On Approval (1930 film)
On Approval (1944 film)
On Borrowed Time (1939)
On Golden Pond (1981)
On Golden Pond (2001 film) (TV)
On purge bébé (1931)
On the Heights (1916)
On the Quiet (1918)
On the Riviera (1951, musical)
On Trial (1928 film)
On Trial (1939 film)
On with the Show! (1929 film)
Once a Crook (1941)
Once a Lady (1931)
Once in a Lifetime (1932 film)
Once in the Life (2000)
Once More, with Feeling! (1960)
Once Upon a Time (1933 film)
One Does Not Play with Love (1926)
One Flew Over the Cuckoo's Nest (film) (1975)
One Hour with You (1932, musical)
One More Tomorrow (film) (1946)
One New York Night (1935)
One Night Apart (1950)
One Night in Istanbul (2014)
One Night in Lisbon (1941)
One Night in Transylvania (1941)
One Night Stand (1978 film)
One of the Best (film) (1927)
One of Our Girls (1914)
One Romantic Night (1930)
One Special Night (1999, TV)
One Sunday Afternoon (1933)
One Sunday Afternoon (1948 film)
One Touch of Venus (film) (1948, musical)
One, Two, Three (1961)
One Wild Oat (1951)
The Only Game in Town (film) (1970)
The Only Son (1914 film)
The Only Way (1927 film)
Only When I Laugh (1981)
Op Hoop van Zegen (1918 film)
Op Hoop van Zegen (1924 film)
Op Hoop van Zegen (1934 film)
The Open Door (1957 film)
The Opposite Sex (1956, musical)
An Optimistic Tragedy (film) (1963)
Orage (film) (1938)
Orders Are Orders (1955)
Orders Is Orders (1933)
Ordet (1955)
An Ordinary Miracle (1964 film)
An Ordinary Miracle (1978 film)
Orfeu (1999)
The Orphan Muses (2000)
Orphans (1987)
Orphans of the Storm (1921)
Orpheus Descending (film) (1990, TV)
The Other (1930 film)
Other People's Money (1991)
The Other Side (1931 film)
Oskar (film) (1962)
Oscar (1967 film)
Oscar (1991 film)
Our Betters (1933)
Our Lady of the Turks (1968)
Our Lord's Vineyard (1932)
Our Mrs. McChesney (1918)
Our Town (1940)
Our Town (1955, TV)
Our Town (2003)
Our Wife (1941 film) (1941)
Out of the Blue (1931 film)
Out of the Fog (1941 film) (1941)
Out to Win (1923 film)
Outcast (1917 film)
Outcast (1922 film)
Outcast (1928 film)
The Outlaw and His Wife (1918)
The Outrage (1964)
Outward Bound (film) (1930)
The Owl and the Pussycat (film) (1970)
Over 21 (1945)
Over She Goes (1937, musical)
Over the Garden Wall (1934 film)
P
[edit]
Paco and the Magical Book (2008)
The Pad and How to Use It (1966)
Paddy the Next Best Thing (1933 film)
O Pagador de Promessas (1962)
The Pagan Lady (1931)
Page Miss Glory (1935 film)
Paid (1930 film)
Paid in Full (1919 film)
Painting the Clouds with Sunshine (film) (1951, musical)
A Pair of Briefs (1962)
The Palm Beach Girl (1926)
Pals First (1926)
Pamela (film) (1945)
Panama Hattie (film) (1942)
Pandora's Box (1929 film)
Papacito lindo (1939)
Paprika (1932 film)
Paprika (1933 French film)
Paprika (1959 film)
Les Parents terribles (1948 film)
Paris (1929 film)
Paris Bound (1929)
Paris Interlude (1934)
Partners Again (1926)
The Passing of the Third Floor Back (1918 film)
The Passing of the Third Floor Back (1935)
The Passion Flower (1921)
The Passionate Plumber (1932)
Pastor Hall (1940)
Patate (film) (1964)
Patrie (1917 film)
Patrie (1946 film)
The Patriot (1928 film)
Patterns (film) (1956)
The Patsy (1928 film)
Payment Deferred (film) (1932)
The Pay-Off (1930)
Peacetime (film) (2009)
Peaches in Syrup (1960)
Peer Gynt (1915 film)
Peer Gynt (1919 film)
Peer Gynt (1934 film)
Peer Gynt (1941 film), starring Charlton Heston
Peg o' My Heart (1933 film)
Peg of Old Drury (1935)
The Penthouse (1967 film)
Pepe (1960 film) (1960)
People Will Talk (1951)
The Perfect Gentleman (film) (1935)
The Perfect Marriage (1947)
A Perfect Murder (1998)
Perfect Pie (2002, see film adaptation)
The Perfect Sap (1927)
Perfect Strangers (1950 film)
Period of Adjustment (film) (1962)
Personal Affair (1953)
Peter Pan (1924 film)
Peter Pan (1953 film)
Peter Pan (1976 musical) (TV)
Peter Pan (1988 film)
Peter Pan (2003 film) (2003)
Peter and Vandy (2009)
The Peterville Diamond (1942)
The Petrified Forest (1936)
El Pez que Fuma (1977)
Phaedra (film) (1962)
The Phantom Lady (film) (1945)
The Phantom Light (1935)
Phffft (1954)
Philadelphia, Here I Come! (1977, see Film)
The Philadelphia Story (1940)
The Physician (1928 film)
The Piano Lesson (1995 film) (1995, TV)
Picnic (1955 film) (1955)
Pilot Premnath (1978)
Pillars of Society (film) (1920)
Le pillole di Ercole (1960)
Pillow to Post (1945)
The Pirate (1948 film)
Pita (1991 film) (1991)
A Place for Lovers (1968)
A Place in the Sun (1951 film) (1951)
Play It Again, Sam (1972)
Playboy of Paris (1930, musical)
The Playboy of the Western World (film) (1962)
The Plaything (1929)
Plaza Suite (1971)
Please Stand By (2017)
Please Turn Over (1959)
The Pleasure of His Company (1961)
Plenty (film) (1985)
The Plough and the Stars (film) (1937)
Plunder (1931 film)
Pokrovsky Gates (1982, TV)
Poison Pen (1939 film)
Poliche (1934)
Polly of the Circus (1917 film)
Polly of the Circus (1932 film)
Polly With a Past (1920, silent)
Poor as a Church Mouse (1931, musical)
The Poor Little Rich Girl (1917)
Poor Valbuena (1923)
Poppy (1936 film)
Porgy and Bess (film) (1959)
Port of Seven Seas (1938)
The Porter from Maxim's (1927 film)
The Porter from Maxim's (1933 film)
The Porter from Maxim's (1939 film)
The Porter from Maxim's (1953 film)
The Porter from Maxim's (1976 film)
Portrait in Black (1960)
Possessed (1931 film)
La Possession (film) (1929)
Possible Worlds (film) (2000)
The Postponed Wedding Night (1953 film)
Potash and Perlmutter (1923)
Potiche (2010)
The Potters (film) (1927)
Poverty and Nobility (1954)
Powder Room (film) (2013)
Praetorius (film) (1965)
Prelude to a Kiss (1992)
President Haudecoeur (1940)
President Panchatcharam (1959)
La presidentessa (1977 film)
The Priest from Kirchfeld (1914 film)
The Priest from Kirchfeld (1937 film)
The Priest from Kirchfeld (1955 film)
The Prime of Miss Jean Brodie (1969)
The Primitive Lover (1922)
Primrose Path (film) (1940)
The Prince and the Beggarmaid (1921)
The Prince and the Showgirl (1957)
Prince Jean (1928)
Prince Jean (1934 film)
The Prince of Homburg (film) (1997)
A Prince of Lovers (1922)
The Prince of Pappenheim (1927)
The Prince of Pappenheim (1952 film)
The Prince of Rogues (1928, German silent film)
A Prince There Was (1921)
Princess Turandot (1934)
Prison Without Bars (1938)
The Prisoner of Second Avenue (1975)
Private Fears in Public Places (film) (2006)
The Private Life of Don Juan (1934)
The Private Secretary (1931 German film)
The Private Secretary (1931 Italian film)
The Private Secretary (1935 film)
Private Lives (1931 film) (1931)
Private Number (1936 film)
The Private Lives of Elizabeth and Essex (1939)
Privates on Parade (film) (1982)
The Professional (2003 film)
Profit and the Loss (1917)
The Promise (1969 film)
Promise at Dawn (1970)
Proof (2005)
The Prosecutor Hallers (1930)
The Prude's Fall (1925)
Psycho Beach Party (2000)
The Pure Truth (1931)
Puritan Passions (1923)
The Purple Highway (1923)
The Purple Mask (1955)
La Putain respectueuse (1952)
Pygmalion (1938)
Pygmalion (1983 film) (TV)
Q
[edit]
Quality Street (1927 film)
Quality Street (1937 film)
Qualquer Gato Vira-Lata (2011)
The Quare Fellow (1962, see Adaptation)
Quartet (2012 film)
¡Que viene mi marido! (1940)
The Queen of Biarritz (1934)
The Queen of Moulin Rouge (1926)
The Queen of Navarre (1942)
The Queen Was in the Parlour (film) (1927)
Queen's Evidence (film) (1919)
Queer Cargo (1938)
La quema de Judas (1974)
Querô (2007)
A Question of Adultery (1958)
Quick (1932 film)
Quiet Wedding (1941)
Quills (2000)
Quinneys (1919 film)
Quinneys (1927 film)
The Quispe Girls (2013)
R
[edit]
Rabbit Hole (2010)
The Racket (1928)
The Racket (1951)
Radiance (1988)
Raffles, the Amateur Cracksman (1925)
Rain (1932)
The Rainmaker (1956)
A Raisin in the Sun (1961)
A Raisin in the Sun (2008, TV)
The Rakoczi March (1933)
The Rat (1925)
The Rat Race (1960)
Ratha Kanneer (1954)
Raktha Kanneeru (2003)
Ratón de ferretería (1985)
The Rats (1921)
Rattlesnakes (2019)
Die Ratten (1955)
Ready Money (1914)
Real Women Have Curves (2002)
The Rebel (1931)
Rebel (1985)
The Rebellion of the Brides (1984)
Rebound (1931)
Reckless (1995)
The Reckless Hour (1938)
Red Dust (1932)
Red Planet Mars (1952)
The Red Robe (1933)
Red Roses and Petrol (2008)
Red Sky at Morning (1944)
The Red Widow (1916)
Redemption (1930)
Redwood Curtain (1995, TV)
Refuge (2012)
Regeneration (1915)
Registered Nurse (1934)
Relative Values (2000)
The Reluctant Debutante (1958)
The Reluctant Hero (1941)
Reluctant Heroes (1951)
Remains to
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Julia Cameron
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https://en.wikiquote.org/wiki/Julia_Cameron
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Julia Cameron (born 4 March 1948) is an American teacher, author, artist, poet, playwright, novelist, filmmaker, composer, and journalist, most famous for her book The Artist's Way (1992).
Quotes
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Art is an act of the soul, not of the intellect. When we are dealing with people's dreams — their visions, really — we are in the realm of the sacred. We are involved with forces and energies larger than our own. We invoke the Great Creator when we invoke our own creativity, and that creative force has the power to alter lives, fulfill destinies, and answer our dreams.
Inspirations : Meditations from The Artist's Way (2001), "Invocation"
The Artist's Way : A Spiritual Path to Higher Creativity
Nothing dies harder than a bad idea. And few ideas are worse than the ones we have about art.
Anger is meant to be acted on. It is not meant to be acted out. Anger points the direction. We are meant to use anger as fuel to take the actions we need to move where our anger points us. With a little thought, we can usually translate the message that our anger is sending us.
I have learned, as a rule of thumb, never to ask whether you can do something. Say, instead, that you are doing it. Then fasten your seat belt. The most remarkable things follow.
Growth is an erratic forward movement: two steps forward, one step back. Remember that and be very gentle with yourself.
The perfectionist is never satisfied. The perfectionist never says, "This is pretty good. I think I’ll just keep going."
To the perfectionist, there is always room for improvement. The perfectionist call this humility. In reality, it is egotism. It is pride that makes us want to write a perfect script, paint a perfect painting, perform a perfect audition monologue.
Perfectionism is not a quest for the best. It is a pursuit of the worst in ourselves, the part that tells us that nothing we do will ever be good enough — that we should try again. No. We should not.
In Inspirations : Meditations from The Artist's Way (2001), Cameron extends the above statement with further remarks: Focused on process, our creative life retains a sense of adventure. Focused on product, the same creative life can feel foolish or barren. We inherit the obsession with product and the idea that art produces finished product from our consumer-oriented society. This focus creates a great deal of creative block.
What we really want to do is what we are really meant to do. When we do what we are meant to do, money comes to us, doors open for us, we feel useful, and the work we do feels like play to us.
Art is not about thinking something up. It is the opposite — getting something down.
Each of us has an inner dream that we can unfold if we will just have the courage to admit what it is. And the faith to trust our own admission. The admitting is often very difficult.
Creativity — like human life itself — begins in darkness. We need to acknowledge this. All too often, we think only in terms of light: "And then the lightbulb went on and I got it!" It is true that insights may come to us as flashes. It is true that some of these flashes may be blinding. It is, however, also true that such bright ideas are preceded by a gestation period that is interior, murky, and completely necessary.
All too often too often we try to push, pull, outline and control our ideas instead of letting them grow organically. The creative process is a process of surrender, not control.
Mystery is at the heart of creativity. That, and surprise.
The Right to Write (1998)
[edit]
The Right to Write : An Invitation and Initiation into the Writing Life (Tarcher, 1998; ISBN 1-58542-009-3
For most of us, the seductive and unstated part of "if I had enough time" is the unstated sentence "to hear myself think." In other words, we imagine that if we had time we would quiet our more shallow selves and listen to a deeper flow of inspiration. Again, this is a myth that lets us off the hook— if I wait for enough time to listen, I don't have to listen now, I don't have to take responsibility for what is trying to bubble up today.
Blessings (1998)
[edit]
Blessings: Prayers and Declarations for a Heartful Life (Tarcher, 1998; ISBN 0-87477-906-5
Life is a creative endeavor. It is active, not passive. We are the yeast that leavens our lives into rich, fully baked loaves. When we experience our lives as flat and lackluster, it is our consciousness that is at fault. We hold the inner key that turns our lives from thankless to fruitful. That key is "Blessing."
Focused on our good, focused on our abundance we naturally attract more of the same. This is spiritual law. Our consciousness is creative. What we focus on, we empower and enlarge. Good multiplies when focused upon. Negativity multiplies when focused upon. The choice is ours: Which do we want more of?
Love is the substance of all life. Everything is connected in love, absolutely everything.
When I listen to love, I am listening to my true nature. When I express love, I am expressing my true nature. All of us love. All of us do it more and more perfectly. The past has brought us both ashes and diamonds. In the present we find the flowers of what we've planted and the seeds of what we are becoming. I plant the seeds of love in my heart. I plant the seeds of love in the hearts of others.
The growth of one blesses all. I am committed to grow in love. All that I touch, I leave in love. I move through this world consciously and creatively.
Love is not love if it compelled by reason and driven by logic — love exists in spite of those things, not because of them. It is a emotion which needs no fuel to fire it or oxygen to feed it; if you have to look for the why, then stop looking; it was never there at all.
I honor my importance and the importance of others. None of us is dispensable, none of us is replacable. In the chorus of life each of us brings a True Note, a perfect pitch that adds to the harmony of the whole. I act creatively and consciously to actively endorse and encourage the expansion of those whose lives I touch. Believing in the goodness of each, I add to the goodness of all. We bless each other even in passing.
Wikipedia has an article about:
The Artist's Way web site
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https://www.penguinrandomhouse.com/authors/44895/julia-cameron/
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Julia Cameron has been an active artist for more than three decades. She is the author of more than thirty books, including such bestselling works...
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https://www.penguinrandomhouse.com/authors/44895/julia-cameron/
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Julia Cameron’s The Artist’s Way has been nothing less than a phenomenon, and has more than earned its place as the seminal book on creativity. Her latest venture, Life Lessons, overflows with inspiration and encouragement, and motivates us to turn to simple prayer to improve our relationship with ourselves and the divine. Here, we catch up with her to talk about the importance of Morning Pages, how Martin Scorsese stands out, and more.
PENGUIN RANDOM HOUSE:The Artist’s Way, first published in 1992, was your very first book. It went on to become an international best-seller, and many today refer to its reception as a phenomenon. What about your book at that moment in time do you think struck a chord with so many people?
JULIA CAMERON: I believe that The Artist’s Way strikes a chord then – and now – due to people’s hunger for creative expression. I believe we are all creative, and that was a radical message in 1992, and remains a radical message in 2016. Through the use of a few simple tools, practitioners of The Artist’s Way are able – and quite quickly – to change their lives. Where many feared “it’s just my ego,” they now are being led to believe “it’s the voice of my soul.” Creativity is a spiritual matter. This was a message people needed to hear, and still do. I am commonly told, “Your book changed my life.” People often burst into tears of gratitude when they meet me in person and thank me for writing the book. “No, no, it’s not me, it’s you,” I tell them. “You are the one who embraced the tools.”
PRH: Did you have any idea that it might take off the way it did?
JC: When I wrote the book, I thought I was writing to my friends; a group of about a dozen very talented people who were blocked and unhappy. I thought I was aiming the book at declared – and discouraged – artists. It soon became obvious that the book had a much wider audience than me and my creative colleagues. Initially, the book was self-published, and so its lift-off came as a delightful surprise. I had been warned by psychic Sonia Choquette that the book would have a wide following, but four million copies sold is something even larger than a “wide audience.”
PRH:Who in the public eye do you think in this particular century are standing out as our lifetime’s most remarkable Creatives?
JC: I’m going to be accused of nepotism when I say that I think Martin Scorsese is our standout artist. He makes movies, both narrative and documentary, year in and year out. I would also like to cite Judy Collins, who, in her mid-seventies, performs more than 100 times a year, traveling many miles coast to coast and internationally to share her gifts.
PRH:Do you think it’s easier to be a professional Creative today than it was nearly twenty-five years ago, when The Artist’s Way came out?
JC: I have to stop you for a moment here. The Artist’s Way aims at erasing the line between amateur and professional. It teaches that creativity is a profound process, and one that must be pursued for its own sake regardless of the result.
PRH:Your latest edition of The Artist’s Way series is It’s Never Too Late to Begin Again: Discovering Creativity and Meaning at Midlife and Beyond. What inspired you to turn your expertise and guidance to this particular subset of society?
JC: As a teacher, I meet students of all ages, but the students I found most poignant were those who were entering what might be called their “golden years.” I myself turned sixty-eight and found myself thinking about aging. I wanted to write a book that, like The Artist’s Way, was a manifesto. “Do it now. Begin now,” I wanted to say. Ours is a youth-oriented culture, and we use this fact to bludgeon ourselves into deep depression over our seniority.
PRH: In addition to being an author, you’re also a teacher, artist, poet, playwright, novelist, filmmaker, composer, and journalist. This is an impressive number of hats for one person. What advice would you offer to someone trying to apply themselves in more than one arena?
JC: I believe we need to eliminate the word “dilettante” from our vocabulary. We are all of us talented, and many of us multi-talented. The Morning Pages, the primary Artist’s Way tool, leads us into taking many risks. It is, after all, risky to try a new arena. Morning Pages urge us to “follow our bliss,” as Joseph Campbell phrased it, and our “bliss” may be hydra-headed. As we work with the pages, we are often urged in new directions. “I can’t do that!” we exclaim. “I’m too old! I’m just an amateur!” only to have the pages insist, try it. I was forty-five years old before I wrote my first song. I told myself, “Surely, if I were musical, I would know it.” I’ve now written many songs, and to my delight, I have found I am very musical.
PRH: Finally, what one thing do you hate going without in a day’s time?
JC: Morning Pages.
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1911: Francesca da Rimini, by George H. Boker and Montrose Jonas Moses
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The Project Gutenberg eBook of Representative Plays by American Dramatists: 1856-1911: Francesca da Rimini
This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: Representative Plays by American Dramatists: 1856-1911: Francesca da Rimini
Author: George H. Boker
Editor: Montrose Jonas Moses
Release date: July 23, 2004 [eBook #13005]
Most recently updated: December 15, 2020
Language: English
Credits: Produced by David Starner, Leah Moser and the Online Distributed Proofreading Team
*** START OF THE PROJECT GUTENBERG EBOOK REPRESENTATIVE PLAYS BY AMERICAN DRAMATISTS: 1856-1911: FRANCESCA DA RIMINI ***
Produced by David Starner, Leah Moser and the Online Distributed
Proofreading Team.
FRANCESCA DA RIMINI
A TRAGEDY
Francesca, i tuoi martiri a lagrimar mi fanno triato e pio.—DANTE.
Inferno, v. 75 seq.
[Illustration: GEORGE HENRY BOKER]
GEORGE HENRY BOKER
(1823-1890)
The name of George Henry Boker suggests a coterie of friendships—a group of men pledged to the pursuit of letters, and worshippers at the shrine of poetry. These men, in the pages of whose published letters and impressions are embedded many pleasing aspects of Boker's temperament and character, were Bayard Taylor, Richard Henry Stoddard, and Charles Godfrey Leland, the latter known familiarly in American literature as "Hans Breitmann." These four, in different periods of their lives, might have been called "the inseparables"—so closely did they watch each other's development, so intently did they await each other's literary output, and write poetry to each other, and meet at Boker's, now and again, for golden talks on Sundays. Poetry was a passion with them, and even when two—Boker and Taylor—were sent abroad on diplomatic missions, they could never have been said to desert the Muse—their literary activity was merely arrested. One of the four—Stoddard—often felt, in the presence of Boker, a certain reticence due to lack of educational advantages; but in the face of Boker's graciousness—a quality which comes with culture in its truest sense,—he soon found himself writing Boker on matters of style, on qualities of English diction, and on the status of American letters—a stock topic of conversation those days.
Boker was a Philadelphian, born there on October 6, 1823,—the son of Charles S. Boker, a wealthy banker, whose financial expertness weathered the Girard National Bank through the panic years of 1838-40, and whose honour, impugned after his death, in 1857, was defended many years later by his son in "The Book of the Dead," reflective of Tennyson's "In Memoriam," and marked by a triteness of phrase which was always Boker's chief limitation, both as a poet and as a dramatist.
He was brought up in an atmosphere of ease and refinement, receiving his preparatory education in private schools, and entering Princeton in 1840. On the testimony of Leland, who, being related to Boker, was thrown with him in their early years, and who avows that he always showed a love for the theatre, we learn that the young college student bore that same distinction of manner which had marked him as a child, and was to cling to him as a diplomat. Together as boys, these two would read their "Percy's Reliques," "Don Quixote," Byron and Scott—and while they were both in Princeton, Boker's room possessed the only carpet in the dormitory, and his walls boasted shelves of the handsomest books in college.
"As a mere schoolboy," wrote Leland, "Boker's knowledge of poetry was remarkable. I can remember that he even at nine years of age manifested that wonderful gift that caused him many years after to be characterized by some great actor—I think it was Forrest—as the best reader in America…. While at college … Shakespeare and Byron were his favourites. He used to quiz me sometimes for my predilections for Wordsworth and Coleridge. We both loved Shelly passionately."
In fact, Leland claims that Boker was given to ridicule the "Lakers;" had he studied them instead, he would have added to his own poetry a naturalness of expression which it lacked.
He was quite the poet of Princeton in his day, quite the gentleman Bohemian. "He was," writes Leland, "quite familiar, in a refined and gentlemanly way, with all the dissipations of Philadelphia and New York." His easy circumstances made it possible for him to balance his ascetic taste for scholarship with riding horse-back. To which almost perfect attainment, he added the skilled ability to box, fence and dance. He graduated from Princeton in 1842, and the description of him left to us by Leland reveals a young man of nineteen, six feet tall, whose sculptured bust, made at this time, was not as much like him "as the ordinary busts of Lord Byron." In later years he was said to bear striking resemblance to Hawthorne. His marriage to Miss Julia Riggs, of Maryland, followed shortly after his graduation, in fact, while he was studying law, a profession which was to serve him in good stead during his diplomatic years, but which he threw over for the stronger pull of poetry, whose Muse he could court without the necessity of driving it hard for support. Yet he was concerned about literature as a paying profession for others. On April 26, 1851, he wrote to Stoddard: "Alas! alas! Dick, is it not sad that an American author cannot live by magazine writing? And this is wholly owing to the want of our international copyright law. Of course it is little to me whether magazine writers get paid or not; but it is so much to you, and to a thousand others." The time, until 1847, was spent in foreign travel, but it is interesting to note, as indication of no mean literary attainment in the interim, that Princeton, during this period, bestowed on him the degree of M.A., for merit in letters.
1848 was a red-letter year for Boker. It witnessed the publication of his first volume of verse, "The Lessons of Life, and other Poems," and it introduced him to Bayard Taylor and to R.H. Stoddard. Of the occasion, Taylor writes on October 13, to Mary Agnew:
Young Boker, author of the tragedy, "Calaynos," a most remarkable work, is here on a visit, and spent several hours to-night with me. He is another hero,—a most notable, glorious mortal! He is one of our band, and is, I think, destined to high renown as an author. He is nearly my own age, perhaps a year or two older, and he has lived through the same sensations, fought the same fight, and now stands up with the same defiant spirit.
This friendship was one of excellent spiritual sympathy and remarkable external similarities and contrasts. One authority has written of their late years:
In certain ways, he and his friend, Bayard Taylor, made an interesting contrast with each other. Here was Boker [circa 1878] who had just come back from diplomatic service abroad; and here, too, was Taylor, who was just going abroad as minister to Berlin. Both were poets; they were fellow-Pennsylvanians and friends; and they were men of large mould physically, and of impressive presence; yet they were very dissimilar types. Boker, though massive and with a trace of the phlegmatic in his manner (perhaps derived from his Holland ancestors, the Bôchers, who had come thither from France, and had then sent a branch into England, from which the American family sprang), was courtly, polished, slightly reserved. His English forefathers had belonged to the Society of Friends, as had also Taylor's family in Pennsylvania,—another point in common. But Taylor's appearance, as his friends will remember, was somewhat bluff and rugged; his manner was hearty and open.
Launched in the literary life, therefore, Boker began to write assiduously. "Calaynos," the tragedy referred to by Taylor, went into two editions during 1848, and the following year was played by Samuel Phelps at Sadler's Wells Theatre, London, May 10. From the New York Tribune office, on May 29, 1849, Taylor wrote:
Your welcome letter came this morning, and from the bottom of my heart was I rejoiced by it. I can well imagine your feeling of triumph at this earnest of fame…. I instantly hunted up the London "Times" and found "Calaynos" advertised for performance,—second night. I showed it to Griswold, who was nearly as much surprised and delighted as myself. Of course he will make good mention of it in his book. It will sell immensely for you, and especially just now, when you are coming out with "Anne Bullen" [sic.]. I shall not fail to have a notice of it in to-morrow morning's "Tribune."
Some authorities state that it was given by Phelps without Boker's consent. Another, who examined Boker's manuscripts, in possession of the poet's daughter-in-law, Mrs. George Boker, records that Barrett made cuts in the play, preparatory to giving it, Boker, even, revising it in part. The American première was reserved for James E. Murdoch, at the Philadelphia Walnut Street Theater, January 20, 1851, and it was revived at the same playhouse in April, 1855, by E.L. Davenport. As Stoddard says of it, one "should know something—the more the better—about the plays that Dr. Bird and Judge Conrad wrote for Forrest and his successors, about Poe's 'Politian', Sargent's 'Velasco', Longfellow's 'Spanish Student'."
His choice of subject, in this, his first drama, indicated the romantic aloofness of Boker's mind, for he was always anxious to escape what Leland describes him as saying was a "practical, soulless, Gradgrind age." In fact, Boker had not as yet found himself; he was more the book-lover than the student of men he afterwards became.
"Read Chaucer for strength," he advises Stoddard on January 7, 1850, "read Spenser for ease and sweetness, read Milton for sublimity and thought, read Shakespeare for all these things, and for something else which is his alone. Get out of your age as far as you can."
These young men were not quickly received, and they regarded the utilitarian spirit of the time as against them. To Stoddard Boker once confessed: "Were poetry forged upon the anvil, cut out with the axe, or spun in the mill, my heaven, how men would wonder at the process! What power, what toil, what ingenuity!"
Boker's correspondence with Stoddard began in a letter, dated September 5, 1849, announcing overtures made by the London Haymarket Theatre for his new tragedy, "Anne Boleyn," which he was contemplating sending them in sheets. "I have also the assurance," he announces, "that Miss Cushman will bring it out in this country, provided she thinks her powers adapted to it."
Boker's pen was energetic, and it moved at a gait which shows how fertile was his imagination. "The inseparables" cheered the way for each other in the face of official journalistic criticism. Taylor declared "Anne Boleyn" far in advance of "Calaynos," prophesying that it would last. "Go ahead, my dear poet," he admonishes, "it will soon be your turn to damn those who would willingly damn you." Together these friends were always planning to storm the citadel of public favour with poetry, but Boker seems to have been the only one to whom the theatre held out attraction. By August 12, 1850, he was sending news to Stoddard that "The Betrothal" would be staged the following month. In good spirits, he writes:
The manager is getting it up with unusual care and splendour. Spangles and red flannels flame through it from end to end. I even think of appearing before the curtain on horseback, nay, of making the whole performance equestrian, and of introducing a hippopotamus in the fifth act. What think you? Have you and your miserable lyrics ever known such glory? If the play should take here, you benighted New-Yorkers will be illuminated with it immediately after it has run its hundredth night in the city which is so proud of its son.
This was the second of his pieces to be given performance, "Anne Boleyn" never seeing the boards. "The Betrothal" was produced at the Philadelphia Walnut Street Theatre, on September 25, 1850, and opened in New York, on November 18 of the same year. Taylor wrote to its author, on December 4: "I saw the last night…. It is even better as an acting play than I had anticipated, but it was very badly acted. I have heard nothing but good of it, from all quarters." It was Elizabethan in tone, quite in the spirit of that romantic drama practised by such American authors as Willis, Sargent and others. How it was received when presented in London, during 1853, is reflected in Boker's letter to Stoddard, dated October 9, 1853:
I have read the Times notice of the "Betrothal." It is honey to most of the other newspaper criticisms…. Notwithstanding, and taking the accounts of my enemies for authority, the play was unusually successful with the audience on that most trying occasion, the first night…. The play stands a monument of English injustice. Mark you, it was not prejudice that caused the catastrophe; it was fear lest I should get a footing on their stage, of which "Calaynos" had given them timely warning.
"The Widow's Marriage," in manuscript, and never published, was accepted by Marshall, manager of the Walnut, and is noted by Boker, in a letter to Stoddard, October 12, 1852, the chief handicap confronting him being the inability to find someone suited to take the leading rôle. Stoddard's own comment was:
Whether [it] was ever produced I know not, but I should say not, for the part of the principal character, Lady Goldstraw, is one which no actress whom I remember could have filled to the satisfaction of her creator. The fault of this character (me judice) is that it is too good to be played on a modern stage. It ought to have been written for antiquity two hundred years ago.
Boker was right when he referred to himself as "prolific" at this time. He already had produced, in 1851, according to markings on the manuscript, a piece called "All the World a Mask," and he had written "The Podesta's Daughter," a dramatic sketch, issued, with "Miscellaneous Poems," in 1852. Toward the end of this year, he completed "Leonor de Guzman."
"Her history," he writes to Stoddard, on November 14, "you will find in Spanish Chronicles relating to the reigns of Alfonso XII of Castile and his son, Peter the Cruel. There are no such subjects for historical tragedy on earth as are to be found in the Spanish history of that period. I am so much in love with it that I design following up 'Leonor de Guzman' by 'Don Pedro'. The present tragedy, according to the judgment of Leland, is the very best play I have written, both for the closet and the stage. Perhaps I am too ready to agree with him, but long before he said it I had formed the same judgment."
This tragedy was performed at the Philadelphia Walnut Street Theatre, on October 3, 1853, and at the New York Broadway Theatre, on April 24, 1854. Boker wrote to his friends, showing his customary concern about an actress skilled enough for the rôle of his heroine. When, finally, for the Philadelphia première, Julia Dean was decided upon, he thus expressed his verdict to Stoddard, after the opening performance: "Miss Dean, as far as her physique would admit, played the part admirably, and with a full appreciation of all those things which you call its beauties."
During these years of correspondence with his friends, Boker was determining to himself the distinction between poetic and dramatic style.
"Seriously, Dick," he writes to Stoddard, on October 6, 1850, "there is, to my mind, no English diction for your purposes equal to Milton's in his minor poems. Of course any man would be an intensified ass who should attempt to reach the diction of the 'Paradise Lost', or aspire to the tremendous style of Shakespeare. You must not confound things, though. A Lyric diction is one thing—a Dramatic diction is another, requiring the utmost force and conciseness of expression,—and Epic diction is still another; I conceive it to be something between the Lyric and Dramatic, with all the luxuriance of the former, and all the power of the latter."
He must have written to Taylor in the same vein, for, in a letter from the latter, there is assurance that he fully understands what a slow growth dramatic style must be. But Boker was not wholly wed to theatrical demands; he still approached the stage in the spirit of the poet who was torn between loyalty to poetic indirectness, and necessity for direct dialogue. On January 12, 1853, he writes to Stoddard:
Theatricals are in a fine state in this country; every inducement is offered to me to burn my plays as fast as I write them. Yet, what can I do? If I print my plays, the actors take them up, butcher, alter and play them, without giving me so much as a hand in my own damnation. This is something beyond even heavenly rigour; and so I proceed to my own destruction, with the proud consciousness that, at all events, it is my own act. À propos, have you ever read the English acting copy of my "Calaynos"? A viler thing was never concocted from like materials.
Whether or not the play, "The Bankrupt," preceded or followed the writing of "Francesca da Rimini" in 1853, we have no way of determining; but it would seem that it progressed no further in its stage career than in manuscript form, it being the only play on a modern theme attempted by Boker. Then, it seems, he was hot on the trail of the Francesca love story told in Dante, and used by so many writers in drama and poetry. It is this play, conceded to be his best, which is included in the present collection, and which calls for analysis and history by itself.
Taylor's collection of "Poems at Home and Abroad," dedicated to Boker in 1855, suggests that the two must have continually talked over the possibilities of gathering their best effusions in book form. Did not Taylor write, as early as June 30, 1850, "You must come out in the Fall with a volume of poems. Stoddard will, and so, I think, will I. You can get a capital volume, with your 'Song', 'Sir John', 'Goblet', and other things…. The publishing showmen would of course parade our wonderful qualities, and the snarling critics in the crowd would show their teeth; but we would be as unmoved as the wax statues of Parkman and Webster, except that there might now and then be a sly wink at each other, when nobody was looking." The two friends had been separated for some time, while Taylor wandered over the face of the globe, writing from Cairo, in the shadow of the pyramids, and exclaiming, in Constantinople (July 18, 1852), "There is a touch of the East in your nature, George."
In 1856, Boker prepared his two volumes of "Plays and Poems" for the press. He had won considerable reputation as a sonneteer, and this was further increased by the tradition that Daniel Webster had quoted him at a state dinner in Washington. As yet he was merely a literary poet, and a literary dramatist whose name is usually linked with that Philadelphia group discussed in Vol. II of this collection.[A]
Writing of the Philadelphia of 1868, Leland says:
[It was] "the Philadelphia when 'Emily Schaumbeg' was the belle and Penington's 'store' was the haunt of the booklover, when snow fell with old fashioned violence, and Third Street was convulsed by old-fashioned panics, when everybody went mad over Offenbach, when one started for New York from the Walnut Street Ferry, when George Boker was writing his dramas and George Childs was beginning to play the public Maecenas." Oftentimes the sturdy figure of Walt Whitman could be seen walking on Broad Street, while Horace Greely, buried in newspapers, travelled aboard a boat between New York and Philadelphia.
It was the Civil War that not only turned Boker's pen to the Union Cause, but changed him politically from a Democrat to a staunch Republican. In fact, his name is closely interwoven with the rehabilitation of the Republican party in Philadelphia. He often confessed that his conscience hurt him many times when he realized he cast his first vote for Buchanan. "After that," he is quoted as having said, "the sword was drawn; it struck me that politics had vanished entirely from the scene—that it was now merely a question of patriotism or disloyalty." His "Poems of the War," issued in 1864, contained such examples of his martial and occasional ability as the "Dirge for a Soldier," "On the Death of Philip Kearney" and "The Black Regiment," besides "On Board the Cumberland" and the "Battle of Lookout Mountain."
About this time, there was founded the Union League Club, with Boker as the leading spirit; through his efforts the war earnestness of the city was concentrated here; from 1863-71 he served as its secretary; from 1879-84 as its President; and his official attitude may be measured in the various annual reports of the organization. But even in those strenuous days—at the period when the Northern spirits lagged over military reverses, and at the time when the indecision of General McClellan drew from him the satiric broadside,—"Tardy George"—privately printed in 1865—Boker's thoughts were concerned with poetry. His official laureate consciousness did not serve to improve the verse. His "Our Heroic Themes"—written for the Harvard Phi Beta Kappa—was mediocre in everything but intent, recalling what Taylor wrote to him: "My Harvard poem, [he had read it in 1850 before the same fraternity] poor as it is, was received with great applause; but, alas! I published it, and thus killed the tradition of its excellence, which, had I not done so, might still have been floating around Harvard."
In 1869, Boker issued "Königsmark, The Legend of the Hounds and other Poems," and this ended his dramatic career until his return from abroad, and until Lawrence Barrett came upon the scene with his revival of "Francesca da Rimini" and his interest in Boker's other work, to the extent of encouraging him to recast "Calaynos" and to prepare "Nydia" (1885), later enlarged from two acts to a full sized drama in "Glaucus" (1886), both drawing for inspiration on Bulwer's "The Last Days of Pompeii."
President Grant sent Boker to Constantinople, as U.S. Minister (his appointment dated November 3, 1871)—an honour undoubtedly bestowed in recognition of his national service. Here he remained four years, "and during that time secured the redress for wrongs done American subjects by the Syrians, and successfully negotiated two treaties, one having reference to the extradition of criminals, and the other to the naturalization of subjects of little power in the dominions of the other." A reception was tendered him on December 22, 1871, by members of the Union League Club, and among those present were Bayard Taylor, Col. George Boker, of the Governor's staff, and son of Boker, and Dr. Charles S. Boker, his brother. Among those who spoke were Robeson, Secretary of the Navy, and Cameron, U.S. Senator from Pennsylvania. Congratulatory letters were received from Bryant, James T. Fields, Stoddard, Lowell, Longfellow, Aldrich, Curtis, and Stedman. On this occasion, Taylor said: "I know the ripeness and soundness of his mind, the fine balance of his intellectual qualities."
On December 24, 1871, Boker wrote to Leland:
The scarcest thing with me just now is time. I might give you a shilling at a pinch, but a half hour is an article which I do not happen to have about me…. By the way, your rhapsody over the East in "M.K." ["Meister Karl"] had something to do with my acceptance of the Turkish Mission; and if you have been lying, I shall find you out, old boy.
Boker's enthusiasm for Turkish scenery was unbounded, but his difficulties as a diplomat were due to his ignorance of the tongue, and his distrust of interpreters. But by the time his Government was ready to transfer him to another post—that of Minister to Russia (January 3, 1875)—he was heartily sick of his wrangling with the Crescent, and glad, as he wrote Leland, "to shake the dust of this dismal old city from my shoes, and prepare my toes for a freezing at St. Petersburg." He echoed his distaste in later years by writing: "I hate the East so profoundly that I should not return to it if there were no other land in which I could live." This promotion to the Russian court—it was a Russian, Ignatieff, who characterized him as "of true diplomatic stuff"—was made in 1875, and he remained there two years.
"While in Russia," we learn, "he was the only one of our Ministers at foreign courts who was able to checkmate Spain in her controversy with us about the Virginius. He baffled the Spanish Ambassador at St. Petersburg, and influenced Gortschakoff to send a despatch to Madrid, which caused Spain to apologize to the United States; thus averting serious complications."
Diplomatic life was not wholly distasteful to him; he possessed social distinction which made him popular at both courts, so much so, indeed, that the Czar cabled to Washington, when a change of administration brought Boker's tenure of office to a close, asking if it were not possible to have him retained. He had had his difficulties at the Porte, as Lowell had had at Madrid. But his artistic nature responded quickly to the picturesqueness of his surroundings. "Within a mile of me," he writes Leland from Turkey,—"for I am now living at Therapia upon the Bosphorus—there is a delicious encampment of the black tents of a tribe of Gypsies." While he was in Russia he was continually supplying Leland with information about gypsies.
He went to Egypt, at the invitation of the Sultan, and—as though recalling Taylor's longing, in 1852, when he was in Cairo, to have Boker with him—took a trip up the Nile, with Leland, whom he had invited to accompany him. Under the palm trees at Misraim, he had his first meeting with Emerson. The varied foreign travel had broadened his taste, and he was quickly responsive to what he saw. Writes Leland:
I have been with him many times in the Louvre, the great galleries of London and St. Petersburg, and studied with him the stupendous and strange remains of Egyptian art in the Boulak Museum and the Nile temples, but never knew anyone, however learned he might be in such matters, who had a more sincere enjoyment of their greatest results. I remember that he manifested much more interest and deeper feeling for what he saw in Egypt than did Emerson, who was there at the same time, and with whom I conversed daily.
On January 15, 1878, Boker withdrew from diplomatic life, returning to the United States, where he resumed literary work, his chief interest in the stage being revived by his association with Barrett. His home in Philadelphia—one of the literary centres of the time,—bore traces of his Turkish stay—carpets brought from Constantinople, Arabic designs on the draperies, and rich Eastern colours in the tapestried chairs. His experience was obliged to affect his writing, if not in feeling, at least in expression. I note in his "Monody," written at the time of the death of his friend, the poet, T. Buchanan Read (1822-1872), such lines as "the hilly Bosphorus," and "… For the hills of Ancient Asia through my trembling tears glimmer like fabrics…." As early as 1855, he had written for the U.S. Gazette and North American, an article on Read comparing his "New Pastoral" with the poetry of Cowper and Thompson. But Read to-day is familiar because of his "Sheridan's Ride." We are told that Boker had a work-room where he delighted in designing metal scrolls.
There was a slight revival of public interest in his poems, which necessitated the reprinting of several of his books.
"The last time when I saw him," Stoddard recalls in 1890, "was at the funeral of Taylor, at Cedarcroft, a little more than ten years ago. We rode to the grave, on a hillside, and we rode back to the house. And now he has gone to the great majority!" Boker died in Philadelphia, January 2, 1890. "He takes place with Motley on our roll of well-known authors," George Parsons Lathrop has written, "and it is even more remarkable that he should have cultivated poetry in Philadelphia, where the conditions were unfavourable, than that Motley should have taken up history in Boston, where the conditions were wholly propitious."
It is by "Francesca da Rimini" that Boker is best remembered. In a letter to Stoddard, March 3, 1853, he writes:
You will laugh at this, but the thing is so. "Francesca da Rimini" is the title. Of course you know the story,—everyone does; but you nor any one else, do not know it as I have treated it. I have great faith in the successful issue of this new attempt. I think all day, and write all night. This is one of my peculiarities, by the bye: a subject seizes me soul and body, which accounts for the rapidity of my execution. My muse resembles a whirlwind: she catches me up, hurries me along, and drops me all breathless at the end of her career.
And soon this was followed by the letter so often quoted, showing the white-heat of his enthusiasm:
Now that "Francesca da Rimini" is done,—all but the polishing,—I have time to look around and see how I have been neglecting my friends during my state of "possession." Of course you wish to know my opinion of the bantling; I shall suppose you do, at all events. Well, then, I am better satisfied with "Francesca da Rimini" than with any of my previous plays. It is impossible for me to say what you, or the world, will say of it; but if it do not please you both, I do not know what I am about. The play is more dramatic than former ones, fiercer in its display of intense passions, and, so far as mere poetry goes, not inferior, if not superior, to any of them. In this play I have dared more, risked more, than I ever had courage to do before. Ergo, if it be not a great triumph, it will certainly be a great failure. I doubt whether you, in a hundred guesses, could hit upon the manner in which I have treated the story. I shall not attempt to prejudice you regarding the play; I would rather have you judge for yourself, even if your decision be adverse. Am I not the devil and all for rapid composition? My speed frightens me, and makes me fearful of the merits of my work. Yet, on coolly going over my work, I find little to object to, either as to the main design or its details. I touch up, here and there, but I do little more. The reason for my rapid writing is that I never attempt putting pen to paper before my design is perfectly mature. I never start with one idea, trusting to the glow of poetical composition for the remainder. That will do in lyrical poetry, but it would be death and damnation to dramatic. But just think of it!—twenty-eight hundred lines in about three weeks! To look back upon such labour is appalling! Let me give you the whole history of my manner of composition in a few words. If it be not interesting to you, you differ from me, and I mistake the kind of matters that interest you. While I am writing I eat little, I drink nothing, I meditate my work, literally, all day. By the time night arrives I am in a highly nervous and excited state. About nine o'clock I begin writing and smoking, and I continue the two exercises, pari passu, until about four o'clock in the morning. Then I reel to bed, half crazy with cigar-smoke and poesy, sleep five hours, and begin the next day as the former. Ordinarily, I sleep from seven to eight hours; but when I am writing, but five,—simply because I cannot sleep any longer at such times. The consequence of this mode of life is that at the end of a long work I sink at once like a spent horse, and have not energy enough to perform the ordinary duties of life. I feel my health giving way under it, but really I do not care. I am ambitious to be remembered among the martyrs.
This letter is not only significant of Boker's method of workmanship; it is, as well, measure of his charm as a letter writer. For, in correspondence with his close friends, he was as natural with them, as full of force and brightness, as he was in conversation. We find Taylor thanking him at one time, when in distress over family illness and death, for his sustaining words of comfort; we find Leland basking in the warmth of his sheer animal spirits. To the latter, Boker once wrote:
Dear old Charley, you are the only man living with whom I can play the fool through a long letter and be sure that I shall be clearly understood at the end. To say that this privilege is cheerful is to say little, for it is the breath of life to a man of a certain humour.
The "Francesca" note, therefore, is typical of Boker's enthusiasm. When Stoddard read the play, we wonder whether he saw in it any similarities to Leigh Hunt's poem on the same subject? For once he had detected in Boker's verses the influence of Hunt. There are critics who claim Boker had read closely Hugo's "Le Roi s'Amuse." But there is only one real comparison to make—with Shakespeare, to the detriment of Boker. His memory beat in Elizabethan rhythm, and beat haltingly. The present Editor began noting on the margin of his copy parallelisms of thought and expression in this "Francesca" and in the plays of Shakespeare; these similarities became so many, were so apparent, that it is thought best to omit them. The text used is not based on the manuscripts left by Boker, nor has it been compared with the acting copy made, in 1855, for E.L. Davenport, as has already been done elsewhere in print. I have preferred to use the text finally prepared by Boker for his published plays, this being the one which met with his approval. In 1882, Lawrence Barrett, with the aid of William Winter, prepared an acting version of "Francesca," and it was this which Mr. Otis Skinner used, when he revived the piece in 1901.
A notice in The New York Tribune for 1882 suggests that when E.L. Davenport first essayed "Francesca da Rimini," in 1855, it was in one-act. I can find no corroboration of this statement. The play-bill here reproduced specifically announces a five act tragedy, and it is to be inferred that the form of the play, as given at the Broadway Theatre, New York, September 26, 1855,[B] was the only one used by him. Winter claims that as Lanciotto, Davenport was "unimaginative, mechanical, and melodramatic," and that the whole piece "proved tedious." This is strange, considering the heroic and romantic characteristics in Davenport's method of acting. It may be that he attempted Boker's play because of his interest in the development of American drama. He had assisted Mrs. Mowatt in her career as playwright, and, during his full life, his name was identified with Boker's "Calaynos," George H. Miles's tragedy, "De Soto, the Hero of the Mississippi," and Conrad's "Jack Cade." But the concensus of opinion is that Boker's "Francesca da Rimini," as given by Davenport, was a failure.
An examination of the cast in the Davenport program with the cast as it was when Boker issued the play, indicates that the text must have been considerably changed, and certain characters omitted, when, at the suggestion of Winter, Lawrence Barrett promised to revive it during the summer of 1882. The scholarly turn of Barrett's mind must have made him ponder it well during a trip he made abroad at the time, and Boker, meanwhile, must have been cutting the cloth to suit the actor's ideas. Barron, one of Barrett's biographers, claims that "Mr. Barrett saw great possibilities in the work, and with his practical assistance the play was suitably changed, new situations were effected, a more picturesque colouring was given the scenes and story, and all that was repellant in the too close following of Dante [!] was removed." The play was given by Barrett, at Haverly's Theatre, Chicago, on September 14, 1882, Otis Skinner playing Paolo, and Marie Wainwright appearing as Francesca. In Winter's estimate of the performance, we find the dominant characteristics being "moderation" and "balanced growth." He says of Lanciotto: "Alertness of the brain sustained it, at every point, in brilliant vigour, and it rose in power, and expanded in terrible beauty, accordingly as it was wrought upon by the pressure of circumstances and the conflict of passions."
The memory of this must have affected the interpretation of Mr. Skinner, when, as Lanciotto, in his revival of the piece at the Chicago Grand Opera House, August 22, 1901, with Aubrey Boucicault as Paolo, Marcia Van Dresser as Francesca, and William Norris as Pepe, he met with such success. "D'Annunzio gives us the soldier and the brute," he wrote me in 1904. "Boker's hero is an idealist—almost a dreamer." The fact is, Boker was recalling his memories of Othello and Richard III, if not of Hamlet, as Skinner suggests. In another respect did the Barrett performance affect the later revival. The portrayal of Pepe, by Norris, was based on what he called "the James tradition," Louis James having, as Winter wrote, "a laughter that is more terrible than malice."
Lawrence Barrett's interest in the American drama was never very pronounced. He sought Boker's "Francesca da Rimini," as he sought W.D. Howells' "Yorick's Love" (given at Cleveland, Ohio, October 26, 1878), because the rôles therein suited his temperament. Between him and Boker, there was some misunderstanding of short duration, about royalties, but this was bridged over, and Boker's final attempts at playwriting were made for him. The reader is referred to Vol. 32, n.s. Vol. XXV, no. 2, June, 1917, of the Publications of the Modern Language Association of America, for statements as to Boker's "profits" from the stage.
After Otis Skinner's revival of "Francesca da Rimini," it was played for a while by Frederick Ward and Louis James in association (1893) and by Frank C. Bangs in 1892.
Hosts of dramas have been written on "Francesca da Rimini," and every poet has essayed at one time or another to surpass Dante's incomparable lines. Music scores have glorified this passionate love story, while marble and canvas have caught the external expression of it. In its portrayal, actual history has taken on legendary character, and so "Francesca da Rimini" now ranks as a theme with the history of Lancelot and Guinevere, of Tristan and Isolde. It has become the inspiration for Maeterlinck in "Pelléas and Mélisande," who has viewed the Italian passion through a mirage of mysticism.
Into "The Divine Comedy," the account of Francesca and Paolo is dropped, keen, sensitive and delicate, as though the poet, a friend of those concerned, wished to cover the hard fact of illicit love in an ecstacy of human feeling. Dante, the supreme master of his age, the incomparable lover of Beatrice, differentiated this tragedy from countless incidents of like character which marked his age. Had the story been preserved only in the form recorded by Boccaccio, it would have been lost in its minor details of history; whereas Dante has glorified it.
By the very fact that Dante places the two lovers in the circle of the Lustful, it is clear that he realized the enormity of their sin. The theory that his friendship with Guido Novella, the nephew of Francesca, made Dante refrain from entering fully into the incident, will not hold, when it is remembered that the cantos of the Inferno were written in 1300, seventeen years before the poet reached Ravenna, and accepted the hospitality of the Polenta house. Dante's infinite compassion is, therefore, the cause for the compressed poetry of this famous passage.
Dante's Francesca lines have been infinitely translated. Longfellow is conscientious; Byron chafes to be freed of the original Italian, and his lines are irksome; Rossetti sees and feels, but he is laboured. Dante, infinitely translated, remains supreme.
The poems on this ideal love legend are of infinite variety. Tassoni describes Paolo, the warrior, consumed with ravishing love, "shrunk with misery;" he fails to reach the youthful passion, and is as mediævally chivalric as is Chaucer in "The Knightes Tale" of Palamon and Arcite. Leigh Hunt resorts to stilted narrative and description.
Byron once thought to write a drama on this subject; had he done so, Silvio Pellico might have had a formidable rival. More or less, all the playwrights have gone to Italian history, and the more exact they became, the more gross the situation. F. Marion Crawford fell on this rock of accuracy, when he wrote his Francesca play for Mme. Sarah Bernhardt.
Silvio Pellico, who wrote the first drama on "Francesca da Rimini" known to modern playgoers, lived his early life in an intensely religious atmosphere, and suffered imprisonment later because of his patriotic tendencies; it is not surprising, therefore, to find in his play—first a national appeal that was to win it applause from all Italy, and then, more important still, a purity of tone that struggled most nobly against an inevitable, passionate end. Paolo is the one who, after some scruples, succumbs; Francesca is infinitely conscious that she is a wife; Giovanni is suspicious. It would seem that Pellico's play is the first that realized the theatrical possibilities of the story; research has brought to light no play manuscript previous to his.
In the handling of his details, Pellico's incongruities and artificialities are many. Paolo returns from knightly deeds in Asia, to find his father dead—the Malatesta Verucchio who died in 1312, twenty-seven years after Giovanni committed the murder; therefore Pellico gives to the deformed brother the power that history does not wholly accord. The dramatist would avoid the indelicacy he finds in the reading incident, recounting it only in a situation during which Francesca holds aloof in a wild effort to stifle her love. Throughout the play, there is this ruthless twisting, in a desire to conceal wrong and unpardonable sin.
Turning to Uhland's fragmentary ideas, which even he himself was doubtful whether he could handle, an atmosphere confronts us as mediævally German as the "Der arme Heinrich" of Hartmann von Aue, which was the inspirational source for Longfellow's "The Golden Legend." Uhland shows heaviness in conception, and a conventionality, thoroughly at variance with the tragedy's original passion. Romantic as he is, he has robbed the story of its warm southern nature, and has thrown his Dante aside to deal with false situation. He seems willing to let fact and spirit go. Paolo is a knight who tilts and worships a glove. Uhland thinks, and he is not alone in his belief, that Francesca had been promised to Paolo before Giovanni was wedded to her; yet if Paolo's marriage with Orabile, in 1269, is to be recognized as correct, historically, logical deductions from dates would discountenance the statement. Neither have I found commentaries to support the theory that Paolo was older than Giovanni, as Uhland sets forth in his play. The servant in Boccaccio here becomes a jealous lover. It is interesting to note the variations of this counter-element in the many play versions of the story—the element that urges Giovanni's suspicion to quick action—the dramatic force of Pepe in Boker; the disappointed motherhood and embittered love of Lucrezia in Stephen Phillips; the inborn savagery of Malatestino in D'Annunzio; the innocent unconsciousness of Concordia in Crawford, which finds similarity in a scene in Maeterlinck's "Pelléas and Mélisande" between father and little son. Further, in Uhland, a distorted glimpse of a colourless reportorial figure of Dante, gathering material for his poem, is as meaningless as it is unnecessary for atmosphere.
Stephen Phillips, in his Francesca drama, ignores altogether Italian temperament; save for the fact that he occasionally mentions the Tyrant of Rimini, Pesaro and Florence, and that he adheres to historic names, there is more of the English hamlet romance in the piece, than Italian passion. And that cannot be said of Shakespeare's "Romeo and Juliet." Perhaps one may claim for Phillips some of the simplicity of Dante, but there is not the humanity. Undeniably, the English poet is happy in phrase and imagery, but his genius is not so dramatic as it is poetic; he has some of the great lyrical feeling of Tennyson, and he has that which distinguishes the poet from the dramatist—the power to describe situation. One cannot deny the appeal of his girl-Francesca, nor the beauty of many of his haunting lines; but no warm impression of the situation is gained, and the characters are peculiarly inactive at inopportune times. Mr. Phillips's talent was predominantly undramatic; he was too much the poet to allow his feeling to be guided by historical material. Yet, as acted, the play was charmingly simple.
On the other hand, D'Annunzio, in his drama, saturates himself with the history of Italy. In bulk, his play has not the slightest claim to simplicity; the main object of the dramatist seemed to have been to overweight the scenes with the licentious and rude Italy of the thirteenth century; extraneous side-issues burden the progress of the plot. Yet D'Annunzio has taken care that this does not affect his central theme. On the stage, the scenes appear cumbersome, and the action moves slowly; but, after analyzing the book, it may be claimed for this "Francesca da Rimini," that it reflects the age in which the tragedy occurred. Much artistic construction is shown in the contrast of the Polenta and Malatesta families, and, repellent as he is at times, D'Annunzio has moments of great poetic fervour; his fire swings forth in many of Francesca's speeches, that alternate with the languor of her symbolic nature.
That his drama on Francesca was definitely constructed for theatrical effect, was openly avowed by Marion Crawford. At the beginning of the French version made for Mme. Bernhardt, he placed material that showed his intention of dealing with fact in the manner of a novelist, and regardless of the sweetness of Dante. To him, Concordia is fourteen, since he considers 1289 as the date of the tragedy, and, with his details from Boccaccio's commentary, he has coarsened Francesca, making her bitterness full of the spleen that could only accompany maturity. A striking point is to be noted in the strong vein of Catholicism that colours many of the speeches.
Paolo's wife, Orabile, moves through the D'Annunzio play with only slight mention—to show the husband's avoidance of her—to draw attention to her deep-rooted aversion to Francesca. Mr. Crawford also brings her on the scene, and has Paolo the cause of her death, wittingly distorting history, since Orabile died many years after the murder of her husband.
The only American drama on the subject is that by Boker; it is a peculiarly contradictory piece of work, since, from the standpoint of the stage, it is essentially and effectively dramatic, while as literature it is imitative of the Elizabethan style. Boker's poetic imagery is distinctly borrowed, and his choice of words disappointingly colloquial. Yet, over and above the mere story, he has succeeded in portraying a strong character in his Pepe. The historical setting of the play is slight, yet sufficient to localize the piece, and his dramatis personæ are faithfully distinct in outline, though at times devoid of consuming passion.
Phillips as a dramatist has the fault of being diffuse; Boker's style is prosaically plain. Were it not for over-elaboration, D'Annunzio's play might supplant all others because of its spirit. Could we take from Phillips his simplicity, from D'Annunzio his Italian intensity, and from Boker his proportion, and could we add these to Crawford's realization of situation, toned away from his melodramatic tendencies, an ideal drama on "Francesca da Rimini" might be constructed.
But the revitalizing power that was given Shakespeare, has been bequeathed to none who have followed Dante. The one beauty of the Francesca story is the simple element that permeates the dark motive. The genius required to deal with it lies in this: to make one conscious of the tragedy in a touch that recalls the beauty of spring.
It is strange that no other poet than Dante has succeeded in catching this beauty. No poet, writing directly on the theme, has the subtle feeling which may be compared with that of the Italian. Richard Le Gallienne is infinitely superior to Hunt; Lowell and Gilder beyond the lesser poets,—but all fade before the master. They treat of the vision of Hell, with its whirling wind; of the two in close embrace; there is the kiss that ends the reading of a self-same love; there is the flash of a dagger that joins them eternally in death. These are the themes for the songs. The artists have done with brush and pencil, what the poets have tried in sonnets and verse. But it is Dante who dominates them everyone.
To me, after tracing in part the development of this Italian tragedy, there remains the charm of Dante's simplicity, and were one to ask, who, among the moderns, have partially reflected his passion, I should turn to Keats' insatiable thirst for beauty in his sonnet, "A Dream, After reading Dante's Episode of Paolo and Francesca," and his account of it in a letter to George and Georgiana Keats (February 14, 1819), and to Carlyle's appreciation of tragedy and love, in "The Hero as a Poet."
Boker's "Francesca da Rimini" will stand largely because, in structure and in directness, it is strikingly effective for the stage.
[Footnote A: Duyckinck recalls that, in 1862, R.T. Conrad's
"Devotional Poems" were published, edited by Boker.]
[Footnote B: We find a record of Mrs. John Drew having, as Francesca, supported Davenport when the play was taken to Philadelphia.]
BROADWAY THEATRE
* * * * *
LESSEE MR. E.A. MARSHALL STAGE MANAGER MR. W.R. BLAKE
* * * * *
SECOND WEEK OF THE REGULAR SEASON!
* * * * *
CONTINUATION OF THE ENGAGEMENT OF THE EMINENT
=AMERICAN ACTOR=
MR. E.L. DAVENPORT
* * * * *
FIRST TIME ON ANY STAGE OF
=THE TRAGEDY=
by G.H. BOKER, Esq., author of "Calaynos," "Betrothal," &c called
=Francesca da Rimini=
Will appear in an entirely
ORIGINAL CHARACTER!!
* * * * *
This production of a popular and most talented Native Author will be brought forward with the efficient aid of
ESTABLISHED PERFORMERS!
NEW AND APPROPRIATE SCENERY!!
COSTUMES, PROPERTIES, DECORATIONS!!!
APPOINTMENTS, MUSIC and PAGANTRY!!!!
* * * * *
WEDNESDAY EVENING, SEPT 26, 1855
Will be presented the Tragedy, in five acts, by G.H. BOKER, Esq., entitled
=FRANCESCA= =DA= =RIMINI=
CHARACTERS REPRESENTED.
GUELPHS.
Malatesto, (Lord of Rimini) Mr. Whiting
LANCIOTTO {his sons } Mr. E.L. DAVENPORT
Paolo { } Mr. Lanergan
Pepe, (the Jester) Mr. C. Flaher
Rosalvi { } Mr. Walters
Malvechi {Young Nobles—companions of Paolo } Mr. Harcourt
Civanti { } Mr. Cutter
Rene, (a Troubadour) Mr. Vincent
Nobles, Soldiers, Pages, Troubadours, Attendants, &c, &c.
GHIBELINS.
Guido da Polenta, (Lord of Ravenna) Mr. Canoll
The Cardinal Veechino Mr. Hodges
Florensi {Nobles of Malatesto's Court} Mr. Willet
Beppo { } Joraike
Henrico, (Captain of the Guard) Mr. Fordyck
Antonio, (A leader of the Forces) Mr. Wright
Nobles, Dignitaries of the Church, Soldiers, Pages, Banner
Bearers, Messengers, &c.
Francesca da Rimini, (Daughter of Guido) Mme Poniat
Ritta, (her attendent) Miss J. Manners
* * * * *
TO-MORROW EVENING—A NEW TRAGEDY, in which
=MR. E.L. DAVENPORT=
Will appear
* * * * *
TREASURER Mr. P. WARREN ASSISTANT TREASURER Mr. NAGLE * * * * *
Doors open at three quarters past 6 o'clock—Performances will commence an half past 7, precisely.
FRANCESCA DA RIMINI
A TRAGEDY IN FIVE ACTS[A]
By GEORGE H. BOKER
[Footnote A: The text that follows was compared with Lawrence
Barrett's copy of the second edition, now in the library of The
Players, New York. The title page reads: Plays and Poems: | by |
George H. Boker | In two volumes | Vol. I | Second Edition | Boston: |
Ticknor and Fields. | MDCCCLVII. | | Boker's copyright, 1856.]
DRAMATIS PERSONÆ
McVicker's Theatre, Chicago, November 6, 1882
MALATESTA, Lord of Rimini Mr. B.G. Rogers.
GUIDO DA POLENTA, Lord of Ravenna Mr. F.C. Mosley.
LANCIOTTO, Malatesta's son Mr. Lawrence Barrett.
PAOLO, His brother Mr. Otis Skinner.
PEPÉ,[1] Malatesta's jester Mr. Louis James.
CARDINAL, Friend to Guido Mr. Charles Rolfe.
RENÉ,[1] A troubadour Mr. Percy Winter.
FRANCESCA DA RIMINI, Guido's daughter Miss Marie Wainwright.
RITTA, Her maid Miss Rosie Batchelder.
Lords, Ladies, Knights, Priests, Soldiers, Pages, Attendants, etc.
Grand Opera House, Chicago, August 26, 1901.
MALATESTA, Lord of Rimini Mr. W.J. Constantine.
GUIDO DA POLENTA, Lord of Ravenna Mr. E.A. Eberle.
LANCIOTTO, Malatesta's son Mr. Otis Skinner.
PAOLO, His brother Mr. Aubrey Boucicault.
PEPE, Malatesta's jester Mr. William Norris.
CARDINAL, Friend to Guido Mr. Frederick von Rensselar.
RENE, A troubadour Mr. Fletcher Norton.
FRANCESCA DA RIMINI, Guido's daughter Miss Marcia Van Dresser.
RITTA, Her maid Miss Gertrude Norman.
Lords, Ladies, Knights, Priests, Soldiers, Pages, Attendants, etc. SCENE. Rimini, Ravenna, and the neighbourhood. TIME. About 1300 A.D.
[Footnote 1: In the original edition, the accents in the names of PEPÉ and RENÉ are used only in the Dramatis Personæ, and not in the body of the book.]
FRANCESCA DA RIMINI
ACT I.
SCENE I. Rimini. The Garden of the Palace. PAOLO and a number of noblemen are discovered, seated under an arbour, surrounded by RENE, and other troubadours, attendants, &c.
PAOLO. I prithee, Rene, charm our ears again
With the same song you sang me yesterday.
Here are fresh listeners.
RENE. Really, my good lord,
My voice is out of joint. A grievous cold—
[Coughs.
PAOLO. A very grievous, but convenient cold,
Which always racks you when you would not sing.
RENE. O, no, my lord! Besides, I hoped to hear
My ditty warbled into fairer ears,
By your own lips; to better purpose, too.
[The NOBLEMEN all laugh.
FIRST NOBLEMAN. Rene has hit it. Music runs to waste
In ears like ours.
SECOND NOBLEMAN. Nay, nay; chaunt on, sweet Count.
PAOLO. [Coughing.] Alack! you hear, I've caught poor Rene's cough.
FIRST NOBLEMAN. That would not be, if we wore petticoats.
[The others laugh.
PAOLO. O, fie!
FIRST NOBLEMAN. So runs the scandal to our ears.
SECOND NOBLEMAN. Confirmed by all our other senses, Count.
FIRST NOBLEMAN. Witnessed by many a doleful sigh, poured out
By many a breaking heart in Rimini.
SECOND NOBLEMAN. Poor girls!
FIRST NOBLEMAN.[Mimicking a lady.] Sweet Count! sweet
Count Paolo! O!
Plant early violets upon my grave!
Thus go a thousand voices to one tune.
[The others laugh.
PAOLO. 'Ods mercy! gentlemen, you do me wrong.
FIRST NOBLEMAN. And by how many hundred, more or less?
PAOLO. Ah! rogues, you'd shift your sins upon my shoulders.
SECOND NOBLEMAN. You'd bear them stoutly.
FIRST NOBLEMAN. It were vain to give
Drops to god Neptune. You're the sea of love
That swallows all things.
SECOND NOBLEMAN. We the little fish
That meanly scull about within your depths.
PAOLO. Goon, goon! Talk yourselves fairly out.
[PEPE laughs without.
But, hark! here comes the fool! Fit company
For this most noble company of wits!
[Enter PEPE, laughing violently.]
Why do you laugh?
PEPE. I'm laughing at the world.
It has laughed long enough at me; and so
I'll turn the tables. Ho! ho! ho! I've heard
A better joke of Uncle Malatesta's
Than any I e'er uttered. [Laughing.
ALL. Tell it, fool.
PEPE. Why, do you know—upon my life, the best
And most original idea on earth:
A joke to put in practice, too. By Jove!
I'll bet my wit 'gainst the stupidity
Of the best gentleman among you all,
You cannot guess it.
ALL. Tell us, tell us, fool.
PEPE. Guess it, guess it, fools.
PAOLO Come, disclose, disclose!
PEPE. He has a match afoot.—
ALL. A match!
PEPE. A marriage.
ALL. Who?—who?
PEPE. A marriage in his family.
ALL. But, who?
PEPE. Ah! there's the point.
ALL. Paolo?
PEPE. No.
FIRST NOBLEMAN. The others are well wived. Shall we turn Turks?
PEPE. Why, there's the summit of his joke, good sirs.
By all the sacred symbols of my art—
By cap and bauble, by my tinkling bell—
He means to marry Lanciotto!
[Laughs violently.
ALL. [Laughing.] Ho!—
PAOLO. Peace! peace! What tongue dare echo yon fool's laugh?
Nay, never raise your hands in wonderment:
I'll strike the dearest friend among ye all
Beneath my feet, as if he were a slave,
Who dares insult my brother with a laugh!
PEPE. By Jove! ye're sad enough. Here's mirth's quick cure!
Pretty Paolo has a heavy fist,
I warn you, sirs. Ho! ho! I trapped them all;
[Laughing.]
Now I'll go mar old Malatesta's message. [Aside.
[Exit.
PAOLO. Shame on ye, sirs! I have mistaken you.
I thought I harboured better friends. Poor fops,
Who've slept in down and satin all your years,
Within the circle Lanciotto charmed
Round Rimini with his most potent sword!—
Fellows whose brows would melt beneath a casque,
Whose hands would fray to grasp a brand's rough hilt,
Who ne'er launched more than braggart threats at foes!—
Girlish companions of luxurious girls!—
Danglers round troubadours and wine-cups!—Men
Whose best parts are their clothes! bundles of silk,
Scented like summer! rag-men, nothing more!—
Creatures as generous as monkeys—brave
As hunted hares—courteous as grinning apes—
Grateful as serpents—useful as lap-dogs—
[During this, the NOBLEMEN, &c., steal off.]
Ha!
I am alone at last! So let me be,
Till Lanciotto fill the vacant room
Of these mean knaves, whose friendship is but breath. [Exit.
SCENE II.
The Same. A Hall in the Castle. Enter MALATESTA and LANCIOTTO.
MALATESTA. Guido, ay, Guido of Ravenna, son—
Down on his knees, as full of abject prayers
For peace and mercy as a penitent.
LANCIOTTO. His old trick, father. While his wearied arm
Is raised in seeming prayer, it only rests.
Anon, he'll deal you such a staggering blow,
With its recovered strength, as shall convert
You, and not him, into a penitent.
MALATESTA. No, no; your last bout levelled him. He reeled
Into Ravenna, from the battle-field,
Like a stripped drunkard, and there headlong fell—
A mass of squalid misery, a thing
To draw the jeering urchins. I have this
From faithful spies. There's not a hope remains
To break the shock of his great overthrow.
I pity Guido.
LANCIOTTO. 'Sdeath! go comfort him!
I pity those who fought, and bled, and died,
Before the armies of this Ghibelin.
I pity those who halted home with wounds
Dealt by his hand. I pity widowed eyes
That he set running; maiden hearts that turn,
Sick with despair, from ranks thinned down by him;
Mothers that shriek, as the last stragglers fling
Their feverish bodies by the fountain-side,
Dumb with mere thirst, and faintly point to him,
Answering the dame's quick questions. I have seen
Unburied bones, and skulls—that seemed to ask,
From their blank eye-holes, vengeance at my hand—
Shine in the moonlight on old battle-fields;
And even these—the happy dead, my lord—
I pity more than Guido of Ravenna!
MALATESTA. What would you have?
LANCIOTTO. I'd see Ravenna burn,
Flame into heaven, and scorch the flying clouds;
I'd choke her streets with ruined palaces;
I'd hear her women scream with fear and grief,
As I have heard the maids of Rimini.
All this I'd sprinkle with old Guido's blood,
And bless the baptism.
MALATESTA. You are cruel.
LANCIOTTO. Not I;
But these things ache within my fretting brain.
The sight I first beheld was from the arms
Of my wild nurse, her husband hacked to death
By the fierce edges of these Ghibelins.
One cut across the neck—I see it now,
Ay, and have mimicked it a thousand times,
Just as I saw it, on our enemies.—
Why, that cut seemed as if it meant to bleed
On till the judgment. My distracted nurse
Stooped down, and paddled in the running gore
With her poor fingers; then a prophetess,
Pale with the inspiration of the god,
She towered aloft, and with her dripping hand
Three times she signed me with the holy cross.
Tis all as plain as noon-day. Thus she spake,—
"May this spot stand till Guido's dearest blood
Be mingled with thy own!" The soldiers say,
In the close battle, when my wrath is up,
The dead man's blood flames on my vengeful brow
Like a red planet; and when war is o'er,
It shrinks into my brain, defiling all
My better nature with its slaughterous lusts.
Howe'er it be, it shaped my earliest thought,
And it will shape my last.
MALATESTA. You moody churl!
You dismal knot of superstitious dreams!
Do you not blush to empty such a head
Before a sober man? Why, son, the world
Has not given o'er its laughing humour yet,
That you should try it with such vagaries.—Poh!
I'll get a wife to teach you common sense.
LANCIOTTO. A wife for me! [Laughing.
MALATESTA. Ay, sir, a wife for you.
You shall be married, to insure your wits.
LANCIOTTO. 'Tis not your wont to mock me.
MALATESTA. How now, son!
I am not given to jesting. I have chosen
The fairest wife in Italy for you.
You won her bravely, as a soldier should:
And when you'd woo her, stretch your gauntlet out,
And crush her fingers in its steely grip.
If you will plead, I ween, she dare not say—
No, by your leave. Should she refuse, howe'er,
With that same iron hand you shall go knock
Upon Ravenna's gates, till all the town
Ring with your courtship. I have made her hand
The price and pledge of Guido's future peace.
LANCIOTTO. All this is done!
MALATESTA. Done, out of hand; and now
I wait a formal answer, nothing more.
Guido dare not decline. No, by the saints,
He'd send Ravenna's virgins here in droves,
To buy a ten days' truce.
LANCIOTTO. Sir, let me say,
You stretch paternal privilege too far,
To pledge my hand without my own consent.
Am I a portion of your household stuff,
That you should trade me off to Guido thus?
Who is the lady I am bartered for?
MALATESTA. Francesca, Guido's daughter.—Never frown;
It shall be so!
LANCIOTTO. By heaven, it shall not be!
My blood shall never mingle with his race.
MALATESTA. According to your nurse's prophecy,
Fate orders it.
LANCIOTTO. Ha!
MALATESTA. Now, then, I have struck
The chord that answers to your gloomy thoughts.
Bah! on your sibyl and her prophecy!
Put Guido's blood aside, and yet, I say,
Marry you shall.
LANCIOTTO. 'Tis most distasteful, sir.
MALATESTA. Lanciotto, look ye! You brave gentlemen,
So fond of knocking out poor people's brains,
In time must come to have your own knocked out:
What, then, if you bequeath us no new hands,
To carry on your business, and our house
Die out for lack of princes?
LANCIOTTO. Wed my brothers:
They'll rear you sons, I'll slay you enemies.
Paolo and Francesca! Note their names;
They chime together like sweet marriage-bells.
A proper match. 'Tis said she's beautiful;
And he is the delight of Rimini,—
The pride and conscious centre of all eyes,
The theme of poets, the ideal of art,
The earthly treasury of Heaven's best gifts!
I am a soldier; from my very birth,
Heaven cut me out for terror, not for love.
I had such fancies once, but now—
MALATESTA. Pshaw! son,
My faith is bound to Guido; and if you
Do not throw off your duty, and defy,
Through sickly scruples, my express commands,
You'll yield at once. No more: I'll have it so! [Exit.
LANCIOTTO. Curses upon my destiny! What, I—
Ho! I have found my use at last—What, I,
I, the great twisted monster of the wars,
The brawny cripple, the herculean dwarf,
The spur of panic, and the butt of scorn—
be a bridegroom! Heaven, was I not cursed
More than enough, when thou didst fashion me
To be a type of ugliness,—a thing
By whose comparison all Rimini
Holds itself beautiful? Lo! here I stand,
A gnarléd, blighted trunk! There's not a knave
So spindle-shanked, so wry-faced, so infirm,
Who looks at me, and smiles not on himself.
And I have friends to pity me—great Heaven!
One has a favourite leg that he bewails,—
Another sees my hip with doleful plaints,—
A third is sorry o'er my huge swart arms,—
A fourth aspires to mount my very hump,
And thence harangue his weeping brotherhood!
Pah! it is nauseous! Must I further bear
The sidelong shuddering glances of a wife?
The degradation of a showy love,
That over-acts, and proves the mummer's craft
Untouched by nature? And a fair wife, too!—
Francesca, whom the minstrels sing about!
Though, by my side, what woman were not fair?
Circe looked well among her swine, no doubt;
Next me, she'd pass for Venus. Ho! ho! ho! [Laughing.]
Would there were something merry in my laugh!
Now, in the battle, if a Ghibelin
Cry, "Wry-hip! hunchback!" I can trample him
Under my stallion's hoofs; or haggle him
Into a monstrous likeness of myself:
But to be pitied,—to endure a sting
Thrust in by kindness, with a sort of smile!—
'Sdeath! it is miserable!
[Enter PEPE.
PEPE. My lord—
LANCIOTTO. My fool!
PEPE. We'll change our titles when your bride's bells ring—
Ha, cousin?
LANCIOTTO. Even this poor fool has eyes,
To see the wretched plight in which I stand.
[Aside.]
How, gossip, how?
PEPE. I, being the court-fool,
Am lord of fools by my prerogative.
LANCIOTTO. Who told you of my marriage?
PEPE. Rimini!
A frightful liar; but true for once, I fear.
The messenger from Guido has returned,
And the whole town is wailing over him.
Some pity you, and some the bride; but I,
Being more catholic, I pity both.
LANCIOTTO. Still, pity, pity! [Aside. Bells toll.] Ha! whose knell is that?
PEPE. Lord Malatesta sent me to the tower,
To have the bells rung for your marriage-news.
How, he said not; so I, as I thought fit,
Told the deaf sexton to ring out a knell.
[Bells toll.]
How do you like it?
LANCIOTTO. Varlet, have you bones,
To risk their breaking? I have half a mind
To thresh you from your motley coat!
[Seizes him.
PEPE. Pardee!
Respect my coxcomb, cousin. Hark! ha, ha!
[Laughing.]
[Bells ring a joyful peal.]
Some one has changed my music. Heaven defend!
How the bells jangle. Yonder graybeard, now,
Rings a peal vilely. He's more used to knells,
And sounds them grandly. Only give him time,
And, I'll be sworn, he'll ring your knell out yet.
LANCIOTTO. Pepe, you are but half a fool.
PEPE. My lord,
I can return the compliment in full.
LANCIOTTO. So, you are ready.
PEPE. Truth is always so.
LANCIOTTO. I shook you rudely; here's a florin.
[Offers money.
PEPE. No:
My wit is merchandise, but not my honour.
LANCIOTTO. Your honour, sirrah!
PEPE. Why not? You great lords
Have something you call lordly honour; pray,
May not a fool have foolish honour, too?
Cousin, you laid your hand upon my coat—
'Twas the first sacrilege it ever knew—And
you shall pay it. Mark! I promise you.
LANCIOTTO. [Laughing.] Ha, ha! you bluster well. Upon my life,
You have the tilt-yard jargon to a breath.
Pepe, if I should smite you on the cheek—
Thus, gossip, thus—[Strikes him.] what would you then demand?
PEPE. Your life!
LANCIOTTO. [Laughing.] Ha, ha! there is the camp-style, too,
A very cut-throat air! How this shrewd fool
Makes the punctilio of honour show!
Change helmets into coxcombs, swords to baubles,
And what a figure is poor chivalry!
Thanks for your lesson, Pepe.
[Exit.
PEPE. Ere I'm done,
You'll curse as heartily, you limping beast!
Ha! so we go—Lord Lanciotto, look!
[Walks about, mimicking him.]
Here is a leg and camel-back, forsooth,
To match your honour and nobility!
You miscreated scarecrow, dare you shake,
Or strike in jest, a natural man like me?—
You curséd lump, you chaos of a man,
To buffet one whom Heaven pronounces good!
[Bells ring.]
There go the bells rejoicing over you:
I'll change them back to the old knell again.
You marry, faugh! Beget a race of elves;
Wed a she-crocodile, and keep within
The limits of your nature! Here we go,
Tripping along to meet our promised bride,
Like a rheumatic elephant!—ha, ha! [Laughing.
[Exit, mimicking LANCIOTTO.
SCENE III.
The Same. A Room in the Same. Enter LANCIOTTO, hastily.
LANCIOTTO. Why do these prodigies environ me?
In ancient Rome, the words a fool might drop,
From the confusion of his vagrant thoughts,
Were held as omens, prophecies; and men
Who made earth tremble with majestic deeds,
Trembled themselves at fortune's lightest threat.
I like it not. My father named this match
While I boiled over with vindictive wrath
Towards Guido and Ravenna. Straight my heart
Sank down like lead; a weakness seized on me,
A dismal gloom that I could not resist;
I lacked the power to take my stand, and say—
Bluntly, I will not! Am I in the toils?
Has fate so weakened me, to work its end?
There seems a fascination in it, too,—
A morbid craving to pursue a thing
Whose issue may be fatal. Would that I
Were in the wars again! These mental weeds
Grow on the surface of inactive peace.
I'm haunted by myself. Thought preys on thought.
My mind seems crowded in the hideous mould
That shaped my body. What a fool am I
To bear the burden of my wretched life,
To sweat and toil under the world's broad eye,
Climb into fame, and find myself—O, what?—
A most conspicuous monster! Crown my head,
Pile Cæsar's purple on me—and what then?
My hump shall shorten the imperial robe,
My leg peep out beneath the scanty hem,
My broken hip shall twist the gown awry;
And pomp, instead of dignifying me,
Shall be by me made quite ridiculous.
The faintest coward would not bear all this:
Prodigious courage must be mine, to live;
To die asks nothing but weak will, and I
Feel like a craven. Let me skulk away
Ere life o'ertask me. [Offers to stab himself.
Enter PAOLO.
PAOLO. [Seizing his hand.] Brother! what is this?
Lanciotto, are you mad? Kind Heaven! look here—
Straight in my eyes. Now answer, do you know
How near you were to murder? Dare you bend
Your wicked hand against a heart I love?
Were it for you to mourn your wilful death,
With such a bitterness as would be ours,
The wish would ne'er have crossed you. While we're bound
Life into life, a chain of loving hearts,
Were it not base in you, the middle link,
To snap, and scatter all? Shame, brother, shame!
I thought you better metal.
LANCIOTTO. Spare your words.
I know the seasons of our human grief,
And can predict them without almanac.
A few sobs o'er the body, and a few
Over the coffin; then a sigh or two,
Whose windy passage dries the hanging tear;
Perchance, some wandering memories, some regrets;
Then a vast influx of consoling thoughts—
Based on the trials of the sadder days
Which the dead missed; and then a smiling face
Turned on to-morrow. Such is mortal grief.
It writes its histories within a span,
And never lives to read them.
PAOLO. Lanciotto,
I heard the bells of Rimini, just now,
Exulting o'er your coming marriage-day,
While you conspired to teach them gloomier sounds.
Why are you sad?
LANCIOTTO. Paolo, I am wretched;
Sad's a faint word. But of my marriage-bells—
Heard you the knell that Pepe rang?
PAOLO. 'Twas strange:
A sullen antic of his crabbed wit.
LANCIOTTO. It was portentous. All dumb things find tongues
Against this marriage. As I passed the hall,
My armour glittered on the wall, and I
Paused by the harness, as before a friend
Whose well-known features slack our hurried gait;
Francesca's name was fresh upon my mind,
So I half-uttered it. Instant, my sword
Leaped from its scabbard, as with sudden life,
Plunged down and pierced into the oaken floor,
Shivering with fear! Lo! while I gazed upon it—
Doubting the nature of the accident—
Around the point appeared a spot of blood,
Oozing upon the floor, that spread and spread—
As I stood gasping by in speechless horror—
Ring beyond ring, until the odious tide
Crawled to my feet, and lapped them, like the tongues
Of angry serpents! O, my God! I fled
At the first touch of the infernal stain!
Go—you may see—go to the hall!
PAOLO. Fie! man,
You have been ever played on in this sort
By your wild fancies. When your heart is high,
You make them playthings; but in lower moods,
They seem to sap the essence of your soul,
And drain your manhood to its poorest dregs.
LANCIOTTO. Go look, go look!
PAOLO. [Goes to the door, and returns.] There sticks the sword, indeed,
Just as your tread detached it from its sheath;
Looking more like a blessed cross, I think,
Than a bad looking omen. As for blood—Ha, ha!
[Laughing.]
It sets mine dancing. Pshaw! away with this!
Deck up your face with smiles. Go trim yourself
For the young bride. New velvet, gold, and gems,
Do wonders for us. Brother, come; I'll be
Your tiring-man, for once.
LANCIOTTO. Array this lump—
Paolo, hark! There are some human thoughts
Best left imprisoned in the aching heart,
Lest the freed malefactors should dispread
Infamous ruin with their liberty.
There's not a man—the fairest of ye all—
Who is not fouler than he seems. This life
Is one unending struggle to conceal
Our baseness from our fellows. Here stands one
In vestal whiteness with a lecher's lust;—
There sits a judge, holding law's scales in hands
That itch to take the bribe he dare not touch;—
Here goes a priest with heavenward eyes, whose soul
Is Satan's council-chamber;—there a doctor,
With nature's secrets wrinkled round a brow
Guilty with conscious ignorance;—and here
A soldier rivals Hector's bloody deeds—
Out-does the devil in audacity—
With craven longings fluttering in a heart
That dares do aught but fly! Thus are we all
Mere slaves and alms-men to a scornful world,
That takes us at our seeming.
PAOLO. Say 'tis true;
What do you drive at?
LANCIOTTO. At myself, full tilt.
I, like the others, am not what I seem.
Men call me gentle, courteous, brave.—They lie!
I'm harsh, rude, and a coward. Had I nerve
To cast my devils out upon the earth,
I'd show this laughing planet what a hell
Of envy, malice, cruelty, and scorn,
It has forced back to canker in the heart
Of one poor cripple!
PAOLO. Ha!
LANCIOTTO. Ay, now 'tis out!
A word I never breathed to man before.
Can you, who are a miracle of grace,
Feel what it is to be a wreck like me?
Paolo, look at me. Is there a line,
In my whole bulk of wretched contraries,
That nature in a nightmare ever used
Upon her shapes till now? Find me the man,
Or beast, or tree, or rock, or nameless thing,
So out of harmony with all things else,
And I'll go raving with bare happiness,—
Ay, and I'll marry Helena of Greece,
And swear I do her honour!
PAOLO. Lanciotto,
I, who have known you from a stripling up,
Never observed, or, if I did, ne'er weighed
Your special difference from the rest of men.
You're not Apollo—
LANCIOTTO. No!
PAOLO. Nor yet are you
A second Pluto. Could I change with you—
My graces for your nobler qualities—
Your strength, your courage, your renown—by heaven,
We'd e'en change persons, to the finest hair.
LANCIOTTO. You should be flatterer to an emperor.
PAOLO. I am but just. Let me beseech you, brother.
To look with greater favour on yourself;
Nor suffer misty phantoms of your brain
To take the place of sound realities.
Go to Ravenna, wed your bride, and lull
Your cruel delusions in domestic peace.
Ghosts fly a fireside; 'tis their wont to stalk
Through empty houses, and through empty hearts.
I know Francesca will be proud of you.
Women admire you heroes. Rusty sages,
Pale poets, and scarred warriors, have been
Their idols ever; while we fair plump fools
Are elbowed to the wall, or only used
For vacant pastime.
LANCIOTTO. To Ravenna?—no!
In Rimini they know me; at Ravenna
I'd be a new-come monster, and exposed
To curious wonder. There will be parade
Of all the usual follies of the state;
Fellows with trumpets, tinselled coats, and wands,
Would strut before me, like vain mountebanks
Before their monkeys. Then, I should be stared
Out of my modesty; and when they look,
How can I tell if 'tis the bridegroom's face
Or hump that draws their eyes? I will not go.
To please you all, I'll marry; but to please
The wonder-mongers of Ravenna—Ha!
Paolo, now I have it. You shall go,
To bring Francesca; and you'll speak of me,
Not as I ought to be, but as I am.
If she draw backward, give her rein; and say
That neither Guido-nor herself shall feel
The weight of my displeasure. You may say,
I pity her—
PAOLO. For what?
LANCIOTTO. For wedding me.
In sooth, she'll need it. Say—
PAOLO. Nay, Lanciotto,
I'll be a better orator in your behalf,
Without your promptings.
LANCIOTTO. She is fair, 'tis said;
And, dear Paolo, if she please your eye,
And move your heart to anything like love,
Wed her yourself. The peace would stand as firm
By such a match.
PAOLO. [Laughing.] Ha! that is right: be gay!
Ply me with jokes! I'd rather see you smile
Than see the sun shine.
LANCIOTTO. I am serious.
I'll find another wife, less beautiful,
More on my level, and—
PAOLO. An empress, brother,
Were honoured by your hand. You are by much
Too humble in your reckoning of yourself.
I can count virtues in you, to supply
Half Italy, if they were parcelled out.
Look up!
LANCIOTTO. I cannot: Heaven has bent me down.
To you, Paolo, I could look, however,
Were my hump made a mountain. Bless him, God!
Pour everlasting bounties on his head!
Make Croesus jealous of his treasury,
Achilles of his arms, Endymion
Of his fresh beauties,—though the coy one lay,
Blushing beneath Diana's earliest kiss,
On grassy Latmos; and may every good,
Beyond man's sight, though in the ken of heaven,
Round his fair fortune to a perfect end!
O, you have dried the sorrow of my eyes;
My heart is beating with a lighter pulse;
The air is musical; the total earth
Puts on new beauty, and within the arms
Of girding ocean dreams her time away,
And visions bright to-morrows!
Enter MALATESTA and PEPE.
MALATESTA. Mount, to horse!
PEPE. [Aside.] Good Lord! he's smiling! What's the matter now?
Has anybody broken a leg or back?
Has a more monstrous monster come to life?
Is hell burst open?—heaven burnt up? What, what
Can make yon eyesore grin?—I say, my lord,
What cow has calved?
PAOLO. Your mother, by the bleat.
PEPE. Right fairly answered—for a gentleman!
When did you take my trade up?
PAOLO. When your wit
Went begging, sirrah.
PEPE. Well again! My lord,
I think he'll do.
MALATESTA. For what?
PEPE. To take my place.
Once fools were rare, and then my office sped;
But now the world is overrun with them:
One gets one's fool in one's own family,
Without much searching.
MALATESTA. Pepe, gently now.
Lanciotto, you are waited for. The train
Has passed the gate, and halted there for you.
LANCIOTTO. I go not to Ravenna.
MALATESTA. Hey! why not?
PAOLO. For weighty reasons, father. Will you trust
Your greatest captain, hope of all the Guelfs,
With crafty Guido? Should the Ghibelins
Break faith, and shut Lanciotto in their walls—
Sure the temptation would be great enough—
What would you do?
MALATESTA. I'd eat Ravenna up!
PEPE. Lord! what an appetite!
PAOLO. But Lanciotto
Would be a precious hostage.
MALATESTA. True; you're wise;
Guido's a fox. Well, have it your own way.
What is your plan?
PAOLO. I go there in his place.
MALATESTA. Good! I will send a letter with the news.
LANCIOTTO. I thank you, brother. [Apart to PAOLO.
PEPE. Ha! ha! ha!—O! O! [Laughing.
MALATESTA. Pepe, what now?
PEPE. O! lord, O!—ho! ho! ho! [Laughing.
PAOLO. Well, giggler?
PEPE. Hear my fable, uncle.
MALATESTA. Ay.
PEPE. Once on a time, Vulcan sent Mercury
To fetch dame Venus from a romp in heaven.
Well, they were long in coming, as he thought;
And so the god of spits and gridirons
Railed like himself—the devil. But—now mark—
Here comes the moral. In a little while,
Vulcan grew proud, because he saw plain signs
That he should be a father; and so he
Strutted through hell, and pushed the devils by,
Like a magnifico of Venice. Ere long,
His heir was born; but then—ho! ho!—the brat
Had wings upon his heels, and thievish ways,
And a vile squint, like errant Mercury's,
Which honest Vulcan could not understand;—
Can you?
PAOLO. 'Sdeath! fool, I'll have you in the stocks.
Father, your fool exceeds his privilege.
PEPE. [Apart to PAOLO.] Keep your own bounds, Paolo. In the stocks
I'd tell more fables than you'd wish to hear.
And so ride forth. But, cousin, don't forget
To take Lanciotto's picture to the bride.
Ask her to choose between it and yourself.
I'll count the moments, while she hesitates,
And not grow gray at it.
PAOLO. Peace, varlet, peace!
PEPE. [Apart to him.] Ah, now I have it. There's an elephant
Upon the scutcheon; show her that, and say—
Here's Lanciotto in our heraldry!
PAOLO. Here's for your counsel!
[Strikes PEPE, who runs behind MALATESTA.
MALATESTA. Son, son, have a care!
We who keep pets must bear their pecks sometimes.
Poor knave! Ha! ha! thou'rt growing villainous!
[Laughs and pats PEPE.
PEPE. Another blow! another life for that! [Aside.
PAOLO. Farewell, Lanciotto. You are dull again.
LANCIOTTO. Nature will rule.
MALATESTA. Come, come!
LANCIOTTO. God speed you, brother!
I am too sad; my smiles all turn to sighs.
PAOLO. More cause to haste me on my happy work.
[Exit with MALATESTA.
PEPE. I'm going, cousin.
LANCIOTTO. Go.
PEPE. Pray, ask me where.
LANCIOTTO. Where, then?
PEPE. To have my jewel carried home:
And, as I'm wise, the carrier shall be
A thief, a thief, by Jove! The fashion's new.
[Exit.
LANCIOTTO. In truth, I am too gloomy and irrational.
Paolo must be right. I always had
These moody hours and dark presentiments,
Without mischances following after them.
The camp is my abode. A neighing steed,
A fiery onset, and a stubborn fight,
Rouse my dull blood, and tire my body down
To quiet slumbers when the day is o'er,
And night above me spreads her spangled tent,
Lit by the dying cresset of the moon.
Ay, that is it; I'm homesick for the camp.
[Exit.
ACT II.
SCENE I. Ravenna. A Room in GUIDO'S Palace. Enter GUIDO and a CARDINAL.
CARDINAL. I warn thee, Count.
GUIDO. I'll take the warning, father,
On one condition: show me but a way
For safe escape.
CARDINAL. I cannot.
GUIDO. There's the point.
We Ghibelins are fettered hand and foot.
There's not a florin in my treasury;
Not a lame soldier, I can lead to war;
Not one to man the walls. A present siege,
Pushed with the wonted heat of Lanciotto,
Would deal Ravenna such a mortal blow
As ages could not mend. Give me but time
To fill the drained arteries of the land.
The Guelfs are masters, we their slaves; and we
Were wiser to confess it, ere the lash
Teach it too sternly. It is well for you
To say you love Francesca. So do I;
But neither you nor I have any voice
For or against this marriage.
CARDINAL. 'Tis too true.
GUIDO. Say we refuse: Why, then, before a week,
We'll hear Lanciotto rapping at our door,
With twenty hundred ruffians at his back.
What's to say then? My lord, we waste our breath.
Let us look fortune in the face, and draw
Such comfort from the wanton as we may.
CARDINAL. And yet I fear—
GUIDO. You fear! and so do I.
I fear Lanciotto as a soldier, though,
More than a son-in-law.
CARDINAL. But have you seen him?
GUIDO. Ay, ay, and felt him, too. I've seen him ride
The best battalions of my horse and foot
Down like mere stubble: I have seen his sword
Hollow a square of pikemen, with the ease
You'd scoop a melon out.
CARDINAL. Report declares him
A prodigy of strength and ugliness.
GUIDO. Were he the devil—But why talk of this?—
Here comes Francesca.
CARDINAL. Ah! unhappy child!
GUIDO. Look you, my lord! you'll make the best of it;
You will not whimper. Add your voice to mine,
Or woe to poor Ravenna!
Enter FRANCESCA and RITTA.
FRANCESCA. Ha! my lord—
And you, my father!—But do I intrude
Upon your counsels? How severe you look!
Shall I retire?
GUIDO. No, no.
FRANCESCA. You moody men
Seem leagued against me. As I passed the hall,
I met your solemn Dante, with huge strides
Pacing in measure to his stately verse.
The sweeping sleeves of his broad scarlet robe
Blew out behind, like wide-expanded wings,
And seemed to buoy him in his level flight.
Thinking to pass, without disturbing him,
I stole on tip-toe; but the poet paused,
Subsiding into man, and steadily
Bent on my face the lustre of his eyes.
Then, taking both my trembling hands in his—
You know how his God-troubled forehead awes—
He looked into my eyes, and shook his head,
As if he dared not speak of what he saw;
Then muttered, sighed, and slowly turned away
The weight of his intolerable brow.
When I glanced back, I saw him, as before,
Sailing adown the hall on out-spread wings.
Indeed, my lord, he should not do these things;
They strain the weakness of mortality
A jot too far. As for poor Ritta, she
Fled like a doe, the truant.
RITTA. Yes, forsooth:
There's something terrible about the man.
Ugh! if he touched me, I should turn to ice.
I wonder if Count Lanciotto looks—
GUIDO. Ritta, come here. [Takes her apart.
RITTA. My lord.
GUIDO. 'Twas my command,
You should say nothing of Count Lanciotto.
RITTA. Nothing, my lord.
GUIDO. You have said nothing, then?
RITTA. Indeed, my lord.
GUIDO. 'Tis well. Some years ago,
My daughter had a very silly maid,
Who told her sillier stories. So, one day,
This maiden whispered something I forbade—
In strictest confidence, for she was sly:
What happened, think you?
RITTA. I know not, my lord.
GUIDO. I boiled her in a pot.
RITTA. Good heaven! my lord.
GUIDO. She did not like it. I shall keep that pot
Ready for the next boiling.
[Walks back to the others.
RITTA. Saints above!
I wonder if he ate her! Boil me—me!
I'll roast or stew with pleasure; but to boil
Implies a want of tenderness,—or rather
A downright toughness—in the matter boiled,
That's slanderous to a maiden. What, boil me—
Boil me! O! mercy, how ridiculous!
[Retires, laughing.
Enter a MESSENGER.
MESSENGER. Letters, my lord, from great Prince Malatesta.
[Presents them, and exit.
GUIDO. [Aside.] Hear him, ye gods!—"from great Prince Malatesta!"
Greeting, no doubt, his little cousin Guido.
Well, well, just so we see-saw up and down.
[Reads.]
"Fearing our treachery,"—by heaven, that's blunt,
And Malatesta-like!—"he will not send
His son, Lanciotto, to Ravenna, but"—
But what?—a groom, a porter? or will he
Have his prey sent him in an iron cage?
By Jove, he shall not have her! O! no, no;
"He sends his younger son, the Count Paolo,
To fetch Francesca back to Rimini."
That's well, if he had left his reasons out.
And, in a postscript—by the saints, 'tis droll!—
"'Twould not be worth your lordship's while to shut
Paolo in a prison; for, my lord,
I'll only pay his ransom in plain steel:
Besides, he's not worth having." Is there one,
Save this ignoble offshoot of the Goths,
Who'd write such garbage to a gentleman?
Take that, and read it. [Gives letter to CARDINAL.
CARDINAL. I have done the most.
She seems suspicious.
GUIDO. Ritta's work.
CARDINAL. Farewell!
FRANCESCA. Father, you seem distempered.
GUIDO. No, my child,
I am but vexed. Your husband's on the road,
Close to Ravenna. What's the time of day?
FRANCESCA. Past noon, my lord.
GUIDO. We must be stirring, then.
FRANCESCA. I do not like this marriage.
GUIDO. But I do.
FRANCESCA. But I do not. Poh! to be given away,
Like a fine horse or falcon, to a man
Whose face I never saw!
RITTA. That's it, my lady.
GUIDO. Ritta, run down, and see if my great pot
Boils to your liking.
RITTA. [Aside.] O! that pot again!
My lord, my heart betrays me; but you know
How true 'tis to my lady. [Exit.
FRANCESCA. What ails Ritta?
GUIDO. The ailing of your sex, a running tongue.
Francesca, 'tis too late to beat retreat:
Old Malatesta has me—you, too, child—
Safe in his clutch. If you are not content,
I must unclose Ravenna, and allow
His son to take you. Poh, poh! have a soul
Equal with your estate. A prince's child
Cannot choose husbands. Her desires must aim,
Not at herself, but at the public good.
Both as your prince and father, I command;
As subject and good daughter, you'll obey.
FRANCESCA. I knew that it must be my destiny,
Some day, to give my hand without my heart;
But—
GUIDO. But, and I will but you back again!
When Guido da Polenta says to you,
Daughter, you must be married,—what were best?
FRANCESCA. 'Twere best Francesca, of the self-same name,
Made herself bridal garments. [Laughing.
GUIDO. Right!
FRANCESCA. My lord,
Is Lanciotto handsome—ugly—fair—
Black—sallow—crabbed—kind—or what is he?
GUIDO. You'll know ere long. I could not alter him,
To please your taste.
FRANCESCA. You always put me off;
You never have a whisper in his praise.
GUIDO. The world reports it.—Count my soldiers' scars,
And you may sum Lanciotto's glories up.
FRANCESCA. I shall be dutiful, to please you, father.
If aught befall me through my blind submission,
Though I may suffer, you must bear the sin.
Beware, my lord, for your own peace of mind!
My part has been obedience; and now
I play it over to complete my task;
And it shall be with smiles upon my lips,—
Heaven only knows with what a sinking heart!
[Exeunt.
SCENE II.
The Same. Before the Gates of the City. The walls hung with banners, flowers, etc., and crowded with citizens. At the side of the scene is a canopied dais, with chairs of state upon it. Music, bells, shouts, and other sounds of rejoicing, are occasionally heard. Enter GUIDO, the CARDINAL, NOBLEMEN, KNIGHTS, GUARDS, etc., with banners, arms, etc.
GUIDO. My lord, I'll have it so. You talk in vain.
Paolo is a marvel in his way:
I've seen him often. If Francesca take
A fancy to his beauty, all the better;
For she may think that he and Lanciotto
Are like as blossoms of one parent branch.
In truth, they are, so far as features go—
Heaven help the rest! Get her to Rimini,
By any means, and I shall be content.
The fraud cannot last long; but long enough
To win her favour to the family.
CARDINAL. Tis a dull trick. Thou hast not dealt with her
Wisely nor kindly, and I dread the end.
If, when this marriage was enjoined on thee,
Thou hadst informed Francesca of the truth,
And said, Now daughter, choose between
Thy peace and all Ravenna's; who that knows
The constant nature of her noble heart
Could doubt the issue? There'd have been some tears,
Some frightful fancies of her husband's looks;
And then she'd calmly walk up to her fate,
And bear it bravely. Afterwards, perchance,
Lanciotto might prove better than her fears,—
No one denies him many an excellence,—
And all go happily. But, as thou wouldst plot,
She'll be prepared to see a paragon,
And find a satyr. It is dangerous.
Treachery with enemies is bad enough,
With friends 'tis fatal.
GUIDO. Has your lordship done?
CARDINAL. Never, Count Guido, with so good a text.
Do not stand looking sideways at the truth;
Craft has become thy nature. Go to her.
GUIDO. I have not heart.
CARDINAL. I have. [Going.
GUIDO. Hold, Cardinal!
My plan is better. Get her off my hands,
And I care not.
CARDINAL. What will she say of thee,
In Rimini, when she detects the cheat?
GUIDO. I'll stop my ears up.
CARDINAL. Guido, thou art weak,
And lack the common fortitude of man.
GUIDO. And you abuse the license of your garb,
To lesson me. My lord, I do not dare
To move a finger in these marriage-rites.
Francesca is a sacrifice, I know,—
A limb delivered to the surgeon's knife,
To save our general health. A truce to this.
Paolo has the business in his hands:
Let him arrange it as he will; for I
Will give Count Malatesta no pretext
To recommence the war.
CARDINAL. Farewell, my lord.
I'll neither help nor countenance a fraud.
You crafty men take comfort to yourselves,
Saying, deceit dies with discovery.
'Tis false; each wicked action spawns a brood,
And lives in its succession. You, who shake
Man's moral nature into storm, should know
That the last wave which passes from your sight
Rolls in and breaks upon eternity! [Exit.
GUIDO. Why, that's a very grand and solemn thought:
I'll mention it to Dante. Gentlemen,
What see they from the wall?
NOBLEMAN. The train, my lord.
GUIDO. Inform my daughter.
NOBLEMAN. She is here, my lord.
Enter FRANCESCA, RITTA, LADIES, ATTENDANTS, etc.
FRANCESCA. See, father, what a merry face I have,
And how my ladies glisten! I will try
To do my utmost, in my love for you
And the good people of Ravenna. Now,
As the first shock is over, I expect
To feel quite happy. I will wed the Count,
Be he whate'er he may. I do not speak
In giddy recklessness. I've weighed it all,—
'Twixt hope and fear, knowledge and ignorance,—
And reasoned out my duty to your wish.
I have no yearnings towards another love:
So, if I show my husband a desire
To fill the place with which he honours me,
According to its duties, even he—
Were he less noble than Count Lanciotto—
Must smile upon my efforts, and reward
Good will with willing grace. One pang remains.
Parting from home and kindred is a thing
None but the heartless, or the miserable,
Can do without a tear. This home of mine
Has filled my heart with two-fold happiness,
Taking and giving love abundantly.
Farewell, Ravenna! If I bless thee not,
Tis that thou seem'st too blessed; and 'twere strange
In me to offer what thou'st always given.
GUIDO. [Aside.] This is too much! If she would rail a while
At me and fortune, it could be endured. [Shouts, music, etc., within.
FRANCESCA. Ha! there's the van just breaking through the wood!
Music! that's well; a welcome forerunner.
Now, Ritta—here—come talk to me. Alas!
How my heart trembles! What a world to me
Lies 'neath the glitter of yon cavalcade!
Is that the Count?
RITTA. Upon the dapple-gray?
FRANCESCA. Yes, yes.
RITTA. No; that's his—
GUIDO. [Apart to her.] Ritta!
RITTA. Ay; that's—that's—
GUIDO. Ritta, the pot! [Apart to her.
RITTA. O! but this lying chokes! [Aside.]
Ay, that's Count Somebody, from Rimini.
FRANCESCA. I knew it was. Is that not glorious?
RITTA. My lady, what?
FRANCESCA. To see a cavalier
Sit on his steed with such familiar grace.
RITTA. To see a man astraddle on a horse!
It don't seem much to me.
FRANCESCA. Fie! stupid girl!
But mark the minstrels thronging round the Count!
Ah! that is more than gallant horsemanship.
The soul that feeds itself on poesy,
Is of a quality more fine and rare
Than Heaven allows the ruder multitude.
I tell you, Ritta, when you see a man
Beloved by poets, made the theme of song,
And chaunted down to ages, as a gift
Fit for the rich embalmment of their verse,
There's more about him than the patron's gold.
If that's the gentleman my father chose,
He must have picked him out from all the world.
The Count alights. Why, what a noble grace
Runs through his slightest action! Are you sad?
You, too, my father? Have I given you cause?
I am content. If Lanciotto's mind
Bear any impress of his fair outside,
We shall not quarrel ere our marriage-day.
Can I say more? My blushes speak for me:
Interpret them as modesty's excuse
For the short-comings of a maiden's speech.
RITTA. Alas! dear lady! [Aside.
GUIDO. [Aside.] 'Sdeath! my plot has failed,
By overworking its design. Come, come;
Get to your places. See, the Count draws nigh.
GUIDO and FRANCESCA seat themselves upon the dais, surrounded by RITTA, LADIES, ATTENDANTS, GUARDS, etc. Music, shouts, ringing of bells, etc. Enter MEN-AT-ARMS, with banners, etc.; PAGES bearing costly presents on cushions; then PAOLO, surrounded by NOBLEMEN, KNIGHTS, MINSTRELS, etc., and followed by other MEN-AT-ARMS. They range themselves opposite the dais.
GUIDO. Ravenna welcomes you, my lord, and I
Add my best greeting to the general voice.
This peaceful show of arms from Rimini
Is a new pleasure, stranger to our sense
Than if the East blew zephyrs, or the balm
Of Summer loaded rough December's gales,
And turned his snows to roses.
PAOLO. Noble sir,
We looked for welcome from your courtesy,
Not from your love; but this unhoped for sight
Of smiling faces, and the gentle tone
In which you greet us, leave us naught to win
Within your hearts. I need not ask, my lord,
Where bides the precious object of my search;
For I was sent to find the fairest maid
Ravenna boasts, among her many fair.
I might extend my travel many a league,
And yet return, to take her from your side.
I blush to bear so rich a treasure home,
As pledge and hostage of a sluggish peace;
For beauty such as hers was meant by Heaven
To spur our race to gallant enterprise,
And draw contending deities around
The dubious battles of a second Troy.
GUIDO. Sir Count, you please to lavish on my child
The high-strained courtesy of chivalry;
Yet she has homely virtues that, I hope,
May take a deeper hold in Rimini,
After the fleeting beauty of her face
Is spoiled by time, or faded to the eye
By its familiar usage.
PAOLO. As a man
Who ever sees Heaven's purpose in its works,
I must suppose so rare a tabernacle
Was framed for rarest virtues. Pardon me
My public admiration. If my praise
Clash with propriety, and bare my words
To cooler judgment, 'tis not that I wish
To win a flatterer's grudged recompense,
And gain by falsehood what I'd win through love.
When I have brushed my travel from my garb,
I'll pay my court in more befitting style.
Music. Exit with his train.
GUIDO. [Advancing.] Now, by the saints, Lanciotto's deputy
Stands in this business with a proper grace,
Stretching his lord's instructions till they crack.
A zealous envoy! Not a word said he
Of Lanciotto—not a single word:
But stood there, staring in Francesca's face
With his devouring eyes.—By Jupiter,
I but half like it!
FRANCESCA. [Advancing.] Father?
GUIDO. Well, my child.
FRANCESCA. How do you like—
GUIDO. The coxcomb! I've done well!
FRANCESCA. No, no; Count Lanciotto?
GUIDO. Well enough.
But hang this fellow—hang your deputies!
I'll never woo by proxy.
FRANCESCA. Deputies!
And woo by proxy!
GUIDO. Come to me anon.
I'll strip this cuckoo of his gallantry!
[Exit with GUARDS, etc.
FRANCESCA. Ritta, my father has strange ways of late.
RITTA. I wonder not.
FRANCESCA. You wonder not?
RITTA. No, lady:
He is so used to playing double games,
That even you must come in for your share.
Plague on his boiling! I will out with it. [Aside.]
Lady, the gentleman who passed the gates—
FRANCESCA. Count Lanciotto? As I hope for grace,
A gallant gentleman! How well he spoke!
With what sincere and earnest courtesy
The rounded phrases glided from his lips!
He spoke in compliments that seemed like truth.
Methinks I'd listen through a summer's day,
To hear him woo.—And he must woo to me—
I'll have our privilege—he must woo a space,
Ere I'll be won, I promise.
RITTA. But, my lady,
He'll woo you for another.
FRANCESCA. He?—ha! ha! [Laughing.]
I should not think it from the prologue, Ritta.
RITTA. Nor I.
FRANCESCA. Nor any one.
RITTA. 'Tis not the Count—
'Tis not Count Lanciotto.
FRANCESCA. Gracious saints!
Have you gone crazy? Ritta, speak again,
Before I chide you.
RITTA. 'Tis the solemn truth.
That gentleman is Count Paolo, lady,
Brother to Lanciotto, and no more
Like him than—than—
FRANCESCA. Than what?
RITTA. Count Guido's pot,
For boiling waiting-maids, is like the bath
Of Venus on the arras.
FRANCESCA. Are you mad,—
Quite mad, poor Ritta?
RITTA. Yes; perhaps I am.
Perhaps Lanciotto is a proper man—
Perhaps I lie—perhaps I speak the truth—
Perhaps I gabble like a fool. O! heavens,
That dreadful pot!
FRANCESCA. Dear Ritta!—
RITTA. By the mass,
They shall not cozen you, my gentle mistress!
If my lord Guido boiled m
|
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https://www.soundstrue.com/products/the-writing-life
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en
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The Writing Life
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Through their many bestselling books, Natalie Goldberg and Julia Cameron have done nothing less than deepen the way millions of us experience the art and practice of writing and creativity. Now with The Writing Life, Cameron and Goldberg join forces for the first time in this revealing dialogue that speaks to our commo
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en
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Sounds True
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https://www.soundstrue.com/products/the-writing-life
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https://ghaahd.crecschools.org/fragileshore
|
en
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Upon the Fragile Shore
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https://ghaahd.crecschools.org/fragileshore
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About the Play:
Upon the fragile shore received its Canadian premiere at the 2015 SummerWorks Festival in Toronto August 6-16, 2015. The script was developed, in part, during a 2014 NoPassport theatre alliance and press human and environmental rights live theatre and digital film action. It received numerous readings during its development, among them, at ion theatre in San Diego, and New Dramatists in New York City.
Caridad Svich (playwright) Caridad Svich is a playwright, screenwriter, translator, editor, lyricist, essayist, educator and freelance arts journalist. Her first independent feature film (as co-screenwriter) Fugitive Dreams, based on her play, premiered at the 2020 Fantasia Film Festival, 2020 Austin Film Festival and the 2020 Tallinn Black Nights Festival, and 2021 Manchester Film Festival (UK) and the 2021 Maryland Film Festival. Three of her new plays were on the 2020 Kilroys List. She has received the 2012 OBIE for Lifetime Achievement, the 2011 American Theatre Critics Association Primus Prize for The House of the Spirits, based on Isabel Allende’s novel, and NNPN rolling world premieres for her plays RED BIKE and Guapa. She has also been a Harvard/Radcliffe Institute Fellow, Tanne Foundation Fellow, NEA/TCG, Pew Fellow, and Visiting Research Fellow at Royal Central School of Speech and Drama. She was awarded the 2018 Ellen Stewart Award for Career Achievement in Professional Theatre from the Association for Theatre in Higher Education. Her works in English and Spanish have been produced internationally. Other key plays in her repertoire include Alchemy of Desire/Dead-Man’s Blues, The Book of Magdalene, 12 Ophelias, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, The Way of Water, and Theatre: a love story (published in January 2022 issue of Yale’s THEATER magazine), and Ushuaia Blue. A significant body of her work focuses on human and environmental rights and the ‘fragile shores’ upon which many of us live. She also sustains a parallel career as a theatrical translator, chiefly known for her translations of the plays of Federico Garcia Lorca; she has also adapted for the stage novels by Julia Alvarez, Mario Vargas Llosa, Rosario Ferre, Jose Leon Sanchez, and Gabriel Garcia Marquez; she has also radically reconfigured works by Shakespeare, Euripides, Sophocles and Wedekind. She is founder of NoPassport theatre alliance and press and is an editor at Contemporary Theatre Review for Routledge UK and is on the board of Global Performance Studies. She is published by TCG, Seagull Books, Intellect UK, among others. Her most recent books are Hedwig and the Angry Inch (Routledge 4 th Wall Series), and Toward a Future Theatre: Conversations During a Pandemic (Methuen Drama). She is in post-production with her second independent feature film Abilene as screenwriter. She is an alumna playwright of New Dramatists, member of Ensemble Studio Theatre, and an affiliated artist with New Georges, NNPN, and the Woodshed Collective. She has taught at numerous colleges and universities throughout her career, among them Bard College, Barnard College Rutgers University-New Brunswick, New York University and the Yale School of Drama. She trained with the legendary Maria Irene Fornes for four consecutive years at INTAR’s famous HPR Lab. She holds an MFA from UCSD and a BCA from UNCC. Visit her at https://caridadsvich.com.
Brian Jennings (director): is a Connecticut based actor, director and teacher. As a member of Hartbeat Ensemble, he has developed roles in Flipside, Comply, and most recently, Sleepover Stories. He directed multiple productions of Ebeneeza: A Hartford Holiday Carol and worked with musician Samite Mulondo to develop his autobiographical solo show, Resilience. He directed the workshops and debut production of Talvin Wilks’ Jimmy and Lorraine: A Musing, as well as subsequent productions at the Ko Festival and Pillsbury House in Minneapolis. His adaptation, RAVE: The Bacchae of Euripides - Remixed was performed at the Edinburgh Festival Fringe. He performed on multiple tours with the National Theater of the Deaf as a voicing actor and playwright. He has played the roles of Oberon, Malvolio and Macbeth as part of Artfarm’s Shakespeare in the Grove. He is the Head of the Theater Department at the Greater Hartford Academy of the Arts, and serves on the faculty of the Hartt School’s Actor Training Program. He has worked as a teaching artist in Cape Verde and South Africa. He holds degrees from Princeton University and the National Theater Conservatory. He lives in Bolton, CT with his wife Eileen.
Mellissa Craig (choreographer): is a first generation American; born into Jamaican parents. She is an accomplished dancer in Modern, African, and Caribbean folk forms, as well as a trained stilt walker. She holds a Bachelor of Science in Biology from Trinity College. Mellissa is a current company member and teaching artist for the Judy Dworin Performance Project, FriendZWorldMusic, and Island reflections Dance Theatre Company. She has enjoyed great success in performing and touring throughout CT, New England, and internationally. Also, as a Board member for both HartBeat Ensemble and Night Fall, Mellissa has had the pleasure of working alongside others to build strong connections in performance art, arts education, social justice and community empowerment.
Paul Dente (Light Design) has the pleasure of working as the Technical Director and Lighting Supervisorc for the CREC Greater Hartford Academy of the Arts Half Day program. Paul is an Alumni of the Western Connecticut State University theatre program with a focus in design tech. He has worked in technical theater roles including carpentry, sound, and lighting with several theaters both locally in CT and in New York City.
Dominic Aguiar Cunha (The Son in Caracas) I live in Newington, Connecticut and attend Newington High School and the Greater Hartford Academy of the Arts. I have been an artist for as long as I can remember, but theater is my one true calling. I joined this industry when I was 13 and I will never look back. Performing at the Fringe is really just another way for me to take another step towards being the artist I have always wanted to be. A creative, free, passionate person with a lot of love to share with the world.
Alex Briere (The Insignificant Person) is a junior at Middletown High School, and a third-year at the Greater Hartford Academy of the Arts - Half Day program as a music major, primarily in vocals. Alex also plays ukulele, guitar, and electric bass. He has been writing music since age 10, and also likes to dabble in the Musical Theatre realm. They were in their 8th grade production of "School House Rock - Live ! Jr" and in "RENT" as ensemble their sophomore year. Alex loves performing in any way, and wants to pursue it
Briar Boehm (The Parent in Aurora) is a recent graduate of East Granby High School and the Greater Hartford Academy of the Arts, who will be attending the Savannah College of Art & Design in the fall.
Lia Crosby (The One Left in Kuala Lumpur) I am a rising senior in high school from Simsbury, CT. I am a part of the amazing theater department at the Greater Hartford Academy of the Arts -Half Day program. A cool fact about me is I can twirl fire! After high school I hope to pursue acting in college and go into on screen acting. It will be such an awesome opportunity to travel and experience theater from cultures all over the globe, and to take back some new skills and techniques to help myself improve.
Grace Darling (The One Left in Kuala Lumpur): (she/her) is an enjoyer of good food, good music, and good times. She expects to find all of these things on her trip to the Fringe, along with the incredible experience of performing internationally. She is entering her senior year at the Greater Hartford Academy of the Arts (GHAA), where she majors in Theater. She also attends Granby Memorial High School where she is a member of the National Honor Society. Grace plans to continue studying acting in college, though the recent launch of her directing career at GHAA may influence the course of her studies. She is thrilled to be returning to the Fringe, (this time as an actress) after marching with the Marquis of Granby Jr. Fyfe and Drum Corps in 2018. She is also excited to experience theater outside of the United States with her Academy family, and hopes to carry this experience with her for the rest of her performing career.
Denali Diaz (The Parent in Caracas) is a recent graduate of the Greater Hartford Academy of the Arts. She lives in Hartford, CT.
Abigail Friend (The Daughter in Aurora) is a Junior at Southington High School, and a 3rd-year theater major at Greater Hartford Academy of the Arts Half-Day. She stays busy outside of school, by playing field hockey, playing the violin, being a part of her town’s STEPS youth council, Key Club, and of course, doing lots of plays. She is also Junior Teen Miss Plantsville! She has been acting since she was 5-years-old, and does not plan on stopping anytime soon. She has been in 60+ movies, TV shows, and commercials. Abigail is also the youngest team leader of the 48 Hour Film Project in the world and is a part of SAG-AFTRA.
Liliana Giselle (The Storyteller) is a high school student from Wethersfield, Connecticut. They study Musical Theatre at the Greater Hartford Academy of the Arts. During free time they enjoy writing, reading, and listening to lots and lots of music. Since they were young they have loved to consume and tell stories. After high school they plan to study theatre/music at a conservatory or university. The thing they're most looking forward to experiencing at the Fringe is being surrounded by lots of art, art-lovers, and artists!
Sophia Goldman (The One Left in Damascus)is a rising junior at Hall High School and a Theater Major at the Greater Hartford Academy of the Arts. She lives in West Hartford, CT.
Saige Hollis (The Parent in Jos) (she/her) is a recent graduate of Greater Hartford Academy of the Arts Full day as well as the half day program as a dance major. Saige has been dancing since the age of 3 and will continue to study dance at Temple University in the fall. Saige has had various lead roles at the Connecticut Concert Ballet as well as participated in plays with the Hartford Stage Company. Saige is very excited to be participating in a performance overseas and enjoys going outside her comfort zone with theater.
Jenaesia Jones (The One Left in Dakhla) I am an African American-Mexican American Christian artist. I was born and raised Connecticut and my Art is the most important thing in my life. I am mostly Theatre and Musical Theatre based in my artistry. I go to Enfield High School and Greater Hartford Academy of the Arts Half Day Program. I am a passionate, big personality and lively person and I always try to lead life with a positive pep in my step. I am in love with pickles, flowers and beautiful views. As a Bipoc artist and student it is incredibly important to me that my art is representative of my culture. My art is meant to tell the stories of the unknown and people who are not heard. I am so excited to go and explore The Fringe and all the art there and just see new art from all over the world. I am so beyond happy and blessed to be going on this journey.
Ellie Kelly (Company Manager)(she/they) is from New Britain, CT. They attend the Greater Hartford Academy of the Arts Half Day Program and are homeschooled for the other half of the day. They are a theater major at GHAA and have been in the performing arts since they were 3 years old. They always try their best to be an active member of the team, and hopes that their art can resonate with as many people as possible. They always make sure to embrace all aspects of the craft, both on and off the stage, and make it their duty to learn from as many diverse perspectives as they can. The Edinburgh Festival Fringe is the newest, but definitely not last, opportunity Ellie is taking on, and they hope to learn from every aspect of this experience to its fullest potential and seize every moment of this exciting adventure. They would like to thank their family, friends, and mentors that have helped them grow along the way for all of their support and love.
Amayah Lebron (Stage Manager) I was born and raised in Hartford , CT and this year I will be finishing up my junior year at Greater Hartford Academy of the Arts. Outside of occasionally stage managing and set designing , in Theater Design and Production, I take film production classes which I enjoy spending most of my free time developing my own projects for. This summer I will be representing my department of TDP as a stage manager overseas! Personally I've never been out of the country or traveled on a school trip. Being a part of the GHAA community and taking our performing arts to showcase such a big festival is what excites me! After graduation I plan on keeping theater in my life as more than a hobby by stage managing throughout the year with local theater programs while continuing school.
Emily Massicotte (The Daughter in Aurora/The Woman) (she/her) is a rising senior at Rocky Hill High School and The Greater Hartford Academy of the Arts (GHAA) Musical Theater department. Emily has always been drawn to the spotlight, starring as Elsa in Frozen, Annie in Annie, and Mary Poppins in Mary Poppins, among countless others. Clearly, Emily began as a hardcore musical theater kid, though GHAA has recently helped broaden her horizons, encouraging her to take risks in her acting and to explore other aspects to the performance industry. However, she is thankful to always have her musical training to fall back on, as showcased in Upon the Fragile Shore. Emily hopes her time at the Fringe will continue to expose her to more unique types of theater. She is especially thankful to be embarking on this once in a lifetime journey with her chosen family. Emily truly believes they will take their Fringe experiences home with them to create a difference at their high schools and beyond.
Vanessa Meole (The Sibling in Boston) I'm an incoming freshman at the Hartt School’s Actor Training Program, and recent graduate of the Greater Hartford Academy of the Arts – Half Day program from Wolcott, CT. When not working on an upcoming performance, I can be found skateboarding or playing guitar in my room. I want to pursue a career in the arts after graduating college. I'm excited to be attending the Fringe and to be exposed to lots of new art from different parts of the world!”
Tiana Nicole (The One Left in Port Sulphur) is an alumna of Bloomfield High School and Greater Hartford Academy of the Arts and is currently an incoming freshman at Eastern Connecticut State University where she will major in Theatre Arts (BFA). She started her career at around 7 years old and has since then performed locally in community theater and professionally at Hartford Stage Company for five consecutive years. Her accomplishments include founding the organizations Black, Beauty & Butterflies (a support group for girls of color living with Turner Syndrome), and Black Excellence in Theatre Arts aka B.E.T.A.(showcasing black excellence in the arts). During her junior year, she was awarded second place in the August Wilson Monologue competition and went on to nationals. During her senior year, she took on the opportunity to perform on the Greater Hartford Academy of the Arts stage on multiple occasions performing in plays including Anon(ymous).
Jazmyn Rhule (Costume Designer/Asst. Stage Manager)is a rising senior at Manchester High School and the Greater Hartford Academy of the Arts – Half Day, where she majors in Theater.
Kyleen Spivey (The One Left in Kuala Lumpur) is a rising senior at Ellington High School and the Greater Hartford Academy of the Arts Half Day program where she is in the Theater Department. Kyleen loves everything about theater. Her ultimate dream is to get a bachelor's degree in theater and become a film actress. She’s very excited to perform at the Edinburgh Fringe Festival and is so grateful for this opportunity. Kyleen hopes this trip will open her eyes to new kinds of art and change her perspective of theater. She’s excited to learn from and enjoy this experience. Kyleen would like to thank the head of the theater department, Brian Jennings, as well as the rest of the GHAA faculty and students for being there for her these past few years.
Nayarr Taylor (The One who Sells in Jos) is from Middletown, Connecticut and a fourth year at Middletown High School and Greater Hartford Academy of the Arts - Half Day program where he is a Theater major. While studying theater he also can play various instruments and has directed two shows Power is within the People and Power is within the Stories. He also performed in Anon(ymous) (Pascal), Condition Critical (Oliver Byrd) and The Ransom of Ms Elvanor Dower (Tim Stack) . He joined the theater world at just 8 years old and all the hard work and effort he put in has earned him a spot to the Fringe performing Upon the fragile shore.
Jamie Urrunaga (The One Left in Kuala Lumpur) is a rising third year in the Theater Department at GHAA and a rising senior at Berlin High School in Berlin, Connecticut. In his free time he enjoys being active in local politics, playing D&D with his friends, and spending time with his partner. As of now, he has no solid plan for his post-secondary education, however he intends to get an Arts degree and try to become an Educator. He is excited to travel to Scotland because it will be his first time ever travelling to perform, and his longest time having been outside of the country.
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https://thesapphoproject.com/blog/wrk-lab-finalist-spotlight-may-elise-amp-chandra
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Elise & Chandra — The Sappho Project
|
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2020-10-15T15:26:00-04:00
|
“As musical theatre writers, though, we bonded over a common love of Rodgers and Hammerstein’s work. We keep coming back to how they approach character development, and define and subvert conventional dramatic structures. Early in our partnership, we watched The King and I together, and it influen
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en
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https://images.squarespace-cdn.com/content/v1/5fb54fef3ad4d05ddbc24dce/1606790969197-VD7C6B1N3NACRM8P5O44/favicon.ico?format=100w
|
The Sappho Project
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https://thesapphoproject.com/blog/wrk-lab-finalist-spotlight-may-elise-amp-chandra
|
We received an unprecedented 59 applications for The W*rk Lab, leaving us hopelessly in love with 59 profound writing teams. Because we were only able to support the development of four new musicals, but were so moved by the w*rk, we’ll be shining a light on our finalists for the next few weeks on Sappho Small Talk.
To begin, Sappho is our “muse.” Would you say you have a writing muse? If so, who?
May-Elise: Ooh, that’s a tough one!
Chandra: I feel like it really depends on the project. For The First Year, we’ve been strongly inspired by all the biographies and memoirs we read -- by Kate Bornstein, Jayne County, Renee Richards, Christine Jorgensen... the list goes on. Most were artists in their own right, so that’s doubly inspiring!
May-Elise: As musical theatre writers, though, we bonded over a common love of Rodgers and Hammerstein’s work. We keep coming back to how they approach character development, and define and subvert conventional dramatic structures. Early in our partnership, we watched The King and I together, and it influenced how we conceived the dual protagonists and integrated the ensemble of The First Year.
Chandra: A shout out to Julia Cameron as well. The Artist’s Way offered some invaluable guidelines for the creative process. We’re especially fond of her invitation to “play,” and her suggestion to develop a nurturing space in the early stages of writing.
May-Elise: Yes, that last point is something Chandra has been great at advocating! It’s easy to get discouraged as you begin creating new work. Once the muse is visiting, you really don’t want to scare her off with too much feedback—and criticism is definitely off limits. You need a supportive, encouraging, iterative environment.
Chandra: Word.
May-Elise: So, we have many muses…
Chandra: In true mythological style! Weren’t there, like, nine?
How are you finding your voice as a new writer within the musical theater landscape?
Chandra: ...by writing? A lot? That’s the only way I seem to find anything. By writing through it. In good collaborative company, preferably.
May-Elise: I think it’s tricky to discuss ‘voice’ -- I feel like it sometimes gets you pigeonholed into a certain genre. As a team, we really value letting the writing serve the project.
Chandra: We’re also early in our career together, so I suspect that “voice” will crystallize as we take on more projects. For The First Year, we’ve been playing a lot with fragmentation, and how it manifests in both music and words. I’m not sure we’ll carry that flavor into our next project -- it’s so particular to this story.
May-Elise: I definitely want to write a pseudo-opera for Josh Groban!
Chandra: So on board. Lyrical and a little dark. The heart of The First Year with a Phantom of the Opera twist.
May-Elise: No. I just want to hire Josh Groban!
Chandra: I don’t know if this answers the question about voice, but we’re really drawn to subjects that are... not super light and fluffy? We’re excited about tapping into musical theatre’s potential to create and explore psychological and emotional spaces.
May-Elise: And nobody explores emotional spaces quite like Josh Groban.
What are the themes and ideas you're most excited about exploring within your writing?
Chandra: Not to rip off our artistic statement, but -- we’re mildly obsessed with exploring gender, power dynamics, and the way both play out in communities, whether we’re born into or create them.
May-Elise: And regardless of the stories or themes we’re writing, we want to create complex and interesting women for the stage. Especially young women. I feel like when I was in high school, there were such a small number of age-appropriate parts. You basically only had Liesle from The Sound of Music and Louisa from The Fantastics... Little Red from Into the Woods, if you were a belter…
Chandra: Maybe Fred from Once Upon a Mattress... although she’s usually played by a more mature actress...
May-Elise: Point being, there’s just not that much to sink your teeth into when you’re an aspiring performer and itching to get on stage.
Chandra: So with The First Year, we wrote a show with seven principal parts for young actors -- college students -- and a large student ensemble. I mean, why not?
Who is your target audience and how are you hoping to impact them?
May-Elise: Our focus is definitely young adults, but ideally the work will appeal to... you know... everyone.
Chandra: For our next project, we’re planning to tackle a story that spotlights a lot of the gray areas surrounding emotional abuse. The main character is a teenager. If I was asked to give a talk on the subject in front of a YA audience... I wouldn’t know where to begin.
May-Elise: But there’s something so powerful about being able to sing through an experience—to give voice to things that are difficult to articulate—
Chandra: And to be in an audience, sharing a character’s story, and knowing— “that...that is what I am feeling...that’s a thing that actually happens.”
May-Elise: It makes it easier...hopefully...to have a conversation afterwards. I think that’s what we want to cultivate. Conversation and empathy.
Is there a song that encapsulates your artistic identity?
Chandra: Ooh... I’m pretty sure we’re both still hung up on “Omar Sharif” from The Band’s Visit.
May-Elise: So gorgeous, so lyrical…
Chandra: Bridging all these different worlds without losing the thread of the moment...
May-Elise: I also love that, from a dance perspective, it’s a perfect American Smooth Viennese Waltz. When you hear it, you immediately feel this desire to move and dance to the music... you literally get swept into her world.
Chandra: And that it’s so simple—fantasy and reality and moving between them. From a lyric perspective, I feel like that can be challenging to do without getting flashy or maudlin.
May-Elise: But it also feels like the muse question…to choose one song...
Chandra: We could name at least eight more!
Where can we see some of your work?!
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https://www.theguardian.com/books/2022/jan/14/the-artists-way-at-30-alicia-keyes-pete-townsend-and-the-surprising-re-birth-of-a-creativity-classic
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en
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The Artist’s Way at 30: Alicia Keys, Pete Townshend and the surprising re-birth of a creativity classic
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2022-01-14T00:00:00
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Three decades after it was first published, Julia Cameron’s creativity manual was a lockdown hit. Could we all learn from her guide to ‘artistic recovery’?
|
en
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the Guardian
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https://www.theguardian.com/books/2022/jan/14/the-artists-way-at-30-alicia-keyes-pete-townsend-and-the-surprising-re-birth-of-a-creativity-classic
|
Just over 30 years ago, Julia Cameron’s agent gave her the immortally bad advice that no one was going to be interested in a book about creativity. “What on earth are you doing?” the agent demanded.
Instead of shelving her manuscript, Cameron photocopied it and started selling it by hand. She got a new agent, signed a deal with mind, body and spirit publisher Tarcher Books and in 1992 they released The Artist’s Way with an initial print run of 9,000 copies. Since then, more than 4m have been sold around the world.
It sounds like a fairy story, but this was a book born of struggle. Cameron’s was a life of precipitous highs and lows. Born in 1948, she embarked on a successful journalistic career in her 20s, writing for the Washington Post and Rolling Stone magazine. In 1975, she married the up-and-coming director Martin Scorsese and worked, as she says, as his “live-in-writer” on classic films such as Taxi Driver and New York, New York. But their union ended when Cameron discovered Liza Minnelli’s silk shirts in Scorsese’s wardrobe and found herself in a classic Hollywood downward spiral of addiction. She had begun to see cocaine “not as a problem, but as a solution”, she recalls in her memoir, Floor Sample. She was also an “out of control” alcoholic. “I was,” she writes, “not OK.”
It was the subsequent time spent getting sober that helped Cameron develop the ideas that she would turn into The Artist’s Way. Inspired by the Alcoholics Anonymous model, the book offers a programme for “artistic recovery”. Split into 12 chapters designed to be worked through a week at a time, it aims to teach people to unlock their creativity. There are weekly challenges and exercises designed to foster inspiration and overcome the doubts that block creative work. Alongside these weekly tasks, Cameron suggests writing “morning pages” every day. The idea is that you just get words down to help you override your internal censor and develop new ideas and perspectives, by writing at least three pages of longhand, stream-of-consciousness prose before trying any other work. She also invites her readers to take themselves on weekly “artist’s dates”, time set aside to nurture “creative consciousness” by engaging with art, going to a gallery, going for a walk or watching a film – whatever your “inner artist” may appreciate.
The book doesn’t offer an easy route to financial reward. Cameron promises her readers “many doors” will open, but these are artistic doors, not the doors of literary agencies. The big claims she makes are all about “creative recovery”. This, she says, is “a teachable, trackable spiritual process”.
That’s right: spiritual. Like the AA, The Artist’s Way asks you to put trust in the “Great Creator” – or whatever non-denominational higher being you think will help you unleash your potential. This god talk comes alongside an emphasis on self-care that may strike some readers as solipsistic. “Be particularly alert to any suggestion that you have become selfish or different,” counsels Cameron, not because you may have a problem, but because such suggestions may block you. A chapter entitled Recovering a Sense of Compassion turns out to be about helping yourself rather than other people. Readers should also expect vague, unsubstantiated references to the kind of “brain research” that lets us know that “showering is an artist brain activity”.
It’s harder to be sceptical about the practical success of The Artist’s Way. It isn’t just that the book has sold so many copies since Cameron ignored her agent’s advice, it’s that it has generated significant results. Musicians as varied as Alicia Keys, Pete Townshend and Kelly Lee Owens, and writers such as Patricia Cornwell have acknowledged the help that the book has given them. “It completely changed my life,” the actor and director Kerry Washington says on the back of my copy. There’s also a quote on from the multimillion-selling author Elizabeth Gilbert: “Without The Artist’s Way there would have been no Eat, Pray, Love.”
Cameron is capitalising on the anniversary with a sequel of sorts, Seeking Wisdom, which promises “a spiritual path to deeper creativity”. But it has to be noted that not everyone is impressed by these kinds of guides. “They are a total con,” says Lucy Ellmann, the author of the multi-multi-award-winning Ducks, Newburyport. “The time spent reading these books should be spent reading Dickens. Or at least writing.”
But it’s difficult to deny Cameron’s continuing influence. Her sunny American outlook even resonates here in the rainy UK. While researching this article, I’ve asked several classes of creative writing students if they’ve heard of the book and each time two or three talk enthusiastically about the morning pages. Just after her novel Olive was selected as a Waterstones paperback of the year, author Emma Gannon told me: “I took up The Artist’s Way one miserable Christmas when I’d tried and failed for the umpteenth time to write a novel. There was something about the book, not just the content but the feel of it, the tone of it, how supportive it is, that allowed me to follow my creativity and unblock myself. I absolutely feel indebted to Julia Cameron for helping me get out of my rut.”
If the increased attention The Artist’s Way has been getting since the spring 2020 lockdown is anything to go by, Gannon isn’t the only one Cameron has boosted. It was reported that sales of the book doubled in the UK in the first half of the year, and Cameron even found herself being interviewed by Russell Brand on his Under the Skin podcast during that gloomy first April of the pandemic.
“Many of us are trapped indoors, we’re restless, we’re feeling claustrophobic, …we’re feeling that events are beyond our control,” Cameron said, “but what we do have control over is taking the pen to the page.” She recommended the exercises in The Artist’s Way as a method of gaining “confidence, security, enthusiasm and hopefully a little bit of frivolity. Right now we desperately need frivolity.”
On that score, at least, it’s hard to argue. It feels like a message that might even help us through the year ahead.
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https://www.encyclopedia.com/arts/educational-magazines/cameron-julia-1949
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Cameron, Julia 1949(?)-
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Cameron, Julia 1949(?)-PERSONAL:Born c. 1949; married Martin Scorsese (a film director; marriage ended); children: Domenica. Education: Attended Georgetown University and Fordham University.ADDRESSES:Home—Taos, NM. Source for information on Cameron, Julia 1949(?)-: Contemporary Authors, New Revision Series dictionary.
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/sites/default/files/favicon.ico
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https://www.encyclopedia.com/arts/educational-magazines/cameron-julia-1949
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PERSONAL:
Born c. 1949; married Martin Scorsese (a film director; marriage ended); children: Domenica. Education: Attended Georgetown University and Fordham University.
ADDRESSES:
Home—Taos, NM.
CAREER:
Poet, playwright, songwriter, novelist, educator, and author of nonfiction. Director of film God's Will. Journalist; former special correspondent for Chicago Tribune. Teacher of creativity and writing workshops.
AWARDS, HONORS:
Maggie Award for Best Editorial Writing, for story in American Film.
WRITINGS:
ADULT NONFICTION
(With Mark Bryan) The Money Drunk: Ninety Days to Financial Sobriety, Contemporary Books (Chicago, IL), 1992.
(With Mark Bryan) The Artist's Way: A Spiritual Path to Higher Creativity, Perigee (Los Angeles, CA), 1992, 10th anniversary edition, Putnam (New York, NY), 2002.
(With Mark Bryan) The Artist's Way Morning Pages Journal: A Companion Volume to "The Artist's Way," Putnam (New York, NY), 1995.
The Vein of Gold: A Journey to Your Creative Heart, Putnam (New York, NY), 1996.
Heart Steps: Prayers and Exercises for a Creative Life, Putnam (New York, NY), 1997.
(With Michael Toms) The Well of Creativity, Hay House (Carlsbad, CA), 1997.
(With Mark Bryan and Catherine Allen) The Artist's Way at Work: Riding the Dragon, Morrow (New York, NY), 1998.
Blessings: Prayers and Declarations for a Heartful Life, Putnam (New York, NY), 1998.
The Right to Write: An Invitation and Initiation into the Writing Life, Putnam (New York, NY), 1998, portions published as The Writer's Life: Insights from "The Right to Write," Putnam (New York, NY), 2001.
The Artist's Date Book: A Companion Volume to "The Artist's Way," illustrated by Elizabeth Cameron Evans, Putnam (New York, NY), 1999.
Transitions: Prayers and Declarations for a Changing Life, Putnam (New York, NY), 1999.
God Is No Laughing Matter: Observations and Objections on the Spiritual Path, Putnam (New York, NY), 2000.
God Is Dog Spelled Backwards, illustrated by Elizabeth Cameron, Putnam (New York, NY), 2000.
Supplies: A Pilot's Guide to Creative Flight, illustrated by Elizabeth Cameron, Putnam (New York, NY), 2000, revised as Supplies: A Troubleshooting Guide for Creative Difficulties, 2003.
Inspirations: Meditations from "The Artist's Way," Putnam (New York, NY), 2001.
Walking in This World: The Practical Art of Creativity, Putnam (New York, NY), 2002.
Prayers from a Nonbeliever: A Story of Faith, Putnam (New York, NY), 2003.
The Sound of Paper: Starting from Scratch, Putnam (New York, NY), 2004.
Answered Prayers: Love Letters from the Divine, Tarcher (New York, NY), 2004.
How to Avoid Making Art (Or Anything Else You Enjoy), illustrated by Elizabeth Cameron, Tarcher (New York, NY), 2005.
Letters to a Young Artist: Building a Life in Art, Tarcher (New York, NY), 2005.
The Artist's Way Workbook, Tarcher (New York, NY), 2006.
Finding Water: The Art of Perseverance, Tarcher (New York, NY), 2006.
Floor Sample: A Creative Memoir, Tarcher (New York, NY), 2006.
OTHER
The Dark Room (crime fiction), Carroll & Graf (New York, NY), 1998.
Prayers for the Little Ones (for children), Renaissance Books (Los Angeles, CA), 1999.
Prayers to the Nature Spirits (for children), Renaissance Books (Los Angeles, CA), 1999.
Popcorn: Hollywood Stories (fiction), Really Great Books (Los Angeles, CA), 2000.
Author of the plays Avalon (musical based on the life of King Arthur), Four Roses, Public Lives, and The Animal in the Trees. Author of poetry books This Earth and The Quiet Animal; author of introduction, Your Heart's Desire: Instructions for Creating the Life You Really Want, by Sonia Choquette, Crown, 1997. Contributor to screenplays, including Taxi Driver, New York, New York, and American Boy. Contributor of essays to anthologies, including The Rolling Stone Reader. Contributor to periodicals, including New York Times, Washington Post, Los Angeles Times, Rolling Stone, New York, and American Film. Columnist for Vogue and American Film.
ADAPTATIONS:
The Artist's Way was adapted as an audiocassette, recorded by Cameron, Putnam Berkley Audio, 1997.
SIDELIGHTS:
Julia Cameron made a name for herself with her 1992 volume The Artist's Way: A Spiritual Path to Higher Creativity, which she coauthored with fellow teacher Mark Bryan. Containing a twelve-week course in "discovering and recovering your creative self," The Artist's Way is a groundbreaking work that spawned everything from what Utne Reader contributor Jon Spayde termed "a healthy-sized market in books that help you claim your own creative power" to workshops and college courses. Reported Greta Beigel in the Los Angeles Times, after taking three years to become a bestseller, The Artist's Way sparked "a social phenomenon as people from varying professional and economic backgrounds … band together to work its precepts as a group activity." Since then Cameron has produced a number of other books that expand on the concepts set forth in The Artist's Way, including the idea that the creative process is something everyone possesses, but it remains undeveloped due to negative past experiences, unrealistic expectations, or fear.
Raised near Chicago, Illinois, Cameron started writing at the age of eighteen. She went on to make a name for herself as a journalist, screenwriter for both television and film—she was once the wife of noted film director Martin Scorsese—playwright, and poet. The Artist's Way is the direct result of Cameron's multifaceted career, as well as of the obstacles she encountered and overcame in order to focus her creative energies so productively. In her book she includes inspirational writings and exercises, such as the stream-of-consciousness writing she calls "morning pages" and the weekly solo "artist's date" devoted exclusively to a creative whim, to develop her reader's hidden creative abilities and increase self-confidence. Noting that "despite the intensity of her material, Cameron has a light, easy style," Quill & Quire contributor Mark Gerson maintained that The Artist's Way "isn't a life-consuming course—little more than an hour a day should do it—but it is a life-changing one, as any road to creative health is likely to be."
After the success of The Artist's Way, Cameron penned the sequel The Vein of Gold: A Journey to Your Creative Heart. "If The Artist's Way was intended to unblock you so you could write or paint," explained Spayde in Utne Reader, "in The Vein of Gold, writing, painting, and the other arts are used as ways of unblocking the soul." With chapters that focus on spirituality, courage, and patience, The Vein of Gold continues Cameron's program of "morning pages," "artist's dates," inspiring text, and series of related tasks, adding such things as a daily twenty-minute walk, making collages, and writing a narrative autobiography. In a review for Library Journal, contributor Lisa S. Wise called The Vein of Gold a "rich self-help guide to developing spiritual, creative lives," while in Booklist Donna Seaman noted that the book contains "new and even more probing techniques for liberating what [Cameron] … believes is our innate creativity." Although applicable to many of the arts, Cameron's focus remains on the art of creative writing. As she noted in an interview with Writers Market.com interviewer Anne Bowling: "All of my advice circles back to: write every day, write in whatever form interests you, walk through every door that opens."
Other books emanating from Cameron's teachings in The Artist's Way include The Artist's Way at Work: Riding the Dragon, which contains a twelve-week program to help tap business-related creativity, and Supplies: A Pilot's Guide to Creative Flight, which a Publishers Weekly contributor characterized as "a complete instruction manual for pursuing a creative dream and what to do when it starts to soar." In her 2002 work Walking in This World: The Practical Art of Creativity, Cameron serves up what Booklist contributor Whitney Scott described as a "intermediate-level creative how-to" that continues the author's "mission to illuminate creativity as a spiritual path." While noting that the focus of Walking in This World is "assuredly, unabashedly theistic" in its reference to a Great Creator and the importance of prayer, Rob Kendt noted in his review for Back Stage West that the work is nonetheless as "outward-looking as it is inward-directed" through its discussion of the "outside distractions, threats, and enemies, from ‘creative saboteurs’ to ‘piggybackers’" that drain one's creativity. Although Cameron's "core insights are the same" as in her other books on creativity, according to a Publishers Weekly reviewer "her words seem to have grown wiser." Answered Prayers: Love Letters from the Divine is a collection of short prayers written from the perspective of God speaking to the spiritual seeker. The book would "be helpful for those who resist conventional prayer or scripture, providing a nondogmatic entry to the disciplines of prayer and devotional reading," according to a Publishers Weekly contributor.
Cameron revisited and expanded the tenets of The Artist's Way in several follow-up books, including Finding Water: The Art of Perseverance and The Sound of Paper: Starting from Scratch. Finding Water includes personal anecdotes of how Cameron continues on her own artistic journey despite struggling with issues of self-esteem and pessimism. A Publishers Weekly reviewer commented: "This guidebook's combination of action-oriented steps and heartfelt revelations will speak to legions of struggling artists." The Sound of Paper is a book of exercises designed to kick-start artistic flow, expounding on her much-admired "artist's toolbox." Reviewing the book for The Writer, Stephanie Dickison described it as "a gentle whispering of thoughts and insights, of how writing can help you out in other areas of your life, help you figure out who you are and whom you want to be." Booklist contributor Scott concluded that Cameron's techniques could lead to "greater self-knowledge and, perhaps, if practiced regularly and with devotion, even to soul-deep consciousness."
In addition to her nonfiction work and her continued commitment to helping people develop their innate creative abilities, Cameron has engaged in some wholly creative writing of her own. In addition to penning several books of children's verse and the short-story collection Popcorn: Hollywood Stories, about her experiences in the film industry, she is the author of the 1998 crime novel The Dark Room. In what New York Times Book Review contributor Bill Kent deemed a "wildly incredible tale of cops and psycho killers," Cameron introduces aging detective Elliot Mayo, a cop on the trail of a brutal ritualistic killer—who may in fact be his love interest—through the streets of Chicago. In Publishers Weekly a reviewer noted that The Dark Room "generates moral heat … [and] the guarded yet spiritually adventurous May stands as a compelling lead," while Kent noted in the New York Times Book Review that Cameron's "tough-guy prose often sparkles with wry turns and snappy comebacks." The novel was actually inspired by the life story of one of her friends, who died of AIDS and had asked, before he died, that she use his story creatively. For her part, Cameron told Publishers Weekly contributor Lucinda Dyer, writing The Dark Room allowed her to "step out from behind the persona of being a creative fairy godmother."
When someone suggested to Cameron that she write her memoirs, her first reaction, as told to Beliefnet interviewer Marisa Belger, was to say, "I'm not old enough. I'm not distinguished enough." Sitting down to write, however, she said "the material for the book just came flooding into my hands. It was more like writing music than prose. It was a feeling of being immersed in the sensory world of memory." A Kirkus Reviews critic found Floor Sample: A Creative Memoir "an absorbing narrative revealing a woman of extraordinary energy, drive and confidence." Elizabeth Brinkley described the book in a Library Journal review as "an engrossing account that will be snapped up by her many fans." Booklist reviewer Scott called Floor Sample a "page-turning, richly textured, and wrenching memoir."
BIOGRAPHICAL AND CRITICAL SOURCES:
BOOKS
Cameron, Julia, and Mark Bryan, The Artist's Way: A Spiritual Path to Higher Creativity, Perigee (Los Angeles, CA), 1992, 10th anniversary edition, Putnam (New York, NY), 2002.
PERIODICALS
Back Stage West, September 26, 2002, Rob Kendt, review of Walking in This World: The Practical Art of Creativity, p. 8.
Booklist, October 15, 1996, Donna Seaman, review of The Vein of Gold, p. 380; September 15, 2002, Whitney Scott, review of Walking in This World, p. 181; December 1, 2003, Whitney Scott, review of The Sound of Paper: Starting from Scratch, p. 628; April 1, 2005, Whitney Scott, review of Letters to a Young Artist: Building a Life in Art, p. 1334; September 15, 2005, Whitney Scott, review of How to Avoid Making Art, p. 8; April 15, 2006, Whitney Scott, review of Floor Sample: A Creative Memoir, p. 21.
California Bookwatch, July 1, 2006, review of Floor Sample.
Kirkus Reviews, March 1, 2006, review of Floor Sample, p. 218.
Library Journal, November 1, 1996, Lisa S. Wise, review of The Vein of Gold, p. 94; October 15, 1998, Budd Arthur, review of The Dark Room, p. 405; January, 1999, L. Wise, review of The Right to Write, p. 116; May 1, 2003, Graham Christian, review of Prayers from a Nonbeliever, p. 122; January 1, 2004, Deborah Bigelow, review of The Sound of Paper, p. 136; October 1, 2004, Graham Christian, review of Answered Prayers: Love Letters from the Divine, p. 86; May 1, 2005, Joyce Sparrow, review of Letters to a Young Artist, p. 83; April 15, 2006, Elizabeth Brinkley, review of Floor Sample, p. 94.
Los Angeles Times, July 23, 1995, Greta Beigel, "The Path to the Person Inside," pp. E1, E4.
New Age Journal, winter, 1993, p. 83; March, 1993, p. 72.
New York Times Book Review, December 13, 1998, Bill Kent, review of The Dark Room, p. 23.
Publishers Weekly, August 19, 1996, review of The Vein of Gold, p. 44; February 3, 1997, review of Your Heart's Desire, p. 87; August 4, 1997, review of Heart Steps, p. 61; April 20, 1998, review of The Artist's Way at Work, p. 52; August 3, 1998, Lucinda Dyer, "Julia Cameron," p. 51; September 14, 1998, review of The Dark Room, p. 45; December 21, 1998, review of The Right to Write, p. 42; August 21, 2000, review of Popcorn, p. 43; September 11, 2000, review of God Is No Laughing Matter, p. 83; September 25, 2000, review of Supplies: A Pilot's Guide to Creative Flight, pp. 106-107; September 23, 2002, Sylvia Boorstein, "Four Authors Who Have Found a Following," p. S18; September 30, 2002, review of Walking in This World, p. 64; December 1, 2003, review of The Sound of Paper, p. 53; September 13, 2004, review of Answered Prayers, p. 74; March 14, 2005, review of Letters to a Young Artist, p. 58; February 20, 2006, review of Floor Sample, p. 144; October 23, 2006, review of Finding Water: The Art of Perseverance, p. 44.
Quill & Quire, July, 1993, Mark Gerson, review of The Artist's Way, p. 51.
Utne Reader, September, 1996, Jon Spayde, "Heartful Art," pp. 91-93.
Whole Earth Review, summer, 1995, Hillary Hoffman, review of The Artist's Way, p. 102.
Writer, October, 2004, Stephanie Dickison, "Artist's Way Author Looks at Hurdles Writers Face," p. 46.
ONLINE
Beliefnet,http://www.beliefnet.com/ (July 3, 2007), Marisa Belger, "Julia the Artist."
New Dimensions Online,http://www.newdimensions.org/ (January 21, 2003), "Unlocking Your Creativity: An Interview with Julia Cameron."
Penguin Putnam Web site,http://www.penguinputnam.com/ (January 21, 2003).
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Unauthorized use and/or duplication of any original material on this website belonging to 50 Playwrights Project without express and written permission from Trevor Boffone is strictly prohibited. Excerpts and links may, of course, be used, provided that full and clear credit is given to 50 Playwrights Project and Trevor Boffone with appropriate and specific direction to the original content.
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Stanley Drama Award: Complete History, 1957
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The Stanley Drama Award is given by the Wagner College Theatre for an original, unpublished full-length play or musical or thematically related set of one-act plays that has not yet been professionally produced. Since 1957, the Stanley Award has been given at least 60 times. Twice — in 1964, and again in 1969 — the …
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The Stanley Drama Award is given by the Wagner College Theatre for an original, unpublished full-length play or musical or thematically related set of one-act plays that has not yet been professionally produced.
Since 1957, the Stanley Award has been given at least 60 times. Twice — in 1964, and again in 1969 — the Stanley Award was given to two playwrights for two different plays. In 1987, no award was made and all finalists were carried over to following year. And in 1995, we have no record of the Stanley Drama Award being given, no reference can be found online to a 1995 Stanley winner, and our business office has no record of any payment being made for the Stanley Award prize.
The Stanley Drama Award was originally given as part of the New York City Writers Conference, a 10-day program held each summer at Wagner College for aspiring fiction writers, poets and playwrights from 1956 through the late 1960s. Though a playwriting award was given at the inaugural conference, it was not until the conference’s second year, 1957, that the award was named for benefactor Alma Guyon Timolat Stanley of Dongan Hills, Staten Island.
WINNERS OF THE STANLEY DRAMA AWARD
2020 Truth Be Told, William Cameron 2019 Some Other Verse, Carl L. Williams 2018 Incident at Willow Creek, Benjamin V. Marshall 2017 The Showman and the Spirit, Elisabeth Karlin 2016 Bad Hearts, Mike Bencivenga 2015 The Good Bet, Bob Clyman 2014 Out of Orbit, Jennifer Maisel 2013 The Return of Tartuffe, Brian Mulholland 2012 The Perfect Wife, Karen L. Lewis 2011 Eyes Forward, Philip Gerson 2010 The Restoration of Sight, Richard Martin Hirsch 2009 Memory Fragments, Sam Wallin 2008 Stray, Ruth McKee 2007 Guided Tour, Peter Snoad 2006 Farmers of Men, Richard Aellen 2005 Mother, May I, Dylan Brody 2004 Be Our Joys, Joseph Zaitchik 2003 Skin of a Lawyer, Richard Kalinoski 2002 How High the Moon, Timothy Jay Smith 2001 The Pagans, Ann Noble (Massey) — winning play prev. listed as And Neither Have I Wings to Fly (wr. 1995) 2000 Shadow Plays, Frank Basloe 1999 Flight, music by James Scully; book by Steve and Elise Seyfried 1998 Gone Astray, Jennie Staniloff Redling 1997 The Job, Shem Bitterman 1996 Cold War Comedy, Thomas S. Hischak 1995 No award on record 1994 Tierra Del Fuego, Robert Alan Ford 1993 Rent, Jonathan Larson 1992 Boca, Christopher Kyle 1991 Planet of the Mutagens, Mary Fengar Gail 1990 Beast, Susan Arnout Smith 1989 Washington Square Moves, Matthew Witten 1988 Norm Rex, Phil Atlakson 1987 no decision made, all finalists carried over to following year 1986 Cue the Violins, David Graham Richmond 1985 Interstates, Daniel A. Dervin 1984 The Mountains of Arafat, Geoffrey Brown 1983 Cafe Con Leche, Gloria Gonzalez 1982 Jonas, Billy Bly 1981 Sissy and the Baby Jesus, Barbara Allan Hite 1980 Private Opening, Norman Wexler 1979 The Stag at Eve, Robert Riche 1978 Cutting Away, Barry Knower 1977 Past Tense, Jack Zeman 1976 A Safe Place, Carol Klein Mack 1975 Jonathan! A musical play in two acts suggested by characters in the novel “Jonathan Wild,” by Henry Fielding; book & lyrics by Alan Riefe; music by Robert Haymes 1974 Son of the Last Mule Dealer, Gus Weill 1973 Carnivori, C. Richard Gillespie 1972 Fortune Teller Man, Marvin Denicoff 1971 Obtuse Triangle: A Romantic Comedy in Two Acts, Bernard “Ben” Rosa 1970 Three Sons (Of Sons & Brothers), Richard Lortz 1969 A Happy New Year to the Whole World Except
Alexander Graham Bell, Bernard SabathTwo one-acts: The Club and The Little Gentleman, Yale Udoff 1968 Bag of Flies, Venable Herndon 1967 The Prize in the Crackerjack Box, William Parchman 1966 To Become a Man, Albert Zuckerman 1965 Ceremonies in Dark Old Men, Lonne Elder III 1964 Hothouse, Megan Terry Thompson, Joseph Baldwin 1963 Funnyhouse of a Negro and The Owl Answers, Adrienne Kennedy 1962 This Side of the Door, Terrence McNally
(later revision titled, “And Things That Go Bump in the Night”) 1961 La Loca (La Fiesta), Ernesto Fuentes 1960 The Busy Martyr, George Hitchcock 1959 The Apple Doesn’t Fall, Gene Radano 1958 Hear that Sweet Laughter (Published by Dramatists Play Service, 1961, as Clandestine on the Morning Line: A Play in Three Acts), Josh Greenfeld 1957 To Learn to Love, William I. Oliver
ALMA TIMOLAT STANLEY
Mrs. Stanley was the widow of Robert C. Stanley, former board chairman of the International Nickel Company of Canada Ltd. She was known as a patron of cultural and educational groups on Staten Island and elsewhere in New York City.
A Staten Island Advance article of June 7, 1962 announced that Mrs. Stanley was to receive an honorary doctorate from the University of Tampa, to be conferred by former Wagner College President David M. Delo. According to the Advance,
… she has established scholarship programs at Wagner College, Stevens Institute of Technology and the University of Pennsylvania.
She is a patroness of the Metropolitan Opera, the Metropolitan Museum of Art, the New York Philharmonic Orchestra and the Stratford (Conn.) Shakespearean Festival.
Mrs. Stanley has been active in the Island’s Red Cross chapter since its inception in 1917, and has been a leader in the work of the Society for Seamen’s Children.
Following Mrs. Stanley’s death on Jan. 6, 1971, an Asbury Park Press article recounted her support of the Visiting Nurse Association of Staten Island, adding that “Mrs. Stanley was active in many Staten Island community groups and was named Woman of Achievement by the S.I. Advance in 1963, Woman of the Year by the Soroptimist Club in 1961, [and] received the Distinguished Citizen’s Award from Wagner College in 1953.”
Support for the Stanley Drama Award after Mrs. Stanley’s death was continued by the Stanley-Timolat Foundation and Mrs. Stanley’s son, Robert C. Stanley Jr.
1957 Stanley Drama Award winner:
William I. Oliver
The inaugural Stanley Drama Award was announced in the flyer for the 1957 New York City Writers Conference as well as in a mailing from NYCWC director Gorham Munson. A few details:
Candidates could not submit themselves for the award. “A candidate must be proposed by a teacher of drama, a producer or director, a play agent, a playwright or a play reviewer.”
“The candidate must attend the full session of the NYC Writers Conference [July 16-25] and carry out the duties of a Fellow [though those duties were not enumerated].”
The drama workshop leader that year was H.R. Hays.
The winner would receive a $500 prize, plus living and travel expenses for attendance at the conference. The winner’s play would “be produced on the closing nights [that is, the last three nights of the conference] by the Corn Cob Theatre, the summer theatre of the Staten Island Theatre Workshop, under the direction of Vincent Zangara.”
Submission deadline was May 1; the winner was to be announced by June 1.
Whether the announcement date was missed, or just the press release, it was not until June 20 that the college announced the first winner of the Stanley Drama Award: “William I. Oliver, a graduate student at Cornell University. The award-winning play is ‘To Learn to Love,’ a three-act study of young sailors in the Canal Zone. Mr. Oliver attended the Drama Department of Carnegie Institute of Technology, has worked in the Cornell University Theatre for the last four years, and has been a director of a summer theatre.”
William I. Oliver spent the majority of his career (starting in 1958, the year after winning the Stanley Award) as a professor of drama at the University of California at Berkeley. Following his death in 1995, the U.C. Faculty Senate published this obituary written by his colleagues Travis Bogard, Henry May and Warren Travis:
William I. Oliver, Dramatic Art: Berkeley
1926-1995
Professor Emeritus
The distinguished theatrical director, William I. Oliver, died suddenly on March 17 in San Jose, Costa Rica, where he was teaching and directing at the University of Costa Rica's School of Dramatic Arts. He leaves his wife, Barbara, and three children, Michael, Anna, and Soren.
A retired professor of Dramatic Art at the University of California, Berkeley, Oliver was born in Panama City, Nov. 6, 1926, the son of Methodist teaching missionaries, Walter and Anna Skow Oliver. He was educated at Methodist schools in Panama City and the Canal Zone. During the second World War, since he was equally fluent in Spanish and English, he served there as a translator in the U.S. Navy.
In 1946, he left the Canal Zone and entered the theatre department of the Carnegie Institute of Technology’s School of Fine Arts in Pittsburgh to study acting. He played two summer seasons at Woodstock, N.Y., opposite such stars as Lillian Gish. In 1950, he married a fellow drama student, Barbara Marsh, and together they moved to North Dakota to head the Fargo/Moorhead Community Players.
In 1953, the Olivers left North Dakota for Cornell University, where he studied for the Ph.D. For his doctoral dissertation he translated and wrote critical assessments of Federico Garcia Lorca and Lope de Vega.
He joined the faculty of the Department of Dramatic Art at Berkeley in 1958 and served as a teacher, director and administrator until his retirement in 1991. He taught stage direction, dramatic literature and criticism in classes that were distinguished by his lively and inquiring mind.
His work as a stage director with departmental students included many memorable productions, among them Ben Jonson’s “Bartholomew Faire,” the Jacobean melodrama “The Changeling” (with a young Stacy Keach), “Hamlet,” “Peer Gynt,” “Danton’s Death,” e. e. cummings’ “him,” Sartre’s “The Devil and the Good Lord,” O’Neill’s “Ah Wilderness!” and Giraudoux’s “Electra.” The wide range of his play selection was increased as he worked in the popular U.C. summer theatre, the Old Chestnut Drama Guild, where he directed standard classics such as Noel Coward’s “Fallen Angels,” Clarence Day’s “Life with Father,” Pinero’s “The Amazons” and Philip Barry’s “Holiday” and “The Animal-Kingdom.”
His directorial energies were often employed beyond the university theatre. He staged short plays for San Francisco’s One-Act Theatre Company and Berkeley’s Aurora Theatre, where he also appeared as an actor, playing with Barbara Oliver in “The Gin Game.”
In both Latin and South American companies, his talents as a critic and as a stage director are well-known. In 1966, he traveled to Santiago, Chile, where he taught at the University of Chile and directed ITUCH, the national theatre, in the Chilean premiere of Peter Weiss’s “Marat-Sade.” In Mexico City in 1974, in addition to classes at the School of Fine Arts, he directed Arthur Schnitzler’s “La Ronde.” He went three times to Costa Rica, where he both taught and staged productions, including Wilder’s “The Skin of our Teeth,” Euripides’ “Orestes” and Shakespeare’s “The Comedy of Errors.” During his fourth visit, he was preparing Albee’s “Seascape” in his own translation.
He was for several years a judge and critic at the prestigious El Paso Chamizal Festival of Golden Age Theatre, and in 1991 he was invited to present a paper in Cadiz at the first conference on educational theatre to be held in Spain.
As a translator, he was prolific, moving plays and novels and works of criticism from and to Spanish with ease. As a dramatist, he was the author of a trilogy on Spanish themes, “The Antifarce of Sir John and Leporello,” “The Masks of Barbara Blomberg” and “Dumbshows of the King.” The first two were premiered at Berkeley, the third was published in Spanish in a special edition, commemorative of the 500th anniversary of Columbus’s voyage.
In his teaching, as in his directing, Oliver displayed astonishing energy, insight and imagination. He had a penchant for long walks with his Scotty dog along Mendocino beaches, but his true happiness was found at rehearsal, facing a lighted stage, director’s script in hand, at once goading and inspiring his students, whether professional or amateur, to performances that often surprised the doers with the unexpected range and depth he elicited from them. In his work the lights of theatrical pleasure, thought, and emotion burned bright. He has left a darkened stage behind him.
1958: Josh Greenfeld
On June 6, 1958, the Staten Island Advance announced that “the 1958 Stanley Award goes to Josh Greenfeld of Manhattan for his play ‘Hear That Sweet Laughter’ … [which] centers around a restaurant owner in a city ‘northern in size, southern in influence.’ The author … studied playwriting under Kenneth Rowe at the University of Michigan and John Gassner of Yale.”
On July 6, the Staten Island Advance announced, “A group of actors from within the Dongan Hills Players will present ‘Hear That Sweet Laughter’ ... tomorrow at 8 p.m. in the Coach House of the Richmond County Country Club. The play will be given as a dramatic reading with scenery and props. The director is Robert H. Nutt of Dongan Hills. ... The author, Josh Greenfeld of Manhattan, won the $500 Stanley Award for his work.”
The July 9 issue of the Sea Hawk Daily, the NYC Writers Conference newsletter, introduced “Josh Greenfeld of New York City as this year’s Stanley Award Fellow,” mentioning that his “play is under option to Aldrich, Bowman & Shurtleff, off-Broadway producers. Mr. Greenfeld is a free-lance magazine writer, often writing on sports. In the June Esquire he had an article on Fangio, world champion automobile racer.” [And a bit of NYCWC trivia: The Sea Hawk Daily was written by Wagner alumnus Paul Zindel ’58 M’62 H’71, himself an aspiring playwright. He produced the newsletter in return for his tuition to the NYCWC.]
The New York Age of July 12, 1958 included a brief, “Actors Sought For ‘Sweet Laughter’ ”: “Casting is now in progress for ‘Hear that Sweet Laughter,’ a comedy-drama of Negro life by Josh Greenfeld. Winner of the 1958 Playwriting Award of the New York Writers’ Conference, it will be produced by the firm of Alden Aldrich, Ross Bowman and Michael Shurtleff. Actors who are interested should contact the producers whose offices are at 117 West 13 Street. Rehearsals begin in August with a late September opening planned.”
A year later, the April 9, 1959 issue of the Wagnerian, Wagner College’s student newspaper, reported that Greenfeld had won a grant of “$110,000 from the Ford Foundation. The money will be used to finance the production of this play in the fall of 1959. Mr. Greenfeld retitled his play, ‘Clandestine on the Morning Line.’ ”
“Clandestine” was published in 1961 by Dramatists Play Service, which noted that “the premiere production … was given by the Arena Stage, Washington, D.C. The play was selected for presentation under the Ford Foundation’s Program for Playwrights in 1959. The production was directed by Alan Schneider.”
The online Lortel Archive notes that “ ‘Clandestine on the Morning Line’ [was] produced by Actors’ Playhouse, 100 Seventh Ave. South, New York — opened Oct. 30, 1961, for 24 performances — directed by Allen Davis, starring James Earl Jones (won 1962 Obie Award, Best Actor) and Rosetta LeNoire.”
And, finally, Wikipedia provides the following biography for Josh Greenfeld:
Josh Greenfeld (born 1928) is an author and screenwriter mostly known for his screenplay for the 1974 film “Harry and Tonto” along with Paul Mazursky, which earned them an Academy Award nomination and its star, Art Carney, the Oscar itself for Best Actor. Greenfeld also wrote “Oh, God! Book II” and the TV special “Lovey” and is the author of several books about his autistic son, Noah Greenfeld.
The trilogy, “A Child Called Noah,” “A Place for Noah,” and “A Client Called Noah,” detail the effects that Noah’s disabilities place on the Greenfelds and the extraordinary lengths that the family went through to find the very best care available for their son. His wife, Fumiko Kometani, is a Japanese writer and has won the Akutagawa Prize, Japan's most prestigious literary award; she too wrote about their son and his developmental disability. His older son, Karl Taro Greenfeld, a special contributor to Portfolio and Details, wrote his own story of growing up with Noah entitled “Boy Alone: A Brother's Memoir.”
Among Greenfeld's plays are “Clandestine on the Morning Line,” “I Have a Dream,” “The Last Two Jews of Kabul,” “Whoosh!,” and “Canal Street.” His novels include “O for a Master of Magic,” “The Return of Mr. Hollywood,” and “What Happened Was This.”
In 1968, Greenfeld signed the “Writers and Editors War Tax Protest” pledge, vowing to refuse tax payments in protest against the Vietnam War.
Greenfeld attended Brooklyn College; he received a B.A. from the University of Michigan and an M.A. from Columbia University.
1959: Gene Radano
The June 15, 1959 issue of the Staten Island Advance featured the headline, “Mafia Story Wins 1959 Stanley Prize.” The story reads: “Gene Radano of 209 East 87 St., Manhattan, is the winner of the 1959 Stanley Award for his play, ‘The Apple Doesn’t Fall,’ it was announced today at Wagner College. … This year’s prize-winning play deals with the impact of the Mafia on Italian-Americans living in New York City.”
The same day’s New York Times says,
This year’s winner of the Stanley Playwriting Award is Patrolman Gene Radano, a warrant officer attached to the Lower Manhattan Magistrates Courts. …
Mr. Radano, who is 41 years old, was born in East Harlem and lives at 209 East Eighty-seventh Street. He is the father of two daughters and two sons. Mr. Radano has been a member of the Police Department since 1946.
“The Apple Doesn’t Fall” is a contemporary play, dealing with the impact of the Mafia on an Italian family in Manhattan. …
Besides “The Apple Doesn’t Fall,” Mr. Radano has written six other plays, none of which has been produced on Broadway.
The following month, on July 13 (during the NYC Writers Conference), the Times followed up with another story:
The program for the 1960 NYC Writers Conference noted that Radano’s “The Apple Doesn’t Fall” has been “optioned for Broadway production but has not to date opened.”
The following year, the Aug. 17 issue of the New York Daily News reported that a new play by Radano, “The Opening of a Window,” was in rehearsals for an opening at the Off-Broadway Theatre Marquee, 110 E. 58th St., on Sept 21. The story, titled “Cop’s Play to Open,” said,
If “all the world’s a stage,” then it stands to reason that playwrights can come from any place. One of the newest playwrights, Gene Radano, is a member of New York City’s Police Department. …
A member of the force since 1946, Radano has been writing since 1943. To avoid criticism of “moonlighting” — working at another job while in the department — he will be on vacation for a month, beginning this week, when rehearsals begin.
On Sept. 1, 1961, the New York World-Telegram ran a more substantial story about Radano:
Radano was also the author of two books, “Walking the Beat: A New York Policeman Tells What It’s Like on His Side of the Law” (World, 1968) and “Stories Cops Only Tell Each Other” (Stein & Day, 1974).
Kirkus Review panned “Walking the Beat,” which was evidently a fictionalized account but marketed as non-fiction:
Although pegged as non-fiction, and the author swears he heard it all, this hazy view of the heroes of the precinct lacks the immediacy and veracity of authentic interviews or straight-forward reporting. Curiously defensive, the author, who is obviously not a cop himself, clips and pastes “case” episodes and dirty stories, unfunny and out of context. Some of the unhappy lot consists of inter-station house politics, unfair pressure from superiors, civic and judicial stumbling blocks to the follow through on arrests. The whole sticky business is seen as through the eyes of Paul, a rookie, and he is painfully initiated into the politics, the hopelessness of it all, the pecking order. Fascinating material is diluted and mangled by sensationalism of the quavering, supra-masculine, bogus Hemingway variety. Hopped up homage to the “police farce” and the long-suffering men in blue.
1960: George Hitchcock
A June 1960 Wagner College press release (date unspecified) announced that George Hitchcock of 2808 Laguna St., San Francisco, had won the 1960 Stanley Award for his play, “The Busy Martyr.” The play was nominated by Arnold Colbath, a drama professor at Catawba College in Salisbury, N.C., where “The Busy Martyr” had been staged on May 6, 7 and 8. The release said that “a production of the play is also planned during the fifth session of the New York City Writers Conference from July 12-22.”
The press release acknowledged the advice given to the Stanley judges by Richard Watts Jr., drama critic for the New York Post.
The release also named three plays for honorable mention:
Joe LeSueur, “A Cool Wind over the Living.” Part of the New York School of poetry and longtime roommate and sometime lover of Frank O’Hara, LeSueur is perhaps best remembered for his posthumously published memoir, “Digressions on Some Poems by Frank O’Hara” (Farrar, Straus & Giroux, 2003). “A Cool Wind” was taped for the second season of WNTA’s highly acclaimed series, “The Play of the Week” (air date March 27, 1961).
Nishan Parlakian, “Plagiarized.” Parlakian taught drama, speech and English literature at John Jay College and was a renowned authority on Armenian theater as well as a playwright. “Plagiarized” was one of several of his plays that were produced and published.
Gloria Demby Maddox, “Black Monday’s Children.” Bernard L. Peterson’s “Early Black American Playwrights and Dramatic Writers” includes an entry on Maddox: “Former student playwright at Fisk University, where she was also a member of the Fisk Stagecrafters. … After graduating from Fisk in the late 1940s, she became director of the Theatre of Wee Folks in Selma, Ala.” According to Peterson, an early version of “Black Monday’s Children” was produced as a one-act play in the 1940s by the Fisk University Stagecrafters. A copyright for “Black Monday’s Children: A Play in Three Acts,” by Gloria Demby Maddox, was filed on Aug. 17, 1959.
The July 14, 1960 issue of the Seahawk Daily said, “George P. Hitchcock, the Stanley Fellow in Drama, lists as his occupation: writer; stage director. He has contributed frequently to the literary quarterlies and little magazines, and is himself associate editor of the San Francisco Review. Scenes from ‘The Busy Martyr’ will be presented by the Dongan Hills Players on July 21.”
Hitchcock had a remarkable career before winning the 1960 Stanley Award, and an even more noteworthy life after it. Here is Hitchcock’s extraordinary obituary, written by William Grimes, published in the Sept. 4, 2010 issue of the New York Times:
George Hitchcock, whose poetry magazine, Kayak, born in the cultural ferment of the 1960s, was one of the most distinctive, eagerly read literary journals of its time, died on Aug. 27 at his home in Eugene, Ore. He was 96.
His death was confirmed by the poet Robert McDowell, an editor of “One Man Boat: The George Hitchcock Reader” (2003).
Mr. Hitchcock, a former actor, playwright and political organizer, founded Kayak in 1964 and for the next 20 years ran it as a one-man show. He designed the magazine, edited it, printed it, illustrated it and organized the collating parties where its pages were stapled together, slipped into mailing envelopes and stamped.
With great ingenuity, he created Kayak’s archly cruel rejection slips: Victorian engravings depicting a beheading, or a mountain climber slipping into a crevasse, with a brush-off caption appended.
He was, as he liked to say, Kayak’s dictator. “A kayak is not a galleon, ark, coracle or speedboat,” read the motto printed with each issue. “It is a small watertight vessel operated by a single oarsman. It is submersible, has sharply pointed ends, and is constructed of light poles and the skins of furry animals. It has never yet been successfully employed as a means of mass transport.”
Although he leaned toward surrealism and the dreamlike style of the deep imagist school, Mr. Hitchcock included a wide variety of poets, publishing the early work of Philip Levine, Raymond Carver, James Tate and Charles Simic.
“He was the pre-eminent maverick independent magazine publisher,” said Howard Junker, the editor of Zyzzyva: The Journal of West Coast Writers and Artists. “He was open in his tastes, unflagging in his energies, knew everyone and kept the thing going against all odds.”
George Parks Hitchcock was born on June 2, 1914, in Hood River, Ore. He attended the University of Oregon, where he was a reporter on the school newspaper, and received a bachelor’s degree in 1935.
After school he worked as a reporter for The Western Worker in San Francisco and as the sports editor of The People’s Daily World, for which he wrote a sports column under the byline Lefty. He also became friends with Kenneth Rexroth, who encouraged his interest in poetry.
When the United States entered World War II, he enlisted in the Merchant Marine, which sent him to the South Pacific and put him to work as a cook and waiter.
After the war he traveled throughout California trying to organize dairy unions. He later taught at the California Labor School.
In the 1950s, while working as a landscape gardener, he began writing plays and acting with two San Francisco repertory companies, the Interplayers and the Actor’s Workshop.
During the Oregon Shakespeare Festival in 1957, the House Un-American Activities Committee summoned him to testify in San Francisco, where he delivered what may well have been his finest performance.
When asked to state his profession, he answered: “I am a gardener. I do underground work on plants.” He then refused to answer questions about membership in the Communist Party, “on the grounds that this hearing is a big bore and waste of the public’s money.”
The director of the Shakespeare Festival demoted him to spear-carrying roles.
Physically imposing — a hefty 6-foot-4 — Mr. Hitchcock cut a flamboyant, dandyish figure. “He reminded me of those bigger-than-life character actors in Hollywood movies, like Wallace Beery and Charles Laughton, or like Vitamin Flintheart, the ostentatiously dressed and extravagantly posturing character in Dick Tracy comic books,” the poet Morton Marcus wrote in his memoir, “Striking Through the Masks.”
In 1958 Mr. Hitchcock became an editor of The San Francisco Review, which had published his two-act play “Prometheus Found.” Soon after the review ceased publication in 1963, Kayak was born.
It made an immediate impact. Mr. Hitchcock had a strong personality, visual flair and keen eye for writing talent. The long list of poets and writers who found a home in his pages included W. S. Merwin, Anne Sexton, Robert Bly, Margaret Atwood and Hayden Carruth. Criticism, reviews, the occasional prose piece and Mr. Hitchcock’s collages rounded out the content.
Kayak enjoyed fights. It set up in opposition to revered publications like The Kenyon Review and The Hudson Review, and nourished a spirited contempt for what it saw as the overly intellectual poetry of writers like Robert Lowell and Richard Wilbur.
Creatively frugal, Mr. Hitchcock acquired an offset press from the Pacific Steamship Line that had been used to print menus and learned to run it himself. He printed one issue on paper that the Army had rejected for target-practice use.
Kayak operated outside the world of foundation grants and government support, although the National Endowment for the Arts, unsolicited, gave the magazine two grants. Mr. Hitchcock used most of the money to publish books by Mr. Simic, Carver, Carruth and others. He used $500 to create a prize for the best poem about Che Guevara.
In 1970 Mr. Hitchcock moved the Kayak operation to Santa Cruz, Calif., where he had been hired to teach playwriting and poetry at the University of California, Santa Cruz. In 1984 he rang down the curtain, and Kayak ended its run after 64 issues.
“Any more, and it would risk seeming an institution,” Mr. Hitchcock said. “After that, ossification and rigor mortis.”
An early marriage ended in divorce. He is survived by his longtime companion, Marjorie Simon; a sister, June Harman of St. Helena, Calif.; a son, Stephen, of Carbondale, Ill.; two grandchildren; and a great-grandchild.
Mr. Hitchcock was rather cavalier about his creative brainchild and its influence. “In 1964 I found most American poetry magazines extraordinarily boring,” he told the magazine Caliban in 1986. “I thought that Kayak might relieve the tedium, c’est tout.”
1961: Ernesto Fuentes
The 1961 Writers Conference was the first to involve Wagner College English professor Willard Maas. A minor poet who had not published in years, Maas was nonetheless well known in New York City for his experimental filmmaking as well as the wild parties he threw in his Brooklyn Heights penthouse apartment with his wife, experimental filmmaker Marie Menken. Maas and Menken were the real-life inspirations (if it can be called that) for the lead couple in Edward Albee’s “Who’s Afraid of Virginia Woolf?” (See the Winter 2013-14 issue of Wagner Magazine, pages 18-23.)
In the April 13, 1961 issue of the Advance, the first results of Maas’s wide network of celebrity contacts were made evident: the judges for the 1961 Stanley Drama Award included “Molly Kazan, dramatist and wife of movie director Elia Kazan; playwright Edward Albee, and Dr. John Hruby, chairman of the drama division of Wagner College and director of the school’s Varsity Players.” Instructors for the conference were Albee, novelist Saul Bellow and poet Robert Lowell.
A June 14 press release announced the Stanley winner as Ernesto Fuentes for “La Loca.” Fuentes, born in Artemisa, Cuba and a graduate of the Municipal Dramatic School in Havana, had lived in the U.S. since 1950. His street address was 282 E. 35th St., Brooklyn.
The press release also “announced that the play will be produced on the Wagner campus July 20-22 by the Hilltop Summer Theatre.”
A separate press release dated June 13, announcing auditions, called the play “a drama of passion and violence … set in a South American country in modern times.” The venue for the campus staging would be the Main Hall auditorium. The release also said that Fuentes “has written five plays, two of which have been optioned for professional production.”
An extremely clever June 30 press release had Willard Maas’s fingerprints all over its prose:
Attention all goats interested in acting
There is a small but important acting role for a goat in the Hilltop Summer Theatre production, “La Loca,” according to the director, Dr. John Hruby.
If you are interested in appearing in the production, to be presented on the Wagner College campus July 20-22 as part of the New York City Writers Conference, submit your application to the director.
The role, as described in the script, requires that you be a good listener, inasmuch as the leading lady confides in you quite often.
Garbage and tin cans will be supplied to keep you happy, Dr. Hruby said. He added that temperamental goats need not apply inasmuch as he’s having enough trouble dealing with another of the performers: a stage-struck rooster.
A July 12 press release from the college was supplemented with original reporting, probably by theater critic Jack Reycraft, when it ran in the July 15 issue of the Staten Island Advance:
The following week, however, after Reycraft had actually seen the production, he wasn’t nearly so generous:
Interestingly, “La Loca” apparently has both a “before” Stanley Award story, and an “after” story.
In the May 27, 1959 edition of Dorothy Kilgallen’s syndicated column, “The Voice of Broadway,” she said, “Ernesto Fuentes, an unknown Cuban playwright, has had his first drama, ‘La Loca,’ accepted by Roger L. Stevens for fall production. The plot revolves around the Cuban revolution as it affected families in the Oriente Province. Some years ago, author Fuentes was a dishwasher in a New York restaurant.”
Kilgallen’s column, first published in 1938, ran in more than 140 newspapers nationwide.
A Wagner College press release of June 14, 1961, confirmed that “La Loca” “was at one time optioned by producer Roger L. Stevens, but the option expired due to production conflicts.”
Roger Lacey Stevens was an American theatrical producer, arts administrator and real estate executive. He was the founding chairman of both the Kennedy Center for the Performing Arts (1961) and the National Endowment for the Arts (1965).
On March 5, 1968, seven years after “La Loca” won the Stanley Award, a new copyright was filed for the play, with a revised name: “La Fiesta, a play in three acts by Ernesto Fuentes. … Appl[ication] states prev[iously] reg[istered] as La loca.”
And five years after that, on Oct. 18, 1973, the Columbia University newspaper, the Spectator, published an advertisement: “Columbia Players presents Ernesto Fuentes’ LA FIESTA November 1, 2, 3, 8, 9, 10, 8:00 p.m., Wollman Auditorium.”
1962: Terrence McNally
The first press release on file for the 1962 Stanley Drama Award competition, dated March 26, announced the judges: playwright Edward Albee, actors Geraldine Page and Kim Stanley, producer David Susskind and Wagner drama professor John Hruby. The release added, “A staged reading of the winning script will be given as part of the conference’s annual meeting.”
The following day, an article in the Staten Island Advance also named the instructors for the 1962 NYC Writers Conference: dramatist Edward Albee, poet Kenneth Koch and novelist Kay Boyle.
There were a couple of irregularities in the 1962 competition.
First: Though Stanley Drama Award submissions were supposed to be plays “that [have] never been produced professionally,” Terrence McNally’s submission, “This Side of the Door,” had been produced by Richard Barr on Jan. 1, 1962 at the Cherry Lane Theater as part of Barr’s Playwrights 1962 series, directed by Martin Fried and featuring Estelle Parsons and William Traylor — several months before its submission for the Stanley Award.
Second: For the second year in a row, Edward Albee was one of the Stanley Award judges. Albee, however, should probably have recused himself from the judging that year because he and McNally had been romantically involved since 1960.
Aside from those irregularities in choosing the 1962 Stanley winner, there is no denying that it was the first time the award had gone to a playwright with a major career ahead of him. The award winner was announced in a press release dated July 7.
The release said, “This year’s winner, Terrance McNally [sic], a resident of Manhattan, graduated Phi Beta Kappa from Columbia University in 1960. During his senior year he wrote the school’s varsity show entitled, ‘A Little Bit Different.’ He has also been a stage manager for the player’s workshop at the Actors Studio in Manhattan.”
Richard Stayton, in a 1992 Los Angeles Times Magazine story on an upcoming revival of McNally’s “It’s Only a Play,” gave a painfully frank description of McNally’s first drama:
His first serious attempt at playwriting occurred in his early 20s and was a one-act titled “This Side of the Door.” That rough beginning might have ended his playwriting career.
“It’s the only play I’ve ever written that was so autobiographical I found it painful to watch,” he says. “I put that play away. I don’t know where it exists.”
In fact, a crudely typed original script of “This Side of the Door” exists in the New York Public Library for the Performing Arts at Lincoln Center. To read it is to find very little evidence of the later, mature McNally. In it, an alcoholic, abusive, failed salesman rages at his “fairy son”: “Want to hear about my problem?” the father drunkenly asks. “I was born with a perpetual, perennial, eternal and life-ever-after hard-on.”
Though McNally said “he put that play away” [referring to “Door”], the Gale study guide for his play, “Master Class,” says that, “after revisions, [‘This Side of the Door’] became ‘And Things That Go Bump in the Night’,” which premiered on February 4, 1964 at the Guthrie Theater in Minneapolis and ran on Broadway in 1965 for 16 performances — a two-week run.
Four runners up won “awards of distinction” in the 1962 Stanley Drama Award competition:
Gene Radano, the 1959 Stanley winner (evidently, the later Stanley Award rule against submissions by previous winners had not yet been imposed)
Herbert Schapiro of New Brunswick, N.J. His obituary ran in the Oct. 31, 2014 issue of the New York Times:
Herb Schapiro, a writer and teacher whose idea to create a stage play from the collected essays of poor city kids resulted in a hit musical, “The Me Nobody Knows,” died on Oct. 17 at his home in Brooklyn. He was 85.
His son, Mark, said the cause was complications of non-Hodgkins lymphoma.
Called “a dark and lovely rock-folk musical” by the New York Times critic Clive Barnes when it opened at the Orpheum Theater Off Broadway in May 1970, “The Me Nobody Knows” tells the stories, largely in their own words, of a dozen children, mostly black or Puerto Rican, and what it was like for them to grow up poor in New York City.
Mr. Schapiro called it a “ghetto ‘Under Milk Wood,’ ” referring to the Dylan Thomas drama peopled by the inhabitants of a Welsh fishing village.
In December of that year, the show moved uptown to Broadway, where it ran for nearly a year, joining “Hair,” the celebrated musical with which it shared a contemporary score and immersion in the culture of young people.
Camille Atherton of Brooklyn. According to a pair of published obituaries, Camille Marie Atherton, 86, a resident of Gresham, Oregon, died Thursday, May 20, 2010. Atherton was born and raised in Chicago, but she later moved to New York in 1952 to advance her career and raise her family. She lived there until 1999. Atherton received her bachelor’s degree from the New School in New York City, then her master’s degree from Hunter College, becoming a rehabilitation counselor for the state of New York. For pleasure, Camille was an amateur playwright, gardener and gourmet chef. She was divorced. She moved to Oregon in 2001.
Augusta Walker, then of New York. Her obituary, written by Baltimore Sun staff writer Jacques Kelly, ran in the Oct. 11, 2000 issue of that paper:
Augusta Walker, 86, novelist, playwright, yoga devotee, Waverly resident
Augusta Walker, a novelist, playwright and yoga devotee, died Thursday of cancer at Genesis Eldercare Long Green Center. She was 86 and had lived on Greenmount Avenue in Waverly.
Miss Walker wrote four novels, including a much-praised 1954 work, "Around a Rusty God." The novel, a tale of a boy who raised goats, was translated into several languages and was condensed by Reader's Digest.
Marjorie Snyder, a critic for the Boston Herald, said the book had "the simplicity and beauty of a fable; a delicate tale with universal appeal and ineffable charm."
Miss Walker wrote "The Eating Valley" in 1956, "A Midwest Story" in 1959 and "A Back-Fence Story," published in 1967.
In 1954, her short story, "The Day of the Cipher," won the O. Henry Award for the best short story of the year. It had been published in the Yale Review.
In 1992, when she was 78, she won the Baltimore City Artscape Award for her play, "Herbert's Major Breakthrough," which depicts a husband smashing through the walls of the apartment he shares with his wife. As he knocks down a wall with a sledgehammer, he wants to know "what's really out there on the other side!"
In 1974, when high New York rents troubled her, Miss Walker moved to Mathews Street in Baltimore, where she had a backyard vegetable garden with a grape arbor.
"She was a resourceful woman who lived off the garden all summer," said David Diorio, a friend and publisher of Icarus Press in Towson. "She made her own clothes and went to the Goodwill. Money was not important to her. It was her spiritual search that was the important thing in life."
Mr. Diorio said Miss Walker traveled through the neighborhood on the bus. She wheeled groceries in a wire cart.
"Very few [people] really knew about her earlier success as a novelist," Mr. Diorio added.
Several times a week, Miss Walker walked to the Siddha Yoga Center in the Marylander Apartments at University Parkway and St. Paul Street to prepare it for classes and vacuum its floor.
She became interested in the teachings of mystic philosophers while on a fellowship in England in the 1950s. She was a follower of the Armenian mystic George I. Gurdjieff.
"You never got the sense that life had treated her poorly," said Alice MacArthur of Washington, a friend. "She was a vigorous person, intelligent, kind, quiet. But she spoke her mind."
Born on a farm outside Cincinnati, Ohio, Miss Walker received bachelor's and master's degrees from the University of Michigan at Ann Arbor.
She taught at Lingnan University in China until 1950, when she was forced to leave by the Communist regime. She later studied for a doctorate in comparative literature at Columbia University.
A memorial service for Miss Walker will be at 4 p.m. Sunday at the Stony Run Friends Meeting House, 5116 N. Charles St.
She had no immediate survivors.
1963: Adrienne Kennedy
Adrienne Kennedy submitted the script for her one-act play, “Funnyhouse of a Negro,” in her application for Edward Albee’s playwriting workshop at the 1962 NYC Writers Conference. In that year’s contest for the Stanley Drama Award, however, Kennedy was passed over in favor of a script by Albee’s then-boyfriend, Terrence McNally. Kennedy submitted “Funnyhouse” again for the Stanley in 1963 — and won. It also won a 1964 Obie Distinguished Play award for its production by the East End Theater in New York, which opened in January of that year, and has been translated into several languages from English. In 1964, “Funnyhouse” was published, in full, in the Wagner Literary Magazine, No. 4 — a publication edited by Willard Maas, director of the NYC Writers Conference in 1963. It was also later published by the theatrical publisher, Samuel French.
According to an April 8 press release, the judges for the 1963 Stanley Award were actor Shelly Winters, playwright Edward Albee, Living Theatre co-director Julian Beck, and Wagner College drama professor John Hruby.
Here is the introductory biography to her Wikipedia entry:
Adrienne Kennedy (born Sept. 13, 1931) is an African-American playwright. She is best known for “Funnyhouse of a Negro,” which premiered in 1964.
Kennedy has been contributing to American theater since the early 1960s, influencing generations of playwrights with her haunting, fragmentary lyrical dramas. Exploring the violence racism brings to people's lives, Kennedy's plays express poetic alienation, transcending the particulars of character and plot through ritualistic repetition and radical structural experimentation. Much of her work explores issues of race, kinship and violence in American society, and many of her plays are “autobiographically inspired.”
In 1969, New York Times critic Clive Barnes wrote, “While almost every black playwright in the country is fundamentally concerned with realism — LeRoi Jones and Ed Bullins at times have something different going but even their symbolism is straightforward stuff — Miss Kennedy is weaving some kind of dramatic fabric of poetry.” In 1995, critic Michael Feingold of the Village Voice wrote, “with [Samuel] Beckett gone, Adrienne Kennedy is probably the boldest artist now writing for the theater.”
Kennedy is noted for the use of surrealism in her plays, which are often plotless and symbolic, drawing on mythical, historical, and imaginary figures to depict and explore the African-American experience.
The second part of Adrienne Kennedy’s 1963 Stanley Award-winning package was “The Owl Answers,” a one-act experimental play. Wikipedia summarizes the play:
It premiered in 1965 at [Lucille Lortel’s] White Barn Theatre in Westport, Connecticut one year after Kennedy's most well-known piece, the Obie Award-winning “Funnyhouse of a Negro.” Though written as a companion piece to “Funnyhouse of a Negro,” “The Owl Answers” is most commonly produced with another of Kennedy’s one-acts, “A Beast’s Story.” This production of two one-acts was named “Cities in Bezique” when it appeared Off-Broadway. [It premiered in January 1969 at the Public Theater.]
In “The Owl Answers,” an African-American girl dreams of establishing a heritage and imagines she is applying to bury her father in Westminster Cathedral. Historical figures scorn her, doubting the possibility of a black girl having that heritage. She argues that her father was white and her mother was his family’s cook. As a child, she had to enter through the back door when she wanted to visit her father.
The setting of the play shifts between the New York City subway, the Tower of London, a Harlem hotel room, and Saint Peter’s. Each setting utilizes the structure of a subway car and is filled with the sounds of the subway. Themes include identity, mortality, memory, and race relations.
According to a July 12 brief in the Berkshire Eagle (Pittsfield, Mass.), the judges named Timothy M. Sheldon of Hawthorne House, Devon Road, Pittsfield, for an award of distinction in the Stanley Award competition. In 2003, the Berkshire Eagle ran Sheldon’s obituary:
Timothy M. Sheldon, 65, of 46 Bartlett Ave. and Tophill Farm, Devon Road, Lee, died Sunday, June 22 while undergoing surgery at Berkshire Medical Center. He had been selected as Pittsfield’s poet laureate in April by the city’s Cultural Council and presented with an plaque by Mayor Sara Hathaway on April 30.
He was planning poetry programs for the Pittsfield schools and for public speaking and reading engagements during his two-year tenure, and had recently presented the mayor with a sheaf of new poems.
Born in New York City on April 15, 1938, son of Kenneth P. and Lorna Lowes Sheldon, he attended Haverford College in Pennsylvania and later received his master of fine arts degree from Yale Drama School. He had been a longtime resident of Lee, and also had lived in Montana, Kansas City, Mo., and Boston, and had spent a summer in Nigeria.
He was a 20-year veteran of the Army Reserve.
Mr. Sheldon was employed at Home Depot and Bousquet Ski Resort in Pittsfield. He was a contributor and editor for Animal Life Magazine. He frequently read his work to audiences at the WordPlay gatherings at Papyri Books in North Adams and at the Poetry Group in Springside Park in Pittsfield.
His verse play, “Rose Hill,” was broadcast on National Public Radio by WGBH-FM in Boston in 1974 and 1975 in 24 hourly episodes. His most recent drama, “The Poetry Show,” will be presented later this year by the Berkshire Writers Room. One of his poems appears in this week’s issue of Berkshires Week.
While at Haverford, he began a friendship with Peter Rockwell, whose father, Norman Rockwell, used Mr. Sheldon as a model for two of his paintings: the window-washer cover for the Saturday Evening Post of Sept. 17, 1960, and an Army Reserve poster for which, in 1983, Mr. Sheldon was interviewed on ABC’s “Good Morning America.” He was a member of the National Rifle Association, a nature photographer and an author.
He leaves his former wife of 24 years, Rosemary Sheldon of Lee; a stepdaughter, Rochelle O’Gorman of Lee, and a stepson, Mark Caruso of Ponte Vedra, Fla.
1964: Megan Terry + Joseph Baldwin (dual)
In 1964, the Stanley Drama Award was given to two playwrights for two dramas submitted entirely on their own: Megan Terry of Manhattan for “Hothouse” and Joseph Baldwin of Lincoln, Neb. for “Thompson.”
According to a June 15 story in the Advance, the judges for the 1964 Stanley Drama Awards were Arnold Weinstein, author of “The Red Eye of Love” and head of the NYC Writers Conference drama workshop; Michael Smith, associate editor and drama critic of the Village Voice; Wagner drama professor John Hruby, and English professor J.J. Boies, Writers Conference coordinator.
Joseph Baldwin, ‘Thompson’
During the 1964 NYC Writers Conference, John Hruby directed a production of Joseph Baldwin’s “Thompson” in the Main Hall auditorium, played by veterans of the Staten Island amateur stage.
From the Nebraska Authors website: Joseph B. Baldwin, born 1918-05-18 Tazewell, Tenn., died 1994-12-27 Lincoln, Neb. Joseph Baldwin was a renowned poet and playwright whose work appeared regularly in College Verse, Sou’wester, Prairie Schooner, and Southwestern Review. His one-act play, “Engine 8444,” was inspired by his lifelong love of trains and was performed in New York City in 1974 and on the Nebraska Television Network in 1979. Baldwin earned his B.A. in English at the University of Texas, and an M.A. and Ph.D. in speech and dramatic arts from the University of Iowa. He worked as a professor of speech, dramatic arts and theatre arts at the University of Nebraska, Lincoln. In addition to “Thompson” and “Engine 8444,” his titles include “Almost Too Many,” “Bachelor of the Year,” “The Finer Things: A Farce in One-Act” (1961), “The Waiting Game,” “He and She,” “At Last, He Said No,” “Snow for the Lovers” and “Committees Forever: A Comedy in One Act” (1963).
Joseph Baldwin’s article, “Producing New Plays in the University Theatre,” was published in the Educational Theatre Journal, Vol. 7 No. 1, March 1955, pp. 22-26. Use this link to download a PDF of the article.
Megan Terry, ‘Hothouse’
During the 1964 NYC Writers Conference, Arnold Weinstein led a staged reading of Megan Terry’s “Hothouse” on the Guild Hall terrace, read by “professional actors of the Off-Broadway stage.”
From Megan Terry’s Wikipedia profile: Megan Terry (born July 22, 1932, as Marguerite Duffy) is an American playwright, screenwriter, and theatre artist having produced more than 50 discrete works for theatre, radio, and television. She is perhaps best known for her avant-garde theatrical work from the 1960s where, as a founding member of New York City’s Open Theater, she developed an actor-training and character-creation technique known as “transformation” that she used to create her 1966 work, “Viet Rock,” the first rock musical and the first play to address the war in Vietnam.
From the Broadway Play Publishing website: Megan Terry’s plays include “Breakfast Serial,” “Calm Down Mother,” “Keep Tightly Closed in a Cool Dry Place,” “Hothouse,” “Ex-Miss Copper Queen on a Set of Pills,” “The People vs Ranchman,” “Goona Goona,” “Mollie Bailey’s Traveling Family Circus: Featuring Scenes from the Life of Mother Jones,” “Pro Game,” “Body Leaks,” “Sound Fields” and “Objective Love.” She has published over 45 plays. Most have been translated and produced worldwide. She has won a number of major writing awards, including a Guggenheim Fellowship and an Obie Award for “Approaching Simone.” She was elected to lifetime membership by the College of Fellows of the American Theatre, installation at the Kennedy Center, Washington, D.C., in recognition of “distinguished service to the profession by an individual of acknowledged national stature.” In 1992 she was named Nebraska Artist of the Year. Ms. Terry is photographer and co-editor of “Right Brain Vacation Photos: New Plays and Production Photographs, 1972–1992.” Ms. Terry has a degree from the University of Washington, certificates in acting, directing and design from the Banff School of Fine Arts in Banff, Alberta, Canada, and was awarded the Yale-ABC Fellowship: Writing for the Camera at Yale University. She has had a long association with the Omaha Magic Theatre in Omaha, Nebraska, as playwright in residence, photographer, performer and musician.
From the website, enotes.com: In her play, “Hothouse,” inspired by her relationships with her mother and grandmother, Terry explores the expectations society places on female behavior. While admiring her treatment of feminist themes, some critics faulted Terry's reliance on autobiographical material. [Note that this website, as well as Wikipedia's bibliography, gives 1974 as the date for “Hothouse,” though Terry won the Stanley Award for “Hothouse” in 1964.]
1965: Lonne Elder III
The 1965 Stanley Drama Award went to Lonne Elder III, “formerly of Jersey City,” for his play, “The Ceremonies in Dark Old Men.”
A brief published in the June 26 issue of the Newark Evening News said,
Composer-playwright Rick Besoyan and actress Blanche Yurka judged the competition ...
A professional actor since 1954, Elder was in the original presentation of “A Raisin in the Sun.” “Ceremonies” is his second full-length play. The young Negro writer’s first major theatrical work, “A Hysterical Turtle in a Rabbit Race,” won a $3,000 award from the John Hay Whitney Foundation.
The introductory biography for Elder’s Wikipedia profile says,
Lonne Elder III (Dec. 26, 1927 – June 11, 1996) was an American actor, playwright and screenwriter. Elder was one of the leading African-American figures who aggressively informed the New York theater world with social and political consciousness. He also wrote scripts for television and film. His most well-known play, “Ceremonies in Dark Old Men,” won him a Drama Desk Award for Most Promising Playwright and was nominated for the Pulitzer Prize. The play, which was about a Harlem barber and his family, was produced by the Negro Ensemble Company in 1969. In 1973, Elder and Suzanne de Passe became the first African Americans to be nominated for the Academy Award in writing. [They were nominated for] Best Adapted Screenplay ... for the movie “Sounder,” starring Cicely Tyson, Paul Winfield, and Kevin Hooks.
Later in the Wikipedia entry on Elder, it specifically addresses “Ceremonies”:
In 1965, “Ceremonies in Dark Old Men” was given a reading at Wagner College on New York’s Staten Island. The reading of the play propelled him to a fellowship in screenwriting at the Yale University School of Drama in 1966 and 1967, and won him several other financial awards. ...
The Negro Ensemble Company’s [1969] “Ceremonies in Dark Old Men” was one of the most meaningful theatrical events of the late 1960s, a culmination of Elder’s meditations on the black family unit in a hostile American society. Edith Oliver from The New Yorker stated in her review, “Ceremonies is the first play by Lonne Elder III to be done professionally, and if any American has written a finer one I can’t think what it is.” James Baldwin wrote, “ ‘Ceremonies in Dark Old Men’ is the most truthful play I have seen in a long time. Everyone connected with it deserves a prize, especially the author, Lonne Elder III.”
“Ceremonies” garnered positive reviews, and was the runner-up for the 1969 Pulitzer Prize in drama, along with several other drama awards. The play deals with a 1950s Harlem family—Russell B. Parker, a barber (portrayed by Ward in the original production) who spends most of his time reminiscing about his glory days as a vaudeville dancer, his two unemployed sons, who live on the edge of the law, and his daughter, who resentfully supports the family.
Elder said in the New York Times: “I wrote to write, out of my guts and my heart, I wanted to cause some kind of wonder in the minds of people. I don’t rant or rave about the terror of our racist society. It is never directly stated, it is just there.”
By the time it was revived in 1985, the New York Times noted, “the play had become a contemporary classic.” The subsequent productions of the play nurtured the stage careers of several prominent actors, including Denzel Washington, Billy Dee Williams, Keith David, and Laurence Fishburne. A profound influence on the works of August Wilson and films such as “Crooklyn” and “Boyz in the Hood,” “Ceremonies” remains the definitive black American family drama and the blueprint for how to tell that story.
1966: Albert Zuckerman
The 1966 Stanley Drama Award went to Al Zuckerman for his play, “To Become a Man.”
In the author’s profile from “Writing the Blockbuster Novel,” first published by Macmillan in the mid-1990s, his publisher said,
Albert Zuckerman has been a literary agent and book doctor to some two dozen blockbuster novels. He is the founder of Writers House, a firm that represents hundreds of leading writers in all categories. Author of two published novels, winner of the 1964 [sic] Stanley Drama Award, former writer for three television series, Zuckerman has also taught playwriting at the Yale School of Drama. He lives in New York with his wife and still takes on projects by new authors.
A donor story published on the Yale Giving website gives a little more detail of Zuckerman's background:
The impeccably preserved Victorian-era townhouse on West 26th Street in New York City is where Yale School of Drama alumnus Albert (Al) Zuckerman ’61 MFA, ’62 DFA has based his notable business for more than thirty-five years. Al is the founder of Writers House, one of the largest literary agencies in the world. Writers House represents writers and illustrators of fiction and non-fiction, for both adult and juvenile readers. Books are everywhere at Writers House: one can’t turn one’s head without being confronted by the works of best-selling, prize-winning authors: Ken Follett, Erica Jong, and Stephen Hawking; as well as numerous Nobel Prize, National Book Award, and Pulitzer Prize recipients.
Before immersing himself in the world of books, Al was an ambitious young playwright. After graduating from Princeton, he served in the U.S. Navy and then went to work for the State Department. One of Al’s plays, published in Best Short Plays of 1956, became the impetus for his application for admission to Yale School of Drama.
“Going to Yale was a life changing experience,” Al declares. “The influence of John Gassner, then head of the playwriting department, was transformative. Gassner taught me everything: how to build a scene, how to construct a character.” Upon graduation, at Gassner’s invitation, Al stayed on to teach first-year playwriting. “I came to the realization that I could help other writers.” He has been doing just that ever since.
Zuckerman died in 2011.
1967: William Parchman
An April 7 press release announced that the judges for the 1967 Stanley Drama Award would be George C. White, president of the Eugene O’Neill Memorial Theatre Foundation, and Ben Tarver, co-author of “the current off-Broadway musical hit ‘Man with a Load of Mischief.’ ”
The 1967 competition was still part of the NYC Writers Conference program, and a formal production of the winning entry was held in conjunction with the conference in July. Wagner English professor Jack Boies was identified as the NYCWC director.
A June 13 press release announced the selection of seven Stanley Award finalists:
Claris Nelson, New York City — Her plays include “Rue Garden” (Cafe Cino, 1962), “Medea” (Cafe Cino, 1962), “Neon in the Night” (Cafe Cino, 1964), “The Girl on the BBC” (La MaMa, 1965), “Passing Fancy” (London: Samuel French, 1994), “To the Land,” “A Road Where the Wolves Run” (Circle Rep, 1972) and “The Clown: A Fantasy” (1967). In later life, under the name Claris Erickson, she was an actor in the Circle Repertory Company.
A.R. Gurney Jr., West Newton, Mass. — His Wikipedia entry summary reads, “Albert Ramsdell Gurney Jr. (Nov. 1, 1930 – June 13, 2017), as pen name A.R. Gurney (sometimes credited as Pete Gurney), was an American playwright, novelist and academic. He is known for works including ‘The Dining Room’ (1982), ‘Sweet Sue’ (1986/7) and ‘The Cocktail Hour’ (1988), and for his [1990] Pulitzer Prize-nominated play ‘Love Letters.’ His series of plays about upper-class WASP life in contemporary America have been called ‘penetratingly witty studies of the WASP ascendancy in retreat.’ ”
Bruce Kessler, New York City — Among his plays are “Son of Fricka” (La MaMa, 1963), “The Collapse” (La MaMa, 1964), “Not Entirely Non-Descript but Persephone in the Sun” (La MaMa, 1969). He is referred to in “Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement” as one among “other, largely forgotten La Mama playwrights.”
David Watmough, Vancouver, B.C., Canada — His Wikipedia bio reads, “David Arthur Watmough (Aug. 17, 1926 – Aug. 4, 2017) was a Canadian playwright, short story writer and novelist. Watmough was born in London, England, and attended King’s College London. He has worked as a reporter (the Cornish Guardian), a ‘Talks Producer’ (BBC Third Programme) and an editor (Ace Books). He immigrated to Canada in 1960, to Kitsilano in Vancouver, British Columbia, where he lived for 40 years with his partner, ex-Californian Floyd St. Clair (1930–2009), an opera critic and, from 1963 till his retirement in 1996, a University of British Columbia French professor. He became a Canadian citizen in 1967. Watmough lived from 2004 to 2009 in Boundary Bay and before his death had been living at Crofton Manor, a Vancouver assisted-living facility. In 2008 he published his autobiography, ‘Myself Through Others: Memoirs’.” The only one of his works written in 1967, according to his Wikipedia selected bibliography, is “Names for the Numbered Years: Three Plays.”
Robert Kornfeld, New York City — The Riverdale Press ran an extended obituary on Sept. 1, 2010: “Robert Kornfeld, a successful playwright, photographer and journalist, who was responsible for creating the Riverdale Historic District, died while recovering from pneumonia at the Allen Pavilion in Inwood on Aug. 23. He was 91. ... He wrote numerous plays, including ‘The Art of Love,’ ‘The Celestial’ — which opened at the governor’s mansion in Wisconsin — and ‘Passage in Purgatory,’ produced off Broadway and in Shanghai. ‘The Gates of Hell,’ considered by many to be Mr. Kornfeld’s best, had an extended run at the Theater for the New City in the East Village.” For the rest of his amazing obituary, go to https://bit.ly/2MJ19JL.
Wayne F. Maxwell Jr., New York City — The author’s bio in his 2005 children’s book, “The Little Blue Lamb,” says, “The late Wayne F. Maxwell Jr. was born in Kansas, raised in Tulsa, Oklahoma, and graduated from Tulsa University’s theater department. His talents as an actor-director-playwright were seen On- and Off-Broadway, Los Angeles, and London’s West End. He loved children and wrote lovingly for them while waiting for calls for stage and film work.” A description of the Wayne F. Maxwell Jr. papers, housed in the University of Tulsa’s McFarlin Library, says, “The Wayne F. Maxwell Jr. papers consist of the typescripts and/or photocopied typescripts of five plays, two screenplays, five short stories, and several untitled poems written by Wayne F. Maxwell Jr., a University of Tulsa speech major (Class of 1954), actor, director, and playwright. Some of Maxwell’s plays were written and produced while he was a student at the university. Further information about Maxwell and his activities with the University of Tulsa theatre may be found in The Kendallabrum, 1951-1955.”
William Parchman, Mineola, N.Y. was finally named as the winner of the 1967 Stanley Award for “The Prize in the Crackerjack Box.” — Parchman was one of four playwrights to receive a $3,500 grant in 1968 under the Eugene O’Neill Foundation-Wesleyan University fellowship program, sponsored by the Rockefeller Foundation. His play, “The Mocking Bird,” was performed in July 1969 at the Playwrights Conference sponsored by the Eugene O’Neill Memorial Theater-Foundation in Waterford, Conn.
1968: VENABLE HERNDON
The 1968 Stanley Drama Award went to Venable Herndon for “Bag of Flies.”
Venable Herndon was born on Oct. 19, 1927 in Philadelphia and died Dec. 8, 1999 in New York. He was the son of Hunter Venable and Isabelle Kearney (Flaig) Herndon.
In 1969, the year after winning the Stanley Award, Herndon won the Writers Guild Award for his screenplay of “Alice’s Restaurant,” written with director Arthur Penn.
According to the website, Prabook.com, Herndon earned his high school diploma from Lawrenceville School, 1945; his bachelor’s degree from Princeton University, 1949; and his master of arts degree from Harvard University, 1951. From 1951 to 1967, he worked as an advertising copywriter for the Gimbels and Bamberger’s department stores, and as an account executive for Hicks and Greist Advertising, New York. He worked as a studio screenwriter from 1967 to 1974 for United Artists, Paramount and Columbia films. From 1975, he taught in the dramatic writing program at New York University.
Following Herndon’s death, the Princeton Alumni Weekly published “Memorial: Hunter Venable Herndon ’49”:
Ven died Dec. 8, 1999, of acute Leukemia. He was 72. He came to Princeton from the Lawrenceville School and majored in modern languages, graduating with high honors. He was a member of Cloister Inn. He served in the Army.
After graduation Ven became a playwright and screenwriter as well as a teacher of those arts at NYU's Tisch School of the Arts. He was still active in teaching there until just before his death. His best known screenplay was his 1969 collaboration with the director Arthur Penn on “Alice’s Restaurant.” The movie starred Arlo Guthrie and was based on Guthrie's song of the same name. He was also the author of a book about the life of James Dean.
He is survived by his wife, Sharon Anson, and a daughter, Isabelle Molinaro. The class extends its deepest sympathy to them both.
Playbill published an obituary by Kenneth Jones, “NYU Dramatic Writing Professor Venable Herndon, 72, is Dead,” on Dec. 15, 1999:
Venable Herndon, a playwright, biographer and screenwriter who taught in New York University's dramatic writing program, died Dec. 8 in Manhattan. He was 72 and the cause of death was acute leukemia.
An associate professor of screenwriting in NYU's Tisch School of the Arts, Mr. Herndon earned his bachelor’s in French literature at Princeton and his master of fine arts in comparative at Harvard, and penned such plays as “Until the Monkey Comes ... ” (staged in New York, Chicago and Berlin), “Bag of Flies” and “Independence Night.”
His screenplays include “Alice's Restaurant” (directed by Arthur Penn), “Too Far to Walk” (for Otto Preminger), “Uncle Sam's Wild West Show” (for Paul Mazursky) and more.
“He came here originally to teach in the film school, which he started doing in 1975,” said Mark Dickerman, chair of the NYU Tisch dramatic writing program. “He was always considered a screenwriting teacher, though he certainly had intense and important relationships with playwrights. He was a terrific dramaturg, and students sought him out. Venable would say things aloud that most human being don’t. He was always controversial, provocative and outrageous.”
Both playwrights and screenwriters would make the trek to Mr. Herndon’s NYU office (the door always was open) for advice about work, Dickerman told Playbill On-Line. “He was very blunt, but he had such affection for the person whose work he was talking about that, as blunt as he became, people never objected,” Dickerman said. “Venable got people to think in vital ways about themselves, which he thought was important if they were going to be good writers. He became a habit for people. Once you were Venable-ized, that was it.”
In addition to his dramatic writing, Mr. Herndon was founder and editor of the literary journal, Chelsea Review (1958-1966) and penned a biography, “James Dean: A Short Life.”
He is survived by wife Sharon Anson and daughter Isabelle Molinaro of Manhattan.
1969: Bernard Sabath + Yale Udoff (dual)
Two winners were named for the 1969 Stanley Drama Award, the last time dual winners were named:
“A Happy New Year to the Whole World Except Alexander Graham Bell,” Bernard Sabath
Two one-acts: “The Club” and “The Little Gentleman” by Yale Udoff
Other than the names of the winning plays and playwrights, we have no information on file for the 1969 Stanley Awards.
Bernard Sabath, ‘A Happy New Year to the Whole World Except Alexander Graham Bell’
A manuscript of “A Happy New Year” is housed in the University of South Florida Library. Described as “a play in five scenes,” the play is about how “Samuel Clemens turns down Alexander Graham Bell’s appeal to invest in his new invention, the telephone.”
Sabath was fascinated by Mark Twain. A second play written in 1969 was titled, “The Man Who Lost the River: A Play About Sam Clemens.”
In December 1985, Chicago Tribune critic H. Lee Murphy wrote about two more Mark Twain plays written by Bernard Sabath, giving more information about the playwright’s interest in the author of “Tom Sawyer” and “Huckleberry Finn”:
The playwright Bernard Sabath has been absorbed by Mark Twain ever since Sabath’s own boyhood years ago in a small town upriver from Twain’s hometown of Hannibal, Mo. Now, in the sesquicentennial of Twain’s birth, Sabath is finding new forums in which to indulge his affection.
New York’s Circle in the Square Theatre recently announced that it will produce Sabath’s “The Boys In Autumn,” a memory-filled meeting of Tom Sawyer and Huck Finn when they have grown into old age, circa 1924. The play will star George C. Scott and is tentatively set for a late spring opening. It has been a while coming, since a 1981 production in San Francisco starring Burt Lancaster and Kirk Douglas got no Broadway offers.
Closer to home, the Theatre of Western Springs [in suburban Chicagoland] is presenting the Midwest premiere of Sabath’s companion piece titled “Hannibal Blues,” which centers on a single reappearance by Tom’s first sweetheart, Becky Thatcher, in Hannibal, also in the 1920s.
The 52-year-old Sabath, an instructor for years at Northwestern University before a recent migration to Sarasota, Fla., to try his hand full time at playwrighting, finished “Blues” in the late 1970s. But the show has had just a single major showing, by the StageWest Repertory Co. last year in Springfield, Mass.
“I guess I’ve always been fascinated by the Mississippi River and Mark Twain,” Sabath said in an interview last week. “You have to know his characters pretty well before you can bring them up to date.”
A visit to last week’s opening in Western Springs found “Hannibal Blues” a curious consideration of the adult Becky. Long gone are the innocent pigtails and white lace frocks. This cynical visitor is a firebrand of a tomboy, wearing a man’s fedora and hiking boots and projecting a hard-bitten feminist outlook that might give any modern-day activist cause to blanch. Her untethered independence is punctuated by recitations from Emile Coue, a French exponent in the 1920s of a distinctive type of positive thinking. Most of the rest of her dialogue could have been penned by the radical philosopher Ayn Rand.
There isn’t much of a plot here. Becky falls and injures herself while exploring the same cave where she and Tom became lost years before and ends up spending an evening with a God-fearing Roy Fulton and his son Ben. As Becky sits on the clapboard front porch, her tales of big cities and the jazz bands she has known pose quite a contrast to Hannibal’s humble agrarian setting. At first wide-eyed, the elder Fulton is ultimately liberated by the conversation, driven to a telephoned reconciliation with his runaway wife in California.
The stories aren’t particularly colorful, and the characters seem somehow indistinct even at the end of two hours. Nonetheless, the cast never falters. A lanky, angular Terry Fanning, who has been acting with this group for a decade, invests Becky with a noble pridefulness that balances her less-sympathetic rebellious side. Noel Smith drawls his way through the part of Roy Fulton, while Mark Jolicoeur exhibits a fine adolescent awakening as son Ben. Ted Kehoe’s direction is attentive to the backwoods trappings of the play.
When “The Boys in Autumn” was staged in April 1986 at the Circle in the Square, New York Times critic Frank Rich was not impressed. (And no mention was made of George C. Scott playing in the production.)
Rich wrote, “While this [Broadway] season never did produce any cutthroat competition for the honor of best play, the worst play sweepstakes is being bitterly contested right up to the final hour. ‘The Boys in Autumn,’ a terminally innocuous speculation about Huckleberry Finn and Tom Sawyer in middle age, almost makes one long for ‘The Boys of Winter,’ a Vietnam war drama that had been the prize 1985-86 turkey until this point. ... Mr. Sabath has ... given the men lurid secrets that reduce two of the most beloved characters in our cultural heritage to extras in a Harold Robbins novel.”
“Autumn” was later staged at Honolulu’s Hawaii Theatre, in June 2010, featuring “Wheel of Fortune” host Pat Sajak as the adult Tom Sawyer. It is not clear whether or not the production was ironic in intent.
Yale Udoff, two one-acts: ‘The Club’ & ‘The Little Gentleman’
Yale Udoff, a successful playwright and screenwriter, was at the beginning of his career when he won the 1969 Stanley Drama Award for his two early one-act plays, “The Little Gentleman: A Domestic Fantasy in One Act” and “The Club.”
In his November 2005 review for Backstage magazine, Dave DePino writes:
In ‘The Little Gentleman,’ surreal and darkly comedic, we meet cute-as-a-button 2-year-old Ronald [played by an adult actor], who speaks perfect English, with an English accent. His mother is more concerned with gifts from her husband and battling with her mother about her own upbringing than with realizing that her child needs special attention. Aunt Sylvia arrives, adding to the dysfunction and giving Ronald a good look at the sad family he’s been born into.
“The Little Gentleman” has been published three times — twice in collections, and once in a magazine:
“Best Short Plays 1971,” ed. Stanley Richards (Phila., Pa.: Chilton Book Co., 1972)
“9 Modern Short Plays: Outstanding Works from Stage, Radio and Television,” ed. David A. Sohn and Richard H. Tyre (Bantam Books, 1977)
Literary Cavalcade magazine (March 1972)
“The Little Gentleman” was staged at least twice, according to the playwright: once in the Pacific Resident Theatre in Venice, Calif., in February 2005; and again in November 2005 at the Laurelgrove Theatre in Hollywood, Calif. For the Laurelgrove Theatre production, “The Little Gentleman” was staged together with another Udoff one-act play, “Nebraska,” under the umbrella title, “States of Mind.”
The second half of Udoff’s two-part Stanley Award-winning submission, “The Club,” is set in a steam room, where a group of Jewish men in their 60s nervously wait for their secret agreement to take place. An old Italian joins them, threatening their stability, and bringing their agreement to fruition. [Synopsis provided by the author on his website, yaleudoff.com.]
Udoff received his greatest critical acclaim for his first full-length stage play, “A Gun Play,” which premiered at the Hartford (Conn.) Stage Company in early 1971. New York Times theater critic Mel Gussow gushed, “Its author, Yale M. Udoff, is a discovery. … I suspect that even more will come later.” And when the play moved to New York’s Cherry Lane Theatre that October, Times theater critic Clive Barnes wrote, “There is a cold and fine madness to … ‘A Gun Play.’ … It is to be recommended, largely for itself but also partly for the very evident promise of Mr. Udoff. When you are seeing his second and third plays, it will be agreeable to recall that you saw his first.”
Udoff had many writing credits following “A Gun Play,” but none that met with such critical acclaim. Among those credits are the screenplays for Nicolas Roeg’s confusing “Bad Timing/A Sensual Obsession” (1980) and “Eve of Destruction,” starring Gregory Hines.
Born in 1935, Udoff is a graduate of Michigan State University, attended Georgetown Law School, and served as an infantry officer in the United States Army. His wife, Sally Shulamit Udoff, died in 2010. Yale Udoff died July 19, 2018.
For more details about Udoff’s work, visit the playwright’s website, yaleudoff.com.
Yale Udoff died July 19, 2018 in Burbank, California. He was 83.
Stewie Griffin and ‘The Little Gentlemen’
Ronald, the titular character in Yale Udoff’s “The Little Gentleman” is described in the play’s stage notes as “a child somewhere between the ages of one and three. … He speaks with a British accent. The fact that he is being portrayed by an adult actor should not be used to burlesque the dramatic situation.”
To those familiar with the Fox Television animated series, “Family Guy,” this description will remind them of one of the recurring characters, Stewie Griffin, an (initially) evil baby genius. Stewie speaks in an Oxbridge accent, though it’s never entirely clear how many other characters can understand him except for the family dog, Brian; the baby and the dog are the most intelligent members of the family.
We wrote to Udoff on Aug. 17, 2018, asking if he had ever heard of any connection between Ronald and Stewie. Unfortunately, unbeknownst to us, Udoff had died four weeks earlier. His associate, Alicia Beach, did reply to our email, however, saying, “While Yale is no longer with us to answer your query, what I can say is that I did hear such speculation from Yale directly.”
A search on the Internet for questions about the origin of the Stewie character on “Family Guy” disclosed not one but two claims of possible plagiarism — but neither involved “The Little Gentleman.” The two similar characters at issue are Barry Ween, created by Judd Winick, and Jimmy Corrigan, created by Chris Ware. Both characters appeared in graphic novels named for them.
Of the two similar characters, only one was first published before the first broadcast of “Family Guy” — and that character is the least similar to Stewie.
Stewie first appeared in the 15-minute “Family Guy” pilot, which aired after the Super Bowl on Jan. 31, 1999.
Chris Ware’s “Jimmy Corrigan: The Smartest Kid on Earth” first appeared in Acme Novelty Library #5, published in the spring of 1995. While several images of Jimmy reproduced from the graphic novel series do bear a striking resemblance to Stewie Griffin, the truth is that Jimmy Corrigan is portrayed in the novel mostly as an adult with little resemblance to Stewie. Here’s the “incriminating” comparison most often presented on the Web:
Judd Winick’s character, Barry Ween, actually bears a closer resemblance, both graphically and in character traits, to Stewie Griffin. In “The Big Book of Barry Ween, Boy Genius,” we find a boy of about 10 with a head shaped similar to Stewie’s, the sideways football. Like Stewie, Barry is a genius, probably smarter than anyone else in the world; and, like Stewie, he has a penchant for high-technology devices, especially weapons. Here is a comparison image:
The problem with allegations of plagiarism of Barry by Stewie, however, is timing: Winick’s character did not make his first appearance until several weeks after the first airing of the “Family Guy” pilot. “The Adventures of Barry Ween, Boy Genius, Vol. 1” was published in March 1999. “Barry Ween” was almost surely already in production when the “Family Guy” pilot first aired, so it is virtually certain that Barry was not copied by Stewie — but neither is it conceivable that Stewie could have been copied from Barry, who had not yet appeared in print.
And neither Barry Ween nor Jimmy Corrigan bear any resemblance to Yale Udoff’s character, Ronald, in “The Little Gentleman.” The only thing we can learn about the dual origin controversies related to the Stewie character in “Family Guy” is that certain features of fictional characters seem to recur without necessarily arising from plagiarism.
1970: RICHARD LORTZ
Judges for the 1970 Stanley Drama Award competition were announced — for the first time, NOT in conjunction with the (now defunct) NYC Writers Conference. “Guest judge” was Wagner alumnus Paul Zindel ’58 M’62, whose new play had just opened Off-Broadway, “The Effect of Gamma Rays on Man-in-the-Moon Marigolds.” (It won the 1971 Pulitzer Prize as well as an honorary Wagner doctorate for Zindel.) The other judges were Lowell Matson, chairman of the college’s new Department of Theatre and Speech, and English professor J.J. Boies, director of the competition. The submission deadline was May 11.
A July 27 press release announced the six finalists for the 1970 Stanley Drama Award:
Lewis Colca, Manhattan, “Buzzards Bay,” “a 1970 version of high comedy.” According to the Granville (Ohio) Sentinel, the Welsh Hills Players of Newark, Ohio, presented the premiere of “Buzzards Bay” on March 20, 1973.
Gerry Carroll, Los Angeles, “Bruce,” “a historical drama of Robert Bruce of Scotland.” “Bruce” was one of the plays developed in 1971 at the Eugene O'Neill Theater Center's National Playwrights Conference.
Bronson Dudley, Manhattan, “Leftovers,” “a satiric fantasy with musical interludes.” A memorial blog about Dudley said, “Bronson was an actor and playwright. ... None of his plays hit it big, but he had a successful early career as a dancer on the stage and a late career as a character actor in TV and films. His most memorable film role was Bill in Steve Buscemi’s 1996 ‘Trees Lounge.’ ... Bronson was born January 27, 1920 and died Shrove Tuesday, February 20, 2007.” According to a New York Magazine theater schedule, “Leftovers” was staged in July and August 1972 by the New York Theater Ensemble, 2 E. 2nd St., Manhattan. Three years later, according to New York Times writer Phyllis Funke, “Leftovers” was staged in an innovative production by the Writers in Residence company in Great Neck, Long Island. Funke said the one-act play “deals with the meeting between an aging actress and an aspiring young playwright, both of whom need to talk.”
Craig Clinton, Woodmont, Conn., “A Lamentable Disposition,” “an ‘absurd’ play.” In its 1971-72 season, Playwrights Horizon in Manhattan staged Clinton’s “A Shared Thing/Lunch Hour”; the following year, “Lunch Hour” was staged at the Manhattan Theater Club, 321 E. 73rd St. Today, Clinton is professor emeritus in the theatre department at Reed College in Portland, Oregon, which he joined in 1978. He says, “My primary interests in theatre are in the areas of directing and playwriting. Undergraduate studies at Antioch College and San Francisco State [B.A. 1967, M.A. 1969]. Graduate study at Yale Drama School and Carnegie Mellon University [Ph.D. 1972]. Publications include pieces on Tennessee Williams, Trevor Griffiths, William Inge, and Tom Stoppard.”
M. Sullivan, Pittsburgh, Pa., “Matilde,” “a series of three related one-acts.” Mary Eileen Sullivan, writing under the pseudonym L.M. Sullivan, also published “Cinder Box: An Illusion in One Act With Marches, Dances, a Limerick & Canzonets,” with co-authors Joseph Meyer & Rebecca Red-Shaw, 1970; “Happy House: A Play in Two Acts,” 1972; and “Baron’s Night, or Catch as Catch Can,” in “New Plays By Women,” ed. Susan LaTempa (Berkeley, Calif.: Shameless Hussy Press, 1979).
Richard Lortz, Manhattan, “Three Sons,” “a drama based on the prodigal son story.”
On Aug. 18, Wagner announced that Richard Lortz had won the Stanley Award for “Three Sons,” “which has as its central theme the return of the prodigal son.” The press release went on to say:
A native of New York City who also maintains a home in Belle Harbor, Long Island, Mr. Lortz holds a degree in creative writing from Columbia University and has had two novels published both here and in England, “A Crowd of Voices” and “A Summer in Spain.” In the 1950s he wrote many television plays for such CBS-TV series as “Suspense,” “Danger” and “The Web,” and had another play, “The Journey With Strangers,” produced off-Broadway in 1958. Currently, his play, “The Others,” a supernatural drama, is being filmed in England by Carter De Haven and Eric Winter with the screenplay written by Gillian Freeman, scenarist for “Leather Boys” and “One Cold Day in the Park.” Another play, “The Juniper Tree,” will be produced at the new Sybil Thorndike Theatre in London this season.
In addition to writing, Mr. Lortz paints, and has exhibited his paintings in several one-man shows. Represented by Mary Dolan of the Gloria Safier Agency, he presently works in an editorial capacity for Media Horizons, publishers of trade magazines. …
Dr. Lowell Matson, chairman of the Department of Speech and Theatre at Wagner College … will direct a full production of “Three Sons” at Wagner in October using a professional cast.
When it was premiered in October 1970 on the Wagner College Theatre stage, “Three Sons” was retitled “Of Sons and Brothers.”
On April 6, 1971, a Wagner College press release announced that “Of Sons and Brothers” was “scheduled to premiere on Broadway in the coming fall season. … The drama will go into rehearsal in the late summer under the direction of Alan Schneider, known for his direction of Edward Albee plays and as director of ‘Who’s Afraid of Virginia Woolf.’ The drama was optioned for Broadway production at its opening night on the Wagner campus. … Lortz’s drama centers on the Biblical prodigal son story but the action takes place in a West Side laundromat.”
Nothing appears to have come of Schneider’s planned Broadway production of Lortz’s prodigal-son drama — but the following year, Lortz’s “Voices” opened on April 3, 1972 at Broadway’s Ethel Barrymore Theatre. It ran for just one week — eight performances. Perhaps mercifully, no reviews can be located.
In 1973, “Of Sons and Brothers” resurfaced, this time under the title, “Prodigal,” opening on Dec. 16 at the Circle Theater — later known as the Circle Repertory Theater — which, while located on Broadway was not a “Broadway” theater; because of the number of seats, it was considered “Off Off Broadway.”
A Dec. 14 preview story by Staten Island Advance theater writer Elaine Boies (wife of Stanley Drama Award director Jack Boies) was titled, “Stanley Award Drama Did Better at Wagner.” (No bias, of course.)
By any name, [“Prodigal”] is a powerful reworking of the prodigal son theme into an emotionally charged contemporary family drama.
The playwright deals with love and compassion, jealousy, sin, penance, and expiation of guilt followed by further transgressions. It is a search for oneself, a search for one’s soul.
Willie Nathan [the titular prodigal son] never finds it. Or does he?
Returning to the fold — his family’s Laundromat — as mysteriously as he left it seven years ago, Willie dredges up conflicting passions among his parents and two brother.
Willie has stolen from his father, and squandered $50,000. Is he to be forgiven, welcomed, accepted, or shunned and punished?
Lortz’s drama is laden with anguished family confrontations that hinge on Willie, the middle child, the “handsome prince,” the favored one who has learned to use his charm to con the world.
He returns home broken, spent, having wallowed in the dregs of depravity until he was born again of a new innocence — he says.
Slowly, subtly, the playwright lets the audience become aware that it, too, is taken in by Willie’s magnetism. Is he a Christ figure — or a devil? Or simply a man who failed in his quest for the Grail? …
At Wednesday night’s preview, it was apparent that several roles, especially Willie, were seriously miscast.
Reticent though he is, the playwright had to agree that the 1970 Staten Island production was superior to what’s happening now.
Salem Ludwig, who recreates the father role he originated at Wagner, and Judd Hirsch as Saul, the eldest son whose love is taken for granted, are superb. The others are wrong for their parts.
Lortz’s play is still there, simmering provocatively beneath the surface presented by the cast.
To find it, the critics will have to close their eyes and conjure up characters more appropriate to the playwright’s words. It’s a tough job.
Too bad they never saw it at Wagner.
Clive Barnes reviewed the opening night’s performance at the Circle Theater for the Dec. 18 issue of the New York Times:
“The Prodigal” … is a conventional family melodrama with Biblical overtones. It is set in a laundromat on Manhattan’s West Side and it concerns the return of Willie to the family home.
Willie has been away for seven years. When he left he stole $50,000 as a personal going-away present, and on his travels he seems to have done everything from killing onward. His life sounds spectacularly decadent, but it is difficult to know whether the author means us to believe him or not.
Mr. Lortz’s language is as high‐flying as Icarus. There is validity to this story of three brothers: Saul, the hard‐working eldest brother who counts the petty cash and drives a white Cadillac; the thriftless but beautiful middle brother, Willie, prodigal and charming; and the youngest brother, Joey, planning a runaway but not, presumably, with any of the family fortune. Add a Jewish mother with chicken soup instead of blood in her veins, and a Jewish father strong on both justice and forgiveness, and you have the makings of a fairly stereotyped family ball game. The writing and dramaturgy never quite jell.
Why should the youngest brother go the way of the prodigal when he is so obviously different in temperament? Yet this incident is the only one that provides the play with its dramatic development as opposed to its characterization. The story of the prodigal is very predictable.
The big difficulty is Mr. Lortz’s lack of a way with words. This could change, and certainly he already understands how to build up an effective scene. But he must listen to the way people talk and react.
The permanent setting by Philip G. Gilliam tried to suggest both laundromat and living room and fell down somewhere between the washer and the sofa, and Marshall W. Mason's direction proved too declamatory, in a way that emphasized rather than minimized the playwright's ornate rhetoric.
The performances were good. I was particularly impressed with Judd Hirsch’s baffled, puzzled and bullying eldest brother, clumsily dealing with life’s most unfair proposition, that good guys finish last. Ted Leplat had a decently neat air of Dorian Gray sensuality as the spoiled prodigal.
All in all this was by no means an unrewarding attempt at a play, but it is an attempt essentially more notable for its real promise than its real achievement.
Ouch.
Richard Lortz, born in New York on Jan. 13, 1917, died on Nov. 11, 1980 at the age of 63. A New York Times article said that he died “of a heart attack while visiting his physician in the Bronx.”
1971: BERNARD ‘BEN’ ROSA
A brief in the Wagner College alumni magazine announced that “Ben Rosa, a former construction worker turned playwright, is the winner of the 1971 Stanley Drama Award for his three-character play entitled ‘Obtuse Triangle.’ Rosa, who lives at 11 Waverly Place in New York City, will receive $500 and a showcase production of his script at Wagner College in the fall.”
Aside from the subtitle of Rosa’s play, “A Romantic Comedy in Two Acts,” preserved in the list of Stanley Award winners, nothing is known of Bernard “Ben” Rosa except his birth date — June 11, 1930 — and the date of his death, Jan. 17, 2010, in West Islip, Long Island.
1972: MARVIN DENICOFF
A July 21, 1972 press release announced the finalists for that year’s Stanley Drama Award:
Gene Boland, Los Angeles, “Nobody Sings Like Aunt Hagar’s Children.” Boland was a TV writer and actor in the late 1960s, most often referred to in material written about that period as, specifically, a black writer and actor. He was one of the first African Americans to write for network television series in the Sixties, including “Peyton Place,” “Julia” and “That Girl.” His acting credits include episodes of “Adam-12,” “Dragnet,” “T.H.E. Cat,” “Daktari” and “I Dream of Jeannie.”
John L. ‘Jack’ Leckel, Cicero, Ill., “To Hang is to Dangle.” Leckel headed the theater program at J. Sterling Morton East High School in Cicero. Besides “To Hang,” he was the author of a number of plays with various university productions, including “Blue Is The Antecedent Of It,” “Department Store” (1973) and “Mustapha On Stilts.” He received local Emmy nominations for “As Adam, Early in the Morning,” a 1966 CBS Repertoire Showcase production co-authored with actor William Marshall, and “Nothin’ Like Us Ever Was.” His first novel, “A Warning Thunder,” is set in Louisiana immediately following the Civil War. His second novel, “A Brief Trip to the Moon,” is self-published on Amazon. Between 1979 to 2001, with co-author/illustrator Agnes M. Feeney, Leckel wrote several books about the history — and, sometimes, specifically the cooking history — of Illinois, including “The Great Chicago Melting Pot Cookbook.” In addition to these works, Leckel has published articles for educational journals. He earned his M.A. in theatre architecture from the University of Illinois at Urbana.
Whitney Stine, Hollywood, Calif., “Maestro,” music by Fran Ziffer, lyrics by Martin Kalmanoff.
Whitney Stine, born 1930, is best known as the author of "I'd Love to Kiss You: Conversations With Bette Davis" and "Mother Goddam: The Story of the Career of Bette Davis." She is also the author of several other show-business books as well as a number of novels.
Fran Ziffer also wrote music for "Three on a Bed: A Musical Satire," words by Horty Belson & Thomas Hill (1974), and for "One Foot to the Sea" (1953) and "Dakota" (1951) at the Originals Only Playhouse, Manhattan. Born in Baltimore, Md., Frances Ziffer Burgio of Allentown, Pa., formerly of New York City, died Thursday, Nov. 7, 1996.
Martin Kalmanoff (1920-2007) was born in Brooklyn and studied piano and composition from the age of 7. He earned bachelors (1941) and masters (1943) degrees in music from Harvard. He began his career as a popular songwriter, sometimes writing his own lyrics, but mostly collaborating with either Atra Baer (his first wife) or Aaron Schroeder, though he often worked with other lyricists. Artists who recorded his songs included Sammy Kaye, Guy Lombardo, Connie Francis, Julius LaRosa, Vic Damone, Engelbert Humperdinck, Roy Rogers, Billy Butterfield and Elvis Presley. As his career progressed, Kalmanoff devoted most of his energy to operas and musicals; collaborators included Eugene Ionesco, William Saroyan, Eric Bentley and Lewis Allen. The Martin Kalmanoff papers are housed in the New York Public Library's Archives & Manuscripts department.
Marvin Denicoff, Potomac, Md., who had submitted two plays for the competition: “Fortune Teller Man” and “Wilma’s Freak Show.”
The 1972 Stanley Drama Award went to Marvin Denicoff for “Fortune Teller Man.” The Sept. 26, 1972 Wagnerian said,
Denicoff, who is director of information services for the Office of Naval Research in Washington, D.C., won this year’s $500 award for a play called “Fortune Teller Man,” a drama about a once-serious playwright who has been ruined by trying for years to fit himself to the formulae of Hollywood scriptwriting. …
According to Denicoff, he has two careers: one in scientific research and one in writing. The former career, says the playwright, is what has supported the Denicoff household. For the Navy, Denicoff administers a basic research contract program in such fields as linguistics robotics, automata theory, pattern recognition, software development, etc.
But Denicoff, the writer, has also published many short stories over the years. They have appeared in a number of literary magazines, including Whit Burnett’s “Story Anthology.”
Born and raised in Philadelphia, Denicoff graduated from Temple University in 1949 with a degree in liberal arts. He did graduate work in literature and linguistics at Temple and Mexico City College. He worked at the Office of Naval Research from 1960 to 1983, when he helped found Thinking Machines Corporation, where he worked until 1996.
In 1985, Denicoff described to Fortune magazine writer Brian Dumaine a scheme for using computers to assist in writing plays:
Marvin Denicoff, an artificial intelligence expert and an award-winning playwright, thinks a computer could help a dramatist write plays. In his vision, still very much on paper, the playwright would draft a scene and then set up a stage on his computer screen by drawing on a rich database of stock characters, sets, and costumes. He would then instruct his electronic actors to speak and move in any way he wished until he was satisfied with the scene. The playwright could also use a computer to show his finished play to potential investors.
The Aug. 31, 1972 press release announcing that Denicoff, 48, had won the Stanley Drama Award noted that “Fortune Teller Man” was the fourth play Denicoff had written. The others were “Wilma’s Freak Show,” also submitted for the 1972 Stanley, “A Cage for a Songbird” and “The Doctor is Sick.” No record could be found of any of these shows being produced.
Marvin Denicoff died on July 1, 2013, at the age of 88. He was survived by his wife of 63 years and their four sons.
1973: C. RICHARD GILLESPIE
The New York Times of Oct. 25, 1973 announced that C. Richard Gillespie of Baltimore had won that year’s Stanley Drama Award for his play, “Carnivori.”
In a September 2012 news story, the Baltimore Times said,
C. Richard (Dick) Gillespie has his master and doctoral degrees in theatre from the University of Iowa. He started in the theatre as an actor, but found his life’s work in teaching and directing. In 1961 he founded the academic theatre program at Towson University (then Towson State Teachers College) and taught there for 37 years. During his career he directed more than 75 productions in educational, professional and experimental theatres. He has directed plays from the full literature of the theatre including the Greek, Shakespearean, Restoration, Medieval, Romantic, Oriental and Contemporary repertories. His last two productions at Towson were critically acclaimed interpretations of Tennessee Williams’ seldom-produced plays, “Clothes For A Summer Hotel” and “Something Cloudy, Something Clear.” For eighteen summers he directed summer productions in the Maryland Arts Festival. Dr. Gillespie is the author of two books: “Papa Toussaint,” a novel based on the last five years in the life of Toussaint Louverture the liberator of Haiti; and “The James Adams Floating Theatre,” the history of a show boat that sailed the Chesapeake Bay and the North Carolina sounds between the world wars and was the model for Edna Ferber’s novel, “Show Boat.” He has written several plays, one of which, “Carnivori,” won the Stanley Drama Award.
“Carnivori,” written in 1971, was based on Gillespie’s experiences as an Army Signal Corps photographer during the Korean War. The play was produced at Baltimore’s Corner Theater.
The Baltimore Times story, above, was written about a performance of A.R. Gurney’s “Love Letters” in which Gillespie and his wife, Maravene Loeschke, were about to perform. Gillespie was then professor emeritus at Towson University, and Loeschke had recently been inaugurated as Towson’s president. Like her husband, Loeschke had an academic as well as a performing background in the theater.
Gillespie died on April 2, 2016 at the age of 85.
1974: GUS WEILL
The 1974 Stanley Drama Award went to Gus Weill for his play, “The Son of the Last Mule Dealer.” Judges for that year’s award were George C. White III, president of the Eugene O’Neill Memorial Theatre Center, Wagner College Theatre head Lowell Matson and Wagner English professor J.J. Boies.
According to Weill’s resume, published by Louisiana Public Broadcasting, “Son of the Last Mule Dealer” (written in 1969) was produced Off-Broadway, and by the Actors Studio. A May 1975 New York Times brief said that “Mule Dealer” would be produced the next spring (that is, in 1976) by Phil Osterman, but no further information about that production
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Donna Hoke dramatists guild Archives
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You really need to move to New York. You’ve heard that, right? I don’t live in New York City; is my playwriting career doomed? Sometimes, it seems that way—or at least seems as though others feel that way. Recently, on a panel of six playwrights, the five before me all introduced themselves, “I’m First […]
A fellow Dramatist Guild rep posed this question to me, in view of the ugliness that followed my blog post about the egregious guidelines set forth by Words Players in Rochester, Minnesota. It gave me pause, because the hate heaped on this small theater company became extreme, and some saw us, the playwright community, […]
Years ago, I emailed the amazing EM Lewis (SONGS OF EXTINCTION, THE GUN SHOW) and asked her how, as a not-fresh-out-of-college, female, late-starting playwright not living in New York City, she’d managed to get her work noticed. Typically, she was very generous in her reply and said, among other things, that each year, she […]
(Click here to read other posts in this series) Gratitude journals and their more public cousins—gratitude Facebook posts—have become mindful ways to connect with what is good in our lives. I’ve never done one, but it occurred to me a while back that doing a 365 Grateful for playwriting might illuminate a year’s worth […]
(Click to read #365GRATEFULPLAYWRIGHT: A YEAR OF WHAT MAKES IT ALL WORTHWHILE/JANUARY PART ONE) Gratitude journals and their more public cousins—gratitude Facebook posts—have become mindful ways to connect with what is good in our lives. I’ve never done one, but it occurred to me a while back that doing a 365 Grateful for […]
In trying to choose a title for this blog post, I started out with something like “Why Women Need To Submit,” and realized just how awful that sounded. But in the context of play submissions—something I advocate fiercely—there is something worse: according to informal polls and at least one study, women submit fewer plays […]
I make a lot of submissions. More than a few hundred a year, as anybody who knows me can attest. And submitting that much–no surprise–yields results in the form of readings, workshops, and productions, as I’ll recap at the end of next month. But before I do that, i.e. before I subject myself to […]
(Reprinted from the November issue of The Dramatist) The Buffalo Infringement Festival, which celebrated its eighth year in 2013, is a wonderfully illustrative example of the constant creation and collaboration that defines the Buffalo theater scene. Though the Festival comprises art installations, dance, music, media, puppetry, and more, theater has always been an […]
If you don’t know what RIPP: Real Inspiration for Playwrights Project, please click here to get some context before reading. I have a feeling not everyone is doing this, as I keep getting emails from playwrights wanting to send me their plays or asking how to get produced which, again, is not the point of RIPP […]
So this is the biggest news: the world premiere of Seeds begins March 1 at Road Less Traveled Theater. I’m so excited for this and I’m so impressed with the work of director Kristen Tripp Kelly, and cast Todd Benzin, Diane Curley, Kelly Jakiel, Pam Mangus, and Diane DiBernardo. Just amazing. My daughter has been […]
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University of Arkansas
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Fulbright College of Arts & Sciences
Department of English
Kimpel Hall 333
University of Arkansas
Fayetteville, Arkansas 72701
479-575-5919
engl@uark.edu
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https://www.penguinrandomhouse.ca/books/349644/the-artists-way-by-julia-cameron/excerpt
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Excerpt from The Artist's Way
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Since it was first published twenty-five years ago, The Artist's Way has inspired millions to overcome the limiting beliefs and fears that inhibit the creative process.
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Novel Writing Software
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The Artist's Way has inspired countless artists over several decades. Here's what it can do for writers.
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NovelPad - Novel Writing Software
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https://novelpad.co/blog/the-artists-way-for-authors
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Like many would-be authors, I’ve made up stories since I was a kid. I’ve been writing them, hoping to publish novels, for a full ten years. Have I finished writing a novel? Have I published? Not yet. After a decade of trying, I turned to a book called The Artist’s Way.
Because something was wrong.
With me. With many writers, actually. With artists in general, especially in American culture. I realized that I had an unhealthy relationship with writing fiction and couldn’t seem to commit to any ideas and finish projects.
The Artist’s Way changed a lot about my writing, and I’m here to let you in on how you can also get your writing mojo back, even if you don't realize you’ve lost it.
What is The Artist’s Way?
The Artist’s Way is a book written by Julia Cameron, an author, film writer, poet, filmmaker, composer, and a bunch of other artistry titles, that covers a twelve week process of $ unblocking yourself$ from whatever creative pursuit is your flavor. And if you don’t know what your specific art medium is, but you just feel creative and stifled in normal life, it’s good for that too.
Needless to say, because of her lengthy artistry job titles, this woman can finish her art. She can also teach others the process of doing it in highly effective ways.
You might see The Artist’s Way talked about as a spiritual method of being more creative, and that’s true. There is an element of a "higher power" involved in the creative process, whether that's a god, the universe, or some other entity or concept that you best relate to. It’s about whatever you believe, and how you can use that to work out your, let’s just say, issues.
In short, The Artist’s Way is a twelve-week individual intensive that reconnects you to the root of your creativity, strips you of what’s holding you back, and gives you the confidence to create again.
The Necessity of Finding Your Creativity in a Culture Fixated on Capitalism
The last decade of writing for me has been sporadic, anxiety-filled, and full of the kinds of pressure most new writers are facing nowadays. I have written so much across various genres, attempted full novels many times, and even won $ NaNoWriMo$ once, only to not finish the full draft.
Just look at my attempts over the years—not even all of them:
Hop on the internet, type in "how to write a book," and get slammed with thousands of blog posts, ads, companies, and other writers telling you how to do it—each claiming that their method is the right method. That is, if you want to $ earn a living doing it$ .
And don’t we all?
I don’t know about you, but I’ve never really dreamed of being a starving artist—the kind of writer hunched over a small screen, refusing to let anyone read what I wrote. Or worse, publishing proudly and still having nobody read it.
That led me down a path of "how to make a living writing fiction" and I was met with even more advice, with claims of quick riches. Self-publishing has made the possibility of earning a living with writing accessible.
If you do it a certain way.
If you follow this process or that.
If you write in these genres and publish with these categories.
All of it is true. There are methods to $ make money writing$ . It’s just that by trying to do it that way, I lost what made writing fun to me.
The $ purpose of writing fiction$ has, to so many people, become about the money instead of the art.
With a focus on selling and money, the art of fiction was lost to me. I was being strategic in my genre choices. I was forcing $ tropes$ I didn’t even like for the sake of an audience who might.
There may be nothing wrong with that. There is nothing wrong with wanting to make an income from your writing…as long as you’re not sacrificing the enjoyment of the art itself. If you don't love writing, there are better ways to make money!
I could make up those profitable stories. I could plot and write in the strategic target genres.
But it didn’t feel like art. It felt like an assignment I had to get right, and I’ve never been the kind of person to do homework. So I never finished any of them.
There are more reasons to write a book than to make money from it, despite the industry’s cry to the contrary.
How The Artist’s Way Helps Fiction Authors
When you get The Artist’s Way, it’ll take you twelve weeks to complete if you’re following the guidelines. You’ll read a passage each week, then complete a set of activities to reveal truths about yourself and reconnect you with the deeper aspects of creativity itself.
It can work for many artistic mediums, but The Artist’s Way is particularly helpful for authors, because the author also writes novels. She gets it.
Some of the activities seem silly, like taking yourself on an Artist Date, which is pursuing something creative by yourself. Or coming up with a list of would-be careers you’d have liked to have if you didn’t settle where you are (which I like to call my "alternate reality Bellas").
Another activity you’ll do for the entire process is writing Morning Pages, AKA, journaling three pages in a notebook first thing every morning. This is what the author swears by.
The results for me were surprising, and I’ll cover those below.
Because of the prompts and activities, you’ll uncover insecurities and deeply buried beliefs about yourself or your writing that have held you back.
You’ll get answers to questions like:
1. What am I trying to say?
2. What do I have to offer the world?
3. What’s valuable about my perspective and life experience?
4. Why do I want to write books?
5. What’s my voice?
6. What should I write about?
These are all extremely important to your writing. It’s the heart of what your fiction stories will be about, no matter which genre or type of story you want to write.
It’s what makes stories both worth writing and worth reading.
And if nothing else, they’re important things for you to understand about yourself.
That’s why I highly recommend The Artist’s Way for authors. The outcome for me has been life giving.
Overall Outcome of Going Through The Artist’s Way for Authors
The Artist's Way changed my creative process in two significant ways.
First, there was the self-learning experience.
Then, there was the creating experience.
Self-Learning Experience from The Artist’s Way
The human brain is so good at hiding the truth from itself. We can even point out problems and flaws in others that we only recognize because they live in us, but we can’t see them in ourselves.
At least, not unless there’s a spotlight shined on them, forcing us to pay attention.
That’s the effect of The Artist’s Way for authors. There were many things I learned about myself, but four stand out more than others and have stuck with me even months later.
Here’s what I learned about myself that I didn’t realize was affecting my ability to write (to make art):
A mentor figure early in my writing journey accused me of copying their writing (I very clearly didn’t), which mortified me into having a fear-based approach to anything I plotted or wrote since then. This was particularly problematic because of the value I have always placed on the originality of ideas and writing. I overthought everything, changed any detail if it was even similar to anything I’d read before, and that made the process nearly impossible.
The fact that my family always made fun of me for almost any creative pursuit made me feel self-conscious about anything I did and unwilling to talk about or share it with people. There was shame attached to my writing.
I was made aware that I didn’t even know what I was writing about. Yes, I knew the plot. I knew the characters. But I didn’t know what I was trying to say with them. I had no themes or values from my own life. My stories lacked substance, and I knew it, because they all felt like they were missing something.
Lastly, The Artist’s Way helped me realize that I never finished anything because I was terrified of being bad at it. As a quick learner with a natural talent for many things, the thought of being bad at something so important to me was immobilizing.
More than anything, The Artist’s Way connects you with the art of what you’re creating. For me, that meant the substance beneath the medium of writing.
The Creating Experience from The Artist’s Way
The goal of The Artist’s Way for authors is to get back to writing—and creating in general. The process is for people who struggle to produce and create, despite wanting to.
I had the question, and maybe you do too, of: Is it even useful to dredge up all this stuff about yourself?
The answer for me was a definitive yes, and here’s why.
1. I had reasons I could point to in order to talk myself out of insecurities.
Any time a voice cropped up telling me that my story was too much like a certain part of a certain book in a big series (halting my progress), I could tell myself that wasn’t my voice. That was my old mentor who had issues of their own to figure out.
2. I knew what I wanted to write, and no other purpose has mattered since.
There’s no rush to complete a story that’s not right anymore. There’s no fixing and adjusting to please people I don’t know, because I know what I want to write now. I just revisit that and am able to create.
3. I feel firmly rooted in my vision, voice, and perspective.
You wouldn't believe how much easier this makes doing the work. There’s no floundering. No considering this or that. I choose what I want to say with my books, and I craft the characters and stories around it.
It’s amazing how easy and natural it feels when it’s connected to a deeper part of your life experience. "Write what you know" takes on a very different meaning.
4. I have made more progress on my vision in the past few months than I had in the decade before.
This is what most of you want to know, right? Have I finished writing a book yet? No. But that’s only because I have an entire world to build for my fantasy stories—one that spans over 100,000 years. The first book of the first series is plotted.
I realized that I was playing too small for what I wanted to create, trying to write whatever story I could think up. For someone like me, that’s a lot of ideas. But what I truly want, what’s important to me for my art, is to create a unique world in which I can write many series and standalone novels, exploring an overarching fascination of mine (ancient history).
Most importantly, I no longer have fears. I think there will always be a small amount of insecurities, as with any type of art, but there isn’t fear tied to my writing anymore.
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admin – Dramatists Guild Foundation
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2018-01-31T16:04:03-05:00
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Author: imagebox_admin
DGF Announces the Inaugural Recipients of the Writers Alliance Grants
The Dramatists Guild Foundation is thrilled to announce 10 writers and writing teams and 10 nonprofit theaters as the inaugural recipients of the DGF Writers Alliance Grants.
These Grants provide $5,000 to a writer and another $5,000 towards a theater’s production of that writer’s new work.
Each writer is one whose work pushes boundaries and shows tremendous promise. Each of the producing theaters demonstrated superlative ethical standards in supporting the livelihoods and careers of writers.
Writers Alliance Grants are an innovation on DGF’s previous theater program, which has supported theaters for 50 years. Writers Alliance Grants are awarded in celebration of working relationships that align deeply with DGF core values. These grants reflect DGF’s commitment to ensuring writers’ contributions to theater are respected and to changing the national conversation about how writers are treated by the institutions that produce their work.
Applicants were selected via committee on the strength of their contracts, the artistic merit of the project for which they are requesting funding, and the organization’s commitment to the production of new works and voices.
“After 55 years of giving to nonprofit theaters, our Board has restructured our former Theater Grant program into the Writers Alliance Grants. These awards honor our commitment to nonprofit theaters and give direct funds to the writers enriching their communities across the country. We believe that by honoring theaters with outstanding commitment to both the writers’ work and livelihood, we are doing our part to highlight the writers’ essential role in the creation of theater.” – Rachel Routh, Executive Director of DGF
The full list of recipients is as follows:
Writer: Meridith Friedman writer of Your Best One Theater: Curious Theatre Company in Denver, Colorado Production Dates: May 5 – June 16, 2018 www.curioustheatre.org
Writers: Gordon Leary and Julia Meinwald, writers of The Loneliest Girl in the World Theater: Diversionary Theatre in San Diego, CA Production Dates: May 24-July 1, 2018 / Official Premiere June 2 www.diversionary.org
Writers: Cameron Cobb, Michael Federico and Max Hartman, writers of Pompeii!! Theater: Kitchen Dog Theater Company in Dallas, Texas Production Dates: April 19-May 6, 2018 www.kitchendogtheater.org
Writer: Jenifer Nii, writer of The Weird Play Theater: Plan-B Theatre Company in Salt Lake City, UT Production Dates:March 1-11, 2018 www.planbtheatre.org
Writer: Kristiana Rae Colon, writer of Tilikum Theater: Sideshow Theatre Company in Chicago, IL Production Dates: June 22 – July 29, 2018 www.sideshowtheatre.org
Writer: Bekah Brunstetter, who is writing an original commission for the theater Theater: Theater Breaking Through Barriers in New York, NY Production Dates: TBA www.tbtb.org
Writer: Jennifer Barclay, writer of Ripe Frenzy Theater: Synchronicity Theatre in Atlanta, GA Production Dates: April 3 – 22, 2018 www.synchrotheatre.com
Writer: Eleanor Burgess, writer of The Niceties Theater: Portland Stage in Portland, ME Production Dates: April 3 – 22, 2018 www.portlandstage.org
Writer: Harrison David Rivers, writer of The Bitter Earth Theater: Penumbra Theatre in St. Paul, MN Production Dates: April 24 – May 20 2018 penumbratheatre.org
Writer: Tom Horan, writer of The Pill Theater: Phoenix Theatre in Indianapolis, IN Production Dates: TBA www.phoenixtheatre.org
Congratulations to each of these artists and theaters. We look forward to their continued success.
DGF Named one of Playbill’s 21 Theater-Related Charities to Donate to on #GivingTuesday
DGF was recently listed among a group of 21 nonprofits to support on #GivingTuesday by Playbill. (full link below):
http://bit.ly/2BlGbKN
This year for #GivingTuesday DGF is giving out 2 tickets to Frozen on Broadway to one lucky person who donates $55 or more in the next 24 hours!
To enter, visit dgf.org/donate or text “DGF” to 41444.
DGF helps keep American theater alive by supporting the writers who create it. Our programs support over 16,000 writers annually including DGF Fellows Alumna and the writer of Frozen herself: Kristen Anderson-Lopez! Hear why she believes it is so crucial to support DGF today:
https://youtu.be/pDwJ551fHlI
*Winner chosen at random. Offer only valid on November 28,2017-November 29, 2017*
DGF Elects New Vice President Kevin Hager
The Dramatists Guild Foundation Board of Directors is proud to announce it has just elected Kevin Hager to be its new Vice President. Mr. Hager succeeds former Vice President, award-winning composer, lyricist, and playwright Carol Hall (Best Little Whorehouse in Texas). “First, Kevin Hager said ‘Yes!’ to DGF and now he’s saying ‘Yes!’ to accepting the duties of Vice President of the Board. I can think of no greater member of our organization to work with, side by side, as DGF heads into its most exciting phase yet.” – Andrew Lippa, President
Serving on the Board of Directors since 2010, Mr. Hager serves as the Chair of the Board Development and Succession Committee.“We are so fortunate to have Kevin join our Board’s leadership cabinet. He brings years of experience in strategy and results in nonprofit management and a deep passion for the theater. We know he will help take DGF to the next level in achieving our ambitious goals.” – Rachel Routh, Executive Director
Kevin Hager is currently the Managing Director of Understood.org and Vice President and Chief Digital Officer of the National Center for Learning Disabilities (NCLD). In these roles he oversees all fundraising, communications, and online strategy and engagement. He led successful efforts to significantly increase total fundraising for the organization while simultaneously diversifying funding streams and increasing unrestricted revenue. Working with several of the top website, social media, PR, and strategic planning experts in the country, he led the process of creating a comprehensive, forward-thinking plan to scale the organization’s brand and more effectively engage key audiences. This resulted in the creation of a new, fully-funded, online strategy and engagement department overseen by Mr. Hager.
Prior to his work at NCLD, he managed the creation of the Center for Service Learning at the University of Kansas. Mr. Hager then moved into political campaigns, serving as the press secretary for a DCCC “Top 10 Race” and ultimately as campaign manager for a large municipal campaign before moving to New York to serve as the development director of DoSomething.org.
DGF Special Event: Dear Evan Hansen
SOLD OUT!
Join us on May 31st to see Tony nominated, Golden Globe and Academy Award winning musical theater duo Benj Pasek and Justin Paul‘s hit Broadway musical Dear Evan Hansen! After the performance, you and your guests will get an exclusive backstage tour with a cast member!
Wednesday, May 31st, 2017
8:00 PM Music Box Theatre
239 West 45th Street, between 7th and 8th Avenues
Tickets: $300
All proceeds go to support writers at all stages of their careers through emergency aid, educational programs, and free rehearsal space.
2017-18 Fellows Applications Extended
Applications now accepted for 2017-18 DGF Fellows
The Dramatists Guild Foundation and Program Chairs Michael Korie, Laurence O’Keefe, and Diana Son announce applications for the 2017-18 DGF Fellows Program are now open and encourage playwrights, composers, lyricists, and bookwriters to apply.
The Fellows program is a nine-month intensive designed to augment the training of American writers early in their careers and enhance the sense of community among playwrights and musical theater writers. Theater writers selected for the program meet with Program Chairs, guest artists, and industry professionals twice a month for feedback on their works in progress. Fellows also have regular sessions with experienced dramatists for one-on-one mentoring and, when possible, are offered continued development opportunities through partnering organizations.
To apply, visit http://fellows.dgfund.org/. Applications must be received no later than 5:30PM EST on April 14, 2017. Those selected for the program will begin in Fall 2017.
APPLICATION REQUIREMENTS:
Applicants are eligible for the Fellows program if they meet at least one of the following qualifications: 1. Participation in a graduate program in theatrical writing within the last five years; or 2. Participation in an organized theatrical workshop within the last ten years; or 3. Comparable experience, such as one or more professional productions, and a recommendation by a theater professional or theater educator; or 4. Pertinent, documented practical experience.
All applicants must be residents of New York or the surrounding metropolitan area for the time of their fellowship. Applicants must also be prepared to meet on alternate Monday evenings of every month, and to make themselves available, if possible, to participate in observerships, assistantships, etc. when those opportunities arise.
For further submission guidelines and to apply, visit: http://fellows.dgfund.org/. Applications must be received no later than 5:30 PM EST on April 14, 2017.
About The Fellows program
The Fellows program is supported and administered by the Dramatists Guild Foundation. Each year, a select group of new theater writers are accepted into the nine-month program, which provides continued support and training through group sessions with theater professionals, one-on-one mentoring, and resources to establish lasting careers.
Former Fellows include: Kristen Anderson-Lopez (Academy Award winner, Frozen), Rajiv Joseph (Pulitzer Prize finalist, Bengal Tiger at the Baghdad Zoo), Benj Pasek & Justin Paul (Golden Globe for Best Original Song, LA LA Land), Deborah Zoe Laufer (ATCA Steinberg Award, End Days), and Adam Gwon (Fred Ebb and Richard Rodgers Award winner).
“When we moved to New York City in 2007 we got into the Fellows Program and were able to study with Lynn Ahrens and Stephen Flaherty, who were two of our theater gods at the time, and develop the skill set we needed to write for musical theater.” – Benj Pasek & Justin Paul
Traveling Master Caridad Svich Comes to Virginia
Dramatists Guild Foundation’s Traveling Masters program to feature playwright Caridad Svich
At Mary Baldwin University on February 18 & the University of Virginia on February 19
Caridad Svich (12 Ophelias, Magnificent Waste) leads a post-show Q&A of Blood Wedding at Mary Baldwin University (301 Deming Drive, Bottom Floor, Deming Fine Arts Center, Staunton, VA) on February 18 at 9:30 PM as part of the Dramatists Guild Foundation’s Traveling Masters program.
Post-show Q&A of Blood Wedding
Saturday, February 18th at 9:30 PM
Fletcher Collins Theatre
301 Deming Drive, Bottom Floor, Deming Fine Arts Center, Staunton, VA
The post-show Q&A with Caridad Svich is free to the public. No RSVP required.
Caridad Svich will also lead workshops with students at Mary Baldwin University on February 18 & University of Virginia on February 19 as part of the Traveling Masters program.
The Traveling Masters program is a national outreach program that brings prominent writers into communities across the country to lead master classes, workshops, talkbacks and other public events. Caridad joins over 30 other writers who have participated in the program nationwide. Traveling Masters have included Jason Robert Brown, Paula Vogel, Lynn Ahrens & Stephen Flaherty, Philip Kan Gotanda, Annie Baker, Daniel Beaty, Lisa Kron, Andrew Lippa, among others.
Videos from DGF’s Traveling Masters program with Paula Vogel (https://youtu.be/pElvzplm2H0) and DGF President Andrew Lippa (https://youtu.be/Hdav-julzZc).
About Blood Wedding
By Frederico Garcia Lorca, Translated by Caridad Svich, and Directed by Doreen Bechtol. Based on a true story of a young woman who abandons her husband on their wedding day, Lorca’s 20th-century classic captures the elemental forces of buried passions, betrayal, and revenge. Blood Wedding lyrically portrays young lovers who ultimately resist a life prescribed by family, community, and culture.
In performances February 15-19. Tickets available at www.marybaldwin.edu/arts/theatre/.
Caridad Svich received a 2012 OBIE Award for Lifetime Achievement in the theatre, a 2012 Edgerton Foundation New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based Isabel Allende’s novel. She has won the National Latino Playwriting Award (sponsored by Arizona Theatre Company) twice, including in the year 2013 for her play Spark. She has been short-listed for the PEN Award in Drama four times, including in the year 2012 for her play Magnificent Waste.
Key works in her repertoire include 12 Ophelias, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, and JARMAN (all this maddening beauty). She has also adapted for the stage novels by Mario Vargas Llosa, Julia Alvarez and Jose Leon Sanchez, and reconfigured works from Wedekind, Euripides, Sophocles, and Shakespeare. In 2017, Corazon Eterno premieres at Mixed Blood Theatre in Minneapolis and Rep Theatre of St. Louis, and De Troya premieres at Cara Mia Theatre in Dallas, Texas.
Her works are published by TCG, Smith & Kraus, Playscripts, Intellect UK, Broadway Play Publishing and more. She has edited several books on theatre including Audience Revolution: Dispatches from the Field (TCG, 2016) She is currently editing a book on playwriting for Methuen UK.
She is associate editor of Contemporary Theatre Review for Routledge, UK. She is alumna playwright of New Dramatists. She holds an MFA in Theatre-Playwriting from UCSD. She teaches creative writing and playwriting at Rutgers University-New Brunswick and Primary Stages’ Einhorn School of Performing Arts. She has taught playwriting at Bard, Barnard, Bennington, Denison, Ohio State, ScriptWorks, and Yale School of Drama. Website: http://www.caridadsvich.com
Steve Yockey kicks off DGF’s Traveling Masters Program in 2017
Dramatists Guild Foundation’s Traveling Masters program to feature playwright Steve Yockey
At Mesa Community College February 16 & 17 during Kennedy Center American College Theatre Festival, Region VIII
Steve Yockey (Very Still & Hard to See, Blackberry Winter) joins the Dramatists Guild Foundation’s Traveling Masters program to work with student writers and offer feedback on their plays at Mesa Community College on February 16 & 17, during the Kennedy Center American College Theatre Festival.
The Traveling Masters program is a national outreach program that brings prominent writers into communities across the country to lead master classes, workshops, talkbacks and other public events. Steve Yockey, award-winning playwright of Very Still & Hard to See and Joshua Consumed an Unfortunate Pear, will be the first Traveling Master for the DGF in 2017.
Steve joins over 30 other writers who have participated in the program nationwide. Traveling Masters have included Jason Robert Brown, Paula Vogel, Lynn Ahrens & Stephen Flaherty, Philip Kan Gotanda, Annie Baker, Daniel Beaty, Lisa Kron, Andrew Lippa, among others.
Videos from DGF’s Traveling Masters program with Paula Vogel (https://youtu.be/pElvzplm2H0) and DGF President Andrew Lippa (https://youtu.be/Hdav-julzZc).
Steve Yockey is a Los Angeles based writer with work produced throughout the US, Europe, and Asia. His plays Bellwether, Pluto, Afterlife, Octopus, Large Animal Games, CARTOON, Subculture, Very Still & Hard to See, The Fisherman’s Wife, Wolves, Disassembly, and Niagara Falls & Other Plays are published and available from Samuel French. Additionally, his play Joshua Consumed an Unfortunate Pear was included in the 2015 Humana Festival of New American Plays and the subsequent published anthology. This season, Steve’s new play Blackberry Winter opened across the country as a National New Play Network rolling world premiere at Salt Lake Acting Company, Actor’s Express, Out of Hand, Capital Stage, New Rep, Forum Theatre, Oregon Contemporary Theatre, and Kitchen Dog. Actor’s Express and Kitchen Dog also joined San Francisco’s Custom Made Theatre this season in producing The Thrush & The Woodpecker. Steve was one of two writers selected for the first US/Australia playwright exchange in 2013, taking his play Pluto to the National Institute of Dramatic Arts in Sydney, NSW and the National Australian Play Festival in Perth, Western Australia. He holds an MFA in Dramatic Writing from NYU’s Tisch School of the Arts. Steve contributes issues to the Zenescope comic book series Grimm Tales of Terror and writes for MTV’s Scream and CW’s Supernatural. He is currently developing the dark comedy series Cindy Snow for Warner Bros/A&E/Lifetime and the digital horror series Hide for Warner Bros and Full Screen.
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TEAM WELLINGTON EARN GRAND FINAL SPOT WITH WIN OVER AUCKLAND
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AUCKLAND -Auckland City’s three-year reign as New Zealand Football Champions is over after losing 4-3 to Team Wellington in the NZFC Preliminary Final at…
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Oceania Football Confederation
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https://www.oceaniafootball.com/archives-2761/
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AUCKLAND -Auckland City’s three-year reign as New Zealand Football Champions is over after losing 4-3 to Team Wellington in the NZFC Preliminary Final at Kiwitea St on Saturday.
The win also ends Auckland’s hoodoo over the capital side, who grabbed their first win over City in 13 attempts and enter their first ever Grand Final next Sunday against Minor Premiers Waitakere United at Trusts Stadium.
“There’s been talk about history being against us but I told the lads that the only history we need to worry about is what we set,” Team Wellington coach Stu Jacobs said.
“We’re not there yet however. We have to be genuine champions and that means beating both Auckland and Waitakere.”
Golden boot winner Graham Little continued his fine scoring form with a brace of goals – the second a match-winning penalty in extra time with the scores locked at 2-2, after earlier opening the scoring in the 24th minute from some goalmouth pinball.
Little – who has now scored 46 goals in a league record 81 games for Team Wellington, looked full of running throughout the match but confirmed his 82nd game would be his last.
“The old legs are still working,” Little said.
“But it’s my last game next week, and there’d be no better way to finish [than winning the Grand Final].
Halftime substitute Peter Halstead also grabbed a pair, first sending the game into extra time with a measured left foot curling equaliser in the 86th minute, and then making sure of the victory with Wellington’s fourth from a breakaway as Auckland pushed for a extra time leveller.
Auckland– a goal down at halftime – led heading into the final ten minutes with two goals in three minutes midway through the second spell.
Keryn Jordan – the last-gasp goal-scoring hero for Auckland last weekend against Wellington – turned provider with a scything ball across the face of goal that allowed Jeff Campbell to finish at the back post in the 70th minute.
City’s Korean duo then combined to put Auckland in front three minutes later with Chan-Goo Yoon subtly directing Ki-Hyung Lee’s free kick past Phil Imray.
With Halstead sending the game into extra time, the game then turned on the penalty, as Luis Corrales – incisive and lively throughout the first half – made up for a relatively subdued second half by drawing Tamati Williams into a foul on the Costa Rican.
It was a sour note for the much-maligned Williams, who had arguably his best game in Auckland colours – twice denying Corrales in regular time and confidently sweeping behind his defence throughout.
With the clock ticking down and Auckland reduced to 10 men following Greg Uhlmann’s late red card for dissent, George Suri pulled a goal back but it proved merely consolation as Peter O’Leary called time on the Auckland City reign.
Winners of every Grand Final since the NZFC’s inaugural 2004-05 season, Auckland’s role in next Sunday’s finale will be as highly interested spectators only.
The Auckland club have one foot in the door of next year’s O-League but a Grand Final win for Wellington would bring the added bonus of New Zealand’s second spot in that competition at City’s expense.
NZFC Preliminary Final
Auckland City 3 (Jeff Campbell 70, Chan-Goo Yoon 73, George Suri 120)
Team Wellington 4 (Graham Little 24, 109; Peter Halstead 86, 116)
(A.e.t) Fulltime: 2-2, Halftime: 0-1
Auckland City:Tamati Williams (GK), Joel Matthews (Sam Campbell 90), Ben Sigmund (Captain), Ki-Hyung Lee, John Niyonsaba (Chan-Goo Yoon 43), Grant Young, Keryn Jordan, George Suri, Salesh Kumar, Greg Uhlmann, Bryan Little (Jeff Campbell 62).
Substitutes not used: Mark Fulcher (RGK), Paul Urlovic
Coach: Colin Tuaa
Cautions: Salesh Kumar
Red Cards: Greg Uhlmann
Team Wellington:Phil Imray (GK / Captain), Tim Schaeffers, Daniel Ellensohn (Peter Halstead 46), Graham Little, Luis Corrales, Raf de Gregorio (Cole Tinkler 106), Darren Cheriton, Wiremu Patrick (Sam Blackburn 81), Peter Howe, Karl Whalen, Sean Douglas
Substitutes not used: Sasha Nathu (RGK)
Coach: Stu Jacobs
Cautions: Luis Corrales, Raf de Gregorio
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https://www.egypttoday.com/Article/8/50464/Wellington-qualify-for-Club-World-Cup-with-Oceania-triumph
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Wellington qualify for Club World Cup with Oceania triumph
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[
"FIFA",
"Club World Cup",
"WELLINGTON"
] | null |
[] |
2018-05-21T02:10:00+00:00
|
New Zealand's Team Wellington qualified to take on some of the best teams in the world at December's Club World Cup
|
/favicon.png
|
EgyptToday
|
https://www.egypttoday.com/Article/8/50464/Wellington-qualify-for-Club-World-Cup-with-Oceania-triumph
|
Wellington Phoenix are the first Kiwi club to play in the HKFC Citibank Soccer Sevens. Photo: c/o Wellington Phoenix.
|
|||||
4946
|
dbpedia
|
3
| 16 |
https://community.sports-interactive.com/forums/topic/347132-the-wellington-phoenix-continental-conundrum/
|
en
|
The Wellington Phoenix Continental Conundrum
|
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[
""
] | null |
[
"Goughy7"
] |
2015-04-21T00:55:36+00:00
|
As many of you may know Wellington Phoenix are unique in the football world due to the fact they participate in a league that is technically in a different Continent to that of their own country. This was all fine and dandy until their deal with the AFC ran out thus meaning they could no longer q...
|
en
|
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|
Sports Interactive Community
|
https://community.sports-interactive.com/forums/topic/347132-the-wellington-phoenix-continental-conundrum/
|
I've never really had much problems with the A-League, even if they only did just patch the WP bug for Wellington.
I can't forget them! I love em too much, I watch the games on TV, i've got a kit. Not to mention I know far more about Wellington and NZ football than any normal Englishman should. There's a reason i've played Wellington/NZ for the last 7 odd years.
There *has* to be a way to sort it, right? I mean Vaduz, they're in the game and they get automatic Europa League qualification, the precedent is there, surely it can be replicated?
Or surely a proficient editor can add The Nix to the Chatham Cup or create a new Cup just for NZ teams with the winner getting an OCL berth? Surely?
As many of you may know Wellington Phoenix are unique in the football world due to the fact they participate in a league that is technically in a different Continent to that of their own country. This was all fine and dandy until their deal with the AFC ran out thus meaning they could no longer qualify for the Asian Champions League. Now I've been playing as Wellington & New Zealand since around 2008, up until the deal expiry with the AFC my saves were amazing, multiple seasons long, great fun, Asian and Aussie domination and even some close run CWC tournaments. Now, however, my games with the Nix and NZ last one season, that sucks. I have tried many things to circumnavigate the ACl problem, custom leagues from here and the workshop, none of which seemed to grant me that elusive CL place despite winning the league (and FFA Cup). Sad times.
Now, I'm no editor boff but what I'd like to know is can it be made possible for Wellington to enter a Continental competition? Be it the ACL via the normal means or the Oceania Champions League in a Vaduz type situation or via playing in some kind of NZ Cup. Any help would be much appreciated lads, I just wanna be able to play my favourite FM save again.
Ironically enough Wellington in real life are now pushing for the A-League title and could very well win it, so maybe this issue will actually be addressed by the ACL before too long. Bit silly if the best team in the league can't represent it in the CL.
|
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4946
|
dbpedia
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0
| 43 |
https://www.americasrugbynews.com/2024/08/08/2024-rugby-championship-new-zealand-vs-argentina-arn-guide/
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en
|
New Zealand vs Argentina
|
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[
"Americas Rugby News"
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2024-08-08T00:00:00
|
New Zealand and Argentina face-off in Wellington in the first of two 2024 Rugby Championship matches
|
en
|
http://www.americasrugbynews.com/wp-content/uploads/2018/11/favicon.ico
|
Americas Rugby News
|
https://www.americasrugbynews.com/2024/08/08/2024-rugby-championship-new-zealand-vs-argentina-arn-guide/
|
New Zealand and Argentina face-off in Wellington in the first of two 2024 Rugby Championship matches between the teams in New Zealand. The August 10 match is unlike prior beginnings to new Rugby World Cup cycles. The prior cycle saw Los Pumas beating the All Blacks for the first time and doing so not once but twice.
The most recent meeting between the sides was at the Semi Finals stage of Rugby World Cup 2023. The All Blacks’ win got them through to the final. Los Pumas were not happy with the performance that evening in Paris, France.
Many players from both team in the Paris Semi Final are back but they are under the commands of new coaches. Scott Robertson ha replaced Ian Foster as New Zealand Head Coach while Felipe Contepomi has replaced Michael Cheika.
Robertson and Contepomi played for their countries on opposing teams in 2001. Robertson scored the match-winning try in a 24-20 win in Buenos Aires.
FORM GUIDE
July: 3 wins; 0 losses. Won 2 vs England in Dunedin + Auckland; vs Fiji in San Diego, CA
July: 2 wins; 1 loss. Won vs France in Buenos Aires; Uruguay in Punta del Este.
LINEUP CHANGES (from New Zealand vs Fiji + Uruguay vs Argentina)
1 Ethan de Groot replaces Tamaiti Williams
2 Codie Taylor replaces Asafo Aumua
3 Tyrel Lomax replaces Fletcher Newell
4 Tupou Vaa’i replaces Scott Barrett
5 Sam Darry replaces Tupou Vaa’i
6 Ethan Blackadder moves from 7; replaces Luke Jacobson
7 Dalton Papali’i replaces Ethan Blackadder
9 TJ Perenara replaces Cortez Ratima
11 Mark Tele’a replaces Caleb Clarke
12 Jordie Barrett replaces Anton Lienert-Brown
13 Anton Lienert-Brown moves from 12; replaces Billy Proctor
6 Pablo Matera replaces Joaquín Moro
8 Juan Martín González replaces Joaquín Oviedo
10 Santiago Carreras replaces Tomás Albornoz
12 Santiago Chocobares moves from 13; replaces Jerónimo de la Fuente
13 Lucio Cinti replaces Santiago Chocobares
14 Matías Moroni replaces Ignacio Mendy
15 Juan Cruz Mallía replaces Santiago Cordero
DEBUTANTS
– (0)
– (1) Efraín Elías
MOST CAPS
– B Barrett (126); C Taylor (87); A Savea (84); TJ Perenara (82); A Lienert-Brown (73)
– A Creevy (108); P Matera (101); T Lavanini (86); M Moroni (82); M Kremer (67)
NOTABLE ABSENTEES
– Scott Barrett (LO); Patrick Tuipulotu (LO); Luke Jacobson (FL); Stephen Perofeta (FB)
– Julián Montoya (HO), Santiago Grondona (FL); Facundo Isa (N8); Emiliano Boffelli (WI)
NOTES
Regular captains Scott Barrett and Julián Montoya are both out injured.
Ardea Savea leads New Zealand for the ninth time; doing so in his hometown.
Sam Darry earns his 1st cap in New Zealand. He debuted against Fiji in San Diego, CA.
Ethan de Groot, Codie Taylor, and Tyrel Lomax is the same front-row from the World Cup Semi Final. Also retained are Ardie Savea, Mark Tele’a, Jordie Barrett, and Beauden Barrett
Replacement winger Will Jordan scored a hat-trick in the Semi Final win in Paris.
Argentina’s team has just 4 Buenos Aires players. 7 of the 23 are from Córdoba. For context, all but 4 of the RWC 2007 roster were from Buenos Aires.
Pablo Matera leads Argentina. Marcos Kremer, who captained vs Uruguay, is vice-captain.
Matera overtakes Nicolás Sánchez as the Puma with the most caps vs New Zealand with 17.
Franco Molina makes his Rugby Championship debut. He captained Dogos to Super Rugby Americas 2024 glory.
Second-rower Pedro Rubiolo and hooker Ignacio Ruiz earn 1st Rugby Championship starts.
u20 captain Efraín Elías debuts covering second-row and N8. He has signed for Toulouse.
1st caps of 2024 for Juan Martín González, Juan Cruz Mallía, Lucio Cinti, and replacements Agustín Creevy, Joel Sclavi, and Tomás Lavanini.
Matías Moroni has his 1st start on the wing since vs Australia in 2021.
Argentina previously tasted victory at the same venue in Wellington in 2011 vs Scotland.
Los Pumas’ won 25-15 vs New Zealand in Sydney in 2020 and 25-18 in Christchurch in 2022.
Angus Gardner will be the referee again. He officiated the most recent All Blacks vs Pumas match.
PREDICTION
Winter conditions including wind are expected. Coming out on top in the battle of the set-piece and the collisions will be central to being in a winning position. Felipe Contepomi’s strong replacements suggest a move to Springboks’ bomb-squad tactics. Certainty over chance does too; an example being Matías Moroni over Bautista Delguy and Santiago Cordero. A looming question is will Argentina be able to protect themselves against New Zealand’s ability to punish opposition errors? ARN projects New Zealand to win by +9 points.
LINEUPS
NEW ZEALAND
1 Ethan De Groot, Codie Taylor, 3 Tyrel Lomax, 4 Tupou Vaa’i, 5 Sam Darry, 6 Ethan Blackadder, 7 Dalton Papali’i, 8 Ardie Savea (capt.), 9 TJ Perenara, 10 Damian McKenzie, 11 Mark Tele’a, 12 Jordie Barrett, 13 Anton Lienert-Brown, 14 Sevu Reece, 15 Beauden Barrett
Replacements: 16 Asafo Aumua, 17 Ofa Tu’ungafasi, 18 Fletcher Newell, 19 Josh Lord, 20 Wallace Sititi, 21 Cortez Ratima, 22 Rieko Ioane, 23 Will Jordan
ARGENTINA
1 Thomas Gallo, 2 Ignacio Ruiz, 3 Eduardo Bello, 4 Franco Molina, 5 Pedro Rubiolo, 6 Pablo Matera (capt.), 7 Marcos Kremer, 8 Juan Martín González, 9 Gonzalo Bertranou, 10 Santiago Carreras, 11 Mateo Carreras, 12 Santiago Chocobares, 13 Lucio Cinti, 14 Matías Moroni, 15 Juan Cruz Mallía
Replacements: 16 Agustín Creevy, 17 Mayco Vivas, 18 Joel Sclavi, 19 Tomás Lavanini, 20 Efraín Elías, 21 Joaquín Oviedo, 22 Lautaro Bazán Vélez, 23 Tomás Albornoz
MATCH INFO
Date: Saturday, August 10
Venue: Sky Stadium, Wellington (NZ)
Kickoff: 7:05pm local (4:05am AR)
Weather Forecast: Showers, 7°C, wind (25 km/h)
Broadcasts: ESPN; Disney +
OFFICIALS
Referee: Angus Gardner (Australia)
Assistant Referees: Nic Berry (Australia); Andrea Piardi (Italy)
TMO: Brett Cronan (Australia)
vs HISTORY
Oct 20, 2023 – New Zealand 44-06 Argentina (Paris, FR)*
Jul 08, 2023 – Argentina 12-41 New Zealand (Mendoza, AR)
Sep 03, 2022 – New Zealand 53-3 Argentina (Hamilton, NZ)
Aug 08, 2022 – New Zealand 18-25 Argentina (Christchurch, NZ)
Sep 18, 2021 – New Zealand 36-13 Argentina (Brisbane, AU)
Sep 12, 2021 – New Zealand 39-0 Argentina (Gold Coast, AU)
Nov 28, 2020 – New Zealand 38-0 Argentina (Newcastle, AU)
Nov 14, 2020 – New Zealand 15-25 Argentina (Sydney, AU)
Jul 20, 2019 – Argentina 16-20 New Zealand (Buenos Aires, AR)
Sep 29, 2018 – Argentina 17-35 New Zealand (Buenos Aires, AR)
Sep 08, 2018 – New Zealand 46-24 New Zealand (Nelson, NZ)
Sep 30, 2017 – Argentina 10-36 New Zealand (Buenos Aires, AR)
Sep 09, 2017 – New Zealand 39-22 Argentina (New Plymouth, NZ)
Oct 01, 2016 – Argentina 17-36 New Zealand (Buenos Aires, AR)
Sep 10, 2016 – New Zealand 57-22 Argentina (Hamilton, NZ)
Sep 20, 2015 – New Zealand 26-16 Argentina (London, UK) *
Jul 17, 2015 – New Zealand 39-18 Argentina (Christchurch, NZ)
Sep 27, 2014 – Argentina 13-34 New Zealand (La Plata, AR)
Sep 06, 2014 – New Zealand 28-09 Argentina (Napier, NZ)
Sep 28, 2013 – Argentina 15-33 New Zealand (La Plata, AR)
Sep 07, 2013 – New Zealand 28-13 Argentina (Hamilton, NZ)
Sep 29, 2012 – Argentina 15-54 New Zealand (La Plata, AR)
Sep 08, 2012 – New Zealand 21-05 Argentina (Wellington, NZ)
Oct 09, 2011 – New Zealand 33-10 Argentina (Auckland, NZ) *
Jun 24, 2006 – Argentina 19-25 New Zealand (Buenos Aires, NZ)
Jun 26, 2004 – New Zealand 41-07 Argentina (Hamilton, NZ)
Dec 01, 2001 – Argentina 20-24 New Zealand (Buenos Aires, AR)
Jun 22, 2001 – New Zealand 67-19 Argentina (Christchurch, NZ)
Jun 28, 1997 – New Zealand 62-10 Argentina (Hamilton, NZ)
Jun 21, 1997 – New Zealand 93-08 Argentina (Wellington, NZ)
Jul 13, 1991 – Argentina 06-36 New Zealand (Buenos Aires, AR)
Jul 06, 1991 – Argentina 14-28 New Zealand (Buenos Aires, AR)
Jul 29, 1989 – New Zealand 49-12 Argentina (Wellington, NZ)
Jul 15, 1989 – New Zealand 60-09 Argentina (Dunedin, NZ)
Jun 01, 1987 – New Zealand 45-15 Argentina (Wellington, NZ) *
Nov 02, 1985 – Argentina 21-21 New Zealand (Buenos Aires, AR)
Oct 26, 1985 – Argentina 20-23 New Zealand (Buenos Aires, AR)
* Rugby World Cup Match
vs OVERALL RESULTS
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4946
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dbpedia
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1
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https://www.cnn.com/2023/07/24/football/new-zealand-switzerland-norway-womens-world-cup-2023-spt-intl/index.html
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en
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The Philippines stun co-host New Zealand 1-0 to earn first ever Women’s World Cup win
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[
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2023-07-24T00:00:00
|
The Philippines stunned New Zealand 1-0 to earn its first ever Women’s World Cup victory on Tuesday off California-born Sarina Bolden’s 24th-minute goal.
|
en
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/media/sites/cnn/apple-touch-icon.png
|
CNN
|
https://www.cnn.com/2023/07/24/football/new-zealand-switzerland-norway-womens-world-cup-2023-spt-intl/index.html
|
Women’s World Cup 2023: Live scores, fixtures, results, tables and top scorers
CNN —
The Philippines stunned New Zealand 1-0 to earn its first ever Women’s World Cup victory on Tuesday off California-born Sarina Bolden’s 24th-minute goal.
Bolden’s first-half header was the country’s first ever goal in the competition’s history.
The World Cup co-host looked to have earned itself a route back into the game midway through the second half when Jacqui Hand’s looping header floated over a despairing Olivia McDaniel in goal, but it was later ruled out by the video assistant referee (VAR) for offside.
The World Cup debutant was able to withstand New Zealand pressure, including a truly remarkable diving save from McDaniel in added time at the end of the game, to earn a historic victory, sparking scenes of jubilant celebrations.
“I literally can’t put it into words,” Bolden said afterwards. “This has been a dream of mine as a little kid to just be here at the World Cup, let alone even score.
“I couldn’t have done it without my teammates, the staff, the fans, the Philippines as a whole. It’s just amazing right now to feel this win and this energy in this stadium right now, so it’s just amazing.”
In a finely-poised Group A, the Philippines – after becoming the first of the debutant teams to win at the 2023 Women’s World Cup – now has an opportunity to make yet further history by reaching the knockout phases with one group game remaining.
It is a memorable moment for the country, many of whose players are US-born and ply their trade around the world.
Chief amongst those is Bolden, who was born in Santa Clara, California, and plays for Western Sydney Wanderers in the Australian A-League.
Before joining the national team, Bolden – who qualifies to represent both the US and the Philippines – had never been to the Asian nation. Now, she’s one of the team’s most recognizable stars.
“Everyone’s really excited for what’s to come and to really shock the world,” she told CNN ahead of the Women’s World Cup.
“I know soccer isn’t the main sport in the Philippines… But I think by seeing us on the big screen, on the big stage, I think more people are going to be really interested and want to get into soccer.”
The best photos of the 2023 Women's World Cup
Bolden said she’s already seen awareness and interest grow in the Philippines following the team’s on-field successes and historic qualification for the World Cup.
“I think the excitement is really growing from grassroots. People are really trying to spread the word,” she said, sharing an anecdote in which her mother randomly approached a Filipino coworker to let them know that the women’s national team was playing in this year’s World Cup.
“I know people are talking, Filipino Americans especially, about how huge this is,” Bolden added. “So I can imagine the word is spreading.”
With her goal, the 27-year-old Bolden became the Philippines’ record women’s international goalscorer.
Team goalkeeper McDaniel, who provided many key saves and interventions to keep her side in the game, was also born in California and plays for Stallion Laguna back in the Philippines.
After the game, 20-year-old Philippines fan Maxine David, whose family immigrated from the Philippines to New Zealand five years ago, told CNN the win was “bittersweet.”
Speaking to CNN after the game, fellow Philippines fan Vina Lorine said: “It’s a bit of a divided feeling. We are thankful that New Zealand is our home, but by blood, we are Filipino.”
Lorine went onto say that, for the Philippines, “this is a big achievement for us.”
“We’re so happy,” she said, adding she felt “beyond words.”
Having won its opening group game last time out, New Zealand missed out on making its own slice of history by qualifying for the knockout phase for the first time.
Switzerland and Norway play out goalless draw
In Tuesday’s late game, Switzerland and Norway played out a 0-0 stalemate in Hamilton, New Zealand.
Both teams struggled to create clear cut chances, with Norway missing its talismanic striker Ada Hegerberg after she suffered a groin injury in warms ups.
The 28-year-old could be seen walking down the tunnel back to the changing rooms while her teammates were huddled in a circle shortly before the start of the match.
“I felt discomfort when sprinting right after the anthems,” Hegerberg wrote on Twitter.
“We decided with the staff that no risk should be taken and no subs should be wasted in such an important game for us, and we all trusted Sophie, Karina, and the team to do the job, which they did. We move on,” she added.
Neither side lacked for attacking endeavor, but both couldn’t find that cutting edge to make the breakthrough for the decisive goal.
The point proves an important one for Switzerland which remains atop Group A, while Norway faces a stiff task to qualify for the knockout phases with just one point after its opening two games.
In their final group games on Sunday, July 30, Switzerland faces New Zealand while Norway plays the Philippines knowing it needs a victory to have any chance of making it through to the next stage.
Colombia cruises past South Korea
In Tuesday’s first game, Colombia got its World Cup campaign off to the perfect start, beating South Korea 2-0.
A first-half penalty from Catalina Usme got the ball rolling for the South American side before 18-year-old Linda Caicedo doubled the lead.
In a stadium dominated by Colombia fans, the world No. 25 looked the strongest throughout as it claimed only its second ever World Cup victory.
For South Korea, forward Casey Phair made history by becoming the youngest ever player to appear at the World Cup – just 26 days after celebrating her 16th birthday.
The US-born teenager came on as a 78th-minute substitute in the loss in Sydney, beating the record of Nigeria’s Ifeanyi Chiejine, who was 16 years and 34 days old at the 1999 Women’s World Cup.
|
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4946
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dbpedia
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0
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https://westernsuburbs.co.nz/
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Western Suburbs – Football Club
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en
|
https://westernsuburbs.co.nz/
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WELCOME TO WESTERN SUBURBS FC!
Chatham Cup Finalists 2018 /Central League Champions 2017 and 2019
Western Suburbs Football Club unite the local community by providing and promoting football for all ages, whether 4, 44 or more.
We aim to develop football in the Porirua area and beyond through leadership, enjoyment and provision of development opportunities. The club promote the name of Western Suburbs across Wellington and throughout New Zealand, and are synonymous with success, a professional attitude, sportsmanship and fair play.
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4946
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dbpedia
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3
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https://www.rugbypass.com/teams/wellington/
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Wellington News, Players & Stats
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2024-07-22T12:44:47+02:00
|
Get the latest Wellington Rugby news, live scores, statistics, teamsheets, fixtures & results, and more on RugbyPass.
|
en
|
https://www.rugbypass.com/teams/wellington/
|
The Wellington rugby team, which is often referred to as the Wellington Lions, is a professional rugby team that competes in New Zealand's Bunnings NPC competition. The side is also affiliated with the Hurricanes Super Rugby Pacific franchise.
Read on to discover more about the Wellington rugby team. On this page you'll find all the latest news about the team, as well as their upcoming fixtures and recent results. You can also read a detailed history of the side and a breakdown of their current squad.
The history of the Wellington rugby team dates back to 1879, when the Wellington rugby union was formed. However, the modern version of the Wellington rugby team we know today was formed in 1976, when the National Provincial Championship began. Today, this competition is known as the Bunnings NPC.
Since joining the National Provincial Championship in 1976, the Wellington rugby team has been one of the competition's leading sides. In total, they've won the championship four times (1978, 1981, 1986 and 2000). In addition to this, they've also won the championship division of the tournament once, in 2017.
Today, the Wellington rugby team plays in the premiership division of the Bunnings NPC. The team plays its home games at Sky Stadium, which has a capacity of 34,500.
As you may expect from one of the best teams in the Bunnings NPC, the Wellington squad is packed full of established international players, including All Blacks TJ Perenara, Ardie Savea and Dane Coles.
In addition to this, 20 members of the current Wellington rugby squad are contracted to play Super Rugby. The vast majority of these players represent the Hurricanes, but Pekahou Cowan is contracted to the Waratahs, while Taine Plumtree plays for the Blues and Connor Garden-Bachop represents the Highlanders.
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https://authenticmagazine.co.nz/still-having-a-ball/
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Still Having A Ball!
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2021-06-16T01:34:51+00:00
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Before Wynton Rufer was even 10 years old, he had a goal – to juggle a football 500 times without dropping it. When he achieved that, he simply doubled the aspiration to 1000 times. By 14, the former All White striker – with 23 full international appearances to his name – had come up with…
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en
|
Authentic Magazine
|
https://authenticmagazine.co.nz/still-having-a-ball/
|
Before Wynton Rufer was even 10 years old, he had a goal – to juggle a football 500 times without dropping it.
When he achieved that, he simply doubled the aspiration to 1000 times.
By 14, the former All White striker – with 23 full international appearances to his name – had come up with a creative way to fill his daily two kilometre morning walk from his home in Miramar, Wellington to school at Rongotai College.
He wanted to juggle the ball non-stop for the entirety of the journey.
“Every time I dropped the ball, I obviously had to wait until after school or even the next day before I could try it again. There were three or four roads I had to cross, so I would juggle the ball up and catch it on my neck, look left and right and then cross the road.
“There was a tunnel under Wellington International Airport and I had to do the same thing there – because half the lights were broken and there were patches where I couldn’t see.
“It took me about three months to achieve the goal and I was so determined to do it that the possibility of failing to do so didn’t even exist for me.”
It’s a glimpse into the psyche and dedication of New Zealand’s most successful professional footballer. His now storied career – with overall stats of 224 goals in 539 games and eight trophies – has its roots at least in part in those disciplines.
They helped set the Oceania Footballer of the Century on a more than two decade footballing journey which included being part of the All Whites’ inaugural 1982 World Cup campaign in Spain, playing European club football in Switzerland and Germany and a stint in Japan before following God’s leading to return home to New Zealand.
Wynton’s career brought with it a multitude of awards. On home shores, he was inducted into the New Zealand Sports Hall of Fame in 2005 and the Māori Sports Hall of Fame two years later.
Ultimately though – and he says most importantly – his love of the beautiful game set him on a path to finding faith in Jesus.
He spoke to Jeremy Smith.
Can you remember how you were first introduced to football?
My dad – Arthur – was Swiss and he was interested in soccer, as it was called then. Dad was a perfectionist, you know, nothing was ever good enough and he would always be onto us about being the best we could be. I remember a childhood full of Saturday morning sports. Both he and my mum, Anne, who was Māori, were really supportive of our love of sports actually because they ultimately knew it was keeping us occupied in a positive way. Team sport is just fantastic in the sense that it teaches you life skills that you can then use later on in life. It has to be said that both my siblings – my older brother Shane and my older sister Donna – were really talented. Shane was an incredible athlete, and not just in football. He played for the All Whites as well, but also represented New Zealand in softball and volleyball. Donna was a fantastic squash player. I think growing up in that sort of family environment was a big factor in me discovering my love of football early on.
In the early days, what football players were you most influenced by?
I was totally inspired by Brazilian footballer Pelé – I dreamt of being just like him. As I developed in my career – at Rongotai College, and then after school at Wellington Diamond United, Stop Out and the Miramar Rangers – I started trying to play my football like him. There’s a famous photo of Pelé when he scored in the 1970 FIFA World Cup in Mexico. He jumped up and punched the air. So, when I scored goals I started doing the Pelé jumps too!
Actually, if we can, let’s fast forward to about 20 years ago and the time I got to meet Pelé in person because that’s a funny story. At the World Cup in Spain for the All Whites – he came into the changing room before our game against Brazil. I was out on the pitch taking photos like a tourist because I was so excited about the game against my heroes that I missed out on meeting my idol!
When I did finally meet him, I was in Zurich at a FIFA committee meeting in 1997 or 98. He was the last one to come into our meeting room and was such a gentleman – going around to every single person to say hello. When he finally came to me, he looked at me and said “It’s nice to see you again.” It was his polite manner, because obviously he can’t remember everyone he has ever met. “I haven’t met you before” was my pathetic reply, “well, now we know each other,” he said with a big smile. No wonder he’s the greatest!
It didn’t take long for football-related opportunities to present themselves did it? I read that you were the first Kiwi to be offered a contract withNorwich City Football Club – while at the same time attracting the attention of the All Whites?
That’s right. In 1981, my brother Shane and I both trialled at Norwich City in England and I did get offered a professional contract but I wasn’t able to sign because of passport and work permit dramas. It was disappointing, but at the same time other doors were opening for me and I got called up to the All Whites.
New Zealand was in the midst of trying to qualify for the 1982 football World Cup and I entered the campaign for the last few games – they were crucial must win fixtures. The first World Cup qualifier I played in was against Kuwait in late 1981, I was 18. We drew that game 2 all and I scored. I ended up scoring four goals in the three games I played – against Kuwait, Saudi Arabia and People’s Republic of China. I was just glad that I could help the team with our overall goal of qualifying for Spain. While I was on that qualifying journey with the All Whites, I attracted the attention of international clubs. Switzerland wasn’t in the 1982 World Cup, but clubs over there had obviously heard about the boy from New Zealand who had a Swiss connection. I signed my first professional contract with FC Zürich while in New Zealand, just before the 1982 World Cup started.
Only a select few New Zealand footballers can say they’re lucky enough to have played on football’s largest stage. How do you even begin to describe your experience?
Oh, it was unbelievable, but being so young I think perhaps I didn’t fully understand it all. But wow was I living the dream. We got drawn in what they called the ‘Group of Death’ and played Scotland, the USSR and Brazil. You know, even just the opportunity to play a team like Brazil, who were the heavy weights of world football, was just a real buzz for me. That 1982 Brazilian side was one of the greatest teams in the history of the game which didn’t win a World Cup. With players like their captain Sócrates, Zico, Éder, Falcão, Junior and so many others, it was just a phenomenal team. It was a dream come true for me just to be on the field.
On the note of World Cups, Ricki Herbert, who was one of your All Whites team mates at the 1982 cup, was coach when the national team made its only other World Cup appearance – in South Africa in 2010. It must have been so special watching that unfold?
For sure it was. As you know, players like Chris Wood were there and I’d coached him as a kid, so to see him go to the World Cup in South Africa was just brilliant.
After the ‘82 cup campaign, you headed to Switzerland. It was there you became a Christian, some would say right as your international club career took off. How did you come to faith in Jesus?
In Switzerland I started at FC Zürich and I was required to complete a period of time of service in the Swiss military as I was playing on a Swiss passport. I met another soldier in the military who was from the Salvation Army and he led me to Jesus. it was just incredible. Up to that point in my football career, I had rubbed shoulders with and even played alongside a few other Christians before.
But thanks to Beat Rieder, who is still serving the Lord today in the Ukraine, I began the greatest journey of my life and started to follow Jesus. I began reading the Bible and telling others how much they needed Jesus.
When I became a Christian in 1986 and was born again, I began to notice a whole lot of changes in myself and who I was as a person. Galatians 5:22 is a scripture which comes straight to mind – and the fruits of the Spirit, which are love, joy, peace, patience, kindness, goodness, faithfulness, humility and self-control. As I began to walk with Jesus I knew I was finally on the true path of life.
A month later I got married to my wife Lisa. One one occasion, we were in a Pentecostal church in Perth, Western Australia, where she is from. As part of the service they asked if anybody wanted to give their heart to Jesus and she went forward and gave her life to the Lord. That was so special. We have two sons – Caleb and Joshua – and both of them were born overseas – in Bremen, Germany and Tokyo, Japan during the course of my playing career.
Once you became a Christian what did you do to ensure you kept close to Jesus? Was it hard being a Christian in a competitive sporting environment?
Not really. But I do think it’s vitally important that you find a good church home and get involved with things like a weekly Bible study or make friends with other Christians. When I was playing, I was quite fortunate to be able to go to Bible study with a group of other Christians. It was always challenging to get to church because we played games on Sundays and there was lots of travel involved. But even in regards to our individual walk with the Lord, I think it’s important to have other Christian friends around who can encourage and support us, because this automatically builds accountability. I’ve been blessed to be surrounded by such people.
Let’s jump to your shift to Germany and playing for Werder Bremen in the Bundesliga – the top tier of German football. That was a stunning time of success on the playing front for you wasn’t it?
From a personal point of view, signing with a top German side was a dream come true.
The big five leagues in European football were in France, Germany, England, Spain, and Italy. That hasn’t changed today.
The team I played for at Werder Bremen won six major titles during my time there.
We were German champions, Cup winners twice, and the crowning glory was European success in the UEFA Cup Winners’ Cup final against AS Monaco in Lisbon, Portugal in May 1992. I assisted with the first goal and scored the second in our 2-0 win. I was also the UEFA Champions League top scorer in the 1993/94 season.
My coach at Werder Bremen – Otto Rehhagel – became a world famous coach and I just connected with him like a father son relationship and we just had the most incredible success in the club’s history during my time there – which was from 1989-1995.
I have other amazing stories, like when I scored in both games against Diego Maradona’s Napoli club team to knock them out of the European Cup. All told, I have to say, it was just an unbelievable time.
On that note, did you ever get nervous before such big games?
That’s a really interesting question because for me, when I think back on some of the big occasions, I didn’t feel pressure. For example even during the 1992 European Cup Winners’ Cup final against Monaco that I mentioned, I wasn’t nervous – just excited. I was like a little kid in the candy shop. I paid for my dad to come to the game. I already told him before the game we were going to lose so he wouldn’t give me a hard time afterwards. I was so happy to play in a European Cup final and I just couldn’t believe my dream was coming true. There I am playing in one of the biggest games of my life in a massive stadium in front of thousands of people and millions on tv – but yet I was just so excited to get out there on the field and kick the ball around. I was just living the dream.
In my 10 games in the UEFA Champions League, I have the fourth highest goal scoring ratio of all time.
When I look at awards and trophies, or successes I had, I can honestly say I was just following my passion. The achievements are really satisfying and I suppose somehow in the big games I just rose to the occasion.
After Germany, you spent a two-year stint playing in Japan before returning to New Zealand. You then founded your academy Wynton Rufer Soccer School of Excellence – or WYNRS (appropriately pronounced winners) – with help from your brother Shane. Can you tell us a little bit about the academy?
Can I just say, my wife and I loved Japan and we still do – it was also the most money I’d ever made in my career! But in 1997, after Japan, I believe God called me to come back to New Zealand. I’ve got a lot of former teammates who have big jobs and massive salaries overseas and when I catch up with them they sometimes ask, “what are you doing in New Zealand!?”.
But, I believe the Lord has clearly sent me here, so I simply followed His leading. Over the years, football has taken me to more than 90 countries all over the world. I’ve just been so blessed to have had some amazing experiences. Now I use the talents God has given me to help the next generation. Perhaps I don’t get as many chances to overtly share the Gospel with academy players and mention Jesus. But Proverbs 3: 5-6 comes to mind, “Trust in the Lord with all your heart and lean not on your own understanding, in all your ways acknowledge Him and He will guide your path…”
The academy’s football philosophy is individual player development. To me that means players need to be able to kick the ball brilliantly with both feet – and juggling is also a big part of my coaching program. What juggling does is it helps you with your first touch, and all the world-class players have an amazing first touch.
Overall, we aim to build world class footballers and community role models in a positive environment that encourages teamwork, commitment and excellence. The depth is slowly growing in New Zealand football and it’s really exciting seeing a number of really gifted young players come through.
My nephew Alex Rufer – who is currently at the Wellington Phoenix – was at the Wynrs academy between 2002-2008. Sarpreet Singh was at the academy between 2008-2016 and he’s now in Germany, under contract to Bayern Munich. Marco Rojas, who plays for the Melbourne Victory in the A-League in Australia, was at the academy between 2002-2006. And that’s just to name a few.
The thing is, with football being such a skilful game and so competitive worldwide, I believe you have to be really good at the basic techniques to succeed at International level. There’s probably 150 countries in the world where football is the number one sport.
Both my sons Caleb and Joshua have enjoyed playing the game too – Caleb played professionally for about three years – a stint which, like me, included a spell in Germany – and he’s now shifted over into real estate and is doing really well. I’m very proud of both of my sons.
You mention the A-League in Australia, and while you never got to play in that competition per say – you did have involvement in the league that preceded that competition across the Tasman. Can you tell us about your involvement with the game once you came back to New Zealand?
In 1999, I was involved in the start up of New Zealand’s first professional football team called the Football Kingz, which was based in Auckland.
It’s probably fair to say here in New Zealand we initially had no idea what we were up for in terms of the level of competition across the Tasman, as well as everything else involved with a professional club – but we did okay in those first two years. The Kingz finished in eighth and seventh position in the league in that time. I left at the start of the third year.
Looking back, my time with the Kingz was actually quite special – the team was trailblazing for what is now the Wellington Phoenix. I retired in 2001 at the age of 38.
Finally Wynton, in 2019, you suffered a massive heart attack and it’s no exaggeration to say you almost died. You’ve said that even during that experience you sensed God’s hand – can you tell me about it?
There were no warning signs beforehand. A visiting German friend and I had been to a Breakers basketball game downtown Auckland. I remember the team won and after the game we were headed home on some Lime Scooters. We were going up a hill in Parnell at walking pace on the scooters, but the next thing I knew I woke up in hospital. I later found out that one of my three main arteries was 100 percent blocked and a second smaller artery was 65 percent blocked. A passer-by – Nick Moss – performed CPR and literally kept me alive and saved my life. The heart attack was a total shock, because I was fairly fit and not overweight. In hospital I was in a coma for a day-and-a-half. I can say this though, with certainty, that when I did wake up in the hospital I had a sense of total peace. Before it happened I had always believed that I didn’t have any fear of dying, and in that moment, when I first woke up, that got confirmed to me. I knew I was very lucky to be alive for sure, and very grateful to Nick and the medical staff. Everyone around me was freaking out and in shock, but I just had a total peace about everything. I attribute that to my faith in Jesus. I simply knew that whatever happened I would be with Him.
What a testimony! Thanks Wynton. Let’s pray for Wynton and the WYNRS team, that they would seek the Lord’s leading and guiding as they continue to work with some of New Zealand’s top up and coming football talent.
For more information on the Wynton Rufer Soccer School of Excellence, see www.wynrs.co.nz. Wynton also has an online coaching program called The Success Path. If you are interested in finding out more, email wynton@wynrs.co.nz.
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https://www.business-standard.com/article/pti-stories/team-wellington-qualify-for-club-world-cup-118052100179_1.html
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Team Wellington qualify for Club World Cup
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2018-05-21T10:05:20+05:30
|
Team Wellington, an amateur side from New Zealand's capital, have qualified for FIFA's Club World Cup for the first time after winning the Oceania Champions League.
Wellington sealed a 10-3 aggregate win over Fiji's Lautoka with a 4-3 victory in the second leg of the final on Sunday.
It puts them through to the Club World Cup, which this year is being played in the United Arab Emirates in December.
The tournament features football's six continental champions plus UAE champions Al Ain, meaning Wellington could face the winner's of next weekend's UEFA Champions League final between Liverpool and Real Madrid.
Wellington reached the Oceania final by ending Auckland City's seven-year reign as OFC champions in the competition's semi-finals.
"I'm delighted," coach Jose Figueira said after the win over Lautoka in Fiji.
"We're still absorbing everything but after a season of tremendous hard work, to finally clinch the big one is a tremendous feeling."
The Club World Cup is played annually, ...
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https://www.business-standard.com/article/pti-stories/team-wellington-qualify-for-club-world-cup-118052100179_1.html
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Disclaimer: No Business Standard Journalist was involved in creation of this content
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Team Wellington results
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Explore the Team Wellington latest results, today's scores and all of the current season's Team Wellington results on Flashscore.com.
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HELP: You are on Team Wellington results page in Football/New Zealand section. Flashscore.com offers Team Wellington results, fixtures and match details. Besides Team Wellington scores you can follow 5000+ competitions from more than 30 sports around the world on Flashscore.com. Team Wellington scores service is real-time, updating live.
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All Blacks' Jordan back for Rugby Championship opener
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[
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[
"Steve McMorren"
] |
2024-08-08T00:57:02+00:00
|
Will Jordan will come off the bench for the All Blacks' opening Rugby Championship clash with Argentina, his first Test match since last year's Rugby World Cup.
|
en
|
Yahoo Sports
|
https://au.sports.yahoo.com/blacks-jordan-back-rugby-championship-005702336.html
|
Fullback/winger Will Jordan has been named to make his first Test appearance since last year's Rugby World Cup from the bench in the All Blacks team which will play Argentina in the first round of the Rugby Championship.
New Zealand take on the Pumas in Wellington on Saturday and in Auckland the following weekend in the first two rounds of the tournament.
Jordan missed all of the last Super Rugby Pacific season while recovering from shoulder surgery and his only match so far this season has been a pre-season appearance for his Tasman province.
For that reason, head coach Scott Robertson has chosen to ease Jordan back into Test rugby, for his 32nd Test, as a replacement. Beauden Barrett will start at fullback while Sevu Reece and Mark Telea have been named on the wings. Damian McKenzie starts again at No.10.
Anton Lienert-Brown has been named at outside centre, displacing Rieko Ioane who has been out of form this season. Lienert-Brown will combine in midfield with Jordie Barrett while Ioane is on the bench..
Ardie Savea leads the team from No.8 for the ninth time in the absence of lock and captain Scott Barrett who is sidelined with a finger injury.
Otherwise, the team is mostly unchanged from the second Test against England last month. The All Blacks are 3-0 under new head coach Robertson after beating England narrowly in two Tests and Fiji 45-7 in San Diego.
Sam Darry will combine with Tupou Vaa'i in a second row with a combined tally of only 29 Tests. Darry made his debut against Fiji.
T.J. Perenara has overcome a knee injury to be named at No.9. Perenara has announced he will leave New Zealand at the end of the season to play in Japan.
Ethan Blackadder has been retained on the blindside flank.
"We've laid a solid foundation through the first three Tests of the year and prepared well this week for what will be a physical test against Argentina," Savea said Thursday in a team statement.
Savea last captained New Zealand in a 96-17 win over Italy in the group stage of last year's World Cup.
"It's a special night for Ardie leading the team in his hometown and it's great to have T.J. and Will back in the mix," Robertson said.
"Once again there were some close selection calls but we've picked a squad to win the key contests and perform on Saturday."
NEW ZEALAND SQUAD:
Beauden Barrett, Sevu Reece, Anton Lienert-Brown, Jordie Barrett, Mark Telea, Damian McKenzie, T.J. Perenara, Ardie Savea (capt), Dalton Papali'i, Ethan Blackadder, Sam Darry, Tupou Vaa'i, Tyrel Lomax, Codie Taylor, Ethan de Groot. Reserves: Asafo Aumua, Ofa Tu'ungafasi, Fletcher Newell, Josh Lord, Wallace Sititi, Cortez Ratima, Rieko Ioane, Will Jordan.
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4946
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dbpedia
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https://www.wellingtonfootballclub.org.nz/
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en
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Championing Rugby since 1870
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https://static.cdn-website.com/runtime/favicon_d1_res.ico
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https://static.cdn-website.com/runtime/favicon_d1_res.ico
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[
""
] | null |
[] | null |
en
|
https://static.cdn-website.com/runtime/favicon_d1_res.ico
|
https://www.wellingtonfootballclub.org.nz/
|
Formed in 1870, the Wellington Football Club, "The Axemen" is the oldest continuously playing rugby club in New Zealand - 22 years older than the New Zealand Rugby Union. Our teams' black and gold livery was the inspiration for Wellington's signatory colours of black and yellow.
The Wellington Football Club have senior teams in the Premiers and one of the largest junior clubs in the region. Pre season games and training for seniors begins the week after Wellington Anniversary weekend. Juniors begin in March.
|
||||
4946
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dbpedia
|
1
| 74 |
https://www.rnz.co.nz/news/sport/516620/football-a-league-wellington-phoenix-draw-0-0-v-melbourne-victory-as-it-happened
|
en
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Football A-League Wellington Phoenix draw 0-0 v Melbourne Victory - as it happened
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[] |
[
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"RNZ",
"Public Radio",
"News",
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"Audio",
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] | null |
[
"Sport"
] |
2024-05-12T20:07:01+12:00
|
The Wellington Phoenix have drawn 0-0 with Melbourne Victory in their first leg A-League semi-final in Melbourne.
|
en
|
/x/favicons/apple-icon-57x57-410f821b00f104d8730ab5563b818f160bee9331d0951ef56178a59f68890eb3.png
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RNZ
|
https://www.rnz.co.nz/news/sport/516620/football-a-league-wellington-phoenix-draw-0-0-v-melbourne-victory-as-it-happened
|
The Wellington Phoenix have drawn 0-0 with Melbourne Victory in their first leg A-League semi-final in Melbourne.
Melbourne dominated possession and territory, but the Phoenix defence - as it has been throughout the season - was well organised and held strong.
The second leg of the tie to decide which team advances to the final will be played in Wellington on Saturday evening.
All the action as it happened:
Squad lists:
Melbourne Victory
Goalkeepers: Paul Izzo, Christian Siciliano; Defenders: Jason Geria, Adama Traore, Damien Da Silva, Roderick Miranda, Connor Chapman, Jordi Valadon, Kasey Bos. Midfielders: Leigh Broxham, Jake Brimmer, Salim Khelifi, Ryan Teague, Roly Bonevacia, Fabian Monge. Attackers: Chris Ikonomidis, Bruno Fornaroli, Ben Folami, Nishan Velupillay, Daniel Arzani.
Wellington Phoenix
Goalkeepers: Alex Paulsen, Jack Duncan; Defenders: Finn Surman, Scott Wootton, Tim Payne, Lukas Kelly-Heald, Sam Sutton, Isaac Hughes. Midfielders: Alex Rufer, Bozhidar Kraev, Ben Old, Mohamed Al-Taay, Nicholas Pennington, Youstin Salas, Fin Conchie, Matt Sheridan; Attackers: Kosta Barbarouses, Oskar Zawada, David Ball, Oskar van Hattum.
|
||
4946
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dbpedia
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1
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https://www.wellingtonsoccer.com/
|
en
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Wellington Wave
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[] |
[] |
[
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"Youth Soccer",
"Travel Soccer",
"Boys Soccer",
"Girls Soccer",
"Youth Soccer",
"Soccer tryouts near me"
] | null |
[] | null |
The Wellington Soccer Club (WSC) is an organization dedicated to the development of boys & girls soccer players who have the desire to compete at the highest level of youth soccer and who are committed to supporting this organization in achieving the outlined program goals.
|
en
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Webauthor
|
https://www.wellingtonsoccer.com/
|
Wellington Soccer Club The Wellington Soccer Club (WSC) is an organization dedicated to the development of boys & girls soccer players who have the desire to compete at the highest level of youth soccer and who are committed to supporting this organization in achieving the outlined program goals. Since 1995, the WSC has been the travel soccer provider for players residing in the Village of Wellington and the entire Western Communities of Palm Beach County.
Proud Member of Elite Clubs National League (ECNL) WHAT DOES THIS MEAN FOR YOU?
ECNL-R is a top-tier soccer league in the State of Florida
Compete at the highest levels against top-level teams
Experience peak training and skill development
Gain greater exposure to the scouting process for college recruiting
League play begins at U11 for both girls and boys
U8 through U10 ECNL-R focused player development
|
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4946
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dbpedia
|
0
| 80 |
https://www.thenationalnews.com/sport/club-world-cup/craig-henderson-former-team-wellington-star-backs-old-club-to-make-most-of-fifa-club-world-cup-in-uae-1.801461
|
en
|
Craig Henderson: Former Team Wellington star backs old club to make most of Fifa Club World Cup in UAE
|
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[] |
[] |
[
""
] | null |
[
"Amith Passela"
] |
2021-06-21T01:22:55.884000+00:00
|
Former New Zealand midfielder now lives in Abu Dhabi and is acting as a local liaison for the club during their time here for the Fifa Club World Cup
|
en
|
/pf/resources/favicon.jpeg?d=771
|
The National
|
https://www.thenationalnews.com/sport/club-world-cup/craig-henderson-former-team-wellington-star-backs-old-club-to-make-most-of-fifa-club-world-cup-in-uae-1.801461
|
Former New Zealand midfielder now lives in Abu Dhabi and is acting as a local liaison for the club during their time here for the Fifa Club World Cup
|
||||
4946
|
dbpedia
|
2
| 76 |
https://www.rugbypass.com/teams/wellington/
|
en
|
Wellington News, Players & Stats
|
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[] |
[] |
[
""
] | null |
[
"Fracture Media Syndicate",
"Ian Cameron",
"Adam Julian",
"Finn Morton",
"Tom Vinicombe",
"Sam Smith"
] |
2024-07-22T12:44:47+02:00
|
Get the latest Wellington Rugby news, live scores, statistics, teamsheets, fixtures & results, and more on RugbyPass.
|
en
|
https://www.rugbypass.com/teams/wellington/
|
The Wellington rugby team, which is often referred to as the Wellington Lions, is a professional rugby team that competes in New Zealand's Bunnings NPC competition. The side is also affiliated with the Hurricanes Super Rugby Pacific franchise.
Read on to discover more about the Wellington rugby team. On this page you'll find all the latest news about the team, as well as their upcoming fixtures and recent results. You can also read a detailed history of the side and a breakdown of their current squad.
The history of the Wellington rugby team dates back to 1879, when the Wellington rugby union was formed. However, the modern version of the Wellington rugby team we know today was formed in 1976, when the National Provincial Championship began. Today, this competition is known as the Bunnings NPC.
Since joining the National Provincial Championship in 1976, the Wellington rugby team has been one of the competition's leading sides. In total, they've won the championship four times (1978, 1981, 1986 and 2000). In addition to this, they've also won the championship division of the tournament once, in 2017.
Today, the Wellington rugby team plays in the premiership division of the Bunnings NPC. The team plays its home games at Sky Stadium, which has a capacity of 34,500.
As you may expect from one of the best teams in the Bunnings NPC, the Wellington squad is packed full of established international players, including All Blacks TJ Perenara, Ardie Savea and Dane Coles.
In addition to this, 20 members of the current Wellington rugby squad are contracted to play Super Rugby. The vast majority of these players represent the Hurricanes, but Pekahou Cowan is contracted to the Waratahs, while Taine Plumtree plays for the Blues and Connor Garden-Bachop represents the Highlanders.
|
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4946
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dbpedia
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1
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https://en.wikipedia.org/wiki/New_Zealand_Football_Championship
|
en
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New Zealand Football Championship
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https://en.wikipedia.org/wiki/New_Zealand_Football_Championship
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Football league
New Zealand Football Championship (NZFC)Founded2004; 20 years ago ( )Folded2021; 3 years ago ( )CountryNew ZealandConfederationOFCNumber of teams8Level on pyramid1Domestic cup(s)White Ribbon CupInternational cup(s)OFC Champions LeagueLast championsTeam Wellington (3rd title)
(2020–21)Current premiersAuckland City (12th title)Most championshipsAuckland City (8 titles)Most premiershipsAuckland City (12 titles)Most appearancesJake Butler (257 appearances)Top goalscorerEmiliano Tade (80 goals)TV partnersSky SportsWebsitewww .nzfc .co .nz
The New Zealand Football Championship (Māori: Te Whakataetae Whutupaoro a Aotearoa) was a men's association football league at the top of the New Zealand league system. Founded in 2004, the New Zealand Football Championship was the successor to a myriad of short-lived football leagues in the country, including the National Soccer League, the National Summer Soccer League and the New Zealand Superclub League. The league was contested by ten teams in a franchise system. For sponsorship reasons, the competition was known as the ISPS Handa Men's Premiership. From the 2021 season, it was replaced by the New Zealand National League.[1]
The seasons used to run from October through to April, and consist of an eighteen-round regular season followed by a playoff series involving the four highest-placed teams, culminating in a Grand Final. Each season, two clubs would gain qualification to the OFC Champions League, the continental competition for the Oceania region. The league does not use a system of promotion and relegation.
Auckland City were the most successful side since the competition's inception, with twelve premierships and seven championship titles. A youth competition, called the National Youth League, ran parallel to the regular season from October to December – the final champions were also Auckland City, winning the final season of the competition in 2019.
Competition format
[edit]
There were two stages to the competition: the regular season, in which each team played each other twice for a total of 18 games; and the playoffs, in which the top four teams in the league play knockout matches in order to determine the champion.[2]
Regular season
[edit]
Each team played each other team twice: once at home, and once away. Teams score three points for a win, one for a draw, and no points for a loss. At the end of the regular season, the top four teams progress to the playoffs.
For the first four seasons, the regular season had the teams play each other three times. This was changed to a home-and-away system in 2008, due to financial difficulties affecting some clubs.
Playoffs
[edit]
The playoffs consist of three matches; there were two semi-final matches, and the winners of each progress to a one-match Grand Final.
In the inaugural season, three teams took part in the playoffs. The Minor Premier (the winner of the regular season) received automatic entry to the grand final as well as hosting rights, while the second and third placed teams played a one-game preliminary final to determine entry to the grand final. The NZFC also experimented with a five team playoff in the 2005–06 season, however, this was discontinued and the league reverted to the three-team playoff system for the 2006–07 and 2007–08 seasons. The league changed to the four-team playoff system in the 2009–10 season.
Qualification to OFC Champions League
[edit]
Two teams from the NZFC qualified for the OFC Champions League each season: the team that won the regular season (the "Minor Premier") and the team that won the Grand Final (the "Champion"). If the same team wins both the Minor Premiership and the Championship, the second Champions League spot is granted to the regular season runner-up. This occurred on numerous occasions; the first instance being in 2006 when Auckland City (premiers and champions) and YoungHeart Manawatu qualified, YoungHeart Manawatu not making it to the Grand Final.
No promotion and relegation existed, making it a closed league similar to the A-League in Australia and Major League Soccer in the United States.
History
[edit]
Establishment in 2004 to present
[edit]
The New Zealand Football Championship was created as a replacement to the former New Zealand National Soccer League, a tournament involving clubs from the regional governing bodies of New Zealand Football. The NZFC was to be run as a summer league involving new clubs created solely for the new competition, with these new clubs being run jointly by existing winter clubs. The only exception to this was Napier City Rovers, whose summer club would be rebranded Hawke's Bay United during the second season, to be operated jointly by other clubs in the Hawke's Bay region.
Eleven groups bid for franchises, with the successful bids being announced on 7 April 2004 as Auckland City, Canterbury United, Napier City Rovers, Otago United, Team Wellington, Waikato FC, Waitakere United and YoungHeart Manawatu, with Olé Madrids, East Auckland and Team Bay of Plenty being excluded. Unhappy at their exclusion, the Olé Madrids bid team took New Zealand Soccer to court, suing for damages and demanding inclusion in the competition, claiming that, whilst they met NZ Soccer's criteria for inclusion, other successful bids did not. The case was dropped by the Madrids team eight days before the commencement of the first NZFC season.[3] The Olé Academy, previously having had a relationship with Team Wellington, currently holds an exclusive partnership with current league side Eastern Suburbs.[4][5] East Auckland also considered legal action, however this was not pursued.[6]
The first match of the competition was on 15 October 2004, with Auckland City defeating Napier City Rovers 3–1 at Park Island, Napier. Auckland City were also crowned the inaugural NZFC champions after defeating Waitakere United 3–2 in the final.
The second season saw Napier City Rovers rebrand and reorganize their NZFC team as Hawke's Bay United, forming an amalgamated franchise with other local clubs. It also saw the first instance of a NZFC team winning the O-League, with Auckland City FC defeating Tahitian team AS Pirae 3–1.
At the conclusion of the 2006–07 season, New Zealand Football granted three-season licence extensions to seven of the eight franchises – all but YoungHeart Manawatu, who had to reapply due to concerns over the club's financial and organisational situation. However, YoungHeart eventually earned reinstatement after beating out four rival bids – one based in Gisborne, one from North Shore City, and two from Manukau. Olé Madrids also applied for the licence; however they withdrew early.[7]
On 2 September 2010, New Zealand Football announced a five-year sponsorship agreement with ASB Bank resulting in the rebranding of the New Zealand Football Championship to the ASB Premiership.[8]
In 2013, after a review of the competition by the ASB Premiership review committee, YoungHeart Manawatu was dropped from the competition after finishing last in the previous three seasons. New Zealand Football also confirmed that a team composed of New Zealand players born on or after 1 January 1995 would take Manawatu's place in the Premiership for at least two seasons. The addition of the team – to be known as Wanderers SC – was to provide adequate preparation for New Zealand's U-20 players for the upcoming 2015 FIFA U-20 World Cup which will be hosted by New Zealand.[9] Much confusion surrounded the initials "SC" in the Wanderers' name, as no official explanation was given as to what they stood for. It wasn't until after their first match that coach Darren Bazeley finally revealed that "SC" stood for "Special Club", saying "it acknowledges this team has arisen out of a special situation and was specially formed for the purpose."[10]
The 2014–15 season saw the Premiership expand to nine teams for the first time in its history. Wellington Phoenix Reserves was added to the competition to provide game time for the members of the Phoenix squad who are not playing frequently for the first team in the A-League. Restrictions were also put in place for all clubs requiring that at least 50% of match day squads are players who are eligible to play for the All Whites.[11]
After 11 full seasons, only Auckland City and Waitakere United have been crowned Premiers or Champions, with Auckland City adding their sixth premiership and sixth title in the 2014–15 season. This trend was bucked, however, in the twelfth season of the competition, as Team Wellington defeated Auckland City 4–2 after extra time in the final.[12] The 2018-19 saw Eastern Suburbs crowned as champions for the first time, becoming the first club to win the NZFC and the New Zealand National Soccer League.
2016 expansion
[edit]
In December 2015 it was announced that the league would be expanding to 10 teams for the 2016–17 season with Eastern Suburbs from Auckland, Hamilton Wanderers from Hamilton, and Tasman United from Nelson joining the league, while WaiBop United would exit the competition.[13]
Rebrandings
[edit]
In September 2016, it was announced that the expanded league would be rebranded as the Stirling Sports Premiership.[14]
In March 2017, it was announced that the league would be rebranded as the ISPS Handa Premiership, due to a three-year sponsorship deal with ISPS Handa.[15]
National League Championship
[edit]
In March 2021, New Zealand Football announced a change to the structure of both the premiership and the top regional leagues around the country. The four top regional leagues (NRFL Premier, Central Premier League, Mainland Premier League and the FootballSouth Premier League) would be formed into the Northern League, Central League, and the Southern League. These leagues would allow local clubs to qualify for the premiership season (now known as the National League Championship), with the top 4 teams from the Northern League, the top 3 teams from the Central League, and the top 2 teams from the Southern League making up the competition, alongside the Wellington Phoenix Reserve side. All teams that qualify plus the Phoenix Reserves, would then play a single round-robin competition between September and December.[1]
Clubs
[edit]
Until 2019, the New Zealand Football Championship had no promotion or relegation, similar to leagues in Australia and the United States. A promotion and relegation system was to be introduced to the National League in 2020/2021, taking the form of a slot protection model. This model protects one National League slot for each major region of the country to protect geographic representation and maintain a pathway for all clubs into the ISPS Handa Premiership. A slot for the Wellington Phoenix's reserve side was to also be protected. Promotion and relegation were to be decided every 4 years.
Current clubs
[edit]
Team City, Region Stadium Joined Head Coach Auckland City Auckland, Auckland Kiwitea Street 2004 José Figueira Canterbury United Christchurch, Canterbury English Park 2004 Lee Padmore Eastern Suburbs Auckland, Auckland Madills Farm 2016 Hoani Edwards Hamilton Wanderers Hamilton, Waikato Porritt Stadium 2016 Kale Herbert Hawke's Bay United Napier, Hawke's Bay Bluewater Stadium 2005 Bill Robertson
Chris Greatholder Team Wellington Wellington, Wellington David Farrington Park 2004 Scott Hales Waitakere United Whenuapai, Auckland Fred Taylor Park 2004 Paul Hobson Wellington Phoenix Reserves Wellington, Wellington Newtown Park 2014 Paul Temple
Former clubs
[edit]
Team City, Region Joined Left YoungHeart Manawatu Palmerston North, Manawatū-Whanganui 2004 2013 Wanderers SC North Shore, Auckland 2013 2015 WaiBOP United Cambridge, Waikato 2004 2016 Southern United Dunedin, Otago 2004 2020 Tasman United Nelson, Nelson 2016 2020
Name changes
[edit]
Napier City Rovers → Hawke's Bay United
Otago United → Southern United
Waikato FC → WaiBOP United
Champions and premiers
[edit]
Season Regular Season Grand Final Premiers Points Runners-up Points Champions Score Runners-up 2004–05 Auckland City 46 Waitakere United 40 Auckland City 3 – 2 Waitakere United 2005–06 Auckland City 48 YoungHeart Manawatu 46 Auckland City 3 – 3 (a.e.t.)
4 – 3 (p.s.o.) Canterbury United 2006–07 Waitakere United 47 YoungHeart Manawatu 45 Auckland City 3 – 2 Waitakere United 2007–08 Waitakere United 51 Auckland City 50 Waitakere United 2 – 0 Team Wellington 2008–09 Waitakere United 33 Auckland City 25 Auckland City 2 – 1 Waitakere United 2009–10 Auckland City 31 Waitakere United 29 Waitakere United 3 – 1 Canterbury United 2010–11 Waitakere United 36 Auckland City 30 Waitakere United 3 – 2 Auckland City 2011–12 Auckland City 36 Canterbury United 29 Waitakere United 4 – 1 Team Wellington 2012–13 Waitakere United 37 Auckland City 33 Waitakere United 4 – 3
(a.e.t.) Auckland City 2013–14 Auckland City 33 Team Wellington 26 Auckland City 1 – 0 Team Wellington 2014–15 Auckland City 42 Team Wellington 30 Auckland City 2 – 1 Hawke's Bay United 2015–16 Auckland City 38 Hawke's Bay United 30 Team Wellington 4 – 2
(a.e.t.) Auckland City 2016–17 Auckland City 36 Team Wellington 36 Team Wellington 2 – 1 Auckland City 2017–18 Auckland City 40 Team Wellington 37 Auckland City 1 – 0 Team Wellington 2018–19 Auckland City 52 Eastern Suburbs 40 Eastern Suburbs 3 – 0 Team Wellington 2019–20 Auckland City 37† Team Wellington 34† Auckland City Not played† Team Wellington 2020–21 Auckland City 28 Team Wellington 26 Team Wellington 4 – 2 Auckland City
† Due to the COVID-19 pandemic, the 2019–20 season was concluded after 16 rounds. The remaining two rounds of the regular season and the finals series were cancelled. Auckland City, who were leading the regular season table, were declared champions and also awarded the Minor Premiership, and qualified for the 2021 OFC Champions League together with Team Wellington, who were at second place in the regular season table.[16][17]
Premiership winners
[edit]
Team Titles Runners-up Winning Years Auckland City
12
4
2004–05, 2005–06, 2009–10, 2011–12, 2013–14, 2014–15, 2015–16, 2016–17, 2017–18, 2018–19, 2019–20, 2020–21 Waitakere United
5
2
2006–07, 2007–08, 2008–09, 2010–11, 2012–13 Team Wellington
–
6
YoungHeart Manawatu
–
2
Canterbury United
–
1
Hawke's Bay United
–
1
Eastern Suburbs
–
1
Championship winners
[edit]
Team Titles Runners-up Winning Years Auckland City
8
5
2004–05, 2005–06, 2006–07, 2008–09, 2013–14, 2014–15, 2017–18, 2019–20 Waitakere United
5
3
2007–08, 2009–10, 2010–11, 2011–12, 2012–13 Team Wellington
3
6
2015–16, 2016–17, 2020–21 Eastern Suburbs
1
–
2018–19 Canterbury United
–
2
Hawke's Bay United
–
1
Awards
[edit]
Golden Boot
[edit]
The Golden Boot is presented to the player who scores the most goals during the season.
Year Player Club Goals 2007–08 Graham Little Team Wellington 12 2008–09 Luis Corrales Team Wellington 12 2009–10 Seule Soromon YoungHeart Manawatu 9 2010–11 Allan Pearce Waitakere United 13 2011–12 George Slefendorfas Canterbury United 12 2012–13 Roy Krishna Waitakere United 12 2013–14 Emiliano Tade Auckland City 12 2014–15 Tyler Boyd
Tom Jackson
Sean Lovemore Wellington Phoenix
Southern United
Hawke's Bay United 10 2015–16 Ryan De Vries Auckland City 15 2016–17 Tom Jackson Team Wellington 16 2017–18 Emiliano Tade Auckland City 16 2018–19 Callum McCowatt Eastern Suburbs 21 2019–20 Myer Bevan Auckland City 15 2020–21 Derek Tieku
Hamish Watson† Hamilton Wanderers
Team Wellington 12
† Due to reaching 12 goals in less games, Hamish Watson was awarded the trophy at the Grand finals.[18]
Steve Sumner Trophy
[edit]
The Steve Sumner Trophy is presented to the man of the match in the final.
Year Player Club 2017–18[19] Callum McCowatt Auckland City 2018–19[19] Callum McCowatt Eastern Suburbs 2019–20 Not awarded† 2020–21[18] Andy Bevin Team Wellington
† Due to the COVID-19 pandemic, the 2019–20 season was concluded after 16 rounds and the final series wasn't played.[16][17]
Team of the Decade
[edit]
In 2014, to celebrate the first 10 years of the league under the franchise format (2004–05 to 2013–14), New Zealand Football announced an official Team of the Decade and five individual player awards.[20][21]
Prior to the ASB Premiership Grand Final in 2014, the Team of the Decade was announced, as selected by a panel of media experts.[21] The team was selected in a 4–3–3 formation.
Position Player Club(s) Goalkeeper Danny Robinson Waikato, Waitakere United Defenders James Pritchett Auckland City Ivan Vicelich Auckland City Danny Hay Waitakere United Ian Hogg Hawke's Bay United, Waitakere United, Auckland City Midfielders Chris Bale Waitakere United, Team Wellington, Auckland City Aaron Clapham Canterbury United Albert Riera Auckland City Strikers Keryn Jordan Waitakere United, Auckland City Roy Krishna Waitakere United, Auckland City Benjamin Totori YoungHeart Manawatu, Waitakere United Substitutes Ross Nicholson (RGK) Auckland City, YoungHeart Manawatu Ben Sigmund Canterbury United, Auckland City Jake Butler Waitakere United Allan Pearce Waitakere United Grant Young Hawke's Bay United, Waitakere United, Auckland City Coach Alan Jones Auckland City
Players of the Decade
[edit]
Throughout the 2013–14 national league season, four Player of the Decade awards (based on playing position) were announced and prior to the 2014 Grand Final an overall Player of the Decade was announced. These awards were decided by a panel of media experts with input from fans via a public vote.[20]
Award Player Club(s) Player of the Decade[21] Keryn Jordan Waitakere United, Auckland City Goalkeeper of the Decade[22] Danny Robinson Waikato, Waitakere United Defender of the Decade[23] Ivan Vicelich Auckland City Midfielder of the Decade[24] Aaron Clapham Canterbury United Striker of the Decade[25] Roy Krishna Waitakere United, Auckland City
Records and statistics
[edit]
Regular season matches
Updated 2 December 2018
Club 1st 2nd 3rd 4th Auckland City 15 216 152 34 30 543 220 +323 490 8 4 1 - Canterbury United 14 216 87 39 90 352 335 +17 300 - 1 2 6 Eastern Suburbs 2 18 9 3 6 28 25 +3 30 - - - - Hawke's Bay United¹ 14 216 84 38 94 369 418 −49 290 - 1 2 3 Southern United² 14 216 42 34 140 231 498 −267 160 - - - - Tasman United 2 18 4 5 9 29 42 −13 17 - - - - Team Wellington 14 216 107 37 72 460 364 +96 358 - 3 4 2 WaiBOP United³ 12 198 61 28 109 272 410 −138 211 - - 1 - Waitakere United 14 216 130 28 58 480 275 +205 418 5 2 2 2 Wanderers SC 2 30 9 1 20 61 86 −25 28 - - - - Wellington Phoenix 4 48 12 8 28 68 101 −33 44 - - - - YoungHeart Manawatu 9 154 51 25 78 253 344 −91 178 - 2 1 -
¹ Includes record as Napier City Rovers
² Includes record as Otago United
³ Includes record as Waikato FC
Finals matches
As of the conclusion of the 2016–17 season
Club 1st 2nd 3rd Auckland City 13 29 19 1 9 68 44 +24 58 2.000 6 4 1 Waitakere United 11 24 13 1 10 64 5 +12 40 1.667 5 3 2 Team Wellington 10 23 11 2 10 43 50 −7 35 1.522 2 3 2 Canterbury United 6 14 4 2 8 19 30 −11 14 1.000 - 2 3 Southern United² 1 1 0 1 0 2 2 0 1 1.000 - - - YoungHeart Manawatu 3 5 1 1 3 6 10 −4 4 0.800 - - 2 Hawke's Bay United¹ 5 9 1 0 8 13 24 −11 3 0.333 - 1 2 WaiBOP United³ 1 1 0 0 1 1 4 −3 0 0.000 - - 1
¹ Includes record as Napier City Rovers
² Includes record as Otago United
³ Includes record as Waikato FC
Largest victories
Season Home team Result Away team Date 2013–14 Southern United 0 – 10 Auckland City 16 February 2013 2006–07 Waitakere United 8 – 0 Southern United 8 March 2007 2007–08 YoungHeart Manawatu 0 – 8 Team Wellington 6 January 2008 2007–08 Canterbury United 1 – 9 Waitakere United 20 January 2008 2011–12 Canterbury United 9 – 1 YoungHeart Manawatu 22 January 2012 2012–13 Waikato 1 – 9 Waitakere United 20 January 2013 2005–06 YoungHeart Manawatu 8 – 1 Hawke's Bay United 18 February 2006 2006–07 Team Wellington 7 – 0 Hawke's Bay United 26 January 2007 2011–12 Canterbury United 7 – 0 Hawke's Bay United 4 February 2012
Highest scoring matches
Season Home team Result Away team Date 2005–06 Team Wellington 4 – 6 Auckland City 7 January 2006 2007–08 Canterbury United 1 – 9 Waitakere United 20 January 2008 2011–12 Canterbury United 9 – 1 YoungHeart Manawatu 22 January 2012 2012–13 Waikato 1 – 9 Waitakere United 20 January 2013 2012–13 Waitakere United 6 – 4 Hawke's Bay United 9 March 2013 2013–14 Southern United 0 – 10 Auckland City 16 February 2013 2005–06 YoungHeart Manawatu 8 – 1 Hawke's Bay United 18 February 2006 2007–08 Waikato 4 – 5 YoungHeart Manawatu 30 March 2008 2011–12 YoungHeart Manawatu 2 – 7 Waitakere United 15 January 2012
Related competitions
[edit]
OFC Champions League
[edit]
Main article: OFC Champions League
The OFC Champions League, also known as the O-League, is the premier football competition in Oceania. It is organized by the OFC, Oceania's football governing body. It has been organized since 2007 under the current format, following its successor, the Oceania Club Championship. Two teams from the ISPS Handa Premiership participate annually. Four O-League titles have been won by teams from New Zealand.
ASB Charity Cup
[edit]
Main article: Charity Cup
The ASB Charity Cup was introduced in 2011 as a season opener played the weekend before the first matches of the ASB Premiership season.[26] The fixture pits the ASB Premiership Grand Final winner against the best performing New Zealand team in the OFC Champions League.[26] However, when the same team fills both categories as Auckland City did in 2014 and 2015 the ASB Premiership runner-up qualifies for Charity Cup.[27]
ASB Phoenix Challenge
The 2010–11 season saw the introduction of the ASB Challenge Series. This was an individual friendly competition in which the eight Premiership teams competed against a reserve team attached to Wellington Phoenix, a New Zealand-based team playing in the Australian A-League. The ASB Phoenix Challenge was discontinued after the 2010–11 season but reinstated for 2012–2013, its last appearance.
White Ribbon Cup
Main article: White Ribbon Cup
The White Ribbon Cup, is a knockout cup competition run by New Zealand Football. The 2011–12 season will be the inaugural season of the NZF Cup.
It was established in 2011 to provide regular football for the six clubs not participating in the Oceania Champions League and runs in conjunction with the ISPS Handa Premiership regular season.[28]
Season Winner Score Runner-up 2011–12 Team Wellington 6–1 Waikato FC
National Youth League
[edit]
New Zealand Football additionally ran the National Youth League, a competition for the youth teams for each of the clubs in the New Zealand Football Championship. It was held between October and December, and consisted of each team playing each other once; the fixture list mirroring that of the senior league. The team with the most points at the end of the season became the champions. The final champions were the youth team of Auckland City.[29] After a review by New Zealand Football of all their national competitions,[30] it was decided to end the national youth competition with its last season being 2019.[30][31] In the last season of the competition, Auckland City won its seventh title as well as winning three in a row from 2017 to 2019 to finish as champions of the competition.[32]
See also
[edit]
Football in New Zealand
New Zealand National Soccer League
National Women's League
Chatham Cup
Kate Sheppard Cup
Auckland Derby
References
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https://wellingtonphoenix.com/news/phoenix-make-history-premier-league-club-visit-new-zealand/
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Phoenix Make History with Premier League Club Visit to New Zealand
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2014-04-30T12:08:15+00:00
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The Wellington Phoenix will make history when they host two English Premier League sides in New Zealand for the first time in July 2014. In a football extravaganza that will span the length of the country, sports fans will be...
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Wellington Phoenix
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https://wellingtonphoenix.com/news/phoenix-make-history-premier-league-club-visit-new-zealand/
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The Wellington Phoenix will make history when they host two English Premier League sides in New Zealand for the first time in July 2014.
In a football extravaganza that will span the length of the country, sports fans will be able to experience a football event never seen before in this part of the world.
Westpac Stadium will be rocking when English Premier League clubs West Ham United and Newcastle United take part in a ground-breaking double header with the Wellington Phoenix and Australian glamour club Sydney FC in the Football United Tour 2014.
West Ham United and Newcastle United will play two exhibition matches at Wellington-s Westpac Stadium on 26 July, in matches arranged by the Wellington Phoenix with the support of the Wellington City Council.
Auckland and Dunedin will share in the festivities with games featuring the two English Premier League teams also being staged at Eden Park and Forsyth Barr Stadium.
It will be the first time in the Southern Hemisphere that two English Premier League clubs have played on the same ground on the same day.
Announcing the games today Wellington Phoenix Chairman Rob Morrison said he was delighted the club was hosting two such high profile teams.
“All of New Zealand will be able to be part of this unique sporting event, with Newcastle United journeying to Dunedin and West Ham United to Auckland, with both sides finishing their tour with the double-header in Wellington.”
Game one will feature Newcastle United playing Sydney FC at Dunedin-s Forsyth Barr Stadium on Tuesday July 22, kick off 7.30pm.
Game two sees West Ham United take on the Wellington Phoenix on Wednesday July 23, at Auckland-s Eden Park, kick off 7.30pm
The tour will then move to Wellington for a double-header on Saturday, July 26 where Sydney FC will take on West Ham and the Phoenix will play Newcastle United at Westpac Stadium.
Morrison said it was important to the Club that as many fans as possible could be part of this historic event.
“Ticket prices start at just $35 for adults and $16 for a child for the Westpac Stadium extravaganza on July 26” Morrison said.
Wellington Mayor Celia Wade-Brown said the event is especially exciting for the City and is part of the strong working relationship between the two organisations.
“The Wellington City Council is delighted to work with the Phoenix on bringing this great sporting contest to the Capital. Our stadium’s location is ideally suited to a big match and ‘the beautiful game- will be fully celebrated in a Football Festival for everybody,” she said.
“This spectacular event will draw football fans from around the country and across the Tasman”
No one is looking forward to the tour more than All Whites captain Winston Reid.
“I-m really excited to be bringing West Ham to New Zealand in July to play a bit of footy in the Football United Tour and show them how we do things in New Zealand!,” Reid said.
“New Zealand is a beautiful country full of great people and I-m sure all the West Ham players, staff and supporters who make the trip will have a fantastic time.
“Football is really on the up in both New Zealand and Australia and we are all looking forward to meeting all the fans and playing exciting matches against two leading Hyundai A-League clubs.”
Manager Sam Allardyce is also looking forward to bringing a team to New Zealand for the first time in his managerial career.
“We-ve been busy putting together the best pre-season preparation that I-ve had, and it-s great that we-re able to go to New Zealand as a key part of that,” Allardyce said.
“The tournament in New Zealand is particularly interesting, as it allows us to promote West Ham United and the Premier League over there.
“It-ll be great for our fans in the region to see us play.”
Newcastle United manager, Alan Pardew, said: “We are very much looking forward to being part of the Football United Tour and to training and playing at first class facilities in Dunedin and Wellington.
“Football has grown impressively in both New Zealand and Australia in recent years, with some excellent players and teams coming to the fore, so the Wellington Phoenix and Sydney FC fixtures will provide a good test for our players as we prepare them for next season.”
Wellington Phoenix General Manager David Dome says the Tour isn-t just about what happens on the pitch.
“While that will be fantastic for the fans it is about more than that,” Dome said.
“Wellington will be hosting a ‘Festival of Football- throughout the day in the capital,” Dome added.
“We want to create a weekend packed with entertainment, culture and sport revolving around the theme of football – a real family festival day out offering so much more for the fans and their families.”
“We anticipate tickets to the games will sell fast as this is a rare and exciting opportunity for football fans and their families throughout Australasia to be part of,” David Dome said.
Tickets for the Auckland and Wellington games go on sale to Phoenix Members from 30 April and on public sale from 19 May at Ticketek. Dunedin will be on sale 21 May. Details at www.prod.wellingtonphoenix.aleagues.com.au.
At A Glance
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https://www.ultimatenzsoccer.com/FootballFerns/swanzhistory.htm
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History
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To describe the earliest days of women's football in New Zealand as a little like a fairy tale would be a bit of an understatement!
The game was played on a purely social basis in the late 1960s and early 1970s, but the creation of organised competitions in both Wellington and Auckland saw both provinces up and running with their own leagues by the start of the 1973 season.
The obvious next step was to form a national association, but the feeling emanating from the rivalry between the two North Island provinces meant that procrastination prevailed until early 1975, when the Northern (Auckland) Women's Football Association received an airmail letter.
It was an invitation from the Asian Ladies Confederation, offering New Zealand the chance to participate in the Asian Cup. However, to do so, the country had to have its own national body to administer the sport.
The Canterbury association had also set up a women's competition by this time, so with Northern and Wellington still agreeing to disagree on numerous issues, the former, in tandem with Canterbury, formed the New Zealand Women's Football Association, with Wellington given a provisional affiliation to satisfy the requirements of the Asian Confederation's invitation.
A squad was selected following a meeting between the Association's President, Roy Cox, Dave Farrington (coach), Marilyn Marshall and Debbie Leonidas (two Wellington players, by then the dominant province on the field).
Roy's wife, Barbara, was chosen to captain the squad, with other names of note selected including Carol Waller (now New Zealand's Chairman), Kathy Hall (now New Zealand's Under-19 coach) and Nora Watkins (a former coach of the national side).
New Zealand flew to Hong Kong for the tournament, and, against all the odds, won the Asian Cup. En route, they defeated the host nation 2-0, Malaysia 3-0, Australia 3-2, and, in the final, Thailand 3-1. Marshall was the first player to find the net for the newest member of the women's football world, and finished the tournament with six goals to her name.
With the silverware the centre of attention at the NZWFA's inaugural Annual General Meeting on October 11, 1975, it was decided that a national tournament be contested annually between affiliated provincial associations, beginning in 1976 with a tournament in Canterbury.
The passing of time saw the NZWFA accepted as a bona fide affiliate of the New Zealand Football Association, and in July 1979, it became an incorporated society. In 1991, the association underwent a name change, becoming the Women's Soccer Association of New Zealand (WSANZ, or SWANZ, for marketing and promotional purposes).
New Zealand's next international involvement came about in 1979, with a three-test series in Australia for the Trans-Tasman Cup. The trophy was shared, but the Australians claimed it outright a year later when they crossed the Tasman Sea for the return series. In 1981, in a one-off test in Auckland, Australia retained the silverware.
Soon after, New Zealand competed in the first World Women's Invitational Tournament in Taiwan, the forerunner to today's FIFA Women's World Championship. Six wins and a draw from their eight matches that October saw the Kiwis finish second in Taiwan, their one loss being to the tournament winners, West Germany.
Following two losses to Taiwan in 1982, a major event took place later in the year, with New Zealand being one of the four founder members of the Oceania Women's Football Association, the other nations involved being Australia, Fiji and Papua New Guinea.
At the inaugural meeting, it was decided that the Oceania Nations Cup be contested every three years, with invitations extended to countries in the South Pacific region. The first tournament was held in New Caledonia in 1983, and New Zealand, then the region's leading women's football-playing nation, confirmed their top seeding by defeating Australia 3-2 in the final.
The second World Women's Invitational Tournament took place in Taiwan in February 1984, and once again, New Zealand were beaten by the eventual winners, West Germany. It was the only goal they conceded all tournament, yet they ended up in fourth place!!
The first age-grade team to represent New Zealand was also in action in September of that year. A New Zealand Under-21 side played a three-test series in New Caledonia, and were convincing winners in each encounter.
This was the last time New Zealand would be represented in women's football until Easter, 1986, when the Oceania Nations Cup tournament was held in Christchurch. With only Australia and Taiwan taking up the invitations - Papua New Guinea were a late withdrawal, and FIFA had placed Taiwan in the Oceania region as a result of the political tensions afoot on their doorstep - a New Zealand B side was selected, and was narrowly beaten by all three opponents.
The A side also succumbed to both Australia and the eventual tournament winners, Taiwan, and were almost embarrassed by their junior counterparts in the third place play-off, New Zealand A claiming that spot only after a penalty shoot-out.
Twenty months elapsed before New Zealand's next foray on the international stage, and following three double-figure wins in a then unofficial series against Western Samoa, it was to Taiwan they were destined once again, and the last World Women's Invitational Tournament prior to FIFA's long-awaited recognition of women's football in the manner we know today.
This time round, the Germans were joined by Taiwan in celebrating victory over New Zealand, who included among their successes a 1-0 triumph over a nation which was soon to take the women's football world by force, the USA.
Once again, New Zealand's lot was fourth place, but this time on goal difference - the USA and West Germany also had three wins to show for their efforts, while Taiwan, with five wins, succeeded the Germans as women's football's unofficial world champions.
The white shirts were put in mothballs for over a year until Easter 1989, when the third Oceania Nations Cup tournament was held, this time in Australia. New Zealand powered through the round-robin phase, but when it came to the final, against Taiwan, a combination of ill luck and some of mother nature's less welcome elements saw the Asians retain the trophy on the back of a 1-0 win.
The Under-19s were next to represent New Zealand, winning a two-test series against Australia here in 1989, then crossing the Tasman to better our long-standing rivals over three matches two years later.
In between times, the SWANZ, as they were by now known, had taken part in the inaugural Oceania Women's World Cup qualifying series in Australia in May, 1991. After amassing a 16-0 win over Papua New Guinea in their first game of the tournament - at the time New Zealand's record victory - Australia were always going to be hard-pressed to match or better such a winning margin, and so it was that New Zealand qualified for the inaugural FIFA Women's World Championship in November that year.
Preparations for the World Cup Finals were based around a three-test series against Australia, and two wins and a draw - New Zealand's first series win on home turf - sent the Dave Boardman - coached squad off to China in good heart, this despite being drawn in the hardest group.
As results were to prove. After a 3-0 reversal at the hands of Denmark, Norway went one better two days later, while the host nation condemned New Zealand to a final ranking of eleventh in the twelve-nation tournament by handing out a 4-1 hiding. Kim Nye scored our only goal in China.
Being as isolated as New Zealand is on a global scale, attracting quality teams of either gender outside of Oceania to our shores to play our national sides in the current economic climes is an exercise which rarely results in the game benefitting financially. Hence there is more chance of you sighting the SWANZ in your part of the world than we have of seeing them in action here in our own backyard!
That has certainly been the case over the last three decades. In August 1993, the USA invited New Zealand to participate in their CONCACAF tournament, and second place was duly earned. A year later in Port Moresby, Papua New Guinea, the SWANZ were edged out by Australia on goal difference in the Oceania Women's World Cup qualifying series.
After finishing bottom of their group at India's Gold Cup tournament prior to the World Cup qualifiers, the SWANZ were twice well beaten in Australia in the revived Trans-Tasman Cup series early in 1995. But hopes were revived when two goalless draws in South Korea marked the start of Maurice Tillotson's era as coach of the national side.
South Korea and Australia partook in a tri-series on Kiwi soil in March 1996, and while the Matildas again held the upper hand in the two clashes with their Oceania neighbours, another goalless draw against South Korea was followed by a 1-0 win over our Asian guests.
Later in the year, a one-off match against a Papua New Guinea side who were en route to a tournament among the smaller Pacific Island nations underlined the need nowadays to take all opposition seriously, no matter how well you may have performed against them in the past.
Five previous internationals against PNG had seen New Zealand amass forty goals against Oceania's third-ranked women's football-playing nation, without conceding one. So it's fair to say that the 1-1 draw recorded on home turf tops the rankings in a very brief list of shock results in the history of New Zealand women's football!!
While the SWANZ were on the road throughout the 1990s, but with greater infrequency in the latter part of the decade, it must be said, our age-grade teams have also been active, mostly against Australian opposition. The Under-20s won a three-test series on home turf against their Australian counterparts in 1994, but the tables were turned at an International Youth Challenge tournament in Australia a year later, which South Korea and the Australian Secondary Schoolgirls squad also contested.
South Korea proved too strong for New Zealand's Under-20s in 1996, clean-sweeping a three-test series, a similar fate to that which befell our Under-17 side when Australia came visiting in 1995. The 1997 crop of Under-17s enjoyed better fate against the Australian Secondary Schoolgirls late that year, however, winning both matches.
But it's the SWANZ who are recognised as the 'shop window' side of the code in this country, and their displays against Australia and China, in a tri-series across the Tasman in November 1997, while resulting in defeats, offered much hope and encouragement for the months ahead.
Following the 'Champions Tour', in which the SWANZ won two matches against Dutch club sides before taking on the European Champions, Germany, and the Olympic Champions, the USA, both twice, the national side took part in the country's National Tournament, the annual battle to determine New Zealand's champion province. Next on the agenda was the Oceania Women's World Cup qualifying series, which took place in Auckland between October 9-17, 1998.
Needless to say, hopes were high that the SWANZ would be making another trip to the USA at the end of this tournament, especially after amassing a world record-equalling 21-0 thrashing of Samoa in the first match of the qualifying series.
But defeat in the qualifying series final against Australia put paid to those dreams, as well as any chance of qualifying for the 2000 Olympic Games tournament in Sydney.
After a hiatus of almost twenty months on the international front - a period of time in which the USA's Kristine Lilly became the first footballer of either gender to smash through the two hundred barrier, in terms of appearances for her country - the SWANZ were back in action, as the invited nation at the inaugural Pacific Alliance Cup in Australia.
There, they were narrowly beaten by both Canada and Japan, before copping the expected trouncings from the USA and China, sandwiched in between which was an unwelcome hiding from our trans-tasman rivals.
In 2002, another development took place in the women's game, this time at domestic level. The National Women's Tournament was consigned to the history books, and was replaced by the National Women's League, an eight-team round-robin affair, with games being played on a weekly basis, as opposed to the week-long war of attrition which, it's fair to say, the National Tournament was, to some extent.
The league idea was a big hit with the people who matter most - the players, who greatly welcomed the week-long recovery time, amongst other things! The more things change, the more things stay the same, however - another piece of silverware headed to women's soccer's northern stronghold at the conclusion of the inaugural season!!
It was followed by the appointment, in March 2003, of Michelle Anderson, to the full-time role of Women's Football Development Officer, a newly-created position in New Zealand Soccer. Her tenure was short-lived, but not that of the position.
The National League, a number of training camps and a five-match tour of Texas, where American university teams of various ranks were engaged, served as the SWANZ preparations for the 2003 Oceania Women's World Cup qualifying tournament, held in Canberra.
Once again, our trans-tasman neighbours provided the obstacle between New Zealand and progress to the Women's World Cup Finals, but the Australians were surprised by the sheer tenacity and never-say-die approach of the SWANZ, who gave more than a good account of themselves, particularly given the Matildas had taken part in twenty-four internationals since the SWANZ last kicked a ball in anger at the Pacific Cup tournament in June 2000.
Women's football in New Zealand has come a long way in its first 25 years. After a fairytale beginning, the 1980s saw us glimpse the summit, without ever quite reaching it, at all three World Women's Invitational Tournaments. The 1991 World Cup Finals indicated that our descent was under way. A 1-1 home draw with Papua New Guinea in November 1996 was our nadir.
Our international performances in the early years of this century indicated that there is potential aplenty to rise again, although our ascent will never be of phoenix-like proportions while we compete with such irregularity on the international stage.
The Pacific Alliance Cup, the Oceania Women's World Cup qualifying series and the Oceania Olympic Games qualifying series should each be regarded as important stepping stones in this context, but far more regular international match-play is imperative if the SWANZ are to once again soar towards the summit of the women's soccer world.
However, things are on the improve in that regard. The New Zealand national women's squad, as NZ Soccer wishes the team to be known - not exactly media-friendly, but ... - is set to be granted their long-held wish for a regular diet of internationals, with the target qualifying for the 2007 Women's World Cup Finals, and the 2008 Olympic Games.
The road to China started in Brisbane in February 2004, when a late invitation was extended to New Zealand to take part in the Australia Cup competition. Their final match at that tournament marked this country's one hundredth international - sadly, it was marked by our heaviest defeat, as North Korea, with a squad boasting over 1000 appearances collectively, humbled our inexperienced side - just 62 caps between them - 11-0 at QE2 Stadium.
A young squad, with ten new caps, was named for that tournament, the idea being to build up their experience over time so that, come 2007, they would be a competitive combination on the world stage.
Given their inexperience, it was controversially decided by NZ Soccer not to enter our women into the 2004 Olympic Games qualifiers, which, given New Zealand's Olympic traditions, understandably drew much hue and cry from many groups and individuals, who couldn't see the logic behind not even competing.
That North Korea result, in hindsight, is reason enough - had New Zealand qualified for Athens, they would have been facing the likes of North Korea, and a scoreline of that magnitude, on such a stage as the Olympic Games ... you don't need to be Einstein to appreciate the damage that would have done on a number of fronts! Nonetheless, this decision ranks as one of the national body's worst women's football-wise.
Later in the year, New Zealand were invited to play two matches against the Olympic champions, the USA, as part of that country's ten-match nationwide farewell tour - so tagged as Mia Hamm, Julie Foudy and Joy Fawcett were hanging up their boots at the end of the year.
5-0 and 6-0 reversals were the outcome, but as US Soccer media officer Aaron Heifetz said, "Two games at that level can do nothing but help New Zealand. If only they could get
more games!!" Now where have I heard that before?!
Throughout 2005, New Zealand Soccer's Senior Elite Women's International Development Squad trained thrice-weekly, with groups of players gathering in Auckland, Wellington and Christchurch for training sessions of a far greater intensity than would be received by the players at club-based training sessions.
The one major drawback, however, was the lack of games for the Elite Squad members, because their involvement in the Elite Squad concept saw them being denied the opportunity to play for their clubs in league action - only in Uncle Toby's Women's Knockout Cup action were the Elite Squad players able to don their club colours.
As at the end of July, the Elite Squad had played just nine friendly fixtures as a group - this figure doesn't include the two-match trip to Japan, where defeats were experienced at the hands of the host nation (a disappointing 6-0 scoreline) and Japan Universities (1-0 - although the situation would doubtless have been somewhat different had the officials appointed to the match been of international standard; this trio ... some things are better left unsaid! (But you can guess what I'm thinking!!)
Throw in up to three Uncle Toby's Cup games for some players, and it's little wonder the girls were frustrated at their lack of game-time! But while they were suffering in this regard, things were changing both behind the scenes and on the international front, changes which are very much for the better where NZ women's football is concerned.
Domestically, a change of personnel saw the departure of Director of Football, Paul Smalley, and National Women's Coach, Mick Leonard, and the introduction of a new Chief Executive Officer, Graham Seatter, and a new role, the Head of Women's Football, with Michele Cox appointed to the post.
As she did in her playing days, it didn't take long for "Coxy" to make an impact on proceedings, and she swiftly introduced changes which quickly bore fruit for the New Zealand women's game.
So impressed were FIFA by her foresight, endeavour and ability to make a difference that she didn't stay in NZ Football's employ for long. Instead, the world's governing body recruited her to spread the gospel of women's football - in 2009 alone, she visited thirty-two countries with this express purpose in mind!
Across the Tasman, Australia's involvement with Oceania came to an end at the end of 2005, their switch to the Asian Confederation paving the way for New Zealand to take over as the queens of Oceania women's football, an opportunity they swiftly took by qualifying in style for the 2006 Under-20 Women's World Cup Finals in Russia, just the fourth occasion in history a New Zealand team has progressed to the ultimate stage of a FIFA Finals tournament, gender regardless.
That team drew with eventual third place-getters Brazil, after going down to a last-minute defeat at the hands of the host nation.
Qualification for the 2007 FIFA Women's World Cup Finals in China was the next milestone realised, while the absence of any other entries in Oceania meant New Zealand qualified automatically for the FIFA U-20 Women's World Cup Finals in Chile in 2008.
That year also saw the Football Ferns beat Papua New Guinea in a one-off match to clinch Oceania's spot at the 2008 Olympic Women's Football Tournament, where the Kiwi team led Japan 2-0 with twelve minutes to go before being held to a 2-2 draw by the team which eventually finished fourth.
In October that year, New Zealand hosted the inaugural FIFA U-17 Women's World Cup Finals, and did so impressively on and off the park. Narrow defeats at the hands of Canada and Denmark didn't deny the Young Ferns their moment of glory, however, Rosie White's hat-trick earning victory over Columbia - New Zealand's first win in a FIFA Women's Finals event.
The second wasn't long in coming - another Rosie White hat-trick sparked a 4-3 win over Chile at the FIFA U-20 Women's World Cup Finals, while only a last-gasp equaliser by England prevented the Junior Ferns from becoming the first-ever New Zealand team to advance beyond the first round of a FIFA Finals - they were literally thirty seconds away from history!
New Zealand's progress on the world stage hasn't gone unnoticed, and invitations to contest the Peace Queen Cup and the Cyprus Women's Cup during this halcyon period saw the Football Ferns perform highly creditably, with wins over top-twenty-ranked Argentina and Holland and draws against top-ten-ranked Canada and France significant milestones in the development of this young team.
A measure of that progress comes in two forms, the first being the number of opportunities individuals have enjoyed in recent times.
In days gone by, Maureen Jacobson and Michele Cox played professionally in Europe, a feat now matched by Rebecca Smith, who played in Sweden and Germany in recent times, as well as in Australia, where she was joined by Marlies Oostdam and Rebecca Tegg.
Meanwhile, Maia Jackman and Simone Ferrara took part in the 2002 Chinese Women's Super League, with Jackman becoming New Zealand's first-ever FIFA Women's World All-Star team member five years later.
And in 2009, Kirsty Yallop and Ali Riley were members of the United Soccer League Women's championship-winning Pali Blues team in a competition which saw Football Ferns team-mates Amber Hearn and Ria Percival perform exceptionally for Ottawa Fury, their efforts seeing them named among the final nominees for the end-of-season MVP and Defender awards respectively.
New Zealand captain, Hayley Moorwood, played alongside them at Ottawa, and achieved two significant milestones for the code during the decade, being named Sport Auckland's Sportswoman of the Year in 2005, and earning the first women's football nomination for the prestigious Halberg Awards four years later.
The other measure is the number of full internationals the national team has played in recent times. From their first fixture, in August 1975, until the end of October 2006, New Zealand made 102 appearances on the world stage.
Over the course of the next four years, i.e. come the end of October 2010, the Football Ferns played half as many matches again - something which it's highly unlikely those involved at the very onset of women's football in New Zealand less than forty years ago could ever have envisaged happening in such a timeframe.
As well that year, the Junior Ferns earned competitive scorelines at the FIFA U-20 Women's World Cup Finals (although their performances weren't exactly memorable), while the Young Ferns impressed at the FIFA U-17 Women's World Cup Finals before their limited preparations were exposed by eventual runners-up Japan.
By the end of 2011, it was possible to name an entirely overseas-based Football Ferns starting eleven - a sure sign of the progress both players and team are making in the world game.
The key to this was their performances at the FIFA Women's World Cup Finals in Germany, where they drew level with eventual winners Japan before being beaten by the odd goal in three, a scoreline which also befell them against England, a match which New Zealand led 1-0 beyond the hour mark.
And then there was Mexico. 2-0 down after half-an-hour, and still the case in the 89th minute. Final score, 2-2 - a first-ever point at women's football's ultimate showcase, and achieved in such dramatic fashion that it felt like a win.
It was a heck of a note on which coach John Herdman chose to bow out. Having been the driving force behind NZ's women's footballing renaissance since taking on the U-20s role in 2006, the ensuing five years were ones of highs far outweighing lows, and progress to such an extent that it's only a matter of time before the Football Ferns advance to the next level - the knockout stages of a Finals, something which Tony Readings hoped to achieve with the team in 2012 and beyond.
The benefits of this progress are already filtering down through the age grades - witness the NZ Secondary Schoolgirls' series win over their Australian counterparts in 2010, and the Young Ferns' comprehensive series win over Australia in a friendly series in late 2011 - good signs for the next generation, and for New Zealand women's football generally.
Readings' hopes bore fruit at the London 2012 Olympic Women's Football Tournament, where the Football Ferns created New Zealand footballing history as the first national representative team to reach the last eight of a world-renowned international tournament.
2013 began with both a high - Maia Jackman was recognised in the New Zealand Honours List as an Officer of the NZ Order of Merit (ONZM) - and a low, the passing of the founding father of NZ women's football, Roy Cox (refer obituary link at the top of the page).
He's left one heck of a legacy for us all to carry on in his memory, part of which is the challenge of building on those 2012 successes.
The Football Ferns certainly did their best to mark his passing in style throughout the year. A third-placed finish at the Cyprus Women's Cup was followed by draws on the road with reigning world champions Japan and reigning Olympic champions the USA.
Sandwiched in between these were victories over Brazil and China at the Valais Women's Cup in Switzerland - New Zealand's first trophy success outside Oceania since their Asian Cup triumph in their inaugural tournament in 1975.
After these achievements, subsequent results failed to reach those stellar heights. Two drawn games with Brazil in Auckland and Taupo in 2014 - a year in which the Junior Ferns became the first age-grade NZ women's team to qualify for the quarter-finals of a FIFA event, thanks to wins over Paraguay and Costa Rica at the U-20 Women's World Cup Finals - were followed by a 1-0 win over South America's finest in Sao Paulo in November 2015.
Sandwiched in between these efforts was a tale of hard lines at the FIFA World Cup Finals in Canada, where the odd decision here and the bounce of the ball there thwarted the Football Ferns' dreams of progressing beyond the group stages, in which draws with the host nation and China were recorded.
Those efforts earned the Football Ferns an invitation to the 2016 Algarve Cup, after which they came desperately close to ending their Australian hoodoo in Melbourne.
These matches served as preparation for the 2016 Olympic Games in Rio de Janeiro, at which the Football Ferns overcame Colombia but found the USA and France to be a bridge too far.
The same opposition ended the Junior Ferns' interests at the U-20 Women's World Cup Finals, following a stunning qualifying campaign in which they scored 69 goals in 4 games, including a 26-0 rout of New Caledonia which featured eleven goals from Emma Rolston.
The Young Ferns also scored a win at the U-17 Finals, but their 5-0 romp over Jordan was too little, too late for our youngest national representative squad.
The following year brought changes, with a number of long-serving players calling time on their international careers, among them centurions Katie Duncan, Kirsty Yallop and long-serving captain Abby Erceg.
The last-mentioned retired prematurely on a point of principle concerning player welfare in NZ, which prompted NZ Football to introduce measures which ensured locally based players received some means of financial compensation for their efforts.
(No mention of anything for the football scribe who's invested an inflation-adjusted $350,000 of his own money over the past three decades to provide coverage of the NZ women's game, although it must be said the media interest today is pleasingly much improved from that as recently as a decade ago).
Among the measures introduced was the Football Ferns Development Programme, which saw a locally-based squad contesting the Northern Region U-17 Conference boys competition, which served multiple purposes generally very well, and saw the squad earn a top-four finish, suffering just four defeats in their seventeen matches.
Two new international teams were also introduced in the futsal arm of the game, with the Futsal Ferns and Junior Futsal Ferns both making impressive clean sweeps over their Oceania-based opponents in multi-match series played in NZ.
There was one more change made in the final quarter of 2017, with Tony Readings stepping down as coach of the Football Ferns, ending over a decade-long involvement with the team, having been assistant coach to John Herdman during his tenure.
Readings oversaw the national team's efforts in 82 matches all told, 25 of which were won. But by the end of his reign, it's fair to say a sense of staleness was evident, and the squad was in need of revitalising.
Readings' replacement was Andreas Heraf, NZF's Technical Director, who began his tenure with an impressive 5-0 romp over Thailand, a win which gave the squad and their supporters renewed optimism with the campaigns for France 2019 and Tokyo 2020 on the horizon.
Sadly, goings-on behind the scenes were wholly unacceptable given the age we now live in, and a traumatised squad was greatly relieved when Heraf was given his marching orders, prompting the introduction of numerous reforms which will ensure that particular dark alleyway is never travelled down again!
With Women's World Cup qualifiers fast approaching, the situation called for an experienced head to take charge of the Football Ferns, and coaching-wise, there are none more qualified in that regard that Tom Sermanni, who duly oversaw a clean sweep of the island nations to secure Oceania's slot at France 2019.
Sadly, goalscoring has become something of a challenge for the Football Ferns since that time, coinciding with the retirement of Amber Hearn, the country's most prolific markswoman, whose tally of 54 goals for New Zealand may well stand for all time.
Of course, if you don't score goals, you don't win games, and there has been a dearth of success for the national team in recent times. Not so with the Young Ferns, however, their quite incredible 2018 U-17 Women's World Cup campaign seeing them score wins over Finland and host nation Uruguay before edging Japan on penalties in the quarter-finals.
A 2-0 defeat at the hands of eventual winners Spain in the semi-finals wasn't quite the end of the dream, however. For in the third place play-off, two Grace Wisnewski goals earned the Young Ferns a 2-1 triumph over Canada, a nomination as Halberg Awards Team of the Year finalists, and for goalkeeper Anna Leat, a personal triumph as the Halberg winner for Sporting Moment of the Year, courtesy her exploits against Japan.
The bulk of this team stepped up to the Junior Ferns in 2019, and in their first match at the Oceania U-20 Women's World Cup qualifiers, made quite a statement, Kelli Brown scoring eleven goals in a 30-0 rout of Samoa.
Sadly, the coronavirus which has changed the way the world operates since 2020 has put all our international programmes on hold for now, and there remains uncertainty as to whether the postponed Olympic Games will even go ahead in 2021.
Our players continue to make their presence felt on the international stage at club level, however, with 150-times-capped Ria Percival having moved to Tottenham Hotspur from West Ham United, while Meikayla Moore has become the fourth Football Fern to play for Liverpool, following in the footsteps of Aroon Clansey, Saah Gregorius and Rosie White.
Ali Riley, Catherine Bott and Hannah Wilkinson have graced the game in Sweden and Germany, while Betsy Hassett has played for clubs in five European countries, including Ajax in Holland. Katie Rood was on the books at Juventus a year later, while across the Atlantic, Abby Erceg has been a stand-out defender for North Carolina Courage in a competition which also features Katie Bowen and Rosie White.
Rebekah Stott has become a true footballing globetrotter, with four separate stints in Australia interspersed with spells in Germany, the USA, Norway and England. Emma Kete surpasses that, having played in Canada, Germany and the USA, and winning league or cup honours in Finland, Australia and England.
Meanwhile, seven players are involved in the 2020-21 W-League across the Tasman, one shy of the record eight Kiwi players which played in the competition in 2012-13.
That was the year when the Football Ferns were at their peak, recording draws against both 2011 FIFA Women's World Cup finalists, the USA and Japan, a third-placed finish at the Cyprus Cup and a triumphant Valais Women's Cup campaign in which Brazil and China were put to the sword. Will we ever reach such heights again? Watch this space.
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The New Zealand Football Championship was a men's association football league at the top of the New Zealand league system. Founded in 2004, the New Zealand Football Championship was the successor to a myriad of short-lived football leagues in the country, including the National Soccer League...
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Football Wiki
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New Zealand Football Championship Country New Zealand Confederation OFC Founded 2004 Folded 2021 Number of teams 8 Level on pyramid 1 Domestic cup(s) White Ribbon Cup OFC cup(s) OFC Champions League Most successful club Auckland City (8 titles) Website Official website
The New Zealand Football Championship was a men's association football league at the top of the New Zealand league system. Founded in 2004, the New Zealand Football Championship was the successor to a myriad of short-lived football leagues in the country, including the National Soccer League, the National Summer Soccer League and the New Zealand Superclub League. The league was contested by ten teams in a franchise system. For sponsorship reasons, the competition was known as the ISPS Handa Men's Premiership. From the 2021-22 season, it was replaced by the New Zealand National League.
The seasons used to run from October through to April, and consist of an eighteen-round regular season followed by a playoff series involving the four highest-placed teams, culminating in a Grand Final. Each season, two clubs would gain qualification to the OFC Champions League, the continental competition for the Oceania region. The league does not use a system of promotion and relegation.
Auckland City were the most successful side since the competition's inception, with twelve premierships and seven championship titles. A youth competition, called the National Youth League, ran parallel to the regular season from October to December – the final champions were also Auckland City, winning the final season of the competition in 2019.
Competition format[]
There are two stages to the competition; "The League" (commonly referred to as "regular season") and "The Championship" (commonly referred to as "the playoffs").
The two teams that win the league phase (the "Minor Premier") and the Grand Final (the "champion") qualify for the OFC Champions League. Should the same team win both the Minor Premiership and the Championship, the second Champions League spot is granted to the league runner-up. This has occurred on numerous occasions; the first instance being in 2006 when Auckland City (premiers and champions) and Young Heart Manawatu qualified despite Canterbury United contesting the Grand Final.
There are no lower divisions in the Premiership, thus no promotion and relegation exists, similar to leagues in Australia and in the United States.
The League[]
For the first four seasons, regular season had the teams play each other three times, however, this was changed to the present home-and-away system in 2008, due to financial difficulties affecting some of the clubs. At the end of the regular season, the top four teams progress to the playoffs.
The Championship[]
The playoffs are run as a home-and-away semi-finals series, with the winners progressing to a one-match Grand Final.
The playoff phase in the inaugural season was contested by the top three clubs, whereby the Minor Premier (winner of league phase) received a bye and hosting rights for the grand final, with second and third placed teams playing off in a one-game preliminary final. The NZFC experimented with a five team playoff in the 2005–06 season, however, this was discontinued and the league reverted to the three-team playoff system for the 2006–07 and 2007–08 seasons.
Name changes[]
Napier City Rovers → Hawke's Bay United
Otago United → Southern United
Waikato FC → WaiBOP United
Champions and premiers[]
The teams that win the league phase (the "premier") and the Grand Final (the "champion") qualify for the OFC Champions League. Should the same team win both the Premiership and the Championship, the second O-League spot will be granted to league runner-up.
Season Regular Season Grand Final Premiers Points Runners-up Champions Score Runners-up 2004–05 Auckland City 46 – 40 Waitakere United Auckland City 3 – 2 Waitakere United 2005–06 Auckland City 48 – 46 YoungHeart Manawatu Auckland City 3 – 3 (a.e.t.)
4 – 3 (p.s.o) [[[Canterbury United]] 2006–07 Waitakere United 47 – 45 YoungHeart Manawatu Auckland City 3 – 2 Waitakere United 2007–08 Waitakere United 51 – 50 Auckland City Waitakere United 2 – 0 Team Wellington FC 2008–09 Waitakere United 33 – 25 Auckland City Auckland City 2 – 1 Waitakere United 2009–10 Auckland City 31 – 29 Waitakere United Waitakere United 3 – 1 Canterbury United 2010–11 Waitakere United 36 – 30 Auckland City Waitakere United 3 – 2 Auckland City 2011–12 Auckland City 36 – 29 Canterbury United Waitakere United 4 – 1 Team Wellington FC 2012–13 Waitakere United 37 – 33 Auckland City Waitakere United 4 – 3 (a.e.t.) Auckland City 2013–14 Auckland City 33 – 26 Team Wellington FC Auckland City 1 – 0 Team Wellington FC 2014–15 Auckland City 42 – 30 Team Wellington FC Auckland City 2 – 1 Hawke's Bay United 2015–16 Auckland City 38 – 30 Hawke's Bay United Team Wellington FC 4 – 2 (a.e.t.) Auckland City 2016–17 Auckland City 36 – 36 Team Wellington FC Team Wellington FC 2 – 1 Auckland City
Premiership Winners[]
Team Titles Runners-up Years Auckland City 8 4 2004–05, 2005–06, 2009–10, 2011–12, 2013–14, 2014–15, 2015–16, 2016–17 Waitakere United 5 2 2006–07, 2007–08, 2008–09, 2010–11, 2012–13 Team Wellington FC – 3 YoungHeart Manawatu – 2 Canterbury United – 1 Hawke's Bay United – 1
Championship Winners[]
Team Titles Runners-up Years Auckland City 6 4 2004–05, 2005–06, 2006–07, 2008–09, 2013–14, 2014–15 Waitakere United 5 3 2007–08, 2009–10, 2010–11, 2011–12, 2012–13 Team Wellington FC 2 3 2015–16, 2016–17 Canterbury United – 2 Hawke's Bay United – 1
[]
All-time NZFC regular season records by club[]
Updated to the end of the 2011/12 season
Posn
(pts)
Club
Sn
Pld
W
D
L
F
A
GD
Pts
1st
2nd
3rd
4th
1 Auckland City FC 8 140 95 24 21 342 149 +193 308* 4 3 1 - 2 Waitakere United 8 140 88 19 33 319 160 +159 285* 4 2 1 - 3 Team Wellington 8 140 64 26 50 277 241 +36 218 - - 3 5 4 Canterbury United 8 140 54 24 62 214 217 -3 186 - 1 1 4 5 YoungHeart Manawatu 8 140 49 25 66 238 294 -56 172 - 2 1 - 6 Hawke's Bay United† 8 140 42 25 73 202 294 -92 151 - - - 1 7 Waikato FC 8 140 38 26 76 177 275 -98 140 - - 1 - 8 Otago United 8 140 30 31 79 147 286 -139 121 - - - -
* Waitakere were awarded a goalless win against Auckland in 2006/07
† Includes record as Napier City Rovers
All-time NZFC playoff records by club[]
Updated to, and including, the 2009/10 playoff semi-finals.
Posn
(pts)
Club
P/sn
Pld
W
D
L
F
A
GD
Pts
1st
2nd
3rd
1 Auckland City FC 6/6 11 7 1 3 26 20 +6 22 4 - 1 2 Waitakere United 5/6 9 5 0 4 21 13 +8 15 2 3 - 3 Team Wellington 4/6 9 3 1 5 14 21 -7 10 - 1 2* 4 Canterbury United 2/6 6 2 2 2 9 9 0 8 - 2 - 5 YoungHeart Manawatu 3/6 4 1 1 3 6 10 -4 4 - - 2* 6 Otago United 1/6 1 0 1 0 2 2 0 1 - - - 7 Waikato FC 1/6 1 0 0 1 1 4 -3 0 - - 1 - Hawke's Bay United† 0/6 - - - - - - - - - - -
* Y.H. Manawatu finished 3rd in the 2008/09 playoffs with a better record than the other semi-finalist, Team Wellington. Team Wellington finished 3rd in the 2009/10 playoffs with a better record than the other semi-finalist, Auckland City.
† Includes record as Napier City Rovers
[]
ASB Premiership Official Site
NZ Football Official Site
Template:New Zealand Football Championship
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AUCKLAND, New Zealand - New Zealand Football’s men’s National League Championship Grand Final has found a new home this season, and Justin Bieber’s loss is football’s gain.
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en
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favicon.ico
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Auckland City FC
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http://www.aucklandcityfc.com/news/1848/12/National-League-Championship-Grand-Final-tickets-/
|
AUCKLAND, New Zealand - New Zealand Football’s men’s National League Championship Grand Final has found a new home this season, and Justin Bieber’s loss is football’s gain.
The title deciding game on Sunday 4 December between Auckland City FC and Wellington Olympic will be played at Mt Smart Stadium in Tāmaki Makaurau Auckland where the Canadian star’s tour was due to be held before being postponed.
With regular venue North Harbour Stadium being out of contention due to the baseball season, a range of other stadium options were considered. Mt Smart Stadium became an option after the postponed tour date released the days held for setting up the tour, including Sunday 4 December when the final was schedule to be played.
A New Zealand Football spokesperson said:
“When we were first told Mt Smart could be available our initial reaction was, What Do You Mean?
“While we’re sure that music fans are Sorry, we are delighted to be able to take the final to one of the leading stadiums in the country.
“It has been great to see Auckland City FC and Wellington Olympic Stay in a tight race all season, now they have one more game to prove their title Intentions.”
Tickets for the men’s National League Championship Grand Final go on sale today from nzfootball.flicket.co.nz
Ends
Article added: Tuesday 22 November 2022
Related Articles
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https://www.centralunited.co.nz/championship
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New Zealand Football Championship
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The History Of The Championship
Originally, there was the New Zealand National Soccer League tournament, which involved clubs across New Zealand Footballâs regional governing bodies. The NZFC replaced this with the intention of running as a football summer league which involved new clubs which had solely been created for the competition. The successful original franchise bidders were Auckland City, Napier City Rovers, Canterbury United, Team Wellington FC, Otago United, Waikato FC, YoungHeart Manawatu and Waitakere United.
2004 saw the first ever NZFC match during which Napier City Rovers were defeated by Auckland City, who then went on to win 3-2 over Waitakere United in the grand final. 2013 saw YoungHeart Manawatu being dropped from the NZFC competition since they had finished in last place during the last 3 seasons. A team called Wanderers SC took their place, with the SC standing for Special Club. The following season, the Premiership was expanded to encompass 9 times with the Wellington Phoenix Reserves being included in the competition. Further restrictions were released at this time that required half of all players on the match day squad had to be eligible to be players for the All Whites.
By the 2016-17 season the league had expanded to include ten teams with the addition of Tasman United, Hamilton Wanderers and Eastern Suburbs and WaiBop United leaving the competition. The newly expanded league was rebranded in 2017 with a new name thanks to its 3 year-long sponsorship deal that had been made with ISPS Handa, making its new title the ISPS Handa Premiership.
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https://www.nzfootball.co.nz/newsarticle/62846
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en
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Wellington qualify for World Cup in style
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Team Wellington will finally have their name emblazoned on the OFC Champions League trophy after overcoming Lautoka...
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https://www.nzfootball.co.nz/nzfootball/newsarticle/62846
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Team Wellington will finally have their name emblazoned on the OFC Champions League trophy after overcoming Lautoka 10-3 on aggregate over two legs in the final of Oceania’s premier international club competition.
“I’m delighted, we’re still absorbing everything but after a season of tremendous hard work, to finally clinch the big one is a tremendous feeling,” Team Wellington coach Jose Figueira said at the final whistle following a 4-3 Leg 2 OFC Champions League final victory.
Today’s win was a matter of course for the three-time runners-up who had done all but sewn up the title with their 6-0 romp past the Fijian club side at Dave Farrington Park a week earlier.
Lautoka were already starting on the back foot after losing goalkeeper and captain Benaminio Mateinaqara to a shoulder injury for this match. The gloveman had an impressive campaign up until the first leg final against Team Wellington and was obviously disappointed not to be fit.
In his place was Senirusi Bokini who initially appeared ready for the task but when he came off his line to clear a ball only to send it directly to his opponents it seemed it was going to be a long afternoon.
Mario Ilich picked up the loose clearance and seeing the keeper off his line, looped in an excellent shot. Bokini scrambled back, getting a palm to the ball and keeping it out, but Dave Radrigai carried the ball over the line for the opener in just the 10th minute.
There were thoughts that the early goal might see the floodgates open for Team Wellington, however this was a Lautoka side with renewed purpose keen to show the form that carried them to the final.
Brian Kaltack, Benji Totori and Osea Vakatalesau led the charge forward for the home side, with several first half chances going just short of the target.
However fortune was once more on the visitor’s side as a clearance made it only as far as Ilich on the top of the box who drilled a shot past Bokini for his side’s second of the evening.
Both teams made changes at half-time and it was Team Wellington’s swap of Jack-Henry Sinclair for Ross Allen which proved more fortuitous as the Guernsey striker linked with Nathanael Hailemariam to find a third for his side in the 51st minute.
Being three down seemed to be what Lautoka needed to fire them into action as Benji Totori took matters into his own hands, or feet as it were. Lautoka worked the ball into the penalty area before the competition’s leading goal scorer rounded a defender and keeper Scott Basalaj to add yet another to his tally.
Shazil Ali was the author of Lautoka’s second goal of the afternoon with a beautifully curled effort landing in the top corner corner, just out of a diving Basalaj’s reach. Just a minute later Totori did what he does best, cutting through the defence and slicing across the goal mouth for his brace and the equaliser.
With barely five minutes left in the match it looked like Leg 2 might be a well-deserved draw for Lautoka after an impressive comeback. But with their tickets to the UAE booked, Team Wellington wanted a clean victory to see them off to the FIFA Club World Cup.
Enter Angus Kilkolly, who needed just one more goal to go equal with Emiliano Tade in the Golden Boot race, was left unmarked giving him plenty of time to pick a spot and scoop the ball into the back of the net for the winner.
Lautoka’s second half comeback was pleasing for coach Kamal Swamy to witness as he saw the fighting spirit return to his charges.
“I think we created a lot of opportunities, better than what we created in Wellington.
“We played possession football but in the counter attacks we were slower. I’m proud of this Lautoka team, it’s the first time in the final and that’s a great achievement and I hope we will continue like this, improving every day.”
“Ultimately Wellington was a better side, so congratulations to them.”
Figueira said although the team had done a lot of the work for the final in the first leg at home, they didn’t come to Lautoka expecting an easy task.
“We always knew, it’s so difficult to play away in the Champions League and that first leg was really crucial. We got off to a good start and it was more than expected, but we knew Lautoka was going to be a tough nut to crack and we got that in the second half.
“Perhaps a bit of tiredness, a little bit of lack of quality in a few little areas, but credit to them. I said in the semi-final that this team has got so much character and even in the most difficult of situations they can grind a result out and that’s the sign of a champion team.”
As well as taking out their maiden OFC Champions League title, Team Wellington were also rewarded for their outstanding individuals.
After scoring the winner today, Angus Kilkolly equalled Emiliano Tade’s eight goals in the competition to earn himself the Golden Boot after playing less minutes than the Argentine.
New Caledonia’s Roy Kayara was awarded the Golden Ball after a campaign of impressive performances for Team Wellington showing his nous and game understanding both defensively and offensively.
Former champions Auckland City did not go completely unrewarded this year as they take home the Fairplay Award while goalkeeper Enaut Zubikarai, who conceded just twice in this competition, was awarded the Golden Gloves.
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https://www.allblacks.com/
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en
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Home
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http://www.allblacks.com/_resources/app/images/ablogo.png?m=1723656379
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2024-08-15T11:00:03
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Official website of the All Blacks rugby team of New Zealand. Get the latest news, pictures and video. Meet the team and find out about upcoming matches and past results.
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https://www.allblacks.com
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4946
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dbpedia
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https://www.nationalpolocenter.com/
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National Polo Center
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The home for polo in America, the National Polo Center (NPC) in Wellington, Florida.
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npc/apple-touch-icon.png
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National Polo Center - Wellington
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https://www.nationalpolocenter.com/
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Experience the exhilarating world of polo from several different viewing options such as VIP box seats, fieldside tailgates and general admission stadium seating. Available every Sunday January through April, witness the best polo in the United States.
Experience the exhilarating world of polo from several different viewing options such as VIP box seats, fieldside tailgates and general admission stadium seating. Available every Sunday January through April, witness the best polo in the United States.
The Pavilion’s brunch features an ever-changing array of delicious items spread out over various stations. With a fun atmosphere and a fieldside view of the polo match, this is a prime ticket to the action. Find an elevated experience in the Polo VIP Lounge with exclusive fieldside lounge seating, lavish gourmet buffet, exclusive chef charcuterie board, welcome glass of champagne, private check-in area and NPC gift bag.
The Pavilion’s brunch features an ever-changing array of delicious items spread out over various stations. With a fun atmosphere and a fieldside view of the polo match, this is a prime ticket to the action. Find an elevated experience in the Polo VIP Lounge with exclusive fieldside lounge seating, lavish gourmet buffet, exclusive chef charcuterie board, welcome glass of champagne, private check-in area and NPC gift bag.
Whether looking to book a company party, wedding, or special event, the Polo Club at NPC has the venue space for you. Offering four unique venue options and capacity up to 400 guests, along with on-site catering, florist and a creative department, The Polo Club at NPC will ensure to make your event memorable at a world-class facility.
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https://www.fourfourtwo.com/features/the-biggest-clubs-in-the-world
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The biggest clubs in the world
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[
"Ben Hayward"
] |
2024-01-31T07:00:57+00:00
|
What defines a big football club? And which are the biggest? A look at the greatest teams across the world in the men's game...
|
en
|
fourfourtwo.com
|
https://www.fourfourtwo.com/features/the-biggest-clubs-in-the-world
|
Fans love to argue about whether their club is bigger than their rivals. But do not expect an objective option when you ask the question.
What defines a big club anyway? Is it history? Trophies won? Fanbase? Stadium size? Wealth? Social media following?
In truth, it is all of that and more. Here, a look at the biggest clubs in the world...
32. Rangers
Along with Glasgow rivals Celtic, Rangers have been a dominant force in Scottish football and the Light Blues won a record nine SPL titles in a row in the 1980s and 1990s. In Europe, the Gers claimed the Cup Winners' Cup in 1972.
One of the most popular clubs in the world, Rangers boast over 600 supporters' clubs in over 35 countries. The Glasgow giants also hold the record for the largest ever travelling support, when an estimated 200,000 fans went to Manchester for the 2008 UEFA Cup final.
31. Celtic
Celtic were the first British club to win a European Cup, claiming the trophy in 1967, and the Bhoys have dominated Scottish football along with Glasgow rivals Rangers.
Under the legendary Jock Stein, Celtic won nine Scottish titles in a row in the 1960s and 1970s, as well as that European crown. The Hoops boast the highest average attendance in Scottish football and are estimated to have around nine million fans worldwide.
30. Besiktas
The third member of Turkey's big three along with Galatasaray and Fenerbahce, Besiktas are also the nation's third-most successful club.
Based in Istanbul, Besiktas have never been relegated. Turkey's highest recorded attendance (76,127) came in a derby against Galatasaray in 2013 and Besiktas fans set a 132-decibel noise record in a game against Liverpool in 2007.
29. Marseille
Marseille have been in the shadows of rivals Paris Saint-Germain since the capital club were taken over by Qatar Sports Investments in 2011, but OM remain a huge deal.
One of the most successful sides in France over the years, Marseille became the first French team to win the European Cup, beating AC Milan in the final in 1993. Their ground, the Stade Velodrome, holds over 67,000 fans and the club consistently has the highest attendances in Ligue 1.
28. Sao Paulo
Sao Paulo are one of just two teams, along with Flamengo, to never to have been relegated from Brazil's top flight.
Under legendary former Brazil coach Tele Santana, Sao Paulo enjoyed huge domestic and international success in the 1990s, winning two Copa Libertadores titles and two Intercontinental Cups in that time.
27. Valencia
Recent years have been tough for Valencia, with the club still reeling from years of debts and mismanagement, plus the uncertainty over a move to their half-built new stadium.
Six-time Spanish champions and twice runners-up in the Champions League, Valencia remain a huge club and their stadium, Mestalla, is one of the most iconic grounds in Spain.
26. Fenerbahce
Founded in 1907, Fenerbahce are Turkey's second-most successful club behind Istanbul rivals Galatasaray and one of the best-supported in the country.
It is estimated that around 35% of football fans in the nation support Fenerbahce, with the club also hugely popular in Azerbaijan, Northern Cyprus and the Turkish diaspora. Fener play the Intercontinental Derby with Istanbul rivals Galatasaray.
25. Corinthians
Brazil's second-most supported club with over 30 million fans, Corinthians won the inaugural FIFA Club World Championship in 2000 and also the Club World Cup in 2012.
The Sao Paulo-based club are one of Brazil's most successful sides. Notable former players include Rivellino, Socrates and more recently, Carlos Tevez and Javier Mascherano.
24. Flamengo
Founded in 1895, Flamengo is Brazil's richest and most valuable club, as well as the nation's most popular team with an estimated 40 million fans across the country.
The Rio de Janeiro giants are one of just two teams never to have been relegated from Brazil's top flight, along with Sao Paulo, and the club has been home to some of Brazil's most emblematic players – including Zico, Romario and Ronaldinho.
23. Porto
Porto are Portugal's most successful side internationally, with seven trophies, including European Cup wins in 1987 and 2004.
At home, Porto are one of three clubs to have appeared in every Primeira Liga season since it was founded in 1934 and the Dragons are the second-most decorated Portuguese club after Benfica. In 2011 and 2013, they won titles without losing a single league game across the season.
22. Galatasaray
Galatasaray are the most successful Turkish team in football history and the Istanbul giants are also the country's best-supported club.
Gala have also enjoyed success in Europe, beating Arsenal to win the UEFA Cup in 2000 and adding the UEFA Super Cup after that with victory over Real Madrid. The club, which includes other sports sections, also has a huge following on social media.
21. River Plate
Founded in 1901, River Plate are Argentina's most successful club in domestic competitions and are the best-supported side in the country after fierce rivals Boca Juniors.
The Buenos Aires giants play at the Estadio Monumental, which hosted the 1978 World Cup final and is the largest stadium in South America following the remodelling of Rio de Janeiro's Maracana in 2013.
20. Boca Juniors
Former Boca juniors president Alberto J. Armando popularised the phrase "la mitad más uno" to underline the team's support in Argentina, claiming half the nation plus one is a fan of the Buenos Aires club.
Founded in 1905, Boca have enjoyed huge success both in Argentina and internationally, while their Bombonera stadium is at the heart of the folkloric La Boca neighbourhood. Boca was also home to the legendary Diego Maradona in two spells towards the beginning and end of his career and he would regularly attend matches as a fan after his retirement.
19. Napoli
After Diego Maradona's departure in 1991, Napoli had to wait a long time to win Italian football's biggest prize for a third time.
Champions in 1987 and 1990, the Blues finally reclaimed the Scudetto in 2022/23, sparking wild celebrations in the city. Few clubs are supported with such passion.
18. Benfica
Benfica are the most supported Portuguese team and also the European club with the highest percentage of supporters in their own country.
Two-time European Cup winners and runners-up on five occasions, the Eagles are Portugal's most successful side by far and are thought to have around 14 million supporters worldwide.
17. Roma
Italy's biggest club outside the big three from the north, Roma have won Serie A three times, with the last of those triumphs coming in 2000/01.
The great Francesco Totti was playing then and ended up spending his whole career at the Stadio Olimpico. More recently, the Giallorossi won the UEFA Conference League with Jose Mourinho in charge in 2022.
16. Tottenham Hotspur
Tottenham Hotspur's new stadium is one of the best in the world and it is almost always full. Spurs have history and tradition, money, an impressive training ground. Only one thing is missing – trophies.
Successful in the 1960s, 1970s and 1980s, Tottenham fell into decline following their FA Cup win in 1991. Competitive again after the arrival of Mauricio Pochettino as manager in 2014, Spurs came close but missed out on the biggest prizes. With some silverware on a regular basis, the north London club would be even bigger.
15. Atletico Madrid
The third-biggest club in a country where two others – Real Madrid and Barcelona – dominate above all others, Atletico Madrid have had to work hard to compete.
After a period of decline in the 2000s, the Rojiblancos became competitive again following the arrival of Diego Simeone as coach, going on to win a series of mejor trophies and only just missing out twice on the biggest prize of all as they were beaten by city rivals Real in the 2014 and 2016 Champions League finals.
14. Borussia Dortmund
Germany's second-most successful and second-largest club behind Bayern Munich, Borussia Dortmund were Champions League winners in 1997.
Known for their impressive work in youth and player development in recent times, Dortmund play at the Signal Iduna Park where their iconic "Yellow wall" of fans creates one of the best atmospheres in European football.
13. Ajax
Led by the great Johan Cruyff, Ajax won three consecutive European Cups in the early 1970s and the club's playing style became a blueprint for modern football.
Champions League winners again in 1995, Ajax have found it harder to compete in more recent times due to the fact that they play in a less powerful league. But in terms of history, tradition, culture and fanbase, the Amsterdam club remain hugely important.
12. Arsenal
One of England's most successful and popular clubs, Arsenal also gained a huge international following during Arsene Wenger's time in charge.
The Gunners' European results have not quite matched their domestic success and the move from Highbury to the Emirates Stadium in 2006 set the club back financially for a while, but the north Londoners remain one of the biggest around.
11. Paris Saint-Germain
The only top-flight club from the French capital and the biggest team in France, Paris Saint-Germain have dominated Ligue 1 since the takeover of Qatar Sports Investments in 2011.
Global superstars like Kylian Mbappe, Lionel Messi and Neymar have all graced the Parc des Princes in recent years, but PSG probably still need a bigger stadium and also to establish themselves as a force in Europe.
10. Inter
One of Italy's biggest, most valuable and best-supported clubs, Inter share the iconic San Siro stadium with AC Milan and are involved in the country's two biggest derbies – one versus their city rivals and the other against Juventus.
Successful domestically and in European competition, Inter are one of a select few teams to have won a treble of league, cup and Champions League titles, having completed that achievement under Jose Mourinho in 2010.
9. Chelsea
Despite their struggles following Roman Abramovich's exit, Chelsea remain a huge club – one of the biggest in the world – and the Blues have a huge global fanbase.
The first club from London – and from anywhere in the south of England – to win the Champions League, Chelsea claimed the trophy for a second time in 2021 and are the most successful side in the Premier League era behind the two Manchester clubs.
8. Manchester City
Manchester City might not have featured as high on a list like this one a few years ago, but the club has been transformed over the past decade under the ownership of the City Football Group.
Multiple Premier League winners under Pep Guardiola, City completed a historic treble triumph in 2023. One of the world's wealthiest clubs, the success and style of play in the Guardiola era has brought with it hordes of new fans from across the world.
7. AC Milan
One of Italy's biggest clubs and the most successful Serie A side in Europe, AC Milan has also been home to some of the greatest legends in the Azzurri's history – including Paolo Maldini and Franco Baresi – and shares its iconic San Siro home with city rivals Inter.
Revitalised following the takeover of Silvio Berlusconi in the mid-1980s, Milan went on to enjoy a hugely successful era and the team of 1988–1990, nicknamed the "Immortals" in the Italian media, was voted the best club side of all time in a global poll of experts conducted by World Soccer magazine in 2007.
6. Juventus
Italy's most popular and most successful club, domestically at least, Juventus have won more Serie A titles, more Coppa Italia crowns and more Supercoppa Italiana trophies than any other club.
Demoted to Serie B following the Calciopoli scandal in 2006, Juve soon bounced back and won nine straight Serie A titles between 2012 and 2020. From Michel Platini to Roberto Baggio and Alessandro Del Piero to Zinedine Zidane and Gianluigi Buffon, the Old Lady has been home to some of the greatest players in football history.
5. Liverpool
Brought together not only by football, but by the struggles of their city and the tragedy and injustice of Hillsborough, Liverpool's supporters sing "You'll Never Walk Alone".
At its best, the Anfield atmosphere is electric and over the years, they have watched some special sides too – notably in the 1980s and again under Jurgen Klopp. England's most successful club in the European Cup.
4. Bayern Munich
Bayern Munich are hugely popular in Germany and throughout the world. Only of only two teams to win the treble more than once, Bayern are also the second club after Barcelona to claim a sextuple.
Captained to three successive European Cup wins by the legendary Franz Beckenbauer in the 1970s, Bayern Munich have become increasingly dominant in the Bundesliga in recent years. The Bavarians play at the impressive Allianz Arena, which was built in 2005 ahead of the World Cup the following year.
3. Manchester United
The most successful club in England and one of the most popular teams in the world, Manchester United enjoyed a renaissance after Sir Alex Ferguson took over as manager in the 1980s and went on to dominate English football.
Ferguson built a side to sit alongside the famous Busby Babes of the late 1950s, many of whom tragically lost their lives in the Munich air disaster in 1958. Under Sir Alex, the Red Devils won 13 Premier League titles and two Champions Leagues, including a memorable treble triumph in 1999. United had won the European Cup for the first time, with a team featuring Bobby Charlton and George Best, in the late 1960s. Charlton called Old Trafford "The Theatre of Dreams", a term still used today.
2. Barcelona
A de facto national team for Catalonia, Barcelona were a symbol for social struggle and against repression during the Franco era, and Camp Nou one of the few places people could express themselves freely in Catalan. For all of that, Barça is més que un club. More than a club.
Before its renovation, Camp Nou was the biggest stadium in Europe and it has been home to some of the best players of all time – including the greatest of them all: Lionel Messi. So many of those have emerged from the club's famous La Masia academy, while the club's brand of attacking football is admired throughout the world. Barcelona were also the first club to win two trebles and the first to claim a sextuple.
1. Real Madrid
Real Madrid won the first five European Cups and are way ahead of every other club in the competition's history. And in Spain, Los Blancos have won more LaLiga titles than their rivals.
The most valuable club in the world and one of the best-supported both in Spain and internationally, Madrid regularly tops the Deloitte rich list for the highest-earning teams. Real's Santiago Bernabeu home, which hosted the 1982 World Cup final, is iconic. And the club has more social media followers than any other football team in the world.
|
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| 95 |
https://m.scorebing.com/match/205557
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en
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Live Match of Team Wellington v Suva FC on 2016/04/09
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"Team Wellington vs Suva FC",
"Suva FC",
"OFC Champions League"
] | null |
[] | null |
The premium live broadcast of Team Wellington v Suva FC on 2016/04/09 at ScoreBing provides detailed 4 in 1 data, analysis, historical odds, live events and even goal pictures.
|
en
|
/favicon.ico
| null |
More Information
The match of Team Wellington vs Suva FC in OFC Champions League is started at 2016-4-9 09:08. For this match, the initial Asian Handicap is Team Wellington-3.0,-3.5; The initial Goals Odds is 4.0,4.5.
For the last 10 matches, Team Wellington got 5 win, 2 lost and 3 draw with 22 Goals Gor and 15 Goals Against. The average of Goals For is 2.2 per match and the average of Goals Against is 1.5 per match. The rate of Over Goals is 72%; The rate of Handicap Win is 56%; The rate of win is 50%; The average of corners is 6.7 per match and the rate of Over Corners is 50%.
For the last 10 matches, Suva FC got 6 win, 2 lost and 2 draw with 24 Goals Gor and 9 Goals Against. The average of Goals For is 2.4 per match and the average of Goals Against is 0.9 per match. The rate of Over Goals is 80%; The rate of Handicap Win is 55%; The rate of win is 60%; The average of corners is 5.1 per match and the rate of Over Corners is -.
Except the history stats of Team Wellington vs Suva FC, ScoreBing also offers predictions and lineups of Team Wellington vs Suva FC, that may help you predict or replay the match.
|
|||||
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0
| 63 |
https://www.nzrugby.co.nz/news-and-events/latest-news/twelve-all-blacks-to-play-for-their-provincial-unions
|
en
|
Twelve All Blacks to play for their Provincial Unions
|
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NZ Rugby
|
https://www.nzrugby.co.nz/news-and-events/latest-news/twelve-all-blacks-to-play-for-their-provincial-unions
|
Twelve members of the All Blacks Lipovitan-D Rugby Championship squad will represent their Provincial Unions on Friday 2 August and Saturday 3 August.
The players will be spread across six Bunnings Warehouse NPC pre-season matches, five on Friday and one on Saturday.
Four players, David Havili, Will Jordan, Ethan Blackadder and Noah Hotham will play for Tasman against Southland in Christchurch on Friday, with the other eight players spread across matches in Taranaki, Wellington, Auckland, Canterbury and Northland.
The All Blacks Lipovitan-D Rugby Championship squad will assemble at the NZCIS in Upper Hutt on Sunday, 4 August in preparation for the first test of the tournament against Argentina at Sky Stadium in Wellington on 10 August.
The list of All Blacks playing for their provincial teams is as follows:
Friday 2 August
Tasman v Southland, Christchurch Football Club, 1:00pm.
Tasman: David Havili, Will Jordan, Ethan Blackadder, Noah Hotham
Taranaki v Bay of Plenty, Urenui Sportsground, 1:00pm.
Taranaki: Josh Lord
Bay of Plenty: Sam Cane, Pasilio Tosi
Wellington v Manawatū, NZCIS, 12.00pm
Wellington: Billy Proctor
Auckland v Counties Manukau, Ōrākei Domain, 1:00pm
Auckland: Caleb Clarke
Canterbury v Otago, Apollo Projects Stadium, 2.05pm
Canterbury: George Bell
Saturday 3 August
Northland v North Harbour, Pohe Island, Whangarei, 1:00pm.
Northland: Ofa Tu’ungafasi
North Harbour: Wallace Sititi
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| 36 |
https://www.morningjournal.com/2024/08/08/wellington-football-johnnie-kinter-aims-to-inspire-the-next-generation-through-example/
|
en
|
Wellington football: Johnnie Kinter aims to inspire the next generation through example
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[
""
] | null |
[
"Mark Perez-Krywany"
] |
2024-08-08T00:00:00
|
On Aug. 5, Johnnie Kinter shared the perspective on Wellington’s Football Night at Duke Stadium that he was once the kid in middle school who joined the high school team’s practice.“It is pretty crazy that now I am a senior and I am leading all of these little kids and the underclassmen,” he said. “I […]
|
en
|
Morning Journal
|
https://www.morningjournal.com/2024/08/08/wellington-football-johnnie-kinter-aims-to-inspire-the-next-generation-through-example/
|
On Aug. 5, Johnnie Kinter shared the perspective on Wellington’s Football Night at Duke Stadium that he was once the kid in middle school who joined the high school team’s practice.
“It is pretty crazy that now I am a senior and I am leading all of these little kids and the underclassmen,” he said. “I know when I was their age, I was looking up to high schoolers and I thought it was the coolest thing ever.”
After understanding the importance of his presence, which extends beyond sports, the wide receiver and baseball All-Ohioan is ready to give it his all for his final football season.
“Being an athlete is not easy, especially being a multi-sport athlete. The example that (Kinter) sets is first-class,” Wellington coach Rob Howells said. “He is here when he can be. He might have to leave early or stay late, because he has baseball. As a coach, you have to live with that with multi-sport athletes, and I want multi-sport athletes.”
Kinter was a Division III All-Ohio honorable mention in baseball and a D-VI third-team All-Ohioan on the gridiron.
“(Kinter) always had that athleticism,” Howells said. “I always say that even in his freshman year on the basketball (court). He doesn’t even play basketball anymore and you saw that. He wasn’t the only one. You saw that out of Baron Turner (Jr.) too as well. He is going to be featured a lot this year. It is nice to see those guys live up to those expectations that you have forecasted on a young player.”
He achieved that while Wellington adjusted its system to the personnel it has, going from the ground game to a spread offense.
The 2024 season will have more experienced offensive linemen, which means the Dukes will shift back to the running game with Turner Jr. in the backfield. Though Kinter was a wide receiver, he is expected to become one of the ball carriers in their rushing attack.
“My nose has been in the playbook for about every day for the past week and a couple of months,” Kinter said. “I picked up a couple of different positions. I have to learn everything that I can about that and help the team win.”
According to Howells, Kinter has taken the adjustment well. He and his staff have a plan to get him the ball.
“Offensively, we are moving (Kinter) around. We might be able to empty the box. There are a lot of teams who would high-low him and send two guys at him,” he said. “If we can get an extra guy out of the box, we set him out wide, get him in motion and hand him the ball in different ways. This is going to help us be more dynamic, diverse and harder to game plan for.”
Kinter was a member of the T3 Rua U17 team, which took up much of his time playing baseball, including out-of-state tournaments. Now that travel ball has ended, he is putting all of his efforts into football.
Wellington did not have the season it wanted in 2023, finishing 2-8 (1-5 LC8), but the team is adamant to show improvement.
In 2023, Kinter led the Dukes with 483 receiving yards and four touchdown receptions. He also starred at cornerback on defense.
“(Kinter) makes us a completely different team,” Howells said. “His ability to shut down one side of the field, makes us able to send more pressure and play more man-coverage.”
|
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https://theconversation.com/the-football-ferns-historic-win-in-the-world-cup-opener-scores-another-goal-for-all-womens-sport-in-new-zealand-210184
|
en
|
The Football Ferns’ historic win in the World Cup opener scores another goal for all women’s sport in New Zealand
|
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[
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[
"Holly Thorpe",
"Julie E. Brice"
] |
2023-07-20T23:46:23+00:00
|
A sensational opening match win by New Zealand proves the doubters wrong and sets the stage for a milestone Women’s World Cup.
|
en
|
The Conversation
|
https://theconversation.com/the-football-ferns-historic-win-in-the-world-cup-opener-scores-another-goal-for-all-womens-sport-in-new-zealand-210184
|
The opening match of the FIFA Women’s World Cup in Auckland was a historic moment for women’s sport in New Zealand – and not just because the Football Ferns upset highly-ranked Norway to win one-nil.
Played in front of 42,137 noisy and enthusiastic fans, the game showed just how far football has come since women were discouraged or simply banned from playing, right up to the 1960s.
The previously most-attended football game in New Zealand was between the All Whites and Peru in 2017. For the women’s team, last night’s stadium was like nothing they’d experienced – the biggest crowd they’d played in front of until last night was 13,000 (against the USA at Eden Park earlier this year).
There had also been doubts leading up to the tournament. Many were asking why ticket sales were lagging, and the Football Ferns came into the competition on a ten-game losing streak (bar the pre-tournament win over Vietnam).
In hindsight, the delayed enthusiasm may have simply been a reflection of football’s traditionally second-tier status in New Zealand. Despite being among the most popular sports for children and young people (and at times the most played sport by New Zealanders), football has struggled for the kind of media attention enjoyed by rugby, cricket, and netball.
So the World Cup win by the Football Ferns signals an important milestone in New Zealanders’ relationship with the game – and women’s sport in general.
The long game
Women’s football has a long history in New Zealand, dating back to the first decade of the 20th century. But generations of talented and dedicated players have had to fight to play and be visible and respected within clubs and organisations.
As football researcher Alida Shanks has shown, women were banned from playing for 50 years because football wasn’t considered socially appropriate. From the 1960s, however, women began organising themselves, navigating space in male-dominated clubs, or creating their own associations.
Read more: Long-range goals: can the FIFA World Cup help level the playing field for all women footballers?
This history of exclusion and marginalisation has had lasting effects, and can still be seen and felt in many clubs around the country. As Shanks has shown, 36% of women who work in New Zealand football federations feel they have been discriminated against, and 28% believe bias has limited their careers within their current organisations.
Yet despite the challenges, football’s popularity with girls and women has continued to grow. Participation rates have increased by over 35% since 2011, according to New Zealand Football (NZF).
This growth might be attributed to the growing visibility of the women’s game globally. But efforts by NZF and regional sports organisations have also made the game more accessible and exciting to a wider range of girls and women.
Top down and bottom up
We may also be seeing the fruits of significant government investment through the Sport NZ Women and Girls in Sport strategy. This long-term initiative has sought to improve opportunities for girls and women to participate in sport, active recreation and play – and to improve conditions for women as athletes and leaders.
The Women’s World Cup has also seen the game’s perennial underfunding turn around, with the government pledging NZ$19 million to upgrade facilities, including improved accessibility and gender-neutral spaces in some stadiums.
Read more: From 'girls' to Lionesses: how newspaper coverage of women's football has changed
The current minister of sport Grant Robertson has been a strong advocate, too, backing New Zealand hosting the “world cup trilogy” of cricket, rugby and now football.
But these top-down strategies have been matched by the many layers of women working tirelessly behind the scenes to promote, grow and develop sporting opportunities for girls and women at all levels.
Building the legacy
Those early fears that New Zealanders might not get behind the team, or fully recognise the significance of co-hosting such a globally significant sporting event, appear to have been unfounded.
In particular, the number of families with young children – girls and boys – who turned out to watch the Football Ferns dominate a former World Cup champion team suggests new generations will keep building the local game.
As Ferns captain Ali Riley proclaimed, with tears in her eyes, at the end of the match:
There have been a lot of doubters because of our previous results, but we believed in ourselves. This is what dreams are made of. Anything is possible.
Going in as underdogs, the Football Ferns gave the crowd exactly what they wanted – a reason to believe in and celebrate women’s athleticism and dedication, and to respect the long fight to play the sport they love.
The historic opening match will undoubtedly encourage New Zealanders to fill stadiums in Hamilton, Wellington and Dunedin over the coming weeks. If that happens, the ripple effects of this extraordinary game and the tournament in general will be felt across communities and seen on football fields for years to come.
|
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4946
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0
| 62 |
https://news.autmillennium.org.nz/athlete-development/athlete-development-show-podcast-episode-67/
|
en
|
José Figueira – Head Coach of the New Zealand U17 Men
|
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[
"AUT Millennium"
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2019-04-29T02:15:24+00:00
|
This week on the Athlete Development Podcast Dr. Craig Harrison is joined by José Figueira head coach and director of football at Team Wellington FC,
|
en
|
AUT Millennium News
|
https://news.autmillennium.org.nz/athlete-development/athlete-development-show-podcast-episode-67/
|
Today on the show I’m joined by José Figueira.
José is currently the head coach and director of football at Team Wellington FC, where in 2017 he led the team to a New Zealand Football Championship at his first attempt. Under José, Team Wellington also won the 2018 OFC Champions League, qualifying for their first ever FIFA Club World Cup.
José also holds coaching positions with New Zealand Football, including assistant coach of the national men’s team and head coach of the men’s U17s.
José moved to New Zealand in 2003 after both playing and coaching stints in the UK.
It this episode, José discusses growing up in the UK with Spanish parents, his love of football and how it developed, why individualising development is so important for the youth player, dealing with pressure, and much more.
You can find José @JoseCoaching on Twitter.
Highlights from the show:
The huge influence José’s Dad had on his beliefs and values
Why the experiences José had in school P.E. significantly affected his career choice
How José landed his first full time coaching position in the game
José’s coaching philosophy and why it continue to evolve
The youth player, and optimising development
The one think José keeps in mind every time he goes out to coach
The importance of open, honest discussions in youth sport
Adversity, and its effect on development
What every young Kiwi player needs to do to make it in the world of football
If you enjoy the show, please subscribe with your favourite podcast App by clicking one of the links on this page. I’d also encourage you to head over to iTunes and give the show a rating as it helps us to share the show with more people.
And thanks so much for listening!
|
|||||
4946
|
dbpedia
|
3
| 3 |
https://www.oceaniafootball.com/team-wellington-in-sniffing-distance-of-first-fifa-club-world-cup/
|
en
|
Team Wellington in sniffing distance of first FIFA Club World Cup
|
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[
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[] |
2018-05-18T21:56:00+00:00
|
After a clinical first leg performance at David Farrington Park, a location which is proving one of New Zealand’s most difficult grounds…
|
en
|
Oceania Football Confederation
|
https://www.oceaniafootball.com/team-wellington-in-sniffing-distance-of-first-fifa-club-world-cup/
|
After a clinical first leg performance at David Farrington Park, a location which is proving one of New Zealand’s most difficult grounds, Team Wellington have set themselves on course to pick up their first regional title along with tickets to the FIFA Club World Cup.
But after a 6-0 drubbing away, Lautoka have no intention of letting the visitors rub further salt in their wounds when they welcome them for Leg 2 of the OFC Champions League Final at Churchill Park on Sunday.
Throughout the competition Lautoka has continued to build on each performance, coming together as a unit to hold defending champions Auckland City to just a 1-0 win before seeing off both AS Dragon of Tahiti and Marist FC from Solomon Islands, on their way to the final.
While none of their matches have been high-scoring affairs a solid backline, ably led by Kolinio Sivoki and Brian Kaltack in the centre, had proven hugely effective – until they met Team Wellington’s potent attacking force.
Out-matching Lautoka for pace and strength, the side from New Zealand’s capital were able to keep a level of pressure on their opponents which eventually forced them into making errors which they could capitalise on.
While Lautoka were able to keep things together for close to an hour, eventually they were worn down, allowing five second half goals which made their bid for the title that much harder.
Although to many victory in the second leg seems like an insurmountable task for Lautoka, coach Kamal Swamy still has faith in his squad to pull themselves together and put in the effort required to challenge Team Wellington.
“They are able to keep possession for a long time which made us tired and I think that’s something we are going to look at,” Swamy reflected.
“I think the weather at home will help us a lot and we are going to be working on those lines to deny them possession and that, I think, will help us in this game.”
Swamy said one of the toughest aspects of last Sunday’s result is trying to keep morale in the camp high.
“We have talked. We had a meeting with the players and they know the first game was tough, the score line was very big and I think the criticism from fans has been a lot,” he said.
“But we have to be focused for the second game because it’s our home game and we have to prove a point.
“I think the players are really focused, they’re all in the camp and looking at the games – where they made mistakes, where we can improve – so I think they’re really focused on Sunday’s game.”
Coming to Lautoka with a six goal cushion certainly wasn’t what Team Wellington coach José Figueira envisioned ahead of the final.
However, after a dominant performance at home in which his side showed their desire for the title, that’s exactly what Team Wellington have and although it means they have arrived in Fiji with a certain level of comfort, Figueira said they won’t be taking Leg 2 of the OFC Champions League Final lightly.
“You saw from the reaction of the players after the game, of course they were delighted with a great performance and celebrated a good performance, but it was clear to see there was nothing over the top,” Figueira said.
“We know that the job isn’t complete yet and this week the players have been really focused and applied themselves really well as they have done all season.
“So it’s really been business as usual and making sure we tick all the boxes and do our preparation leading into tomorrow’s game.”
Figueira said as a coach he can completely understand the difficulties Lautoka experienced in the First Leg – with suspensions, visa issues and an unfamiliar climate all playing a part in the visitor’s match day performance.
“I think they’ll be a tougher team at home,” he said.
“We experienced exactly the same thing in the Group Stage this year, and last year. What the travel does, what the different environment does and playing away from home in this competition – the extra effects and pressure that brings – so we’re really preparing ourselves for a really difficult match on Sunday.”
Lautoka need to score six unanswered goals to force the match into extra time, and seven goals to go clear of their opponents.
Anything less than that, and Team Wellington will be booking themselves tickets to their first FIFA Club World Cup.
Additional information
OFC Champions League Final – Leg 2
Lautoka FC [FIJ] vs. Team Wellington [NZL]
Churchill Park
Lautoka, Fiji
Sunday 20 May
Kick-off: 14h00 local (14h00 NZL)
Match Officials
Referee: Norbert HAUATA [TAH]
Assistant Referee 1: Phillipe REVEL [TAH]
Assistant Referee 2: Bertrand BRIAL [NCL]
Fourth Official: David YAREBOINEN [PNG]
#OFCCL #LAUWLG
CLICK HERE FOR THE LIVE STREAM
Lautoka FC
Vital Statistics: If Lautoka can score six goals without conceding any, they will keep themselves in the running for the title. However, having only scored seven goals in seven matches in this competition so far, the task looks like one of the toughest they’ve faced yet.
The Players: Benji Totori was the man who looked most likely to find the back of the net for Lautoka and the pressure will be on him to create something on Sunday to help the side achieve their objective.
Coach Quote: “Our objective for this match is to get a win and at least we can have three points. If we are able to get more goals then that’s fine, but the objective is to win this game.”
Team List: 1. Senirusi BOKINI (GK), 2. Edward JUSTIN, 3. Zibraaz SAHIB, 4. Shazil ALI, 4. Poasa BAINIVALU, 5. Jone VESIKULA, 7. Dave RADRIGAI, 8. Kavaia RAWAQA, 9. Liesari QALICA, 10. Cory CHETTLEBURGH, 15. Peni FINAU, 16. Osea VAKATALESAU, 17. Kolinio SIVOKI, 18. Arami MANUMANUBAI, 19. Benji TOTORI, 20. Brian KALTACK, 22. Benaminio MATEINAQARA
Suspended: 14. Samuela DRUDRU, 11. Praneel NAIDU
Coach: Kamal SWAMY [FIJ]
Team Wellington
Vital Statistics: Team Wellington have played in three previous OFC Champions League Finals. Justin Gulley was there for Team Wellington’s first final back in 2015 which was also held in Fiji. Scott Basalaj, Mario Barcia and Andy Bevin have been involved in several previous campaigns too.
The Players: Roy Kayara has slotted into the Team Wellington line-up with ease since joining from Hienghene Sport in New Caledonia. His performance in the first leg of the final was inspired and his work rate is exceptional.
Coach Quote: “We’ve got to make sure we use all those experiences of the past to lead us in the right direction on Sunday. It’s a tough place to play, all the games they’ve had there this year and in previous years, they’ve had a big crowd so we’ve to to manage it.”
Team List: 1. Scott BASALAJ (GK), 2. Justin GULLEY, 4. Mario ILICH, 5. Liam WOOD, 6. Taylor SCHRIJVERS, 7. Eric MOLLOY, 10. Nathanael HAILEMARIAM, 11. Mario BARCIA, 12. Andy BEVIN, 13. Roy KAYARA, 14. Jack-Henry SINCLAIR, 16. Angus KILKOLLY, 19. Ross ALLEN, 20. Hamish WATSON, 21. Daniel MULHOLLAND, 22. Marcel KAMPMAN (GK)
Suspended: 3. Scott HILLIAR
Coach: José FIGUEIRA [ENG]
|
|||||
4946
|
dbpedia
|
3
| 76 |
https://www.wellingtoncollege.org.uk/co-curricular/sport/
|
en
|
Wellington College
|
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[] |
[
""
] | null |
[] |
2022-03-25T12:50:12+00:00
|
en
|
Wellington College
|
https://www.wellingtoncollege.org.uk/co-curricular/sport/
|
We want Wellington College to be universally recognised as the leading co-educational boarding and day school for sport in the UK and one of the best in the world.
At Wellington our vision for our sports programme is that all pupils should have the opportunity to participate in a sports programme appropriate to their ambitions and aspirations.
We want pupils to participate in sport for life, in addition to being challenged and supported where appropriate to perform to their highest capacity possible.
We believe sport has the capacity to support the development of life skills, and thus supports the college’s aims of developing a holistic model of education.
This vision should be underpinned by pupils and staff behaving in line with the College’s core values: Courage, Integrity, Respect, Kindness and Responsibility.
|
||||||
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|
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|
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| 80 |
https://www.allblacks.com/news/savea-to-lead-all-blacks-against-argentina-in-rugby-championship-opener
|
en
|
Savea to lead All Blacks against Argentina in Rugby Championship opener
|
http://www.allblacks.com/assets/Uploads/ASAV-v-Fiji.jpg
|
http://www.allblacks.com/assets/Uploads/ASAV-v-Fiji.jpg
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[
""
] | null |
[] |
2024-08-08T11:10:32
|
All Blacks Head Coach Scott Robertson and his co-selectors, Assistant Coaches Scott Hansen, Jason Holland, Leon MacDonald and Jason Ryan have named their All Blacks team to play Argentina in the opening match of the 2024 Lipovitan-D Rugby Championship at Sky Stadium in Wellington.
|
en
|
/_resources/themes/all-blacks/images/favicons/apple-icon-57x57.png
|
allblacks.com
|
https://www.allblacks.com/news/savea-to-lead-all-blacks-against-argentina-in-rugby-championship-opener
|
LIVE on Sky Sport: Saturday 10 August: All Blacks vs Argentina, 7.05PM (NZST).
Limited tickets are still available HERE.
All Blacks match-day 23 (Test caps in brackets)
1. Ethan De Groot (25)
2. Codie Taylor (87) (Vice Captain)
3. Tyrel Lomax (34)
4. Tupou Vaa’i (28)
5. Sam Darry (1)
6. Ethan Blackadder (11)
7. Dalton Papali’i (34)
8. Ardie Savea (84) (Captain)
9. TJ Perenara (82)
10. Damian McKenzie (50)
11. Mark Tele’a (11)
12. Jordie Barrett (60) (Vice Captain)
13. Anton Lienert-Brown (73)
14. Sevu Reece (26)
15. Beauden Barrett (126)
16. Asafo Aumua (9)
17. Ofa Tu’ungafasi (59)
18. Fletcher Newell (16)
19. Josh Lord (4)
20. Wallace Sititi (1)
21. Cortez Ratima (2)
22. Rieko Ioane (71)
23. Will Jordan (31)
Unavailable due to injury: Scott Barrett (finger surgery), Patrick Tuipulotu (calf), Stephen Perofeta (calf), Luke Jacobson (hamstring).
No.8 Ardie Savea will captain the All Blacks against Argentina in a squad that also features the return of halfback TJ Perenara and outside back Will Jordan from injury.
Savea will lead the All Blacks for the ninth time, taking over from lock Scott Barrett, who was unavailable as he recovers from surgery on a broken finger.
“We’ve laid a solid foundation through the first three Tests of the year and prepared well this week for what will be a physical Test against Argentina,” Savea said ahead of what will be the first time he’s captained the All Blacks since leading the side to a 96-17 win over Italy in Lyon during the 2023 Rugby World Cup.
The Wellington loose forward will combine with openside Dalton Papali’i and blindside Ethan Blackadder with Wallace Sititi providing impact from the reserves in what will be his second Test.
Lock Sam Darry also earns a second start, at lock, after his impressive debut against Fiji in San Diego and will partner Tupou Vaa’i in the second row. Senior lock Patrick Tuipulotu (calf) and loose forward Luke Jacobson (hamstring) were both unavailable for selection after suffering injuries in training.
All Blacks Head Coach Scott Robertson said the squad was focused and ready ahead of the first Test of the Lipovitan-D Rugby Championship.
“It’s a special night for Ardie leading the team in his hometown and it’s great to have TJ and Will back in the mix. Once again there were some close selection calls but we’ve picked a squad to win the key contests and perform on Saturday. We know Argentina will bring a lot of physicality and passion to the Test and we’re ready for that challenge.”
In the backs Anton Lienert-Brown will wear the All Blacks No.13 jersey for the 31st time following a standout performance against Fiji in San Diego. Lienert-Brown will combine with vice-captain Jordie Barrett in the midfield, just the second time they duo have started a Test together as a midfield pairing.
Perenara returns at halfback after injuring his lower leg during the first Test of the season against England in Dunedin, while Jordan takes his place in the match day 23 for the first time since the Rugby World Cup final against South Africa last year after recovering from a shoulder injury.
MATCH FACTS
The All Blacks have played Argentina 41 times in Tests since their first match in Buenos Aires in 1976.
Argentina have beaten the All Blacks on two occasions, 25-15 in Sydney in 2020 and 25-18 in Christchurch in 2022.
There has been one draw between the two teams, 21-21 in Buenos Aires in 1985.
The teams last played each other in the semifinals of the 2023 Rugby World Cup with the All Blacks winning 44-6 in Paris.
|
||
4946
|
dbpedia
|
2
| 82 |
https://westernsuburbs.co.nz/
|
en
|
Western Suburbs – Football Club
|
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[
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[] | null |
en
|
https://westernsuburbs.co.nz/
|
WELCOME TO WESTERN SUBURBS FC!
Chatham Cup Finalists 2018 /Central League Champions 2017 and 2019
Western Suburbs Football Club unite the local community by providing and promoting football for all ages, whether 4, 44 or more.
We aim to develop football in the Porirua area and beyond through leadership, enjoyment and provision of development opportunities. The club promote the name of Western Suburbs across Wellington and throughout New Zealand, and are synonymous with success, a professional attitude, sportsmanship and fair play.
|
|||||||
4946
|
dbpedia
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2
| 16 |
https://www.footballkitarchive.com/new-zealand-football-championship-kits/
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en
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New Zealand Football Championship Kit History
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""
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[] | null |
New Zealand Football Championship Football Kit History, including all old and new football kits of Auckland City, Hawke's Bay United FC, Team Wellington FC and more.
|
en
|
Football Kit Archive
|
https://www.footballkitarchive.com/new-zealand-football-championship-kits/
| ||||||
4946
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dbpedia
|
1
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https://www.nzherald.co.nz/sport/football/wellington-phoenix/wellington-phoenix-v-melbourne-victory-a-league-club-set-to-complete-long-rise-from-dark-days/US2LBXVN5VBBHI5PZGKLG3MD2Y/
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en
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League club set to complete long rise from dark days
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] | null |
[
"Michael Burgess"
] |
2024-05-17T18:33:46.441000+00:00
|
The Wellington Phoenix are on the verge of a double miracle. On Saturday night, in one of those “stop the nation” moments that football occasionally provides...
|
en
|
/pf/resources/images/favicons/favicon.ico?d=808
|
NZ Herald
|
https://www.nzherald.co.nz/sport/football/wellington-phoenix/wellington-phoenix-v-melbourne-victory-a-league-club-set-to-complete-long-rise-from-dark-days/US2LBXVN5VBBHI5PZGKLG3MD2Y/
|
They had high-profile players move on - including captain Oli Sail - and most of their new recruits were youngsters upgraded from academy contracts.
But they haven’t missed a beat. There was a long period on top of the table and only four defeats across the campaign.
They’ve been defensively amazing, conceding a league-low 26 goals, and efficient and clinical in front of goal.
They’ve put their faith in youth, epitomised by the likes of goalkeeper Alex Paulsen and defender Finn Surman, who have played every minute after only featuring in four matches between them last season.
And it’s been achieved with a modest staffing roster, smaller than almost every other club.
It’s all quite incredible, both head-turning and heart-warming at the same time.
But what is arguably more remarkable - and the second aspect of the 2023-24 miracle - is the backstory.
Because you can’t fully grasp this achievement, without considering where the club has come from.
There were the dark days of the final year of the Terry Serepisos era, with unpaid wages and IRD threats, as the owner’s business empire fell apart before a consortium, headed by Rob Morrison, stepped in to take over the licence.
But even worse was the constant battle to stay in the league, as Football Federation Australia (who governed the league until 2021) treated them like an unwanted child.
There were constant debates over licence extensions, along with private and public statements from key FFA figures, commentators and pundits pushing a negative agenda. The nadir came in 2015, when the FFA turned down the Phoenix’s application for a new 10-year licence, at a time when every other club had secure participation agreements until 2034.
FFA chief executive David Gallop said the decision was made in the “best interests of Australian football”.
“FFA has carefully evaluated the role and contribution of the Wellington franchise in terms of game development, player pathway, commercial factors, broadcast rights and the long-term strategic outlook,” said Gallop.
“The application for a 10-year extension does not meet the requirements we see as fundamental to the future growth of the A-League.”
Back then there were discussions in Australia to dump the Phoenix, in favour of a third Sydney team.
That caused considerable angst and even when the Phoenix were eventually granted a new licence there were fish hooks, with a series of off-field metrics.
Just when that finally subsided the Covid pandemic hit, with severe financial pain along with numerous other impacts.
But despite everything, the Phoenix have survived - and thrived. They have the most successful academy system in the league, with products like Macey Fraser, Ben Waine and Libby Cacace, and keep unearthing more.
They have stable, proactive ownership, without the problems that have plagued many other clubs, and a committed, passionate fanbase. In short, they are a model franchise.
“It’s great for everyone, including fans, who have had to do it tough over a number of years,” chief executive David Dome told the Herald. “The previous [ruling] body wanting to kick us out, Covid rolled in, the financial crisis, all the stuff that the club and the owners have had to fight through and we have come out the other end. It’s so rewarding for everyone.”
That could climax in the ultimate reward on Saturday night, although Victory will provide tough opposition, evidenced by three previous draws this season.
Italiano backs his players to make the most of the occasion, in front of the biggest crowd in club history.
“If you’re not going to enjoy these moments; a full crowd, everyone behind you, the fact that we’ve achieved so much, then you’re not going to enjoy anything in life,” said Italiano. “We’re going to create history no matter what, which is great. I’ve already said to the boys we’ve gone above and beyond what everyone thought and now we just want to enjoy this game.”
|
||||
4946
|
dbpedia
|
0
| 58 |
https://football.fandom.com/wiki/New_Zealand_football_league_system
|
en
|
New Zealand football league system
|
https://static.wikia.nocookie.net/the-football-database/images/e/e6/Site-logo.png/revision/latest?cb=20210713142010
|
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[
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[
"Contributors to Football Wiki"
] | null |
The New Zealand league system is the structure of leagues nationally and regionally, newly updated for the 2021 season. The system previously had a path from grassroots to the top flight but that stopped in 2004 with the New Zealand Football Championship being created as a replacement to the...
|
en
|
https://static.wikia.nocookie.net/the-football-database/images/4/4a/Site-favicon.ico/revision/latest?cb=20210713142012
|
Football Wiki
|
https://football.fandom.com/wiki/New_Zealand_football_league_system
|
The New Zealand league system is the structure of leagues nationally and regionally, newly updated for the 2021 season. The system previously had a path from grassroots to the top flight but that stopped in 2004 with the New Zealand Football Championship being created as a replacement to the former New Zealand National Soccer League.
The current top flight of New Zealand Football is the National League, entering its inaugural season in 2021.
The top 4 Divisions of the Northern Region Football leagues for both men and women (Tiers 2–5) will be restructured for the 2023 season.
Cups[]
The premier cup competition in New Zealand is the Chatham Cup which dates back to 1923.
Regional cup competitions are also run within federations, allowing multiple teams from the same club to enter.
Men's structure[]
Clubs at the top of the pyramid are only permitted to enter a single team in their confederation's higher levels. Other teams from the same club are permitted to enter teams below this threshold, but have restrictions on promotion. Clevedon FC are currently the lowest ranked 1st team in the country, playing in NRF South Division 10 (Tier 15).
Women's structure[]
Level League(s)/division(s)
1
New Zealand Women's National League
8 clubs
3
NRF Women's Championship
11 clubs – 0–1 promotions, 2 relegations
WaiBOP W-League
6 clubs – 0–1 promotions
Central Women's Federation League
5 clubs
Women's Capital Premier
8 clubs – 1 promotion, 1 relegation
Canterbury Women's Championship League 1 – 11 clubs
Nelson Women's Premiership Division 1 – 11 clubs
Marlborough Women's Social League – 3 clubs
Otago Division One – 6 clubs
Southland Kolk Cup – 7 clubs
4
NRF Women's Northland Division 1 – 5 clubs
NRF Women's Division 1 – 8 clubs
Waikato Women's Division 1 – 8 clubs
Women's Bay League Division 1 – 9 clubs
Manawatu Premiership – 6 clubs
Whanganui Kelly Hiroa League – 8 clubs
Hawke's Bay Women's Division 1 – 5 clubs
Gisborne Eastern League – 6 clubs
Taranaki Women's Premiership – 12 clubs
Capital Women's 1 – 10 clubs
Canterbury Championship League 2 – 6 clubs
Otago Division Two – 8 clubs
5
NRF Northland Women's Division 2 – 6 clubs
NRF Women's Division 2 – 10 clubs
Waikato Women's Division 2 – 9 clubs
Manawatu Women's Championship – 6 clubs
Hawkes Bay Women's Division 2 – 7 clubs
Capital Women's 2 – 10 clubs
—
6
NRF Harbour Division 3 – 7 clubs
NRF Central Division 3 – 9 clubs
—
Capital Women's 3 – 11 clubs
—
7
NRF Harbour Division 4 – 10 clubs
NRF Central Division 4 – 8 clubs
—
Wairarapa League – 4 clubs
—
8
NRF Central Division 5 – 7 clubs
—
—
—
Template:New Zealand National League
Top level football leagues of Oceania – (OFC)
American Samoa · Cook Islands · Fiji · New Caledonia · New Zealand · Niue† · Palau† · Papua New Guinea · Samoa · Solomon Islands · Tahiti · Tonga · Tuvalu† · Vanuatu
Other leagues: Kiribati
† Associated members
Template:Football in Oceania
|
||
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|
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| 1 |
https://en.wikipedia.org/wiki/Wellington_Phoenix_FC
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Wellington Phoenix FC
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https://en.wikipedia.org/wiki/Wellington_Phoenix_FC
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Association football club based in New Zealand
This article is about the men's association football club. For the women's association football club, see Wellington Phoenix FC (A-League Women).
Football club
Active teams of Wellington Phoenix A-League Men
Wellington Phoenix Reserves
(Men's) A-League Women
Wellington Phoenix Football Club is a professional football club based in Wellington, New Zealand. It competes in the Australian A-League, under licence from Football Federation Australia.[1] Phoenix entered the competition in the 2007–08 season after its formation in March 2007, by New Zealand Football to replace New Zealand Knights as a New Zealand-based club in the Australian A-League competition. Since 2011, the club has been owned by Welnix, a consortium of seven Wellington businessmen.
The club is one of the few clubs in the world to compete in a league of a different confederation (AFC) from that of the country where it is based (OFC). It plays matches at Sky Stadium (formerly Westpac Stadium), a 34,500-seat multi-purpose venue in Wellington. Their home kit consists of black and yellow stripes. Its highest achievement is reaching the A-League Preliminary Final in 2010 and the A-League Semi Final in 2024.
History
[edit]
Foundation
[edit]
During the later stages of the 2006–07 A-League season, Football Federation Australia (FFA) removed New Zealand Knights A-League licence due to the club's financial and administrative problems and poor on-field performance. After the resignation of the New Zealand Knights board, FFA transferred the licence to New Zealand Soccer (NZS, now New Zealand Football), which administered the club for the rest of the season before its subsequent dissolution.
FFA then provided NZS a provisional A-League licence to sub-let to a suitable New Zealand team to enter the 2007–08 A-League season. FFA set an application deadline to NZS and subsequently delayed that deadline to give more time for potential applicants in New Zealand to apply along with NZS support.
While NZS was given a chance to apply with a new sub-licensee, a Townsville-based consortium, Tropical Football Australia (TFA) also expressed interest and prepared an A-League application to replace the place previously held by the Knights.[2] However, TFA eventually pulled out with the understanding of the FFA's preference to retain a New Zealand team for the league. TFA resubmitted its bid the following year as a potential A-League expansion franchise under the name "Northern Thunder FC", which was later changed to "North Queensland Thunder";[3] however, this bid died after expansion for the 2007–08 season was cancelled.
After much delay, the final amount needed for the application came from Wellington property businessman Terry Serepisos in the latter stages of the bid. Serepisos, the club's majority owner and chairman, provided NZD $1,250,000[4] to ensure the beginnings of a new New Zealand franchise and a continuation of New Zealand's participation in the A-League. FFA finalised a three-year A-League licence to New Zealand Football who then sub-let the licence to the Wellington-based club.[5] The new Wellington club was confirmed on 19 March 2007.
The name for the new club was picked from a shortlist of six, pruned from 250 names suggested by the public, and was announced on 28 March 2007.[6][7] Serepisos said of the name, that "It symbolises the fresh start, the rising from the ashes, and the incredible Wellington support that has come out".[8]
Despite the backing of FIFA, AFC president Mohammed Bin Hammam stated that due to AFC criteria, the Wellington team must move to Australia or disband by 2011.[9] However, in an interview aired on SBS on 21 December 2008, FIFA president Sepp Blatter stated unequivocally, "It is not the matter of the Confederation, it is the matter of the FIFA Executive Committee... If Wellington will go on play on in Australian League, then as long as Australian league wants to have them and Wellington wants to stay (and) Both association in this case, New Zealand Soccer and Australian Football are happy with that then we will give them the blessing. The Confederation cannot interfere with that.".[10]
Rise of the Phoenix
[edit]
In the 2009–10 season, Wellington Phoenix became the first New Zealand side to reach the playoffs of an Australian football competition when Adelaide United beat Brisbane Roar 2–0 in the 26th round. It meant that Brisbane, which before the match was the only team outside the top six with a chance of making the playoffs, no longer could. The Phoenix overcame the Central Coast Mariners on 12 February 2010 to finish fourth, which meant it would host a playoff game against Perth Glory on 21 February 2010. The Phoenix beat Perth by penalty shootout (4–2) after 120 minutes (including 30 minutes of extra time). Phoenix then hosted a home game against Newcastle Jets on 7 March, which they won in extra time 3–1.
In the Preliminary Final against Sydney FC, the Phoenix lost 4–2 in controversial circumstances. After being locked at 1–1 through goals from Chris Payne for Sydney and Andrew Durante for Wellington, Payne apparently missed a header and deflected the ball into the goal off his hand. Andrew Durante, who was marking Payne went straight to the linesman, but the goal stood. "I went straight to the linesman. I knew 100 per cent it was handball. I spoke to the ref at halftime about it and he said it wasn't deliberate. It's pretty funny that one. Such a big game and such a big occasion, for something like that to change the game is very disappointing." Sydney FC strikers Alex Brosque and Mark Bridge both scored break-away goals as Phoenix pushed forward, and Eugene Dadi added a late consolation goal. Phoenix striker Chris Greenacre said that the error changed the dynamics of the game. "It just rips the heart out of you. We got back in the game with a good goal and that takes it away from you. It wasn't to be. I think we were right back in it. They played some good football but I thought we had withstood it OK. If we went into halftime [at 1–1] we were really confident we could get something out of it." Coach Ricki Herbert echoed those statements. The loss brought the end to the Phoenix's season, meaning that Melbourne Victory and Sydney FC would compete in the Grand Final.
On 20 April 2010, FFA granted Wellington Phoenix a five-year licence extension, keeping it in the competition until at least the conclusion of the 2015–16 season.[11]
Many argue Wellington's ability to play in the A-League as being instrumental to the progress of the New Zealand national side and the wider football landscape.[12]
Change of ownership
[edit]
Prior to the 2011/12 season, it emerged that Serepisos was experiencing financial difficulties, both personally and in the property empire. This included highly publicised action by the Inland Revenue Department to liquidate a number of Serepisos' companies for unpaid taxes, including Century City Football Ltd, the company Serepisos owned the Phoenix through.[13]
Initially, Serepisos claimed he had obtained finance through Swiss-based lenders, then announced he had agreed to a deal with Western Gulf Advisory, the Bahrain-based lender owned by Racing Santander owner Ahsan Ali Syed which would see 50% of the club sold. However, these funds were never received and the partial transfer never took place.
While the liquidation action was resolved through an unnamed third-party Serepisos' financial troubles did not end. Despite this, he stated he would not give up ownership of the club. Additional stories also emerged that coach Ricki Herbert was personally owed $100,000 in unpaid wages by the club.
However, on 23 September 2011, it was announced by Serepisos and the FFA that Serepisos had relinquished ownership of the club as a result of his ongoing financial difficulties. The club's licence was passed by the FFA to a new consortium of seven Wellington businessmen headed by Rob Morrison and including Gareth Morgan, Lloyd Morrison and John Morrison.[14][15][16]
Change of head coach
[edit]
On 26 February 2013, with the Phoenix sitting in last place, Ricki Herbert resigned from the position of head coach.[17] The Phoenix had endured a poor run of results in a season where they were expected to be challenging for the title.[18] Assistant Coach Chris Greenacre took the reins on an interim basis for the remainder of the season. Following a "worldwide search", Ernie Merrick was announced as the head coach on 20 May 2013.[19] Merrick had six successful years at the Melbourne Victory, which was seen as important. Merrick will once again become the most experienced A-League coach in the coming season, retaking this from Herbert who passed him towards the end of the 2012–13 season.[20] Greenacre was retained by Merrick as the assistant coach.[21]
On 5 December 2017, Merrick resigned as head coach following the Phoenix's 2–0 loss to Adelaide United.[22] On 2 January 2017, Des Buckingham took over as head coach, while Chris Greenacre was made co-coach.[23]
On 1 March 2018, Wellington Phoenix announced that Darije Kalezic will be departing the club at the end of the season after they were not able to come to an agreement on how the club proceeds forward for the next season.[24]
Rudan era
[edit]
On 30 May 2018, Wellington Phoenix announced the appointment of former Sydney FC captain Marko Rudan as manager on a two-year contract.[25] Rudan became the first-ever Wellington Phoenix coach to win his first game in charge when the Wellington Phoenix were 2–1 victors over Newcastle Jets in the opening round of the 2018–19 season.[26] Following Round 2 clash with Brisbane Roar which ended in a 0–0 draw, it was the best start the team has had since the 2012/13 season.[27] They suffered their first defeat of the season in Round 3 going down 3–0 to Western Sydney Wanderers.[28] After a defeat in Round 5 against Adelaide United, Phoenix went on a 9-game undefeated streak including draws with Premiers Perth Glory and Champions Melbourne Victory, and wins over clubs like Sydney FC and Newcastle Jets. Their streak was broken by Sydney FC in round 15.[29] The Phoenix finished in 6th place qualifying for the playoffs. On 15 April, it was announced that Rudan would not see out the second year of his contract and would leave at season's end for personal reasons.[30] They were knocked out in the first elimination final by Melbourne Victory 3–1.[31]
Talay era
[edit]
On 4 May 2019, it was announced Ufuk Talay would be taking the reins of head coach after the departure of Marko Rudan on a one-year deal.[32] In his first press conference, Talay expressed his idea of building a young team with a strong Kiwi core. He made his first signing with All Whites goalkeeper Stefan Marinovic[33] and signed local Kiwi players, Te Atawhai Hudson-Wihongi,[34] Tim Payne,[35] and Callum McCowatt.[36] Talay made his first import signing with Mexican Ulises Dávila[37] following another import signing of English striker, David Ball.[38] On 24 July, it was announced that Steven Taylor would be the captain heading into the new season[39] while Alex Rufer was made vice-captain.[40] On 18 August, it was announced that Phoenix had paid an undisclosed fee for Reno Piscopo, marking the first time the club paid a transfer fee for a player.[41] Talay also made a handful of signings of young Australian players including Walter Scott,[42] Jaushua Sotirio,[43] Cameron Devlin,[44] Liam McGing,[45] and experienced centre-back Luke DeVere.[46] Talay used his fourth import spot signing Matti Steinmann on a one-year deal.[47] Talay had a positive start to his managerial tenure with the Wellington Phoenix when he led them to a 7–0 victory over Wairarapa United in a pre-season friendly in his first match in charge.[48]
They were knocked-out of the 2019 FFA Cup in the Round of 32, losing 4–2 on penalties to Brisbane Strikers, after making an extraordinary comeback from 2-0 down to a 2–2 draw at full time.[49]
On 22 May 2021, Wellington Phoenix broke their home attendance record, attracting 24,105 spectators against Western United FC. This game (as of 22 May), is the 2020/21 Hyundai A-League's most attended game. This was the first A-League game to be held in New Zealand since 15 March 2020, a total of 433 days in between.[50]
Colours and badge
[edit]
The general consensus among Phoenix fans was for a kit featuring yellow and black vertical stripes; however, this format did not comply with the A-League template required by Reebok when Phoenix was admitted into the League. Instead, players wore a predominantly black strip with yellow and white trim for the first two seasons.[51] When Reebok lifted constraints on kit designs in 2009, Phoenix adopted yellow and black vertical stripes. The Phoenix kit is currently provided by Paladin after Adidas decided against renewing their contract with the club. The badge is a shield depicting a rising phoenix.
The team's current kit sponsors are KPMG (front of kit),[52] Sky Sports (back of shirt), GoMedia (front of shorts), and Revera (back of shorts).[53]
In August 2017, the club unveiled a new badge removing the shield in place of a larger, simplified phoenix. The updated badge also featured the club's new motto of 'E Rere Te Keo',[54] a rising call rooted in the Māori legend of Taniwha.[55]
Stadium
[edit]
Wellington Phoenix FC has played most of its home matches at the Wellington Regional Stadium (currently named Sky Stadium for sponsorship reasons), which is referred to as the 'Ring of Fire' by fans.[56] The stadium has a capacity of 34,500.[57] The NZD$130 million stadium was built in 1999 by Fletcher Construction and is situated close to major transport facilities (such as Wellington railway station) one kilometre north of the central business district.[58][59]
The stadium is owned and operated by Wellington Regional Stadium Trust. It is built on surplus-to-requirements reclaimed railway land on Wellington's waterfront.[58][59]
Home fans sit in the southern and western areas of the stadium, while away fans sit to the north.
In the 2009–2010 A-League season, Wellington Phoenix FC played two home games away from Sky Stadium, the first at Arena Manawatu in Palmerston North, the second at AMI Stadium in Christchurch. The two games were key to Wellington Phoenix expanding their fan base in New Zealand. This was followed by playing a game in Auckland at Eden Park in front of 20,078 attendees during the 2011–2012 A-League season.
The Phoenix previously trained at Newtown Park, on a ground that was specially redeveloped in 2008 and separate to the playing pitch. This ground was shared with NZFC franchise, Team Wellington however in 2017 the Phoenix moved to Martin Luckie Park which had been redeveloped with two full-sized sand-based pitches. Funding for the redevelopment came from the Phoenix as well as $550,000 given by Wellington City Council.[60]
Due to COVID-19 in both New Zealand and Australia, the Wellington Phoenix based themselves in Wollongong and played home games at WIN Stadium for the 2020–21 A-League season.[61][62] Wellington returned to Wollongong for the 2021–22 A-League season and again played their home games at Win Stadium.[63]
Supporters
[edit]
Wellington Phoenix has built a strong fan-base in Wellington, across New Zealand, and amongst New Zealanders in Australia. The main supporters' group, named the Yellow Fever, was founded a day after the Wellington Phoenix's formation was announced.[64] Yellow Fever founder Mike Greene met with the founder of New Zealand cricket supporter group, the Beige Brigade, to get ideas of how to get the group started.[65] The name was originally chosen on the assumption that the new Wellington-based team would play in a yellow playing strip (yellow being the dominant sporting colour of the region). Although the eventual strip was primarily black, the Yellow Fever elected to retain the name; many Yellow Fever members chose to wear yellow to fixtures as opposed to black. The 'Fever Zone' is located within aisles 21 and 22 of Sky Stadium; although it is an all-seater facility, most Yellow Fever members choose to stand in front of their seat – similar to terrace seating traditions in British football.
The Yellow Fever are renowned within the A-League for their traditions; the most prominent of which being if the Phoenix are winning by the 80th minute, members remove their shirts.[66] Additionally, prior to the last home game before Christmas, the Yellow Fever organise a pub crawl, entitled The 12 Pubs of Lochhead after defender Tony Lochhead.
Many Yellow Fever members have also lent their support to other football fixtures in Wellington and New Zealand, mostly notably Team Wellington of the ISPS Handa Premiership and the New Zealand national football team.[67] Yellow Fever also lent its support to the New Zealand women's national under-17 football team during the 2008 FIFA U-17 Women's World Cup, held in New Zealand.
The former official podcast of Yellow Fever, 'Phoenix City', is hosted by Patrick Barnes, and features Cameron McIntosh and Andrew French as panellists. The weekly recording often includes a guest interview and covers the Wellington Phoenix, the All Whites and other national teams, New Zealanders playing overseas, the ISPS Handa Premiership, and local club football, including the Chatham Cup.[68][69]
The Yellow Fever supporters share a strong relationship with the club due to their charity initiatives. Yellow Fever is the first supporters club in the A-League to organise and sponsor an annual footballing scholarship. The "Retro Ricki Youth Scholarship" was awarded annually to a promising young New Zealand footballer. Nominations for the scholarship were made by Yellow Fever members, and the recipient was chosen by the Yellow Fever executive and Wellington Phoenix staff. The recipient received a trial with the Phoenix, covering travel and accommodation costs.[70] Although the initiative only lasted four seasons, the scholarship is widely credited with bringing New Zealand international Marco Rojas professional attention.
2007: Stefan Kousoulas, Otago United
2008: Daniel Findlay, Three Kings United
2009: Marco Rojas, Melville United
2010: Thomas Spragg, Auckland City FC, and Tristan Prattley, Otago United
Yellow Fever members have also combined charity campaigns with their support of the Phoenix, with supporters selling bandannas in the club colours every year as part of the youth-cancer charity CanTeen's "Bandana Day" fundraiser.[71] Yellow Fever members have also notably participated in the Movember movement since 2007, leading to the club itself participating as of 2008,[72] and other Australian A-League clubs following suit in 2009.[73]
In 2010, Yellow Fever, The Dominion Post and local sportswear chain RYOS teamed up to release the "LifeFlight Shirt", a white T-shirt emblazoned with pictures of Phoenix players sent into the Dominion Post as part of a competition. 25% of the proceeds from the sale of these T-shirts were donated to the LifeFlight air ambulance service.[74]
Players
[edit]
First-team squad
[edit]
As of 14 August 2024
For recent transfers, see 2024–25 Wellington Phoenix FC season.
Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality.
Other players with first-team appearances
[edit]
Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality.
Reserves and youth academy
[edit]
Main article: Wellington Phoenix FC Reserves
Wellington Phoenix's academy system was formed in 2013, absorbing the prolific Christchurch-based Asia-Pacific Football Academy. Since then, Wellington Phoenix have developed a number of notable players, including several New Zealand internationals.[75][76]
The following players graduated from the Wellington Phoenix Football Academy, and have either represented their nation at international level or have played at a professional level outside New Zealand.
Club officials
[edit]
Technical staff
[edit]
As of 18 July 2023[77]
Role Name Manager Giancarlo Italiano[78] Assistant manager Adam Griffiths[79] Goalkeeping coach Ruben Parker[80] Video analyst Francesco Evangelista Head of Strength & Conditioning Weijie Lim Head physiotherapist Cory Glover Rehab physiotherapist Jamie Hassett Football operations manager Jake Piper Kit man Jack Mapp
Management
[edit]
Updated 26 March 2019.[81][82][83]
Position Name Chairman Rob Morrison Board member Henry Tait Board member James Brow Board member Andrew Bowater Board member Mark Chote General Manager David Dome Head of Commercial Tom Shaw Head of Media Brenton Vannisselroy[84] Social Media & Digital Content Executive Mark Casson Football Operations Manager Shaun Gill
Captaincy history
[edit]
Dates[85] Name Honours (as captain) 2007–2008 Ross Aloisi Inaugural club captain[86] 2008–2019 Andrew Durante Longest serving captain[87] 2019–2020 Steven Taylor First captain from outside Australia and New Zealand. [88] 2020–2021 Ulises Dávila 2021 Steven Taylor Retired prior to the start of the 2021–22 season, a few days after being named captain.[89] 2021– Alex Rufer
Managers
[edit]
As of matches played 12 May 2024
Key
† Caretaker appointment
‡ Initial caretaker appointments promoted to full-time manager
Manager dates, statistics and nationalities are sourced from WorldFootball.net[90] and Ultimatealeague.com[91]
List of Wellington Phoenix Managers Name Nationality From To M W D L GF GA Win % Ref New Zealand 26 August 2007 24 February 2013 154 54 35 65 193 223 035.06 [92] † England 27 February 2013 31 March 2013 5 2 0 3 7 8 040.00 [93] Scotland 13 October 2013 4 December 2016 90 30 15 45 121 156 033.33 [94] † England 10 December 2016 1 January 2017 4 1 3 0 7 4 025.00 [93] ‡ England 10 December 2016 16 April 2017 19 6 6 7 35 32 031.58 [95] Bosnia-Herzegovina 8 October 2017 23 February 2018 21 4 5 12 24 42 019.05 [96] † England 10 March 2018 14 April 2018 6 1 1 4 7 13 016.67 [93] Australia 21 October 2018 3 May 2019 28 11 7 10 47 46 039.29 [97] Australia 13 October 2019 6 May 2023 105 41 24 40 150 164 039.05 [98] Australia 6 May 2023 Present 30 16 9 5 43 29 053.33 [99]
Women's team
[edit]
Main article: Wellington Phoenix FC Women
In June 2020, Wellington Phoenix announced their desire in creating a women's team before the 2023 FIFA Women's World Cup as part of a A-League Women plan of adding three expansion clubs by the said period and in September 2021, they announced the newly created team would be joining the A-League as an expansion starting with the 2021–22 season. This made Phoenix the first women's professional football team from New Zealand.[100][101]
Honours
[edit]
Wellington are the sole remaining A-League club to have not won any senior competitive trophy. During the 2021/22 season Macarthur FC won the Australia Cup, with Western United winning the 2022 A-League Men Grand Final. This left the Phoenix as the only trophyless team until the introduction of Auckland FC for the 2024/25 season.
League
[edit]
A-League Men Premiership
Runners-up (1): 2023–24
Cups
[edit]
A-League Pre-Season Challenge Cup
Runners-up (1): 2008
End-of-season awards
[edit]
Season Player of the Year Members'
Player of the Year Players'
Player of the Year Media
Player of the Year Under-23
Player of the Year Golden Boot Lloyd Morrison
Spirit of the Phoenix Award 2007–08 Shane Smeltz Shane Smeltz Shane Smeltz Shane Smeltz not awarded Shane Smeltz not yet established 2008–09 Leo Bertos Ben Sigmund Shane Smeltz Shane Smeltz Shane Smeltz 2009–10 Andrew Durante Paul Ifill Paul Ifill Paul Ifill Troy Hearfield Paul Ifill 2010–11 Ben Sigmund Manny Muscat Manny Muscat Marco Rojas Marco Rojas Chris Greenacre 2011–12 Ben Sigmund Ben Sigmund Ben Sigmund Ben Sigmund not awarded Paul Ifill 2012–13 Andrew Durante Since 2012–13, members vote
for the U–23 player of the year Jeremy Brockie not awarded Louis Fenton Jeremy Brockie Ben Sigmund 2013–14 Albert Riera Vince Lia Tyler Boyd Stein Huysegems Leo Bertos
Stein Huysegems 2014–15 Nathan Burns Nathan Burns Roly Bonevacia Nathan Burns Rob Lee
Lee Spence 2015–16 Glen Moss Glen Moss Dylan Fox Blake Powell not awarded 2016–17 Kosta Barbarouses Roy Krishna Jacob Tratt Roy Krishna 2017–18 Roy Krishna Dylan Fox Matthew Ridenton Andrija Kaluđerović Chris Greenacre 2018–19 Roy Krishna Roy Krishna Liberato Cacace Roy Krishna Alex Rufer 2019–20 David Ball Liberato Cacace Liberato Cacace Liberato Cacace Liberato Cacace Ulises Dávila Wellington Phoenix 2020–21 Ulises Dávila Oli Sail Ulises Dávila Ulises Dávila Ben Waine Tomer Hemed not awarded 2021–22[102] Oli Sail David Ball Oli Sail Oli Sail Sam Sutton Jaushua Sotirio
Ben Waine not awarded 2022–23[103] Oskar Zawada Oskar Zawada Oskar Zawada Oskar Zawada Callan Elliot Oskar Zawada Lily Alfeld 2023-24[104] Kosta Barbarouses Alex Paulsen Alex Paulsen Kosta Barbarouses Alex Paulsen Kosta Barbarouses David Dome
Records and statistics
[edit]
Player
[edit]
Most League appearances: 273, Andrew Durante
Most appearances in a single season: 31, Chris Greenacre, 2010–11
All-time leading goalscorer: 51, Roy Krishna
Most goals in a season: 18, Roy Krishna, 2018–19 (26 appearances)
Team
[edit]
First League match: v Melbourne Victory, 26 August 2007 (drew 2–2)
First goalscorer: Daniel v Melbourne Victory, 26 August 2007
First win: v. Sydney FC, 14 September 2007 (won 2–1)
Biggest victory:
6–0 v Gold Coast United, 25 October 2009
8–2 v Central Coast Mariners, 9 March 2019
Biggest defeat:
7–1 v Sydney FC, 19 January 2013
6–0 v Melbourne City, 2 April 2022
Most wins in a row: 5 matches; 30 January 2010 – 7 March 2010
Most losses in a row: 9 matches; 20 March 2016 – 31 October 2016
Highest home attendance: 33,297 v Melbourne Victory on 18 May 2024
Highest regular season attendance: 24,105 v Western United at Sky Stadium, Wellington on 22 May 2021
Highest friendly attendance: 31,853 v Los Angeles Galaxy on 1 December 2007
Highest average attendance in a season: 11,683 – 2007–08 season
Lowest home attendance: 3,898 v Perth Glory FC on 8 January 2012
Season-by-season record
[edit]
Season Division League AUS
Cup Top scorer P W D L F A GD Pts Pos Finals Name Goals 2007–08[105] A-League 21 5 5 11 25 37 –12 20 8th – – Shane Smeltz 9 2008–09[106] A-League 21 7 5 9 23 31 –9 26 6th – – Shane Smeltz ♦ 12 2009–10[107] A-League 27 10 10 7 37 29 +8 40 4th 3rd – Paul Ifill 13 2010–11[108] A-League 30 12 5 13 39 41 –2 41 6th SF – Chris Greenacre 8 2011–12[109] A-League 27 12 4 11 34 32 +2 40 4th SF – Paul Ifill 8 2012–13[110] A-League 27 7 6 14 31 49 –18 28 10th – – Jeremy Brockie 16 2013–14[111] A-League 27 7 7 13 36 42 –6 28 9th – – Stein Huysegems 10 2014–15[112] A-League 27 14 4 9 45 35 +10 46 4th EF R32 Nathan Burns 13 2015–16[113] A-League 27 7 4 16 34 54 –20 25 9th – R16 Blake Powell 8 2016–17[114] A-League 27 8 6 13 41 46 –5 30 7th – R32 Roy Krishna 12 2017–18[115] A-League 27 5 6 16 31 55 –24 21 9th – R32 Andrija Kaluđerović 9 2018–19[116] A-League 27 11 7 9 46 43 +3 40 6th EF R32 Roy Krishna ♦ 19 2019–20[117] A-League 26 12 5 9 38 33 +5 41 3rd EF R32 Ulises Dávila 12 2020–21[118] A-League 26 10 8 8 44 34 +10 38 7th – – Tomer Hemed 11 2021–22[119] A-League Men 26 12 3 11 34 49 –15 39 6th EF SF Jaushua Sotirio
Ben Waine 8 2022–23[120] A-League Men 26 9 8 9 39 45 –6 32 6th EF QF Oskar Zawada 15 2023–24[121] A-League Men 27 15 8 4 42 26 +16 53 2nd SF R16 Kosta Barbarouses 13
Champions Runners-up Third place Last place Did not make the playoff ♦ Top scorer in competition PO Playoff GS Group stage EF Elimination finals R32 Round of 32 R16 Round of 16 QF Quarter-finals SF Semi-finals
Affiliated clubs
[edit]
The following clubs are currently affiliated with Wellington Phoenix:
Kerala Blasters FC
See also
[edit]
New Zealand portal
Soccer portal
Football Kingz FC
List of sports teams named for the phoenix
References
[edit]
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https://www.nzfootball.co.nz/competitions/football/introducing-the-national-league-1
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Introducing the National League
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The home of football in Aotearoa New Zealand
|
https://www.nzfootball.co.nz/nzfootball/competitions/football/introducing-the-national-league-1
|
Introducing the New Zealand National League
Established in 2021, the National League is Aotearoa New Zealand’s premier domestic football competition, showcasing the nation’s top talent in a two-phase battle for the prestigious title of National League champions.
The Road to the National League Championship
The National League unfolds in two stages: the Regional phase (March – September) and the Championship phase (September – November). During the regional phase, teams compete against local rivals in their respective regional leagues. The top qualifiers from these leagues then advance to the Championship phase to vie for national glory.
The National League Championship
Both the men’s and women’s National League Championship competitions feature 10 teams competing over nine rounds. The top two teams from each league then advance to the National League Championship Grand Final, where the national champions are crowned.
Earning Continental Glory: OFC Champions League Qualification
For three teams, success in the National League leads to opportunities beyond national borders, with qualification for the men’s and women’s OFC Champions League.
The two finalists in the men’s National League Championship secure spots in the OFC Men’s Champions League play-offs, with the winner representing Aotearoa New Zealand on the international stage.
The winner of the women’s National League Championship earns direct qualification to the OFC Women’s Champions League, competing for glory against the top teams in Oceania.
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https://www.cambridgesoccer.co.nz/
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en
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Soccer in New Zealand
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New Zealand’s national sport is rugby union, but soccer has been popular since the 1880s, and the New Zealand Soccer Association, now New Zealand Football, was formed in 1891.
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/images/favicon.png
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New Zealand’s national sport is rugby union, but soccer has been popular since the 1880s, and the New Zealand Soccer Association, now New Zealand Football, was formed in 1891. Over the next 50 years, the country’s involvement in global soccer was mostly confined to matches against Australian teams, although there were visits to New Zealand by teams from China (1924), Canada (1927) and England (1937).
read more
From time to time, Cambridge Football Club holds the Cambridge Summer League. The primary objective of this event is to encourage players to have lots of fun through football. The teams that take part in this competition are seeded upon their stated objectives. This would include whether they want to be serious, semi-serious or just purely social. The club encourages them to square out within this spirit’s objectives. It provides this set of rules as well as guidelines for the player enjoyment.
read more
The Northern League is also known as the Northern Region Football League. Today, it is called Lotto Sports Italia NRFL Premier; however, this is for sponsorship reasons. This is semi-professional and professional association football league in New Zealand. It is currently run by the Auckland Football Federation.
The Northern League is at the first level of the NZ football pyramid. It shared this spot alongside the ASB Premiership, which is a franchise-based. It comprises of various football clubs in the northern part of North Island, from the Auckland, Northland, Waikato as also Bay of Plenty provinces.
read more
National Soccer League
Between 1970 and 2004, the National Soccer League is where New Zealand's top soccer clubs competed against each other on a home and away basis, but also occasionally in championship playoffs. The New Zealand champion was the team that performed the best over the season, with the league working in a similar way to the English Premier League and other European leagues, in that clubs could face relegation or promotion, depending on where they sat at the end of the season. Christchurch United and Mt Wellington were the main winners over the period the league ran.
New Zealand Football Championship
On 15 October 2004, the New Zealand Football Championship was launched. Unlike the National Soccer League, the Football Championship does not involve traditional clubs, but new teams created solely to compete in this competition made up of just eight teams. Sharing the Championship win six times each are teams University-Mount Wellington and Christchurch United
FIFA World Cup record
New Zealand did not enter the FIFA World Cup competition until the Mexico 1970 competition, where it failed to qualify. Qualification for a group position came in the 1982 FIFA World Cup in Spain, though they left the competition in 23rd position, after beating Poland. The next time New Zealand reached the group stage was in South Africa in 2010, leaving the competition in 22nd place. Having not qualified for Brazil 2014 or Russia 2018, it is yet to be determined if New Zealand will qualify for the World Cup in Qatar in 2022.
National Women’s League
Canterbury United Pride claimed a fourth National Women’s League title in six years with a 3-2 victory over Northern Lights in December 2018. FIFA U-17 Women’s World Cup player Gabi Rennie was key to the win, having a hand in all three goals for the Pride. New Zealand’s women’s team had recently won bronze in the FIFA U-17 World Cup before returning to New Zealand to await selection for the Grand Final of the Champions League.
OCF championship titles
In 2018, New Zealand claimed a fifth OCF championship title in six attempts at U-19 level to earn a place at the FIFA U-20 World Cup Poland 2019. The September 2018 OCF U-16 Championship final saw New Zealand beat Solomon Islands 4-5. The December 2018 OFC Women's Nations Cup final saw New Zealand beat Fiji a resounding 8-0. The OFC Champions League 2019 semi-finals on 28 April 2019 will see Team Wellington play against Hienghène Sport and Auckland City FC will play against AS Magenta
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https://www.patrickscottfoundation.com/forum/questions-answers/wellington-vs-auckland-live-match-9-august-2024-streaming
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Wellington VS Auckland live match 9 August 2024 Streaming
|
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"Jason Peters"
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2024-08-08T22:21:09.766000+00:00
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Patrick Scott Founda
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https://www.patrickscottfoundation.com/forum/questions-answers/wellington-vs-auckland-live-match-9-august-2024-streaming
|
Our intention ever since has been to collaborate with judicial authorities to clear up the facts and we have been doing that since the beginning. All of these incidents have led to a real sense of injustice at Arsenal, but while the players have every right to feel wronged at times, they also have to accept some responsibility for their He was a livewire throughout, constantly picking up the ball in dangerous areas and playing defence-splitting passes. A goal would have capped off a fine afternoon but he somehow failed to hit the target from only yards out with just the goalkeeper to She said the question now being asked was: How can we stop these (offensive) tweets being sent in the first place? Minshall was asked about the issue of anonymity online. Tagseth joined Liverpool in 2017 as a 16-year-old, and immediately found himself playing under Steven Gerrard with the Reds’ U18 Erling Haaland suffered a major setback in his plans for 2022 this week as Norway failed to qualify for the World Cup in As you can see from our table below, Cristiano Ronaldo is the top scorer in the history of the Champions League (including the European Cup). He is closely followed by his arch-rival, Lionel But significantly, it has now shifted position. He added: What we need to be careful of is unintended consequences. Chelsea forgotten man Malang Sarr is set to be thrown a career lifeline by Inter Milan (The Sun, November 30). And, of course, Pep Guardiola's City side have had numerous Quadruple bids as well since the Catalan arrived at the Etihad, the closest being in 2018-19 and last season. Martin had a direct hand in five goals in six appearances last month, while only Andy Carroll (50) won more aerial duels as the Robins striker (46) makes the cut with a rating of 7.68. We will see what happens. For Bielsa and Conte, from opposite sides of an Italian auditorium to opposing dugouts at the Tottenham Hotspur Stadium six years later, it is almost time to find out. Instead, it is just confusing matters and undermining all efforts to lead an evolution of attitude towards head injuries at the grassroots level. How the teams lined up | Match statsPremier League results | Premier League tableGet Sky Sports | Live football on Sky SportsMartin Odegaard and Smith Rowe were denied by Nick Pope, who impressed in goal for the visitors, while Bukayo Saka fired wide when he should have hit the target shortly before half-time. What really makes me happy and proud is when your name is mentioned by new, up-and-coming holding midfielders as an example of how they would like to play. Vote for the next inducteesThe Hall of Fame recognises and celebrates the exceptional skill and talent of individuals who have graced the Premier League since its inception in 1992. He allows me to crack on with things. November brought his second manager of the month award of the season. Marcondes' 25-yard free-kick over the crossbar was as close as Bournemouth came to equalising. The Cherries are now eight points behind league leaders Fulham. Sporting 0-5 Man City - Match reportHow the teams lined up | Match statsThey fell painfully short last season, their 1-0 loss to Chelsea in Porto ensuring their first Champions League final appearance ended in heartbreak. FULL MATCH LIVE COVERAGE Day 3 | Auckland Aces v Follow Plunket Shield action LIVE from the Kennards Hire Community Oval in Auckland as the Auckland Aces host the Wellington Auckland City vs Wellington H2H Auckland City vs Wellington last match Football online, Soccer Online, Score live, Soccer results, Live football scores, Latest football They were unlucky against Premier League leaders Manchester City on New Year's Day but failed to show any of the same application here. FULL MATCH LIVE COVERAGE Day 1 | Auckland Aces v Follow Plunket Shield coverage LIVE from Colin Maiden Park in Auckland as the Auckland Aces host Wellington We were probing. We were the team that was going to create proper chances - and fortunately that proved to be the case. Despite the European distraction - five of these players started on Thursday in Genk, and Liverpool had an extra 24 hours to prepare - they are arguably a better side than last season. Wolves, who only had four shots on goal, were denied a penalty by VAR with the score at 1-0 as referee Graham Scott had originally awarded a spot-kick for a foul by Joel Ward on Rayan Ait-Nouri but replays showed it was outside the area. Norwich's Teemu Pukki has scored three goals in his last four Premier League games, as many as he had in his previous 24 appearances in the competition. Lille currently lie in 11th place in Ligue 1, 23 points adrift of leaders Paris Saint-Germain, but emerged from Group G as winners on the back of three successive victories having taken only two points from their first three fixtures. Atalanta beat Juventus 1-0 in a low-quality encounter at the Allianz Stadium. TALKING POINT - GASPERINI'S GENIUS Zidane is reportedly learning English which would help him step into any role in the Premier League, and he is perhaps the most successful manager of the last decade after delivering a hat-trick of Champions League wins in Spain, amongst other trophies. His arrival may help United to convince midfielder Paul Pogba to sign fresh terms as his current contract is due to expire at the end of the Real Madrid and Paris Saint-Germain remain in dialogue with Rudiger's representatives about a summer transfer away from the reigning world and European champions. Sky Sports will be covering the Carabao Cup semi-final draw on Wednesday, December 22. Supporters will also be able to watch free of charge on the Sky Sports YouTube The absence of Marko Arnautovic was also keenly felt. He was the exact kind of influence they needed, especially after going behind so early on. England would have qualified with a game to spare had Poland slipped up against Andorra but Robert Lewandowski scored twice in a 4-1 win. Watch Sky Sports now from £18 a monthPick your Premier League Team of the DecadeBut if Liverpool do go unbeaten, it is a massive feat, and it will be a bigger achievement. Sunderland are set to interview Roy Keane as they step up their search for a new manager. You just bounce into the next match, don’t you? And we did it as Sean Dyche's men are five points behind 17th-placed Newcastle but have two games in hand. Brighton are Initially, I thought it was, because there were some people booing during my practice yesterday. I have no idea what for, he told Last weekend saw them beaten 1-0 at home by Real Betis and the Catalans are currently 16 points behind leaders Real The 28-year-old midfielder rushed back from Africa Cup of Nations duty after seeing his country surprisingly dumped out of that competition at the group But there was no immediate urgency from Barnsley and, before long, Huddersfield had seized the advantage when Rhodes headed in from close range after a corner from the right. In the final they went behind after six minutes. The game hadn’t settled down when Beckham miscontrolled a difficult ball in midfield and Bayern counter-attacked. Carsten Jancker was challenged clumsily on the edge of the area by Johnsen, and Mario Basler stroked a simple free-kick into the bottom corner. It was the second time Schmeichel had conceded a free-kick at that end of the Nou Camp in the Champions League that season; the first was from Rivaldo in the group game against Barcelona. Each time, the ITV commentator Clive Tyldesley said the free-kicks were deflected. But neither were. On both occasions, Schmeichel wrongfooted himself by taking a presumptuous step in the wrong direction. Basler’s free-kick, which was relatively tame, went straight into the corner. Schmeichel complained that he couldn’t see it because of the jockeying of Basler, Butt, Jancker and Stam on the edge of the wall. “I think,” said Cole in his autobiography, “that p****d off a lot of the Everton have slipped all the way down to 16th place in the Premier League and are just five points above the relegation zone.
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American Football Ne
|
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[] |
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[
""
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[] | null |
en
|
American Football Ne
|
https://www.nzaff.co.nz/competitions
|
2023 Club Flag Football Club National Championships
The entries for the 2023 Flag Nationals are open from the 1st February until the 6th March.
The dates are the 25th and 26th March
The venue is Romgomai Sports Park, Flat Bush, Auckland
Only affiliated clubs can enter teams in the nationals however if you are interested in playing, either as an individual or as a team, then contact your local club to see how you can become a member.
Clubs are listed on the "Clubs" tab in this website..
For the 2023 Nationals the divisions that clubs can enter teams in are:
Men’s Open
Women’s Open
Legends Men
Men 18 and under
The notice regarding the Championships is here. READ THIS FIRST
The 2023 entry form is here
Adding Officials after entering teams form is here.
Game Schedule and results links.
Results Grids
Nationals Score Sheets
(Some are missing)
NZAFF Flag Football Club National Championships
NZAFF holds the Flag Football National Championship every year normally in March. Over the past few years Covid has disrupted the event and has forced postponements.
The 2022 edition was affected earlier in the year but it is now confirmed for the 1st and 2nd October in Auckland at a venue yet to be decided.
Only affiliated clubs can enter teams in the nationals however if you are interested in playing, either as an individual or as a team, then contact your local club to see how you can become a member.
Clubs are listed on the "Clubs" tab in this website here.
For the 2022 Nationals the divisions that clubs can enter teams in are:
Men’s Open
Women’s Open
Legends Men
Men 18 and under
The October 2022 entry form is here
The notice regarding the Championships is here.
Adding Officials after entering teams form is here.
To follow the live results follow this link here
|
||||
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| 75 |
https://talksport.com/football/1376769/womens-world-cup-2023-details-schedule-fixtures-key-dates-groups-uk-kick-off-times/
|
en
|
Women’s World Cup 2023: Full schedule, England fixtures, teams, results and UK kick-off times as Lionesses eye glory with USA out
|
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] | null |
[
"Jack Johnson"
] |
2023-08-12T13:41:00+01:00
|
The 2023 FIFA Women's World Cup is into the knockout rounds with the showpiece tournament being co-hosted for the first time.Australia and New Zealand
|
en
|
talkSPORT
|
https://talksport.com/football/1376769/womens-world-cup-2023-details-schedule-fixtures-key-dates-groups-uk-kick-off-times/
|
The 2023 FIFA Women's World Cup is into the knockout rounds with the showpiece tournament being co-hosted for the first time.
Australia and New Zealand have welcomed the world's best players to their shores as they look to lift football's biggest prize.
The United States were the favourites to lift the title again after winning the showpiece competition in 2015 and 2019.
However, the Americans were denied a possible three-peat after they crashed out in the Round of 16 on penalties to Sweden.
England will be aiming to build on their glory at the Euros last summer and win the World Cup for the first time.
Manager Sarina Wiegman, who was beaten in the final four years ago with the Netherlands, will believe that the Lionesses can go all the way in a major tournament for the second time in two years.
Follow all the latest Women's World Cup results, fixtures and group standings in our new match centre HERE.
Women's World Cup 2023: When and where is it?
The 2023 Women's World Cup began on Thursday, July 20 and will last for a month until Sunday, August 20.
It is taking place in Australia and New Zealand with the neighbouring countries sharing hosting duties.
This means that there will of course be a huge time difference with the UK.
Australia is ten hours ahead of the UK while New Zealand is 12 hours ahead so all fixtures will take place in the morning or early afternoon.
Women's World Cup 2023: Venues
The host cities and venues include:
Adelaide, Australia – Hindmarsh Stadium
Brisbane, Australia – Brisbane Stadium
Melbourne, Australia – Melbourne Rectangular Stadium
Perth, Australia – Perth Rectangular Stadium
Sydney, Australia – Stadium Australia and Sydney Football Stadium
Auckland, New Zealand – Eden Park
Dunedin, New Zealand – Dunedin Stadium
Hamilton, New Zealand – Waikato Stadium
Wellington, New Zealand – Wellington Regional Stadium
The final will be played in Sydney at Stadium Australia.
Women’s World Cup 2023: England fixtures
talkSPORT will have live commentary of every England game this summer.
Saturday, July 22 - England 1-0 Haiti
Friday, July 28 - England 1-0 Denmark
Tuesday, August 1 - China 1-6 England
Monday, August 7 - England 0-0 Nigeria (4-2 pens)
Saturday, August 12 - England 2-1 Colombia
Wednesday, August 16 - Australia vs England
Women’s World Cup 2023: England squad
Wiegman named her England squad for the World Cup on Wednesday, May 31 and had a number of star players she was unable to select due to injury.
Captain Leah Williamson, Beth Mead and Fran Kirby - three key players in the Euro winning team - are all absent.
Millie Bright and Lucy Bronze overcame their own injury problems to be selected in the 23-player list.
Jordan Nobbs was included as well, despite sustaining an injury in Aston Villa's penultimate game of the season, Katie Zelem was brought back after not making the last squad in April, and Bethany England was recalled.
Goalkeepers: Mary Earps (Manchester United), Hannah Hampton (Aston Villa), Ellie Roebuck (Manchester City)
Defenders: Millie Bright (Chelsea), Lucy Bronze (Barcelona), Jess Carter (Chelsea), Niamh Charles (Chelsea), Alex Greenwood (Manchester City), Esme Morgan (Manchester City), Lotte Wubben-Moy (Arsenal)
Midfielders: Laura Coombs (Manchester City), Jordan Nobbs (Aston Villa), Georgia Stanway (Bayern Munich), Ella Toone (Manchester United), Keira Walsh (Barcelona), Katie Zelem (Manchester United)
Forwards: Rachel Daly (Aston Villa), Bethany England (Tottenham Hotspur), Lauren Hemp, (Manchester City), Lauren James (Chelsea), Chloe Kelly (Manchester City), Katie Robinson (Brighton & Hove Albion), Alessia Russo (Manchester United).
Women’s World Cup 2023: Full schedule
All times BST
Group stages
Thursday, July 20
New Zealand 1-0 Norway - 8am - BBC
Australia 1-0 Ireland - 11am - ITV
Friday, July 21
Nigeria 0-0 Canada - 3.30am - BBC
Philippines 0-2 Switzerland - 6am - ITV
Spain 3-0 Costa Rica - 8:30am - BBC
Saturday, July 22
USA 3-0 Vietnam - 2am - BBC
Zambia 0-5 Japan - 8am - BBC
England 1-0 Haiti - 10:30am - LIVE on talkSPORT - ITV
Denmark 1-0 China - 1pm - BBC
Sunday, July 23
Sweden 2-1 South Africa - 6am - BBC
Netherlands 1-0 Portugal - 8:30am - BBC
France 0-0 Jamaica - 11am - ITV
Monday, July 24
Italy 1-0 Argentina - 7am - ITV
Germany 6-0 Morocco - 9:30am - ITV
Brazil 4-0 Panama - 12pm - ITV
Tuesday, July 25
Colombia 2-0 Korea Republic - 3am - BBC
New Zealand 0-1 Philippines - 6:30am - ITV
Switzerland 0-0 Norway - 9am - ITV
Wednesday, July 26
Japan 2-0 Costa Rica - 6am - ITV
Spain 5-0 Zambia - 8:30am - BBC
Canada 2-1 Republic of Ireland - 1pm - LIVE on talkSPORT 2 - ITV
Thursday, July 27
USA 1-1 Netherlands - 2am - BBC
Portugal 2-0 Vietnam - 8:30am - ITV
Australia 2-3 Nigeria - 11am - BBC
Friday, July 28
Argentina 2-2 South Africa - 1am - ITV
England 1-0 Denmark - 9:30am - LIVE on talkSPORT 2 - BBC
China PR 1-0 Haiti - 12pm - ITV
Saturday, July 29
Sweden 5-0 Italy - 8:30am - BBC
France 2-1 Brazil - 11am - BBC
Panama 0-1 Jamaica - 1:30pm - ITV
Sunday, July 30
Korea Republic 0-1 Morocco - 5:30am - BBC
Norway 6-0 Philippines - 8am - BBC
Switzerland 0-0 New Zealand - 8am - BBC
Germany 1-2 Colombia - 10:30am - ITV
Monday, July 31
Japan 4-0 Spain - 8am - ITV
Costa Rica 1-3 Zambia - 8am - ITV
Canada 0-4 Australia - 11am - BBC
Republic of Ireland 0-0 Nigeria - 11am - LIVE on talkSPORT 2 - BBC
Tuesday, August 1
Portugal 0-0 USA - 8am - ITV
Vietnam 0-7 Netherlands - 8am - ITV
Haiti 0-2 Denmark - 12pm - ITV
China PR 1-6 England - 12pm - LIVE on talkSPORT 2 - ITV
Wednesday, August 2
South Africa 3-2 Italy - 8am - BBC
Argentina 0-2 Sweden - 8am - BBC
Panama 3-6 France - 11am - ITV
Jamaica 0-0 Brazil - 11am - ITV
Thursday, August 3
Korea Republic 1-1 Germany - 11am - BBC
Morocco 1-0 Colombia - 11am - BBC
Round of 16
Saturday, August 5
Switzerland 1-5 Spain
Japan 3-1 Norway
Sunday, August 6
Netherlands 2-0 South Africa
Sweden 0-0 (5-4) United States
Monday, August 7
England 0-0 Nigeria (4-2 pens)
Australia 2-0 Denmark
Tuesday, August 8
France 4-0 Morocco
Colombia 1-0 Jamaica
Quarter-finals
Friday, August 11
Spain 2-1 Netherlands
Japan 1-2 Sweden
Saturday, August 12
Australia 0-0 (7-6) France
England 2-1 Colombia
Semi-finals
Tuesday, August 15
Spain 2-1 Sweden
Wednesday, August 16
Australia vs England - 11am - LIVE on talkSPORT 2 - BBC
Third place play-off
Saturday, August 19
Sweden vs Loser of Semi-final 2 - 9am - LIVE on talkSPORT 2
Final
Sunday, August 20
|
|||||
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| 36 |
https://www.worldfootball.net/history/nzl-nz-football-championship/
|
en
|
NZ Football Championship
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[
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[] | null |
NZ Football Championship » Archive, historic results
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worldfootball.net
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//www.worldfootball.net/history/nzl-nz-football-championship/
| |||||
4946
|
dbpedia
|
0
| 4 |
https://www.nzfootball.co.nz/competitions/football/national-league-championship
|
en
|
National League Championship
|
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The home of football in Aotearoa New Zealand
|
https://www.nzfootball.co.nz/nzfootball/competitions/football/national-league-championship
|
Established in 2021, the National League is Aotearoa New Zealand’s premier domestic football competition, showcasing the nation’s top talent in a two-phase battle for the prestigious title of National League champions.
Read about the competition and how teams qualify for the Championship phase.
|
|||||||
4946
|
dbpedia
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0
| 54 |
https://www.soccer24.com/team/team-wellington/hvTmeOs2/
|
en
|
Team Wellington - Results & Live Scores
|
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Check the team profile of Team Wellington, New Zealand on Soccer24.com providing latest match day results, scores, upcoming fixtures and player transfers.
|
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|
https://static.flashscore.com/res/_fs/image/4_favicons/_ass/soccer24/favicon.ico?v=8
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https://www.soccer24.com/team/team-wellington/hvTmeOs2/
|
Team Wellington, New Zealand page at Soccer24.com covers team's upcoming matches, match day results, latest scores, player transfers and complete squad list including player's position and squad numbers. You can also browse in thousands of other team profile pages, player pages (e.g. Lionel Messi, Erling Haaland, Kylian Mbappé) and competition pages (e.g. UEFA Champions League, EPL, CAF Champions League) on Soccer24.com.
|
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4946
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dbpedia
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1
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https://www.friendsoffootballnz.com/2024/03/15/preview-auckland-city-and-wellington-olympic-set-for-ofc-play-off-decider/
|
en
|
PREVIEW: Auckland City and Wellington Olympic set for OFC play
|
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2024-03-15T00:00:00
|
Auckland City expect arch rivals Wellington Olympic to come out with guns blazing when they meet in their OFC Men's Champions League play-off decider.City defender Michael den Heijer told Auckland City FC Media: "I'm expecting a fast start from them — it's going to be a fiery game."The teams meet at Wellington's Martin Luckie Park on Saturday March 16, 2024, for the second match of their two-legged play-off series after Auckland gained the advantage with a 1-0 win in the opener.
|
en
|
Friends of Football
|
https://www.friendsoffootballnz.com/2024/03/15/preview-auckland-city-and-wellington-olympic-set-for-ofc-play-off-decider/
|
Auckland City expect arch rivals Wellington Olympic to come out with guns blazing when they meet in their OFC Men’s Champions League play-off decider.
City defender Michael den Heijer told Auckland City FC Media: “I’m expecting a fast start from them — it’s going to be a fiery game.”
The teams meet at Wellington’s Martin Luckie Park on Saturday March 16, 2024, for the second match of their two-legged play-off series after Auckland gained the advantage with a 1-0 win in the opener.
Den Heijer said the City team felt proud to have kept a clean sheet against the National League champions in the first leg at Kiwitea Street.
“It’s an exciting prospect, trying to keep it two clean sheets in a row against a top attacking line-up,” den Heijer said.
“We’ll be doing everything we can to do that.”
Losing the National League grand final to Olympic in late 2023 had benefitted City, in that they were now focussed on regaining their upper hand over their rivals.
“I think we’re going to have to come with exactly the same attitude as what we brought to Kiwitea in the first leg.”
Main photo: Auckland City goalscorer Stipe Ukich is brought down in the first leg. Photo: Andy Skinner / Phototek.
Olympic coach Paul Ifill: ‘We are under no illusions’
Wellington Olympic head coach Paul Ifill believes his side’s vocal supporters and home advantage can swing the two-legged tie his team’s way.
Writing in the club’s match programme, Ifill said: “Even though we lost (the first leg), I felt that we were always a threat and that the game could have gone either way.
“I always thought that we would have to win at home to progress, and I feel a 1-0 deficit is obtainable if we get things right today with our very vocal supporters behind us.
“We are under no illusion as to the task at hand as we face the most successful club in the country.
“Games of this magnitude are what we as players and staff love, and I can promise we will leave everything out there as
we try to qualify for a maiden O-League campaign.”
Ifill’s final words are to the Olympic fans: “Please get behind the players as I really feel you could be the difference today.”
What they’re playing for
The result over two legs will decide which team represents New Zealand at the OFC Men’s Champions League tournament in Tahiti from May 11-24, 2024.
READ MORE: Draw made for eight-club OFC Men’s Champions League tournament >>>>
The winners of the OFC Men’s Champions League will qualify to represent Oceania at a new annual FIFA club competition, the FIFA Intercontinental Cup.
The first staging of the six-club tournament will be in December.
City fans to watch game live from clubrooms
Auckland City are hosting a day of football — live and on their television screens — at their Kiwitea Street headquarters.
The clubrooms will open at 1pm, and spectators will be able to enjoy live football between Central United Presidents XI and Mount Albert Ponsonby for the Brian Stanyer Memorial Trophy at 2pm.
READ MORE: Clubs get together for annual memorial match to remember Brian ‘Stan’ Stanyer >>>>
The club will screen the live FIFA+ stream of the OFC Champions League play-off from Wellington (see link below).
Fixture
Game to be played on Saturday March 16, 2024
OFC Men’s Champions League
National play-offs — second leg
Wellington Olympic v Auckland City
Martin Luckie Park, Wellington, 2pm
Auckland City lead 1-0 after first leg
READ MORE: Auckland City claim first leg OFC play-off win against Wellington Olympic >>>>
Download the match programme
Result
Game played on Saturday March 9, 2024
National play-offs — first leg
Auckland City 1 (Stipe Ukich 72′)
Wellington Olympic 0
Squads
|
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|
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3
| 17 |
https://www.wellington.org/athletics
|
en
|
Independent School Athletics at The Wellington School in Columbus, OH
|
https://www.wellington.org/core/misc/favicon.ico
|
https://www.wellington.org/core/misc/favicon.ico
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Wellington is proud to offer independent school athletics for our students to learn valuable lessons in perseverance, accountability, collaboration, and leadership. Go Jaguars!
|
en
|
/core/misc/favicon.ico
|
https://www.wellington.org/athletics
|
Student athletes are given a platform to maximize their individual abilities, while simultaneously helping Wellington win championships. The program values inclusion of the student body and is committed to finding a place for all student athletes at either the junior varsity or varsity level. Playing time is not guaranteed at the varsity level. Responsibility, time management skills, and leadership development are expected by-products of participation at this level.
Skill development and a balance between participation and increased competition are the primary focus of middle school athletics. The goal is for each student to receive some playing time during each contest and all Wellington students are encouraged to join our athletic teams. Coaches and athletes work to create an inclusive and energetic team environment, while thoroughly preparing for the transition to upper school athletics.
Throughout the school year we offer a variety of camps and clinics through our Junior Jags program. These opportunities reflect a variety of sports which are provided in our Middle and Upper School athletic programs. Junior Jag camps and clinics are often instructed by our Varsity Coaches, with the support of our Upper School students. This is a fun way to build community between young, aspiring athletes and our experienced Varsity student-athletes.
We are happy to offer the Wellington Youth Basketball League (WYBL) once again this year! League registration is now live, so register soon! You are allowed to request 1 player per registration, or you can register a full team with at least 8 players but no more than 10. Any team entries must have an established coach. If registering individually, I ask that you consider coaching a team. The league successfully runs thanks to volunteer parent coaches.
Register: Coming Soon.
Who: Boys & Girls – Grades 1-4
Divisions:
1-2 Grade Boys
1-2 Grade Girls
3-4 Grade Boys
3-4 Grade Girls
Where: The Wellington School
When: Practice begins TBD
Cost: TBD
First Game: Game dates to be released soon.
Final Game: Game dates to be released soon.
Contact: wybl@wellington.org
Volunteer Coaches: Teams are coached by volunteer parents
Player Request: Limited to 1 player request per registration
|
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4946
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dbpedia
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0
| 15 |
https://www.youtube.com/channel/UCOlVcyI-9J8QiPkxjKhT5zg
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en
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Bevor Sie zu YouTube weitergehen
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Team Wellington (2011/12)
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Info
Unauthorized publishing and copying of this website's content and images strictly prohibited!
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Installed version: 3.0.0
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4946
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3
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https://wellingtonwolves.leagueapps.com/
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en
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LeagueApps Member Portal
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LeagueApps Member Portal
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en
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4946
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Stuff
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2
| 85 |
https://www.goal.com/en/lists/auckland-wellington-must-see-new-zealand-cities-hosting-womens-world-cup/bltfd4443fda3e21fa3
|
en
|
Auckland, Wellington & the must-see New Zealand cities hosting Women’s World Cup football: A 2023 fan tourist’s guide
|
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[] |
[] |
[
"New Zealand",
"World Cup",
"Soccer cities",
"FEATURES"
] | null |
[
"GOAL"
] |
2023-06-23T08:30:00+00:00
|
GOAL takes a look at New Zealand's Soccer Cities: The four venues hosting the 2023 Women's World Cup
|
en
|
https://www.goal.com/en/lists/auckland-wellington-must-see-new-zealand-cities-hosting-womens-world-cup/bltfd4443fda3e21fa3
|
New Zealand is getting ready to welcome an influx of football fans this July and August, with four cities hosting games at the 2023 Women's World Cup.
From the capital city Wellington to Dunedin in the South Island, fans from Europe, the Americas, Africa and Asia will be moving around the antipodean islands following their teams, while the locals will no doubt enjoy a carnival atmosphere.
Here, GOAL takes a closer look at the four Soccer Cities in New Zealand playing host to Women's World Cup games in 2023.
This article contains affiliate links. When you subscribe through the links, we may earn a commission.
|
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4946
|
dbpedia
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3
| 26 |
https://m.facebook.com/WellingtonPhoenixFC/posts/10157312573334239/
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en
|
Facebook
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
| null | |||||||
4946
|
dbpedia
|
1
| 87 |
https://www.newstalkzb.co.nz/news/sport/all-blacks-v-argentina-scott-robertson-names-squad-for-rugby-championship-test-in-wellington/
|
en
|
Will Jordan returns from the bench to face Argentina
|
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[
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[] |
[
"allblacks",
"allblacksvargentina",
"rugby",
"RugbyChampionship",
"scottrobertson"
] | null |
[
"Newstalk ZB",
"Cameron McMillan and Christopher Reive",
"Cameron McMillan",
"Christopher Reive"
] |
2024-08-08T00:00:00
|
Scott Robertson has announced the All Blacks squad set to play Saturday's Rugby Championship opener against Argentina.
|
en
|
/content/news/images/interface/icons/newstalkzb/apple-touch-icon.png
|
ZB
|
https://www.nzherald.co.nz/sport/rugby/all-blacks/all-blacks-v-argentina-scott-robertson-names-squad-for-rugby-championship-test-in-wellington/CAIIDAGV2JGX7NRAW7ZK65ZVK4/
|
Will Jordan will make his All Blacks return from the bench, with the electric outside back named among the reserves for Saturday night’s Rugby Championship opener.
Jordan’s addition is among a number of changes to Scott Robertson’s team for the clash against Argentina in Wellington.
Sam Darry will again start at lock, while TJ Perenara will resume duties in the No 9 jersey after recovering from injury. Dalton Papali’i joins the starting lineup at openside flanker which sees Ethan Blackadder move to the blindside, and Anton Lienert-Brown starts at centre.
Rieko Ioane has been named in the reserves, with Wallace Sititi earning the role as loose forward reserve after an impressive stint off the bench in his test debut against Fiji in Luke Jacobson’s absence (hamstring). With Perenara returning, Cortez Ratima reverts to the bench.
With Scott Barrett ruled out for the first two tests of the Championship, Ardie Savea will captain the team against Argentina, and Josh Lord – called into the squad as injury cover for Barrett – will be the reserve lock with Patrick Tuipulotu (calf) unavailable.
All Blacks 1-15: Ethan de Groot, Codie Taylor, Tyrel Lomax, Tupou Vaa’i, Sam Darry, Ethan Blackadder, Dalton Papali’i, Ardie Savea (c), TJ Perenara, Damian McKenzie, Mark Tele’a, Jordie Barrett, Anton Lienert-Brown, Sevu Reece, Beauden Barrett.Reserves: Asafo Aumua, Ofa Tu’ungafasi, Fletcher Newell, Josh Lord, Wallace Sititi, Cortez Ratima, Rieko Ioane, Will Jordan.
Liam Napier assesses the challenging calls facing Scott Robertson and his coaching team.
Halfback:
This is where the most definitive change has emerged in Scott Robertson’s budding tenure. Finlay Christie has fallen out of favour – and there is more movement to come this year, too, once Cam Roigard returns from injury. For now, though, Chiefs halfback Cortez Ratima is in the box seat to retain the starting mantle.
The All Blacks started the year harnessing TJ Perenara’s experience for their shaky season-opening victory against England in Dunedin.
Perenara, in his first test for 18 months after battling back from successive Achilles surgeries, performed well before injuring his knee late in the first half which ruled him out for the remainder of the July tests. In Perenara’s absence, Ratima stole the march.
With an impressive debut off the bench at Eden Park and, after being promoted to start in San Diego, Ratima’s speed to the base and crisp delivery proved a notable point of difference.
Ratima suffered a head knock against Fiji but, provided he has recovered, he should retain the No 9 jersey for the Pumas as his style suits the All Blacks attacking approach.
Perenara’s contrasting size and experience could be favoured over Noah Hotham on the bench for his likely second to last test in Wellington before departing to Japan at the end of the year.
Fullback:
Will Jordan or Beauden Barrett?
Damian McKenzie put it best this week when he compared Jordan to a luxury Italian sports car.
“He’s looking great, Will. He’s like the Ferrari, you bring him out of the garage at the right time,” McKenzie said.
“He’s ready to go. It’s great to see him play some NPC last weekend with Tasman and great to have him back out there running. It’s been a long time since the World Cup so we’re excited to have him back.”
Indeed, the All Blacks aren’t alone in their anticipation to witness Jordan unchained.
Stephen Perofeta’s unavailability due to a calf strain – the Blues playmaker started the first two tests this year at fullback – seemingly paves the way for a straight shootout between Jordan and Barrett to start in the backfield.
Hurricanes attacking weapon Ruben Love is another option but, for now at least, he may be kept on ice.
With two exceptional performances off the bench against England, Barrett put the new All Blacks regime on notice that he is far from a spent force. He earned a start at fullback against Fiji – and could be retained there this week, with Jordan’s generational talent potentially eased back into the test scene from the bench.
Robertson has, however, made no secret that, on his watch, Jordan is a fullback first, wing second, to signal a significant shift after starting one of his previous 31 tests in his favoured 15 jersey.
While Jordan’s attacking prowess is renowned, Barrett’s visionary kicking skill sparked the All Blacks last month to underline the influence of the boot in the elite arena.
Left wing also warrants a robust debate with Caleb Clarke deserving of another start. The All Blacks were vulnerable to the cross-field kick against England, conceding two tries in this fashion. Clarke’s unrivalled aerial ability could help address this area - potentially at Sevu Reece’s expense.
Lock:
A genuine concern for the All Blacks. Scott Barrett’s absence for the two home Pumas tests exacerbates a lack of established second-row depth. As the most experienced pairing, Patrick Tuipulotu and Tupou Vaa’i are expected to join forces this weekend. The third spot is, however, problematic with Blues lock Sam Darry believed to be carrying an injury following his debut off the bench against Fiji.
Undercooked Chiefs lock Josh Lord is training with the All Blacks and could, potentially, be included on the bench but he is shorn of match fitness after one preseason outing for Taranaki in recent months. With the lineout a major issue in the two tests against England, the All Blacks’ thin locking stocks once again shines a spotlight on this essential set piece platform.
Loose forwards:
Ardie Savea will captain the team from No 8 in Scott Barrett’s absence, and the All Blacks are unlikely to have seen enough from Ethan Blackadder’s start at openside against Fiji to dislodge Dalton Papali’i from returning for the Pumas. Blindside, though, is a live debate.
The All Blacks favoured Samipeni Finau for their desired enforcer role against England. While Finau didn’t replicate the physicality he imposed on Super Rugby opposition with the Chiefs this year – no one in the All Blacks pack emerged with dominant status against England.
Finau, Luke Jacobson and Blackadder will contest the right to start at No 6 against the Pumas. Jacobson impressed there with the best performance from the All Blacks loose forwards against Fiji to apply serious pressure but in terms of balance, Finau appeals with Papali’i and Jacobson offering similar traits.
Robertson’s selection at blindside will test his faith in Finau’s ability to rise to the occasion. The composition of the bench sparks interest, too, with Wallace Sititi’s powerhouse point of difference pushing for inclusion and Sam Cane lurking with intent.
Midfield:
Jordie Barrett and Rieko Ioane are favoured to maintain their incumbent partnership but after recalling David Havili, the All Blacks now have five midfielders in their squad. Anton Lienert-Brown and Billy Proctor delivered dominant displays against Fiji to send a message that they are not content playing bit part roles. Ioane in particular is under pressure to respond to Proctor’s silky distribution.
|
||||
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3
| 4 |
https://www.wellingtonsoccer.com/
|
en
|
Wellington Wave
|
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[] |
[] |
[
"ECNL",
"Youth Soccer",
"Travel Soccer",
"Boys Soccer",
"Girls Soccer",
"Youth Soccer",
"Soccer tryouts near me"
] | null |
[] | null |
The Wellington Soccer Club (WSC) is an organization dedicated to the development of boys & girls soccer players who have the desire to compete at the highest level of youth soccer and who are committed to supporting this organization in achieving the outlined program goals.
|
en
|
/lib/theme/wave/favicon.ico
|
Webauthor
|
https://www.wellingtonsoccer.com/
|
Wellington Soccer Club The Wellington Soccer Club (WSC) is an organization dedicated to the development of boys & girls soccer players who have the desire to compete at the highest level of youth soccer and who are committed to supporting this organization in achieving the outlined program goals. Since 1995, the WSC has been the travel soccer provider for players residing in the Village of Wellington and the entire Western Communities of Palm Beach County.
Proud Member of Elite Clubs National League (ECNL) WHAT DOES THIS MEAN FOR YOU?
ECNL-R is a top-tier soccer league in the State of Florida
Compete at the highest levels against top-level teams
Experience peak training and skill development
Gain greater exposure to the scouting process for college recruiting
League play begins at U11 for both girls and boys
U8 through U10 ECNL-R focused player development
|
||||
4946
|
dbpedia
|
1
| 68 |
https://www.oceaniafootball.com/
|
en
|
Oceania Football Confederation
|
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[] |
[] |
[
""
] | null |
[] | null |
OFC Home…
|
en
|
Oceania Football Confederation
|
https://www.oceaniafootball.com/
|
EXCELLENCE
Committing to excellence in all that we do while facing our opportunities and challenges with optimism and adaptabilityÂ
INTEGRITY
To do the right thing and emulate a culture of trust, transparency and honesty
EMPOWERMENT
To encourage all to be confident in taking initiatives, being creative, making decisions, and giving the best to optimise our individual and collective impact and development
DIVERSITY
To create a safe environment where all individuals are treated fairly and respectfully, given equal access to opportunities and resources and can fully contribute to the OFC purpose and successes. Most importantly embracing the Pacific culture.
To leave a legacy in football through education and capability building that meets the needs of the individual and stakeholders
|
|||||
4946
|
dbpedia
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0
| 32 |
https://natlib.govt.nz/records/22659726
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
4946
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dbpedia
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1
| 91 |
https://www.playmakerstats.com/player/wellington-nem/91427
|
en
|
Player Profile & Stats
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] |
[] |
[] |
[
"Wellington Nem",
"Brazil",
"Kisvárda",
"Hungary"
] | null |
[] | null |
Wellington Silva Sanches Aguiar is a 32-year-old Football player. Born in Rio de Janeiro on 1992-02-06, he plays as Forward for Kisvárda, in Hungary. Weights 58 kg and is 165 cm tall.
|
en
|
https://www.playmakerstats.com/favicon.ico
|
www.playmakerstats.com
|
https://www.playmakerstats.com/player/wellington-nem/91427
| |||||
4946
|
dbpedia
|
3
| 88 |
https://www.wellingtonhockey.org.nz/
|
en
|
Wellington Hockey
|
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] |
[] |
[] |
[
""
] | null |
[] | null |
Wellington Hockey through its affiliation to Hockey New Zealand is responsible for the administration, development and promotion of hockey in Wellington. We are committed to providing quality experiences and opportunities to players, officials, coaches and supporters of all ages, gender and levels of ability.
|
en
|
Wellington Hockey
|
https://www.wellingtonhockey.org.nz
|
Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.Hockey will proceed as normal for Open Grade, Secondary School, and Junior Hockey over Matariki.
|
|||||
4946
|
dbpedia
|
0
| 65 |
https://www.ultimatenzsoccer.com/NZRepSoccer/id27.htm
|
en
|
A History of New Zealand Soccer
|
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[] |
[] |
[
""
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[] | null | null |
Mention soccer to the average New Zealander, and they immediately associate the sport with 1982, the year a small country - human population: three million; sheep population: too many to mention! - took on the cream of the footballing world at its most prestigious tournament, this despite soccer not being the country's number one code.
The Road to Spain, as New Zealand's qualifying campaign came to be known, was an arduous one, to put it mildly. Traditional foes Australia were the major obstacle in the Oceania qualifying zone, which also consisted of Taiwan, Indonesia and Fiji, a team routed 13-0 by the All Whites, then a record score in World Cup soccer.
For most countries, finishing top of your World Cup qualifying zone guarantees automatic entry to the sport's quadrennial coming together of its finest exponents. Not so for Oceania's premier nation, however. Instead, further play-offs are scheduled, more often than not against Asian representatives.
Thus New Zealand found themselves taking on the cream of Saudi Arabia, Kuwait and the People's Republic of China in a further qualifying group, with the top two nations securing the last berths in Spain. And after six round-robin matches apiece, New Zealand and China were locked together in second place, forcing a play-off in the neutral territory of Singapore on January 10, 1982, the means by which one nation would experience agony, the other ecstasy.
Contrasts dominated. East versus West. The old versus the new. The world's most populous nation against a true minnow in the global scheme of things.
As it turned out, size mattered not. Nor age, nor compass point. What did, for some 650,000 Kiwis watching their television screens into the wee small hours of the following morning, was a 24th minute strike from "the lethal left foot" of Steve Wooddin, and a twenty-five yard wonder volley two minutes into the second spell from Wynton Rufer, a then nineteen-year-old striker who has since gone on to become the greatest player in the history of soccer in Oceania.
Those two goals gave New Zealand a 2-1 victory over China, and the final berth at the first-ever twenty-four nation World Cup Finals, the draw for which pitted the minnows against the almighty - Russia, "King" Kenny Dalglish and Scotland, and the one nation on earth which, more than any other, people associate with the game the world plays ... Brazil.
History shows that New Zealand made an early exit from Spain '82, but, as then New Zealand World Cup director and now Honorary President of the Oceania Football Confederation, Charlie Dempsey, said upon the squad's return home from the play-off, "Singapore was our World Cup Final. We have won our World Cup".
That success also marked the perfect way to celebrate a century of soccer in New Zealand. True, the New Zealand Football Association - nowadays New Zealand Soccer - wasn't formed until 1891, but the sport had been a part of the New Zealand way of life since the early 1880's.
That said, it wasn't the nation's premier sporting code in the eyes of the masses, for soccer had failed to capture the imagination of the public in this country in the way in which the more physically demanding but less cerebrally challenging sport of rugby union had done so.
It did so in 1981, however, a quite timely event too, in more ways than one. For the successes of the "All Whites", as the national soccer team was affectionately and, in hindsight, somewhat ironically known as they embarked on their "Spanish Conquest", played a part in unifying a nation split fair down the middle between displaying its pride and loyalty to its national sport, and condemning the apartheid-oriented ways of the South African government, whose national rugby team, the Springboks, were scheduled to tour New Zealand.
As a result of playing a then-record fifteen matches to qualify for the 1982 World Cup Finals, New Zealand's representatives had clocked up some 70,000 air miles en route - more in one year than had been amassed in the first sixty-odd years soccer had been a part of the nation's sporting interests.
Indeed, up until the Second World War, in fact, New Zealand's involvement in the footballing world was largely confined to any number of matches against Australian opposition on either side of the Tasman Sea.
Only the visits to our shores of Chinese Universities (1924 above), Canada (1927) and England Amateurs (1937) provided some semblance of variation from the trans-tasman footballing diet with which New Zealand had, to this point, contented itself.
In the years immediately following the war, a visit to these shores by South Africa, in pre-apartheid days, was the highlight, with one of the quirks of this four-test series being that each international took place on what, today, are the four premier test rugby venues in this country!!
The early 1950s saw New Zealand significantly broadening its footballing horizons, with a string of trips to a number of our South Pacific neighbours, most notably New Caledonia, Fiji and Tahiti, taking place. The latter part of that decade saw the first visits to these shores of leading UK and European selections and club sides, visits which continued off and on until the late 1980s.
FK Austria were the first club of this contingent to visit, in 1957. Four years later, an English FA XI led by Tom Finney handed out a footballing lesson to their Antipodean cousins, while Manchester United came a-calling in 1967.
Eleven years later, England B toured New Zealand, with the League of Ireland and Watford (both 1982), Newcastle United (1985), a Russian XI (1986), Dynamo Minsk (1987) IFK Gothenburg and Young Brazil (both 1988), Lokomotiv Moscow (1990), England (1991) and Werder Bremen (1992) others to make visits of significant duration to these shores for series against the national side.
1964 saw New Zealand make its first major overseas tour - a fifteen-match extravaganza which took in Asia, England and Europe, finishing in the USA. Another fifteen years were to pass before this trek was repeated, the national side this time limiting itself to ten matches against Middle East and UK opposition.
A further such journey, to Fiji and the UK, was made in 1984, with an all-UK tour taking place in 1992. Both these tours were eight-match affairs, while more recent tours to South America via Tahiti (1995) and the Middle East (1996) have, respectively, boasted six-match and five-match schedules.
In the immediate aftermath of New Zealand's success in qualifying for the World Cup Finals, numbers playing the game simply sky-rocketed, particularly at junior level. In some ways, this sudden surge of interest caught those involved in soccer in this country on the hop, and it has to be said that little was done to fully capitalise on this country's greatest footballing achievement.
Save for one thing - the introduction of a Centres of Excellence programme which, while providing little benefit initially, has reaped rich rewards in recent years. This was most evident in 1997, when New Zealand's Under-17 squad qualified for the Junior World Cup Finals in Egypt. Unlike in 1982 however, the youngsters were nowhere near as competitive as was hoped, a fact underlined by a 13-0 hiding at the hands of Spain in round-robin play.
Two years on, and the next batch of youngsters off the Centres of Excellence production line did heir country proud at the 1999 World Junior Championship of Football, this time on home turf here in New Zealand.
It's a competition the local footballing public was very much looking forward to hosting and being part of, with tournament organiser Bill MacGowan and his team having moved mountains to get things on track, after a much publicised "on again - off again" saga revolving around whether this country could actually afford to host this prestigious FIFA tournament.
History will show that Brazil ousted Australia on penalties in the final of the tournament, and it will also show New Zealand having recorded its first-ever win at this stage of a FIFA tournament - a 2-1 triumph over Poland.
And while the scoreline of the Brazil v. Ghana semi-final will forever appear in the record books, what cannot be emphasised by statistics is that this was unquestionably the greatest soccer match ever seen in this country - so impressed with the standard of football on show in this magnificent game were the FIFA officials present that the day after, they decreed that a copy of the match video was to be sent to every one of its 203 member associations.
Much of the public interest in this event was aroused by the All Whites' participation in the 1999 Confederations' Cup Finals in Mexico, where New Zealand ran the USA, European champions Germany and the runners-up at France '98, Brazil, close in their three group games, performances which did the players concerned, and soccer in this country as a whole, no end of good.
To qualify for this event, it meant conquering our great rivals from across the Tasman once again, on their own patch. Australia did not treat the Oceania Nations Cup competition with the respect it deserved, and paid the price for selecting a solely Australian-based squad - not one of their own overseas-based professional contingent was called upon by the Socceroos.
How the All Whites, and the New Zealand soccer public, enjoyed Mark Burton's 24th minute goal in the tournament final in Brisbane as a result!! It was a memorable victory, by far bettering the two-legged Trans-Tasman Cup triumph over Australia recorded in 1987, as the rewards on this occasion were far more substantial, both financially and in terms of prestige and recognition on the world stage.
The squad which represented New Zealand on this stage features more overseas-based professionals than ever before, another of the benefits to be had from the Centres of Excellence programmes. New Zealand internationals are now plying their trade in nations as far-flung as Iceland, Singapore, South Africa, Australia, England, Belgium, the USA and Germany, as well as here at home.
Soccer in New Zealand has benefitted greatly from the involvement of any number of key people over the years, and of those, a handful are deserving of greater recognition than to merely be mentioned in dispatches.
Foremost among this elite group is Ken Armstrong, who, soon after helping Chelsea to win the 1954-5 English League championship, brought his family across the seas to settle, initially, in Gisborne. There is no debate necessary as to how great was his influence in New Zealand soccer throughout the 1960s and 1970s - quite simply, there was none greater.
Armstrong revolutionised the game in this part of the world, primarily in a coaching role. He introduced modern-day tactics to New Zealand soccer, and established a platform from which the game in this country has gone forward in leaps and bounds.
Sadly, Ken passed away in 1984, but has left the game in this country a great legacy in the form of son, Ron, one of this country's greatest-ever players who, nowadays, is co-coach of New Zealand's Olympic (Under-23) squad.
Another individual who needs no introduction is Charlie Dempsey, another member of the "British Invasion" to New Zealand in the 1950s. Administration is his forte, and, like Armstrong, he has utilised his astuteness behind the scenes to great effect for football in this country.
Initially involving himself in Auckland soccer, Charlie went on to fulfil national administration duties, culminating in his elevation to the chairmanship and, later, the presidency of the NZFA. At the same time, he involved himself in the affairs of the Oceania Football Confederation from day one in 1966, and is now the OFC President, as well as a member of the FIFA Executive Committee, where he is highly respected by his fellows in the game's world governing body.
It is appropriate to mention both John Adshead and Kevin Fallon in the same breath, because both have enjoyed individual spells at the helm of the All Whites without as much success as both would have preferred. But when operating in tandem for the 1982 campaign ... to quote Bill Shankly, "they conquered the bloody world!!"
Adshead was very much the front-man of the duo, the public face of the game in this country at a time when soccer was perfectly placed to make great in-roads into the nation's infatuation with rugby. As well, he was an excellent motivator, as evidenced by a quote from Adrian Elrick, one of the '82 All Whites - "If John Adshead asked the players to go out and die for him, not one of them would hesitate".
Fallon, meanwhile, was the coaching expert, a born-and-bred Yorkshireman who is regarded by many as the taskmaster's taskmaster - "uncompromisingly honest" is Adshead's description of his coaching partner. Very thorough in his preparation of players, Fallon is currently overseeing New Zealand's Under-17 World Cup programme, as well as carrying out various coaching duties in his role as the Oceania Football Confederation's Technical Director of Coaching.
On the park, Wynton Rufer's achievements speak volumes for his dedication, often at the expense of playing for his country. His exploits in Switzerland, Germany - he won honours galore at Werder Bremen - and in Japan have earned him many kudos, particularly in the footballing hotbed that is Europe.
In New Zealand, however, he is somewhat misunderstood by the local footballing public, who struggle to perceive how Rufer, given the success he has achieved on the world stage, and the fact that, when called upon to play for the All Whites, was more often than not unavailable for selection, now wishes to draw on his experiences in order to put something back into the game in this country.
To this end, he was appointed player-coach for the first two seasons of the fledgling Auckland-based Football Kingz club, a New Zealand entry which has participated in Australia's National Soccer League competition since October 1999. At the same
time, he is focusing his coaching energies on placing more emphasis on the development of junior footballers, with whom he enjoys great affinity.
The early years of the coming millenium promise to be exciting ones for soccer in New Zealand, with so many things having happened in the game in this country in the last year of the twentieth century. To mark the new century, the All Whites won the Merdeka Cup, Malaysias annual international tournament.
This went some way to making up for losing their crown as kings of Oceania, Australia emerging triumphant at the Oceania Nations Cup tournament in Tahiti, and also conquering both the Youth (U-20) and Junior (U-17) All White teams in the Oceania finals of these age grades, two-legged matches which had qualification for the U-20 and U-17 World Cup Finals at stake.
The Oly-Whites (U-23s), meanwhile, were edged out of a berth at the Sydney 2000 Olympic Games by South Africa, again over two legs, while the All Whites were clinically disposed of by a ruthless Australian combination in the Oceania play-off on the road to the 2002 World Cup Finals, highlighting the gulf which is opening up between the countries once again, a situation arising from any number of factors, not the least of which is New Zealands lack of international exposure in comparison with our trans-tasman rivals.
Revenge was sweet on home turf in July 2002, however, when Australia sent an under-strength side across the pond to defend the Oceania Nations Cup. Ryan Nelsen's winner in the final secured the All Whites a trip to France for the 2003 Confederations Cup Finals, leaving our arch-rivals to shrug their shoulders and say, "C'est la vie!!"
While soccer in this country will always struggle to enjoy its fair share of the spotlight and related benefits, e.g. top-level sponsorship on the same scale as that enjoyed by the oval ball codes, thanks largely to the media's seeming preoccupation with all things rugby, there remains plenty for round-ball followers to be encouraged by at present in this area of the world.
1982 will always be a key part of New Zealand soccer's history. 1999, with our involvement in the Confederations' Cup Finals and the Junior World Cup Finals taking place in this country, was another such year of note.
2003, and another Confederations Cup Final appearance, allied to New Zealand's highest-ever ranking on the world stage - a top-fifty spot, no less - is another noteworthy entry in our ongoing chronicle. We look forward to many more.
THE INTERNATIONAL REVOLUTION
In the years immediately prior to 2005, the stewardship of New Zealand Soccer under Bill MacGowan had seen national team activity take second place to fiscal prudence in the order of priorities, an approach which did little to aid the game's development on the park.
Australia's transfer to the Asian Confederation from Oceania gave MacGowan's successor, Graham Seatter, the opportunity to redress the balance on the playing front, and while it impacted on the balance sheet status, New Zealand went from famine to feast in terms of international activity, as a plan was put in place to qualify for fourteen FIFA finals at various age levels by the end of 2010.
New Zealand has enjoyed great success in this quest, its national teams qualifying as Oceania's representatives for each of the following FIFA tournaments:
2006 U20 Women's World Cup Finals
2007 Women's World Cup Finals
2007 U20 World Cup Finals
2007 U17 World Cup Finals
2008 U17 Women's World Cup Finals (as hosts)
2008 Olympic Women's Football Tournament
2008 Olympic Men's Football Tournament
2008 U20 Women's World Cup Finals
2009 Confederations Cup Finals
2009 U17 World Cup Finals
2010 World Cup Finals
2010 U20 Women's World Cup Finals
2010 U17 Women's World Cup Finals
Only one failure was recorded, with the U20 men's squad failing to qualify for the 2009 World Cup Finals.
As well, New Zealand club teams represented Oceania at the FIFA Club World Cup Finals in each year of this cycle, with Auckland City stunning all-comers by finishing fifth in the 2009 event, conquering two professional teams en route - the best possible response to FIFA's concerns about an amateur team competing alongside professional clubs at one of their showpiece events!
Qualifying for South Africa 2010 saw the All Whites overcome Bahrain, the fifth-placed Asian nation, over two legs to secure a financial windfall (a guaranteed sum of $US 9m is the reward for each finalist) which will do wonders for the game in New Zealand, providing it is spent prudently.
And how they strutted the world stage! Three draws far exceeded the expectations of all and sundry, and while they weren't quite enough to see the All Whites progress to the last sixteen, the attributes of respectability and credibility were earned in spades.
It was a stunning effort by Ricki Herbert, Ryan Nelsen and the squad, one which captured the imagination of the nation as they returned home undefeated, just the fourth nation in World Cup history to achieve this feat while failing to progress beyond the group stages.
Doubtless there will be changes to New Zealand's qualification path for future World Cup Finals, with the prospect of Oceania's champions contesting the final round of Asian play-offs a sensible and financially lucrative option.
But while direct qualification for FIFA's numerous Finals (with the exceptions of both the Club World Cup Finals and the World Cup Finals) remains, and the obstacle which is Australia no longer blocks the path of Kiwi progress where qualification for these events is concerned, New Zealand should look to make hay while the sun shines. Long may it continue to!
It certainly did in 2011, with the Junior All Whites becoming the first national team to progress from their group as they reached the last sixteen at the FIFA U-17 World Cup Finals.
A year later, it was the turn of the Football Ferns to make history, as New Zealand advanced to the quarter-finals of a major football tournament for the first time ever.
They reached the last eight at the London 2012 Olympic Women's Football Tournament, where their progress was curtailed by the USA, who went on to claim a historic third successive gold medal in the event.
The All Whites, meanwhile, failed to build on their successes of 2010, a shock loss to New Caledonia in Honiara in 2012 quashing their FIFA Confederations Cup Finals prospects.
They progressed to the inter-confederation play-offs for a place at the 2014 FIFA World Cup Finals, but a 9-3 aggregate hiding by Mexico brought an end to Ricki Herbert's 67-game reign as New Zealand's national coach, the longest-ever tenure by anyone in that position.
The undoubted highlight of 2014 saw Auckland City capture the imagination of football around the world, as the amateurs more than footed it with the professionals at the FIFA Club World Cup Finals.
City have dominated both domestic and Oceania club football in the second decade of the 21st Century, the one consistently bright light for the men's game in New Zealand in a period during which national representative teams have struggled.
But not even in their wildest dreams did the club's die-hard fans anticipate Ramon Tribulietx's charges finishing in an incredible third place in Morocco, where they were so close to realising the previously unthinkable - a New Zealand team playing Real Madrid in the final!
They were only denied that dream fixture in extra time of the semi-final, but there was some compensation, with captain Ivan Vicelich being awarded the Bronze Ball as the third-best player of the tournament.
Meanwhile, Wellington Phoenix has flown the flag for New Zealand in Australia's A-League competition, following in the foosteps of the Football Kingz and the ill-fated NZ Knights in competing against Australia's finest.
While often falling short of expectations they occasionally exceed them - they were a game away from contesting the A-League Grand Final in 2010, for instance. They are a well-founded operation, but ironically enjoy their best home attendances when playing away from their Wellington base.
In 2015, the Junior All Whites again advanced to the last sixteen at their World Cup Finals, and only bowed out at that stage to a last-minute Brazilian penalty, having themselves missed one earlier in the game.
It was also a year in which New Zealand hosted the FIFA U-20 World Cup Finals, with the Youth All Whites progressing to the last sixteen before elimination by Portugal.
Those successes were marred, however, by a successful protest made by Vanuatu against New Zealand at the Oceania Olympic qualifying tournament, the OlyWhites being deemed to have fielded an ineligible player, South African-born Deklan Wynne.
Protests by NZ Football against this decision fell on deaf ears, with the root of the issue one of an interpretative nature regarding the rules surrounding player eligibility.
FIFA introduced an additional clause in 2008 which, it turns out, NZF hadn't taken into account in the years since, meaning there were approximately a dozen players in their various men's teams who actually weren't OK to play, even though, in some instances, FIFA had cleared them to play in their various Finals.
All in all, a crazy situation, and one which, thankfully, had no further repercussions for the game other than the OlyWhites failing to qualify for Rio 2016, although it did prompt a thorough review of NZ Football's practices and processes, with numerous improvements introduced as a consequence.
The Football Ferns were desperately unlucky to go home early from the 2015 FIFA Women's World Cup Finals in Canada, where one goal would have seen them finish either first or second in their group.
During their build-up towards Canada, Tony Readings' team scored victories over Brazil and China in Switzerland to clinch the Valais Cup in 2013, the country's first trophy-winning experience at a football tournament outside the confines of Oceania in many a year.
They weren't able to progress beyond the group stages in Rio, however, and in November 2017 Readings called time on his 82-match stewardship of the country's most consistently performed national team in recent years.
Like their seniors, the Junior Ferns and Young Ferns have continued to dominate the women's scene in Oceania, and impress on the world stage, with the older age-group team reaching the quarter-finals of the 2014 FIFA U-20 Women's World Cup Finals.
The Junior Ferns then won all four Oceania qualifying matches by double-figure margins in qualifying for Papua New Guinea 2016, with Emma Rolston scoring a record eleven goals in half a game before New Caledonia were spared her wrath during the second half of a 26-0 drubbing, the biggest ever win by a New Zealand representative team, male or female.
The All Whites, meanwhile, simply wanted to win a game, any game, having last done so in September 2013. This loss of form saw them plummet down FIFA's rankings, so much so that the penultimate tables for 2015 find New Zealand languishing in 159th place on the charts which gauge the progress of all 209 countries which play the world game.
Coach Anthony Hudson, the son of former Chelsea, Stoke City and England star Alan, took six games before recording his first win in charge, with his initial experimentation not going down too well with the majority.
His principle task was to ensure the All Whites prevailed at the OFC Nations Cup Finals in Papua New Guinea in mid-2016, thus qualifying for Russia 2017, the FIFA Confederations Cup Finals.
Throughout 2017, the Oceania World Cup qualifying matches took place, with the All Whites earning the right to take on the fifth-placed South American team, Peru, home and away for a berth at Russia 2018.
The scoreless first leg in Wellington attracted New Zealand's biggest ever crowd - 37,034 - for an international fixture in this country, but the Peruvians prevailed 2-0 on aggregate, prompting Hudson's resignation.
His replacement was Fritz Schmid, who was brought into the role by new Director of Football Andreas Heraf. When Football Ferns coach Tony Readings stepped down from the role he had fulfilled for nigh on a decade, Heraf took over that role too - the biggest mistake he will ever make in his life!
"Hell hath no fury like a woman scorned", goes the saying. When you manage to get yourself offside with an entire squad of female footballers, for employing practices which date back to the days of caveman thinking, i.e. "a woman's place is in the kitchen", etc., there is no comeback - exit Heraf, and Andy Martin, the Chief Executive responsible for his appointment.
Schmid remained, in charge of a national team with no games scheduled for over a year, as well as the OlyWhites, who only play quadrennially, by and large. The Football Ferns, meanwhile, turned to the ultra-experienced Tom Sermanni to oversee their France 2019 and Tokyo 2020 campaigns.
For which much inspiration came from the Young Ferns, who realised the dreams of many among the women's football fraternity by finishing third at the 2018 FIFA U-17 Women's World Cup Finals in Uruguay, returning home with bronze medals, a feat hitherto realised only by Auckland City FC four years earlier.
Within twelve months, the Youth All Whites produced a brand of quality football not usually associated with NZ teams at the 2019 FIFA U-20 World Cup Finals in Poland. But for a penalty shoot-out defeat in the round of sixteen, they could well have gone on to emulate their younger female counterparts' achievements.
These two teams are among the first national representative sides to boast players who have come through the Whole Of Football youth development programme, introduced at the start of the decade by then Football Ferns coach John Herdman.
If this is a taste of what's to come, the future for the game the world plays in this wee outpost of empire looks to be very promising indeed!
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https://betsapi.com/t/58731/Team-Wellington
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en
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Team Wellington
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Team Wellington Soccer offers live scores, results, standings, head to head matches, match details and season statistics.
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en
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https://assets.betsapi.com/favicon.ico
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https://betsapi.com/t/58731/Team-Wellington
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Team Wellington FC was formed in 2004 by a consortium of Wellington clubs to compete in the New Zealand Football Championship. The uniform was yellow with black shorts, utilising the primary sporting colours of the Wellington region.
In the inaugural season (2004/2005) of the NZFC, Team Wellington FC performed below expectations, finishing sixth. They improved in the next season, ending the season in fourth place.
In 2007 the Australian A-League placed a franchise in Wellington, known as the Wellington Phoenix. The Phoenix quickly entered a strategic alliance with Team Wellington. The new head coach for Team Wellington, Stu Jacobs, was hired as an assistant coach for the Phoenix while retaining his NZFC role. Team Wellington also changed their kit to a predominantly black strip similar to that of the Phoenix, using yellow as a highlight colour.
Team Wellington FC started the 2007/08 season with a five-game winning streak, a record for the competition. This was ended by a 1–1 draw against Auckland City FC on 15 December. Team Wellington finished the season in third place, qualifying for the Preliminary Final against second-placed Auckland City. Team Wellington defeated Auckland City 4–3 in overtime. Team Wellington thus went on to the Grand Final, in which they were defeated by Waitakere United 2–0 at Trusts Stadium.
On 21 April 2015, Team Wellington reached the final of the 2014–15 OFC Champions League in their first appearance in the competition. They were beaten on penalties by the defending champions Auckland City in the final on 26 April, having drawn 1–1 after extra time.
Heading into the 2016–2017 season, José Figueira took on the role as coach at Team Wellington on 1 July 2016.
In March 2016, Team Wellington won their first ever ISPS Handa Premiership title. Having finished in 3rd in the regular season, they beat Hawke's Bay United in the semi-final, before beating Auckland City 4–2 in an enthralling finale at QBE Stadium in Albany, Auckland.
Team Wellington FC won back to back league titles in April 2017, dispatching Waitakere United on penalties after an enthralling 6–6 draw in the semi-final, before beating Auckland City 2–1 in the Grand Final at QBE Stadium.
Team Wellington FC proved their worth in the 2017-2018 OFC Champions League by winning their way to the very nail-biting semi-final against Auckland that, despite ending in a 2–2 draw, Team Wellington FC won due to aggregate score. The game was viewed as extremely controversial as the referee added 8 minutes of extra time to the end of the game. This 8 minutes turned into 12 extra minutes (total game time was 101 minutes) and caused much aggravation from both sides before the referee blew the final whistle. After this, Team Wellington faced Lautoka FC in two final legs; one at home at David Farrington Park on 13 May 2018, the other at Lautoka FC's home ground of Churchill Park in Fiji on 20 May 2018[ ].
Team Wellington FC won the first leg in a staggering 6–0 victory. The second leg was also won by Team Wellington FC, with a score of 3–4 to Team Wellington FC[ ]. This gave Team Wellington FC the title of Oceanic Champions and earned them entry to the 2018 FIFA Club World Cup to be held in the UAE in December 2018[ ].
On 12 December 2018, Team Wellington FC played their first and only match in the 2018 FIFA Club World Cup against Al Ain FC, who would later be runners-up, scoring 3 goals in the first half. However, their lead was short-lived, with Al Ain scoring 3 goals and sending the match into extra time and then penalties. Team Wellington would lose the penalties 4–3 and were knocked out.
Team Wellington would win the last ever game played in the ISPS Handa Premiership, when they beat long time rivals, Auckland City 2–1 in the 2020–2021 Grand Final.
Constituent clubs
Team Wellington FC represents 20 clubs in the Greater Wellington region.
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https://www.wellingtonpolotour.com/
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en
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Wellington Polo Tour – 2024 Polo Season
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https://www.wellingtonpolotour.com/
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The Wellington Polo Tour is gearing up for the upcoming 2023 season in Wellington and we are looking forward to another great year of 16 goal polo.
As you may already know, the United States Polo Association and participating clubs have joined up to introduce the Florida Circuit 16-Goal Series. The series will be played across multiple clubs and the championship will be hosted by the National Polo Center (NPC) in Wellington.
The Wellington Polo Tour is excited to be hosting 2 of the 4 qualifiers for this series (the Ylvisaker Cup and the Iglehart Cup) as well as 2 other 16 goal tournaments, the NPC Inaugural Cup and the Outback Cup.
We are proud and excited to announce a few new fields for this year. As well as all the great fields from last year, we now also have Coca-Cola, Port Mayaca, Jan Pamela, and NPC Field #1 for a few Sunday polo games. The Wellington Polo Tour team would like to thank all our field owners as this league would not be possible without you!
We would also like to thank all the teams that have already committed for this year: Beverly Equestrian, BTA, Catamount, Coca-Cola, Dazos, Dundas, G-Squared, Iconica, La Fe, Loudmouth, Old Hickory Bourbon, Palm Beach Equine, Patagones, Santa Clara, SD Farms, Tonkawa.
As always, our motto is Fair, Competitive, and Fun polo, and we cannot wait to get started at the end of the year.
Feel free to reach out with any questions or concerns,
See everyone soon!
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https://www.nzfootball.co.nz/newsarticle/59584
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en
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OFC Champions League – City and Wellington on collision course
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The draw for the knockout stage of the OFC Champions League has been confirmed and has placed the New Zealand...
|
//prodcdn.sporty.co.nz/cms/53777/favicon.png?v=638592831536999845
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https://www.nzfootball.co.nz/nzfootball/newsarticle/59584
|
The draw for the knockout stage of the OFC Champions League has been confirmed and has placed the New Zealand representatives, Auckland City and Team Wellington, on a collision course if they can progress past the quarter-finals.
The official draw was held at the OFC Academy in Auckland, New Zealand on Monday, outlining the quarter final match-ups, the semi-finals and final for this year’s edition of Oceania’s premier club competition.
OFC Competitions Director Chris Kemp said following four entertaining groups, the knockout stage of the OFC Champions League is also set to delight fans.
“We experienced excellent engagement from fans who followed the group stage and we’re delighted that so many have expressed their excitement ahead of the knockout stage,” Kemp said.
“The draw has set up some really exciting encounters with most of the quarter-final teams set to meet for the first time in the competition. We look forward to the OFC Champions League getting back underway, after the international break, in early April.”
Team Wellington, who topped Group D in Honiara at the weekend, will welcome Papua New Guinea club champions and Group A runners-up Lae City Dwellers to Wellington.
Solomon Warriors, runners-up in Group B, will again find themselves on the road as they also travel to New Zealand to play reigning champions Auckland City at Kiwitea Street.
AS Dragon, who won their group on home soil in Tahiti, will once again enjoy home advantage when they take on Fiji club Lautoka, who finished behind Auckland City in Group C.
Finally, Group A winners and the only competition debutants still in action, Vanuatu’s Nalkutan will welcome Group D runners-up Marist, who will be on the road for the first time after hosting their group at Lawson Tama Stadium in the Solomon Islands.
Adding intrigue to this year’s competition for fans is the semi-final and final.
After two years of the same four semi-finalists and three editions of Auckland City and Team Wellington in the final, Monday's draw, and the earlier elimination of AS Magenta of New Caledonia, ensured this won’t be the case in 2018.
One of the semi-finals will feature the winners of quarter-finals one and two – the two which feature the New Zealand teams. Should they beat their respective opponents in the one-off quarter-final matches at home, the Kiwi teams would then meet in the semi-finals.
The other semi-final will feature the winners of the matches between Dragon and Lautoka, and Nalkutan and Marist.
Finally, the winner of the second semi-final will host the first leg of the final before travelling to their opponent’s ground for the second leg which will take place in May.
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| 10 |
https://www.thenationalnews.com/sport/club-world-cup/team-wellington-dare-to-dream-big-ahead-of-fifa-club-world-cup-debut-in-uae-1.800376
|
en
|
Team Wellington dare to 'dream big' ahead of Fifa Club World Cup debut in UAE
|
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2021-06-23T23:16:24.402000+00:00
|
Club from New Zealand face UAE champions Al Ain in the play-off on December 12, with the winners progressing to the quarter-finals
|
en
|
/pf/resources/favicon.jpeg?d=762
|
The National
|
https://www.thenationalnews.com/sport/club-world-cup/team-wellington-dare-to-dream-big-ahead-of-fifa-club-world-cup-debut-in-uae-1.800376
|
Team Wellington will embrace their "underdog" status at the Fifa Club World Cup, said manager Jose Figueira, as the club from New Zealand realise a four-year ambition by competing in the tournament.
Wellington booked their place in the 2018 tournament - being staged in the UAE for a second successive year - with a comprehensive 10-3 aggregate victory over Fiji’s Lautoka FC in the OFC (Oceania) Champions League final in May. It will be Wellington's first appearance at the Club World Cup, which comprises the six continental club champions and the host nations' league champions.
Wellington kick off the tournament against UAE champions Al Ain in the play-off on December 12 at Al Ain's Hazza bin Zayed Stadium. The winners progress to the quarter-finals for a showdown with African champions Esperance de Tunis, of Tunisia.
______________
Read more:
One week to go for Club World Cup: Lowdown on Fifa tournament being hosted by UAE
Mario Barcia: Team Wellington midfielder prepares for Club World Cup 'dream' after unconventional journey
[ Carlos Salcido: Guadalajara captain targets clash with Real Madrid at Fifa Club World Cup ]
______________
The Club World Cup will be a unique experience for semi-professional Wellington - a club that was only founded in 2004 - as they prepare to face a professional team from another continent in a competitive game for the first time. In comparison, their opponents Al Ain are celebrating 50 years in existence, while defending champions Real Madrid boast more than 116 years of history.
“We are expecting the Fifa Club World Cup UAE 2018 to be a huge but exciting challenge for us. It is our first experience playing at this level, something we are very excited about and we are honoured to be representing our Oceania Football Federation region,” Wellington manager Figueira said.
“This tournament means a great deal to our club. Team Wellington are determined to use the experience to further strengthen our OFC Champions League title defence – and we hope to return to this tournament again in the near future.
“We are under no illusions that we enter this year’s Fifa Club World Cup as firm underdogs. Whilst the expectations for us may be low amongst many observers, we are a team that dreams big – and that dream starts in our opening match against Al Ain.”
Wellington's presence at the Club World Cup ends a seven-year stretch for Auckland City, who they beat on away goals in the OFC Champions League semi-finals.
Wellington general manager Peter Becker has said the club's participation in the UAE is a result of a long-term project, and sights are already being set on qualifying for next year's tournament.
“This is an incredible opportunity to not only represent our club, but our city and country on the world stage. We are playing against top professional players and we want to perform to the best of our ability. As long as we give a good account of ourselves, I will be happy,” Becker said.
“Four years ago, we set out to play in the Fifa Club World Cup. It has taken us four years to achieve this goal. Now we want to qualify for next year's competition.
"We’ve gotten this far thanks to good coaches, good off-field management and, above all else, a great group of players that have really bought into the team vision.”
Asian champions Kashima Antlers and Central American champions Guadalajara are the other teams confirmed for the Club World Cup, and will play each other in the quarter-finals. The winners will then take on Real Madrid in the semi-finals.
Only one place remains open and will go to the winners of Sunday's Copa Libertadores - South America's equivalent of the Champions League - when Argentine rivals Boca Juniors and River Plate face off in the rearranged and relocated second leg.
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https://www.plus.fifa.com/en/content/waterside-karori-wellington-phoenix-reserves-viertelfinale-kate-sheppard-cup-2024/a1a47a9e-5247-4f1b-a0c6-bb04be0665ad
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FIFA+
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https://wellingtonphoenix.com/
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en
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Official Wellington Phoenix Home Page
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2021-11-26T03:38:20+00:00
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The official home page of Wellington Phoenix. Keep up to date with news, fixtures, results, highlights & more. Get tickets & become a member today.
|
en
|
Wellington Phoenix
|
https://wellingtonphoenix.com/
|
6 hours ago
Former Tottenham ‘keeper joins the Nix
The Wellington Phoenix have a new number one. The Phoenix have signed English-Nigerian goalkeeper Josh Oluwayemi from Finnish club FC Lahti for the 2024-25 Isuzu UTE A-League season. Oluwayemi, 23, came through the youth system at Tottenham Hotspur and played…
|
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4946
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Wellington Phoenix FC facts for kids
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Learn Wellington Phoenix FC facts for kids
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en
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https://kids.kiddle.co/Wellington_Phoenix_FC
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This page is about the men's association football club. For the women's association football club, see Wellington Phoenix FC (A-League Women).
Active teams of Wellington Phoenix A-League Men
Wellington Phoenix Reserves
(Men's) A-League Women
Wellington Phoenix Football Club is a professional football club based in Wellington, New Zealand. It competes in the Australian A-League, under licence from Football Federation Australia. Phoenix entered the competition in the 2007–08 season after its formation in March 2007, by New Zealand Football to replace New Zealand Knights as a New Zealand-based club in the Australian A-League competition. Since 2011, the club has been owned by Wellnix Inc, a company itself owned by seven Wellington businessmen.
The club is one of the few clubs in the world to compete in a league of a different confederation (AFC) from that of the country where it is based (OFC). It plays matches at Sky Stadium (formerly Westpac Stadium), a 34,500-seat multi-purpose venue in Wellington. Their home kit consists of black and yellow stripes. Its highest achievement is reaching the A-League Preliminary Final in 2010.
As of the 2023-24 A-League season, Wellington Phoenix are the only A-League team that are yet to win a trophy.
History
Foundation
During the later stages of the 2006–07 A-League season, Football Federation Australia (FFA) removed New Zealand Knights A-League licence due to the club's financial and administrative problems and poor on-field performance. After the resignation of the New Zealand Knights board, FFA transferred the licence to New Zealand Soccer (NZS, now New Zealand Football), which administered the club for the rest of the season before its subsequent dissolution.
FFA then provided NZS a provisional A-League licence to sub-let to a suitable New Zealand team to enter the 2007–08 A-League season. FFA set an application deadline to NZS and subsequently delayed that deadline to give more time for potential applicants in New Zealand to apply along with NZS support.
While NZS was given a chance to apply with a new sub-licensee, a Townsville-based consortium, Tropical Football Australia (TFA) also expressed interest and prepared an A-League application to replace the place previously held by the Knights. However, TFA eventually pulled out with the understanding of the FFA's preference to retain a New Zealand team for the league. TFA resubmitted its bid the following year as a potential A-League expansion franchise under the name "Northern Thunder FC", which was later changed to "North Queensland Thunder"; however, this bid died after expansion for the 2007–08 season was cancelled.
After much delay, the final amount needed for the application came from Wellington property businessman Terry Serepisos in the latter stages of the bid. Serepisos, the club's majority owner and chairman, provided NZD $1,250,000 to ensure the beginnings of a new New Zealand franchise and a continuation of New Zealand's participation in the A-League. FFA finalised a three-year A-League licence to New Zealand Football who then sub-let the licence to the Wellington-based club. The new Wellington club was confirmed on 19 March 2007.
The name for the new club was picked from a shortlist of six, pruned from 250 names suggested by the public, and was announced on 28 March 2007. Serepisos said of the name, that "It symbolises the fresh start, the rising from the ashes, and the incredible Wellington support that has come out".
Despite the backing of FIFA, AFC president Mohammed Bin Hammam stated that due to AFC criteria, the Wellington team must move to Australia or disband by 2011. However, in an interview aired on SBS on 21 December 2008, FIFA president Sepp Blatter stated unequivocally, "It is not the matter of the Confederation, it is the matter of the FIFA Executive Committee... If Wellington will go on play on in Australian League, then as long as Australian league wants to have them and Wellington wants to stay (and) Both association in this case, New Zealand Soccer and Australian Football are happy with that then we will give them the blessing. The Confederation cannot interfere with that.".
Rise of the Phoenix
In the 2009–10 season, Wellington Phoenix became the first New Zealand side to reach the playoffs of an Australian football competition when Adelaide United beat Brisbane Roar 2–0 in the 26th round. It meant that Brisbane, which before the match was the only team outside the top six with a chance of making the playoffs, no longer could. The Phoenix overcame the Central Coast Mariners on 12 February 2010 to finish fourth, which meant it would host a playoff game against Perth Glory on 21 February 2010. The Phoenix beat Perth by penalty shootout (4–2) after 120 minutes (including 30 minutes of extra time). Phoenix then hosted a home game against Newcastle Jets on 7 March, which they won in extra time 3–1.
In the Preliminary Final against Sydney FC, the Phoenix lost 4–2 in controversial circumstances. After being locked at 1–1 through goals from Chris Payne for Sydney and Andrew Durante for Wellington, Payne apparently missed a header and deflected the ball into the goal off his hand. Andrew Durante, who was marking Payne went straight to the linesman, but the goal stood. "I went straight to the linesman. I knew 100 per cent it was handball. I spoke to the ref at halftime about it and he said it wasn't deliberate. It's pretty funny that one. Such a big game and such a big occasion, for something like that to change the game is very disappointing." Sydney FC strikers Alex Brosque and Mark Bridge both scored break-away goals as Phoenix pushed forward, and Eugene Dadi added a late consolation goal. Phoenix striker Chris Greenacre said that the error changed the dynamics of the game. "It just rips the heart out of you. We got back in the game with a good goal and that takes it away from you. It wasn't to be. I think we were right back in it. They played some good football but I thought we had withstood it OK. If we went into halftime [at 1–1] we were really confident we could get something out of it." Coach Ricki Herbert echoed those statements. The loss brought the end to the Phoenix's season, meaning that Melbourne Victory and Sydney FC would compete in the Grand Final.
On 20 April 2010, FFA granted Wellington Phoenix a five-year licence extension, keeping it in the competition until at least the conclusion of the 2015–16 season.
Many argue Wellington's ability to play in the A-League as being instrumental to the progress of the New Zealand national side and the wider football landscape.
Change of ownership
Prior to the 2011/12 season, it emerged that Serepisos was experiencing financial difficulties, both personally and in the property empire. This included highly publicised action by the Inland Revenue Department to liquidate a number of Serepisos' companies for unpaid taxes, including Century City Football Ltd, the club Serepisos owned the Phoenix through.
Initially, Serepisos claimed he had obtained finance through Swiss-based lenders, then announced he had agreed to a deal with Western Gulf Advisory, the Bahrain-based lender owned by Racing Santander owner Ahsan Ali Syed which would see 50% of the club sold. However, these funds were never received and the partial transfer never took place.
While the liquidation action was resolved through an unnamed third-party Serepisos' financial troubles did not end. Despite this, he stated he would not give up ownership of the club. Additional stories also emerged that coach Ricki Herbert was personally owed $100,000 in unpaid wages by the club.
However, on 23 September 2011, it was announced by Serepisos and the FFA that Serepisos had relinquished ownership of the club as a result of his ongoing financial difficulties. The club's licence was passed by the FFA to a new consortium of seven Wellington businessmen headed by Rob Morrison and including Gareth Morgan, Lloyd Morrison and John Morrison.
Change of head coach
On 26 February 2013, with the Phoenix sitting in last place, Ricki Herbert resigned from the position of head coach. The Phoenix had endured a poor run of results in a season where they were expected to be challenging for the title. Assistant Coach Chris Greenacre took the reins on an interim basis for the remainder of the season. Following a "worldwide search", Ernie Merrick was announced as the head coach on 20 May 2013. Merrick had six successful years at the Melbourne Victory, which was seen as important. Merrick will once again become the most experienced A-League coach in the coming season, retaking this from Herbert who passed him towards the end of the 2012–13 season. Greenacre was retained by Merrick as the assistant coach.
On 5 December 2017, Merrick resigned as head coach following the Phoenix's 2–0 loss to Adelaide United. On 2 January 2017, Des Buckingham took over as head coach, while Chris Greenacre was made co-coach.
On 1 March 2018, Wellington Phoenix announced that Darije Kalezic will be departing the club at the end of the season after they were not able to come to an agreement on how the club proceeds forward for the next season.
Rudan era
On 30 May 2018, Wellington Phoenix announced the appointment of former Sydney FC captain Marko Rudan as manager on a two-year contract. Rudan became the first-ever Wellington Phoenix coach to win his first game in charge when the Wellington Phoenix were 2–1 victors over Newcastle Jets in the opening round of the 2018–19 season. Following Round 2 clash with Brisbane Roar which ended in a 0–0 draw, it was the best start the team has had since the 2012/13 season. They suffered their first defeat of the season in Round 3 going down 3–0 to Western Sydney Wanderers. After a defeat in Round 5 against Adelaide United, Phoenix went on a 9-game undefeated streak including draws with Premiers Perth Glory and Champions Melbourne Victory, and wins over clubs like Sydney FC and Newcastle Jets. Their streak was broken by Sydney FC in round 15. The Phoenix finished in 6th place qualifying for the playoffs. On 15 April, it was announced that Rudan would not see out the second year of his contract and would leave at season's end due to personal reasons. They were knocked out in the first elimination final by Melbourne Victory 3–1.
Talay era
On 4 May 2019, it was announced Ufuk Talay would be taking the reins of head coach after the departure of Marko Rudan on a one-year deal. In his first press conference, Talay expressed his idea of building a young team with a strong Kiwi core. He made his first signing with All Whites goalkeeper Stefan Marinovic and signed local Kiwi players, Te Atawhai Hudson-Wihongi, Tim Payne, and Callum McCowatt. Talay made his first import signing with Mexican Ulises Dávila following another import signing of English striker, David Ball. On 24 July, it was announced that Steven Taylor would be the captain heading into the new season while Alex Rufer was made vice-captain. On 18 August, it was announced that Phoenix had paid an undisclosed fee for Reno Piscopo, marking the first time the club paid a transfer fee for a player. Talay also made a handful of signings of young Australian players including Walter Scott, Jaushua Sotirio, Cameron Devlin, Liam McGing, and experienced centre-back Luke DeVere. Talay used his fourth import spot signing Matti Steinmann on a one-year deal. Talay had a positive start to his managerial tenure with the Wellington Phoenix when he led them to a 7–0 victory over Wairarapa United in a pre-season friendly in his first match in charge.
They were knocked-out of the 2019 FFA Cup in the Round of 32, losing 4–2 on penalties to Brisbane Strikers, after making an extraordinary comeback from 2-0 down to a 2–2 draw at full time.
On 22 May 2021, Wellington Phoenix broke their home attendance record, attracting 24,105 spectators against Western United FC. This game (as of 22 May), is the 2020/21 Hyundai A-League's most attended game. This was the first A-League game to be held in New Zealand since 15 March 2020, a total of 433 days in between.
Colours and badge
Wellington's traditional home kit – first used 2009–10
The general consensus among Phoenix fans was for a kit featuring yellow and black vertical stripes; however, this format did not comply with the A-League template required by Reebok when Phoenix was admitted into the League. Instead, players wore a predominantly black strip with yellow and white trim for the first two seasons. When Reebok lifted constraints on kit designs in 2009, Phoenix adopted yellow and black vertical stripes. The Phoenix kit is currently provided by Paladin after Adidas decided against renewing their contract with the club. The badge is a shield depicting a rising phoenix.
The team's current kit sponsors are KPMG (front of kit), Sky Sports (back of shirt), GoMedia (front of shorts), and Revera (back of shorts).
In August 2017, the club unveiled a new badge removing the shield in place of a larger, simplified phoenix. The updated badge also featured the club's new motto of 'E Rere Te Keo', a rising call rooted in the Māori legend of Taniwha.
Stadium
Wellington Phoenix FC has played most of its home matches at the Wellington Regional Stadium (currently named Sky Stadium for sponsorship reasons), which is referred to as the 'Ring of Fire' by fans. The stadium has a capacity of 34,500. The NZD$130 million stadium was built in 1999 by Fletcher Construction and is situated close to major transport facilities (such as Wellington railway station) one kilometre north of the central business district.
The stadium is owned and operated by Wellington Regional Stadium Trust. It is built on surplus-to-requirements reclaimed railway land on Wellington's waterfront.
Home fans sit in the southern and western areas of the stadium, while away fans sit to the north.
In the 2009–2010 A-League season, Wellington Phoenix FC played two home games away from Sky Stadium, the first at Arena Manawatu in Palmerston North, the second at AMI Stadium in Christchurch. The two games were key to Wellington Phoenix expanding their fan base in New Zealand. This was followed by playing a game in Auckland at Eden Park in front of 20,078 attendees during the 2011–2012 A-League season.
The Phoenix previously trained at Newtown Park, on a ground that was specially redeveloped in 2008 and separate to the playing pitch. This ground was shared with NZFC franchise, Team Wellington however in 2017 the Phoenix moved to Martin Luckie Park which had been redeveloped with two full-sized sand-based pitches. Funding for the redevelopment came from the Phoenix as well as $550,000 given by Wellington City Council.
Due to COVID-19 in both New Zealand and Australia, the Wellington Phoenix based themselves in Wollongong and played home games at WIN Stadium for the 2020–21 A-League season. Wellington returned to Wollongong for the 2021–22 A-League season and again played their home games at Win Stadium.
Supporters
Wellington Phoenix has built a strong fan-base in Wellington, across New Zealand, and amongst New Zealanders in Australia. The main supporters' group, named the Yellow Fever, was founded a day after the Wellington Phoenix's formation was announced. Yellow Fever founder Mike Greene met with the founder of New Zealand cricket supporter group, the Beige Brigade, to get ideas of how to get the group started. The name was originally chosen on the assumption that the new Wellington-based team would play in a yellow playing strip (yellow being the dominant sporting colour of the region). Although the eventual strip was primarily black, the Yellow Fever elected to retain the name; many Yellow Fever members chose to wear yellow to fixtures as opposed to black. The 'Fever Zone' is located within aisles 21 and 22 of Sky Stadium; although it is an all-seater facility, most Yellow Fever members choose to stand in front of their seat – similar to terrace seating traditions in British football.
The Yellow Fever are renowned within the A-League for their traditions; the most prominent of which being if the Phoenix are winning by the 80th minute, members remove their shirts. Additionally, prior to the last home game before Christmas, the Yellow Fever organise a pub crawl, entitled The 12 Pubs of Lochhead after defender Tony Lochhead.
Many Yellow Fever members have also lent their support to other football fixtures in Wellington and New Zealand, mostly notably Team Wellington of the ISPS Handa Premiership and the New Zealand national football team. Yellow Fever also lent its support to the New Zealand women's national under-17 football team during the 2008 FIFA U-17 Women's World Cup, held in New Zealand.
The former official podcast of Yellow Fever, 'Phoenix City', is hosted by Patrick Barnes, and features Cameron McIntosh and Andrew French as panellists. The weekly recording often includes a guest interview and covers the Wellington Phoenix, the All Whites and other national teams, New Zealanders playing overseas, the ISPS Handa Premiership, and local club football, including the Chatham Cup.
The Yellow Fever supporters share a strong relationship with the club due to their charity initiatives. Yellow Fever is the first supporters club in the A-League to organise and sponsor an annual footballing scholarship. The "Retro Ricki Youth Scholarship" was awarded annually to a promising young New Zealand footballer. Nominations for the scholarship were made by Yellow Fever members, and the recipient was chosen by the Yellow Fever executive and Wellington Phoenix staff. The recipient received a trial with the Phoenix, covering travel and accommodation costs. Although the initiative only lasted four seasons, the scholarship is widely credited with bringing New Zealand international Marco Rojas professional attention.
2007: Stefan Kousoulas, Otago United
2008: Daniel Findlay, Three Kings United
2009: Marco Rojas, Melville United
2010: Thomas Spragg, Auckland City FC, and Tristan Prattley, Otago United
Yellow Fever members have also combined charity campaigns with their support of the Phoenix, with supporters selling bandannas in the club colours every year as part of the youth-cancer charity CanTeen's "Bandana Day" fundraiser. Yellow Fever members have also notably participated in the Movember movement since 2007, leading to the club itself participating as of 2008, and other Australian A-League clubs following suit in 2009.
In 2010, Yellow Fever, The Dominion Post and local sportswear chain RYOS teamed up to release the "LifeFlight Shirt", a white T-shirt emblazoned with pictures of Phoenix players sent into the Dominion Post as part of a competition. 25% of the proceeds from the sale of these T-shirts were donated to the LifeFlight air ambulance service.
Players
Main article: List of Wellington Phoenix FC players
First-team squad
For recent transfers, see 2023–24 Wellington Phoenix FC season.
Other players with first-team appearances
No. Position Player 42 FW Fergus Gillion
No. Position Player 51 FW Gabriel Sloane-Rodrigues
Reserves and youth academy
Main article: Wellington Phoenix FC Reserves
Wellington Phoenix's academy system was formed in 2013, absorbing the prolific Christchurch-based Asia-Pacific Football Academy. Since then, Wellington Phoenix have developed a number of notable players, including several New Zealand internationals.
The following players graduated from the Wellington Phoenix Football Academy, and have either represented their nation at international level or have played at a professional level outside New Zealand.
Club officials
Technical staff
Role Name Manager Giancarlo Italiano Assistant manager Adam Griffiths Goalkeeping coach Ruben Parker Video analyst Francesco Evangelista Head of Strength & Conditioning Weijie Lim Head physiotherapist Cory Glover Rehab physiotherapist Jamie Hassett Football operations manager Jake Piper Kit man Jack Mapp
Management
Updated 26 March 2019.
Position Name Chairman Rob Morrison Board member Henry Tait Board member James Brow Board member Andrew Bowater Board member Mark Chote General Manager David Dome Head of Commercial Tom Shaw Head of Media Brenton Vannisselroy Social Media & Digital Content Executive Mark Casson Football Operations Manager Shaun Gill
Captaincy history
Dates Name Honours (as captain) 2007–2008 Ross Aloisi Inaugural club captain 2008–2019 Andrew Durante Longest serving captain 2019–2020 Steven Taylor First captain from outside Australia and New Zealand. Captained the Phoenix to the club's best-ever regular-season finish (3rd) 2020–2021 Ulises Dávila 2021 Steven Taylor Retired prior to the start of the 2021–22 season, a few days after being named captain. 2021– Alex Rufer
Managers
Key
Caretaker appointment
Initial caretaker appointments promoted to full-time manager
Manager dates, statistics and nationalities are sourced from WorldFootball.net and Ultimatealeague.com
List of Wellington Phoenix Managers Name Nationality From To M W D L GF GA Win % Ref Herbert, Ricki New Zealand 26 August 2007 24 February 2013 &&&&&&&&&&&&0154.&&&&&0154 &&&&&&&&&&&&&054.&&&&&054 &&&&&&&&&&&&&035.&&&&&035 &&&&&&&&&&&&&065.&&&&&065 &&&&&&&&&&&&0193.&&&&&0193 &&&&&&&&&&&&0223.&&&&&0223 &&&&&&&&&&&&&035.&6000035.06 Greenacre, Chris England 27 February 2013 31 March 2013 &&&&&&&&&&&&&&05.&&&&&05 &&&&&&&&&&&&&&02.&&&&&02 &&&&&&&&&&&&&&00.&&&&&00 &&&&&&&&&&&&&&03.&&&&&03 &&&&&&&&&&&&&&07.&&&&&07 &&&&&&&&&&&&&&08.&&&&&08 &&&&&&&&&&&&&040.&&&&&040.00 Merrick, Ernie Scotland 13 October 2013 4 December 2016 &&&&&&&&&&&&&090.&&&&&090 &&&&&&&&&&&&&030.&&&&&030 &&&&&&&&&&&&&015.&&&&&015 &&&&&&&&&&&&&045.&&&&&045 &&&&&&&&&&&&0121.&&&&&0121 &&&&&&&&&&&&0156.&&&&&0156 &&&&&&&&&&&&&033.33000033.33 Greenacre, Chris England 10 December 2016 1 January 2017 &&&&&&&&&&&&&&04.&&&&&04 &&&&&&&&&&&&&&01.&&&&&01 &&&&&&&&&&&&&&03.&&&&&03 &&&&&&&&&&&&&&00.&&&&&00 &&&&&&&&&&&&&&07.&&&&&07 &&&&&&&&&&&&&&04.&&&&&04 &&&&&&&&&&&&&025.&&&&&025.00 Buckingham, Des England 10 December 2016 16 April 2017 &&&&&&&&&&&&&019.&&&&&019 &&&&&&&&&&&&&&06.&&&&&06 &&&&&&&&&&&&&&06.&&&&&06 &&&&&&&&&&&&&&07.&&&&&07 &&&&&&&&&&&&&035.&&&&&035 &&&&&&&&&&&&&032.&&&&&032 &&&&&&&&&&&&&031.58000031.58 Kalezić, Darije Bosnia-Herzegovina 8 October 2017 23 February 2018 &&&&&&&&&&&&&021.&&&&&021 &&&&&&&&&&&&&&04.&&&&&04 &&&&&&&&&&&&&&05.&&&&&05 &&&&&&&&&&&&&012.&&&&&012 &&&&&&&&&&&&&024.&&&&&024 &&&&&&&&&&&&&042.&&&&&042 &&&&&&&&&&&&&019.&5000019.05 Greenacre, Chris England 10 March 2018 14 April 2018 &&&&&&&&&&&&&&06.&&&&&06 &&&&&&&&&&&&&&01.&&&&&01 &&&&&&&&&&&&&&01.&&&&&01 &&&&&&&&&&&&&&04.&&&&&04 &&&&&&&&&&&&&&07.&&&&&07 &&&&&&&&&&&&&013.&&&&&013 &&&&&&&&&&&&&016.67000016.67 Rudan, Marko Australia 21 October 2018 3 May 2019 &&&&&&&&&&&&&028.&&&&&028 &&&&&&&&&&&&&011.&&&&&011 &&&&&&&&&&&&&&07.&&&&&07 &&&&&&&&&&&&&010.&&&&&010 &&&&&&&&&&&&&047.&&&&&047 &&&&&&&&&&&&&046.&&&&&046 &&&&&&&&&&&&&039.29000039.29 Talay, Ufuk Australia 13 October 2019 6 May 2023 &&&&&&&&&&&&0105.&&&&&0105 &&&&&&&&&&&&&041.&&&&&041 &&&&&&&&&&&&&024.&&&&&024 &&&&&&&&&&&&&040.&&&&&040 &&&&&&&&&&&&0150.&&&&&0150 &&&&&&&&&&&&0164.&&&&&0164 &&&&&&&&&&&&&039.&5000039.05 Italiano, Giancarlo Australia 6 May 2023 Present &&&&&&&&&&&&&&04.&&&&&04 &&&&&&&&&&&&&&03.&&&&&03 &&&&&&&&&&&&&&01.&&&&&01 &&&&&&&&&&&&&&00.&&&&&00 &&&&&&&&&&&&&&07.&&&&&07 &&&&&&&&&&&&&&02.&&&&&02 &&&&&&&&&&&&&075.&&&&&075.00
Women's team
Main article: Wellington Phoenix FC Women
In June 2020, Wellington Phoenix announced their desire in creating a women's team before the 2023 FIFA Women's World Cup as part of a A-League Women plan of adding three expansion clubs by the said period and in September 2021, they announced the newly created team would be joining the A-League as an expansion starting with the 2021–22 season. This made Phoenix the first women's professional football team from New Zealand.
Honours
Cup
A-League Pre-Season Challenge Cup
Runners-up (1): 2008
End-of-season awards
See also: List of Wellington Phoenix FC end-of-season awards
Season Player of the Year Members'
Player of the Year Players'
Player of the Year Media
Player of the Year Under-23
Player of the Year Golden Boot Lloyd Morrison
Spirit of the Phoenix Award 2007–08 Shane Smeltz Shane Smeltz Shane Smeltz Shane Smeltz not awarded Shane Smeltz not yet established 2008–09 Leo Bertos Ben Sigmund Shane Smeltz Shane Smeltz Shane Smeltz 2009–10 Andrew Durante Paul Ifill Paul Ifill Paul Ifill Troy Hearfield Paul Ifill 2010–11 Ben Sigmund Manny Muscat Manny Muscat Marco Rojas Marco Rojas Chris Greenacre 2011–12 Ben Sigmund Ben Sigmund Ben Sigmund Ben Sigmund not awarded Paul Ifill 2012–13 Andrew Durante Since 2012–13, members vote
for the U–23 player of the year Jeremy Brockie not awarded Louis Fenton Jeremy Brockie Ben Sigmund 2013–14 Albert Riera Vince Lia Tyler Boyd Stein Huysegems Leo Bertos
Stein Huysegems 2014–15 Nathan Burns Nathan Burns Roly Bonevacia Nathan Burns Rob Lee
Lee Spence 2015–16 Glen Moss Glen Moss Dylan Fox Blake Powell not awarded 2016–17 Kosta Barbarouses Roy Krishna Jacob Tratt Roy Krishna 2017–18 Roy Krishna Dylan Fox Matthew Ridenton Andrija Kaluđerović Chris Greenacre 2018–19 Roy Krishna Roy Krishna Liberato Cacace Roy Krishna Alex Rufer 2019–20 David Ball Liberato Cacace Liberato Cacace Liberato Cacace Liberato Cacace Ulises Dávila Wellington Phoenix 2020–21 Ulises Dávila Oli Sail Ulises Dávila Ulises Dávila Ben Waine Tomer Hemed not awarded 2021–22 Oli Sail David Ball Oli Sail Oli Sail Sam Sutton Jaushua Sotirio
Ben Waine not awarded 2022–23 Oskar Zawada Oskar Zawada Oskar Zawada Oskar Zawada Callan Elliot Oskar Zawada Lily Alfeld
Records and statistics
See also: Wellington Phoenix FC records and statistics, results by opposition (A–M), and (N–Z)
Player
Most League appearances: 273, Andrew Durante
Most appearances in a single season: 31, Chris Greenacre, 2010–11
All-time leading goalscorer: 51, Roy Krishna
Most goals in a season: 18, Roy Krishna, 2018–19 (26 appearances)
Team
First League match: v Melbourne Victory, 26 August 2007 (drew 2–2)
First goalscorer: Daniel v Melbourne Victory, 26 August 2007
First win: v. Sydney FC, 14 September 2007 (won 2–1)
Biggest victory:
6–0 v Gold Coast United, 25 October 2009
8–2 v Central Coast Mariners, 9 March 2019
Biggest defeat:
7–1 v Sydney FC, 19 January 2013
6–0 v Melbourne City, 2 April 2022
Most wins in a row: 5 matches; 30 January 2010 – 7 March 2010
Most losses in a row: 9 matches; 20 March 2016 – 31 October 2016
Highest home attendance: 32,792 v Newcastle United Jets on 7 March 2010
Highest regular season attendance: 24,105 v Western United at Sky Stadium, Wellington on 22 May 2021
Highest friendly attendance: 31,853 v Los Angeles Galaxy on 1 December 2007
Highest average attendance in a season: 11,683 – 2007–08 season
Lowest home attendance: 3,898 v Perth Glory FC on 8 January 2012
Season-by-season record
Season Division League AUS
Cup Top scorer P W D L F A GD Pts Pos Finals Name Goals 2007–08 A-League 21 5 5 11 25 37 –12 20 8th – – Shane Smeltz 9 2008–09 A-League 21 7 5 9 23 31 –9 26 6th – – Shane Smeltz ♦ 12 2009–10 A-League 27 10 10 7 37 29 +8 40 4th 3rd – Paul Ifill 13 2010–11 A-League 30 12 5 13 39 41 –2 41 6th SF – Chris Greenacre 8 2011–12 A-League 27 12 4 11 34 32 +2 40 4th SF – Paul Ifill 8 2012–13 A-League 27 7 6 14 31 49 –18 28 10th – – Jeremy Brockie 16 2013–14 A-League 27 7 7 13 36 42 –6 28 9th – – Stein Huysegems 10 2014–15 A-League 27 14 4 9 45 35 +10 46 4th EF R32 Nathan Burns 13 2015–16 A-League 27 7 4 16 34 54 –20 25 9th – R16 Blake Powell 8 2016–17 A-League 27 8 6 13 41 46 –5 30 7th – R32 Roy Krishna 12 2017–18 A-League 27 5 6 16 31 55 –24 21 9th – R32 Andrija Kaluđerović 9 2018–19 A-League 27 11 7 9 46 43 +3 40 6th EF R32 Roy Krishna ♦ 19 2019–20 A-League 26 12 5 9 38 33 +5 41 3rd EF R32 Ulises Dávila 12 2020–21 A-League 26 10 8 8 44 34 +10 38 7th – – Tomer Hemed 11 2021–22 A-League Men 26 12 3 11 34 49 –15 39 6th EF SF Jaushua Sotirio
Ben Waine 8 2022–23 A-League Men 26 9 8 9 39 45 –6 32 6th EF QF Oskar Zawada 15
Champions Runners-up Third place Last place Did not make the playoff ♦ Top scorer in competition PO Playoff GS Group stage EF Elimination finals R32 Round of 32 R16 Round of 16 QF Quarter-finals SF Semi-finals
See also
In Spanish: Wellington Phoenix Football Club para niños
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Explore the Team Wellington latest results, today's scores and all of the current season's Team Wellington results on Flashscore.ph.
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HELP: You are on Team Wellington results page in Football/New Zealand section. Flashscore.ph offers Team Wellington results, fixtures and match details. Besides Team Wellington scores you can follow 5000+ competitions from more than 30 sports around the world on Flashscore.ph. Team Wellington scores service is real-time, updating live.
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Find all of the season's Football Championship 2014/2015 results, standings.
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https://www.flashscore.info/football/new-zealand/football-championship-2014-2015/results/
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Help: Follow Football Championship 2014/2015 results, all of the season's Football Championship 2014/2015 scores and standings. Flashscore.info provides all Football Championship 2014/2015 results, standings and odds comparison. Besides Football Championship 2014/2015 results you can find 5000+ competitions from more than 30 sports around the world on Flashscore.info.
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Wellington Olympic AFC
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Wellington Olympic AFC is an association football club in Wellington, New Zealand.
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https://www.olympicafc.org.nz/olympicafc/club-info/club-honours-1
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Individual Honours
NZ All White Internationals which have come through the ranks at Wellington Olympic AFC.
Leo BERTOS
(1997-2000)
Bertos is easily one of the most exciting talents to come out of Wellington Olympic Football Club. In 1997 Leo made his first team debut for Olympic at aged 15 and went on to make 53 first team appearances before signing for English Championship side Barnsley FC in 2000. Leo spent seven seasons in the UK before making a move to Australias Premier Competition the Hyundai A-League signing for Perth Glory in 2006.
Leo went on to play for the Wellington Phoenix in the Hyundai A-League and won the Sony Player of the Year award in 08/09 in his first season at the Club.
New Zealand International Caps: 50 (2002 - Current All White).
Kosta is the most recent talent to come through the ranks at Wellington Olympic AFC and achieve full international honours. Kosta aged 16 scored on his first team debut for Wellington Olympic vs Lower Hutt City in the Central League on the 17 April, 2006. He went on to make 24 appearances scoring 14 goals before he signed for the Wellington Phoenix Football Club in 2007.
Barbarouses captained New Zealand at the 2007 U-17 World Cup in Korea, having scored a hat-trick in their final qualifying match to ensure progression to the finals. He made his senior debut in a World Cup qualifier against Fiji on 19 November, 2008.
New Zealand International Caps: 17 (2008 - Current All White).
Former Thai Air Ways Oly-Whites U23s and U20s Junior All Whites Coach Stu Jacobs played for Wellington Olympic AFC from 1993 to 1996. During his time at Olympic he went on to make 84 appearances and score 16 goals at the Club. Stu was part of the Golden era of Wellington Olympic as they were believed to be one of the best clubs in New Zealand in the mid 90s. Jacobs was part of the Wellington Olympic side that made the Chatham Cup final in 1994.
Stu made his debut for the All Whites on the 17th November, 1988 and during his three seasons at Welligton Olympic AFC he appeared eleven times for the All Whites. Stu is now the current All Whites' Assistant Coach (2023).
New Zealand International Caps: 16 (1988 - 1997).
Simon Elliott is one of the most successful players to come out of New Zealand Football. He began his professional career with USL First Division team Boston Bulldogs in 1999, before joining Major League Soccer club Los Angeles Galaxy in May 1999.He made 122 appearances for Galaxy in five seasons, scoring ten goals. Elliott was traded in January 2004 to the Columbus Crew in exchange for a first round pick in the 2005 MLS SuperDraft. He played every game in the 2005 season before signing for Fulham Football Club in the English Premier League applying his trade in the worlds most watched league til he was released May 2008.
Elliot earned his his 50th international cap in a 3-0 win over New Caledonia on 10 September 2008, accruing 6 goals en route to his milestone. He appeared in qualifying matches for the 2002 FIFA World Cup and in the 2003 FIFA Confederations Cup in France. Elliott was included in the New Zealand U-23 squad for their first appearance at the Olympic Games as one of three over age players, alongside Ryan Nelsen and Chris Killen.
Simon Elliott played 74 games and scored 32 goals for Wellington Olympic AFC from 1993 - 1995. He also managed to make four International caps during his 1995 season at Wellington Olympic AFC.
New Zealand International Caps: 65 (1995 - 2010).
15 year old Clayton Lewis made his debut off the bench at Richard Prouse Park on 12th May 2012 in the 4-0 win against Wainuiomata in the Chatham Cup playing alongside his father Barry. His Central League debut followed two weeks' later in a 4-1 win against Wests at Endeavour Park. His first goal was in his fifth match in a 2-2 draw against Wests at Newtown Park on 5th August 2012.
The following season he made his first start in the opening Central League match 5-2 win against Napier City Rovers and became a fixture as he went on to play in 20 of the 24 games that year (including 14 starts).
Overall, he played a total of 41 times between 2012 and 2015 of which 23 were alongside his father Barry, scoring 9 times including the winner against Caversham in the 2013 Chatham Cup quarter final when Olympic fought back from 0-2 to win 3-2.
Clayton played National League over the 2014/15 summer with Wanderers Special Club (formed to develop players for the NZ u20 side prior to the 2015 U-20 World Cup in New Zealand) scoring 3 goals in thirteen matches. Prior to the U-20 World Cup he made his senior All Whites debut against South Korea on 31st March 2015.
After two years at National League, Clayton heading to England to play for Scunthorpe United, returning two years later to play for Auckland City before signing with the Wellington Phoenix in October 2020. Since then, he has become a regular having played over 50 times for the Phoenix, recently teaming up with another former Wellington Olympic player, Kosta Barbarouses.
Clayton scored his first international goal in a 4-0 win against Fiji in a World Cup qualifier in Qatar in 2022 and as of April 2023 has 22 caps and 1 goal.
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Auckland Australian Football League
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The Auckland AFL is the home for Australian Football is Auckland.Our season runs from September to December.
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http://www.aafl.co.nz/aafl/history/new-zealand
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HISTORY OF AUSTRALIAN FOOTBALL IN NEW ZEALAND
Pre World War One - It is a little known fact that football has been played in New Zealand for nearly as long has it has been played in Australia. From the late 1850's until May 1881 Christ's College, Canterbury played football by what were called "College Rules" These rules were almost identical to the Melbourne Rules of the day.
The Christchurch Football Club, founded in 1863, also played a very similiar football game, until 1876 when they were probably the first club in Canterbury to adopt the Rugby rules. One of the Christchurch Rules was that the player was required to bounce the ball every four yards!
Further south, the game was played in Otago by locals and many of the tens of thousands of Australians who poured into the province during the gold rush.
In 1889 the New Zealand "Native" (NZ born) footballers returning from their marathon British tour played 8 matches in Victoria under these rules. The team won five matches, including a remarkable two goal victory over Victoria's then reigning Premiers South Melbourne.
An economic boom in New Zealand in the early 1900s attracted thousands of Australians to cross the Tasman in search of work. Their number included several ex VFA and VFL footballers who played here professionally.
New Zealand Represented at Australasian Carvinal - In 1908 the New Zealand team - dressed in black with a gold fern - competed in the Jubilee Australasian Football Carnival with games played at the M.C.G. They defeated New South Wales and Queensland, and lost to Victoria and Tasmania to finish fourth out of the seven competing teams.
Development of the game in New Zealand was stopped abruptly by World War I.
After a 40 year hiatus Australian Football was revived in the 1970s and the game is now played in Auckland, Wellington and Christchurch. The sport is governed by the New Zealand Australian Football Council with representation from the three centres.
New Zealand competes in International Australian Football Championship - The game reached another highpoint in May 1995 when the New Zealand team competed in the inaugural International Australian Football Championship held in conjunction with the ARAFURA Sports Festival in Darwin, Northern Territory of Australia.
New Zealand defeated Nauru, Japan/Singapore and Hong Kong and was defeated by New Guinea to finish second in the round robin section of the championship. New Zealand was defeated by Papua New Guinea in the Final to finish the Championship as winners of the Silver Medal.
Finals Series and Leading Players Click Here
Office Bearers and Life Members Click Here
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