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5894	dbpedia	0	4	https://the-jh-movie-collection-official.fandom.com/wiki/Ian_McKellen	en	Ian McKellen	https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/e/e6/Site-logo.png/revision/latest?cb=20210714135828	https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/e/e6/Site-logo.png/revision/latest?cb=20210714135828	[ "https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/e/e6/Site-logo.png/revision/latest?cb=20210714135828", "https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/c/c6/Ralph_Breaks_the_Internet_112.png/revision/latest/scale-to-width-down/150?cb=20181129012719", "https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/0/0e/6000px-Flag_of_the_United_Kingdom.svg.png/revision/latest/scale-to-width-down/100?cb=20190202154028", "https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/4/46/1920px-Commons-logo.svg.png/revision/latest/scale-to-width-down/30?cb=20181130225010", "https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/3/32/1920px-wikiquote-logo.svg.png/revision/latest/scale-to-width-down/34?cb=20181130224613", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to The JH Movie Collection's Official Wiki" ]	2024-07-29T22:27:06+00:00	Sir Ian Murray McKellen Template:Post-nominals (born 25 May 1939) is an English actor. His career spans seven decades, having performed in genres ranging from Shakespearean and modern theatre to popular fantasy and science fiction. Over his career he has received numerous awards including seven...	en	/skins-ucp/mw139/common/favicon.ico	The JH Movie Collection's Official Wiki	https://the-jh-movie-collection-official.fandom.com/wiki/Ian_McKellen	English actor (b. 1939)Template:SHORTDESC:English actor (b. 1939) "Whoa, this article was awesome!!" said by Shank This is been a good article for Ian McKellen. Follow the link for more information. This article might be using a British English for its pagename. (June 2015) Sir Ian Murray McKellen Template:Post-nominals (born 25 May 1939) is an English actor. His career spans seven decades, having performed in genres ranging from Shakespearean and modern theatre to popular fantasy and science fiction. Over his career he has received numerous awards including seven Laurence Olivier Awards, a Tony Award, a Golden Globe Award, and a Screen Actors Guild Award. He has also received nominations for two Academy Awards, five Primetime Emmy Awards, and four BAFTAs. He achieved worldwide fame for his film roles, including the titular King in Richard III (1995), James Whale in Gods and Monsters (1998), Magneto in the X-Men films, and Gandalf in The Lord of the Rings and The Hobbit trilogies. The BBC states that his "performances have guaranteed him a place in the canon of English stage and film actors".[2][3] A recipient of every major theatrical award in the UK, McKellen is regarded as a British cultural icon.[4][5] He started his professional career in 1961 at the Belgrade Theatre as a member of their highly regarded repertory company. In 1965, McKellen made his first West End appearance. In 1969, he was invited to join the Prospect Theatre Company to play the lead parts in Shakespeare's Richard II and Marlowe's Edward II, and he firmly established himself as one of the country's foremost classical actors. In the 1970s, McKellen became a stalwart of the Royal Shakespeare Company and the National Theatre of Great Britain. In 1981 he received his first Tony Award nomination and win for Best Actor in a Play for his role as Antonio Salieri in Amadeus. McKellen was knighted in the 1980 New Year Honours for services to the performing arts, and made a Companion of Honour for services to drama and to equality in the 2008 New Year Honours.[6][7][8][9] He came out as gay in 1988, and has since championed LGBT social movements worldwide. He was awarded the Freedom of the City of London in October 2014.[10] Early life and education[] McKellen was born on 25 May 1939 in Burnley, Lancashire,Template:Sfn[11] the son of Margery Lois (née Sutcliffe) and Denis Murray McKellen. He was their second child, with a sister, Jean, five years his senior.[12] Shortly before the outbreak of the Second World War in September 1939, his family moved to Wigan. They lived there until Ian was twelve years old, before relocating to Bolton in 1951, after his father had been promoted.[12][13] The experience of living through the war as a young child had a lasting impact on him, and he later said that "only after peace resumed ... did I realise that war wasn't normal".[13] When an interviewer remarked that he seemed quite calm in the aftermath of the 11 September attacks, McKellen said: "Well, darling, you forget—I slept under a steel plate until I was four years old".[14] McKellen's father was a civil engineer[15] and lay preacher, and was of Protestant Irish and Scottish descent.[16] Both of McKellen's grandfathers were preachers, and his great-great-grandfather, James McKellen, was a "strict, evangelical Protestant minister" in Ballymena, County Antrim.[17] His home environment was strongly Christian, but non-orthodox. "My upbringing was of low nonconformist Christians who felt that you led the Christian life in part by behaving in a Christian manner to everybody you met".[18] When he was 12, his mother died of breast cancer; his father died when he was 24. After his coming out as gay to his stepmother, Gladys McKellen, who was a Quaker, he said, "Not only was she not fazed, but as a member of a society which declared its indifference to people's sexuality years back, I think she was just glad for my sake that I wasn't lying anymore".[19] His great-great-grandfather Robert J. Lowes was an activist and campaigner in the ultimately successful campaign for a Saturday half-holiday in Manchester, the forerunner to the modern five-day work week, thus making Lowes a "grandfather of the modern weekend".[20] McKellen attended Bolton School (Boys' Division),[21] of which he is still a supporter, attending regularly to talk to pupils. McKellen's acting career started at Bolton Little Theatre, of which he is now the patron.[22] An early fascination with the theatre was encouraged by his parents, who took him on a family outing to Peter Pan at the Opera House in Manchester when he was three.[12] When he was nine, his main Christmas present was a fold-away wood and bakelite Victorian theatre from Pollocks Toy Theatres, with cardboard scenery and wires to push on the cut-outs of Cinderella and of Laurence Olivier's Hamlet.[12] His sister took him to his first Shakespeare play, Twelfth Night,[23] by the amateurs of Wigan's Little Theatre, shortly followed by their Macbeth and Wigan High School for Girls' production of A Midsummer Night's Dream, with music by Mendelssohn, with the role of Bottom played by Jean McKellen, who continued to act, direct, and produce amateur theatre until her death.[24] In 1958, McKellen, at the age of 18, won a scholarship to St Catharine's College, Cambridge, where he read English literature.[25] He has since been made an Honorary Fellow of the college. While at Cambridge, McKellen was a member of the Marlowe Society, where he appeared in 23 plays over the course of 3 years. At that young age he was already giving performances that have since become legendary such as his Justice Shallow in Henry IV alongside Trevor Nunn and Derek Jacobi (March 1959), Cymbeline (as Posthumus, opposite Margaret Drabble as Imogen) and Doctor Faustus.[26][27][28] During this period McKellen had already been directed by Peter Hall, John Barton and Dadie Rylands, all of whom would have a significant impact on McKellen's future career. Career[] Theatre[] 1965–1969: Theatre debut and early roles[] McKellen made his first professional appearance in 1961 at the Belgrade Theatre in Coventry, as Roper in A Man for All Seasons, although an audio recording of the Marlowe Society's Cymbeline had gone on commercial sale as part of the Argo Shakespeare series.[26][28] After four years in regional repertory theatres, McKellen made his first West End appearance, in A Scent of Flowers, regarded as a "notable success".[26] In 1965 he was a member of Laurence Olivier's National Theatre Company at the Old Vic, which led to roles at the Chichester Festival. With the Prospect Theatre Company, McKellen made his breakthrough performances of Shakespeare's Richard II (directed by Richard Cottrell) and Christopher Marlowe's Edward II (directed by Toby Robertson) at the Edinburgh Festival in 1969, the latter causing a storm of protest over the enactment of the homosexual Edward's lurid death.[29] 1970–1985: National Theatre roles and Broadway debut[] In the 1970s, McKellen became a well-known figure in British theatre, performing frequently at the Royal Shakespeare Company and the Royal National Theatre, where he played several leading Shakespearean roles. Through 1973 to 1974, McKellen toured the United Kingdom and Brooklyn Academy of Music portraying Lady Wishfort's Footman, Kruschov, and Edgar in the William Congreve comedy The Way of the World, Anton Chekov's comedic three act play The Wood Demon and William Shakespeare tragedy King Lear. The following year, he starred in Shakespeare's King John, George Colman's The Clandestine Marriage, and George Bernard Shaw's Too True to Be Good. From 1976 to 1977 he portrayed Romeo in the Shakespeare romance Romeo & Juliet at the Royal Shakespeare Theatre. The following year he played King Leontes in The Winter's Tale. In 1976, he played the title role in William Shakespeare's Macbeth (which he had first played for Trevor Nunn in a "gripping ... out of the ordinary" production, with Judi Dench, at Stratford in 1976 and Iago in Othello, in award-winning productions directed by Nunn.[26] Both of these productions were adapted into television films, also directed by Nunn. In 1978 through 1979 he toured in a double feature production of Shakespeare's Twelfth Night, and Anton Chekov's Three Sisters portraying Sir Toby Belch and Andrei, respectively. In 1979, McKellen gained acclaim for his role as Antonio Salieri in the Broadway transfer production of Peter Shaffer's play Amadeus. It was an immensely popular play produced by the National Theatre originally starring Paul Scofield. The transfer starred McKellen, Tim Curry as Wolfgang Amadeus Mozart, and Jane Seymour as Constanze Mozart. The New York Times theatre critic Frank Rich wrote of McKellen's performance "In Mr. McKellen's superb performance, Salieri's descent into madness was portrayed in dark notes of almost bone-rattling terror".[30] For his performance, McKellen received the Tony Award for Best Actor in a Play. 1986–2001: Roles on Broadway and the West End[] In 1986, he returned to Broadway in revival of Anton Chekhov's first play Wild Honey alongside Kim Cattrall and Kate Burton. The play concerned a local Russian schoolteacher who struggles to remain faithful to his wife, despite the attentions of three other women. McKellen received mixed reviews from critics in particular Frank Rich of The New York Times who praised him for his "bravura and athletically graceful technique that provides everything except, perhaps, the thing that matters most—sustained laughter". He later wrote, "Mr. McKellen finds himself in the peculiar predicament of the star who strains to carry a frail supporting cast".[31] In 1989 he played Iago in production of Othello by the Royal Shakespeare Company. From 1990 to 1992, he acted in a world tour of a lauded revival of Richard III, playing the title character. The production played at the Brooklyn Academy of Music for two weeks before continuing its tour where Frank Rich of New York Times was able to review it. In his piece, he praised McKellen's performance writing, "Mr. McKellen's highly sophisticated sense of theatre and fun drives him to reveal the secrets of how he pulls his victims' strings whether he is addressing the audience in a soliloquy of not".[32] For his performance he received the Laurence Olivier Award for Best Actor. In 1992, he acted in Pam Gems's revival of Chekov's Uncle Vanya at the Royal National Theatre alongside Antony Sher, and Janet McTeer. From 1993 to 1997 McKellen toured in a one-man show entitled, A Knights Out, about coming out as a gay man. Laurie Winer from The Los Angeles Times wrote, "Even if he is preaching to the converted, McKellen makes us aware of the vast and powerful intolerance outside the comfortable walls of the theater. Endowed with a rare technique, he is a natural storyteller, an admirable human being and a hands-on activist".[33] From 1997 to 1998, he starred as Dr. Tomas Stockmann in a revival of Henrik Ibsen's An Enemy of the People. Later that year he played Garry Essendine in the Noël Coward comedy Present Laughter at the West Yorkshire Playhouse. McKellen returned to the Broadway stage in 2001 in a August Strindberg play The Dance of Death alongside Helen Mirren, and David Strathairn at the Broadhurst Theatre. The New York Times Theatre critic Ben Brantley praised McKellen's performance writing, "[McKellen] returns to Broadway to serve up an Elysian concoction we get to sample too little these days: a mixture of heroic stage presence, actorly intelligence, and rarefied theatrical technique".[34] McKellen toured with the production at the Lyric Theatre in London's West End and to the Sydney Art's Festival in Australia. 2007–2021: Return to the theatre[] In 2007, he returned to the Royal Shakespeare Company, in productions of King Lear and The Seagull, both directed by Trevor Nunn. In 2009, he appeared in a very popular revival of Waiting for Godot at London's Haymarket Theatre, directed by Sean Mathias, and playing opposite Patrick Stewart.[35][36] From 2013 to 2014, McKellen and Stewart starred in a double production of Samuel Beckett's Waiting for Godot and Harold Pinter's No Man's Land on Broadway at the Cort Theatre. Variety theatre critic Marilyn Stasio praised the dual production writing, "McKellen and Stewart find plenty of consoling comedy in two masterpieces of existential despair".[37] In both production of Stasio claims, "the two thespians play the parts they were meant to play". He is Patron of English Touring Theatre and also President and Patron of the Little Theatre Guild of Great Britain, an association of amateur theatre organisations throughout the UK.[38] In late August 2012, he took part in the opening ceremony of the London Paralympics, portraying Prospero from The Tempest.[39] In October 2017, McKellen played King Lear at the Chichester Festival Theatre, a role which he said was likely to be his "last big Shakespearean part".[40] He performed the play at the Duke of York's Theatre in London's West End during the summer of 2018.[41][42] To celebrate his 80th birthday, in 2019 McKellen performed in a one-man stage show titled Ian McKellen on Stage: With Tolkien, Shakespeare, Others and YOU celebrating the various performances throughout his career. The show toured across the UK and Ireland (raising money for each venue and organisation's charity) before a West End run at the Harold Pinter Theatre and was performed for one night only on Broadway at the Hudson Theatre.[43] In 2021, he played the title role in an age-blind production of Hamlet (having previously played the part in a UK and European tour in 1971), followed by the role of Firs in Chekov's The Cherry Orchard at the Theatre Royal, Windsor.[44][45] Film[] 1969–1989: Film debut and character actor[] In 1969, McKellen starred in three films, Michael Hayes's The Promise, Clive Donner's epic film Alfred the Great, and Waris Hussein's A Touch of Love. In 1981, McKellen portrayed writer and poet D. H. Lawrence in the Christopher Miles directed biographical film, Priest of Love. He followed up with Michael Mann's horror film The Keep (1983). In 1985, he starred in Plenty, the film adaptation of the David Hare play of the same name. The film was directed by Fred Schepisi and starred Meryl Streep, Charles Dance, John Gielgud, and Sting. The film spans nearly 20 years from the early 1940s to the 1960s, around an Englishwoman's experiences as a fighter for the French Resistance during World War II when she has a one-night stand with a British intelligence agent. The film received mixed review with Roger Ebert of The Chicago Sun-Times praising the film's ensemble cast writing, "The performances in the movie supply one brilliant solo after another; most of the big moments come as characters dominate the scenes they are in".[46] McKellen starred in the British drama Scandal a fictionalised account of the Profumo affair that rocked the government of British prime minister Harold Macmillan. McKellen portrayed John Profumo. The film starred Joanne Whalley, and John Hurt. The film premiered at the 1989 Cannes Film Festival and competed for the Palme d'Or. 1990–1998: Richard III and Critical acclaim[] In 1993, he starred in the film Six Degrees of Separation based on the Pulitzer Prize and Tony Award nominated play of the same name. McKellen starred alongside Will Smith, Donald Sutherland and Stockard Channing. The film was a critical success. That same year, he also appeared in the western The Ballad of Little Jo opposite Bob Hoskins and the action comedy Last Action Hero starring Arnold Schwarzenegger. The following year, he appeared in the superhero film The Shadow with Alec Baldwin and the James L. Brooks directed comedy I'll Do Anything starring Nick Nolte. In 1995, McKellen made his screenwriting debut with Richard III, an ambitious adaptation of William Shakespeare's play of the same name, directed by Richard Loncraine.[47][48] The film reimagines the play's story and characters to a setting based on 1930s Britain, with Richard depicted as a fascist plotting to usurp the throne. McKellen stars in the title role alongside an ensemble cast including Annette Bening, Robert Downey Jr., Jim Broadbent, Kristen Scott Thomas, Nigel Hawthorne and Dame Maggie Smith. As executive producer he returned his £50,000 fee to complete the filming of the final battle.[49] In his review of the film, The Washington Post film critic Hal Hinson called McKellen's performance a "lethally flamboyant incarnation" and said his "florid mastery ... dominates everything".[50] Film critic Roger Ebert of the Chicago Sun-Times praised McKellen's adaptation and his performance in his four star review writing, "McKellen has a deep sympathy for the playwright ... Here he brings to Shakespeare's most tortured villain a malevolence we are moved to pity. No man should be so evil, and know it. Hitler and others were more evil, but denied out to themselves. There is no escape for Richard. He is one of the first self-aware characters in the theater, and for that distinction he must pay the price".[51] His performance in the title role garnered BAFTA and Golden Globe nominations for Best Actor and won the European Film Award for Best Actor. His screenplay was nominated for the BAFTA Award for Best Adapted Screenplay. That same year, he appeared in the historical drama Restoration (1995) also starring Downey Jr., as well as Meg Ryan, Hugh Grant, and David Thewlis. He also appeared in the British romantic comedy Jack and Sarah (1995) starring Richard E. Grant, Samantha Mathis, and Dame Judi Dench. In 1998, he appeared in the modestly acclaimed psychological thriller Apt Pupil, which was directed by Bryan Singer and based on a story by Stephen King.[52] McKellen portrayed a fugitive Nazi officer living under a false name in the US who is befriended by a curious teenager (Brad Renfro) who threatens to expose him unless he tells his story in detail. That same year, he played James Whale, the director of Frankenstein in the Bill Condon directed period drama Gods and Monsters, a role for which he was subsequently nominated for the Academy Award for Best Actor, losing it to Roberto Benigni in Life is Beautiful (1998).[25] 2000–2007: The Lord of the Rings and X-Men[] In 1999, McKellen was cast, again under the direction of Bryan Singer, to play the comic book supervillain Magneto in the 2000 film X-Men and its sequels X2: X-Men United (2003) and X-Men: The Last Stand (2006).[25] He later reprised his role of Magneto in 2014's X-Men: Days of Future Past, sharing the role with Michael Fassbender, who played a younger version of the character in 2011's X-Men: First Class.[53] While filming the first X-Men film in 1999, McKellen was cast as the wizard Gandalf in Peter Jackson's film trilogy adaptation of The Lord of the Rings (consisting of The Fellowship of the Ring, The Two Towers, and The Return of the King), released between 2001 and 2003. He received honours from the Screen Actors Guild for Best Supporting Actor in a Motion Picture for his work in The Fellowship of the Ring and was nominated for the Academy Award for Best Supporting Actor for the same role. He provided the voice of Gandalf for several video game adaptations of the Lord of the Rings films.[54] McKellen has appeared in limited release films, such as Emile (which was shot in three weeks following the X2 shoot),[55] Neverwas and Asylum. In 2006, He appeared as Sir Leigh Teabing in The Da Vinci Code opposite Tom Hanks as Robert Langdon. During a 17 May 2006 interview on The Today Show with the Da Vinci Code cast and director Ron Howard, Matt Lauer posed a question to the group about how they would have felt if the film had borne a prominent disclaimer that it is a work of fiction, as some religious groups wanted.[56] McKellen responded, "I've often thought the Bible should have a disclaimer in the front saying 'This is fiction'. I mean, walking on water? It takes ... an act of faith. And I have faith in this movie—not that it's true, not that it's factual, but that it's a jolly good story". He continued, "And I think audiences are clever enough and bright enough to separate out fact and fiction, and discuss the thing when they've seen it".[56] In 2007, McKellen narrated the romantic fantasy adventure film Stardust starring Charlie Cox and Claire Danes, which was a critical and financial success. That same year, he lent his voice to the armored bear Iorek Byrnison in the Chris Weitz-directed fantasy film The Golden Compass based on the acclaimed Philip Pullman novel Northern Lights and starred Nicole Kidman and Daniel Craig. The film received mixed reviews but was a financial success. 2012–2019: The Hobbit, X-Men and other roles[] McKellen reprised the role of Gandalf on screen in Peter Jackson's three-part film adaptation of The Hobbit starting with The Hobbit: An Unexpected Journey (2012), followed by The Hobbit: The Desolation of Smaug (2013), and finally The Hobbit: The Battle of the Five Armies (2014).[57] Despite the series receiving mixed reviews, it emerged as a financial success. McKellen also reprised his dual role as Erik Lehnsherr and Magneto in James Mangold's The Wolverine (2013), and Singer's X-Men: Days of Future Past (2014). In 2015, McKellen reunited with director Bill Condon playing an elderly Sherlock Holmes in the mystery film Mr. Holmes alongside Laura Linney. In the film based on the novel A Slight Trick of the Mind (2005), Holmes now 93, struggles to recall the details of his final case because his mind is slowly deteriorating. The film premiered at the 65th Berlin International Film Festival with McKellen receiving acclaim for his performance. Rolling Stone film critic Peter Travers praised his performance writing, "Don't think you can take another Hollywood version of Sherlock Holmes? Snap out of it. Apologies to Robert Downey Jr. and Benedict Cumberbatch, but what Ian McKellen does with Arthur Conan Doyle's fictional detective in Mr. Holmes is nothing short of magnificent ... Director Bill Condon, who teamed superbly with McKellen on the Oscar-winning Gods and Monsters, brings us a riveting character study of a lion not going gentle into winter".[58] In 2017, McKellen portrayed in a supporting role as Cogsworth (originally voiced by David Ogden Stiers in the 1991 animated film) in the live-action adaptation of Disney's Beauty and the Beast, directed by Bill Condon (which marked the third collaboration between Condon and McKellen, after Gods and Monsters and Mr. Holmes) and co-starred alongside Emma Watson and Dan Stevens.[59] The film was released to positive reviews and grossed $1.2Template:Nbspbillion worldwide, making it the highest-grossing live-action musical film, the second highest-grossing film of 2017, and the 17th highest-grossing film of all time.[60][61][62] The following year, he appeared in Kenneth Branagh's historical drama All is True (2018) portraying Henry Wriothesley, 3rd Earl of Southampton, opposite Branagh and Judi Dench. In 2019, he reunited with Condon for a fourth time in the mystery thriller The Good Liar opposite Helen Mirren, who received praise for their onscreen chemistry.[63] That same year, he appeared as Gus the Theatre Cat in the movie musical adaptation of Cats directed by Tom Hooper. The film featured performances from Jennifer Hudson, James Corden, Rebel Wilson, Idris Elba, and Judi Dench. The film was widely panned for its poor visual effects, editing, performances, screenplay, and was a box office disaster.[64] Television[] 1966–1981: Television debut and early roles[] One of McKellen's first major roles on television was as the title character in the BBC's 1966 adaptation of David Copperfield, which achieved 12 million viewers on its initial airings. After some rebroadcasting in the late 60s, the master videotapes for the serial were wiped, and only four scattered episodes (3, 8, 9 and 11) survive as telerecordings, three of which feature McKellen as adult David. McKellen had taken film roles throughout his career—beginning in 1969 with his role of George Matthews in A Touch of Love, and his first leading role was in 1980 as D. H. Lawrence in Priest of Love,[65] but it was not until the 1990s that he became more widely recognised in this medium after several roles in blockbuster Hollywood films.[25] 1990–1999: HBO Projects and awards success[] In 1993, he appeared in minor roles in the television miniseries Tales of the City, based on the novel by his friend Armistead Maupin. Later that year, McKellen appeared in the HBO television film And the Band Played On based on the acclaimed novel of the same name about the discovery of HIV. For his performance as gay rights activist Bill Kraus, McKellen received the CableACE Award for Supporting Actor in a Movie or Miniseries and was nominated for the Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie.[66] In 1995, he appeared in the BBC television comedy film Cold Comfort Farm starring Kate Beckinsale, Rufus Sewell, and Stephen Fry. The following year he starred as Tsar Nicholas II in the HBO made-for-television movie Rasputin: Dark Servant of Destiny (1996) starring Alan Rickman as Rasputin. For his performance McKellen earned a Primetime Emmy Award for Outstanding Supporting Actor in a Limited Series or Movie nomination and received a Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film win. McKellen appeared as Mr Creakle in the BBC series David Copperfield based on the Charles Dickens classic novel. The miniseries starred a pre-Harry Potter Daniel Radcliffe, Bob Hoskins, and Dame Maggie Smith. 2003–2017: Dramas, Guest roles and Sitcom[] On 16 March 2002, he hosted Saturday Night Live. In 2003, McKellen made a guest appearance as himself on the American cartoon show The Simpsons in a special British-themed episode entitled "The Regina Monologues", along with the then UK Prime Minister Tony Blair and author J. K. Rowling. In April and May 2005, he played the role of Mel Hutchwright in Granada Television's long running British soap opera, Coronation Street, fulfilling a lifelong ambition. He narrated Richard Bell's film Eighteen as a grandfather who leaves his World War II memoirs on audio-cassette for his teenage grandson. McKellen appeared in the 2006 BBC series of Ricky Gervais's comedy series Extras, where he played himself directing Gervais's character Andy Millman in a play about gay lovers. McKellen received a 2007 Primetime Emmy Award for Outstanding Guest Actor – Comedy Series nomination for his performance. In 2009 he portrayed Number Two in The Prisoner, a remake of the 1967 cult series The Prisoner.[67] In November 2013, McKellen appeared in the Doctor Who 50th anniversary comedy homage The Five(ish) Doctors Reboot.[68] From 2013 to 2016 McKellen co-starred in the ITV sitcom Vicious as Freddie Thornhill, alongside Derek Jacobi. The series revolves around an elderly gay couple who have been together for 50 years.[69][70] The show's original title was "Vicious Old Queens". There are ongoing jokes about McKellen's career as a relatively unsuccessful character actor who owns a tux because he stole it after doing a guest spot on "Downton Abbey" and that he holds the title of "10th Most Popular ‘Doctor Who’ Villain". Liz Shannon Miller of IndieWire noted while the concept seemed, "weird as hell", that "Once you come to accept McKellen and Jacobi in a multi-camera format, there is a lot to respect about their performances; specifically, the way that those decades of classical training adapt themselves to the sitcom world. Much has been written before about how the tradition of the multi-cam, filmed in front of a studio audience, relates to theater, and McKellen and Jacobi know how to play to a live crowd".[71] In October 2015, McKellen appeared as Norman to Anthony Hopkins's Sir in a BBC Two production of Ronald Harwood's The Dresser, alongside Edward Fox, Vanessa Kirby, and Emily Watson.[72] Television critic Tim Goodman of The Hollywood Reporter praised the film and the central performances writing, "there’s no escaping that Hopkins and McKellen are the central figures here, giving wonderfully nuanced performances, onscreen together for their first time in their acclaimed careers".[73] For his performance McKellen received a British Academy Television Award nomination for his performance. In 2017, McKellen appeared in the documentary McKellen: Playing the Part, directed by director Joe Stephenson. The documentary explores McKellen's life and career as an actor. Personal life[] McKellen and his first partner, Brian Taylor, a history teacher from Bolton, began their relationship in 1964.[74] Their relationship lasted for eight years, ending in 1972. They lived in London, where McKellen continued to pursue his career as an actor. In 1978 he met his second partner, Sean Mathias, at the Edinburgh Festival. This relationship lasted until 1988, and according to Mathias it was tempestuous, with conflicts over McKellen's success in acting versus Mathias's somewhat less-successful career. The two remained friends, with Mathias later directing McKellen in Waiting for Godot at the Theatre Royal Haymarket in 2009. The pair entered into a business partnership with Evgeny Lebedev, purchasing the lease of The Grapes public house in Narrow Street.[75] As of 2005, McKellen had been living in Narrow Street, Limehouse for more than 25 years, more than a decade of which had been spent in a five-story Victorian conversion.[76] McKellen is an atheist.[77] In the late 1980s, he lost his appetite for every kind of meat but fish, and has since followed a mainly pescetarian diet.[78] In 2001, Ian McKellen received the Artist Citizen of the World Award (France).[79] McKellen has a tattoo of the Elvish number nine, written using J. R. R. Tolkien's constructed script of Tengwar, on his shoulder in reference to his involvement in the Lord of the Rings and the fact that his character was one of the original nine companions of the Fellowship of the Ring. The other actors of "The Fellowship" (Elijah Wood, Sean Astin, Orlando Bloom, Billy Boyd, Sean Bean, Dominic Monaghan and Viggo Mortensen) have the same tattoo. John Rhys-Davies, whose character was also one of the original nine companions, did not get the tattoo; his stunt double was offered it instead.[80][81] McKellen was diagnosed with prostate cancer in 2006.[82] In 2012, he stated on his blog that "There is no cause for alarm. I am examined regularly and the cancer is contained. I've not needed any treatment".[83] McKellen became an ordained minister of the Universal Life Church in early 2013[84] in order to preside over the marriage of his friend and X-Men co-star Patrick Stewart to the singer Sunny Ozell.[85] McKellen was awarded an honorary Doctorate of Letters by Cambridge University on 18 June 2014.[86] He was made a Freeman of the City of London on Thursday 30 October 2014. The ceremony took place at Guildhall in London. He was nominated by London's Lord Mayor Fiona Woolf, who said he was an "exceptional actor" and "tireless campaigner for equality".[87] He is also an Emeritus Fellow of St Catherine's College, Oxford.[88] Activism[] LGBT rights[] While McKellen had made his sexual orientation known to fellow actors early on in his stage career, it was not until 1988 that he came out to the general public, in a programme on BBC Radio.[89] The context that prompted McKellen's decision, overriding any concerns about a possible negative effect on his career, was that the controversial Section 28 of the Local Government Bill, known simply as Section 28, was then under consideration in the British Parliament.[25] Section 28 proposed prohibiting local authorities from promoting homosexuality "... as a kind of pretended family relationship".[90] McKellen became active in fighting the proposed law, and, during a BBC Radio 3 programme where he debated Section 28 with the conservative journalist Peregrine Worsthorne, came out as gay.[25][91] McKellen has stated that he was influenced in his decision by the advice and support of his friends, among them noted gay author Armistead Maupin.[25] In a 1998 interview that discusses the 29th anniversary of the Stonewall riots, McKellen commented, I have many regrets about not having come out earlier, but one of them might be that I didn't engage myself in the politicking.[92] He has said of this period: My own participating in that campaign was a focus for people [to] take comfort that if Ian McKellen was on board for this, perhaps it would be all right for other people to be as well, gay and straight.[18] Section 28 was, however, enacted and remained on the statute books until 2000 in Scotland and 2003 in England and Wales. Section 28 never applied in Northern Ireland. In 2003, during an appearance on Have I Got News For You, McKellen claimed when he visited Michael Howard, then Environment Secretary (responsible for local government), in 1988 to lobby against Section 28, Howard refused to change his position but did ask him to leave an autograph for his children. McKellen agreed, but wrote, "Fuck off, I'm gay".[93][94] McKellen described Howard's junior ministers, Conservatives David Wilshire and Jill Knight, who were the architects of Section 28, as the 'ugly sisters' of a political pantomime.[95] McKellen has continued to be very active in LGBT rights efforts. In a statement on his website regarding his activism, the actor commented: Page Template:Blockquote/styles.css has no content. I have been reluctant to lobby on other issues I most care about—nuclear weapons (against), religion (atheist), capital punishment (anti), AIDS (fund-raiser) because I never want to be forever spouting, diluting the impact of addressing my most urgent concern; legal and social equality for gay people worldwide.[96] McKellen is a co-founder of Stonewall, an LGBT rights lobby group in the United Kingdom, named after the Stonewall riots.[97] McKellen is also patron of LGBT History Month,[98] Pride London, Oxford Pride, GAY-GLOS, LGBT Foundation[99] and FFLAG where he appears in their video "Parents Talking".[100] In 1994, at the closing ceremony of the Gay Games, he briefly took the stage to address the crowd, saying, "I'm Sir Ian McKellen, but you can call me Serena": This nickname, given to him by Stephen Fry, had been circulating within the gay community since McKellen's knighthood was conferred.[18] In 2002, he was the Celebrity Grand Marshal of the San Francisco Pride Parade[101] and he attended the Academy Awards with his then-boyfriend, New Zealander Nick Cuthell. In 2006, McKellen spoke at the pre-launch of the 2007 LGBT History Month in the UK, lending his support to the organisation and its founder, Sue Sanders.[98] In 2007, he became a patron of The Albert Kennedy Trust, an organisation that provides support to young, homeless and troubled LGBT people.[97] In 2006, he became a patron of Oxford Pride, stating: I send my love to all members of Oxford Pride, their sponsors and supporters, of which I am proud to be one ... Onlookers can be impressed by our confidence and determination to be ourselves and gay people, of whatever age, can be comforted by the occasion to take the first steps towards coming out and leaving the closet forever behind.[102] McKellen has taken his activism internationally, and caused a major stir in Singapore, where he was invited to do an interview on a morning show and shocked the interviewer by asking if they could recommend him a gay bar; the programme immediately ended.[103] In December 2008, he was named in Out's annual Out 100 list.[104] In 2010, McKellen extended his support for Liverpool's Homotopia festival in which a group of gay and lesbian Merseyside teenagers helped to produce an anti-homophobia campaign pack for schools and youth centres across the city.[105] In May 2011, he called Sergey Sobyanin, Moscow's mayor, a "coward" for refusing to allow gay parades in the city.[106] In 2014, he was named in the top 10 on the World Pride Power list.[107] Charity work[] In April 2010, along with actors Brian Cox and Eleanor Bron, McKellen appeared in a series of TV advertisements to support Age UK, the charity recently formed from the merger of Age Concern and Help the Aged. All three actors gave their time free of charge.[108] A cricket fan since childhood, McKellen umpired in March 2011 for a charity cricket match in New Zealand to support earthquake victims of the February 2011 Christchurch earthquake.[109][110] McKellen is an honorary board member for the New York- and Washington, D.C.-based organization Only Make Believe.[111] Only Make Believe creates and performs interactive plays in children's hospitals and care facilities. He was honoured by the organisation in 2012[112] and hosted their annual Make Believe on Broadway Gala in November 2013.[113] He garnered publicity for the organisation by stripping down to his Lord of the Rings underwear on stage. McKellen also has a history of supporting individual theatres. While in New Zealand filming The Hobbit in 2012, he announced a special New Zealand tour "Shakespeare, Tolkien and You!", with proceeds going to help save the Isaac Theatre Royal, which suffered extensive damage during the 2011 Christchurch earthquake. McKellen said he opted to help save the building as it was the last theatre he played in New Zealand (Waiting for Godot in 2010) and the locals' love for it made it a place worth supporting.[114] In July 2017, he performed a new one-man show for a week at Park Theatre (London), donating the proceeds to the theatre.[115] Together with a number of his Lord of the Rings co-stars (plus writer Philippa Boyens and director Peter Jackson), on 1 June 2020 McKellen joined Josh Gad's YouTube series Reunited Apart which reunites the cast of popular movies through video-conferencing, and promotes donations to non-profit charities.[116] Other work[] A friend of Ian Charleson and an admirer of his work, McKellen contributed an entire chapter to For Ian Charleson: A Tribute.[117] A recording of McKellen's voice is heard before performances at the Royal Festival Hall, reminding patrons to ensure their mobile phones and watch alarms are switched off and to keep coughing to a minimum.[118][119] He also took part in the 2012 Summer Paralympics opening ceremony in London as Prospero from Shakespeare's The Tempest.[39] Acting credits[] Main article(s): Ian McKellen on screen and stage Accolades and honours[] Main article(s): List of awards and nominations received by Ian McKellen McKellen has received two Academy Award nominations for his performances in Gods and Monsters (1999), and The Lord of the Rings: The Fellowship of the Ring (2001). He has also received 5 Primetime Emmy Award nominations. McKellen has received two Tony Award nominations winning for Best Actor in a Play for his performance in Amadeus in 1981. He has also received 12 Laurence Olivier Awards (Olivier Awards) nominations winning 6 awards for his performances in Pillars of the Community (1977), The Alchemist (1978), Bent (1979), Wild Honey (1984), Richard III (1991), and Ian McKellen on Stage: With Tolkien, Shakespeare, Others and YOU (2020). He has also received various honorary awards including Pride International Film Festival's Lifetime Achievement & Distinction Award in 2004 and the Olivier Awards's Society Special Award in 2006. He also received Evening Standard Awards The Lebedev Special Award in 2009. The following year he received an Empire Award's Empire Icon Award[120] In 2017 he received the Honorary Award from the Istanbul International Film Festival. See also[] List of British Academy Award nominees and winners List of actors with Academy Award nominations List of actors with two or more Academy Award nominations in acting categories List of LGBTQ Academy Award winners and nominees References[] Sources[] Barratt, Mark (2006). Ian McKellen: An Unofficial Biography. London: Virgin Books. ISBN 978-0-7535-1074-2. [] The papers of Sir Ian McKellen, actor are held by the Victoria and Albert Museum Theatre and Performance Department. Ian McKellen at the Internet Broadway DatabaseLua error in Module:EditAtWikidata at line 36: attempt to index field 'wikibase' (a nil value).Script error: No such module "WikidataCheck". Ian McKellen on IMDb Template:Screenonline name Biography of Sir Ian McKellen, CH, CBE, Debrett's
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Director of Construction, Adam oversees on-site operations and field personnel for JRM’s projects. With an impressive track record of over 25 years in the construction industry, Adam brings an abundance of invaluable knowledge and insight to JRM. He collaborates closely with the project team, maintaining realistic schedules and resolving scope discrepancies to guarantee client satisfaction. Adam’s exceptional attention to detail and innate ability to inspire and train our field personnel make him an indispensable leader within our team. As JRM’s Director of Estimating for the BLDGS Division, Andres ensures the accuracy and reliability of client cost proposals by implementing standardized estimating procedures and conducting regular reviews. Andres is known for his ability to cultivate relationships with subcontractors to expand his network and stay informed about the subcontract market. He excels in leading value engineering efforts and optimizing project costs without compromising quality or functionality. As a Certified Professional Estimator (CPE) by the American Society of Professional Estimators, Andres employs extensive knowledge and experience to enhance overall efficiency. Andres has over 13 years of experience in the construction sector, specializing in new ground-up construction and major building repositioning projects in New York City. Throughout his career, Andres has worked across diverse market sectors, including multifamily residential developments, hotels & hospitality, life science facilities, educational institutions, and commercial offices. Leveraging his adaptability to new technology and his wealth of experience, Andres continually identifies areas for improvement, implements process enhancements, and streamlines JRM’s estimating process. As the CEO of JRM, Dave ensures all construction assignments are executed and completed successfully. He is also responsible for new business development and guaranteeing that JRM’s construction management and general contracting services exceed the expectations of our clients during all phases of work. In addition, Dave prides himself with the growth and training of the next generation of builders and construction professionals at JRM. With over three decades of experience in commercial, residential, and high-end retail store construction, he has earned a reputation as a pragmatic and knowledgeable construction expert. Antonina has been a professional in the construction industry for over two decades, proactively reaching, identifying, and building relationships with clients, and growing existing and new markets for business opportunities. She is results-oriented, with a consistent track record of generating sales and cultivating relationships to expand business. As Vice President of Business Development for JRM, she works closely with the firm’s leadership, marketing, accounts, and field disciplines to envision and implement strategies for growing the firm’s business, reaching top-line revenue goals, winning new projects, and building relationships in key markets. Antonina strategizes short-term and long-term business goals and creative contributions to sales/marketing proposals, presentations, and collateral materials. In addition, she works closely with JRM’s clients and project teams from project inception to closeout. Antonina can be found on-site reviewing her client’s project and ensuring a successful turnover. She has also been instrumental in expanding the firm’s use of tools such as win/loss debriefs, CRM data analysis, and other methods to understand market trends, identify opportunities, and track success metrics. John is a Principal and Managing Partner at JRM’s West Coast office. As a Managing Partner, John oversees the management of all project phases, including day-to-day operations such as construction schedules, costs, project teams, and client relations. With over 15 years of experience as VP of Design and Construction, project manager, and as superintendent, John has a consistent track record of successfully managing and delivering numerous multimillion-dollar projects. John, who is a specialist in retail construction and build-out, is a strong leader who inspires confidence and motivates his staff to perform at the highest levels to meet and exceed project and client expectations. As the President of JRM, Joseph maintains the smooth operation of the firm on a daily basis and ensures the successful delivery of all project work. He manages the implementation and application of all internal controls and oversees all contract administration, cost control, and cash flow analysis activities. Joseph works to instill JRM’s mission and values within our team while bringing a fresh, efficient approach to the construction marketplace. With over two decades of experience, Joseph’s ability to establish and maintain relationships with clients, consultants, and subcontractors, as well as his innovative approach to developing new construction programs that best achieve each client’s goals, make him an invaluable asset to all JRM project teams. As the VP of Public Sector, Cecil brings a wealth of experience carrying over two decades of leadership spanning both the private sector and city government with a notable focus on engaging women and minority-owned business enterprises. His impressive educational background includes an MBA from Columbia and a JD from Harvard Law School, equipping him with a solid foundation in operations, real estate, and business law. Throughout his career, Cecil has achieved significant milestones, including experience in managing public sector construction projects valued at over $1 billion. He has been recognized for driving cost savings and navigating complex legal challenges. At JRM, Cecil’s strategic insight and his commitment to innovation are instrumental in continuing the success of the Public Sector division. His track record of fostering growth and excellence positions JRM to continue delivering outstanding results and expanding our industry leadership. As VP, Director of Construction, Charlie oversees all pre-con and construction events. He works closely with the project team to ensure all schedules put forth are manageable and realistic, resolves any scope discrepancies for the design team and clients, and coordinates all on-site activities. With over two decades of experience as an accomplished construction professional, Charlie ensures that a project’s final result is to the client’s total satisfaction. David serves JRM as VP, Director of Mission Critical. With a meticulous, detailed, and results-oriented approach, he has expertly handled many complex Mission Critical projects. David brings over 30 years of experience in this arena as well as detailed knowledge and skills in the design and engineering realm. Prior to his current role, he served as Executive Vice President of Engineering for Henegan Construction and worked as Associate Electrical Engineer for Jaros, Baum & Bolles in NYC. As a New York State licensed Professional Engineer and a dedicated professional, he has earned a strong reputation when it comes to projects involving mission critical construction. David’s skills, experience, and knowledge are essential components of JRM’s commitment to continuous growth and exceptional service. As Chief Operating Officer of JRM, David is responsible for developing and executing the company’s strategic business plan. A forward-thinking leader: David plans, manages and directs all key facets of JRM’s operations. As a member of the JRM team since Day One, David has helped lead JRM in consistently delivering on its mission: understanding a project from the client’s perspective while focusing on providing exceptional service and quality to meet their needs. With a reputation for being able to navigate challenging circumstances and the keen ability to develop an excellent project approach, David regularly serves as principal-in-charge on select high-profile and complex projects. As VP, Director of Construction, John is responsible for the staffing and on-site functioning of JRM’s field operations. John incorporates over 30 years of construction management experience into his leadership role. He has successfully completed a wide-range of projects, from boutique relocations and renovations to large multi-floor build-outs for diverse institutional and corporate clientele. John also has extensive experience in projects requiring major land development and has constructed structures from foundation to move-in ready. He has a proven track record of managing large project teams, maintaining client relations, and expertise in scheduling methodology and change order analysis. Marty is a Principal and Director of Operations at JRM’s West Coast office. In his role, Marty oversees the management and administration of all project phase operations, including tracking and controlling construction schedules, costs, project teams, and client relations, ensuring all project scope expectations are met. His experience as a project manager and superintendent allows him to effectively spearhead projects that are strategically planned, managed, and delivered on time and under budget. Marty ensures each successful project is a direct reflection of JRM’s mission to give their clients a first-class experience and world-class product. As the Director of Retail, Joseph is responsible for overseeing national retail projects across JRM’s offices. With over 25 years of experience in construction management, Joseph has worked on projects ranging from flagship stores to rollouts, experiential spaces, remodels, specialty shops, big box stores, entertainment venues, and hospitality projects. His expertise covers all aspects of the retail sector, and he is known for his ability to build strong client relationships and exceed expectations. As a mechanical engineer and USGBC Green Associate, Joseph brings a unique perspective to his work. He is driven by setting clear direction, aligning all resources, and keeping project teams motivated to deliver outstanding results. As Compliance Officer, Abby oversees JRM’s comprehensive compliance program. With her wealth of knowledge and expertise, she ensures that JRM adheres to MWBE vetting, remains compliant with constantly evolving rules and laws, and maintains stringent compliance practices. Additionally, she provides regular training to employees on various compliance topics, keeping them up-to-date with the latest standards. By developing new policies and diligently reviewing RFPs, Abby plays an integral role in contractual and legal compliance. Abby’s oversight ensures JRM upholds integrity and excellence in compliance throughout the organization. As VP, Director of Construction, Jimmy oversees on-site operations and field personnel for all JRM projects. His responsibilities include schedule execution, technical construction-related support, labor scheduling, and the management of site safety and quality control. With over 30 years of experience in the construction industry, Jimmy brings invaluable knowledge and insight to the organization. His attention to detail and innate ability to train and motivate staff make him a vital member of the team, and his dedication to quality service makes him essential to upholding JRM’s core values of excellence. Kevin is the VP of JRM’s BLDGS arm, where he is responsible for the successful execution of all JRM’s large-scale projects. With over 20 years of professional experience in the industry, Kevin has managed projects totaling more than $2 billion and 3.5 million square feet throughout the Tri-State Area, including residential, commercial, hospitality, retail, and mixed-use projects. Kevin’s experience includes budgeting, pre-construction planning, value engineering, coordination and management, contract negotiations, logistics planning, budget/schedule development and execution, supplier and subcontractor selection, management, and compliance. As the VP of Aviation at JRM, Mark leverages his industry knowledge and strategic insight to further enhance the company’s capabilities in aviation construction. With an extensive background of nearly two decades in the aviation sector, he has spearheaded a wide range of projects across key airports in the United States, such as JFK, LGA, EWR, BOS, and ISP. His expertise spans terminal construction, premium service programs, hangar/technical operations, and airside/landside developments, as well as food, beverage, and retail operations within these environments. Mark has led major redevelopment initiatives during his illustrious career, notably within the New York and New Jersey airport systems. His work includes the landmark American Airlines Redevelopment Program at JFK as well as retail and terminal programs at the recently completed LGA Redevelopment. These projects highlight Mark’s ability to manage complex operations, ensuring they meet high standards of quality, sustainability, and cost-effectiveness. At JRM, Mark is committed to setting new standards for excellence and innovation in aviation construction while delivering projects that make a lasting impact. As the VP, Director of Estimating for JRM, Nathan incorporates his extensive experience in construction management into ensuring that JRM delivers its consistent standard of industry-leading services. With over 15 years of in-depth industry experience, Nathan is instrumental in making sure that project needs are met and client expectations are exceeded. His notable industry experience includes a wide-range of complex projects with high-profile companies, including SONY, AIG, Major League Baseball, and more. With this wealth of experience and knowledge, Nathan oversees JRM’s preconstruction services, bids, and estimates, where he implements effective procurement strategies and value engineering techniques to drive successful project outcomes. As JRM’s Chief Technology Officer, Alex is responsible for transforming the organization’s IT infrastructure and processes, paving the way for scalable infrastructure, and aligning the company with the latest technologies. A strategic leader with over 17 years of diverse IT experience, he has cultivated expertise in enterprise application integration, app development, solutions design, project management, consulting, and product management. Alex has extensive hands-on experience managing large-scale global enterprise systems, building reporting and data warehouses, implementing DevOps solutions, and developing applications using agile best practices and industry-standard frameworks. He has implemented agile transformation strategies at JRM, leading key projects around cost reduction, risk, and compliance. His proactive approach to problem-solving and forward-thinking leadership allows him to identify technology trends and adapt them to enhance operations, cost-effectiveness, and revenue streams ensuring that JRM’s projects are optimized for any need. As Principal & Director of Projects, Kevin oversees all pre-construction and construction events at JRM West. Kevin’s 10+ years of experience in the construction industry have enabled him to handle a wide variety of complex projects. Kevin works closely with the project team to ensure all schedules put forth are manageable and realistic, resolves any scope discrepancies for the design team and clients, and coordinates all on-site activities so that the project’s final result is to the client’s total satisfaction. As VP, Director of Estimating, Peter oversees all pre-construction and estimating efforts on JRM’s projects. This includes subcontractor bidding and leveling, value engineering, budgeting, and developing procurement strategies that deliver quality for the end user. With over 20 years of industry experience, Peter has had the opportunity to wear many hats, which allowed him to gain exceptional experience and expertise. Leveraging this experience, he melds the preconstruction and construction processes seamlessly to bring projects together from start to finish. Peter works closely with all stakeholders and team members to ensure successful delivery, both financially and on-site execution. Additionally, Peter is actively involved with the Diversity & Inclusion committee to carry forward JRM’s commitment to equality and positive growth. In his role as VP, Director of Construction, Robert brings over 25 years of experience in leading large-scale, multi-million dollar construction projects for corporate, commercial, municipal, and private sector clients. Robert has a proven track record in troubleshooting contract changes, keeping schedules on track, and coordinating project agencies and trades while expertly meeting his clients’ needs for communication, efficiency, cost, and overall quality control. He strives to be a mentor at JRM and enjoys leading and guiding team members in their Project Management and client-serving responsibilities. Rob is also a retired U.S. Air Force Lieutenant Colonel, having completed 20 years of combined service on Active Duty and as a Reservist. His military experiences as a career Civil Engineer Officer, Squadron Commander, and Emergency Preparedness Liaison Officer (EPLO) for the State of Connecticut have shaped his leadership and management abilities and have defined his drive for excellence. As MEPS Director, Thomas leads JRM’s building infrastructure arm, focusing on complex Mechanical, Electrical, and Plumbing System (MEPS) modernization projects. With over 20 years of experience in the industry, Thomas’ technical background, problem-solving abilities, and strong leadership allow him to effectively coordinate complex and intricate projects. His proactive approach during preconstruction provides insightful guidance and innovative solutions to JRM’s clients, allowing for successful project completion. Thomas has been involved in several notable projects, including the full overhaul of 125 West End Ave into a cutting-edge life science facility for owner Taconic Partners, the modernization of 295 5th Ave for developer Tribeca Investment Group, the Pratt University boiler infrastructure replacement, full infrastructure upgrades of 315 Hudson for Jack Resnick & Sons, and the new Wheeler commercial office tower for Tishman Speyer in Brooklyn. His deep knowledge of planning and implementation of complex construction systems allows him to serve clients as a vital member of the JRM team. With over 15 years of experience, Anna oversees JRM’s human resources initiatives, develops strategies, provides guidance to leadership, and partners with management to ensure that HR needs align with the business objectives. Anna is highly skilled in analyzing data and using human resources metrics for informed decision-making that improves company growth. With experience, knowledge, and exceptional leadership, Anna consistently pushes the team forward to ensure that department operations run efficiently and deliver maximum value to JRM’s clients and stakeholders. As VP, Director of Construction, Tommy oversees all preconstruction and construction work on wide-ranging projects. Tommy’s 23+ years of experience in the construction industry have enabled him to effectively plan for and handle the intricate challenges of complex projects. Tommy works closely with the project team to ensure all schedules are realistic and remain on track, resolves any scope discrepancies for the design team and clients, and ensures that the final result is to the client’s complete satisfaction. Lora leads the Accounting Department, where she works closely with the project team to oversee the financial budgeting and transactions needed to successfully turn over projects to clients and partners. Lora is responsible for handling all project billing inquiries, setting up contracts with clients and subcontractors, reviewing all POs, COs, and allowances, as well as preparing sub-lien waivers, AIA documents, and tax status. Lora tracks all payments received and issued regarding the project, obtains and logs sub-invoices, and ensures pay-out sheets reflect sub payments. As Director of Project Controls, Ben has been an integral part of JRM since 2013, providing invaluable leadership and oversight. In his role, Ben establishes and oversees processes and procedures for the Construction Department and its sub-departments, including permitting, virtual design & construction (VDC), and cost management. He brings over 30 years of expertise in field operations, safety management, estimating, labor management, QAQC, and operations to the table – experience which he uses to elevate the team and achieve results. Always focused on delivering exceptional service, he oversees project staffing documentation and works closely with subcontractors to resolve conflicts and disputes. Ben’s unwavering commitment to providing the highest level of attention and service makes him a valuable asset at JRM. With over 25 years of dedicated expertise in risk management and insurance, Celia Seigerman-Levit assumed the vital role of Director of Risk Management at JRM. Her profound knowledge and unwavering commitment make her an invaluable asset to our organization. Celia’s responsibilities extend to overseeing JRM’s corporate insurance, surety, wrap-up, and subcontractor default insurance programs. Her role encompasses providing comprehensive insurance and risk-mitigation counsel while offering unwavering support to the company’s objectives. Celia excels in all facets of risk management, including the intricate domains of risk assessment, mitigation, contractual risk transfer, and claims strategies. Alongside her proficient team, she diligently manages relationships with insurance carriers and brokers. Her relentless pursuit of excellence ensures the deployment of the most suitable insurance programs to meet the exacting requirements of both JRM and our esteemed clients. As General Superintendent, Rick Blanchfield oversees on-site operations and field personnel for all JRM West projects. Rick’s responsibilities include schedule execution, technical construction-related support and labor scheduling, as well as the management of site safety and quality control. With over 25 years of experience in the construction industry, Rick’s unparalleled attention to detail and proven ability to train and motivate staff make him an invaluable member of the JRM team. Serving as General Counsel, Christopher employs over 15 years of experience as a practitioner of law to protect JRM’s legal interests and ensure compliance. Christopher provides strategic legal counsel to business counterparts and executive leadership, addressing complex legal issues. He anticipates and identifies legal issues and advises executive leadership on effective strategies and solutions that align with the organization’s core values and mission. In addition to his legal experience, Christopher has served as Chief Compliance Officer. With this comprehensive experience, he oversees contract management, compliance, and risk management teams for JRM. As the Financial Controller of JRM, Denise is in charge of managing financial functions and overseeing the finance team. She prepares budgets, forecasts, and cash flows, as well as maintains financial ledgers and accounting processes. Denise also prepares monthly consolidated P&L and balance sheets and produces statutory and internal financial reports. Her resume boasts over 20 years in the construction industry. In addition to financial modeling and analysis, she ensures that cash management and treasury duties are appropriately controlled as well as internally implemented and maintained. With over 20 years of experience, Dwayne is an accomplished EHS professional and has played a critical role in the successful implementation of safety programs throughout his career. He has devised and implemented complex safety plans designed to reduce overall risk, and eliminate potential unsafe working conditions and associated risk expenses. He is Certified as a CHST Construction Health & Safety Technician by the Board of Certified Safety Professionals and a Certified Outreach Construction Trainer, having conducted numerous 10-hour and 30-hour OSHA training classes. As Director of Environmental Health & Safety, Dwayne is responsible for overseeing the performance and effectiveness of management teams, servicing contracts specific to project safety, communicating with all project team members, serving as a key technical contributor, sustaining loss control and risk management expertise, and providing leadership for corporate initiatives requiring construction industry safety, health information, and resources. He also works closely with our subs to develop and enforce their own safety programs. Dwayne ensures all EHS codes and regulations are followed by conducting on-site spot inspections and working closely with the full-time onsite project teams of JRM. Marc Reissman, Executive Vice President at JRM, is a seasoned leader who plays a pivotal role in JRM’s ventures in New York and spearheads operations in New Jersey. His extensive career path within the construction realm has seen him excel as a field Superintendent, Project Manager, and Project Director, showcasing his versatility. Beyond this, Marc actively contributes to shaping marketing strategies, fostering employee engagement, and driving business development. Since the inception of JRM, Marc’s unwavering dedication has positioned him as a driving force behind the company’s industry-leading estimating and purchasing services. Additionally, he takes charge of overseeing crucial accounts for JRM, which includes projects of all types and sizes. As Executive Vice President, Marc is more than an executive; he’s a visionary leader who consistently sets ambitious goals and processes, propelling JRM to new heights. His comprehensive approach ensures that every facet of the company flourishes under his guidance, making him the ultimate jack-of-all-trades at JRM. As a financial planning expert with over 25 years of experience in the Construction industry, Phil manages JRM New Jersey’s estimating and preconstruction team. Having worked as both an Owners Representative and General Contractor, he brings extensive and diverse knowledge to his role with JRM. As a Chartered Quantity Surveyor and member of RICS, Phil is committed to upholding professional standards and ensuring the highest quality work. Through his leadership, JRM’s team reviews lump sum bids and provides comprehensive CM preconstruction services such as budgets, cashflows, value engineering, bidding/leveling, and procurement. Phil’s expertise and dedication ensure accurate estimates and efficient project planning, resulting in successful outcomes for every client and every project. As the Principal In Charge of JRM South, Anthony leads his team in executing strategic construction plans by establishing priorities and determining resource allocation to guarantee that projects are delivered both efficiently and effectively. Leading a team of Project Directors, Project Managers and Superintendents, Anthony is responsible for the proper administration of all construction contracts and the documentation of all necessary information. With over 30 years of experience, Anthony has managed a variety of construction projects ranging from minor renovations to multi-floor interior fit-outs for Fortune 500 companies, law firms, financial services and banking firms, schools, and entertainment firms. Joseph is JRM’s General Superintendent for New Jersey. In this critical role, he works closely with management to ensure that projects are staffed with the most suitable superintendents and that they have the resources necessary to thrive. With 35+ years of industry experience, he oversees all superintendents and projects in the state. This includes overseeing notable accounts such as Peloton, CBS, Sapiens, OrbComm, NBA, Michael Kors, Creamy Creations, and Amazon. Joe’s project staffing expertise plays a vital role in successful project execution and client satisfaction, solidifying JRM’s position as a trusted industry leader. As the VP, Managing Director of JRM South, Adam is responsible for the day-to-day operations, namely managing the flow of information between the client, project team, and subcontractors. Adam oversees project scheduling, budgeting, and purchasing, as well as conducts weekly meetings with the client, design team, and buildings. Upon project completion, Adam verifies all specifications are met for a successful project closeout, handling any remaining purchase orders, dispute resolution, and contract administration. With over 20 years of industry experience, Adam is exceptionally well-versed in Florida project management operations having expertise in all construction processes for interior development, renovation, and restoration programs.
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"https://i.dailymail.co.uk/1s/2024/08/28/15/89020783-0-image-m-18_1724854118672.jpg", "https://i.dailymail.co.uk/1s/2024/08/28/18/89026975-0-image-m-28_1724864450708.jpg", "https://i.dailymail.co.uk/1s/2024/08/28/23/89019813-0-image-m-143_1724884164912.jpg", "https://i.dailymail.co.uk/1s/2024/08/29/01/89039937-0-image-m-29_1724889785786.jpg", "https://i.dailymail.co.uk/1s/2024/08/28/20/89032777-0-image-a-80_1724874816821.jpg", "https://i.dailymail.co.uk/1s/2024/08/28/16/89024107-0-image-m-16_1724858286733.jpg", "https://i.dailymail.co.uk/1s/2024/08/29/01/89040827-0-image-m-75_1724891663571.jpg", "https://i.dailymail.co.uk/i/pix//promoboxes/btn_ipadapp_5_308x111.png", "https://i.dailymail.co.uk/i/furniture/misc/logo_cookie_reg.png" ]	[]	[]	[ "dailymail", "news", "The Queen" ]	null	[ "Alison Boshoff", "www.facebook.com" ]	2021-12-04T00:37:51+00:00	Despite a life replete with theatrical acclaim, a knighthood and a string of famous friends, Antony Sher struggled with crippling anxiety and overwhelming feelings of inadequacy.		/favicon.ico?v=2	Mail Online	https://www.dailymail.co.uk/news/article-10273689/Sir-Antony-Sher-Shakespearean-knight-widely-acknowledged-greatest-actor-generation.html	Despite a life replete with theatrical acclaim, a knighthood and a string of famous friends, Antony Sher struggled with crippling anxiety and overwhelming feelings of inadequacy. He once wrote that, as he was being introduced to the Queen as one of Britain’s finest classical actors, an inner voice taunted him: ‘I’m just a little gay Yid from the other side of the world. I shouldn’t be here.’ Yet such was his talent, at times he seemed to embody the critics’ dictum about King Lear: Sher was ‘too huge for the stage’. Whether ‘climbing Everest’, as he described the effort of performing Shakespeare’s foolish monarch, playing Shylock in the Merchant of Venice, or while conveying Macbeth’s paranoia and despair, he was an almost unworldly stage presence: creative, intense and dazzling. Sher, whose death from cancer aged 72 was announced yesterday, was widely acknowledged as the greatest actor of his generation, and over the course of his 50-year career, played nearly every major Shakespearean role. Only Hamlet was omitted, with Sher saying – with characteristic insecurity – that a sense of ‘self-oppression’ prevented him from treading the boards as the Dane. ‘I thought I wasn’t what Hamlet looked like,’ he said. ‘There was an old-fashioned idea that he had to be tall and handsome and blond. But that’s nonsense, of course. I missed it and it’s my own fault. But otherwise, Shakespeare served me very well.’ For Sher language was a performance art. ‘To an actor, dialogue is like food,’ he wrote. ‘You hold it in your mouth, you taste it. If it’s good dialogue, the taste will be distinctive. ‘If it’s Shakespeare dialogue, the taste will be Michelin-starred.’ Yet the banquet of his life was not without its sour notes: at times, Sher was treated for depression as well as cocaine addiction, triggered by his insecurities. ‘I always felt like a trespasser,’ he said. He had a long-running and viciously jealous feud with the actor Simon Callow, whom at times he felt was being cast in parts that he deserved. ‘I couldn’t bear to be in the same room as him,’ said Sher, who was knighted in 2000. His jealousy of Callow ‘might shoot off the Richter Scale ... I’ll never forget the terrible sensations that consumed me whenever I saw his name. Jealousy is an exhausting, insatiable feeling, both tiny and huge, somewhere between an itch and a fever. ‘A kind of hunger, a kind of despair. A fear, a dread, a murderousness.’ The thespian ill-will was at last defused thanks to a four-hour lunch at Le Caprice. Though he spent much of his working life at the top of his profession, Sher never shed his status as an outsider. Born in a middle-class suburb of Cape Town in 1949, the ‘weedy’ young Anthony was obsessed with drama. He would listen again and again to catch the cadences in an LP of Laurence Olivier playing Othello. Gay, Jewish and artistic, he was a poor fit in the macho and sports-mad culture of apartheid-era South Africa. In 1968 he left for England, hoping to sail into drama school and emulate his theatrical heroes Olivier, John Gielgud and Ralph Richardson. But Rada flatly rejected him, Sher later recalling that the venerable theatre school sent him a letter that read: ‘Not only have you failed this audition, we strongly urge you to seek a different career.’ He enrolled at the less prestigious Webber-Douglas Academy, and hid his South African background, his Jewishness and his sexuality. ‘I was in so many closets,’ he later said. He fell in with Liverpool’s Everyman Theatre crowd including young actors Julie Walters and Pete Postlethwaite, who became lifelong friends. His break came in Malcolm Bradbury’s The History Man, a BBC adaptation for which he was Bafta-nominated. The RSC then took him on, and in 1983 cast him as Richard III in an acclaimed production that saw Sher playing the hunchbacked king on crutches. The play caused a sensation, and was followed by a stunning West End performance of Torch Song Trilogy, in which he played a gay New York drag artiste. In 1987, while playing Shylock, he fell in love with fellow cast member Greg Doran, now the artistic director of the RSC. They became Theatreland’s leading ‘power couple’, with Doran directing Sher in a run of outstanding productions, including King Lear in 2016. They formed a civil partnership in 2005. Sher also made TV and film appearances, notably as Disraeli in the 1997 film Mrs Brown. He was also in Yanks and, in a change from his usual fare, Superman II.
5894	dbpedia	1	18	https://www.nytimes.com/1984/10/07/theater/repertory-is-the-heart-of-the-rsc.html	en	REPERTORY IS THE HEART OF THE R.S.C.	https://static01.nyt.com…op.png?year=1984	https://static01.nyt.com…op.png?year=1984	[ "https://s1.nyt.com/timesmachine/pages/1/1984/10/07/241781_360W.png?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Mel Gussow" ]	1984-10-07T00:00:00		en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1984/10/07/theater/repertory-is-the-heart-of-the-rsc.html	Whenever the Royal Shakespeare Company pays a visit to Broadway, it is, by definition, a major theatrical event. Usually the R.S.C. has been represented in New York by a single production, last season with ''All's Well That Ends Well,'' ''Good'' in 1982 and the year before by the landmark two-part version of ''The Life and Adventures of Nicholas Nickleby.'' This season the R.S.C. returns with two plays, ''Much Ado About Nothing'' and ''Cyrano de Bergerac'' (now in previews, opening Oct. 14 at the Gershwin), a repertory season that is more representative of the company's founding principle. The R.S.C. is arguably the finest ensemble classical repertory theater in the world today. Ensemble acting in repertory, especially in classics, is the essence of the R.S.C., as exemplified in the current instances by Derek Jacobi shifting from the misogynistic Benedick in ''Much Ado'' to the romance-obsessed Cyrano and by Sinead Cusack doubling as the acid-tongued Beatrice and the adoring Roxanne. However, even as theatergoers admire the versatility of the actors, they should be aware that what is being seen on Broadway still represents only a slim sampling of the work of a company that is unmatched for its productivity and for its reserve strength. The productivity is a matter of annual record. The R.S.C. presents more than 30 new, individual productions each season on various stages - its two theaters at the Barbican Center in London, its two theaters in Stratford-on- Avon, in transfers and extended engagements on London's West End and in its tours through England (with particular emphasis on Newcastle-upon- Tyne, which has become a third home), Europe and America. At the moment, 32 actors are appearing at the Gershwin, a fraction of the number working with the company; there are almost 200 on the active roster. At present there are 20 productions running in England, including five plays by Shakespeare at Stratford and three at the Barbican. When one considers that the average American institutional theater presents from six to eight shows a year, it is evident that the R.S.C. is a monumental producing organization. That productivity is matched by quality. For its own health - and for the health of the theater at large - the company consistently replenishes itself with new actors and directors. Though the R.S.C. has produced stars, its principle is the opposite of the star system. It operates as a family, organic and mutually responsive to one another's needs and to the needs of the company. In recent years such actors as Ian McKellen, Alan Howard, Ben Kingsley, Roger Rees, David Threlfall, Cheryl Campbell, Jane Lapotaire, Zo"e Wanamaker, Sinead Cusack and Harriet Walter, among many others, have done some of their best work within the R.S.C. ensemble. Most recently there is the case of Antony Sher, whose promise was fulfilled playing the title role in ''Richard III'' at Stratford. Many of these actors, such as Mr. Rees and Mr. Kingsley, rose right up through the ranks. Early in their careers both of them were walk-ons trailing Mr. Howard in Trevor Nunn's 1966 production of ''The Revenger's Tragedy,'' a play that marked the turning point in Mr. Nunn's own career. It solidified his directorial reputation and led partly to his ascension as Peter Hall's successor as artistic director; Mr. Nunn brought in Terry Hands as joint artistic director in 1979. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
5894	dbpedia	3	17	https://deadline.com/2021/12/sir-anthony-sher-obit-1234884240/	en	Antony Sher Dies: Acclaimed UK Theater Actor And ‘Shakespeare In Love’ Star Was 72	https://deadline.com/wp-…llows.jpg?w=1024	https://deadline.com/wp-…llows.jpg?w=1024	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://deadline.com/wp-content/uploads/2021/12/Antony-Sher-center-in-The-Wind-in-the-Willows.jpg?w=681&h=383&crop=1", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/uploads/2024/08/GettyImages-2166231487.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Screenshot-2024-08-15-at-3.33.37 PM.png?w=150", "https://deadline.com/wp-content/uploads/2024/08/yolanda-londie-favors-the-real-housewives-of-atlanta-porsha-family-matters-bravo.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/big-brother-season-26-eviction.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/07/Kamala-Harris-and-Donald-Trump.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/love-island-usa-season-6-reunion-cast.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/GettyImages-2164937643.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/05/GettyImages-1433272349.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/The-Day-the-Clown-Cried.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/robert-griffin-iii-sam-ponder-espn-fired.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Renate-Reinsve-Stellan-Skarsgard-Inga-Ibsdotter-Elle-Fanning.jpg?w=200&h=112&crop=1", "https://deadline.com/wp-content/uploads/2022/07/Collage-Maker-21-Jul-2022-12.39-PM.jpg?w=200&h=112&crop=1", "https://deadline.com/wp-content/uploads/2023/08/Collage-Maker-07-Aug-2023-11-56-AM-3173.jpg?w=200&h=112&crop=1", "https://deadline.com/wp-content/uploads/2024/08/image-w1280.jpg?w=200&h=112&crop=1", "https://pixel.quantserve.com/pixel?a.1=p-0f0nSqEQ_DwA6&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Max Goldbart" ]	2021-12-03T16:13:09+00:00	Sir Anthony Sher, the acclaimed UK theatre actor who also starred in Shakespeare In Love and Mrs Brown, has died aged 72.	en	https://deadline.com/wp-…e-touch-icon.png	Deadline	https://deadline.com/2021/12/sir-anthony-sher-obit-1234884240/	Sir Antony Sher, the acclaimed UK theater actor who also starred in Shakespeare In Love and Mrs Brown, has died. He was 72. The Royal Shakespeare Company tweeted earlier Friday that Sher had died of cancer. Sher’s husband Gregory Doran, the RSC’s artistic director, has been taking compassionate leave since September to care for him. RSC executive director Catherine Mallyon and acting artistic director Erica Whyman hailed Sher’s “hugely celebrated career on stage and screen,” as tributes flooded in for the actor. “Anthony was deeply loved and hugely admired by so many colleagues,” said Mallyon and Whyman. “He was a groundbreaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. We will ensure friends far and wide have the chance to share tributes and memories in the days to come.” Sher had a long association with the RSC and was widely considered to be one of the UK’s finest theater actors, once famously described by Prince Charles as his favourite actor. Born into a Lithuanian-Jewish family in South Africa in 1949, Sher moved to London in the late 1960s. He held various theater roles throughout the 1970s and became a member of the RSC in 1982, going on to win two Laurence Olivier Awards for Best Actor for 1985’s Richard III and 1997’s Stanley, along with being nominated twice more. He also starred in film and TV projects, playing Dr Moth in Shakespeare In Love for which he won a SAG Award and appearing as UK Prime Minister Benjamin Disraeli in 1997’s Mrs. Brown. He most recently featured in the extended edition of The Hobbit: The Desolation Of Smaug as Thráin II. “I am devastated to hear of the death of Antony Sher. The theatre has lost a brilliant light,” Helen Mirren said. “I will never forget the moment I met the actor in Antony. We were doing the first reading rehearsal of the play Teeth and Smiles by David Hare. Anthony was a comparatively unknown actor at the time. We were buried in our scripts. I read the first words of our scene together and he answered. I raised my eyes above the pages to look at him more precisely as with simply those minimal words I immediately realized I was opposite a great actor. Of course he went on to become the celebrated artist he was, but the extraordinary ability was born in him, as natural to him as breathing: it was as clear as a summer sky.”
5894	dbpedia	2	6	https://www.euronews.com/culture/2021/12/03/antony-sher-shakespearean-specialist-with-stage-fright-dies-aged-72	en	Antony Sher: Shakespearean specialist who struggled with stage fright dies aged 72	https://static.euronews.…a34f-6279504.jpg	https://static.euronews.…a34f-6279504.jpg	[ "https://static.euronews.com/website/images/vector/euronews-logo-redesigned.svg", "https://static.euronews.com/articles/stories/08/65/53/20/368x207_cmsv2_17719928-e389-5def-a36f-0d74b880c233-8655320.jpg", "https://static.euronews.com/articles/stories/08/65/12/26/368x207_cmsv2_24fcf9d3-5538-53c3-b5b8-6f3ab6bb91ab-8651226.jpg", "https://static.euronews.com/articles/stories/08/64/47/02/368x207_cmsv2_b1f49305-04ae-578c-803f-6a3617b92455-8644702.jpg", "https://static.euronews.com/articles/stories/08/65/52/06/368x207_screenshot_1200_8_8655206.jpg", "https://static.euronews.com/articles/programs/featured-programs/featured-radio-schuman.jpg", 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"https://static.euronews.com/website/images/vector/social-icons/social_icon_youtube.svg", "https://static.euronews.com/website/images/vector/social-icons/social_icon_linkedin.svg", "https://static.euronews.com/website/images/vector/social-icons/social_icon_dailymotion.svg", "https://static.euronews.com/website/images/vector/social-icons/social_icon_instagram.svg", "https://static.euronews.com/website/images/vector/social-icons/social_icon_vk.svg", "https://www.facebook.com/tr?id=1612819098956034&ev=PageView&noscript=1" ]	[]	[]	[ "Theatre", "William Shakespeare", "actor" ]	null	[ "Euronews" ]	2021-12-03T00:00:00	After winning acclaim as a pillar of British theatre, Sher began to explore both his Jewish and his South African heritage.	en	/apple-touch-icon.png	euronews	https://www.euronews.com/culture/2021/12/03/antony-sher-shakespearean-specialist-with-stage-fright-dies-aged-72	Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in “Richard III.” He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the “Henry IV” plays, Leontes in “The Winter’s Tale,” Shylock in “The Merchant of Venice,” Iago in “Othello” and the title characters in “Macbeth” and “King Lear.” Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller's “Death of a Salesman” and the title role in Moliere's “Tartuffe.” Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s “Torch Song Trilogy.” He won the 1985 best-actor Olivier Award jointly for “Torch Song Trilogy” and “Richard III.” He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ “Stanley” at the National Theatre and on Broadway. After winning acclaim as a pillar of British theatre, Sher began to explore both his Jewish and his South African heritage. Stage Fright He adapted Primo Levi’s powerful Auschwitz memoir “If This is a Man” into a one-man stage show, “Primo,” that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.” Sher's last role for the RSC came in 2019 in South African writer John Kani’s “Kunene and The King.” Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.” On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series “The History Man.” His film roles included Dr. Moth in “Shakespeare in Love,” Benjamin Disraeli in “Mrs Brown” and Adolf Hitler in “Churchill: The Hollywood Years.” Sher also wrote several novels and theatrical memoirs, along with an autobiography, “Beside Myself,” and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. “I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in “Macbeth” and “Death of a Salesman.” “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said. Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.” “He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.’” Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage.
5894	dbpedia	1	6	https://www.grafiati.com/en/literature-selections/sher-antony-1949/	en	Bibliographies: 'Sher, antony , 1949	https://www.grafiati.com…3de3a6a6be12.png	https://www.grafiati.com…3de3a6a6be12.png	[ "https://www.grafiati.com/static/img/logo_ukraine2.d38b2de1216e.svg", "https://www.grafiati.com/static/img/flags/EN.af517a818309.svg", "https://www.grafiati.com/static/img/flags/UK.d0dc196ab638.svg", "https://www.grafiati.com/static/img/flags/FR.2e489c918b95.svg", "https://www.grafiati.com/static/img/flags/IT.09e3a0437404.svg", "https://www.grafiati.com/static/img/flags/ES.63e55d4e870f.svg", "https://www.grafiati.com/static/img/flags/PL.ba23dcc3cfbd.svg", "https://www.grafiati.com/static/img/flags/PT.646bdd83c5f9.svg", "https://www.grafiati.com/static/img/flags/DE.ba9611fe6842.svg", "https://www.grafiati.com/static/img/flags/EN.af517a818309.svg", "https://www.grafiati.com/static/img/flags/UK.d0dc196ab638.svg", "https://www.grafiati.com/static/img/flags/FR.2e489c918b95.svg", "https://www.grafiati.com/static/img/flags/IT.09e3a0437404.svg", "https://www.grafiati.com/static/img/flags/ES.63e55d4e870f.svg", "https://www.grafiati.com/static/img/flags/PL.ba23dcc3cfbd.svg", "https://www.grafiati.com/static/img/flags/PT.646bdd83c5f9.svg", "https://www.grafiati.com/static/img/flags/DE.ba9611fe6842.svg", "https://www.grafiati.com/static/img/icons/chevron-down-38px.533577431608.svg", "https://www.grafiati.com/static/img/icons/chevron-up-38px.aae68e8e179c.svg", "https://www.grafiati.com/static/img/logo-only-text.46d05d6bf405.png" ]	[]	[]	[ "Grafiati", "Sher", "antony", "1949-", "relevant bibliographies by topics", "scholarly sources", "bibliographies", "lists of references", "lists of sources", "research topics", "research ideas", "metadata" ]	null	[ "Grafiati" ]	2024-07-27T00:00:00	Relevant books, articles, theses on the topic 'Sher, antony , 1949-.' Scholarly sources with full text pdf download. Related research topic ideas.	en	/static/img/favicon.dc3ea5864b9c.ico		https://www.grafiati.com/en/literature-selections/sher-antony-1949/	"Examples of British Brecht discussed here include George Devine’s production of The Good Woman of Setzuan, Sam Wanamaker’s The Threepenny Opera and William Gaskill’s The Caucasian Chalk Circle. (Throughout this book all the play titles given reproduce exactly the translations used for the particular productions discussed.) The chapter also includes a brief assessment of the relationship between the work of Brecht and that of key British playwrights: John Arden, Arnold Wesker, John Osborne, Robert Bolt and Edward Bond. Chapter 3 describes the ways in which the political upheavals of 1968 and the social and artistic developments in Britain made Brecht eminently suitable and accessible to radical theatre groups. It analyses the impact of politically committed theatre practitioners’ attempts to take on all aspects of Brecht’s dramatic theory, political philosophy and, as far as possible, theatre practice. Detailed analyses of Brecht productions by some key radical companies (e.g. Foco Novo, Belt and Braces Roadshow, Liverpool’s Everyman Theatre, Manchester’s Contact Theatre and Glasgow’s Citizens Theatre) demonstrate how their commitment to the integra-tion of political meaning and aesthetic expression contributed to the growing understanding and acceptance of Brecht’s theatre in Britain. This achievement is contrasted in Chapter 4 with the ways in which Brecht’s plays were incorporated into the classical repertoire by the national companies – the Royal Shakespeare Company and the National Theatre – in the 1970s and 1980s. Here there is an assessment of the damaging impact on these Brecht productions of the companies’ hierarchical structure and organisation, the all-too-frequently non-collaborative approaches to production, and the undue emphasis placed on performance style and set design, often in isolation from a genuine commitment to the intrinsic, socio-political meaning of the texts. The chapter centres on the productions of Brecht in the 1970s and 1980s for the Royal Shakespeare Company directed by Howard Davies, and on those at the National Theatre directed by John Dexter and Richard Eyre. Chapter 5 presents three case studies, that is, detailed accounts based on access to rehears-als and on interviews with the relevant directors and performers, of three major British productions of Brecht plays in the early 1990s. The first case study is of the award-winning production of The Good Person of Sichuan at the National Theatre in 1989/90, directed by Deborah Warner, with Fiona Shaw as Shen Te/Shui Ta. The second is of the Citizens Theatre’s 1990 production of Mother Courage, directed by Philip Prowse, with Glenda Jackson in the title role. And the third is of the National Theatre’s The Resistible Rise of Arturo Ui, directed in 1991 by Di Trevis, with Antony Sher as Ui. The main focus of this chapter and its case-studies is the relationship in practice between Brechtian theory, and the aesthetics and the politics of the texts, in both the rehearsal process and the finished performances." In Performing Brecht, 16. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-12. Full text
5894	dbpedia	1	13	https://kids.britannica.com/students/article/William-Shakespeare/277015	en	William Shakespeare	https://kids.britannica.…-07-14-17-A2.jpg	https://kids.britannica.…-07-14-17-A2.jpg	[ "https://www.facebook.com/tr?id=160638381132823&ev=PageView&noscript=1", "https://pubads.g.doubleclick.net/activity;dc_iu=/15510053/DFPAudiencePixel;ord=1;dc_seg=806891421", "https://kids.britannica.com/resources/img/BkidsLogoDesktop.png", "https://kids.britannica.com/resources/img/BkidsLogoTruncated.png", "https://cdn.britannica.com/20/170820-004-E08F9407.jpg?w=300&h=300&q=85", "https://cdn.britannica.com/67/99067-004-B7BF078C.jpg?w=300&h=300&q=85", "https://kids.britannica.com/resources/img/tour/icon-inspire.png", "https://kids.britannica.com/resources/img/tour/icon-inform.png", "https://kids.britannica.com/resources/img/tour/icon-educate.png", "https://kids.britannica.com/resources/img/tour/icon-subscribe-yellow.png" ]	[]	[]	[ "William Shakespeare", "encyclopedia", "encyclopaedia", "article" ]	null	[]	null	(1564–1616). More than 400 years after they were written, the plays and poems of William Shakespeare are still widely performed, read, and studied—not only in his native…	en	/resources/icons/favicons/bkids/bkids-favicon-57c.png	Britannica Kids	https://kids.britannica.com/students/article/William-Shakespeare/277015	Introduction (1564–1616). More than 400 years after they were written, the plays and poems of William Shakespeare are still widely performed, read, and studied—not only in his native England, but also all around the world. His works have been translated into almost every language and have inspired countless adaptations. On the stage, in the movies, and on television, Shakespeare’s plays are watched by vast audiences. People read his plays again and again for pleasure. Shakespeare is often called the English national poet. He is considered by many to be the greatest dramatist of all time. Shakespeare’s continued popularity is due to many things. His plays are filled with action, his characters are believable, and his language can be thrilling to hear or read. He is astonishingly clever with words and images. Underlying all this is Shakespeare’s deep insight into humanity—how people of all kinds think, feel, and act. Shakespeare was a writer of great perceptiveness and poetic power. He used these talents to present characters showing the full range of human emotions and conflicts. While watching a Shakespearean tragedy, the audience may be moved and shaken. Shakespeare sets husband against wife, father against child, and the individual against society. He uncrowns kings, levels the nobleman with the beggar, and questions the gods. Great men fall victim to an unstoppable train of events set in motion by their misjudgments. These plays are complex investigations of character and motive. A Shakespearean comedy is full of fun. The characters are lively; the dialogue is witty. In the end, young lovers are wed; old babblers are silenced; wise men are content. The comedies are largely joyous and romantic. Shakespeare’s history plays dramatize the sweep of English history in the late Middle Ages. They tell the story of the period’s kings and the rise of the house of Tudor. Shakespeare intercuts scenes among the rulers with scenes among those who are ruled. This creates a rich picture of English life at a particular historical moment—a time when England was struggling with its own sense of national identity and experiencing a new sense of power. (For more information on Shakespeare, his works, and his world, see William Shakespeare at a glance. For a collection of videos for teachers, see teaching Shakespeare.) Shakespeare’s Life Boyhood in Stratford William Shakespeare was born in Stratford-upon-Avon, England, in 1564. This was the sixth year of the reign of Queen Elizabeth I. Shakespeare was christened on April 26 of that year. The day of his birth is unknown. It has long been celebrated on April 23, the feast day of St. George. Shakespeare was the third child and oldest son of John and Mary Arden Shakespeare. Two sisters, Joan and Margaret, died before he was born. The other children were Gilbert, a second Joan, Anne, Richard, and Edmund. Only the second Joan outlived William. Shakespeare’s father was a tanner and glovemaker. He was an alderman of Stratford for years. He also served a term as high bailiff, or mayor. Toward the end of his life John Shakespeare lost most of his money. When he died in 1601, he left William only a little real estate. Not much is known about Mary Shakespeare, except that she came from a wealthier family than her husband. Stratford-upon-Avon is in Warwickshire, in the Midlands region of central England. In Shakespeare’s day the area was well farmed and heavily wooded. The town itself was prosperous and progressive. It was proud of its grammar school. Young Shakespeare almost certainly went to that school, though when or for how long is not known. He may have been a pupil there until about the age of 15. His studies must have been mainly in Latin. The schooling was of good quality. All four schoolmasters at the school during Shakespeare’s boyhood were graduates of Oxford University. Nothing definite is known about Shakespeare’s boyhood. Because of the content of his plays, it is thought that he must have learned early about the woods and fields, about birds, insects, and small animals, about trades and outdoor sports, and about the country people he later portrayed with such good humor. Then and later Shakespeare must have picked up an amazing stock of facts about hunting, hawking, fishing, dances, music, and other arts and sports. Among other subjects, he also must have learned about alchemy, astrology, folklore, medicine, and law. As good writers do, Shakespeare must have collected information both from books and from daily observation of the world around him. Marriage and Life in London In 1582, when Shakespeare was 18, he married Anne Hathaway. She was from Shottery, a village a mile (1.6 kilometers) from Stratford. Anne was eight years older than Shakespeare. From this difference in their ages, a story arose that they were unhappy together. Their first daughter, Susanna, was born in 1583. In 1585 a twin boy and girl, Hamnet and Judith, were born. What Shakespeare did between 1583 and 1592 is not known. Long after Shakespeare’s death, people began to tell various stories about what Shakespeare had done during this period. They say that he may have taught school, worked in a lawyer’s office, served on a rich man’s estate, or traveled with a company of actors. One famous story says that about 1584 he and some friends were caught poaching on the estate of Sir Thomas Lucy of Carlecote, near Warwick, and were forced to leave town. A less likely story is that he was in London in 1588. There he was supposed to have held horses for theater patrons and later to have worked in the theaters as a page. By 1592, however, Shakespeare was definitely in London and was already recognized as an actor and playwright. He was then 28 years old. In that year Robert Greene, a playwright, accused Shakespeare of borrowing from the plays of others. Between 1592 and 1594, plague kept the London theaters closed most of the time. During these years Shakespeare wrote his earliest sonnets and two long narrative poems, Venus and Adonis and The Rape of Lucrece. Both were printed by Richard Field, a schoolmate from Stratford. These long poems were well received and helped establish Shakespeare as a poet. Shakespeare Prospers From about 1594 onward, Shakespeare was an important member of a theatrical company called the Lord Chamberlain’s Men. It became the most successful company of actors in England. Until 1598 Shakespeare’s theater work was confined to a district northeast of London. This was outside the city walls, in the parish of Shoreditch. Located there were two playhouses, The Theatre and the Curtain. Both were managed by James Burbage, whose son Richard Burbage was Shakespeare’s friend and the greatest tragic actor of his day. Along with Shakespeare, Richard Burbage was a member of the Lord Chamberlain’s Men. Up to 1596 Shakespeare lived near The Theatre and the Curtain in Bishopsgate, where the North Road entered the city. Sometime between 1596 and 1599, he moved across the Thames River to a district called Bankside. There, the Rose Theatre had been built by Philip Henslowe, who was James Burbage’s chief competitor in London as a theater manager. Another theater, the Swan, was built nearby in Bankside. The Burbages also moved to this district in 1598 and built the famous Globe Theatre there for the Lord Chamberlain’s Men. The theater’s sign showed Atlas supporting the world. Shakespeare was associated with the Globe Theatre for the rest of his active life. He owned shares in it, which brought him much money. Meanwhile, in 1597, Shakespeare had bought New Place, one of the largest houses in Stratford. During the next three years he bought other property in Stratford and in London. In 1596 Shakespeare’s father, probably at his son’s suggestion, applied for and was granted a coat of arms. It bore the motto Non sanz droict—Not without right. From this time on, Shakespeare’s father could write “Gentleman” after his name. This probably meant much to Shakespeare, for in his day actors were classed legally with criminals and vagrants. Shakespeare’s name first appeared on the title pages of his printed plays in 1598. In the same year the English writer Francis Meres, in Palladis Tamia; Wit’s Treasury, praised him as England’s greatest playwright in comedy and tragedy. Meres’s comments on 12 of Shakespeare’s plays showed that Shakespeare’s genius was recognized in his own time. Other writers of his time also praised Shakespeare. Writer and poet John Weever lauded “honey-tongued Shakespeare.” Ben Jonson, a major playwright, poet, and literary critic, granted that Shakespeare had no rival in the writing of comedy, even in the ancient Classical world. He wrote that Shakespeare equaled the ancients in tragedy as well. Jonson sometimes criticized Shakespeare harshly, including for not following the Classical rules of drama—for not limiting his plays to one location and about one day of action. Jonson also faulted Shakespeare for mixing high and low elements—lofty poetry with vulgarity and kings with clowns—in his plays. Honored As Actor and Playwright Queen Elizabeth I died in 1603. King James I followed her to the throne. Shakespeare’s flourishing theatrical company, the Lord Chamberlain’s Men, was taken under the king’s patronage and was renamed the King’s Men. Shakespeare and the other actors were made officers of the royal household. In 1608–09 the company began to perform regularly at the Blackfriars Theatre. This was a smaller and more aristocratic theater than the Globe. While the Globe was a large open-air public playhouse, Blackfriars was a “private” indoor theater with high admission charges. Thereafter the company alternated between the two playhouses, with Blackfriars becoming its theater for the winter season. Plays by Shakespeare were also performed at the royal court and in the castles of the nobles. Shakespeare is not known to have acted after 1603. During his acting career Shakespeare seems to have played only secondary roles, such as old Adam in As You Like It and the ghost in Hamlet. In 1607 Shakespeare’s older daughter Susanna married John Hall, a doctor. That same year Shakespeare’s brother Edmund, also a London actor, died at the age of 27. The next year Shakespeare’s first grandchild, Elizabeth, was born. (Hamnet, Shakespeare’s only son, had died at the age of 11, in 1596.) Death and Burial at Stratford Shakespeare retired from his theater work and returned to Stratford about 1612. In 1613 the Globe Theatre burned. Shakespeare lost much money because of the catastrophe, but he was still wealthy. He had a financial share in the building of the new Globe. A few months before the fire Shakespeare had bought as an investment a house in the fashionable Blackfriars district of London. On April 23, 1616, Shakespeare died in Stratford at the age of about 52. This date is according to the Old Style, or Julian, calendar of his time. The New Style, or Gregorian, calendar date is May 3, 1616. Shakespeare was buried in the chancel of the Church of the Holy Trinity in Stratford. A stone slab—a reproduction of the original one, which it replaced in 1830—marks his grave. It bears an inscription, perhaps written by himself: Good friend, for Jesus’ sake forbear To dig the dust enclosed here. Blest be the man that spares these stones, And curst be he that moves my bones. On the north wall of the chancel is a monument to Shakespeare, which seems to have been built by 1623. It consists of a portrait bust enclosed in a stone frame. Below it is an inscription in Latin and English celebrating Shakespeare’s genius. This bust and an engraving by Martin Droeshout, prefixed to the First Folio edition of Shakespeare’s plays (1623), are the only pictures of Shakespeare that have been accepted as showing his true likeness. Another probably authentic likeness of Shakespeare is the “Chandos” portrait, an oil painting attributed to J. Taylor from about 1610. Shakespeare’s will, still in existence, bequeathed most of his property to Susanna and her daughter. He left small mementoes to friends. Shakespeare mentioned his wife only once, leaving her his “second best bed” with its furnishings. Much has been written about this odd bequest. Some people have interpreted it as being a slight toward Shakespeare’s wife. Others have contended that it may have been a special mark of affection. The “second best bed” was probably the one they used. The best bed may have been the one reserved for guests. At any rate, Shakespeare’s wife was entitled by law to one-third of her husband’s goods and real estate and to the use of their home for life. She died in 1623. The will contains three signatures of Shakespeare. These, with three others, are the only known specimens of his handwriting in existence. Several experts also regard some lines in the manuscript of Sir Thomas More as Shakespeare’s own handwriting. Shakespeare spelled his name in various ways. His father’s papers show about 16 spellings. Shakspere, Shaxpere, and Shakespeare are the most common. Ben Jonson wrote a eulogy of Shakespeare that is remarkable for its feeling and acuteness. In it he said: Leave thee alone, for the comparison Of all that insolent Greece or haughty Rome Sent forth, or since did from their ashes come. Triumph, my Britain, thou hast one to show To whom all scenes of Europe homage owe. He was not of an age, but for all time! . . . . . . . . . . . . . . . Sweet Swan of Avon! what a sight it were To see thee in our waters yet appear, And make those flights upon the banks of Thames, That so did take Eliza, and our James! Did Shakespeare Really Write the Plays? The outward events of Shakespeare’s life are ordinary. He appears to have been a hard-working member of the middle class. Shakespeare steadily gathered wealth and apparently took good care of his family. In modern times, many people have found it impossible to believe that such a seemingly ordinary man could have written the plays. They feel that he could not have known such heights and depths of passion. They believe that the people around Shakespeare expressed little realization of his greatness. Some say that a man with his level of schooling could not have learned about the professions, the aristocratic sports of hawking and hunting, the speech and manners of the upper classes. Readers, playgoers, actors, and writers in Shakespeare’s own lifetime—and for more than a century and a half after—never questioned that Shakespeare was the author of the plays. Since the 1800s many people have tried to prove that Shakespeare did not write the plays or that others did. For a long time the leading candidate was Sir Francis Bacon. Books on the Shakespeare-Bacon argument would fill a library. After Bacon became less popular as a candidate, Christopher Marlowe, William Stanley, 6th earl of Derby, and then other people were suggested as the authors. Nearly every famous Elizabethan was named. Some people have even claimed that “Shakespeare” is an assumed name for a whole group of poets and playwrights. Since the late 20th century, the strongest candidate proposed (other than Shakespeare himself) as the author of the plays is Edward de Vere, 17th earl of Oxford. It is true that Oxford did write poetry, as was common among gentleman of the time. He may also have written some plays. A major problem with the theory that Oxford wrote the Shakespeare plays is that he died in 1604. Many of Shakespeare’s plays—including such great works as King Lear, Macbeth, and The Tempest—were written between 1604 and about 1614. In addition, people who lived at the same time as Shakespeare never suggested that anyone other than him had written the plays. Shakespeare was a well-known actor who performed in London’s top acting company. He was widely known by the leading writers of his time as well. Both Ben Jonson and John Webster praised him as a dramatist. Many other tributes to Shakespeare as a great writer appeared during his lifetime. Shakespeare’s fellow actors John Heminge and Henry Condell collected the plays into a book called the First Folio and wrote a foreword describing their methods as editors. Any theory proposing that Shakespeare did not write the plays must suppose that the people of the time were all fooled by some kind of secret arrangement. Those people who were in the know would have had to have maintained the secret of a gigantic literary hoax without a single leak or hint of gossip. Moreover, to argue that an obscure Stratford boy could not have become the Shakespeare of literature is to ignore the mystery of genius, which cannot be learned in school. Some great writers have had less schooling than Shakespeare. Shakespeare had a good education for the time, though it is true that he did not attend a university. However, university training in Shakespeare’s day centered on theology and on Latin, Greek, and Hebrew texts. Studying these kinds of texts would not have greatly improved Shakespeare’s knowledge of contemporary English life. Shakespeare’s social background was essentially similar to that of other major writers of his time. Most of the great writers of his era were not aristocrats, who had no need to earn a living by their pens. Secrets of the Sonnets Many people want to know more about Shakespeare’s private life. They have searched his plays for hints, with little result. However, he left 154 sonnets, published—probably without his involvement—in 1609. Many readers believe that these reveal an important part of his life. However, whether the sonnets are autobiographical—about Shakespeare’s personal life and feelings—has been much debated. Shakespeare was such a skilled dramatist that he could certainly have created an intriguing storyline for the sonnets that had nothing to do with his own life. In any event, as poetry, the sonnets are superb. Shakespeare’s sonnets tell of the poet-narrator’s close relationship with a young nobleman. This nobleman wrongs him by stealing the affections of a dark-haired sweetheart and by transferring his friendship to another poet. In the end the beloved young nobleman is forgiven. Whether this really happened or was only invented makes up the “problem of the sonnets.” People have tried to find out who the “friend,” the “dark lady,” and the “rival poet” actually were. One theory is that the friend was William Herbert, earl of Pembroke. Another is that he was Henry Wriothesley, earl of Southampton. Many people assert that Shakespeare’s sonnets are so full of detailed passion they probably refer to some actual happening. However, this cannot be proved. Shakespeare’s other nondramatic poems include Venus and Adonis and The Rape of Lucrece. Both are full of gorgeous imagery and pagan spirit and are very obviously the work of a young man. There are also about 60 songs scattered throughout the plays. The songs show the finest Elizabethan qualities in their originality, melodies, and rhythms. Shakespeare and the Elizabethan Age Elizabethan Times The English Renaissance reached its peak in the reign of Queen Elizabeth I (1558–1603). In this period England was emerging from the Middle Ages. An absorbing interest in heaven and an afterlife was transformed into an ardent wonder about this world and humankind’s earthly existence. The Elizabethan period was an age marked by curiosity and bold exploration. At its worst the Elizabethan Age was extravagant and brutal. At its best the period showed an intellectual and physical daring. It produced such adventurers and explorers as Walter Raleigh and Francis Drake and such statesmen as Lord Burghley. Philosophers such as Francis Bacon and scientists such as William Gilbert belonged to this period. In addition to being the age of Shakespeare, the Elizabethan period also produced such writers as Christopher Marlowe, Ben Jonson, Philip Sidney, Edmund Spenser, and John Donne. Shakespeare lived at a time when the English language was growing fast. It was suited to magnificent poetry. Shakespeare’s vocabulary was enormous, but its size is less remarkable than its expressiveness. English speech reached its peak of strength between 1600 and 1610. Then the King James Version of the Bible was being made, Bacon was writing his famous Essays, and Shakespeare was composing his great tragedies. The people of the English middle class were thought to be typically stern, moral, and independent. London’s citizens held fast to their rights. They did not hesitate to defy the royal court if it became too arrogant. Nobles, citizens, and common people all loved the stage, its pageantry and poetry. Wealthy people encouraged and supported the actors. They paid for the processions, masques, and tournaments that the public loved to watch. Men of the royal court competed with one another in dress, entertainment, and flattery of the queen. The queen herself was the symbol of the glory of England. To her people Elizabeth I stood for beauty and greatness. During her reign the country grew in wealth and power, despite plagues and other calamities. Drama in the Elizabethan Age England’s defeat of the great Spanish naval fleet called the Armada in 1588 raised English spirits high. The English gloried in what they saw as the greatness of their nation. During the years 1590–1600 England became intensely interested in its past. Playwrights catered to this patriotism by writing chronicles, or history plays. These were great sprawling dramas telling the stories of England’s kings. Shakespeare wrote 10 of them. The same interest spread to the history of other countries of Europe. When Shakespeare came to London, he found the theater alive and strong. Men and women of various social classes enjoyed going to the theater, and plays were shrewdly written for the public’s taste. The theater was as popular then as movies and television are now. London’s first public playhouse, named The Theatre, had been opened in 1576. A group of talented men, the University Wits, had already developed new types of plays out of old forms and had learned what the public wanted. Playwrights of the time seem to have been practical men, bent on making a living. They may have been well educated, but they were more eager to fill the theaters than to please the critics. The result was that almost from the start the drama was a popular art. It was not, as in France, a learned and classical art. Shakespeare was quick to detect changes in popular taste. He wrote his plays to be acted, not read. Shakespeare took whatever forms were attracting attention and made them better. To save time he borrowed basic plots from other works. Sometimes Shakespeare expanded and adapted old stories, while sometimes he worked with more recent tales. A dramatist in those days was also likely to be an actor and producer. He joined a company and became its playwright. He sold his manuscripts to the company and kept no personal rights in them. Revising old plays and working with another writer on new ones were common. Such methods saved time. The demand for plays was great and could never be fully met. No manuscripts of Shakespeare—with the possible exception of a scene from Sir Thomas More—and very few manuscripts of other dramatists of the period have survived. The dramas were written to be played, not printed, and were hardly considered literature at all. In the Elizabethan Age, actors were called “players.” A company of players was a cooperative group that shared the profits. Its members had no individual legal or political rights. Instead the company looked for a patron among the rich nobles. Members became the noble patron’s “servants,” or “men,” and received his protection—thus Shakespeare’s company was called the Lord Chamberlain’s Men (later the King’s Men) and its chief rival was called the Admiral’s Men (later Prince Henry’s Men). A company was usually made up of 8 or 10 men who took the main parts. Other actors were hired as needed. Boys or young men took the female parts, for women did not appear on the stage. The theaters Public theaters were usually round, wooden buildings with three galleries of seats. The pit, or main floor, was an open yard and had no roof. There were no seats in the pit, and its occupants were called “groundlings” because they stood on the ground. Admission to the pit was usually a penny. It cost more to watch the play from the galleries, boxes, and stage. Plays were put on in the afternoon. Private theaters were of the same general design, except that they were square and entirely roofed. Shakespeare wrote most of his plays for the Globe Theatre. Historical research indicates that its main stage was about 43 or 44 feet (about 13 meters) wide and that it projected 27 feet (some 8 meters) into the pit. The stage had a roof of its own. Behind the main stage was a recessed inner stage, which could be hidden by curtains. Above the inner stage was a second inner stage, with curtains and a balcony. Above this was a music room. Its front could be used for dramatic action. On top of the stage roof were hoists for raising and lowering actors and props. On performance days a flag was flown from a turret above the hoists. The Elizabethans may have used no scenery, but their stage was not entirely bare. They used good-sized props, heavy hangings, and elaborate furniture. Their costumes, usually copied from the fashionable clothes of the day, were rich. The outer stage was generally used for outdoor scenes and mass effects. The inner stage was used for indoor scenes and for cozy effects, as scenes between lovers. The upper stage was used for scenes at windows or walls. The stage influences Shakespeare’s methods The Elizabethan stage had much to do with the form of Shakespeare’s plays. Because the stage was open and free, it permitted quick changes and rapid action. As a result the play Antony and Cleopatra has more than 40 changes of scene. The outer stage, projecting into the audience, encouraged speechmaking. This may be one reason for the long and impassioned speeches of the plays. With no women actors, boys and young men made up as women seemed natural somehow. With no stage lighting and with the daytime sky above, the author had to write speeches about the time, season, and weather of the play. There are more than 40 such speeches in Macbeth. The actors were close to the audience; the groundlings were close to the aristocrats. Shakespeare had to appeal to them all. He mixes horseplay with philosophy and coarseness with lovely poetry. Shakespeare’s Plays Shakespeare wrote at least 38 plays. The chief sources of his plots were Sir Thomas North’s translation of Plutarch’s Parallel Lives, Raphael Holinshed’s Chronicles of England, Scotland, and Ireland, and a book on English history by Edward Hall. Shakespeare also drew on many other works, including some Italian novelle, or short tales. He borrowed a few plays from older dramas and from English stories. What Shakespeare did with the sources is more important than the sources themselves. If his original gave him what he needed, he used it closely. If not, he changed it. These changes show Shakespeare’s genius as a dramatist. Some difficulties stand in the way of a modern reader or audience’s enjoyment of Shakespeare’s plays. Shakespeare wrote more than 400 years ago. The language he used is naturally somewhat different from the language of today. Some words have different meanings now than they did in Shakespeare’s time. For example, rage then meant “folly,” while silly could mean “innocence” and “purity.” In Shakespeare’s day, words sounded different too, so that ably could rhyme with eye or tomb with dumb. The way words were put together into phrases was also often different. What sounds formal and stiff to a modern listener might have sounded fresh to an Elizabethan. Modern printed editions of the plays often include notes that can help readers understand the language differences. The worst handicap to enjoyment of the plays is the notion that Shakespeare is a “classic,” a writer to be approached with awe. The way to escape this difficulty is to remember that Shakespeare wrote his plays for everyday people and that many in the audience were uneducated. They probably regarded him as a funny and exciting entertainer, not as a great poet. When studying the plays, it can be helpful to read them twice. The first reading can be a quick one, to get the story. The second, more leisurely, reading can bring out details. The language itself should be studied. It has great expressiveness and concentrated meaning. An edition of the plays with good explanatory notes is helpful. Most of all, it is important to remember that Shakespeare’s plays were intended to be seen acted in a theater, not read. Modern audiences who want to see the plays can choose from numerous film versions as well as many and varied stage productions. Some productions of Shakespeare’s plays try to present them in a way that is as true as possible to how they were probably originally presented. Others may adapt the dramas, slightly or freely. Many productions set the plays in modern or other times. Shakespeare’s Four Periods Shakespeare’s playwriting can be divided into four periods. The first period was his apprenticeship. Between the ages of 26 and 30 Shakespeare was learning his craft. He imitated Roman comedy and tragedy and followed the styles of the playwrights who came just before him. Shakespeare may have written works with other playwrights; such collaborations were a common practice of the time period. The Senecan tragedy, a type of play that told a story of bloody revenge, was in style at this time. Shakespeare’s first tragedy, Titus Andronicus, was this type of revenge drama. It was his only early tragedy. During this early period Shakespeare wrote a number of romantic comedies as well as some chronicle, or history, plays about English kings of the 15th century. Shakespeare’s second period is highlighted by Romeo and Juliet, A Midsummer Night’s Dream, The Merchant of Venice, and Henry IV, Parts 1 and 2. Shakespeare had mastered his art. He wrote several romantic comedies and histories during this period. Shakespeare tried the comedy of local middle-class people only once, in The Merry Wives of Windsor. His other comedies are set in imaginary or far-off places. During this period Shakespeare shows ease, power, and maturity. The plays are generally sunny and full of joyous poetry. With Hamlet, written about 1599–1601, Shakespeare’s third period begins. For eight years he probed the problem of evil in the world. Shakespeare wrote his great tragedies—Hamlet, Othello, King Lear, Macbeth, and Antony and Cleopatra—during this period. At times he reached an almost desperate pessimism. Even the comedies of this period are bitter. In his fourth and last period Shakespeare used a new form—the romance or tragicomedy. His romances tell stories of wandering and separation leading eventually to tearful and joyous reunion. They have a bittersweet mood. The Tempest is the most notable of these late romances. List of Plays The following is a list of all of Shakespeare’s plays in the order in which they are thought to have been written. Despite much scholarly argument, it is often impossible to date a play precisely. However, there is some general agreement, especially for plays written in 1588–1601, in 1605–07, and from 1609 onward. 1588–97 Love’s Labour’s Lost (comedy) 1589–92 Henry VI, Part 1 (history) Titus Andronicus (tragedy) 1589–94 The Comedy of Errors (comedy) 1590–92 Henry VI, Part 2 (history) 1590–93 Henry VI, Part 3 (history) 1590–94 The Taming of the Shrew (comedy) The Two Gentlemen of Verona (comedy) 1592–94 Richard III (history) 1594–96 King John (history) Romeo and Juliet (tragedy) 1595–96 A Midsummer Night’s Dream (comedy) Richard II (history) 1596–97 The Merchant of Venice (comedy) Henry IV, Part 1 (history) 1597–98 Henry IV, Part 2 (history) 1597–1601 The Merry Wives of Windsor (comedy) 1598–99 Much Ado About Nothing (comedy) 1598–1600 As You Like It (comedy) 1599 Henry V (history) 1599–1600 Julius Caesar (tragedy) 1599–1601 Hamlet (tragedy) 1600–02 Twelfth Night (comedy) 1601–02 Troilus and Cressida (“problem play”) 1601–05 All’s Well That Ends Well (comedy) 1603–04 Measure for Measure (comedy) Othello (tragedy) 1605–06 King Lear (tragedy) 1605–08 Timon of Athens (tragedy) 1606–07 Macbeth (tragedy) Antony and Cleopatra (tragedy) 1606–08 Pericles (romance) 1608 Coriolanus (tragedy) 1608–10 Cymbeline (romance) 1609–11 The Winter’s Tale (romance) 1611 The Tempest (romance) 1612–14 The Two Noble Kinsmen (romance; in collaboration with John Fletcher) 1613 Henry VIII (history; probably in collaboration with John Fletcher) Cardenio (now lost; presumed basis for Double Falsehood) Shakespeare’s Plots and Characters Shakespeare’s insight into the human condition and his poetic skill combined to make him the greatest of playwrights. His plots alone show that Shakespeare was a master playwright. He built his plays with care. He seldom wrote a speech that did not forward the action, develop a character, or help the imagination of the spectator. Many of Shakespeare’s plots are nevertheless frankly farfetched. He belonged to an age that favored the romantic and the poetic. Theatergoers often wanted to be carried away to other times and places or to a land of fancy. There were really no such places as Shakespeare’s Bohemia or Illyria or the Forest of Arden, though the names were real. Shakespeare has never been equaled in the invention of supernatural creatures—ghosts, witches, and fairies. Yet Shakespeare’s art is realistic in the sense that it is true to the way people think and act. Shakespeare’s people seem alive and three-dimensional. His best portrayals are those of his great heroes. Yet even Shakespeare’s minor characters are almost as good. For example, Shakespeare created in his plays more than 20 young women, all about the same age, of the same station in life, and with the same social background. They are as different, however, as any 20 young women in real life. The same can be said of Shakespeare’s old women, men of action, churchmen, kings, villains, dreamers, fools, and country people. Shakespeare’s characters are complex. Like real people, they can be great and yet foolish, bad and yet likable, good and yet faulty. The Poetry of the Plays No other writer in the world is so quotable or so often quoted as Shakespeare. He expressed deep thoughts and feeling in words of great beauty or power. In the technical skills of the poet—rhythm, sound, image, and metaphor—Shakespeare remains the greatest of craftsmen. His range is immense. It extends from funny puns to lofty eloquence, from the speech of common men to the language of philosophers. Shakespeare’s plays are often written in a form of poetry called blank verse. Blank verse is unrhymed. Its meter is iambic pentameter, meaning that each line has 10 syllables alternating between unstressed and stressed syllables. This form was first used in Italy in the 16th century and was soon taken up by English poets. The University Wits, especially Christopher Marlowe, developed it as a dramatic verse form. Shakespeare perfected it. He and later John Milton made blank verse the greatest form for dramatic poetry in English. Blank verse is an excellent form for poetic drama. It is just far enough removed from prose. Blank verse is not monotonous and forced, as rhymed verse sometimes can be. Blank verse is more ordered, swift, and noble than prose. At the same time it is so flexible that it can seem almost as natural as prose if it is well written. To gain an impression of the power and variety of Shakespeare’s poetry, read such passages as Prospero’s speech in The Tempest, Act IV, Scene i: Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air; And, like the baseless fabric of this vision, The cloud-capp’d towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. And then read Lorenzo’s speech in the last act of The Merchant of Venice: How sweet the moonlight sleeps upon this bank! Here will we sit and let the sounds of music Creep in our ears. Soft stillness and the night Become the touches of sweet harmony. Sit, Jessica. Look how the floor of heaven Is thick inlaid with patines of bright gold. There’s not the smallest orb which thou behold’st But in his motion like an angel sings, Still quiring to the young-ey’d cherubims; Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. Then compare other great passages, such as Shylock’s (in The Merchant of Venice) “Signior Antonio, many a time and oft”; Mercutio’s (in Romeo and Juliet) “O, then, I see Queen Mab hath been with you”; Richard II’s “No matter where; of comfort no man speak”; Hamlet’s “How all occasions do inform against me”; Claudio’s (in Measure for Measure) “Ay, but to die, and go we know not where”; Othello’s “Soft you, a word or two before you go”; Jaques’s (in As You Like It) “A fool, a fool! I met a fool i’ the forest”; and Cleopatra’s (in Antony and Cleopatra) “Give me my robe, put on my crown.” Each speech could come naturally from the speaker and from no one else. Each is very moving. Each has great rhythmic flow and force. How the Plays Came Down to Us Since the 1700s scholars have edited and reworked the text of Shakespeare’s plays. They have had to do so because the plays were badly printed, and no original manuscripts of them survive. In Shakespeare’s day plays were not usually printed under the author’s supervision. When a playwright sold a play to his company, he lost all rights to it. He could not sell it again to a publisher without the company’s consent. When the play was no longer in demand on the stage, the company itself might sell the manuscript. Plays were eagerly read by the Elizabethan public. This was even more true during the plague years, when the theaters were closed. It was also true during times of business depression. Sometimes plays were taken down in shorthand and sold. At other times, a dismissed actor would write down the play from memory and sell it. About half of Shakespeare’s plays were printed during his lifetime in small, cheap pamphlets called quartos. Most of these were made from fairly accurate manuscripts. A few were in garbled form. In 1623, seven years after Shakespeare’s death, his collected plays were published in a large, expensive volume called the First Folio. It contains all his plays except two of which he wrote only part—Pericles and The Two Noble Kinsmen. The collection also omits Cardenio, a play that Shakespeare is thought to have written with John Fletcher; this play is now lost (see Double Falsehood). The title page of the First Folio features an engraved portrait of Shakespeare that is thought to be an authentic likeness. The First Folio was authorized by Shakespeare’s acting group, the King’s Men. Two of Shakespeare’s fellow actors, John Heminge and Henry Condell, collected and prepared the plays for publication. Some of the plays in the First Folio were printed from the more accurate quartos and some from manuscripts in the theater. It is certain that many of these manuscripts were in Shakespeare’s own handwriting. Others were copies. Still others, such as the Macbeth manuscript, had been revised by another dramatist. Shakespearean scholars have studied the First Folio intensively to help determine what Shakespeare actually wrote. They have done so by studying the language, stagecraft, handwriting, and printing of the period and by carefully examining and comparing the different editions. They have modernized spelling and punctuation, supplied stage directions, explained difficult passages, and made the plays easier for the modern reader to understand. Another hard task has been to find out when the plays were written. The plays themselves have been searched for clues. Other books have been examined. Scholars have tried to match events in Shakespeare’s life with the subject matter of his plays. These scholars have used detective methods. They have worked with clues, deduction, shrewd reasoning, and external and internal evidence. External evidence consists of actual references in other books. Internal evidence is made up of verse tests and a study of the poet’s imagery and figures of speech, which changed from year to year. The verse tests follow the idea that a poet becomes more skillful with practice. Scholars long ago noticed that in his early plays Shakespeare used little prose, much rhyme, and certain types of rhythmical and metrical regularity. As he grew older he used more prose, less rhyme, and greater freedom and variety in rhythm and meter. The Great Shakespeare Collections The number of books about Shakespeare is very large. If it were possible to assemble them all in one place, they would make an array of thousands. The greatest collections are in the Folger Shakespeare Library, in Washington, D.C.; the Huntington Library, Art Collections, and Botanical Gardens, in San Marino, California; the British Museum, in London, England; and the Bodleian Library, of the University of Oxford, England. The Folger collection is the greatest of all. It was assembled by Henry Clay Folger, onetime president of Standard Oil. He bequeathed it to the trustees of Amherst College to be administered for the use of the American people forever. Folger also provided the library building and endowed the library to provide for its expansion and upkeep. The Folger Shakespeare Library opened in 1932. The collection now consists of about 280,000 books and manuscripts, plus playbills, prints, paintings, and other materials, as well as a model Elizabethan theater. The library possesses more than 80 copies of Shakespeare’s First Folio. Though called a Shakespeare library, the Folger collection also includes other rare works from the Renaissance. Indeed, the library contains the world’s second largest collection of books printed in England before 1641. Robert Malcolm Gay Ed. Additional Reading Bansavage, Lisa, and others (eds.). One Hundred and Eleven Shakespeare Monologues (Paw Prints, 2010).Barter, James. A Travel Guide to Shakespeare’s London (Lucent, 2003).Berne, Emma Carlson. William Shakespeare: Playwright and Poet (ABDO, 2008).Claybourne, Anna, and Treays, Rebecca. The Usborne World of Shakespeare (Scholastic, 2006).Crystal, David, and Crystal, Ben. Oxford Illustrated Shakespeare Dictionary (Oxford University Press, 2015).Dommermuth-Costa, Carol. William Shakespeare (Lerner, 2002).Dunton-Downer, Leslie, and Riding, Alan. Essential Shakespeare Handbook (DK, 2014).Ganeri, Anita. The Young Person’s Guide to Shakespeare: In Association with the Royal Shakespeare Company (Chrysalis Children’s Books, 2004).Greenhill, Wendy, and Wignall, Paul. Shakespeare: A Life (Heinemann Library, 2006).Mittelstaedt, Walt. A Student’s Guide to William Shakespeare (Enslow, 2005).Morley, Jacqueline. A Shakespearean Theater (Scribo, 2015).Nettleton, Pamela Hill. William Shakespeare: Playwright and Poet (Capstone, 2008).Pollinger, Gina, ed. Shakespeare’s Verse (Kingfisher, 2005).Robson, David. Shakespeare’s Globe Theater (ReferencePoint Press, 2014).Rosen, Michael. Shakespeare: His Work and His World (Candlewick, 2006).Rosen, Michael. What’s So Special about Shakespeare? (Walker Books, 2016).Schumacher, Allison Wedell. Shaking Hands with Shakespeare (Simon & Schuster, 2004). Wells, Stanley, ed. The Shakespeare Book (DK, 2015).
5894	dbpedia	2	11	https://www.barrons.com/news/shakespearean-actor-antony-sher-dies-aged-72-01638537307	en	Shakespearean Actor Antony Sher Dies Aged 72	https://asset.barrons.co…data-default.jpg	https://asset.barrons.co…data-default.jpg	[ "https://www.barrons.com/asset/barrons/images/barrons-logo.png" ]	[]	[]	[ "entertainment", "britain", "safrica", "theatre", "sher", "Entertainment", "Britain", "SAfrica", "Sher", "SYND" ]	null	[ "Agence France Presse" ]	2021-12-03T13:13:00+00:00	The award-winning theatre and film actor Antony Sher has died aged 72 after suffering from cancer, the Royal Shakespeare Company (RSC) announced on Friday.	en	//www.barrons.com/favicon.ico		https://www.barrons.com/news/shakespearean-actor-antony-sher-dies-aged-72-01638537307
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"https://i.dailymail.co.uk/i/pix//promoboxes/btn_ipadapp_5_308x111.png", "https://i.dailymail.co.uk/i/furniture/misc/logo_cookie_reg.png" ]	[]	[]	[ "dailymail", "news", "Antony", "London", "King Charles III" ]	null	[ "Andrew Young", "www.facebook.com" ]	2022-11-27T00:30:33+00:00	Sir Antony Sher, who was one of King Charles's favourite actors, left nearly £2.3 million in his will. The Olivier Award-winning stage star had cancer and died aged 72 last December.		/favicon.ico?v=2	Mail Online	https://www.dailymail.co.uk/news/article-11473367/King-Charles-favourite-actor-Antony-Sher-leaves-2-3m-will.html	Sir Antony Sher, who was one of King Charles's favourite actors, left nearly £2.3 million in his will. The Olivier Award-winning stage star – famed for his roles with the Royal Shakespeare Company – had cancer and died aged 72 last December. Probate records reveal that he left the bulk of his estate of £2,289,033 including his share in his house in Islington, North London, to his husband, Shakespearean director Greg Doran. The couple tied the knot on December 21, 2005 – the first day that same-sex couples could legally form a civil partnership in the UK – and married ten years later in 2015. South African-born Sir Antony's will also left £15,000 to his sister-in-law in Cape Town and gifts totalling £25,000 to two other friends. He won an Olivier award in 1985 for his leading role as Richard III and his performance as a drag queen in Harvey Fierstein's Torch Song Trilogy. He won another Olivier in 1997 for his role in Stanley, a play about the artist Stanley Spencer, and was nominated for a prize for performances in King Lear and The Winter's Tale, in 1983 and 2000. Sir Antony also had roles in films such as Shakespeare In Love and Mrs Brown, and played Adolf Hitler in Churchill: The Hollywood Years in 2004. Asked by a child to name his favourite actor during a tour of India in 2017, King Charles picked Sir Antony, although he added: 'There are lots of others, though.' The King, who is president of the Royal Shakespeare Company, paid tribute to the actor after his death, calling him 'a giant of the stage at the height of his genius'. He added: 'I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role.' Dame Judi Dench, who starred with him in the 1997 film Mrs Brown, described his performance as Benjamin Disraeli as 'spectacular'.
5894	dbpedia	3	26	https://www.thetimes.com/uk/article/sir-antony-sher-obituary-actor-dies-of-cancer-q7q5nqjj9	en	Sir Antony Sher obituary	https://www.thetimes.com…C371&resize=1200	https://www.thetimes.com…C371&resize=1200	[ "https://www.thetimes.com/d/img/TimesBrandMark-748c3b1679.webp", "https://www.thetimes.com/d/img/TimesBrandMark-748c3b1679.webp", "https://www.thetimes.com/d/img/logos/times-white-small-f4ad00a748.png", "https://www.thetimes.com/imageserver/image/%2Fmethode%2Ftimes%2Fprod%2Fweb%2Fbin%2F467aa446-543f-11ec-8d72-b8ab431649b1.jpg?crop=3530%2C1986%2C120%2C371&resize=360", "https://www.thetimes.com/imageserver/image/%2Fmethode%2Ftimes%2Fprod%2Fweb%2Fbin%2F0c075c1a-5470-11ec-a5fe-8f0d6a1c517d.jpg?crop=1301%2C1301%2C18%2C384", "https://www.thetimes.com/d/assets/dual-masthead-bcc5303ae7.png", "https://www.thetimes.com/d/assets/ipso-f7843bf2cd.png" ]	[]	[]	[ "" ]	null	[ "The Times" ]	2021-12-03T13:30:00+00:00	Prince Charles was in India on the last day of his 2017 Commonwealth tour when a group of children asked him to name his favourite actor. “Sir Antony Sher, who	en	/store/favicon-32x32.png		https://www.thetimes.com/uk/article/sir-antony-sher-obituary-actor-dies-of-cancer-q7q5nqjj9	Prince Charles was in India on the last day of his 2017 Commonwealth tour when a group of children asked him to name his favourite actor. “Sir Antony Sher, who is a brilliant Shakespearean actor,” he responded unhesitatingly. While to many people Sher was indeed the John Gielgud or Laurence Olivier of his generation, it would be hard to picture either of those theatrical knights as a drag queen wearing false eyelashes, 4in heels and a lustrous red wig, as Sher did in Harvey Fierstein’s Torch Song Trilogy at the Albery Theatre in 1985, or even to imagine the heir to the throne in the audience. Sher had made his name at Stratford the previous year in the title role of Richard III, stepping out
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Actor Hub - a career and lifestyle guide for actors in the UK	en	https://www.actorhub.co.uk/wp-content/uploads/builder-favicon/NLFERlXLPW.ico		https://www.actorhub.co.uk/2582/year-of-the-fat-knight-by-antony-sher-the-falstaff-diaries	In A Nutshell Year of the Fat Knight is Antony Sher’s account -splendidly supplemented by his own paintings and sketches – of researching, rehearsing and performing one of Shakespeare’s best-known and most popular characters. He tells us how he had doubts about playing the part at all, how he sought to reconcile Falstaff’s obesity, drunkenness, cowardice and charm, how he wrestled with the fat suit needed to bulk him up, and how he explored the complexities and contradictions of this comic yet often dangerous personality. On the way, Sher paints a uniquely close-up portrait of the RSC at work. Actor Hub Review “When you’re young, it seems so straightforward: you learn the lines and that’s that. But when you’re older, you’re aware of a series of tests and obstacles ahead, each of which will put pressure on you, and the lines will often be the first casualty. So…” Back when I was studying for my GCSE’s I read Antony Sher’s Year of the King and it changed my life. Sher’s account of his journey towards playing Richard III for the RSC showed me that I could take acting seriously as a career and that as a young character actor I could reinterpret roles and make them my own. Twenty five years later I was delighted to see a new diary from Sher – Year of the Fat Knight – this time exploring a year’s journey towards playing Falstaff in the both parts of Henry IV – this performance was acclaimed by critics and audiences and earned Sher the Critics Circle Award for Best Shakespearean Performance. An actors journey to a role is not just about learning lines and where to stand and Sher takes us through the uncertainty, the frustration, the laughter, the fear, the fittings, the rehearsals, the highs and the lows – every step of the process is explored in this honest, humourous and enlightening book of the rollercoaster ride Antony Sher has tackling and embracing ‘the Fat Knight’ I am ashamed to say that I did not know the Henry plays before reading this book, I also knew very little about Falstaff but you actually don’t need to know anything about the play or the part to enjoy Sher’s account of his process. As he explores the character and past performances you begin to get an insight into this magnificent and complicated role. Yes, there were parts of the play which it would have helped to be familiar with to fully appreciate the story of the mounting of this production – but that did not detract from my enjoyment of Sher’s process. As an actor myself it is refreshing to read that even the greats suffer from anxiety and worry about their suitability for a role and their performance. Antony Sher is totally honest and upfront about how he feels at every step through his process towards opening night. We are given a ‘backstage’ view on the rehearsal process in London and watch from the wings as the shows gets to previews in Startford Upon Avon. The book is beautifully illustrated throughout with Sher’s wonderful sketches, paintings and artwork. This is the type of book which makes me long to act on stage again, as a screen actor it made me jealous of that luxurious process which a stage actor can indulge in as they prepare for their performance. I longed for the camaraderie of being a member of a company all working towards a common goal whilst being on one’s own personal journey. I am pleased to say I have found a book which I know I will revisit time and time again, I for one am hoping that we get a similar diary for Arthur Miller’s Death of a Salesman as I would love to explore that role with Sher. This book is a great addition to any actor’s reading list, and if you are not an actor but are looking for a fascinating insight into how an actor researches, rehearses and performs then look no further.
5894	dbpedia	3	4	https://www.theguardian.com/stage/2021/dec/03/sir-antony-sher-obituary	en	Sir Antony Sher obituary	https://i.guim.co.uk/img…bf9c2d18301f1ad8	https://i.guim.co.uk/img…bf9c2d18301f1ad8	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Antony+Sher%2CTheatre%2CRoyal+Shakespeare+Company%2CNational+Theatre%2CStage%2CSouth+Africa%2CTelevision%2CFilm%2CUK+news", "https://i.guim.co.uk/img/media/744ec3a6d35529b7d05aba636b8b0f379efaf523/0_115_3765_2259/master/3765.jpg?width=465&dpr=1&s=none", "https://i.guim.co.uk/img/media/ea885049c13cb76991f0623771fd3b72ead936d2/0_0_1863_2698/master/1863.jpg?width=445&dpr=1&s=none", "https://i.guim.co.uk/img/media/91279e7b14da22d7d1bcf6eb0d1b2bf3ddae14e4/0_101_3320_1992/master/3320.jpg?width=445&dpr=1&s=none", "https://i.guim.co.uk/img/media/353d0d4da37374fe305ee33d3be7ab1ff9492fbc/0_85_2464_1478/master/2464.jpg?width=445&dpr=1&s=none", "https://i.guim.co.uk/img/media/dc6b7c7e5a24672585650ac81686e76dcc96d8f8/0_82_2108_1264/master/2108.jpg?width=445&dpr=1&s=none", "https://i.guim.co.uk/img/media/24f40b9927823893537099642bbee361bf3e4bab/0_156_2400_1440/master/2400.jpg?width=445&dpr=1&s=none", "https://i.guim.co.uk/img/media/7d801879adad7e24e59c873b6aa214e1f491d73f/0_291_4346_2607/master/4346.jpg?width=445&dpr=1&s=none" ]	[]	[]	[ "" ]	null	[ "Michael Coveney", "www.theguardian.com" ]	2021-12-03T00:00:00	Celebrated stage actor who gave extraordinary performances in a long career with the Royal Shakespeare Company	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/stage/2021/dec/03/sir-antony-sher-obituary	As breakthrough performances go, Antony Sher’s as Richard III at Stratford-upon-Avon in June 1984 was beyond astounding. He gatecrashed this play’s performance history and threw down an audacious gauntlet to the hallowed shades of Edmund Kean, Henry Irving, Laurence Olivier and, on that same Stratford stage, Ian Holm. Just as Irving’s bells stopped ringing on “the lascivious pleasing of a lute” in the opening soliloquy, so did Sher’s background music, and he instantly produced, with an obscene flourish, a pair of black medical crutches, resuming the speech with two swinging, ape-like hops to the front of the stage, an unforgettable creepy arachnoid. That, in a lesser actor, might have been that. But Sher, who has died aged 72, developed this spitefully animated cartoon into a complicated study of pathology, unctuousness and glistening malevolence way beyond anything revealed in the role, arguably, before or since. In Year of the King, the first of his many books, Sher told the story of Bill Alexander’s RSC production, accompanied by a plethora of remarkable drawings – he was a fine artist, an accomplished writer and an indisputably great actor. And, as with all great actors, there were areas of critical dispute, of “going too far” or of “hogging the stage”. You could equally argue that there is far too little of that sort of thing in the theatre these days, and more’s the pity. Sher was a great admirer of Steven Berkoff, in whose expressionist, balletic adaptation of Kafka’s The Trial he appeared as a bespectacled Joseph K at the National Theatre in 1991; in the same season, he referenced his RSC crutches by surging manically down stage on a pair of upended tommy guns as Brecht’s Arturo Ui, for which Shakespeare’s hunchbacked toad was a prototype. Most of his career was at the RSC after he joined in 1982 to play a capering, clownish Fool to Michael Gambon’s mighty King Lear. He stole a few notices there, too, and allegedly had to be reminded by Gambon that Shakespeare’s play was called King Lear, not “King Lear plus a cunt in a red nose”. He was the first Fool ever killed on stage by his master; not without feeling, one imagined, this act of smother-love. Richard was followed by a flurry of extraordinary performances rooted in Sher’s innate sense of not-quite-belonging as a gay, Jewish South African. In some ways you could see that his long struggle with his own identity paid off more than handsomely in a savagely embittered Shylock, a Greek Orthodox-style Malvolio, a murderous, full-throttle Vindice in The Revenger’s Tragedy and a grubby, unpleasantly perverse Iago to the refined South African Othello of Sello Maake ka-Ncube in 2004. Recrimination and vengeance were his forte. He was less successful as Falstaff, and perhaps saw with hindsight the wisdom of Olivier in never having played the role. But he strode magnificently through The Winter’s Tale as Leontes; as Macbeth (opposite Harriet Walter, the best RSC pairing since Ian McKellen and Judi Dench in 1976), both of these in 1998-99; as a wizened old Prospero (2009) in another pertinent South African reimagining; and finally as King Lear (2016), appearing first enthroned in a glass cage, swathed in furs, prone to violent mood swings and, said Michael Billington, “unbearably moving” with David Troughton’s blinded Gloucester on the Dover cliff. He was a marvellous Willy Loman, too (Walter, again, as his stoically forbearing wife), in Arthur Miller’s tragedy Death of a Salesman (2015). Sher’s grandparents were Jews who experienced persecution in Lithuania in the 1890s and fled to Cape Town, where he grew up insulated against the injustices of apartheid. His father, Emmanuel Sher, was an exporter dealing in animal skins and hides, and he remained particularly close to his mother, Margery, who encouraged and enjoyed his success. Along with his two brothers and sister, he was well educated – at Sea Point boys’ junior and high schools in Cape Town – and the household had black servants. From the beach at Sea Point he could see Robben Island, where Nelson Mandela was incarcerated. After his compulsory year in the South African army, he came to the UK – it was reading the monthly magazine Plays and Players that ignited his theatrical ambitions – and he took a BA acting course at Manchester Polytechnic (now Manchester Metropolitan University), where he was briefly married to an American fellow student. He trained at Webber Douglas – other London drama schools rejected him – from 1969 to 1971, and plunged into repertory theatres in Liverpool, Nottingham and Edinburgh. At the Liverpool Everyman, where I first saw him, he played Ringo Starr in Willy Russell’s John, Paul, George, Ringo … and Bert (1974). Then he donned a leopardskin as Enoch Powell in Tarzan’s Last Stand, a withering and unnerving impersonation. This now legendary Everyman company – the theatre had been co-founded in 1964 by the director Terry Hands, who would become Sher’s key mentor at the RSC – included Julie Walters, Alison Steadman, Bill Nighy and Jonathan Pryce. He blossomed further in the London new plays explosion of the 1970s, notably with the pioneering company Gay Sweatshop alongside his friend and rival Simon Callow, and in significant early pieces by David Hare (Teeth ’n’ Smiles, 1975, with Helen Mirren and a rock band) and Caryl Churchill (Cloud Nine, 1979, with Julie Covington, Miriam Margolyes and Jim Hooper) at the Royal Court. He was in a partnership of 17 years with Hooper, who featured in Characters, his 1989 sketchbook of favourite performers and performances. Sher achieved an early prominence on television as the leering, lecherous academic Howard Kirk in Malcolm Bradbury’s The History Man in 1981 (in line with the 70s setting, Sher sported kipper ties, flares and an afro haircut) and followed through on stage in Mike Leigh’s hilarious Goose-Pimples (1981) at the Hampstead theatre and the Garrick; his character was a small-time entrepreneur who mistakenly thinks he’s arrived in a brothel in Dollis Hill, north London, when he fetches up with a nightclub croupier (Marion Bailey) whose landlord is a house-proud car salesman (Jim Broadbent). When he collected several theatre awards in 1985, Sher said he was proud to be nominated as both king and queen in the same year: Richard III and Arnold Beckoff, the drag queen hero of Harvey Fierstein’s Torch Song Trilogy at the Albery (now the Noël Coward), to whom he lent a restrained, almost melancholic, suburban glamour. He was now increasingly interjecting his classical triumphs – a barbaric and overweening Titus Andronicus co-presented by the Market theatre in Johannesburg and the National (1995), a tremendous, moving Cyrano de Bergerac at the RSC (1997), using the Anthony Burgess translation – with some telling adventures in the contemporary repertoire. For the RSC, he played leads in David Edgar’s Maydays (charting the classic journey of leftwing agitators moving rightwards), Peter Barnes’s farcical medieval pandemic epic Red Noses and, the first contemporary play in the new Swan at Stratford in 1989, Peter Flannery’s Singer, a furious caricature of the 60s London landlord Peter Rachman. Later, in 1997, he delivered one of his sweetest, most obsessional performances as the painter Stanley Spencer, the priapic mystic of Cookham, in a play by Pam Gems at the National. By then he had kicked a self-confessedly serious cocaine habit. He went into a rehab clinic in 1996, supported by his partner, the RSC director Gregory Doran, whom he had met when they first worked together in Stratford in 1987. The first, and most acclaimed, of Sher’s several novels, Middlepost (1988), was a fictional saga of his grandfather’s journey from the Russian shtetl to South Africa. Part critical love affair, part exorcism, his relationship with his home country seeped further into his work with every passing year. His first play, I.D., at the Almeida in London in 2003, was about the assassination of Dr Hendrik Verwoerd, the South African prime minister and architect of apartheid, by a Greek Mozambican immigrant in 1966. Two other plays reflected his passion and commitment to politics and aesthetics: Primo (2004), a one-man show for himself set in Auschwitz and based on the writings of Primo Levi; and The Giant (2008), which fascinatingly fictionalised a struggle between Michelangelo (John Light) and Leonardo da Vinci (Roger Allam) over the commission for the David statue in Florence, with their mutual apprentice a catalytic agent in Renaissance gay culture. His film career was virtually nonexistent, though he was an excellent Benjamin Disraeli in Dench’s belated breakthrough movie, John Madden’s Mrs Brown (1997), and popped up as Dr Moth in Shakespeare in Love (1998) and as Adolf Hitler in Peter Richardson’s ribald spoof Churchill: The Hollywood Years (2004). Sher worked with Doran as his director at every opportunity, before and after the latter succeeded Michael Boyd as the RSC’s artistic director in 2012. They formed a civil partnership in 2005 and were married in 2015, sharing homes in Islington, north London, and outside Stratford-upon-Avon. Sher’s last stage appearance in Stratford-upon-Avon, in April 2019, was as a bibulous old thespian with terminal liver cancer cared for by a black South African nurse – played by John Kani, the play’s author. Kunene and the King, a co-production by the RSC and the Fugard theatre in Cape Town, was directed by Janice Honeyman. Its transfer to the West End in January 2020 was closed by the pandemic two months later. Sher was knighted in 2000, and held honorary doctorates from the universities of Liverpool, Warwick and Cape Town. He is survived by Doran. Antony Sher, actor, writer and artist, born 14 June 1949; died 2 December 2021 This article was amended on 7 December 2021, to make it clear that Sher’s grandparents’ reason for leaving Lithuania, then part of Russia, was to escape persecution. On 8 December 2021 it was further amended: Sher took his BA course at Manchester Polytechnic (now Manchester Metropolitan University) rather than Manchester University.
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5894	dbpedia	0	32	https://www.mikejempson.eu/2020/12/03/wiltons-for-the-east-end-the-untold-story/	en	WILTON’S FOR THE EAST END: The untold story – Mike Jempson	https://www.mikejempson.…iltons-2a-1.jpeg		[ "https://www.mikejempson.eu/wp-content/uploads/2018/12/header-1.jpg", "https://www.mikejempson.eu/wp-content/uploads/2021/10/image-7.png", "https://www.mikejempson.eu/wp-content/uploads/2020/12/Wiltons-2a-1.jpeg", "https://www.mikejempson.eu/wp-content/uploads/2021/10/image-6.png", "https://www.mikejempson.eu/wp-content/uploads/2020/12/IMG_0566.jpg", "https://www.mikejempson.eu/wp-content/uploads/2020/12/Wiltons-1.jpeg", "https://www.mikejempson.eu/wp-content/uploads/2020/12/Wiltons-3-.jpeg", "https://www.mikejempson.eu/wp-content/uploads/2020/12/771125-Wiltons-editorial.jpeg", "https://www.mikejempson.eu/wp-content/uploads/2020/12/Wiltons-.jpeg", "https://secure.gravatar.com/avatar/9177c2381bf1c2a5d83f2fd53ef6773e?s=114&d=mm&r=g", "https://secure.gravatar.com/avatar/5b77261f692b07defa4f46a0ef19858e?s=77&d=mm&r=g", "https://secure.gravatar.com/avatar/9177c2381bf1c2a5d83f2fd53ef6773e?s=77&d=mm&r=g", "https://secure.gravatar.com/avatar/9ea1be67484d532e1265b997c28505bc?s=77&d=mm&r=g" ]	[]	[]	[ "" ]	null	[ "Mike J", "Excel Theme" ]	2020-12-03T00:00:00		en			https://www.mikejempson.eu/2020/12/03/wiltons-for-the-east-end-the-untold-story/	I was the lay chair of the Half Moon Theatre Company in Stepney in the mid-1970s when its growing popularity meant larger premises were needed. At the time the Workers’ Revolutionary Party (WRP) was very active in Equity, the actors’ union. WRP members were also very active at the Half Moon, so initially there were mixed feelings about a proposed move to the nearby and near derelict Wilton’s Music Hall, in Graces Alley off Stepney’s historic Cable Street. Wilton’s great champion at the time was Marius Goring. A celebrated actor and one of the founding members of Equity, he was regarded as an arch-reactionary by the WRP whose members included Vanessa and Corin Redgrave as well as numerous regular cast members at the Half Moon. Property speculators were already buying up everything around the old Alie Street synagogue in which Maurice Colbourne, Michael Irving and Guy Sprung had set up the theatre in 1972. The dilapidated building had a great atmosphere, enhanced by the fact that two of the founders and two Irish setters lived upstairs. The theatre’s early performances had quickly established the Half Moon as one of London’s most challenging fringe theatres. Opening with Bertold Brecht’s In the Jungle of the Cities, it had followed up Alkestis by Euripides. But the Half Moon really began to attract attention with Will Wat, and if not, What Will?, an ensemble piece about the Peasants Revolt of 1381, and Sean O’Casey’s anti-war play The Silver Tassie. With the welcoming White Swan pub next door and East London’s oldest Indian restaurant, the Halal, across the street, it was the soon the come-to place for London’s lefties. East enders only began to come to the theatre in numbers when local children took to the stage to reenact the 1911 East End school children’s strike in Fall In and Follow Me by Bethnal Green actor-writer Billy Colvill. Some were shocked and others delighted by Terry Greer’s music hall retelling of the notorious Whitechapel murders, Ripper! which came next. And the theatre garnered support from trades unionists when diminutive Communist firebrand Jack Dash played the dockers’ leader John Burns in Get Off My Back. This was ex-docker Johnnie Quarrell’s history of the London Docks and tackled a burning current local issue as developers moved in on acres of derelict riverside land. His play would later tour Tower Hamlets building support for the East End Dockland Action Group. With the theatre’s growing popularity and the changing local environment it was clear a new home would have to be found. A move to Wilton’s would have been a shift in the right direction. Goring had set up the Wilton Hall Trust with plans to bring music hall back to the East End, but there had been local opposition. Since being forced to close as a fire risk in 1880, Wilton’s had served at various times as a Methodist Mission and as a centre of community activity from the days of General Strike to the wartime years. But it had fallen into disrepair, and during the 1960s languished as a warehouse for old clothes. The Poet Laureate John Betjeman and the London Music Hall Society saved it from demolition and won it listed status. and the building was acquired by the Greater London Council (GLC) in 1966. Goring was far from happy when, ten years later, the then Labour GLC granted a development lease to the Half Moon in February 1976. His plans had already been thwarted once, when Island Records put in a bid to turn the music hall into a night club but pulled out as they considered the cost prohibitive. By now Billy Colvill’s touring play about the ‘sus laws’ Spare us a Copper was exciting interest among a new generation locally, and the Half Moon Young People’s Theatre was born. The theatre also hit the headlines with its boisterous production of George Davis Is Innocent OK, which grew out of a sensational campaign run by the friends and family of a local cab driver whom they claimed was the victim of a miscarriage of justice. The next production, The Good Woman of Wapping, another reworking of a Brecht classic, was an attempt by the Half Moon to identify itself with the local scene. Its ‘adult’ pantomimes were also proving very popular and many of the regular performers would go on to become familiar names of stage and screen including Alan Ford, Anthony Sher, Colm Meaney, Ken Morley, Maggie Steed, Phillip McGough and Rynagh O’Grady. Its new director Pam Brighton moved into the Stephen and Matilda Tenants’ Co-op beside the St Katharine Dock, with her son Boris. She wanted Wilton’s to become ”The largest socialist theatre in Europe”. It was an ambition that won support from local residents but upset Tory councillors on the GLC. To bring Wilton’s back to life, the theatre would have to prove it could raise enough money for overall refurbishment, preferably before the GLC elections scheduled for May 1977 when the Tories expected to overturn Labour’s 22 seat majority. An initial target of £168,000 would make the auditorium habitable, and renovate the Old Mahogany Bar. John Wilton had built his Music Hall in 1858 as an extension to the function room of the adjacent Prince of Denmark Tavern. The pub’s mahogany furniture had earned it that nickname among the regulars, and the Half Moon hoped to regenerate its popularity. Arbel Jones, who was leading the theatre’s efforts, told the Hackney Gazette they were confident of finding the money not only to reopen the theatre but to revitalise the surrounding area. (‘Music Hall coming back in Stepney and Hoxton’, HG, 27 Feb 1976) “Eventually we would like to see the site developing into a community arts complex, with a bookshop, a printing press, a pub, a cafe, a day nursery and a variety of workshops,” she said, admitting that might take ten years, but work on the theatre itself could be completed in six, at a cost of more than £400,000. Meanwhile the plan was to have the place ready for performances within 18 months. A project office was opened in Graces Alley, next door to Wilton’s and by 14 April 1977 when the music hall was opened to the press and public, the team were able to announce finance packages worth £210,000. The total included grants of £35,000 promised by the Arts Council and £13,000 from Tower Hamlets Council, which was also offering an interest free loan of £50,000. Fuller’s Brewery were to put in £10,000. The icing on the cake was an unexpected offer from Peter Drew managing Director of St Katharine-by-the-Tower, Taylor Woodrow’s nearby multi million development project, to cover the necessary building works at cost. Cllr. Bernard Brooke-Partridge, the Tory arts spokesperson on the GLC was dismissive of the Half Moon’s aspirations and it was clear that if the Tories won the upcoming GLC elections, the theatre’s plans could be in jeopardy. Last minute betrayal The theatre company had already spent some £11,000 devising its plans and chasing the necessary funding and were confident this would silence the doubters before the 5 May elections. But it was not to be. The Tories romped home, taking control of County Hall with 64 seats to Labour’s 28. And, in extraordinarily cynical last minute move, Peter Drew withdrew his support. Part of my brief as chair of the theatre had been to ensure deeper engagement with the local community, and a ‘Wilton’s for the East End’ campaign was launched when it became clear the Tories would not honour the GLC’s commitment to the Half Moon. I began a protracted correspondence with Cllr. Herbert Sandford, new chair of the GCL Central Area Planning Board which would make the final decision. He admitted “I got landed with this one. I hadn’t heard of Wilton’s till I came into office”. Conflicting messages began to emerge about what he and his colleagues had in mind. I met with him on 13 July and he indicated that a decision on Wiltons “will be made in the very near future”. On 22 July he wrote to say he had met with the Labour leader of Tower Hamlets Council Paul Beasley and suggested we meet again. “My officers are looking into the question of setting up a trust and the extent of your involvement in such a scheme.” He wrote again on 4 August apologising for the continued uncertainty about the situation, and mentioned an internal meeting he had had that day at which “some new developments and some further points arose”. A lengthy article in the the London Evening Standard was the first indication we had that Taylor Woodrow were being offered Wilton’s, and even had plans to dismantle it and rebuild it on the St Katharine Dock, to join the Dicken’s Inn another Victorian building the developer had relocated and reassembled to attract tourists. Brook-Partridge was quoted as saying he would never allow public funds over which he had control to be used to finance a politically motivated theatre. (‘Eclipse of the Half Moon’s theatre hope’, LES, 18 Aug 1977) Within days Sandford wrote to inform me that the GLC “has had an offer from a commercial company to rehabilitate Wilton’s Music Hall and operate it as a music hall at no cost to the public”. His officers were still investigating the offer, but the message of his final sentence was clear “It does occur to me that … the many offers of financial assistance you have had might well enable you to find larger and more adequate premises.” In my response I pointed out that the theatre had been waiting for a final decision since the end of 1976, and spent 20% of its annual budget in assembling its proposals and raising cash specifically for the restoration of Wilton’s. “We would remind you that the last commercial offer for Wilton’s proved to be a failure, and that of all the functioning interests concerned with Wiltons we are the longest surviving, and the only one actually producing the goods in the area.” Shortly afterwards Taylor Woodrow’s Drew claimed to the East London Advertiser that he had been approached by the GLC to save Wiltons without using public funds. “We have always been interested in seeing Wilton’s reopened,” said Drew, but as a music hall not a theatre. “We have not made any legally binding offer over Wilton’s, and if local people do not want us to take it over then that is OK by us,” he insisted. (‘Wilton’s theatre which way now?’, ELA, 26 Aug 1977) Agit-prop theatre Though some at the theatre were disheartened, his words gave added impetus to Wilton’s For the East End campaign supporters. ‘Save it!’ posters and leaflets began to appear in the neighbourhood, along with a fresh bout of fundraising. Over the summer we persuaded the long-suffering caretaker Joseph Marsham to allow a TV crew to have a look round the old music hall. We smuggled in Patrick Barlow of from the National Theatre of Brent, who quickly transformed into his outrageous alter ego Henrietta Sluggett for a bit of agit-prop theatre. The TV crew came across her ensconced in a room on the first floor, complete with a chintzy tea set. She explained that she was squatting in the building until it was handed back to the East End. That came as a bit of a surprise all round. It was was one of several stunts we pulled to keep attention on the campaign. Theatre designer Mick Bearwish and I, along with Alice Brett and Chris Lilly painted ourselves red and donned red overalls like the figures on Taylor Woodrow’s famous logo. Supervised by Tower Hamlet’s Arts chief Phil Shepherd in a full ‘bosses’ outfit including a top hat, we tied a tug-o-war rope to Wilton’s and mimicked the logo by attempting to pull the building towards the St Katharine Dock. Then we leapt into a van and drove to St Paul’s Cathedral where we tied the rope to its pillars and tugged, much to the surprise of Japanese tourists who had no idea what was going on. From there we went to the South Bank and tried to drag the National Theatre towards Docklands, handing out leaflets all the while. The Monument got a tug too, though there were few witnesses. Sir Ashley Bramall, Labour GLC Councilor for Bethnal Green and Bow, who backed the Half Moon’s bid wrote to me on 6 September saying he was ‘appalled … at the idea that Wilton’s should be moved into an entirely artificial situation within St Katherine’s Dock (sic).’ But he warned that further stunts might be counter-productive. ‘I am afraid that the very strong political orientation of [the Half Moon] has resulted in a reaction on the part of the new Conservative GLC and if anything is to be saved it is important that the steps taken to save it should not be such as to strengthen their hostility.” On the same day, the Labour leader of Tower Hamlets Council Paul Beasley. wrote admitting that Peter Drew had expressed ‘second thoughts’ about his support as long ago as March because he thought the Half Moon’s productions ‘too political’. Beasley had urged him to inform the theatre but Drew never advised the Half Moon of his intentions. By October there was still no formal indication of the GLC’s position. Louis Bondy, a Labour councillor for Islington North sought assurances from Sandford that the building would be preserved for its proper purposes. Sandford replied, somewhat cryptically, that he supported “the aim of preserving as much of the fabric as possible” and that it would be in use ”for entertainment of a poplar nature which can be expected to appeal to and be regularly supported by large audience, a large proportion of whom, would, I hope, be Londoners”. He went on to say he had been in discussion with “interested parties” and hoped to produce a report on the granting of a lease “at least cost to public funds”. Asked about the idea of the building being relocated he said “we must have an open mind” but mentioned the possibility that a road might run through it “within the next 20 years” and commented “might not its location have more popular appeal by the riverside”. War of words I wrote again to him same day calling on him to declare his hand formally about the future of Wilton’s. I listed more than 60 London theatres and local community organisations supporting our campaign, alongside celebrities including East End stars Alfie Bass, Miriam Karlin and David Kossoff, boxer John H Stracey, comic Spike Milligan, models Patti Boyd and Flanagan, musicians Eric Clapton and Mike Westbrook, singer Queenie Watts and writer Barrie Keefe, as well as Ellis Ashton, Chair of the British Music Hall Society and the Bishop of Stepney Trevor Huddlestone. Speaking of the disgust felt locally that the lease should be granted to Taylor Woodrow since they had originally supported the Half Moon bid, I wrote: ‘To even suggest that Wilton’s be uprooted ad transplanted to become a riverside tourist trap is both an insult to East Enders and a ridiculous use of a building which owes its history to the use it has seen in its existing site.’ Acknowledging that Sandford had not joined the chorus of right wing political objections to the Half Moon I explained that members of the charity’s Management Committee shared a wide range of views but ‘it is true that most of us would call ourselves socialists who abhor racism and fascism. My letter went on: ’To attack the Half Moon’s bid for Wilton’s in terms of the individual political views of its members, is not only to dangerously confuse issues in a way you yourself have decried, but is to ignore the whole basis of our application … – that we have been asked by local organisations to run Wilton’s as a local entertainment centre, and that is what we intend to do. If that is seen as a political act the you must turn to your colleagues for definitions of the terms they are using.’ In classic Half Moon fashion, that autumn the theatre staged Andy Smith’s Victorian melodrama Grand Larceny, in which Wilton’s was depicted as a young girl threatened by the villainous Mr Richpygge. Director Rob Walker had assembled a cast of TV regulars to help bring in the crowds, and Herbert Sandford was among those who came to the show during its eight week pre-Christmas run. But the writing was on the wall. The week before the future of Wilton’s was to appear on the Central Area Planning Committee agenda, the front page of the East London Advertiser ran with the banner headline ‘WIlton’s Battle Is Lost’. It included a rare front page editorial bemoaning the GLC’s impending volte face, calling the whole saga a charade and urging the Council to stick to its original decision in favour of the Half Moon. (ELA, 25 Nov 1977). Writer and former docker Johnny Quarrell, who has just been elected to chair the theatre company, was quick to comment. “This is the most disgraceful and distasteful thing I’ve heard in years,” he told the local paper. “They are spitting in the eye of local people. The East End made the music halls; now we’re going to be told what is was all about by the Poet Laureate, television’s ‘The Expert’, and property developers. It stinks.” Half Moon Director Rob Walker was equally scathing. “It is incredible and irresponsible,” he said. “We have spent £13,000 over the last two years to meet all that was required of us by the GLC. Now they intend to hand over the building to a company which has still not been legally constituted, to be run by a production company which still hasn’t been formed.” (ELA, 24 Nov 1977) Marius Goring was not available for comment that day. He was at the headquarters of the actors’ union Equity where an enquiry was under way into how his Wilton’s Music Hall Trust had obtained the union’s support in preference to the Half Moon, where Equity had a closed shop. Cllr. Sandford would later pen a lengthy justification in The Stage and Television Today of his decision to reject the theatre’s plans. ‘[T]he Half Moon wished to create a theatre workshop, a youth project and community activities. All these things were perhaps desirable in the area but were hardly compatible with the original use of this fine surviving building,’ he wrote. (‘Wilton’s will live again’, TSTV, 22 Dec. 1977) He was speaking here about a building that had been a focus of community activities for far longer than it had been a centre for working class entertainment. He went on ’The highly complex and expensive task of restoration and Wilton’s continued visibility, were matters of considerable concern to the GLC. It was understandable that the Half Moon could not satisfy us that the financial support was available to them.’ It should be recalled that the GLC had once wanted to bulldoze the building to make way for a road, and then left it to rot for more than a decade, and that the Half Moon’s financial guarantees had been undermined on the night of the GLC election by Peter Drew’s cynical withdrawal of Taylor Woodrow’s support. Sandford continued: ‘Comment has been made of political bias against the Half Moon. Whilst my colleague and I would not agree with some of the underlying messages in some of their productions … the GLC does not act as a censor to theatrical matters. If there is a demand for the Half Moon’s type of entertainment we would have no wish to discourage them, but is Wilton’s the place for it?’ But all was not over yet. Earlier in December Labour members had threatened to stall any final decision unless the Half Moon were given a chance to say “whether they have further submissions to make”. So the year ended with the door half open, while the Central Area Board continued negotiating with what was described as the proposed Wilton’s Music Hall Restoration Ltd. In March 1978 Cllr Louis Bondy and his Holborn colleague Cllr Richard Collins were back in action on the Half Moon’s behalf. They demanded to know what was now happening with Wilton’s since Sandford had knocked back the theatre company’s bid before Christmas. The Tory planning chief had to admit that the people he was negotiating with were still not constituted as a bona fide company, nor had they registered as a charity, Half Moon administrator Loesja Saunders was horrified. “This is irresponsible,’” she told the East London Advertiser. “Restoration is bound to cost more, and heaven knows how long it will take for them to sort out all the legal hassles. It took us long enough, and we had been in operation for four years. Wilton’s Music Hall should be a place of fun and laughter, but it is beginning to feel like the biggest tragedy since Hamlet.” (‘A place of fun and laughter! It feels more like a tragedy’ ELA, 31/3/78). Politics as fun Meanwhile the Half Moon was continuing to demonstrate that politics could be fun. Its 1978 season began with rave reviews for Simon Callow’s extraordinary performance as a Chicago gangster in Brecht’s The Resistible Rise of Arturo Ui. Then there was the first ever UK performance of the Italian troubadour Dario Fo’s ‘Marxist farce’ We Can’t pay? We Won’t Pay! with Frances de la Tour and Denis Lawson. It would later tour the country with Miriam Karlin. The Half Moon had already become the venue for the leading touring companies of the day including John McGrath’s 7:84, the feminist Monstrous Regiment, and Belt and Braces which brought Dario Fo’s Accidental Death of an Anarchist to Alie Street in 1979, with a barnstorming performance by a young Alfred Molina. The search for a new home was becoming urgent. The possibility of taking over the University House Settlement in Bethnal Green was investigated, but then came the chance of moving to an abandoned Welsh Methodist chapel on the Mile End Road in Stepney Green. Work started on its conversion while productions continued in Alie Street. To introduce Half Moon regulars to the new venue a ground-breaking ‘walkabout’ production of Hamlet, with Frances de la Tour in the title role, took place in the midst of the refurbishment, in 1979. The next production in the new home was Pal Joey with Denis Lawson and Sian Phillips. A musical based on the stories of John O’Hara it too was a huge success and transferred to the West End in 1980. Denouement On 25 May 1978 The Times reported the planned rebirth of John Wilton’s London Music Hall Protection Society as a limited company with Peter Honri as Artistic Director alongside two GLC councillors and Peter Drew director of Taylor Woodrow’s luxury development on St Katharine’s Dock. Launching an appeal for £750,000 Drew, said “The romance of the music hall is easy to sell, but what we need is money, There are too many people in this city who have been talking about the poor East End, and now Wilton’s is an opportunity for them to prove themselves in personal terms.” In the event Wilton’s did not come back into theatrical use for another 20 years, by which time the GLC itself had been disbanded by Margaret Thatcher. A London Music Hall Trust, supposed beneficiary of the GLC’s decision to block the Half Moon bid, was not properly constituted until 1982. But it was not until 1999 that the South African Broomhill Opera Company obtained a lease from the London Residual Authority. Broomhill changed it name to Wilton’s Music Hall in 2004, when the expensive task of properly restoring the building at last got underway. It was only completed in 2015. The Half Moon Theatre Company went into voluntary liquidation in 1990 but productions continued with the Half Moon Youth Theatre becoming an independent company and transferring to a new base in White Horse Road, Stepney where it still functions as a community theatre. The Half Moon’s Stepney Green home retained its name and a theatrical theme when it reopened as a Wetherspoon’s pub in the mid-1990s. The dramatic history of the Half Moon, complete with details of all its productions and filmed interviews with those who knew it well can be found at: <https://www.stagesofhalfmoon.org.uk/ For details of the Half Moon Young People’s Theatre visit: <https://www.halfmoon.org.uk>
5894	dbpedia	1	91	https://www.mumsnet.com/talk/_chat/4972913-anyone-who-enjoys-shakespeare	en	Anyone who enjoys Shakespeare	https://www.mumsnet.com/og-image.png	https://www.mumsnet.com/og-image.png	[ "https://www.mumsnet.com/assets/images/stock/heart.jpg", "https://www.mumsnet.com/assets/images/app-stores/apple-app-store-badge.svg", "https://www.mumsnet.com/assets/images/app-stores/google-play-store.svg" ]	[]	[]	[ "" ]	null	[ "EveryKneeShallBow" ]	2023-12-29T18:20:13+00:00	… who has been your greatest actor, and in which role? For me (I live in the middle of nowhere so I watch YouTube and NT Online) Adrian Lester as Ot...	en	/icon.png		https://www.mumsnet.com/talk/_chat/4972913-anyone-who-enjoys-shakespeare	I saw Sir Ian McKellen play Prospero live and that really stuck with me. I also loved Ralph Fiennes as Anthony in &C Probably not the greatest performance ever, but Hammed Animashaun as Bottom in the the Bridge Theatre Midsummer Night's Dream made me see the character, and the play, in a whole different way, and gave such depth and emotion and tenderness to what is generally a bit of a slapstick role. I do like Shakespeare a lot but struggle a bit with performances as I'm a quite insistent that they should follow the text with no variation which they never do. I know this is a bit weird but it's me. Favourite play is the Scottish one. One of my favourites was the RSC production of Hamlet (quite) a few years ago that had David Tennant and Patrick Stewart. But do not ask what the tickets cost. We saw Adrian Lester as Othello and Rory Kinnear as Iago at the National Theatre. It was absolutely spellbinding. For the last 30 mins you could have heard a pin drop in the theatre - I don't think I took a breath. Amazing performances. UnimaginableWindBird · 29/12/2023 18:27 Probably not the greatest performance ever, but Hammed Animashaun as Bottom in the the Bridge Theatre Midsummer Night's Dream made me see the character, and the play, in a whole different way, and gave such depth and emotion and tenderness to what is generally a bit of a slapstick role. Agreed, he was great. Again, not claiming this is the best ever but I was amazed by Paul Ready (the wet dad from Motherland) as Macbeth at the Sam Wanamaker a few years ago. Such a good production and a properly coherent account of Macbeth’s decline and sense of the pull of fate. Isn’t it wonderful when you see someone who completely changes your understanding of the play, or shows you a new slant? Othello with David Harewood, Clare Skinner and Simon Russell Beale in 1997. I still think about it regularly despite it being over 25 years ago. Tamsin Greig as Beatrice in Much Ado. SO good that it was impossible to watch anyone else on stage. The only one I can actually remember is seeing Kenneth Branagh as Hamlet on a school trip to Stratford. At one time the BBC put on classical plays on Sunday evening. I remember Troilus and Cressida I saw Kenneth Branagh as Hamlet 30 odd years ago on a school trip. I fell in love with him and Shakespeare. Earlier this month I saw him again as King Lear. I still love him, though I don't watch/read Shakespeare as much as I would like. @UnimaginableWindBird agree. Edward Bennet as Macduff. I think it was Polly Findlay’s production maybe 2018/19 and it had great concepts that didn’t quite carry. But the scene where Macduff hears that his family has been murdered was incredibly powerful and the contrast between Macduff and Macbeth on one hand and Malcolm on the other in that moment was everything. I saw that Adrian Lestor/Rory Kinnear Othello at the National. It was incredible. No one has done Romeo as well as Leonardo Di Caprio in the film for me. Ben Whishall was brilliant at Brutus in a recent Julius Caesar.
5894	dbpedia	3	88	https://books.google.com/books/about/Beside_Myself.html%3Fid%3DbrcLAQAAMAAJ	en	Google Books			[]	[]	[]	[ "" ]	null	[]	null					https://books.google.com/	Search the world's most comprehensive index of full-text books. My library
5894	dbpedia	1	29	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7006178/	en	Psychiatric comorbidities in alcohol use disorder	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/logo-nihpa.png" ]	[]	[]	[ "" ]	null	[ "Alvaro Castillo-Carniglia", "Katherine M Keyes", "Deborah S Hasin", "Magdalena Cerdá" ]	2019-12-16T00:00:00	Alcohol use disorder is a major contributor to the morbidity and mortality burden worldwide. It often coexists with other psychiatric disorders; however, the nature of this comorbidity is still a matter of debate. In this Series paper, we examine the ...	en	https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico	PubMed Central (PMC)	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7006178/	Lancet Psychiatry. Author manuscript; available in PMC 2020 Feb 7. Published in final edited form as: PMCID: PMC7006178 NIHMSID: NIHMS1068684 PMID: 31630984 Psychiatric comorbidities in alcohol use disorder Society and Health Research Center, Facultad de Humanidades, Universidad Mayor, Santiago, Chile (A Castillo-Carniglia PhD); Department of Population Health, New York University School of Medicine, New York, NY, USA (A Castillo-Carniglia, M Cerdá DrPH), and Department of Epidemiology (K M Keyes PhD) and Department of Psychiatry, College of Physicians and Surgeons, Mailman School of Public Health, Columbia University and New York State Psychiatric Institute, New York, NY, USA (Prof D S Hasin PhD) Contributors AC led the literature review and drafted the first version of the article. KMK, DSH, and MC drafted sections of the article and contributed to framing the Series paper. All authors were directly involved in writing, editing, and approving the final version of this paper. Correspondence to: Dr Alvaro Castillo-Carniglia, Society and Health Research Center, Facultad de Humanidades, Universidad Mayor, 7560908 Santiago, Chile, moc.liamg@itsacavla Abstract Alcohol use disorder is a major contributor to the morbidity and mortality burden worldwide. It often coexists with other psychiatric disorders; however, the nature of this comorbidity is still a matter of debate. In this Series paper, we examine the main psychiatric disorders associated with alcohol use disorder, including the prevalence of co-occurring disorders, the temporal nature of the relationship, and mechanisms that might explain comorbidity across the lifespan. Overall, this disorder co-occurs with a wide range of other psychiatric disorders, especially those disorders involving substance use and violent or aggressive behaviour. The causal pathways between alcohol use disorder and other psychiatric disorders are heterogeneous. Hypotheses explaining these relationships include reciprocal direct causal associations, shared genetic and environmental causes, and shared psychopathological characteristics of broader diagnostic entities (eg, externalising disorders). Efforts to untangle the associations between alcohol use disorder and other disorders across the lifespan remain a crucial avenue of research. Introduction Alcohol use disorder is among the leading causes of morbidity and mortality worldwide;1–3 an estimated 95 million people live with alcohol dependence globally.4 Alcohol use disorder refers to impaired control over alcohol use, leading to physiological dependence and tolerance, and detrimental psychological, social, and physical consequences. These disorders are highly disabling, associated with many physical and psychiatric comorbidities,1,5,6 and are responsible for 10% of the burden of disease related to substance use and mental disorders.7 In this Series paper, we refer to alcohol use disorder when describing the clinical diagnoses of DSM-IV alcohol abuse or dependence, as well as DSM-5 alcohol use disorder, which combined DSM-IV alcohol abuse and dependence symptoms. Psychiatric comorbidity is the presence, simultaneously or in sequence, of more than one disorder within an individual within a certain time period.8 The prevalence of most mood, anxiety, substance, and thought disorders is higher in people with alcohol use disorder than in the general population,9–11 although the magnitude of the correlation varies across disorders.12,13 Alcohol use disorder comorbidity could arise from several potential mechanisms, including a direct or indirect causal effect of the disorder on other psychiatric disorders, or vice versa, shared genetic and environmental causes of the disorder and other psychiatric disorders, or because alcohol use disorder and other psychiatric disorders share psychopathological characteristics and form part of a single diagnostic entity. Although previous reviews have documented patterns of comorbidity between alcohol use disorder and other psychiatric disorders, they have tended to focus on single psychiatric disorders and on isolated pieces of the pathways linking the disorder to psychiatric disorders. To our knowledge, no previous review has attempted to evaluate the evidence on the relationship between alcohol use disorder and the range of internalising, externalising, and thought disorders, to summarise the evidence on the directionality of these relationships, or to critically examine the types of mechanisms linking these disorders. Understanding how comorbid patterns of alcohol use disorder and other psychiatric disorders arise (ie, which disorder presents first), and how they are connected (ie, a causal link, or shared causes or psychopathological characteristics) is necessary to determine effective interventions to reduce the risk of comorbidity, and to treat existing comorbid psychiatric disorders. In this Series paper, we address existing research gaps in three ways. First, we discuss evidence on the prevalence of psychiatric disorders in people with alcohol use disorder, and the prevalence of alcohol use disorder in people with psychiatric disorders. We report the available median or pooled prevalence ( ), results from individual studies, or the range of prevalence across studies. We have organised the psychiatric disorders into three groups, internalising disorders (eg, depression, anxiety), externalising disorders (eg, other substance use disorders, personality disorders), and thought disorders (eg, psychosis), on the basis of covariation symptoms among these disorders.39–41 Because borderline personality disorder and bipolar disorder share covariation with disorders from more than one domain,39,42 we have grouped borderline personality disorder in the externalising domain, and bipolar disorder within the thought disorder domain. Second, we reviewed evidence on the directionality of these relationships—that is, whether alcohol use disorder preceded another psychiatric disorder, or vice versa. To our knowledge, the directionality of these relationships has not been the subject of a broad review to date. Finally, we present evidence on the types of mechanisms used to explain the comorbidity between alcohol use disorder and other psychiatric disorders. Table: Prevalence of alcohol use disorder in people with comorbid diagnosisPrevalence of comorbid diagnosis in people with alcohol use disorderLongitudinal association between alcohol use disorder and psychiatric comorbidityExternalising disordersSubstance use disordersECA survey: 47·3% (in people with substance use disorder)NCS survey: 40·6% lifetime substance use disorder in men; 47·1% in womenSubstance use disorder to alcohol use disorder onset in early adulthood: HR 3·50 (95%CI 2·03–6·03) for early-to-middle adolescent substance use disorder;14 HR 3 96 (2·22–7·07) for late adolescent substance use disorder14Nicotine use disordersLifetime alcohol use disorder in people dependent on tobacco in the general population of Germany 18·1%;15 NESARC: current (12-month) alcohol use disorder of 22·8% in people currently dependent on nicotine16NESARC: current (12-month) nicotine dependence of 34·5% among people with current alcohol use disorder16Nicotine use disorders to alcohol use disorder: adjusted OR 1·92 (95%CI 1·35–2·74) for any use (past non-daily use up to present daily use)Personality disordersLifetime alcohol use disorder in people with ASPD (pooled estimate from 6 studies): 77% (95%CI 66–86%);17 alcohol use disorder in people with BLPD (pooled estimate from 5 studies) 52% (42–63%)17ASPD in people with alcohol use disorder: median (across 16 studies) 18%, range 1–52%;18 BLPD in people with alcohol use disorder: median (across 7 studies) 21%, range 6–66%18Not foundInternalising disordersMDDMedian (across 35 studies) lifetime alcohol use disorder† in people with MDD: 30%, range 10–60%;19 ECA survey 16·5% MDD (lifetime)MDD† in people with lifetime alcohol use disorder 37%;20 MDD† in people with 12-months alcohol use disorder 4–22%20Alcohol use disorder to MDD: pooled OR‡ 2·00 (95%CI 1·19–3·3);21 OR§ 3·2 (1·4–7·1) primary care attenders from 14 countries;22 MDD to alcohol use disorder: pooled OR¶ 2·09 (1·29–3·38)21Attention-deficit hyperactivity disorderAlcohol use disorder\|\| in French students with ADHD 25·9%;23 alcohol use disorder* in young men enlisting to the Military Service in Australia with ADHD 19·3%24ADHD in adolescents with alcohol use disorder††: 19·9–23·6%;25 ADHD in adults with alcohol use disorder: 33% (current)25,26ADHD to alcohol use disorder: pooled OR‡‡ 1·35 (95%CI 1·11–1·64);27 pooled OR‡‡ 1·74 (1·38–2·20)28Anxiety disorderAlcohol use disorder in people with any anxiety disorder 20–40%;20 ECA survey: 17·9% in people with any anxiety disorder, 28·7% in people with panic disorderECA survey: 19·4% any lifetime anxiety disorder; NCS survey: 8’6% lifetime GAD in men, 15·7% in women; NCS survey: 3·6% lifetime panic disorder in men, 12·9% in women; NCS survey: 19·3% lifetime social phobia in men, 30·3% in womenAlcohol use disorder to GAD: OR§ 1·5 (95%CI 0·5–4·7) primary care attenders from 14 countries;22 anxiety to alcohol use disorder: OR 1·61 (0·91–2·83) in adolescents and young adults of New Zealand followed up for 21 years29PTSDAlcohol use disorder in young adults with PTSD in the general population of Brazil 34·4%;30 NESARC-III: 54·5% lifetime alcohol use disorder in people with lifetime PTSD31NCS survey: 10·3% lifetime PTSD in men, 26 ·2% in women; current PTSD in German patients with substance use disorder with alcohol dependence 22·9%32Alcohol use disorder to PTSD§§: OR 1·35 (95%CI 0·40–4·56) in unadjusted model; OR 0·70 (0·17–2·86) in fully adjusted model;33 PTSD to alcohol use disorder§§: OR 4·10 (1·41–11·89) in unadjusted model and OR 5·43 (1·56–18·93) in fully adjusted model33Thought and other psychiatric disordersSchizophrenia and psychotic disordersMedian lifetime alcohol use disorder¶¶ 20·6% (IQR 13·5%, 35·9; range 1·3–57·0%)34ECA survey: 3·8% schizophreniaAlcohol use disorder to psychotic experiences\|\|\|\|: OR 1·6 (95% CI 1·2–2·0);35 psychotic experiences to alcohol use disorder\|\|\|\|: 1·5 (1·2–2·0)35Bipolar disordersLifetime alcohol use disorder* 24–44% in bipolar disorder or bipolar disorder I;36 lifetime alcohol use disorder* 24–39% in bipolar disorder II36Bipolar disorder or bipolar disorder I*** 3·5–5% in people with lifetime alcohol use disorder36Not found* The structure of mental disorders and alcohol use disorder Contemporary psychiatric epidemiology suggests that developmental pathways for alcohol use disorder are initiated before problematic alcohol use begins,1,44 and are likely to be causally related to processes that increase vulnerabilities to externalising and internalising psychiatric disorders.45,46 The internalising–externalising framework of psychopathology is a statistically derived model that accounts well for the covariation among psychiatric symptoms and disorders in children and adults.40 This framework has been suggested as a guide for research on common causal pathways underlying lifetime disorder comorbidity, including alcohol use disorder.45 Krueger40 provided the foundational evidence for the factor structure of common mental disorders, suggesting that psychiatric symptoms are dimensional and that comorbidity arises from common, underlying, core psychopathological processes.1,14 Internalising disorders involve sadness, fear, and rumination, whereas externalising disorders involve rule-breaking and aggression. Since the early 2000s, studies have evaluated the cross-national stability of the internalising–externalising model, replicating and expanding its structure, in which somatoform, psychotic, and thought disorders form a separate domain that is highly correlated with internalising symptoms.39,47,48 Alcohol use disorder has been consistently classified within the externalising dimension, although other more extensive psychopathology frameworks have conceptualised the externalising domain as comprising two spectra characterised by identifiable personality counterparts: disinhibited and antagonistic.49 In this framework, alcohol use disorder fits more purely within the disinhibited spectrum of externalising disorders, conforming to a subfactor characterised by substance use problems.49 Alcohol use disorder and disorders within the externalising dimension of psychopathology Substance use disorders Compared with other psychiatric disorders, substance use disorders have strong connections to alcohol use disorder. Similar to alcohol use disorder, substance use disorders involve impaired control and negative consequences due to use of an intoxicating or addictive substance. Historically, 40·6% of men and 47·1% of women with alcohol use disorder have also had a lifetime substance use disorder ( ).38 In US studies published in 2007 and 2015, a DSM-IV alcohol use disorder diagnosed in the past 12 months increased the odds of a substance use disorder by a factor of 5·5,43 whereas DSM-5 alcohol use disorder increased the odds of substance use disorder by a factor of 3·3.1 A longitudinal study published in 2016 showed that substance use disorders during early and late adolescence increased the risk for alcohol use disorder in early adulthood by a factor of 3·5 for early adolescence and 4 for late adolescence.14 The role of alcohol use disorder as a potential cause of substance use disorder is, however, largely unexplored in longitudinal studies. Two main models have been proposed to explain the relationship between substance use disorders and alcohol use disorder: the gateway hypothesis and the common liability model. The gateway hypothesis describes alcohol use preceding the use of marijuana and other drugs, on the basis of longitudinal studies that show a predictable chronological sequence in the onset of use. In their foundational study, Kandel and Kandel50 showed that about 65% of marijuana users started drinking alcohol before they started using marijuana, and about 97% of cocaine users started drinking alcohol before using cocaine. In a study across 17 countries, Degenhardt and colleagues51 confirmed a common temporal order of drug initiation that is relatively consistent across countries. However, the gateway sequence varies across time and place,51–53 suggesting that the causal mechanism might be influenced by the social context of which drugs are normative and available. A key mechanism in the gateway hypothesis is the exposure opportunity, in which individuals who are already users of legal substances are more likely to be exposed to illegal drugs within their homes or peer environment.54 Increasing legal access to marijuana across the world (ie, in the USA, Canada, and Uruguay) could therefore affect the sequence of drug initiation.53 Although the gateway hypothesis seems to account for drug initiation and non-problematic use, it does not satisfactorily explain the path from alcohol and illicit substance use to alcohol use disorder and substance use disorder. By contrast, the common liability model offers a clearer explanation of this process, by introducing the concept of liability to addiction.55 In this model, liability denotes a latent characteristic that, when measured, would provide a continuous gradation in which normality is affected.55 The gradations of normality correspond to variation in the propensity (resulting from genetic and environmental interactions) to develop a psychiatric disorder, in this case alcohol use disorder or substance use disorder.55,56 Nicotine use disorder Upwards of 80% of individuals with DSM-IV alcohol dependence smoke cigarettes, and up to 30% of smokers have DSM-IV alcohol dependence.57,58 In the USA, individuals with DSM-IV alcohol dependence are three times more likely to smoke than the general population, and people who have tobacco dependence are four times more likely to have alcohol dependence.16,59 In a German general population study, 18·1% of people who met tobacco dependence criteria had alcohol use disorder ( ), by contrast with 3·9% among never-smokers and 7·6% among non-tobacco-dependent ever-smokers.15 The longitudinal association between alcohol use disorder and nicotine use disorder is less clear, mainly because of the infrequent measurement of clinical symptoms of nicotine use disorder in epidemiological studies that often measure quantity and frequency of use. However, early initiation of smoking is clearly a risk factor for the development of alcohol use disorder and related problems, including comorbidity of the disorder and nicotine use disorder.60–62 Twin and family studies suggest that as much as half the risk for nicotine use disorder and alcohol use disorder is mediated by genetic factors.63 Shared environmental factors also link alcohol and nicotine use, which can vary across different developmental stages. In a study of adolescent and young adult twins, Koopmans and colleagues64 observed that environmental factors have a crucial role in the co-use of alcohol and tobacco in early adolescence, particularly among men, whereas genetic factors account for most of the variance in adulthood. The early onset of both alcohol and nicotine use is, by itself, a risk factor for alcohol use disorder and nicotine use disorder.65 At the neurobiological level, two main models explain the comorbidity of alcohol and nicotine dependence: the cross-reinforcement and the cross-tolerance.59 Cross-reinforcement refers to the ability of alcohol and nicotine to enhance the motivation to consume the other substance by acting on shared neurobiological mechanisms that underlie the reinforcement of drug effects (ie, mesolimbic dopamine pathway). The cross-tolerance model proposes that the repeated use of both alcohol and nicotine can facilitate tolerance to the pharmacological effects of one another;63 eg, chronic nicotine use decreases the effects of alcohol,66 causing an escalation of alcohol use and subsequently the progression to alcohol use disorder.59 Personality disorders Although only antisocial personality disorder has been consistently classified within the externalising domain,67,68 borderline personality disorder also commonly co-occurs with alcohol use disorder.17 Individuals with antisocial personality disorder engage in aggressive and abusive relationships, lack empathy, engage in risk taking, lie, and manipulate; whereas individuals with borderline personality disorder engage in risk-taking behaviour and have intense relationships, distorted self-image, and suicidal behaviour. A 1995 review indicated a median prevalence of antisocial personality disorder of 18% and borderline personality disorder of 21%, in people with alcohol use disorder ( ).18 In a 2018 meta-analysis, however, the lifetime prevalence of alcohol use disorder was 77% in people with antisocial personality disorder, 52% in people with borderline personality disorder, and 39% in people with other personality disorders (including combined or undifferentiated personality disorder).17 In a 2012–13 US epidemiological study, the odds for antisocial personality disorder were 1·7 in individuals with moderate lifetime alcohol use disorder and 2·4 in individuals with severe lifetime alcohol use disorder, and the odds for borderline personality disorder were 1·5 in individuals with moderate lifetime alcohol use disorder and 2·5 in individuals with severe lifetime alcohol use disorder.1 The excess prevalence of alcohol use disorder in people with personality disorders, and vice versa, is particularly challenging in the context of treatment, mainly because of the lower retention of people with personality disorders in alcohol use disorder treatments.69,70 Studies exploring the longitudinal association between personality disorders and alcohol use disorder are lacking, although personality traits of antisocial personality disorder and borderline personality disorder generally precede alcohol use disorder.71,72 Alcohol use disorder and personality disorder comorbidity, particularly antisocial personality disorder and borderline personality disorder, is hypothesised to operate through behavioural disinhibition.73 This hypothesis posits that individuals with antisocial and impulsive traits have lower thresholds to deviant behaviours, which added to low constraint, low harm avoidance, and lack of social conformity, favours the engagement in early alcohol use and development of alcohol use disorder.72,73 In a study of adoptees in Sweden, low harm avoidance and high novelty seeking at age 11 years exponentially increased the risk for alcohol abuse at age 27 years.71 This study, started more than 50 years ago, has provided valuable insights into how personality traits in childhood predict alcohol misuse in later life. In addition to the plausible direct effect of personality disorders on alcohol use disorder, indirect path ways have also been proposed. For example, personality traits of people with personality disorders have been linked to known social and environmental risk factors for alcohol use disorder, such as deficient socialisation, school performance, family functioning, and deviant peers.74–76 Although the role and strength of these mediating factors is not well described in the context of causal analysis, the known predictive power of these factors in personality disorder and alcohol use disorder is indicative for this potential indirect causal pathway. Alcohol use disorder and disorders within the internalising dimension of psychopathology Major depressive disorder (MDD) Lifetime prevalence of alcohol use disorder in those with lifetime MDD ranges from approximately 27% to 40% across epidemiological studies in the USA77–79 with a median prevalence of 30% across 35 studies.19 The prevalence of MDD in people with current alcohol use disorder (past 12 months) ranges from 4% to 22%.20 The link between these two conditions is complex. A 2008 longitudinal study found that depressive symptoms in childhood doubled the odds of DSM-IV alcohol dependence in young adulthood.80 A higher severity of depression, measured through the number and frequency of depressive symptoms, is also associated with initiating alcohol use without parental permission (in boys), early onset of first alcohol intoxication episodes, and presence of alcohol dependence criteria.80,81 The average ages of onset for alcohol use disorder and MDD are similar, although alcohol use disorder tends to precede MDD more often than vice versa.82,83 In a meta-analysis of longitudinal and cross-sectional studies, Boden and Fergusson21 reported that the odds of MDD in people with alcohol use disorder was 2 times higher, and for alcohol use disorder in people with MDD it was 2·1 times higher. There is a long-standing debate about whether alcohol use disorder and depression are independent disorders or overlapping illnesses connected by common causative factors.84 The use of alcohol to relieve depressive symptoms (ie, the self-medication hypothesis),85,86 and the development of depressive symptoms as a result of the social and biological consequences of alcohol use disorder, have both been reported.21,84,87 Several studies have found common genetic links between depression and alcohol use disorder. For example, in 1874 monozygotic male twins, index twins with a lifetime diagnosis of MDD had 2·8 times higher odds of alcohol use disorder than index twins who did not report an episode of MDD.88 In another study of 3372 pairs of male twins, MDD in one twin was associated with risk of MDD alone and MDD plus DSM-IV alcohol dependence, but not DSM-IV alcohol dependence alone, in the co-twin.89 These findings suggest a genetic influence on the development of alcohol use disorder, MDD, and the co-occurrence of these psychiatric disorders. Gene–environment interaction (interaction in which the genetic effect is conditional for expression on environmental triggers) has been studied for both depression and alcohol use disorder;90,91 comorbidity of these disorders may plausibly arise from exposure to common environmental causes, as suggested by a genome-wide association study in which the relationship between a genetic risk variant (ie, SEMA3A) and the comorbidity of depression and alcohol use disorder was only present among African Americans.92 Attention-deficit hyperactivity disorder (ADHD) ADHD is a condition marked by impaired ability to maintain focus and attention as well as frequent distraction, restlessness, and impulsive behaviour. Alcohol use disorder in people with ADHD is prevalent, ranging from 19% to 26% of young adults in different countries.23,24 The prevalence of ADHD in people with alcohol use disorder has a similar range in adolescents,25 and rises to 33% in adults.25,26 Early-onset ADHD has been prospectively associated with future alcohol use and alcohol use disorder.93 In two meta-analyses of longitudinal studies, the pooled odds ratio for alcohol use disorder in people with ADHD in childhood ranged between 1·35 (95% CI 1·11–1·64) and 1·74 (1·38–2·20), relative to youths without ADHD.27,28 These findings support the hypothesis of a causal connection between these two disorders, and emphasise the importance of early detection of ADHD in childhood and adolescence. Studies have shown biological and cognitive differences in individuals with and without ADHD that might be related to the increased risk of alcohol use disorder in this population.94 In a meta-analysis of case-control and family studies, Faraone and colleagues95 found that the pooled odds ratio of having a D4 dopamine receptor mutation in people with ADHD ranged from 1·4 to 1·9.95 When the dopamine system is altered, the effect of alcohol on the dopamine system is similar to the use of stimulant medications commonly used to treat ADHD.94 Studies that use functional neuroimaging have shown hypoactivation of the prefrontal cortex in individuals with ADHD when performing brain activation tasks (eg, go/no go tasks).96,97 The prefrontal cortex is essential for the development of executive functions, including planning, reasoning, and inhibition control; alterations of these functions have been indicated as a predictor of alcohol initiation and heavy drinking.98 Anxiety disorders The group of disorders classified as anxiety disorders (eg, generalised anxiety disorder, social anxiety, and panic disorder), and alcohol use disorder, are among the five most prevalent psychiatric diagnoses in the USA.99 Comor bid alcohol use disorder and anxiety disorder is a common dual diagnosis; the estimated prevalence of alcohol use disorder among people with anxiety disorders in epidemiological surveys across countries ranges from 20% to 40%.20 The adjusted odds ratio of the 12-month comorbidity between alcohol use disorder and anxiety disorder ranges from 2·1 to 3·3 across epidemiological studies, with generalised anxiety disorder, social anxiety, and panic disorder showing the strongest association with alcohol use disorder.100 However, in a nationally representative study in the USA, past year DSM-5 alcohol use disorder (moderate and severe) was not associated with any anxiety disorders, whereas lifetime association was mostly weak (from 1·2 to 1·4), and only significant for any anxiety disorder, panic disorder, specific phobia, and generalised anxiety disorder.1 Although there is support for a longitudinal association in both directions (alcohol use disorder to anxiety disorders and anxiety disorders to alcohol use disorder), consistency and precision of estimates tends to be weak, and confidence intervals often include the null value ( ).22,29 Family and twin studies have shown that genetic and environmental factors are both important contributors to alcohol use disorder and anxiety disorder comorbidity.101 For example, Maier and colleagues102 have found a significantly increased risk of comorbidity among family members of individuals with anxiety disorder alone or alcohol use disorder alone, and Hodgson and colleagues have reported shared genetic underpinnings of alcohol use disorder and anxiety disorder.103 A 2017 systematic review identified six studies on risk factors for comorbid social anxiety disorder and alcohol use disorder in adolescents. The identified risk factors included female sex, peer acceptance, and affective problems, as well as other co-occurring disorders, such as depression, generalised anxiety disorder, agoraphobia, separation anxiety, and obsessive-compulsive disorder.104 The hypothesis that anxiety disorder causes alcohol use disorder has also been considered as a plausible mechanism for the comorbidity between these two conditions.101 Some anxiety disorders, such as social anxiety disorder, precede alcohol use disorder in up to 80% of cases.105 Alcohol might be used to cope with anxiety symptoms, thus increasing the likelihood of developing alcohol use disorder.85 A prospective study of young adults between 19 and 21 years old at baseline found that social anxiety disorder increased the risk of alcohol use disorder onset, particularly among women, but not the other way around.106 Additionally, the odds of developing alcohol use disorder in people with anxiety (including panic disorder, social and specific phobia, and generalised anxiety disorder) who self-medicate with alcohol was 2·5 (95% CI 1·26–4·97).107 Yet, the strength of the evidence for the causal connection between anxiety disorder and alcohol use disorder is still debated. For example, in a birth cohort of 1265 children in New Zealand followed up for 21 years, the odds for developing alcohol use disorder among people with anxiety disorder were 1·99 times higher than for people without anxiety disorder; however, after adjusting for other childhood factors (eg, depression and peer affiliations) the strength of the association was attenuated and became statistically non-significant.29 Post-traumatic stress disorder (PTSD) PTSD is characterised by intrusive thoughts and anxiety following exposure to trauma. Prevalence of comorbid alcohol use disorder in individuals in the general population meeting criteria for PTSD ranges between 34% (Brazil) and 55% (USA).30,31 Among German patients receiving alcohol use disorder treatment, the prevalence of PTSD was 22·9%,32 whereas in the US general population with alcohol use disorder the prevalence of PTSD was 26·2% in women, which was 2·5 times higher than in men ( ).38 Although studies addressing the longitudinal association between PTSD and alcohol use disorder are lacking, the general consensus is that PTSD tends to precede the onset of alcohol use disorder.108,109 For example, in a longitudinal study of US troops screened before and after deployment to Iraq, predeployment alcohol use was unrelated to the onset of PTSD; however, PTSD symptoms substantially increased the risk of screening positive for new-onset alcohol use disorder.33 Research also suggests that although alcohol consumption generally increases after exposure to a traumatic event (a necessary although not sufficient condition for PTSD),110 such increases are relatively acute, and development of alcohol use disorder after exposure to a traumatic event is almost entirely restricted to those with problem alcohol use preceding trauma.111 As with other psychiatric disorders, the relationship between PTSD and alcohol use disorder could have other causal pathways. For example, alcohol use is a risk factor for being victimised, including sexual victimisation (particularly of women112) and aggravated assaults, and thus drinking alcohol or alcohol use disorder might indirectly increase the risk of PTSD.112,113 Alcohol use disorder can also affect the psychological mechanisms used to cope with traumatic events, increasing individual vulnerability to anxiety symptoms, including PTSD.101 Furthermore, common risk factors of both PTSD and alcohol use disorder have been examined, including previous history of depression and other psychiatric disorders,114,115 and early life stressors, such as inter personal violence, emotional abuse in childhood, and socio-economic deprivation.108 However, the evidence for a causal direct or indirect connection between PTSD and alcohol use disorder remains inconclusive. Alcohol use disorder and thought disorder Schizophrenia and psychotic disorders Alcohol use disorder is the second most frequent form of comorbidity in patients diagnosed with schizophrenia, after nicotine dependence.116 In a 2009 systematic review and meta-analysis, the median lifetime prevalence of alcohol use disorder in patients diagnosed with schizophrenia was 21% and current prevalence in this group was 11%.34 In the WHO’s World Mental Health Survey,35 which includes nationally representative samples of 18 countries, the prevalence of lifetime alcohol use disorder in people with psychotic experiences was 17·1%, in contrast to 7·2% in people without a previous history of psychotic experiences.35 In the World Mental Health Survey, the adjusted odds ratio of psychotic experiences given previous history of alcohol use disorder was 1·6 (95% CI 1·2–2·0), whereas the odds ratio of alcohol use disorder given previous history of psychotic experiences was 1·5 (1·2–2·0).35 These results support the hypothesis of a bidirectional relationship between alcohol use disorder and psychotic experiences, even after adjusting for antecedent mental disorders.35 Family and twin studies show that individuals diagnosed with schizophrenia who have first-degree relatives who meet diagnostic criteria for alcohol use disorder have a greater risk of this disorder than other individuals with schizophrenia.117 The incidence of schizophrenia, however, is not increased in the children of parents with alcohol use disorder, and the incidence of this disorder in family members is also not increased in individuals with schizophrenia but not with comorbid alcohol use disorder.118,119 Common exposures and life experiences are also distinctive in these groups. Patients diagnosed with schizophrenia with alcohol use disorder are often exposed to conditions that increase their risk for excessive alcohol use (thus increasing their risk for developing the disorder), such as lower educational attainment, homelessness, and childhood conduct problems.120 Overall, the extent of the neurobiological understanding of the comorbidity of alcohol use disorder and schizophrenia is still limited. Evidence suggests that alcohol-induced psychotic disorder is a separate entity that can be clinically distinguished from Wernicke’s encephalopathy, Korsakoff’s psychosis, alcohol-induced dementia, alcohol-withdrawal delirium, and schizophrenia.121 Patients with alcohol-induced psychotic disorder represent about a third of patients experiencing psychotic symptoms associated with alcohol dependence121,122 and lifetime prevalence of this disorder in people with alcohol dependence is 4% in the European population.123 Various hypotheses about alcohol-induced psychotic disorder development have been proposed. It can occur secondary to schizophrenia (ie, the self-medication hypothesis), as an underlying form of schizophrenia triggered by excessive alcohol use, as a direct toxic effect of alcohol, and as a coincidental occurrence of schizophrenia in someone with alcohol use disorder.121,124 Although evidence for all these four causal hypotheses exists, the overall conclusion is that more evidence is needed to draw definitive answers.121 Bipolar disorder Epidemiological and clinical studies have found high prevalence of comorbid alcohol use disorder in patients with bipolar disorder. In a systematic review in treatment-seeking patients (both inpatients and outpatients) with bipolar disorder, the prevalence of alcohol use disorder across the reviewed studies (reflecting data from 65 785 patients) was 42%, higher than that of any other substance.125 In the general population, the prevalence ranges between 24% and 44% in people with any bipolar disorder or type I bipolar disorder (characterised by depressive symptoms and manic episodes), and between 24% and 39% for patients with type II bipolar disorder (characterised by depressive symptoms and hypomanic episodes).36 Overall, evidence suggests that patients with bipolar disorder with current or past history of comorbid alcohol use disorder show more severe or more widespread neurocognitive deficits than patients without bipolar disorder, although information on the long-term health effects of this comorbidity is still scarce.126,127 Bipolar disorder is highly heritable, with a family history in about 80% of patients.127 The hypothesis of alcohol use disorder causing bipolar disorder could then be framed as alcohol use disorder triggering a predisposition towards bipolar disorder. This hypothesis has little empirical evidence,127,128 although studies suggest that alcohol use disorder destabilises the longitudinal course of illness for patients with bipolar disorder.129 The self-medication hypothesis has also been analysed; however, no consensus exists for mechanisms that would explain the full spectrum of alcohol use disorder and bipolar disorder comorbidity.127 Gaps in knowledge and recommendations for future research As we have shown in this Series paper, alcohol use disorder co-occurs with a wide range of other psychiatric disorders. This disorder is most commonly comorbid with disorders on the externalising spectrum, including substance use disorders, nicotine dependence, antisocial personality disorder, and other disorders characterised by unconstrained and socially unadjusted behaviour. Mechanisms that explain comorbidity remain under investigation, but generally involve both common liability (eg, genetic and environmental underpinnings), and reinforcing and reciprocal direct causal relationships. Comorbidity research: the next decade The structure of comorbidity itself remains an active area of research.49 Classification systems categorise disorders as either present or absent, on the basis of a set of diagnostic criteria, and assume that boundaries are stable across diagnoses. However, the dimensional nature of these disorders suggests that dichotomies and separation across disorders are not accurate representations of the way that psychiatric and substance use symptoms are organised in populations.46 Within the diagnosis of alcohol use disorder, evidence is substantial for dimensionality rather than presence or absence of alcoholism.130,131 However, a broader debate remains about the nature of the correlation between alcohol use disorder symptoms and other psychopathological disorders. Many classification systems have been proposed to replace or augment a dichotomous classification system. These include the transdiagnostic risk factor model that incorporates dimensions of psychopathology,41 ranging from a basic two-factor model to broader structures.39 These structures have been formalised through several different research programmes. The Hierarchical Taxonomy of Psychopathology initiative,49 for example, aims to provide both researchers and clinicians with a new measurement and diagnostic system for mental disorders. Dimensional representations of comorbidity have also been formalised as a p-factor,132 conceptualised similarly to a general dimension of intelligence from which several different subfactors can emerge. Caspi and colleagues132 propose that this general psychopathological factor emerges in different stages across the lifespan, and should be reconceptualised more broadly than typical co-occurrence of thought or behaviour symptoms to include cognitive ability and a range of other traits, which then unfold across the life course in specific ways (such as alcohol use disorder), depending largely on environmental factors (eg, alcohol availability). Still more broadly, the US National Institute of Mental Health133 has launched an agenda to redefine classification symptoms. Although diagnostic indicators of pathology across these domains have yet to be identified for many disorders, the framework in place for the use of new scientific information to better understand comorbidity across psychopathological symptoms remains an important future direction for research. Science is changing to represent the causal direction of comorbid symptoms of psychopathology as a network,134 rather than straightforward correlations or associations. Because symptoms arise from a common source of dysfunction, this model assumes that symptoms are directionally caused, which implies that intervening on one or several symptoms that are key to the network can prevent the broader cascade of psychopathology (see panel for additional information on integrated treatment for alcohol use disorder and other psychiatric comorbidities). Integrated treatments for alcohol use disorder and comorbid psychiatric disorders have been extensively studied, and the general conclusion is that they tend to yield better results than non-integrated treatments.135–137 However, evidence is not conclusive on what types of treatments are better for specific psychiatric disorders. In a review of residential treatments for dual diagnoses, Brunette and colleagues138 concluded that residential treatments tend to have better results than non-residential integrated treatments, although they noted an urgent need for better study designs and randomised controlled trials. Pharmacological treatments in combination with psychological and behavioural interventions often show better results than either treatment alone.139 SSRIs are effective in treating mood disorders, but contradictory evidence exists regarding outcomes from drinking alcohol.140 In a randomised controlled trial evaluating cognitive behavioural therapy with and without sertraline, patients assigned to the sertraline group reported fewer drinks per week but did not show improvement in other drinking outcomes; also, women in the treatment group showed fewer depressive symptoms at follow-up compared with women receiving placebo.141 In a review of 59 studies, including 36 randomised controlled trials, the authors concluded that there is a lack of integrated treatments showing consistent and clear advantages over comparison conditions for both substance use disorders, including alcohol use disorder, and other psychiatric disorders.139 They did find studies reporting efficacious pharmacological and/or psychosocial treatments for the management of alcohol use disorder in psychiatric patients (eg, percentages of days abstinent, number of drinking days, Addiction Severity Index score), and psychiatric symptoms in patients with alcohol use disorder (eg, Hamilton Depression scale), but evidence on the superiority of integrated treatments was inconclusive.139 Overall, the general consensus on integrated treatment is that evidence is still limited; most studies have small sample sizes, short follow-up periods, non-experimental designs, high attrition, and highly heterogeneous and poorly described treatments. Implications for developing the intervention evidence base The co-occurrence of alcohol use disorder with other disorders has implications for treatment effectiveness, and the next generation of alcohol use disorder treatment research will continue to expand on the knowledge base regarding how to address comorbidity when treating individuals with alcohol problems. Alcohol use disorder treatments have greatly expanded in the past decade, with well documented evidence for efficacy across both pharmacological and non-pharmacological domains.142,143 Interventions delivered through smartphone and other new technologies are feasible and acceptable among patients.144 To that end, however, integrated treatments for simultaneously addressing alcohol use disorder and other externalising disorders (and internalising disorders) are limited in scope and number, in part because of the complexity of treating two or more concurrent disorders, but also because of our limited understanding of the underlying mechanisms linking alcohol use disorder to other psychiatric disorders. Furthermore, developing the evidence base regarding variation by co-occurring disorders in the effectiveness of treatment of alcohol use disorder is also a necessary area of research, to which the growing databases of electronic and other high-volume data sources will undoubtedly contribute. Identifying and intervening on key common features of alcohol use disorder comorbidity should be a priority for future research in this field. Alcohol consumption and disorders over time: implications for comorbidity research Comorbidity between alcohol use disorder and other disorders is often assumed to be immutable, given that what underlies the association between alcohol use disorder and other psychopathology is rooted in causal associations with common causes and outcomes. The next decade of research, however, will need to contend with rapidly shifting patterns of psychopathology in populations, and the implications of these shifts for the strength and nature of comorbidity. Indeed, per capita consumption of alcohol in the USA,145 and several other countries, has been increasing gradually for approximately 10 years. Although not all data sources agree,146 several existing data sources indicate that alcohol use disorder and alcohol-related hospitalisations have also increased.147–149 At the same time, non-medical opioid use, opioid use disorder, and opioid overdoses have increased exponentially in the US population,150 as well as cannabis use, cannabis use disorder, depression, suicidal behaviour, and suicide.151–156 The extent to which these increases affect comorbidity depends on changes in the prevalence of factors that are causally related to increases across these dimensions. For example, if alcohol use is a causal factor in some cases of depression and suicide, then increases in the population prevalence of alcohol use and alcohol use disorder would lead to an increase in mental health problems, and the strength of comorbidity would be expected to remain relatively constant. If, however, a different array of causal factors underlies each of these dimensions, then the strength of the association with alcohol use disorder might shift and change over time. For example, alcohol use and alcohol use disorder might increase because of de creases in price (eg, as inflation-adjusted value of taxation decreases),157 whereas depression might increase because of rising unemployment. Conclusion: causal inference remains crucial In this Series paper we have summarised a large body of literature and discussed the strength of comorbidity between alcohol use disorder and other psychopathology. Throughout, we have discussed evidence for what causal relationships underlie these associations—ie, is alcohol use disorder associated with other disorders because it causes other psychopathology, because psychopathology causes alcohol use disorder, or because they both share common causes? Should the answer be “all of the above”, what would the implications be for how we design and implement interventions? Answering these questions is difficult from a causal inference standpoint, given that we cannot randomly assign individuals to alcohol use or psychiatric disorders. Creative study designs and novel tests of causal hypotheses are crucial to advancing this research agenda, understanding the causes of comorbidity, and ultimately in determining the best way to intervene to improve health and wellness in the population. Alcohol use disorder remains among the most common mental health problems in the population. Points of intervention that include concomitant identification of comorbid substance use and other psychiatric disorders are needed. Epidemiological and experimental research designed to untangle the associations between alcohol use disorder and other disorders across time will continue to be an exciting and necessary avenue of research. We searched without restricting publication date for studies published in English and Spanish. For each psychiatric disorder, we searched for information on: (1) its prevalence in people with alcohol use disorder, and the prevalence of alcohol use disorder in people with other psychiatric disorders; (2) the longitudinal association between alcohol use disorder and the other psychiatric disorders; and (3) potential mechanisms that could explain the link between alcohol use disorder and other psychiatric disorders. Whenever available, we report pooled prevalence estimates from meta-analyses (eg, bipolar disorder, major depressive disorder, post-traumatic stress disorder), otherwise we present results for two or more studies for two or more countries (eg, the USA, Australia, Germany, Brazil). To describe the longitudinal relationships between alcohol use disorder and other psychiatric disorders, we prioritised systematic reviews or meta-analyses of longitudinal studies (eg, attention-deficit hyperactivity disorder), otherwise we considered longitudinal cohort studies (eg, anxiety disorders). In terms of the mechanisms connecting alcohol use disorder with other psychiatric disorders, we describe some of the biological pathways, including genome-wide association studies or twin studies when available. Our search scheme typically included PubMed, using standardised search terms. For example, our initial review for alcohol use disorder and major depressive disorder considered the search terms: “alcohol dependence” or “alcohol abuse” or “alcohol use disorder” or “alcoholism” or “alcohol addiction” and “depression” or “depressive” or “unipolar depression” or “major depressive disorder” or “mood disorder”. We then selected studies on the basis of how well they matched our search questions (eg, longitudinal association between alcohol use disorder and other psychiatric comorbidity), the type of study (eg, meta-analysis), and its reach (eg, nationally representative sample, multicentre study). Acknowledgments ACC was supported by the Comisión Nacional de Investigación Científica y Tecnológica of Chile (FONDECYT Regular 1191282). KMK was supported by the National Institute on Alcohol Abuse and Alcoholism (K01AA021511) and the National Institute on Drug Abuse (R21DA041154). 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5894	dbpedia	2	1	https://www.theguardian.com/stage/2021/dec/03/antony-sher-a-consummate-shakespearean-and-a-man-of-staggering-versatility	en	Antony Sher: a consummate Shakespearean and a man of staggering versatility	https://i.guim.co.uk/img…007da5da8cae8ae2	https://i.guim.co.uk/img…007da5da8cae8ae2	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Antony+Sher%2CStage%2CCulture%2CTheatre%2CRoyal+Shakespeare+Company%2CRichard+III", "https://i.guim.co.uk/img/media/4cf11cf158295b8afe852fefcf26ba7015e4715a/0_136_4368_2621/master/4368.jpg?width=465&dpr=1&s=none", "https://i.guim.co.uk/img/uploads/2017/10/09/Michael-Billington,-L.png?width=75&dpr=1&s=none", "https://i.guim.co.uk/img/media/0f75cc51fa92444d1fcc30506cf2efd3e648b49e/0_0_4840_2904/master/4840.jpg?width=445&dpr=1&s=none", "https://i.guim.co.uk/img/media/c502b87e28ace0f256c88dee218aa9b18cfb2f4e/0_47_2137_1282/master/2137.jpg?width=445&dpr=1&s=none" ]	[]	[]	[ "" ]	null	[ "Michael Billington", "www.theguardian.com" ]	2021-12-03T00:00:00	One of the most gifted actors of his era, Sher – who has died aged 72 – combined psychology and a keen sense of the visual in soul-baring performances	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/stage/2021/dec/03/antony-sher-a-consummate-shakespearean-and-a-man-of-staggering-versatility	Antony Sher, who has died at the age of 72, was a man of staggering versatility. As well as being a brilliant actor, he was an accomplished artist and writer. But, far from being separate, his three careers all fed into each other: you only to have to look at his sketches of Richard III in his book Year of the King to see how his draughtsman’s eye enriched his performance. Gifted in numerous ways, Sher also saw his acting career as one that evolved from impersonation to embodiment of a character. Sher once told me that, when growing up as a boy in South Africa, his idols were Alec Guinness and Peter Sellers: what he envied, and initially sought to emulate, was their capacity for physical transformation. He also said that, when he left Cape Town at the age of 19 to make a career in the UK as an actor, he was aware, as a gay, Jewish South African, of being a triple outsider. He was even unsure whether he was cut out to be an actor; in his autobiography, Beside Myself, he describes himself arriving in London as a “short, slight, shy creature in black specs” understandably rejected by Rada, who strongly urged him to seek a different career. Happily, he persevered, but in much of his early work you feel Sher was relying as much on his imitative skills as his inner self. That didn’t stop him being totally persuasive as the Beatles’ legendary drummer in John, Paul, George, Ringo … & Bert, which transferred from the Liverpool Everyman to the West End: he was equally good as the lecherous redbrick sleazeball Howard Kirk in the TV version of Malcolm Bradbury’s The History Man. But it was his stage performance as an exploited Arab visitor in Mike Leigh’s Goose-Pimples that marked his development as an actor: the performance, based on meticulous research, was mimetically brilliant but also called on Sher’s own experience as an outsider struggling to fit into an alien culture. Sher’s career really took off, however, when he joined the RSC in 1982. He was an eccentric Fool to Michael Gambon’s Lear and was magnetically malevolent as the eponymous hero of Molière’s Tartuffe. It was his performance as Richard III in 1984 that showed his talents working in perfect harmony. With a writer’s zeal, he explored with orthopaedic surgeons the exact nature of Richard’s disability. As an artist, he was able to find a precise visual image for Richard. And, as an actor, he broke away totally from the Olivier template: fleet and demonic, Sher was the fastest mover in the kingdom, making wickedly inventive use of twin crutches that variously became phallic symbols or a cross to betoken Richard’s seeming saintliness. It was a career-changing performance, which, over the years, gave Sher the chance to play all the great Shakespearean roles, almost invariably in Stratford-upon-Avon. He was a dazzling Shylock, driven to revenge by Christian physical abuse, in Bill Alexander’s The Merchant of Venice. Directed by Gregory Doran, his partner and eventual husband, he also gave a series of performances that combined abundant physicality with psychological penetration. His Macbeth in 1999 was a supreme fighting machine fatally undone by Lady Macbeth’s taunts about his virility. His Falstaff in the two parts of Henry IV was a rivetingly unsentimental portrait of a pub charmer and ruthless operator with a casual disregard for human life: when Sher dismissed his ragged recruits as “food for powder, they’ll fill a pit as well as better”, Alex Hassell’s Prince Hal reacted with a look of appalled horror. By the time he came to play King Lear in 2016, Sher was a consummate Shakespearean able to bring a lifetime’s experience to the part. He was first seen enthroned like a secular god in an elevated glass cage. Once brought to earth, Sher captured perfectly the emotional volatility that is the key to Lear: having shown a beatific gentleness towards Cordelia, he rounded on her captors with a downright violence as if to remind us that this is a play of irreconcilable contradictions. Intensely self-analytical, Sher wrote in his autobiography that at the start of his career he was obsessed by his characters’ “casual dress of flesh whereas I’m now more interested in their visible souls”. You could see that in his approach to modern drama. His Ringo Starr in the Beatles’ musical gave us the outward flourish of the man. But by the time he played a New York drag-queen in Harvey Fierstein’s Torch Song Trilogy in 1985, he was totally within the character: above all, he caught the shape-shifting quality of Fierstein’s Arnold, who could switch in a second from gossipy camp to anxious mother-hen depending on who he was with. Sher was also able, as much in modern drama as in Shakespeare, to convey the contradictions in a character. His Willy Loman, in the RSC’s 2015 revival of Arthur Miller’s Death of a Salesman was, on one level, a dapper spring-heeled joker who used the old vaudevillian trick of extending his hands as if seeking applause. Yet, the more Willy became trapped in his dreams, the more Sher relapsed into sudden, brick-red rages. And Sher’s last great performance came in John Kani’s Kunene and the King, which called on his emotional memories of South Africa. Sher played a cantankerous old actor physically dependent on a black carer and hoping to overcome illness to play King Lear. Shuffling around the stage in rubberised slippers and swigging forbidden liquor, Sher was not only memorably testy but showed his character experiencing a Lear-like moral awakening. Sher was a man of many parts and of diverse talents. But, for me, there was a unity about his skills as actor, artist and writer, in that he approached each part with an intense creative fervour, as if it had to be understood equally on the performative, visual and psychological level. And, having started out as a gifted chameleon, Sher became a supreme actor unafraid, whether in Shakespeare or modern drama, to exhibit his own soul.
5894	dbpedia	0	12	http://www.collegelightoperacompany.com/nhc.html	en	CLOC50 National Honorary Committee	http://www.collegelightoperacompany.com/uploads/1/8/7/5/18752322/cloclogonew.png	http://www.collegelightoperacompany.com/uploads/1/8/7/5/18752322/cloclogonew.png	[ "http://www.collegelightoperacompany.com/uploads/1/8/7/5/18752322/cloclogonew.png" ]	[]	[]	[ "" ]	null	[]	null	F. Paul Driscoll ( Committee Co-Chair ) came to CLOC in 1972, as a member of the vocal company. In his thirteen CLOC seasons, F. Paul served on the CLOC business staff, as work director and as...	en		THE COLLEGE LIGHT OPERA COMPANY	http://www.collegelightoperacompany.com/nhc.html	F. Paul Driscoll (Committee Co-Chair) came to CLOC in 1972, as a member of the vocal company. In his thirteen CLOC seasons, F. Paul served on the CLOC business staff, as work director and as stage director. He is now Editor in Chief of OPERA NEWS, the publication of the Metropolitan Opera Guild. B. Deborah Cohen (Committee Co-Chair) served on CLOC’s business staff in 1980 and ’81. She has been an avid supporter since then and a member of the Board of Directors since 2015. B. Deb is the Chief Financial Officer of SMR Consulting, Inc., an IT consulting firm in Boston. Nancy Anderson spent three glorious summers as a Vocal Company member from 1990 to 1992. She attributes the success she has had in her 25-year career in musical theater to the roles she played and the skills she learned in the 27 CLOC productions in which she appeared. Nancy is best known for her Olivier nominated portrayal of Lois/Bianca in the 2001 West End transfer of the Broadway revival of Kiss Me Kate, filmed for PBS. Most recently, Nancy understudied Glenn Close in the Broadway revival of Sunset Boulevard and played Gladys in The Arena Stage production of Pajama Game (Washington DC), also starring Donna Mckechnie. She now lives in Bay Ridge, Brooklyn with her husband, director Ethan McSweeny. www.nancyanderson.name Garth Bardsley started as a member of the CLOC vocal company in 1995. Over the course of his seven seasons with the company, he also served as an associate conductor and a music director. He is now Vice President of Digital Video for MTV. John Lee Beatty created his first professional scenic designs at CLOC in 1969. He is a remarkably prolific Broadway designer of plays and musicals, and works Off-Broadway, in regional theaters and internationally as well. A multiple Tony, Drama Desk, and Outer Critics award winner, he is a member of the Broadway Hall of Fame. Buist Bickley was on the technical crew at CLOC from 2005-2006. Now according to Crains New York Business “Bickley is one of the most in-demand props supervisors on Broadway.” His current credits include Harry Potter and the Cursed Child, Spongebob Squarepants, Frozen, and Dear Evan Hansen. Jonathan E. Brennand has been a member of CLOC since 2005 and has served as Music Director since 2010. He maintains an active guest conducting schedule with orchestras and educational festivals all over the Northeast. He is Artistic Director of the Worcester Youth Orchestras (MA) where he directs the WY Symphony and is Music Director of the Farmington Valley Symphony Orchestra (MA). www.jonathanbrennand.com David Briskin came to CLOC as an assistant conductor in 1983 and returned as a conductor in 1984 and 1885, and for CLOC's 25th Anniversary in 1993. He is a frequent conductor for ballet in opera houses around the world including Covent Garden and the Metropolitan Opera House. He is currently the Music Director and Principal Conductor of The National Ballet of Canada. https://national.ballet.ca/Meet/Backstage/Creative/David-Briskin Beth Burrier joined the CLOC family in 2000 as an Associate Conductor, and is now a member of the senior conducting staff. Beth is on the Music Theatre Faculty at Baldwin Wallace. Beth joined the CLOC Board of Directors in 2017 and now serves as Associate Artistic Director. David Cantor skipped his high school graduation to start in the vocal company in 1972, and stayed for an additional five summers. Since CLOC he has continued to work as a professional actor on Broadway, Off-Broadway, on tour, in regional theatres in 37 states and two foreign countries, and in films and on TV: www.David-Cantor.com. He currently serves as Treasurer on the CLOC Board of Directors. Geno Carr, a member of the 1997 vocal company, stars in the hit musical Come From Away on Broadway. As a member of Actors’ Equity Association and Stage Directors and Choreographers Society, he has spent his life working as a singer, actor, director and educator. Geno holds a dual BA in Music and Theatre Arts from Hartwick College and a MFA in Acting and Directing from Sarah Lawrence College.www.GenoCarr.com Liam Craig was a member of the vocal company from ‘89-‘92. He was honored to appear as The Trainbearer in Iolanthe, Paul the Optometrist in She Loves Me, Sir Joseph in H.MS. Pinafore, Scaphio in Utopia Ltd., and Voltaire in Candide under the direction of F. Paul Driscoll. He is still an actor today and uses skills he picked up at CLOC on an almost daily basis. Mark Crayton was a member of the vocal company of 1981 and 1982 where some legendary and fabled events still spoken about in hushed terms actually happened. He went on to sing all over the world. Now he sends his voice students to experience CLOC and make memories of their own. www.markcrayton.com Mather Dolph's eleven seasons of CLOC one-week summer stock well prepared him for the rigors of weekly broadcast television, including 25 years producing and writing the weekly PBS home improvement series Hometime. Andy Einhorn came to CLOC in 2002 as an associate conductor and later in 2011 as a principal conductor. He is currently music supervisor for the Broadway revivals of Carousel and Hello, Dolly! Maria Failla has extremely fond memories of her 2011 summer at CLOC as a member of the Vocal Company. Maria is a graduate of The Shepherd School of Music at Rice University. Her most recent credits are Cats Chorus in the Broadway Revival of Cats and the National Tours of The Sound of Music and Evita. Manoel Felciano’s first experiences performing in Musicals were thanks to a memorable summer spent at CLOC fresh out of College. Where else would he get the chance to play Herr Schultz in Cabaret? He is now a Tony-nominated actor working on and off Broadway, regionally and in film, television and voice over. He is on the faculty of the Columbia Acting MFA program. Kemper LeCroy Florin experienced the best summer of her life as a member of the 2003 Vocal Company at CLOC. When she tore off a toenail tap-dancing in Gershwin's "Crazy For You" she then met her future husband, Dr. Todd Florin (also an honorary committee member), whose medical expertise was sought in treating the wounded toe. Ms. Florin continues an active career in the performing arts and is the Director of Education and Engagement at Cincinnati Opera where she produces inspiring educational programs for adults, families and students. Todd A. Florin started at CLOC as an Associate Conductor in 1999, and has returned nearly every summer since as a Music Director. In 2003 at CLOC, he met his wife, soprano Kemper LeCroy Florin (VC '03), also an honorary committee member for #CLOC50. In addition to his work as a conductor and music director, he is an NIH-funded pediatric emergency medicine physician-scientist and Associate Professor of Pediatrics at Cincinnati Children's Hospital/University of Cincinnati College of Medicine. Kimberly Fuselier Mendoza performed with CLOC in 1993 and 1994, as a member of the vocal company. Kimberly sang roles such as Adele in Die Fledermaus, Kathy in The Student Prince and Elsie in Yeoman of the Guard. She is now Vocal Director at St. Agnes Academy and Vocal Coach and Cantor at St. Anne's Catholic Church in Houston, Texas. Valerie Gebert began her 15-year CLOC Music Director career in 1982 just as her touring Broadway musical life began which continues to this day, having helmed national touring productions of THE LION KING, WICKED, FINDING NEVERLAND, CABARET, ADDAMS FAMILY and CINDERELLA. Kimberly Grigsby served as a Conductor at CLOC for the 1996 and 1997 seasons. She is a music director and conductor in New York City. Her Broadway credits include The Full Monty; Caroline, or Change; The Light in the Piazza; and Spring Awakening. Robert A. Haslun (“B”) founded the College Light Opera Company in the spring of 1969 with D. THOMAS TULL and TERRENCE A. TOBIAS. He had previously spent five years at Highfield Theatre as a performer and General Manager for the Oberlin Gilbert and Sullivan Players. He was an administrator at Oberlin College for 35 years, 28 as Secretary of the Corporation and of the Board of Trustees. After 47 CLOC seasons he still enjoys returning to Falmouth, from Oberlin, for CLOC’s summer seasons. Ursula Rooth Haslun was Box Office Treasurer for CLOC’s initial 1969 season. She had started ushering for Oberlin G&S shows at age 13 and at 15 was a Box Office Treasurer for Oberlin G&S at Highfield in its final season. At CLOC she went on as Assistant Business Manager, Business Manager and became Co-Producer in 1981. She and “B” Haslun had met at Highfield and were married in Falmouth in 1975. After graduating from Oberlin College in 1975, Ursula worked for 31 academic years as Manager of Concert Production at Oberlin Conservatory of Music. With Robert, she retired from the CLOC Co-Producer position at the end of 2015, after 47 CLOC seasons. Corin Hollifield joined the CLOC family in 2000 working as choreographer for his first two seasons, then as stage director. In his 17 seasons at CLOC, he has directed 25 shows included Anything Goes, The Scarlet Pimpernel, Grand Hotel, A Little Night Music and Me and My Girl. He is also currently Buyer and Director of Marketing at BBC Worldwide and Artistic Director of World Dance Theatre in New York. Elwood Howard (Woody) sang in the vocal company in 1975 and 1981 and then served as Work Director for several seasons. He was a working actor in NYC for almost 10 years and then taught theatre and directed productions at Horace Mann School from1991--2016. He is now retired and living in Portland, Maine with his husband Gib Twitchell. Kelly Kaduce spent two seasons in the CLOC vocal company. A winner of the 1999 Metropolitan Opera National Council Auditions, Kelly now sings leading roles at opera companies throughout North America, including Santa Fe Opera, Opera Theatre of Saint Louis, Minnesota Opera, Canadian Opera Company, New York City Opera, Houston Grand Opera, Lyric Opera of Chicago, Florida Grand Opera and Michigan Opera Theatre. Her repertoire ranges from Cio-Cio-San, Manon Lescaut, Violetta and Tosca to world premieres of operas by Ricky Ian Gordon, Paul Moravec, David Carlson, Richard Danielpour and Bright Sheng. Kelly sang Mimi in the Los Angeles run of Baz Luhrmann's award-winning staging of La Bohème. http://www.kellykaduce.net/ Sari Ketter (CLOC Stage Director 1979 - 1994) has directed at The Guthrie Theater, The Idaho Shakespeare Festival, Shakespeare Santa Cruz, The Intiman Theatre, and The Great Lakes Theater Company. She has worked as an assistant director on and off Broadway, including for The Lincoln Center Theater, Playwrights Horizons, and The Acting Company. She is currently Associate Director for the US and international tours of Bartlett Sher’s Broadway revivals of The King and I and Fiddler on the Roof. Dan Knechtges came to CLOC in 1995 as a choreographer and then graduated in 1997 to directing for several seasons. Dan is now a Broadway diretor and choreographer who also serves as the artistic director of Theatre Under The Stars in Houston, TX. www.danknechtges.com, insta - danknechtges Katie Lynch Koglin, CLOC harpist since 1994, started playing at CLOC as a freshman in high school (South Pacific) and continues to play as harp parts are needed. Katie is a Cape Cod local freelance harpist and vocalist for weddings and theater, is member of the Illuminate Trio and plays with fellow CLOC alum, flutist Laura Smolowitz. Ms. Koglin also music directs, acts and directs at various Cape theaters. Www.CapeCodHarpist. com Analisa Leaming spent the memorable summer of 2006 in CLOC’s vocal company and is now pleased to be an honorary committee member. She’s a graduate of the Eastman School of Music and is currently starring as Rosalie Mullins in School of Rock the Musical on Broadway.www.analisaleaming.com Anna Light was the CLOC costume shop manager in 2005 and 2006 and remembers her summers at CLOC fondly. She now works as a draper at the New York City Ballet. Stephen Lord was in the last year of Oberlin’s affiliation as pianist and then for several seasons of CLOC as a performer. Now he is music director of two opera companies and has a full guest conducting schedule. Mary McDonough was a denizen of the CLOC costume shop and practitioner of the art of hot-gluing: crew (’70), foreman (’71), designer (’72, ’73); and publicity director in ‘76. Her path led to NYC, eventually law school and a JD; then advocacy for historic preservation and support for the homeless. She realizes that she forgot to have children. James Mills left the high deserts of New Mexico to sing on the Cape in the 2004 Vocal Company, and he is thrilled to be back as a stage director for the 50th Jubilee Season. A prominent character actor based in New York City, James has performed as a principal Comic Baritone with the New York Gilbert & Sullivan Players for over a decade. Kevin Moriarty directed six productions in four seasons at CLOC from 1996-1999. He is currently the artistic director of Dallas Theater Center, a Tony Award winning theater in Texas. Anne Nonnemacher was a member of the vocal company in 1994 and had the opportunity to sing the role of Lalume in Kismet, directed by F. Paul Driscoll. It was a great experience and helped prepare for a career as a member of The Metropolitan Opera Chorus, where she is currently in her 17th full time season. In addition to her chorus assignments, she has sung over 100 solo performances at The Met, and this season sang Ancella 1 in Turandot and will be singing Spirit #3 in the new production of Cendrillon. Mark A. Pearson has been part of the CLOC family since 2003, starting in the costume shop as stitcher, moving up through costume designer, technical director, director, and, now, artistic director. He has worked as assistant director in opera houses in Germany such as the Aalto Theater Essen and the Deutsche Oper am Rhein in Düsseldorf. He has been Producer and Artistic Director of CLOC since 2015. Jess G. Perry sang in the vocal company at CLOC in 1983 and 1984. He is now the Senior Budget Manager of the San Francisco Opera, and has sung in the Extra Chorus of the SF Opera since 1996. He has also performed with the San Francisco Symphony Chorus and the Philharmonia Baroque Orchestra & Chorale. Scott Pinkney began at CLOC in 1973 as a member of the tech crew. He followed in 1974 as the Stage Manager and in 1975 as the Set and Lighting Designer. Since 2016, he has served on the CLOC Board of Directors. Scott maintains an active national design career in addition to being a Professor of Lighting Design at Emerson College in Boston.www.slpinkney.com Andrew Polec attended CLOC in 2011 and 2012 as a member of the vocal company. Currently he plays the lead in Bat Out of Hell The Musical on the West End. Mo Rocca was a member of the 1989 CLOC Company -- and has spent the rest of his career trying to have as much fun as he did that summer. He is a Correspondent for CBS Sunday Morning and a panelist on NPR's Wait Wait ... Don't Tell Me! John Morris Russell served as associate conductor for CLOC in 1990 and for the next four years as music director for 14 productions. He is currently conductor of the Cincinnati Pops Orchestra, Music Director of the Hilton Head Symphony Orchestra, Principal Pops Conductor of the Buffalo Philharmonic Orchestra, and Conductor Laureate of the Windsor Symphony Orchestra in Ontario, Canada. Georgia Stitt started as a CLOC rehearsal pianist in 1993, was promoted to associate conductor in 1994, and returned for several seasons as a music director in the late 90s. She has music directed in many exciting theatrical venues and on film and TV, but now she works primarily as a composer/lyricist of new musical theater, including SNOW CHILD, BIG RED SUN, SAMANTHA SPADE: ACE DETECTIVE, ALPHABET CITY CYCLE and an as-yet-untitled oratorio. She founded MAESTRA, a community of female composers and music directors working in the theater industry, and serves on the board of directors for The Lilly Awards. www.georgiastitt.com Haley Swindal was a member of the CLOC vocal company in 2007 and 2008. Since then, Haley has appeared in five national tours and on Broadway, and her solo show frequently sells out Broadway's 54 Below. She is currently shooting a live-action remake as Anastasia's mother, the Tsarina, opposite Superman star Brandon Routh. Terrence Tobias was one of the 3 original founders of CLOC in 1969. Although he was only involved with the company that first season serving as Music Director for three productions, Terry has remained an audience member and contributor over the years. Like many CLOC alumni he has had a long and varied involvement with the performing arts: Organist, Singer, Producer, Asst. Manager for The Opera Co. of Boston, Digital Recording Executive and Board Member for several non-profit Boards. Jonathan Tolins performed as a member of the CLOC vocal company in 1987. He is a playwright and screenwriter, best known for his plays Buyer & Cellar, The Last Sunday in June, and The Twilight of the Golds. He is also a regular panelist on the Metropolitan Opera Quiz. Dawn Crocker Tucker attended CLOC shows as a child and was overjoyed to finally become a member of the Vocal Company 1987-1990. Dawn attended Stanford University, and was the only non-music/theater/dance major at CLOC. She made up for it later with a degree in Opera from The Boston Conservatory in 1998. Dawn revived her 'Nellie Forbush' for the CLOC 25th reunion, and now performs, directs, and teaches in the New England area. David Ward sang in the Vocal Company in 1982-83. After a 30-year career as an operatic comic bass, he returned to CLOC in 2012 to stage direct HMS Pinafore and now refuses to leave. David is currently the Director of the Crane Opera Ensemble at SUNY Potsdam and a stage director at Opera in the Ozarks. www.buffoward.com Andy Warfel first worked in the scenic shop at CLOC in 1988, and returned the following two years as the resident scenic designer. He has since designed scenery on Broadway, in Las Vegas and on national tours, as well as innumerable concerts, television studios, permanent installations and award-winning international events. www.andywarfel.com Martha Warren was a soprano in the vocal company in 1982 and ’83, and has been a supporter of CLOC since moving to Boston in 1984. Through CLOC she discovered her affinity for Viennese operetta, which has served her well in her career singing opera, operetta and musical theater, as well as teaching voice, in the New England region. David Weiller first joined CLOC in 1979 as a rehearsal pianist. He returned in 1980-1982, serving in a dual capacity as an associate conductor and principal conductor. He continues to appear as a principal conductor on a regular basis and has conducted over 50 productions at Highfield. David is a music professor at the University of Nevada, Las Vegas, where he has served as director of choral studies for 34 years. David Weiller Landon Westbrook performed as a member of the CLOC vocal company in 1993 and 1994. Her favorite roles at CLOC included Gooch in Mame, Cleo in The Most Happy Fella, and Zorah, the professional bridesmaid, in Ruddigore. She lives in New York City with her family and works as an art director and graphic designer. Eric Whitacre is a Grammy-winning composer and conductor whose concert music has been performed throughout the world. His groundbreaking Virtual Choirs have united singers from more than 110 countries. A graduate of the University of Nevada, Las Vegas, and the Juilliard School of Music, Eric is artist in residence with the Los Angeles Master Chorale and has given keynote addresses for Apple, Google, the world economic forum in Davos and many other Fortune 500 companies. Eric made his CLOC debut in 1992, as an Associate Conductor. In his seven CLOC seasons, Eric served as principal conductor for six shows, including South Pacific (1994), Anything Goes! (1996) and Patience (1998). https://ericwhitacre.com/
5894	dbpedia	3	10	https://www.bafta.org/heritage/in-memory-of/sir-antony-sher-kbe	en	Sir Antony Sher KBE	https://www.bafta.org/si…avicon-32x32.png	https://www.bafta.org/si…avicon-32x32.png	[ "https://www.bafta.org/sites/all/themes/bafta_base_theme/images/guru_branchimage.jpg", "https://www.bafta.org/sites/all/themes/bafta_base_theme/images/global_nav_kids.jpg", "https://www.bafta.org/sites/all/themes/bafta_base_theme/images/ygd_branchimage.jpg", "https://www.bafta.org/sites/all/themes/bafta_base_theme/images/global_nav_195.jpg", "https://www.bafta.org/sites/all/themes/bafta_base_theme/images/guru_branchimage.jpg", "https://www.bafta.org/sites/all/themes/bafta_base_theme/images/global_nav_kids.jpg", "https://www.bafta.org/sites/all/themes/bafta_base_theme/images/ygd_branchimage.jpg", "https://www.bafta.org/sites/all/themes/bafta_base_theme/images/global_nav_195.jpg", "https://www.bafta.org/sites/all/themes/bafta_theme/images/logo_master2.png", "https://www.bafta.org/sites/default/files/uploads/heritagewebsiteblock01.jpg", "https://s2.chorus-mk.thirdlight.com/file/24/FM12gOeFlPvTThFMyVqFMH-J1w/width=200/height=112/format=-1/fit=stretch/crop=0x61+1140x639/rev=0/ChampagneTaittingerLogo-LargeLandscape.jpg", "https://bafta.thirdlight.com/file/1389978759/37614757533/width=200/height=112/format=JPG/fit=stretch/crop=0x60+1139x638/rev=2/t=410728/e=never/k=e4c57f04/deloitte.jpg", "https://bafta.thirdlight.com/file/1389978759/27718851372/width=200/height=112/format=JPG/fit=stretch/crop=0x817+4498x2519/rev=5/t=410728/e=never/k=0fcc773e/Villa-Maria-Logo-mono.jpg", "https://www.bafta.org/sites/all/themes/bafta_theme/images/bafta_logo_white.png", "https://www.bafta.org/sites/all/themes/bafta_theme/images/logo_master2.png", "https://dc.ads.linkedin.com/collect/?pid=368930&fmt=gif" ]	[]	[]	[ "" ]	null	[]	2021-12-14T14:55:39+00:00	A South African actor, who relocated to the UK in the 1960s and became a regular on the British stage, most notably at the Royal Shakespeare Company, which he joined in 1982. His screen career was less prodigious, but did include Erik the Viking (1989), The Young Poisoner’s Handbook (1995), Mrs Brown (1997), Shakespeare in Love (1998) and Churchill: The Hollywood Years (2004). In 2008, he was nominated for a BAFTA for the television version of Primo (2007), which Sher had himself adapted into a one-man performance from Primo Levi’s Holocaust memoir If This is a Man.	en	https://www.bafta.org/sites/all/themes/bafta_theme/favicon.ico		https://www.bafta.org/heritage/in-memory-of/sir-antony-sher-kbe	BAFTA Guru BAFTA Guru is BAFTA’s content hub for career starters packed full of inspirational videos, podcasts and interviews. Whether you’ve taken your first steps in the industry or are just starting out, you’ll find plenty here to motivate and help you along the way. Find out more BAFTA Kids BAFTA’s destination for youngsters to come and discover the magical worlds of film, television and games. Enter challenges, watch videos, and take part in our annual vote to decide the best film, TV show and game of the year. Find out more BAFTA Young Game Designers YGD is a gaming initiative for 10-18 year olds which explores how games are made and the skill required to make them through workshops, a video series and an annual competition. Find out more BAFTA 195 Piccadilly Situated in the heart of London's West End, BAFTA 195 Piccadilly is the home of BAFTA worldwide, as well as an award-winning venue for hire that offers outstanding hospitality and a suite of flexible event spaces, which can be crafted to suit any occasion. Find out more A South African actor, who relocated to the UK in the 1960s and became a regular on the British stage, most notably at the Royal Shakespeare Company, which he joined in 1982. His screen career was less prodigious, but did include Erik the Viking (1989), The Young Poisoner’s Handbook (1995), Mrs Brown (1997), Shakespeare in Love (1998) and Churchill: The Hollywood Years (2004). In 2008, he was nominated for a BAFTA for the television version of Primo (2007), which Sher had himself adapted into a one-man performance from Primo Levi’s Holocaust memoir If This is a Man. Sher was knighted in 2000. Read Sir Antony Sher's Guardian obituary Read Sir Antony Sher's Times obituary Read Sir Antony Sher's BBC obituary Read Sir Antony Sher's Herald Scotland obituary Read Sir Antony Sher's Telegraph obituary
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"https://res.cloudinary.com/los-angeles-opera/image/upload/c_fill,f_auto,g_auto,h_300,q_auto:eco,w_400/v1/Logos/FOOTER-logos/ACRE_SPONSOR-homepage-2024.png", "https://res.cloudinary.com/los-angeles-opera/image/upload/c_fill,f_auto,g_auto,h_300,q_auto:eco,w_400/v1/Logos/FOOTER-logos/LUMEN_SPONSOR-homepage-2024.png", "https://res.cloudinary.com/los-angeles-opera/image/upload/c_fill,f_auto,g_auto,h_300,q_auto:eco,w_400/v1/Logos/FOOTER-logos/YAMAHA_SPONSOR-homepage-logos.png" ]	[]	[]	[ "madame butterfly\r\nmadame butterfly opera\r\nopera m butterfly\r\npuccini madama butterfly\r\nkarah son\r\njonathan tetelman\r\njames conlon\r\ngiacomo puccini" ]	null	[]	null	LA Opera starts the 2024-25 season with Giacomo Puccini's Madame Butterly, starring Karah Son and Jonathan Tetelman, led by James Conlon. Book your seats!	en	/apple-touch-icon.png		https://www.laopera.org/performances/202425-season/butterfly/	Lauded for his "vocally magnificent, radiant and distinctive tenor” voice (Opera Aktuell), Jonathan Tetelman has rapidly risen to become a major star of his generation. Chilean-born and New Jersey-raised, Tetelman continues to thrill on the world’s greatest stages with "balmy verve" (Der Tagesspiegel) and a "darkly colored tenor timbre" (SZ). In the 2023/24 season, Tetelman makes his tremendously anticipated Metropolitan Opera debut as Ruggero in La Rondine under the baton of Speranza Scappucci, followed closely by appearances as Pinkerton in the Met’s iconic Madama Butterfly staging by Anthony Minghella. He sees additional performances of Pinkerton with Teatro Massimo di Palermo, Festival Aix-en-Provence, and Deutsche Oper Berlin, where he also debuts the opera Il Tabarro as Luigi in Pınar Karabulut’s new production of Il Trittico. Further operatic highlights of the season include a return to the title role of Werther for the Festspielhaus in Baden-Baden in a new production by Robert Carsen, and an exclusive one-night-only performance of Rodolfo in La Bohème at Theater Dortmund. On the concert stage, Jonathan appears as soloist in gala concerts with the Rundfunk-Sinfonieorchester Berlin at the Berlin Konzerthaus, and with the Prague Philharmonia at Dvorak Hall in the Rudolfinum for an evening of Puccini. He performs New Year’s 2024 concerts with the Gulbenkian Orchestra in Lisbon, Elīna Garanča at Baden-Baden Festspielhaus and the Borusan Festival in Istanbul. Tetelman also sings a solo recital in Gstaad, Switzerland, and is heard as soloist on mainland China for the opening gala concert of the Shenzhen Belt Road Music Festival held at the Shenzhen Concert Hall. Jonathan Tetelman made highly auspicious debuts last season with the San Francisco Opera in a new production as Alfredo in La Traviata, with Houston Grand Opera as Cavaradossi in Tosca, and finally with the Salzburger Festspiele as Macduff in a new production of Verdi’s Macbeth by Krzysztof Warlikowski. Additionally, he was Rodolfo for Semperoper Dresden, Cavaradossi and Paolo in Francesca da Rimini at Deutsche Oper Berlin, and Loris Ipanov in Fedora with Ópera de Las Palmas. In concert, Tetelman appeared with the Houston Symphony Orchestra as tenor soloist in Verdi’s Requiem, performed at the Tivoli Festival in Copenhagen, Peralada Festival in Spain, Festival Ljubljana in Slovenia alongside baritone, Ludovic Tézier and joined soprano Angela Gheorghiu for concerts in Brussels and Paris, among others. In the 2021/2022 season, Tetelman starred as Rodolfo in an opera film of La Bohème, co-produced by RadiotelevisioneItalia (RAI) and Opera di Roma. He made his house debut at Theater an der Wien in a new production of Tosca and performed the role of Jacopo Foscari alongside Plácido Domingo in The Two Foscari with Teatro del Maggio Musicale Fiorentino. He also was heard in Verdi’s rarity Stiffelio with Opéra National du Rhin and sang Loris Ipanov in Fedora with Oper Frankfurt. He presented numerous concerts in that season, touring Austria, Spain and Latvia alongside superstar mezzo Elīna Garanča and maestro Karel Mark Chichon. Tetelman was a soloist at the 169th Tivioli Festival Birthday Gala, sang a gala concert of Un Ballo in Maschera honoring Birgit Nilsson in Sweden, and was heard as Rodolfo at the Grand Teton Music Festival in concert performances of La Bohème. After completing his performance studies program at the New School of Music, Mannes College and earning his undergraduate degree from Manhattan School of Music, Jonathan Tetelman made a series of acclaimed house and role debuts in rapid succession. These include his Covent Garden debut as both Alfredo in La Traviata and Rodolfo in La Bohème; Canio in Pagliacci and Cavaradossi in Tosca with Teatro Regio Torino; Pinkerton in Madama Butterfly with Opéra National de Montpellier; Tosca and Madama Butterfly at the Dresden Semperoper; Tosca at the Gran Teatre del Liceu and Opéra de Lille; Werther with both the Gran Teatro Nacional de Lima and Opera del Teatro Solis in Montevideo; La Bohème with Komische Oper Berlin, English National Opera and Fujian Grand Theatre in China; and the Duke of Mantua in Rigoletto with the Berkshire Opera Festival. Tetelman’s concert appearances in this period included the role of Don José in Carmen in further collaboration with Elīna Garanča on tour through Eastern Europe, broadcast on Bartók Radio. He saw performances with soprano Nadine Sierra at Festival Napa Valley, and joined soprano Kristine Opolais for gala performances in Moscow and with the Wurth Philharmoniker in Künzelsau, Germany. He sang a Verdi gala with the Copenhagen Philharmonic, was the soloist in Verdi’s Requiem with the Boston Symphony Orchestra at Tanglewood under Andris Nelsons, and was twice heard in Beethoven’s Symphony No. 9 first with the San Francisco Symphony under Michael Tilson Thomas, and subsequently with the Stuttgart Philharmonic, led by Dan Ettinger. Jonathan Tetelman recently signed an exclusive multi-album contract with Deutsche Grammophon. Together with the Orquesta Filarmónica de Gran Canaria and its principal conductor Karel Mark Chichon, he recorded his first album, entitled Arias, with music by Verdi and famous verismo composers, a selection from the lyrical French repertoire, and duets with the Lithuanian soprano Vida Miknevičiûtė. It was released in 2022. His highly anticipated second album The Great Puccini was released by Deutsche Grammophon in 2023. The album features excerpts from nine of Puccini's operas, including famous arias such as "Nessun dorma,” "Che gelida manina” and "E lucevan le stelle.” Among myriad standout moments of Jonathan Tetelman's season, his album Arias, soared to multiple triumphant achievements including the esteemed Opus Klassik Award, honoring him as the break-out artist of the year in 2023, and the Oper Magazine Awards for best solo album of the year in 2023. Learn more at JonathanTetelman.com. Lauded by the New York Times as a “vibrant mezzo soprano” and a “dark toned, agile mezzo-soprano,” Hyona Kim joined the Dortmund Opera in Germany as a member of the ensemble in 2018 and made her much acclaimed house and role debut singing Amneris in Aïda. Other parts that she performed at the Dortmund Opera are Suzuki in Madama Butterfly, Tzippie in Oliver Knussen’s Where The Wild Things Are and the title role in the German premiere of Frédégonde by Ernest Guiraud, Paul Dukas and Camille Saint-Saëns, Ortrud in Lohengrin and Nancy Tang in Nixon in China. Kim joined the Metropolitan Opera for the 2022/23 season covering the role of Eboli in Don Carlo. She made her San Francisco Opera debut singing a leading role, Lady Wang in Bright Sheng’s world premiere Dream of the Red Chamber under George Manahan in 2016 and was critically acclaimed as an “Unstoppable powerhouse” by the San Francisco Chronicle and performed the same role with Hong Kong Arts Festival under Muhai Tang. She returned to San Francisco Opera for the revival of Dream of the Red Chamber and for Madama Butterfly. She has also sung with the New York City Opera, Romanian National Opera Cluj-Napoca, Opera Carolina, Opera Lancaster, Opera Company of Middlebury among others. Other roles which she has performed around the world include Azucena in Il Trovatore, Mistress Quickly in Falstaff, Hermia in A Midsummer Night’s Dream, Wowkle in The Girl of the Golden West, Olga and Larina in Eugene Onegin and many more. Hyona Kim was a national finalist in the Metropolitan Opera National Council Auditions and performed with the Metropolitan Opera Orchestra conducted by Marco Armiliato at Lincoln Center. She also was the grand winner of the Joy in Singing Competition and performed the winner’s solo recital at Merkin Concert Hall in New York City. She was a first prize winner of the Gerda Lissner Competition, and a multiple grant winner at the Licia Albanese-Puccini and Giulio Gari Competitions. She is a grant recipient of the Olga Forrai Foundation and won the Jennie Tourel prize in the Poulenc Competition. She also won the Suri Competition and the Schubert Lied Competition in her native country, South Korea, where she earned her bachelor’s degree at Ewha Womans University. She received her master’s degree and professional studies diploma from Mannes College of Music in New York City and was chosen to be the recipient of the Marian Marcus Wahl Memorial Award, awarded to a graduating singer showing particular excellence. During her time as a member of the Mannes Opera, she performed many roles with the Metropolitan Opera conductor Joseph Colaneri such as Dorabella in Cosi fan tutte, Marcellina in The Marriage of Figaro and Annina in La Traviata. Apart from the Mannes College of Music, she has participated in many festivals and projects, including the Aspen Music Festival, the Music Academy of the West, International Vocal Arts Institute, the Natchez Music Festival and the Martina Arroyo Foundation. She made her Houston Grand Opera debut originating the role of Hal-Mo-Ni (grandmother) in Jeeyoung Kim’s From My Mother’s Mother at HGOco, and also has performed the lead role, Lily in Su Lian Tan’s opera Lotus Lives at Distler Hall at Tufts University in Boston. Kim has sung with the Nashville Symphony and the Sinfonia da Camera as the soloist in Handel’s Messiah and Verdi’s Requiem respectively. She made her Carnegie Hall debut with New England Symphonic Ensemble singing the alto solo in Vivaldi’s Gloria and also performed with PyeongChang Music Festival in South Korea as the alto soloist in Beethoven’s Symphony No. 9. She was invited by Harare International Festival of the Arts in Zimbabwe for an opera gala concert and song recital. She was the featured alto soloist in numerous concerts including performances of Bach’s St. John Passion, St. Matthew Passion and Mendelssohn’s Elijah. Passionate about chamber music and art song, Ms. Kim has appeared in many chamber music concerts and recitals with Mannes Baroque Chamber Players, the Guinnes Quartet as part of Viva Virginia International Festival of Music, and also in several concerts of Ensemble 212, in works such as: Mahler’s Symphony No. 2 and No. 3, world premieres for Chamber Orchestra both by Yoon Jae Lee, and Der Abschied from Das Lied von der Erde featured with Michael Mao Dance. She has participated in Stephanie Blythe and Alan Smith’s Fall Island Vocal Arts Seminar which only performs art songs by living American composers. Kim also has sung with Brooklyn Art Song Society in their concert series of Les six: Francis Poulenc and Songs of Mahler. Upcoming engagements include a house debut at the Royal Danish National Opera in Copenhagen as Suzuki in Madama Butterfly as well as the Belgrade Philharmonic Orchestra in Serbia in the same role. Her Metropolitan Opera return includes participation in the production of Tannhäuser. Learn more at KimHyona.com. In the 2023/24 season, American bass-baritone Michael Sumuel, lauded as having “vocals that are smooth and ingratiating” (Daily Camera), will sing Reginald in a new production of X: The Life and Times of Malcolm X at the Metropolitan Opera, Sharpless in Madama Butterfly with Houston Grand Opera and the Forester in The Cunning Little Vixen at Detroit Opera. A busy concert artist, Mr. Sumuel joins Jaap van Zweden and the New York Philharmonic for Mozart’s Requiem, Jonathan Cohen for Handel’s Messiah with the San Francisco Symphony, Les Violons du Roy in Québec for Bach’s Christmas Oratorio, also with Jonathan Cohen, Jane Glover and Music of the Baroque for Mozart’s Requiem and Bach’s Magnificat, Bernard Labadie and the Seattle Symphony for Bach’s Passion According to St. John, the National Symphony Orchestra for the Fauré Requiem and Washington National Cathedral as Jesus in St. Matthew Passion. In the 2022/23 season, Mr. Sumuel returned to the Metropolitan Opera, singing Belcore in L’Elisir d’Amore. Other debuts included Elviro in Xerxes with Detroit Opera, and Figaro in The Marriage of FIgaro with Pittsburgh Opera. In concert, Mr. Sumuel performed Mozart’s Requiem with the Cincinnati Symphony and James Conlon, Bach cantatas BWV 61 and 140 with the Handel and Haydn Society in Boston, opened Washington Concert Opera’s season performing in a gala with soprano Tamara Wilson, and returned to Mercury Houston for Handel’s Messiah. Finally, with Pacific Chorale, Mr. Sumuel took part in a European tour, performing in Haydn’s Lord Nelson Mass and Florence Price’s Abraham Lincoln Walks at Midnight. In the 2021/22 season, Mr. Sumuel made his debut as Jesus and the bass soloist in Bach’s St. Matthew Passion with LA Opera, a semi-staged production conducted by James Conlon with choreography by the Hamburg Ballet, Figaro in The Marriage of Figaro with Seattle Opera, Escamillo in Carmen for his debut with the Santa Fe Opera, a concert of arias to open the Dallas Opera season, the King in Massenet’s Cendrillon with the Metropolitan Opera, Leporello in Don Giovanni with Opera San Antonio and Escamillo with Chicago Opera Theater. In concert, Mr. Sumuel returned to the Los Angeles Philharmonic at Walt Disney Concert Hall to sing Mozart’s Mass in C minor with Zubin Mehta, Bach’s Easter Oratorio with Music of the Baroque and Mozart’s Requiem with the Orchestra of St. Luke’s. Highlights of past opera seasons have included the Lyric Opera of Chicago as Masetto in a new production of Don Giovanni, conducted by Sir Andrew Davis, the San Francisco Opera to perform the title role in a new production of The Marriage of Figaro, Tom in the world premiere of Christopher Theofanidis’ Heart of a Soldier, Escamillo in Calixto Bieito’s production, Masetto, conducted by Marc Minkowski, and Elviro in Handel’s Xerxes. At Houston Grand Opera, he has performed Belcore in L’Elisir d’Amore, Papageno in The Magic Flute, Frank in Die Fledermaus, Masetto, Sharpless, Marcello and Schaunard in La Bohème. With Glyndebourne Festival Opera, he performed Sharpless, Junius in The Rape of Lucretia, Schaunard and Theseus in A Midsummer Night’s Dream. At Norwegian National Opera and Ballet, he performed Alidoro (La Cenerentola) and Escamillo, Figaro in The Marriage of Figaro with Dayton Opera, later reprising the role for his company debut with Central City Opera and Leporello in Don Giovanni for his debut with Seattle Opera. An in demand concert artist, previous work has included Messiah with San Francisco Symphony, Baltimore Symphony Orchestra, Houston Symphony, the United States Naval Academy, New Jersey Symphony, Phoenix Symphony and University Musical Society in Ann Arbor. He has performed Mozart’s Mass in C minor with Cleveland Orchestra, the Orchestra of St. Lukes, and the Concertgebouw in Amsterdam, and Beethoven’s Symphony No. 9 with the Los Angeles Philharmonic, Seattle Symphony, American Classical Orchestra in David Geffen Hall at Lincoln Center, and the Oklahoma City Philharmonic. Other repertoire includes Beethoven’s Missa Solemnis (Grant Park Music Festival), Mozart’s Requiem (North Carolina Symphony), Haydn’s Theresienmesse (Grant Park Music Festival), and Puccini’s Messa di Gloria (San Diego Symphony). Mr. Sumuel’s competition accolades include being awarded a Richard Tucker Career Grant, Metropolitan Opera National Council audition Grand Finalist and a winner of the Dallas Opera Guild Vocal Competition. A Texas native, he is an alumnus of the Houston Grand Opera Studio, Merola Opera Program at San Francisco Opera and the Filene Young Artist program at Wolf Trap Opera. Since his debut that year with La Traviata, he has conducted 67 different operas and more than 455 performances to date with the company. (Click here to visit James Conlon's Corner, where you can find essays, videos and conversations he has created especially for LA Opera.) Internationally recognized as one of today’s most versatile and respected conductors, James Conlon has cultivated a vast symphonic, operatic and choral repertoire. Since his 1974 debut with the New York Philharmonic, he has conducted virtually every major American and European symphony orchestra, and at many of the world’s leading opera houses including the Metropolitan Opera. Through worldwide touring, an extensive discography and filmography, numerous writings, television appearances, and guest speaking engagements, Conlon is one of classical music’s most recognized and prolific figures. Conlon has been Principal Conductor of the RAI National Symphony Orchestra in Torino, Italy (2016–20); Principal Conductor of the Paris Opera (1995–2004); General Music Director of the City of Cologne, Germany (1989–2003), simultaneously leading the Gürzenich Orchestra and the Cologne Opera; and Music Director of the Rotterdam Philharmonic Orchestra (1983–91). Conlon was Music Director of the Ravinia Festival (2005–15), summer home of the Chicago Symphony, and is now Music Director Laureate of the Cincinnati May Festival―the oldest choral festival in the United States―where he was Music Director for 37 years (1979–2016), marking one of the longest tenures of any director of an American classical music institution. He also served as Artistic Advisor of the Baltimore Symphony Orchestra (2021–2023). He has conducted over 270 performances at the Metropolitan Opera since his 1976 debut. He has also conducted at leading opera houses and festivals such as the Vienna State Opera, Salzburg Festival, La Scala, Teatro dell’Opera di Roma, Mariinsky Theatre, Covent Garden, Chicago Lyric Opera, Teatro Comunale di Bologna, and Teatro del Maggio Musicale Fiorentino. As Music Director of LA Opera, Conlon has led more operas than any other conductor in company history. Highlights of his LA Opera tenure include the company’s first Ring cycle; initiating the groundbreaking Recovered Voices series, an ongoing commitment to staging masterpieces of 20th-century European opera suppressed by the Third Reich; spearheading Britten 100/LA, a city-wide celebration honoring the composer’s centennial; and conducting the West Coast premiere of The Anonymous Lover by Joseph Bologne, Chevalier de Saint-Georges, a prominent Black composer in 18th-century France. Conlon opens his 18th season at LA Opera conducting Mozart’s Don Giovanni directed by Kasper Holten. His groundbreaking Recovered Voices initiative, dedicated to rescuing works from historical neglect or censorship, returns to the company with a double-bill featuring the company premiere of William Grant Still’s Highway 1, USA in a new production directed by Kaneza Schaal, and a revival of Zemlinsky’s The Dwarf (Der Zwerg)—an opera that launched the Recovered Voices initiative in 2008—directed by Darko Tresnjak. He also conducts Verdi’s La Traviata—the first opera he led as Music Director of LA Opera—continuing his multi-season focus on the works of the great Italian composer. To date, Conlon has conducted more than 500 international performances of Verdi’s repertoire. Conlon closes his LA Opera season honoring the 100th anniversary of Puccini’s death, conducting Turandot, Puccini’s final opera composed in 1924. Additional highlights of his season include returning to the Chicago Symphony Orchestra to lead Mendelssohn’s Elijah, and conducting Wagner’s Lohengrin at Deutsche Oper Berlin. He also returns to Switzerland’s Bern Symphony, where he is Principal Guest Conductor, to lead three programs including Schubert and Beethoven symphonies, a celebratory New Years Day concert, and a season finale with Shostakovich’s Symphony No. 5. Conlon is dedicated to bringing composers silenced by the Nazi regime to more widespread attention, often programming this lesser-known repertoire throughout Europe and North America. In 1999 he received the Vienna-based Zemlinsky Prize for his work bringing the composer’s music to a broader audience; in 2013 he was awarded the Roger E. Joseph Prize at Hebrew Union College-Jewish Institute of Religion for his efforts to eradicate racial and religious prejudice and discrimination; and in 2007 he received the Crystal Globe Award from the Anti-Defamation League. His work on behalf of silenced composers led to the creation of The OREL Foundation, an invaluable resource on the topic for music lovers, students, musicians, and scholars; the Ziering-Conlon Initiative for Recovered Voices at the Colburn School; and a recent virtual TEDx Talk titled “Resurrecting Forbidden Music.” Conlon is deeply invested in the role of music in civic life and the human experience. At LA Opera, his popular pre-performance talks blend musicology, literary studies, history, and social sciences to discuss the enduring power and relevance of opera and classical music. He also frequently collaborates with universities, museums, and other cultural institutions and works with scholars, practitioners, and community members across disciplines. He frequently appears throughout the country as a speaker on a variety of cultural and educational topics. Conlon’s extensive discography and filmography spans the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and for Kurt Weill’s Rise and Fall of the City of Mahagonny. Additional highlights include an ECHO Klassik Award-winning recording cycle of operas and orchestral works by Alexander Zemlinsky; a CD/DVD release of works by Viktor Ullmann, which won the Preis der deutschen Schallplattenkritik; and the world-premiere recording of Liszt’s oratorio St. Stanislaus. Conlon holds four honorary doctorates, was one of the first five recipients of the Opera News Awards, and was distinguished by the New York Public Library as a Library Lion. He received a 2023 Cross of Honor for Science and Art (Österreichische Ehrenkreuz für Wissenschaft und Kunst) from the Republic of Austria, and was named Commendatore Ordine al Merito della Repubblica Italiana by Sergio Mattarella, President of the Italian Republic. He was also named Commandeur de L’Ordre des Arts et des Lettres by the French Minister of Culture and, in 2002, personally accepted France’s highest honor, the Legion d’Honneur, from then-President of the French Republic Jacques Chirac. Learn more at JamesConlon.com. Mr. Conlon’s first season as Artistic Advisor of the Baltimore Symphony Orchestra includes three weeks of concerts, starting with an October 2021 program of music by historically marginalized composers. The featured works are Alexander Zemlinsky’s Die Seejungfrau (The Mermaid), which is the piece that sparked Mr. Conlon’s interest in suppressed music from the early 20th century, and William Levi Dawson’s Negro Folk Symphony, which reflects a theme that will recur throughout Mr. Conlon’s advisorship—the bringing of attention to works by American composers neglected due to their race. He returns in February 2022 for performances including Beethoven’s Eighth Symphony and the final scene of Wagner’s Die Walküre, with guest artists Christine Goerke and Greer Grimsley. The BSO season concludes in June 2022 with Mr. Conlon conducting an orchestra co-commission from Wynton Marsalis, Rachmaninoff’s Rhapsody on a Theme of Paganini with Beatrice Rana, and Shostakovich’s Seventh Symphony (“Leningrad”). As Artistic Advisor, in addition to leading these performances, Mr. Conlon will help ensure the continued artistic quality of the orchestra and fill many duties off the podium, including those related to artistic personnel—such as filling important vacancies and attracting exceptional musicians. Additional highlights of Mr. Conlon’s season include Bach’s St. Matthew Passion at Rome Opera, Wagner’s The Flying Dutchman at New National Theatre, Tokyo, the Paris Opera’s Gala lyrique with Renée Fleming, and concerts with the Cincinnati Symphony Orchestra (Dawson’s Negro Folk Symphony and works by Beethoven and Bernstein), Gürzenich Orchester Köln (Sinfoniettas by Zemlinsky and Korngold), Hamburg Philharmonic State Orchestra (works by Shostakovich and Zemlinsky), and at Maggio Musicale Fiorentino. Mr. Conlon’s 2021/22 season follows a spring and summer in which he was highly active amidst the re-opening of many venues to live performance. These engagements included concerts with the Detroit Symphony Orchestra, Deutsche Symphonie-Orchester Berlin, Orchestra del Teatro Comunale di Bologna, and RAI National Symphony Orchestra. He also led a series of performances in Spain scheduled around World Music Day (June 21). In Madrid, over a period of two days, he conducted the complete symphonies of Schumann and Brahms in collaboration with four different Spanish orchestras: the Orquesta Nacional de España, Orquesta Sinfónica de Galicia, Orquesta Sinfónica de Castilla y León, and Joven Orquesta Nacional de España (JONDE). He subsequently conducted JONDE at the Festival de Granada and Seville’s Teatro de la Maestranza. Additional summer 2021 engagements included the Aspen, Napa, Ravello, and Ravinia Festivals. In an effort to call attention to lesser-known works of composers silenced by the Nazi regime, Mr. Conlon has devoted himself to extensive programming of this music throughout Europe and North America. In 1999 he received the Vienna-based Zemlinsky Prize for his efforts in bringing that composer’s music to international attention; in 2013 he was awarded the Roger E. Joseph Prize at Hebrew Union College-Jewish Institute of Religion for his extraordinary efforts to eradicate racial and religious prejudice and discrimination; and in 2007 he received the Crystal Globe Award from the Anti-Defamation League. His work on behalf of suppressed composers led to the creation of The OREL Foundation, an invaluable resource on the topic for music lovers, students, musicians, and scholars; the Ziering-Conlon Initiative for Recovered Voices at the Colburn School; and a recent virtual TEDx Talk titled “Resurrecting Forbidden Music.” Mr. Conlon is an enthusiastic advocate of public scholarship and cultural institutions as forums for the exchange of ideas and inquiry into the role music plays in our shared humanity and civic life. At LA Opera, he leads pre-performance talks, drawing upon musicology, literary studies, history, and social sciences to contemplate—together with his audience—the enduring power and relevance of opera and classical music in general. Additionally, he frequently collaborates with universities, museums, and other cultural institutions, and works with scholars, practitioners, and community members across disciplines. His appearances throughout the country as a speaker on a variety of cultural and educational topics are widely praised. Mr. Conlon’s extensive discography and videography can be found on the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and Kurt Weill’s Rise and Fall of the City of Mahagonny. Additional highlights include an ECHO Klassik Award-winning recording cycle of operas and orchestral works by Alexander Zemlinsky; a CD/DVD release of works by Viktor Ullmann, which won the Preis der deutschen Schallplattenkritik; and the world-premiere recording of Liszt’s oratorio St. Stanislaus. Mr. Conlon holds four honorary doctorates and has received numerous other awards. He was one of the first five recipients of the Opera News Awards, and was honored by the New York Public Library as a Library Lion. He was named Commendatore Ordine al Merito della Repubblica Italiana by Sergio Mattarella, President of the Italian Republic. He was also named Commandeur de L’Ordre des Arts et des Lettres by the French Minister of Culture and, in 2002, personally accepted France’s highest honor, the Legion d’Honneur, from then-President of the French Republic Jacques Chirac. Learn more at JamesConlon.com. Ezio Frigerio (1930-2022) was a prominent set designer, recognized for his work in theater, opera, and film. In the 1950s he met Giorgio Strehler who persuaded him to create the stage design for Garcia Lorka’s The House of Bernarda Alba for the Piccolo Teatro in Milan (1955). A year after the debut, he developed his first design for opera, creating costumes for Cimarosa’s Il matrimonio Segreto for the opening of La Piccola Scala. For the Piccolo Teatro he designed also the set and costumes for productions of plays by Shakespeare, Goldoni, Brecht, Ruzant, Zardi, Pirandell and Ferrari. In 1959 he began designing for film. He worked with Italy’s top directors: Vittorio de Sica (The Condemned of Altona), Liliana Cavani (Francis of Assisi and other films), Bernardo Bertolucci (1900), Jean Paul Rappeneau (Cyrano de Bergerac, for which he won a Silver Ribbon, European Film Award, César, and an Oscar nomination), and Volker Schlöndorff (The Ogre). Mr Frigerio took up theater design again in 1960 when he became Giorgio Strehler’s permanent collaborator at the Piccolo Teatro. He designed costumes and sets for productions of plays by Shakespeare, Strindberg, Brecht, Beckett, Rizzotto and Sciascia, Cappelli, Pirandello, Wesker, Roversi, Maggi, Bulhakov, Lessing, and De Filippo. He also collaborated with Liliana Cavani on a production of Medea by Cherubini at the Paris Opera, with Strehler on a staging of L’Illusion comique by Corneille and Chekhov’s The Seagull at the Théâtre de l’Europe in Paris, as well as with Planchon on Molière’s The Miser in Lyon. He was invited as guest designer by Europe’s leading theatres. The list of his operatic designs is as long. He worked for the world’s most prominent opera houses. He debuted at La Scala with Simon Boccanegra, followed by Falstaff, Lohengrin, Ernani, Don Giovanni, The Queen of Spades and Rigoletto. His also worked for the Metropolitan Opera, Paris Opera, Opéra Bastille, Royal Opera House, Théâtre de la Monnaie, Opera de Lyon, Scottish Opera, Teatro de la Zarzuela in Madrid, Teatro Liceo in Barcelona, San Francisco Opera, and the Salzburg Festival. He created designs for the first stagings of Pederecki’s Paradise Lost: the world premiere at the Lyric Opera in Chicago (1978) and the European premiere at the Teatro alla Scala (1979). He worked for ballet as well in Paris, Berlin, Marseille, and elsewhere. Together with Roland Petit, he designed Coppélia, The Nutcracker, The Phantom of the Opera, Can-Can, The Miraculous Mandarin, and The Blue Angel. With Rudolf Nureyev, he produced Swan Lake, La Bayadère, and The Sleeping Beauty.
5894	dbpedia	3	51	https://gaycitynews.com/sir-antony-sher-out-gay-actor-extraordinaire-dies-at-72/	en	Sir Antony Sher, Out Gay Actor Extraordinaire, Dies at 72	https://gaycitynews.com/…-7.jpg?w=900&p=q	https://gaycitynews.com/…-7.jpg?w=900&p=q	[ "https://gaycitynews.com/wp-content/uploads/2022/12/GayCityNews_Logo_H-1.png", "https://gaycitynews.com/wp-content/uploads/2022/12/GayCityNews_Logo_H-1.png", "https://gaycitynews.com/wp-content/uploads/2022/12/GayCityNews_Logo_H-1.png", "https://gaycitynews.com/wp-content/uploads/2022/12/GayCityNews_Logo_H-1.png", "https://gaycitynews.com/wp-content/uploads/2022/12/GayCityNews_Logo_H-1.png", "https://gaycitynews.com/wp-content/uploads/2022/12/GayCityNews_Logo_H-1.png", "https://gaycitynews.com/wp-content/uploads/2019/12/gcn-logo-touch-180x180-1.png", "https://gaycitynews.com/wp-content/uploads/2021/12/unnamed-7.jpg?w=900", "https://www.gaycitynews.com/wp-content/uploads/2021/12/unnamed-8.jpg", "https://www.gaycitynews.com/wp-content/uploads/2021/12/Sher-Gay-USA-July-2005.jpg", "https://events.amny.com/wp-content/uploads/2024/08/Maryam-Eisler-1.png?w=700", "https://events.amny.com/wp-content/uploads/2024/07/unnamed.png?w=466", "https://events.amny.com/wp-content/uploads/2023/10/to-do-logo-day-placeholder.jpg?w=700", "https://events.amny.com/wp-content/uploads/2021/07/ba-dum-tishh-placeholder-1.gif?w=700", "https://events.amny.com/wp-content/uploads/2024/08/Nightcap-300x200-1.png?w=192&h=192&crop=1", "https://events.amny.com/wp-content/uploads/2024/08/PigIslandSocial_Square-2_5d3653.png?w=700", "https://gaycitynews.com/wp-content/uploads/2024/08/tvBTp3B.png?w=192&h=192&crop=1", "https://www.fireislandnews.com/wp-content/uploads/2024/08/master-pnp-van-5a51000-5a51600-5a51683u.jpg?w=829", "https://gaycitynews.com/wp-content/uploads/2024/08/Torched.jpg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/08/L-ILE-ROUGE_0128775.jpg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/08/Close-to-You_239_709f_0944828.jpg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/08/image-1.png?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/08/GVZi67aaMAAFyJu.jpeg?w=192&h=192&crop=1", "https://www.longislandpress.com/wp-content/uploads/2024/08/IMG_3480-1.jpg?w=1024", "https://gaycitynews.com/wp-content/uploads/2024/08/FA4938F7-CE8C-4B6D-874E-478EF5A23CA9.webp?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/08/53829006445_2dc8478892_k.jpg?w=192&h=192&crop=1", "https://www.brooklynpaper.com/wp-content/uploads/2024/08/pride-vandalism.jpg?w=901", "https://gaycitynews.com/wp-content/uploads/2024/08/Rockaway_Parkway_vc.jpg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/06/AP24169752842351.jpg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/06/IMG_6108.jpeg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/05/Screen-Shot-2024-05-30-at-5.46.41-PM.png?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/08/20240608_1736320.jpg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/07/IMG_3043.webp?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/07/Dean-Patrick-Malloy-2-2.jpg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/07/WHyWwtn8_400x400.jpg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2024/06/IMG_0105.jpeg?w=192&h=192&crop=1", "https://gaycitynews.com/wp-content/uploads/2018/08/glines-remembrance-2018-08-16-gcn01_z.jpg?w=700", "https://gaycitynews.com/wp-content/uploads/2014/04/KENNERLEY-valentina-IS.jpg?w=604", "https://gaycitynews.com/wp-content/uploads/2019/12/gcn-placeholder.png?w=700", "https://gaycitynews.com/wp-content/uploads/2013/06/ASSEMBLED-Jessica-Hecht-Judith-Light-BY-RICHARD-GREENBERG-IS.jpg?w=600", "https://www.brooklynpaper.com/wp-content/uploads/2024/08/image_50391553.jpg?w=700", "https://www.bxtimes.com/wp-content/uploads/2024/08/GettyImages-1139402624-1.jpg?w=700", "https://www.caribbeanlife.com/wp-content/uploads/2024/08/new-york-inaugural-bouyon-festival-2024-08-29-tk-cl01.jpg?w=525", "https://www.amny.com/wp-content/uploads/2024/08/Screenshot-2024-08-28-173900.png?w=700" ]	[]	[]	[ "" ]	null	[ "Andy Humm" ]	2021-12-05T16:45:24-05:00	When actor Antony Sher, who died December 2 at 72, had his breakout role as Richard III in 1985, he won the Olivier Award (London’s Tony) for that and for	en	https://gaycitynews.com/…logo-32x32-1.png	Gay City News	https://gaycitynews.com/sir-antony-sher-out-gay-actor-extraordinaire-dies-at-72/	When actor Antony Sher, who died December 2 at 72, had his breakout role as Richard III in 1985, he won the Olivier Award (London’s Tony) for that and for originating the role of Arnold in Harvey Fierstein’s “Torch Song Trilogy” in the West End that same year. While Sher had a long-term male partner at the time and had already been part of the Gay Sweatshop fringe theatre troupe with out gay actor Simon Callow in the 1970s, like most gay actors of that time (and many still today) he was not out publicly. He nevertheless said in his acceptance speech, “I’m very happy to be the first actor to win an award for playing both a king and a queen.” Sher would go on to distinguish himself as one of the greatest classical actors of our time at the Royal Shakespeare Company (RSC) starting in 1982. When he played Shylock in 1987, he met Gregory Doran in the production and soon partnered with him romantically and they became a famous out gay couple. Doran went on to become a director — often of Sher — and eventually artistic director of the RSC until he took a leave of absence in September to care for Sher, ill with terminal cancer, in his final months. The men were the first same-sex couple to get a civil partnership in the UK in 2005 and they married when it became legal ten years later. I had the privilege of seeing his Falstaff and King Lear here at the Brooklyn Academy of Music and his Prospero, a production in London of “The Tempest” reflective of his South African roots. I also saw him in an intimate revival of Arthur Miller’s “Broken Glass” at the Tricycle Theatre in London as a conflicted Jew in the US during the time of Hitler’s rise. But nowhere was his brilliance, heart, and soul more on display than in his own adaptation of the searing memoir of Holocaust survivor Primo Levi (1919-1987), “If This is a Man,” about how he survived Nazi barbarism in Auschwitz. But just as the AIDS pandemic was cresting in 1995, in the movie “Alive and Kicking” he took on the role of a gay social worker who has an affair with a beautiful young dancer (Jason Flemyng) who is dying of AIDS but angrily fights the limits it puts on his art — a powerful and brave work by Martin Sherman, who also did “Bent.” Sher was born on June 14, 1949 in Cape Town, South Africa and moved to England at 19. He told The Guardian, “I looked around me and I didn’t see any Jewish leading men in the classical theatre, so I thought it best to conceal my Jewishness. Also, I quickly became conscious of apartheid when I arrived here, and I didn’t want to be known as a white South African… Then there was my sexuality. The theatre was full of gay people, but none of them were out… Each of these things went into the closet until my entire identity was in the closet.” But as he grew as an actor and as a person, he embraced his gay and Jewish identities, took roles reflecting them, and joined the fight against apartheid back home, among many other civil rights causes. He also embraced painting as a therapy to overcome a cocaine addiction. And he was an award-winning writer including “The Year of the King” (1985), about his work on “Richard III,” which has become an actor’s bible along with his later takes on doing Falstaff and Lear. Sher was knighted for his services to theater in 2000. His husband Doran, also knighted, told The Guardian, “On stage he was volcanic, but off he was quiet, thoughtful, and not terribly outgoing and maybe that was attractive to me.” Veteran critic Michael Billington called him “a man of staggering versatility.” Helen Mirren wrote she was “devastated” by his passing and recalled their first encounter at the read-through of a David Hare play in the 1970s: “I read the first words of our scene together and he answered. I raised my eyes above the pages to look at him more precisely, as with simply those minimal words I immediately realized I was opposite a great actor.” Harvey Fierstein posted on Facebook, “Brilliant, kind, funny, actor, writer, painter Antony Sher is gone. I was honored to have him star in TORCH SONG TRILOGY in London. Poorer us.”
5894	dbpedia	2	66	https://www.thetimes.com/culture/theatre-dance/article/gregory-doran-on-the-death-of-his-husband-antony-sher-and-why-its-time-to-leave-the-rsc-2696ttm62	en	Gregory Doran on the death of his husband Antony Sher and why it’s time to leave the RSC	https://www.thetimes.com…C730&resize=1200	https://www.thetimes.com…C730&resize=1200	[ "https://www.thetimes.com/d/img/TimesBrandMark-748c3b1679.webp", "https://www.thetimes.com/d/img/TimesBrandMark-748c3b1679.webp", "https://www.thetimes.com/d/img/logos/times-white-small-f4ad00a748.png", "https://www.thetimes.com/imageserver/image/%2Fmethode%2Ftimes%2Fprod%2Fweb%2Fbin%2Fcde715e6-cc7f-11ec-b225-ba85b2bd8624.jpg?crop=5474%2C3079%2C528%2C730&resize=360", "https://www.thetimes.com/d/img/puzzles/new-illustrations/crossword-c7ae8934ef.png", "https://www.thetimes.com/d/img/puzzles/new-illustrations/polygon-875ea55487.png", "https://www.thetimes.com/d/img/puzzles/new-illustrations/sudoku-ee2aea0209.png", "https://www.thetimes.com/imageserver/image/%2Fmethode%2Ftimes%2Fprod%2Fweb%2Fbin%2F250be494-47a5-11ea-a5b7-24df8ee7a872.jpg?crop=3725%2C2095%2C556%2C1196", "https://www.thetimes.com/imageserver/image/%2Fmethode%2Ftimes%2Fprod%2Fweb%2Fbin%2Fe82b5ce8-746c-11ec-89e9-22d3d9c31ba2.jpg?crop=1449%2C815%2C34%2C530", "https://www.thetimes.com/imageserver/image/%2Fmethode%2Ftimes%2Fprod%2Fweb%2Fbin%2F50bc808a-885d-11ec-a837-0153f5f4adaf.jpg?crop=1600%2C900%2C0%2C0", "https://www.thetimes.com/d/assets/dual-masthead-bcc5303ae7.png", "https://www.thetimes.com/d/assets/ipso-f7843bf2cd.png" ]	[]	[]	[ "" ]	null	[ "Dominic Maxwell" ]	2022-05-05T16:00:00+00:00	When Gregory Doran went back to work recently, after months away first caring for and then grieving for his husband Antony Sher, it was to direct one of the pla	en	/store/favicon-32x32.png		https://www.thetimes.com/culture/theatre-dance/article/gregory-doran-on-the-death-of-his-husband-antony-sher-and-why-its-time-to-leave-the-rsc-2696ttm62	When Gregory Doran went back to work recently, after months away first caring for and then grieving for his husband Antony Sher, it was to direct one of the plays most closely associated with the South African-born actor. Sher, who died of liver cancer at 72 last December, had a big hit in 1984 playing Richard III for the RSC. He also wrote a celebrated book about the experience, Year of the King. “It’s weird doing this play because of Tony having his fingerprints all over it,” says Doran, 63, in a lunch break from rehearsals in Stratford. And those fingerprints are literal as well as metaphorical. Earlier this year Arthur Hughes, the actor playing Richard, went round to Doran and Sher’s cottage on
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His father was of Irish and German ancestry, while his maternal grandparents were Jewish emigrants from Minsk, Belarus. Harrison was a lackluster student at Maine Township High School East in Park Ridge Illinois (no athletic star, never above a C average). After dropping out of Ripon College in Wisconsin, where he did some acting and later summer stock, he signed a Hollywood contract with Columbia and later Universal. His roles in movies and television (Der Chef (1967), Die Leute von der Shiloh Ranch (1962)) remained secondary and, discouraged, he turned to a career in professional carpentry. He came back big four years later, however, as Bob Falfa in American Graffiti (1973). Four years after that, he hit colossal with the role of Han Solo in Star Wars: Episode IV - Eine neue Hoffnung (1977). Another four years and Ford was Indiana Jones in Jäger des verlorenen Schatzes (1981). Four years later and he received Academy Award and Golden Globe nominations for his role as John Book in Der einzige Zeuge (1985). All he managed four years after that was his third starring success as Indiana Jones; in fact, many of his earlier successful roles led to sequels as did his more recent portrayal of Jack Ryan in Die Stunde der Patrioten (1992). Another Golden Globe nomination came his way for the part of Dr. Richard Kimble in Auf der Flucht (1993). He is clearly a well-established Hollywood superstar. He also maintains an 800-acre ranch in Jackson Hole, Wyoming. Ford is a private pilot of both fixed-wing aircraft and helicopters, and owns an 800-acre (3.2 km2) ranch in Jackson, Wyoming, approximately half of which he has donated as a nature reserve. On several occasions, Ford has personally provided emergency helicopter services at the request of local authorities, in one instance rescuing a hiker overcome by dehydration. Ford began flight training in the 1960s at Wild Rose Idlewild Airport in Wild Rose, Wisconsin, flying in a Piper PA-22 Tri-Pacer, but at $15 an hour, he could not afford to continue the training. In the mid-1990s, he bought a used Gulfstream II and asked one of his pilots, Terry Bender, to give him flying lessons. They started flying a Cessna 182 out of Jackson, Wyoming, later switching to Teterboro, New Jersey, flying a Cessna 206, the aircraft he soloed in. Ford is an honorary board member of the humanitarian aviation organization Wings of Hope. On March 5, 2015, Ford's plane, believed to be a Ryan PT-22 Recruit, made an emergency landing on the Penmar Golf Course in Venice, California. Ford had radioed in to report that the plane had suffered engine failure. He was taken to Ronald Reagan UCLA Medical Center, where he was reported to be in fair to moderate condition. Ford suffered a broken pelvis and broken ankle during the accident, as well as other injuries. Richard Crispin Armitage was born and raised in Leicester, England, to Margaret (Hendey), a secretary, and John Armitage, an engineer. He attended Pattison College in Binley Road, Coventry, where he discovered his love for acting. He took part in many theatre productions all over the UK, from musical theatre (Cats) to classical theatre (Death of a Salesman). He enrolled at LAMDA in 1995 and starred in The Cherry Orchard and The Normal Heart among others. He started working in cinema in 1999 with some small roles in Star Wars: The Phantom Menace, Cleopatra and Lover oder Loser (1999). In 2000 he took part in the RSC Macbeth tour of the USA and Japan with Antony Sher as the lead actor. In 2002, he had a breakthrough with his role as the charming but a bit odd character John Standring in Sparkhouse (2002), a BBC Miniseries in three parts, opposite Sarah Smart. After two guest-roles in Cold Feet (1997) in 2003 and Between the Sheets (2003), he landed a role as Steven in Frozen (2005). In 2004, he became famous throughout the whole UK with his role of mill-owner John Thornton in Elisabeth Gaskell's North and South (2004) (BBC). He landed a key role in BBC Robin Hood from 2006 to 2009 as the dark and evil Guy of Gisborne, then from 2008 to 2010 he played Lucas North in the successful British series Spooks (MI-5 in the USA). He kept working on British TV (Strike Back: Origins in 2010) and had a small but pivotal role in Captain America: the first Avenger, till he became known worldwide with his role of Thorin Oakenshield in Peter Jackson's trilogy of The Hobbit (2012/2014), for which he received a Saturn Award. In 2014 he was the protagonist of Yael Farber's acclaimed version of Arthur Miller's The Crucible at the Old Vic in London, for which role he was nominated for an Olivier Award. He starred in the third season of Hannibal (2015) in the role of serial killer Francis Dolarhyde, which got him another Saturn Award. In 2016 he starred in the Epix original series Berlin Station in the lead role of Daniel Miller, and in the same year he received many positive reviews for his role of Kenneth in Mike Bartlett's Love, love, love for Roundabout Theatre in NYC. In 2017 He worked on Ocean's Eight, and on the second season of Berlin Station. In July 2017 the film Pilgrimage came out with many positive reviews. He has narrated several audio books with Audible, for which he has received two nominations for an Audie Award. He has recently given the voice to Trevor Belmont in the series Castlevania on Netflix. Initially an indie film favorite, actor Jon Favreau has progressed to strong mainstream visibility into the millennium and, after nearly two decades in the business, is still enjoying character stardom as well as earning notice as a writer/producer/director. The amiable, husky-framed actor with the tight, crinkly hair was born in Queens, New York on October 19, 1966, the only child of Madeleine (Balkoff), an elementary school teacher, and Charles Favreau, a special education teacher. His father has French-Canadian, German, and Italian ancestry, and his mother was from a Russian Jewish family. He attended the Bronx High School of Science before furthering his studies at Queens College in 1984. Dropping out just credits away from receiving his degree, Jon moved to Chicago where he focused on comedy and performed at several Chicago improvisational theaters, including the ImprovOlympic and the Improv Institute. He also found a couple of bit parts in films. While there, he earned another bit role in the film, Touchdown - Sein Ziel ist der Sieg (1993), and met fellow cast mate Vince Vaughn. Their enduring personal friendship would play an instrumental role in furthering both their professional careers within just a few years. Jon broke into TV with a role on the classic series, Seinfeld (1989) (as "Eric the Clown"). After filming rudimentary roles in the movies Mrs. Parker und ihr lasterhafter Kreis (1994), Notes from Underground (1995) and Batman Forever (1995), he decided to do some risk taking by writing himself and friend Vaughn into what would become their breakthrough film. Swingers (1996), which he also co-produced, centers on Jon as a luckless, struggling actor type who is emotionally shattered after losing his girlfriend, but is pushed back into the L.A. social scene via the help of cool, worldly, outgoing actor/buddy Vaughn. These two blueprint roles went on to define the character types of both actors on film. In 1997, Jon appeared favorably on several episodes of the popular TV sitcom, Friends (1994), as "Pete Becker", the humdrum but extremely wealthy suitor for Courteney Cox's "Monica" character, and also appeared to fine advantage on the Tracey Takes On... (1996) comedy series. He later took on the biopic mini-movie, Rocky Marciano (1999), portraying the prizefighter himself in a highly challenging dramatic role and received excellent reviews. Other engagingly offbeat "everyman" films roles came Jon's way -- the ex-athlete in the working class film, Dogtown (1997); a soon-to-be groom whose bachelor party goes horribly awry in the comedy thriller Very Bad Things (1998); a newlywed opposite Famke Janssen in Love & Sex (2000); a wild and crazy linebacker in Helden aus der zweiten Reihe (2000); as Ben Affleck's legal partner in Daredevil (2003); and another down-and-out actor in The Big Empty (2003). He wrote and directed himself and Vaughn as two fellow boxers who involve themselves in criminal activity in Made (2001). Both he and Vaughn produced. He also directed the highly popular Will Ferrell comedy Buddy - Der Weihnachtself (2003), in which he had a small part. Jon went on to re-team favorably with his friend, Vince Vaughn, who enjoyed a meteoric rise into the comedy star ranks, in such light-weight features as Trennung mit Hindernissen (2006), Mein Schatz, unsere Familie und ich (2008) and All Inclusive (2009), the last of which he co-wrote with Vaughn. Jon has made even greater strides as a writer, producer and/or director in recent years with the exciting mega-box office action-packed Iron Man (2008), starring Robert Downey Jr., and its sequels, Iron Man 2 (2010) and Iron Man 3 (2013). Jon's character of "Happy Hogan" would be featured in a number of Marvel Comic adventures. Other offerings behind the scenes have included the adventure dramedy Kiss the Cook: So schmeckt das Leben (2014), in which he also starred in the title role; the revamped film version of The Avengers (2012) also starring Downey Jr., and it's sequels Avengers: Age of Ultron (2015), Avengers: Infinity War (2018) and Avengers: Endgame (2019); and the animated Disney features The Jungle Book (2016) and Der König der Löwen (2019) and the TV series The Chef Show (2019). Favreau's marriage to Joya Tillem on November 24, 2000, produced son Max and two daughters, Madeleine and Brighton Rose. Joya is the niece of KGO (AM) lawyer and talk show host, Len Tillem. On the sly, the actor/writer/producer/director enjoys playing on the World Poker Tour. An imposing figure (standing at 6'3") with intense, penetrating eyes and possessed of a larger-than-life personality, the actor George Raymond Stevenson began life as one of three sons, born in County Antrim, Northern Ireland, to a British pilot in the Royal Air Force. Raised near Newcastle in England after the family relocated, he initially studied art and worked for some time as an interior designer. However, after seeing a play with John Malkovich at the West End, Stevenson became inspired to study drama at the Bristol Old Vic Theatre School. By the time of his graduation in 1993, he had already made his debut on the stage at the Barbican Theatre in London in the plays Temptation and Revenger's Tragedy. He made his first recurring screen appearances in the TV crime drama Band of Gold (1995) (acting alongside his future wife Ruth Gemmell) and as DI Tony Baynham in the BBC procedural police series City Central (1998), which was briefly touted as a rival to The Bill (1984). Though Stevenson first attracted international attention as a dependable Knight of the Round Table in the motion picture King Arthur (2004), it was his charismatic performance as the rascally, hedonistic soldier Titus Pullo in HBO's historical series Rom (2005) which truly put him on the map. More vigorous or pugnacious warrior roles soon came his way, beginning with a starring turn as the titular anti-hero vigilante Frank Castle in the ultra-violent Punisher: War Zone (2008), for which Stevenson put himself through strenuous martial arts and weapons training under the direction of U.S. Force Reconnaissance (FORECON) Marines. Among his subsequent gallery of colourful characters were the powerful Asgardian warrior Volstagg in Marvel's Thor (2011), Thor: The Dark Kingdom (2013), and Thor: Tag der Entscheidung (2017); the relentless enforcer Redridge in The Book of Eli (2010); an Irish mobster challenging the Cleveland Mafia for control of the city's criminal underworld in Bulletproof Gangster (2011); Porthos, one of the Die drei Musketiere (2011); the much feared Blackbeard in Starz's excellent swashbuckling Black Sails (2014), and the enigmatic Anglo-Saxon missionary and explorer Othere in Vikings (2013). Stevenson reserved one of the most compelling performances for the strangely sympathetic Russian gangster Isaak Sirko, chief antagonist in season seven of Dexter (2006), overshadowing even that of the star Michael C. Hall (definitely no mean feat!). Add to that another acting standout as the obsessed, revenge-driven Commander Jack Swinburne in the German-produced World War II drama series Das Boot (2018). Having first joined the Star Wars universe as a voice actor (the Mandalorian Gar Saxon in Star Wars: The Clone Wars (2008)), Stevenson was later cast in the villainous role of dark Force user Baylan Skoll doing battle with the indomitable Ahsoka (2023) Tano (Rosario Dawson), complete with orange/red lightsaber. Stevenson said in a 2020 interview that he had drawn much of his inspiration from veteran tough guys like Lee Marvin and Gene Hackman: "Never a bad performance, and brave and fearless within that caliber. It was never the young, hot leading man; it was men who I could identify with." Tragically, this supremely accomplished and charismatic actor died in Italy on 21 May 2023 while filming Cassino in Ischia, in which he was cast as a fading movie action hero attempting to revive his career. At the time of his passing he was just 58. Titus Welliver was born on March 12, 1962 in New Haven, Connecticut. His father was a famous landscape painter, Neil Welliver. His mother was a fashion illustrator, Norma Cripps. He has three brothers, one was killed overseas. He was raised in Philadelphia and New York City, surrounded by poets and painters. He credits them for his creativity. Originally wanting to be a painter like his father, he later decided to pursue acting. Titus moved to New York in 1980 to learn his craft. He enrolled in classes at New York's HB Acting Studios while attending New York University. To support himself, Titus did a variety of jobs including bartender and construction worker. His first paid acting job was in Navy Seals - Die härteste Elitetruppe der Welt (1990) with Charlie Sheen, playing a redneck in the bar." He soon began to appear in movies, including JFK: Tatort Dallas (1991) and The Doors (1991). While appearing in movies, he continued to work in live theatre. He appeared in stage productions of Riff Raff, American Buffalo, Naked at the Coast, and Shakespeare's Henry IV Parts I and II. During the 1990s, he guest starred on many TV shows like Matlock (1986), L.A. Law: Staranwälte, Tricks, Prozesse (1986), Akte X: Die unheimlichen Fälle des FBI (1993), and Der Polizeichef - Eis im Blut (1991), and appeared in many TV Movies including An American Story (1992) and Spiel auf Leben und Tod (1999). He had recurring roles on Murder One (1995) and High Incident - Die Cops von El Camino (1996). Then he got a regular part on Steven Bochco's Brooklyn South (1997) as Officer Jack Lowery and played a recurring character on Bochco's and David Milch's New York Cops: NYPD Blue (1993). He also had starring roles on Big Apple (2001) and the second season of That's Life (2000) playing Dr. Eric Hackett opposite Paul Sorvino and Ellen Burstyn. In 2004, he got a semi-regular role on David Milch's critically acclaimed HBO drama Deadwood (2004) as Silas Adams. After "Deadwood" ended, he mostly guest starred on TV shows including Law & Order (1990), Jericho - Der Anschlag (2006) and Navy CIS (2003), but also appeared in movies including in Ben Affleck's feature film directorial debut Gone Baby Gone - Kein Kinderspiel (2007). He has appeared in Affleck's The Town - Stadt ohne Gnade (2010) and Argo (2012). He also had recurring roles on Lost (2004) as Man in Black, Sons of Anarchy (2008) as Irish gun kingpin Jimmy O'Phelan, and Good Wife (2009) as Glenn Childs. After "The Good Wife", he had recurring roles on CSI: Vegas (2000), Touch (2012), The Last Ship (2014), Suits (2011) and Marvel's Agents of S.H.I.E.L.D. (2013), but also appeared in The Mentalist (2008) and White Collar (2009). His notable movie roles include in Ein riskanter Plan (2012), Promised Land (2012) and Transformers 4: Ära des Untergangs (2014). In 2014, he was cast as LAPD Homicide Detective Harry Bosch in Bosch (2014), which dropped its sixth season in 2020. Like his father, Neil, Titus is an acclaimed landscape painter, and has had shows in Maine, California and Connecticut. Benicio Del Toro emerged in the mid-1990s as one of the most watchable and charismatic character actors to come along in years. A favorite of film buffs, Del Toro gained mainstream public attention as the conflicted but basically honest Mexican policeman in Steven Soderbergh's Traffic - Macht des Kartells (2000). Benicio was born on February 19, 1967 in San Germán, Puerto Rico, the son of lawyer parents Fausta Genoveva Sanchez Rivera and Gustavo Adolfo Del Toro Bermudez. His mother died when he was young, and his father moved the family to a farm in Pennsylvania. A basketball player with an interest in acting, he decided to follow the family way and study business at the University of California in San Diego. A class in acting resulted in his being bitten by the acting bug, and he subsequently dropped out and began studying with legendary acting teacher Stella Adler in Los Angeles and at the Circle in the Square Acting School in New York City. Telling his parents that he was taking courses in business, Del Toro hid his new studies from his family for a little while. During the late 1980s, he made several television appearances, most notably in an episode of Miami Vice (1984) and in the NBC miniseries Das Camarena-Komplott (1990). Del Toro's big-screen career got off to a slower start, however--his first role was Duke the Dog-Faced Boy in Manege frei für Pee Wee (1988). However, things looked better when he landed the role of Dario, the vicious henchman in the James Bond film James Bond 007 - Lizenz zum Töten (1989). Surprising his co-stars at age 21, Del Toro was the youngest actor ever to portray a Bond villain. However, the potential break was spoiled as the picture turned out to be one of the most disappointing Bond films ever; this was lost amid bigger summer competition. Benicio gave creditable performances in many overlooked films for the next several years, such as Indian Runner (1991), Christopher Columbus - Der Entdecker (1992) and Money for Nothing (1993). His roles in Fearless - Jenseits der Angst (1993) and Eine heiße Affäre (1994) gained him more critical notices, and 1995 proved to be the first "Year of Benicio" as he gave a memorable performance in Unter Haien in Hollywood (1994) before taking critics and film buffs by storm as the mumbling, mysterious gangster in Die üblichen Verdächtigen (1995), directed by Bryan Singer. Del Toro won an Independent Spirit Award for Best Supporting Actor for the role in the Oscar-winning film. Staying true to his independent roots, he next gave a charismatic turn as cold-blooded gangster Gaspare Spoglia in Das Begräbnis (1996) directed by Abel Ferrara. He also appeared as Benny Dalmau in Basquiat (1996), directed by artist friend Julian Schnabel. That year also marked his first truly commercial film, as he played cocky Spanish baseball star Juan Primo in The Fan (1996), which starred Robert De Niro. Del Toro took his first leading man role in Ärger im Gepäck (1997), starring and produced by Alicia Silverstone. Hand-picked by Silverstone, Del Toro's performance was pretty much the only thing critics praised about the film, and showed the level of consciousness he was beginning to have in the minds of film fans. He took a leading role with his good friend Johnny Depp in Angst und Schrecken in Las Vegas (1998), co-written and directed by the legendary Terry Gilliam. Gaining 40 pounds for the role of Dr. Gonzo, the drug-addicted lawyer to sportswriter Raoul Duke, Benicio immersed himself totally in the role. Using his method acting training so far as to burn himself with cigarettes for a scene, this was a trying time for Del Toro. The harsh critical reviews proved tough on him, as he felt he had given his all for the role and been dismissed. Many saw the crazed, psychotic performance as a confirmation of the rumors and overall weirdness that people seemed to place on Del Toro. Taking a short break after the ordeal, 2000 proved to be the second "Year of Benicio". He first appeared in Way of the Gun (2000), directed by friend and writer Christopher McQuarrie. Then he went to work for actor's director Steven Soderbergh in Traffic - Macht des Kartells (2000). A complex and graphic film, this nonetheless became a widespread success and Oscar winner. His role as conflicted Mexican policeman Javier Rodriguez functions as the movie's real heart amid an all-star ensemble cast, and many praised this as the year's best performance, a sentiment validated by a Screen Actor's Guild Award for "Best Actor". He also gave a notable performance in Snatch: Schweine und Diamanten (2000) directed by Guy Ritchie, which was released several weeks later, and Das Versprechen (2001) directed by Sean Penn. Possessing sleepy good looks reminiscent of James Dean or Marlon Brando, Del Toro has often jokingly been referred to as the "Spanish Brad Pitt". With his newfound celebrity, Del Toro has become a sort of heartthrob, being voted one of People magazine's "50 Most Beautiful People" as well as "Most Eligible Bachelors." A favorite of film fans for years for his diverse and "cool guy" gangster roles, he has become a mainstream favorite, respected for his acting skills and choices. So far very careful in his projects and who he works with, Del Toro can boast an impressive resume of films alongside some of the most influential and talented people in the film business. Brian Tee will star opposite Nicole Kidman in the prestige limited series "Expats," as "Clarke Woo" husband to "Margaret" (Kidman), directed by the acclaimed Lulu Wang for Amazon Prime. Tee also stared as Dr. Ethan Choi, on NBC's hit drama "Chicago Med," produced by Dick Wolf and won a 2020 NAMIC Vision Award (Best Performance - Drama) for his work on "Chicago Med." On the big screen Tee has shared his talents in many giant blockbuster movies. Tee is known around the world for his starring role as "D.K. The Drift King," in Universal's franchise "The Fast and the Furious: Tokyo Drift," directed by Justin Lin. He was a lead in FOX's summer hit "The Wolverine," starring Hugh Jackman and Directed by James Mangold. He played "Hamada," the head of park security in Universal Pictures' and Amblin Entertainment's box office smash "Jurassic World." And continuing his tent-pole career, Tee starred in Paramount Pictures' and Michael Bay's "Teenage Mutant Ninja Turtles 2," as the iconic villain "Shredder." As a character leading man, Tee romanced audiences as the lead opposite Anne Heche in the Hallmark movie "One Christmas Eve." He starred in the series "Mortal Kombat: Legacy 2," as "Liu Kang," produced by Warner Brothers, took on a lead role in Lifetime's "The Gabby Douglas Story" as the inspirational Coach "Liang Chow," and also gave a standout comedic performance in Justin Lin's comedy, "Finishing the Game," as the insanely hilarious Vietnam Vet, "Mac Chang." A talent in all genres, Tee gave an unforgettable, heart wrenching performance as "Jimmy Nakayama," in the action drama "We Were Soldiers," opposite Mel Gibson. And on the comedy side, Brian has featured in big budget comedies "Austin Powers: Goldmember," alongside Mike Myers and "Fun with Dick and Jane," with comedy great Jim Carrey. On the small screen, Tee was a series regular playing "EMT Eddie Choi," in "Crash," a STARZ TV series based on the Academy Award winning film. He recurred on the hit NBC series "Grimm," CBS's "Hawaii 5-O," and ABC's "Grey's Anatomy." Tee has made memorable guest star appearances on shows such as "Chicago Fire, Chicago PD, Lucifer, ZOO, Agents of S.H.I.E.L.D, The Lottery, Legends, Beauty and the Beast, Burn Notice, The Good Guys, CSI, Dark Blue, Bones, Lie To Me, Jericho, Entourage, The Unit, Wanted, Without A Trace, JAG, Family Law, The Pretender, and Buffy the Vampire Slayer," among others. As the consummate artist, Tee continued to stretch his range Internationally. He starred in the Korean American romantic comedy indie feature "Wedding Palace," and was the lead villain in Korea's highly anticipated action film "No Tears for the Dead," opposite, Jang, Dong-Gun and Kim, Min-Hee, Directed by the acclaimed Lee, Jeong-Beom ("The Man from Nowhere.") In love with his craft, Tee never stops honing his talents and embraces all mediums. Brian returned to the stage to rave reviews for his lead performance in "Snow Falling on Cedars" at the prestigious Hartford Stage. A Los Angeles native and mixture of multiple Asian descents, Tee is proficient in both Japanese and Korean, and holds a bachelor's degree in Dramatic Arts - Acting from the University of California, Berkeley. His muse is his Family, his amazing wife Mirelly Taylor and magical daughter Madelyn Skyler who are his life's love and inspiration. This stunning and resourceful actress has been primarily a film player thus far. Only recently has she been opening herself up more to doing television (the series Gemini Division (2008), which she executive-produced), and animated voice-overs. Dawson's powerhouse talent stands out the most in edgy, urban filming that dates back to 1995 when she was only sixteen. A rags-to-riches article entitled "Rosario Dawson: From Tenement to Tinseltown" probably says it all. Rosario was born on May 9, 1979 in New York City. Her mother, Isabel Celeste, of Puerto Rican and Afro-Cuban descent, is a singer, and her stepfather, who raised her, Greg Dawson, of Irish descent, is a construction laborer. Her parents, who married when both were teenagers, eventually divorced. Rosario and her younger brother, Clay Dawson, had it hard while growing up, and were cared for by family members, most of whom were poverty-stricken, and some of whom were HIV-positive. Her career actually started as a child when she made a minor showing on the children's show, Sesamstraße (1969). As the story goes, she was "discovered" as an adolescent on her front porch step by two photographers. One of them, Harmony Korine, was an aspiring screenwriter who thought the inexperienced sixteen-year-old was ideal for the controversial cult film Kids (1995), in which she would portray a sexually active adolescent. It took time for Rosario's film career to kick in after that, but by the late 1990s, she had nabbed several independent films. Since then, she has moved into main-stream hits (and misses) and has surprised viewers with her earthy, provocative, uninhibited approach to her roles. Reflecting New York's tougher, tawdrier side as assorted streetwalkers, homeless mothers, drug addicts, etc., her film highlights have included Light It Up (1999), Edward Burns' Seitensprünge in New York (2001), Spike Lee's 25 Stunden (2002) and Shattered Glass (2003). For Oliver Stone, she portrayed the duped bride of Colin Farrell's famed B.C. Macedonian warrior, Alexander (2004) (as in "...the Great"), which featured a notoriously violent-tinged nude/sex scene. Expanding her horizons beyond film, she has always expressed interest in singing. She hooked up with Prince for the re-release of his 1980s hit "1999" and appeared in The Chemical Brothers' video for the song "Out of Control" from the album "Surrender". She is also featured on the Outkast track, "She Lives in My Lap". On stage, she co-starred as Julia in a revival of "Two Gentlemen of Verona" at the Public Theater's "Shakespeare in the Park" and appeared in "The Vagina Monologues". She lucked into and got to show off her singing chops in the film adaptation of the hit New York musical Rent (2005), when Daphne Rubin-Vega, the original Mimi, became pregnant and was unable to reprise her exotic dancer role. Rosario also appeared as a prostitute in the adaptation of the graphic novel Sin City (2005). Of late, she has turned to producing. One of those, Descent (2007), had her playing a college coed who is brutally attacked and raped by a fellow student. Her more popular ventures have thus far included the role of Valerie Brown in the live-action version of the comic strip Josie and the Pussycats (2001), the Will Smith starrer Men in Black 2 (2002), Eagle Eye - Außer Kontrolle (2008) with Shia LaBeouf and Sieben Leben (2008), again with Smith, in which she offered one of her more tender-hearted performances as a woman with a potentially fatal heart condition. More recent millennium films opposite some of Hollywood's top leading movie men include the tense actioneer Unstoppable - Außer Kontrolle (2010) with Denzel Washington and Chris Pine; the comedy/fantasy Der Zoowärter (2011) opposite Dalekmania (1995); romantic dramedy 10 Jahre - Zauber eines Wiedersehens (2011) with Channing Tatum; crime drama Fire with Fire - Rache folgt eigenen Regeln (2012) with Bruce Willis; romantic comedy Top Five (2014) with Chris Rock; and action adventure Zombieland 2: Doppelt hält besser (2019) with Woody Harrelson. She has also top-lined independent films with her own feisty characters such as the thriller Unforgettable - Tödliche Liebe (2017) and the title role in the dramedy Krystal (2017). Focusing also on TV projects, Rosario has graced such action series/mini-series as Marvel's Daredevil (2015), Marvel's Iron Fist (2017) and Marvel's The Defenders (2017), as well as the comedy Jane the Virgin (2014) and animated cartoon series Jack, der Monsterschreck (2019). Off-camera, the still-single Dawson is highly active in political, social and environmental causes and has been involved with such organizations/charities/campaigns as the Lower East Side Girls Club, Global Cool, the O.N.E. Campaign, Oxfam, Amnesty International, Parents, Families and Friends of Lesbians and Gays, Control Arms, International Rescue Committee, Voto Latino (which she founded), Conservation International, Doctors Without Borders, National Geographic Society, The Nature Conservancy and Save the Children. In October 2008, she lent her voice to the RESPECT! Campaign, a movement aimed at preventing domestic violence. English film actor, director and author Andy Serkis is known for his performance capture roles comprising motion capture acting, animation and voice work for such computer-generated characters as Gollum in The Lord of the Rings film trilogy (2001-2003) and Der Hobbit: Eine unerwartete Reise (2012), the eponymous King Kong in the 2005 film, Caesar in Planet der Affen: Prevolution (2011) and Planet der Affen: Revolution (2014), Captain Haddock / Sir Francis Haddock in Steven Spielberg's Die Abenteuer von Tim und Struppi - Das Geheimnis der Einhorn (2011) and Supreme Leader Snoke in Star Wars - Episode VII: Das Erwachen der Macht (2015). Serkis earned a Golden Globe Award nomination for his portrayal of serial killer Ian Brady in the British television film Die Moormörderin von Manchester (2006), and was nominated for a BAFTA Award for his portrayal of new wave and punk rock musician Ian Dury in the biopic Sex & Drugs & Rock & Roll (2010). In 2015, he had a small role in Avengers: Age of Ultron (2015). Serkis has his own motion capture workshop, The Imaginarium Studios in London, which he will use for his directorial debut, Mogli: Legende des Dschungels (2018). Andrew Clement G. Serkis was born April 20, 1964, in Ruislip Manor, West London, England. He has three sisters and a brother. His father, Clement Serkis, an ethnic Armenian whose original family surname was Serkissian, was a medical doctor working abroad, in Iraq; the Serkis family spent time around the Middle East, and for the first ten years of his life, Andy traveled between Baghdad and London. His mother, Lylie (Weech), who is British-born, was busy working as a special education teacher of handicapped children, so Andy and his four siblings were raised with au pairs in the house. Young Serkis wanted to be an artist; he was fond of painting and drawing, and visualized himself working behind the scenes. He attended St. Benedict's School, a Roman Catholic School for boys at the Benedictine Abbey in London. Serkis studied visual arts at Lancaster University in the north-west of England. There, he became involved in mechanical aspects of the theatre and did stage design and set building for theatrical productions. Then, Serkis was asked to play a role in a student production, and made his stage debut in Barrie Keeffe's play, "Gotcha"; thereafter, he switched from stage design to acting, which was a real calling that transformed his life. Instead of going to an acting college, Serkis, in 1985, began his professional acting career at the Duke's Playhouse in Lancaster, where he was given an Equity card and performed in fourteen plays, one after another, as an apprentice of Jonathan Petherbridge. After that, he worked in touring theatre companies, doing it for no money, fueled by a sense of enthusiasm, moving to a new town every week. He has thus appeared in a host of popular plays and on almost every renowned British stage. In 1989, he appeared in a stage production of William Shakespeare's "Macbeth", so beginning his long association with the Royal Exchange Theatre, Manchester, where he would return many times, to appear in "She Stoops to Conquer", "Your Home in the West" and the "True Nature of Love", among other plays. In the 1990s, Serkis began to make his mark on the London stage, appearing at the Royal Court Theatre as "The Fool" in "King Lear", making his interpretation of "The Fool" as the woman that "Lear", a widower, could relate to - a man, in drag, as a Victorian musician. He also appeared as "Potts" in the hit play, "Mojo", playing in front of full houses and earning huge critical success. In 1987, Serkis made his debut on television, and he acted in several major British TV miniseries throughout the 1990s. In 1999, Andy Serkis landed the prize role of "Gollum" in Peter Jackson's epic film trilogy based on J.R.R. Tolkien's saga, "The Lord of the Rings". He spent four years in the part and received awards and nominations for his performance as "Gollum", a computer-generated character in Der Herr der Ringe: Die Rückkehr des Königs (2003), which won 11 Oscars. "Gollum" was the collaborative team's effort around Serkis's work in performance capture - an art form based on CGI-assisted acting. Serkis's work was an interactive performance in a skin-tight CGI suit with markers allowing cameras to track and register 3D position for each marker. Serkis' every nuance was picked up by several cameras positioned at precisely calculated angles to allow for the software to see enough information to process the image. The images of Serkis' performances were translated into the digital format by animators at Weta Digital studio in New Zealand. There, his image was key-frame animated and then edited into the movie, Serkis did have one scene in "The Return of the King" showing how he originally had the ring, killing another hobbit to posses it after they found it during a fishing trip. He drew from his three cats clearing fur balls out of their throats to develop the constricted voice he produced for "Gollum" and "Sméagol", and it was also enhanced by sound editing in post-production. Serkis spent almost two years in New Zealand and away from his family, and much of 2002 and 2003 in post-production studios for large periods of time, due to complexity of the creative process of bringing the character of "Gollum" to the screen. Serkis had to shoot two versions for every scene; one version was with him on camera, acting with (chiefly) Elijah Wood and Sean Astin, which served both to show Wood and Astin the moves so that they could precisely interact with the movements of "Gollum", and to provide the CGI artists the subtleties of Gollum's physical movements and facial expressions for their manual finishing of the animated images. In the other version, he'd go the voice off-camera, as Wood and Astin repeated their movements as though "Gollum" were there with them; that take would be the basis for inserting the CGI Gollum used in the released movie. In post-production, Serkis was doing motion-capture wearing a skintight motion capture suit with CGI gear while acting as a virtual puppeteer redoing every single scene in the studio. Additional CGI rotomation was done by animators using the human eye instead of the computer to capture the subtleties of Serkis' performance. Serkis also used this art form in his performance as "Kong" in King Kong (2005), which won him a Toronto Film Critics Association Award (2005) for his unprecedented work helping to realize the main character in "King Kong", and a Visual Effects Society Award (2006) for Outstanding Animated Character in a Live Action Motion Picture. Apart from his line of CGI-driven characters, Serkis continued with traditional acting in several leading and supporting roles, such as his appearances as "Richard Kneeland" opposite Jennifer Garner in 30 über Nacht (2004), and "Alley" opposite David Bowie in Prestige - Die Meister der Magie (2006), among other film performances. On television, he starred as 'Vincent Van Gogh' in the sixth episode of Simon Schama's Power of Art (2006), the BBC2 series about artists. Serkis is billed as "Capricorn" in the upcoming adventure film, Tintenherz (2008). At the same time, he continued the development of performance capture while expanding his career into computer games. He starred as "King Bothan" in the martial arts drama, Heavenly Sword (2007), a Playstation 3 title, for which he provided a basis for his in-game face and also acts as a dramatic director on the project. Andy Serkis married actress and singer Lorraine Ashbourne, and the couple have three children: daughter Ruby Serkis (born in 1998), and two sons Sonny Serkis (born in 2000) and Louis Ashbourne Serkis (born on 19 June 2004), who is now also a movie star. Away from acting, Andy Serkis is an accomplished amateur painter. Since his school years at Lancaster, being so close to the Lake District, Serkis developed his other passion in life: mountaineering. He is a pescetarian. Serkis has been active in charitable causes, such as The Hope Foundation, which provides essential life-saving medical aid for children suffering from Leukemia and children from countries devastated by war. In October 2006, he was a presenter at the first annual British Academy Video Games Awards at the Roundhouse, London. Andy Serkis lives with his family in North London, England.
5894	dbpedia	2	89	https://www.standard.co.uk/culture/theatre/antony-sher-and-gregory-doran-you-pull-each-other-through-the-dark-times-it-makes-you-strong-10246298.html	en	Antony Sher and Gregory Doran: ‘You pull each other through the dark times. It makes you strong’	https://static.standard.…=webp&quality=75	https://static.standard.…=webp&quality=75	[ "https://static.standard.co.uk/s3fs-public/thumbnails/image/2015/05/13/10/89sherdoran1305a.jpg?crop=8:5,smart&quality=75&auto=webp&width=1000", "https://static.standard.co.uk/s3fs-public/thumbnails/image/2015/04/02/10/AN66733770Death-of-a-Salesm.png?quality=75&auto=webp&width=960", "https://static.standard.co.uk/s3fs-public/thumbnails/image/2015/08/04/10/dearlupin0408a.jpg?crop=8:5,smart&quality=75&auto=webp&width=960", "https://www.standard.co.uk/?crop=8:5,smart&quality=75&auto=webp&width=960", "https://www.standard.co.uk/?crop=8:5,smart&quality=75&auto=webp&width=960", "https://www.standard.co.uk/img/eros.png", "https://www.independent.co.uk/vouchercodes/static/shop/20316/logo/tui_discount_codes.png?width=132&format=pjpg&auto=webp&quality=60", "https://www.independent.co.uk/vouchercodes/static/shop/21182/logo/ASOS_discount_code.png?width=132&format=pjpg&auto=webp&quality=60", "https://www.independent.co.uk/vouchercodes/static/shop/20322/logo/Travelodge_discount_code_logo_2023.png?width=132&format=pjpg&auto=webp&quality=60", "https://www.independent.co.uk/vouchercodes/static/shop/21183/logo/The_Body_Shop_Discount_Code_.png?width=132&format=pjpg&auto=webp&quality=60", "https://www.independent.co.uk/vouchercodes/static/shop/21267/logo/The_Perfume_Shop_logo.png?width=132&format=pjpg&auto=webp&quality=60" ]	[]	[]	[ "" ]	null	[ "Patricia Nicol" ]	2015-05-14T09:33:53+00:00	Antony Sher and Gregory Doran, theatre’s leading gay power couple, have been together for 28 years. Both on and off the stage they trust each other ‘beyond any description’, they tell Patricia Nicol	en	/img/shortcut-icons/favicon.ico	Evening Standard	https://www.standard.co.uk/culture/theatre/antony-sher-and-gregory-doran-you-pull-each-other-through-the-dark-times-it-makes-you-strong-10246298.html	Antony Sher and Gregory Doran, theatre’s leading gay power couple, have been together for 28 years. Both on and off the stage they trust each other ‘beyond any description’, they tell Patricia Nicol Work doesn't come home: Anthony Sher and Gregory Doran of the Royal Shakespeare Company at the Noel Coward Theatre (Picture: Rebecca Reid) Patricia Nicol14 May 2015 It turns out that plays move home with just as much anxiety as we do. The foyer of the Noël Coward Theatre is piled high with silver trunks. Designer Stephen Brimson Lewis emerges from the royal circle looking fraught. “My furniture didn’t look that big in Stratford,” he whispers, gesturing towards a Forties tenement rising up from the stage. Yet when they arrive in the chintzy sitting room of the theatre’s royal box, Antony Sher and artistic director of the Royal Shakespeare Company, Gregory Doran, seem happily impervious to the hammering and drilling going on in the auditorium behind them. Everything will be in place by tonight, the official opening of the West End transfer of Arthur Miller’s Death of a Salesman, starring Sher as the embattled Willy Loman and Harriet Walter as Loman’s wife Linda. It is, insists Sher, sheer luck that he and Doran — a couple for 28 years — have been doing so much work together recently. “Both times one of us stepped in,” he explains. Sher has just published The Year of the Fat Knight: the Falstaff Diaries, his journal and sketches from last year. In the book he explains he only ended up playing Shakespeare’s roguish senior citizen in Doran’s well-received Henry IV Parts I and II (at the Barbican in December) because Ian McKellen suggested it, after rejecting the part himself. Another director, meanwhile, would have steered Sher in Miller’s great American tragedy had the late playwright’s estate allowed it. Sher on Stage: Antony Sher as Willy Loman with Harriet Walter as Linda Loman in Death of a Salesman Something the couple had long planned to do together is next year’s King Lear, to mark the 400th anniversary of Shakespeare’s death. Now, with Falstaff, Loman and Lear, Sher, who turns 66 next month, will present a compelling triptych of failing ageing men. Sher was already a star, playing Shylock for the RSC, when he met Doran, then also an actor “giving my Solanio”, 10 years his junior. Did their eyes meet across the boards? “For me it was very swift and very deep,” recalls Doran dreamily. “This month, 28 years ago.” They will also celebrate the 10th anniversary of their civil partnership this December, though, says Sher: “That was just the law catching up with us. “In the worst days of Aids there were terrible stories about gay men being ill in hospital and families not letting their partners visit them or go to the funeral. Our families are very close but it still feels the most valuable thing to have that next-of-kin status.” It is worth pausing here to think of the progress our country — and Sher’s native South Africa — have made since he arrived here in 1968. “It’s amazing,” he says. “This journey in my short life from complete illegality where I was brought up to us being able to have a civil partnership — extraordinary.” Sher was 19, a Jewish boy from Cape Town, fresh from national service in apartheid-era South Africa, when he came to London to audition for drama school. It was only a year after the Sexual Offences Act 1967 had decriminalised homosexuality for consenting over-21-year-olds. “Oh, was I breaking the law then?” he asks his partner impishly. If he was, he did so, covertly: at the time Sher closeted his homosexuality (also, that he was Jewish and South African) and married a student girlfriend. “I now look back and think what a terrible waste of time and energy to try and be what you’re not,” he says. Doran feels that “in a soft political way” it has always been important for he and Sher to be open about their relationship. Latest theatre reviews Doran took over at the RSC in January 2013. They refer to it as “The Job”, which comes with its own rather grand-sounding house in Stratford-upon-Avon. They also have a home in Islington. One of the reasons Sher resisted being cast as Falstaff was that it might lead to accusations of nepotism — although the couple have worked extensively over the years. “As an actor I trust this director beyond any description,” says Sher. They are also delighted to be working again with Harriet Walter. The three did a famous Macbeth together back in 1999. “That instinctiveness to almost know what the other person is thinking is worth its weight in gold if you’re playing a couple,” says Sher. Are they professionally brutal with one another? “Oh, yes,” says Doran. They do strive, however, not to bring the work home. “We learned the hard way the first time with Titus Andronicus,” says Sher. “We’d come in still talking about work, have a couple of G&Ts and suddenly the crockery started flying. Terribly brutal.” Doran ’fesses up to the plate-throwing. A further challenge to the couple’s obvious equanimity came in the mid-Nineties, when Sher sought treatment for a cocaine habit. “You pull each other through the dark times and that is what makes you so strong and the trust so implicit,” says Doran. Falstaff, Willy Loman, Lear: these are monumental parts. “People who call us luvvies should try learning one,” says Sher. “Then I’d like to stand in the wings as they go on, knowing they’ll be out there for three hours. Then let’s talk about luvvies.” Stratford traditionalists objected when Doran staged Salesman on the anniversary of Shakespeare’s birthday. There are parallels to be drawn with King Lear, though. “You do see a man dementing,” says Doran. For Sher, a further similarity is “the compassion. The main characters are failures. They’re small people. He’s a has-been. Yet Miller somehow makes every single person in that audience respond to it. It’s quite amazing to feel that happen in the theatre.” Away from the theatre, the couple relax with “safari holidays and a really enjoyable night in front of the telly. We’re not party-goers,” says Sher. Doran likes to cook. Has Sher done more of that since “The Job” started? Clearly not. “My excuse is I’m a white South African.” Death of a Salesman is at the Noël Coward Theatre, WC2 (0844 482 5138, noelcowardtheatre.co.uk) until July 18. Year of the Fat Knight: The Falstaff Diaries by Antony Sher is published by Nick Hern books, out now BOOK TICKETS TO DEATH OF A SALESMAN Follow Going Out on Facebook and on Twitter @ESgoingout Read More Death of a Salesman review: Sher’s sales pitch is perfect way to mark master’s centenary Barbican arts centre sets stage for five-year transformation says boss Nicholas Kenyon Thank you for registering Please refresh the page or navigate to another page on the site to be automatically logged in
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in Love while his stage work included Richard III and Macbeth.	en	/bbcx/apple-touch-icon.png		https://www.bbc.com/news/entertainment-arts-59520117	Veteran actor Sir Antony Sher has died of cancer aged 72, the Royal Shakespeare Company (RSC) has announced. He was widely regarded as one of the country's finest contemporary classical actors, with a long association with the company. Its artistic director and Sir Antony's husband, Gregory Doran, had taken compassionate leave to care for him. The company said it was "deeply saddened" by the news. RSC chair Shriti Vadera said the actor was "beloved" in the organisation "and touched and enriched the lives of so many people". "Our thoughts and sincere condolences are with Greg, and with Antony's family and their friends at this devastating time," added Catherine Mallyon, RSC executive director and Erica Whyman, acting artistic director. Sir Antony's film appearances included Shakespeare in Love and Mrs Brown, while his RSC credits included Richard III and Macbeth. He also appeared in TV series including The History Man and the BBC's Murphy's Law. Once described by the Prince of Wales as his favourite actor, Sir Antony played many of the great Shakespearean roles, from King Lear to Shylock. But it was his portrayal of Richard III as a villainous hunchback on crutches which won him an Olivier Award in 1985. Allow Instagram content? This article contains content provided by Instagram . We ask for your permission before anything is loaded, as they may be using cookies and other technologies. You may want to read and before accepting. To view this content choose ‘accept and continue’. Prince Charles, who is president of the Royal Shakespeare Company, said he was "deeply saddened" by the death of Sir Antony, who he described as "a great man and an irreplaceable talent". "I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role," Prince Charles said. "My most treasured memory of him was as Falstaff in a brilliant production of Greg Doran's. "I feel particularly blessed to have known him, but we have all lost a giant of the stage at the height of his genius." Actor John Simm paid tribute on Instagram, sharing a memorable image of the Sir Antony as Richard III, while describing him as "one of the greatest stage actors I've ever seen." Simm described Sir Antony as "a huge inspiration, a huge talent". Screenwriter and producer Russell T Davies, who created It's A Sin, commented: "He's a wonderful man," while the National Theatre added: "With the tragic passing of Antony Sher, one of the great theatre titans has left us." Writing on Twitter, choreographer Sir Matthew Bourne said: "Terribly sad… My thoughts are with Greg and everyone who loved Sir Antony - a truly great loss." Actor Samuel West said in a Twitter thread tribute that so many of his performances "stay with me after decades - Macbeth, Stanley, Arturo Ui, Torch Song Trilogy, Cyrano - and today people are remembering dozens of others, in every genre and style. The mark of a true artist". Singer Gary Kemp, of Spandau Ballet, said some of his "most powerful theatre-viewing experiences" had occurred while watching Sir Antony. South African-raised Sir Antony joined the RSC in 1982. In his early teens he had elocution classes, which helped him to overcome the shyness he had felt as a boy. But he almost gave up on his acting career after an early rejection from the Royal Academy of Dramatic Art (Rada) in London. "That was my beginning in this country and I took the rejections very seriously," he told The Telegraph in 2018, "I assumed the examiners knew best, but my mother, who was a very ambitious Jewish woman, was absolutely determined that they were wrong and kept me going. I honestly think I would have given up if it weren't for her." 'Never went to university' Sir Antony became an honorary associate artist with the RSC, based in Stratford-upon-Avon in Warwickshire. In 2010, he told the BBC about his first visit there and described it as one of the most significant experiences of his life. Five years later, he took issue with Downton Abbey creator Julian Fellowes' opinion that one needed a university education to properly understand Shakespeare. "I am sorry, that is nonsense," said Sir Antony in an interview with the BBC's Sue MacGregor. "I never went to university but my job as a Shakespeare actor - and I have done a lot of them now - is to work hard on conveying the meaning." He added: "It's not a university degree you need, it's the craft of speaking Shakespeare, which we at the RSC work very hard at." Sir Antony was knighted in 2000, and in 2005, with Mr Doran, who he met at the RSC, became one of the first gay couples to enter into a civil partnership in the UK. Fellow actor and playwright John Kani said in a tribute: "Both Tony Sher and I were born when our country, South Africa, was the worst place a child could be born let alone to be raised by parents who worked very hard to prepare their children for a difficult future - Apartheid South Africa. By the grace of his God and my ancestors, like Romeo and Juliet we found each other in 1973. "We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists... I am at peace with you my friend and myself. Exit my King. Your Brother."
5894	dbpedia	3	92	https://www.standard.co.uk/news/uk/charles-royal-shakespeare-company-judi-dench-president-prince-of-wales-b970003.html	en	Charles: Sir Antony Sher was ‘a giant of the stage at the height of his genius’	https://static.standard.…=webp&quality=75	https://static.standard.…=webp&quality=75	[ "https://static.standard.co.uk/2021/12/04/00/5ade6429fa2911ca998e95df5bf93a0aY29udGVudHNlYXJjaGFwaSwxNjM4NjYzODc1-2.19995922.jpg?crop=8:5,smart&quality=75&auto=webp&width=1000", "https://static.standard.co.uk/2021/12/04/00/c4312f8ae46412ebdc5f763216bc7487Y29udGVudHNlYXJjaGFwaSwxNjM4NjY0MDk1-2.63020519.jpg?quality=75&auto=webp&width=960", "https://static.standard.co.uk/2021/12/04/00/20c174d13a93f0580c21f57d1bc8aa31Y29udGVudHNlYXJjaGFwaSwxNjM4NjY0MzQ1-2.2777793.jpg?quality=75&auto=webp&width=960", "https://www.standard.co.uk/img/eros.png", "https://www.independent.co.uk/vouchercodes/static/shop/20316/logo/tui_discount_codes.png?width=132&format=pjpg&auto=webp&quality=60", "https://www.independent.co.uk/vouchercodes/static/shop/21182/logo/ASOS_discount_code.png?width=132&format=pjpg&auto=webp&quality=60", "https://www.independent.co.uk/vouchercodes/static/shop/20322/logo/Travelodge_discount_code_logo_2023.png?width=132&format=pjpg&auto=webp&quality=60", "https://www.independent.co.uk/vouchercodes/static/shop/21183/logo/The_Body_Shop_Discount_Code_.png?width=132&format=pjpg&auto=webp&quality=60", "https://www.independent.co.uk/vouchercodes/static/shop/21267/logo/The_Perfume_Shop_logo.png?width=132&format=pjpg&auto=webp&quality=60" ]	[]	[]	[ "Charles", "Royal Shakespeare Company", "Judi Dench", "President", "Prince of Wales", "Commonwealth", "National Theatre", "Rufus Norris", "Prince", "BBC Radio", "Jack", "Erica Whyman", "Brian Blessed", "Twitter", "South African", "West End", "Alex Green", "Adolf Hitler", "Shakespeare" ]	null	[ "Benjamin Cooper" ]	2021-12-04T00:48:04+00:00	Sir Antony was the Prince of Wales’ favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour	en	/img/shortcut-icons/favicon.ico	Evening Standard	https://www.standard.co.uk/news/uk/charles-royal-shakespeare-company-judi-dench-president-prince-of-wales-b970003.html	Sir Antony was the Prince of Wales’ favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour The Prince of Wales has paid tribute to Sir Antony Sher as ‘a giant of the stage at the height of his genius’ following the actor’s death at the age of 72 (Joe Giddens/PA) PA Archive Benjamin Cooper4 December 2021 The Prince of Wales has paid tribute to Sir Antony Sher as “a giant of the stage at the height of his genius” following the actor’s death at the age of 72. The Olivier Award-winning actor and director was diagnosed with terminal cancer earlier this year, and his death was announced by the Royal Shakespeare Company (RSC) on Friday. In a statement to the PA news agency, Charles said he was “deeply saddened” to learn of Sir Antony’s passing. “As the President of the Royal Shakespeare Company (RSC), I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role,” the prince said. “My most treasured memory of him was as Falstaff in a brilliant production of Greg Doran’s. I feel particularly blessed to have known him, but we have all lost a giant of the stage at the height of his genius.” Charles offered his sympathy to Sir Antony’s husband, Gregory Doran, the RSC’s artistic director, saying: “My heart goes out to Greg Doran and to all at the RSC who will, I know, feel the most profound sorrow at the passing of a great man and an irreplaceable talent.” Dame Judi Dench earlier described Sir Antony, with whom she starred in the 1997 film Mrs Brown, as a “sublime” actor who performed with “incredible intensity”. Dame Judi Dench said Sir Antony was a ‘sublime’ and ‘remarkable’ actor (Ian West/PA) PA Wire The 86-year-old described his performance as former prime minister Benjamin Disraeli as “spectacular”. Speaking to BBC Radio 4’s PM programme, she said: “He could completely immerse himself in a character and make it completely remarkable, but not necessarily on his own terms. “He was sublime. He was totally engrossed whenever he was working in that part and in that character. “He was one of those remarkable actors who reserved that incredible intensity for the time he was on the stage.” Brian Blessed, who performed alongside Sir Antony in Richard III in Stratford-upon-Avon, told the programme: “He revolutionised Richard III entirely. Amazing imagination, amazing vocal power. He hobbled around the set like a great bottled spider. He would terrify the audience in the first few rows.” Blessed said to be on stage with Sir Antony was “mind-blowing” and added: “It was from another century. It was from another galaxy.” Sir Antony Sher (left) and Greg Doran tied the knot as soon as they were legally able to do so in the UK (Michael Stephens/PA) PA Archive The National Theatre posted a statement on Twitter from director Rufus Norris, saying: “With the tragic passing of Antony Sher, one of the great titans has left us. “His contribution and example to our theatre world was exemplary, and his standing within the ranks of National Theatre actors could not be higher.” Mr Doran announced in September that he was taking a period of compassionate leave to care for Sir Antony. The South African-born actor tied the knot with Doran on December 21 2005, the first day same sex couples could legally form a civil partnership in the UK. Sir Antony starred in a number of RSC productions, including a role in 2016 in King Lear, as well as playing Falstaff in the Henry IV plays and Willy Loman in Arthur Miller’s Death Of A Salesman. He was the Prince of Wales’ favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour. Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth and Tamburlaine The Great, as well as his career-defining Richard III. He moved to Britain to study drama in the late 1960s and joined the RSC in 1982. His breakthrough role came two years later in Richard III, a part which earned him the best actor accolade at the Olivier Theatre Awards. His theatrical skills were not limited to the West End, and his adaptation of If This Is A Man, by Primo Levi, into a one-man show titled Primo, ran on Broadway. Off stage he had roles in films including Shakespeare In Love and Mrs Brown, and played Adolf Hitler in 2004’s Churchill: The Hollywood Years. His final production with the RSC was Kani’s Kunene And The King, which saw him star opposite Kani as Jack, an actor acclaimed for his roles in Shakespeare who is diagnosed with liver cancer. RSC executive director Catherine Mallyon and acting artistic director Erica Whyman said in a statement: “We are deeply saddened by this news, and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. “Antony had a long association with the RSC and a hugely celebrated career on stage and screen. The RSC said Doran will remain on compassionate leave and is expected to return to work in 2022. Thank you for registering Please refresh the page or navigate to another page on the site to be automatically logged in MORE ABOUT
5894	dbpedia	1	64	https://deadline.com/2024/08/mallory-jansen-anthony-lapaglia-alex-proyas-r-u-r-1236033129/	en	Mallory Jansen & Anthony LaPaglia Join Alex Proyas’ Sci-Fi Satire Feature ‘R.U.R.’	https://deadline.com/wp-…glia-.jpg?w=1024	https://deadline.com/wp-…glia-.jpg?w=1024	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://deadline.com/wp-content/uploads/2014/06/anthony-dalessandro-1.jpg?w=60", "https://deadline.com/wp-content/uploads/2024/08/Mallory-Jansen-and-Anthony-LaPaglia-.jpg?w=681&h=383&crop=1", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/uploads/2024/02/GettyImages-1474302747.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/evil-paramount-plus-Katja-Herbers.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Kamala-Harris_d2efcd.jpg?w=150", "https://deadline.com/wp-content/uploads/2023/07/pat-mcafee-espn.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/06/PDX-053430_R-e1724894283809.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Luca-Guadagninos-Queer.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Harold-Kumar-White-Castle-2004.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/GettyImages-2168976955.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/JOY_FirstLook_Image.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/07/Norah-ODonnell-CBS-Evening-news.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/GettyImages-978842136.jpg?w=200&h=112&crop=1", "https://deadline.com/wp-content/uploads/2024/08/WOH_240731-Poster-CH-1754-×-2480.jpeg?crop=0px%2C259px%2C1754px%2C984px&resize=200%2C112", "https://deadline.com/wp-content/uploads/2024/08/Luca-Guadagninos-Queer.jpg?w=200&h=112&crop=1", "https://deadline.com/wp-content/uploads/2024/08/Joseph-Quinn-Joaquin-Phoenix-Gladiator-II-2024.jpg?w=200&h=112&crop=1", "https://pixel.quantserve.com/pixel?a.1=p-0f0nSqEQ_DwA6&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Anthony D'Alessandro", "Anthony D'Alessandro" ]	2024-08-06T21:48:17+00:00	Mallory Jansen & Anthony LaPaglia Join Alex Proyas' Sci-Fi Satire 'R.U.R.'	en	https://deadline.com/wp-…e-touch-icon.png	Deadline	https://deadline.com/2024/08/mallory-jansen-anthony-lapaglia-alex-proyas-r-u-r-1236033129/	EXCLUSIVE: Agents of S.H.I.E.L.D. actress Mallory Jansen and Emmy and Tony Award winner Anthony LaPaglia are boarding Alex Proyas‘ upcoming sci-fi satire R.U.R. opposite Lindsay Farris (Ash vs Evil Dead). Cameras roll on Oct. 21 in Sydney, Australia. Proyas penned the screenplay which is an adaptation of Karel Capek famous science fiction play R.U.R. (Rossum’s Universal Robots), published in 1920. R.U.R. follows Helena, played by Jansen, who visits the island factory of Rossum’s Universal Robots to emancipate the robots from capitalist exploitation, with catastrophic results. Proyas is the filmmaker behind the $353M-grossing Will Smith 2004 summer hit I, Robot. The film is being produced by Proyas, Morris Ruskin (Glengarry Glen Ross, Ladies In Black), former CAA agent Adam Krentzman, Steven Matusko (Infini, The Osiris Child) and Brett Thornquest (Better Watch Out, Bloody Hell). EPs are Matthew Rhodes (Cherry, Bloodshot) of The Hideaway Entertainment, Rohit Khanna, and Alasdair King of Icon Film. Pre-production is underway at Heretic Foundation’s VFX facilities with Andrew Robinson (Mad Max: Fury Road), EP of Heretic leading the way. “Karel Capek’s play is about man abusing technology, which is even more potent now, so I’m thrilled to be bringing this story to audiences today,” said Proyas. The word “robot” became part of everyday vocabulary after Čapek introduced the word in his play that went on to be a global hit. By 1923, the play had been translated into 30 languages. In 1922, Spencer Tracy starred in the Garrick Theater production on Broadway. Capek was nominated for the Nobel Prize in Literature seven times. “Alex has written a wild, visionary and imaginative adaptation that we are already seeing coming to life in pre-production,” said MoJo Global Arts CEO Ruskin. Krentzman added, “I was honored to represent Alex for 20 years, and now even more so as a producing/business partner. This an exceptionally imaginative and timely project.” Jansen who was a series regular on FOX’s dance-themed dramedy The Big Leap, and starred for a season in Marvel’s Agents of S.H.I.E.L.D.. She was also a series regular in Dan Fogelman’s musical series Galavant. LaPaglia won a Tony Award for Best Actor in a Play for his portrayal of Eddie Carbone in the 1997 Broadway revival of A View from the Bridge, and a 2002 Primetime Emmy Award in the Guest Actor Comedy Series category for his turn as Simon Moon on the television sitcom Frasier. LaPaglia starred for 160 episodes on CBS’ Without a Trace. Recently LaPaglia starred on the Netflix limited series Florida Man and Boy Swallows Universe. Proyas is represented by David Gersh & Mark Hartogsohn of The Gersh Agency. Jansen is repped by Devon Jackson of Trademark Talent, Innovative Artists and Independent Management Company in Australia. Mike Abrams of Constellation Management did the deal on behalf of LaPaglia. Rhodes and Khanna were represented by Christian Simonds at Reed Smith, LLP.
5894	dbpedia	2	31	https://theartsdesk.com/theatre/antony-sher-year-mad-king-extract	en	Antony Sher: Year of the Mad King - extract	https://theartsdesk.com/…34fe4c8a53c6.jpg	https://theartsdesk.com/…34fe4c8a53c6.jpg	[ "https://theartsdesk.com/sites/all/themes/artsdesk_new/logo.png", "https://theartsdesk.com/sites/default/files/styles/mast_image_landscape/public/mastimages/methode_sundaytimes_prod_web_bin_9bc5a48c-7425-11e6-9f79-34fe4c8a53c6.jpg?itok=Wp_mWY3q", "https://theartsdesk.com/sites/default/files/images/stories/THEATRE/YearoftheMadKing.jpg", "https://theartsdesk.com/sites/default/files/images/stories/THEATRE/POrter%20Williams.jpg", "https://theartsdesk.com/sites/default/files/images/stories/THEATRE/Sketch%20for%20the%20Fool.jpg", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/peanut1.jpg?itok=h_K4m95F", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Paapa%20Essiedu%20in%20Death%20of%20England%20Delroy%20at%20%40sohoplace%2C%20Credit%20Helen%20Murray%20%2865%29.jpg?itok=sVu5uzIX", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Unknown-90.jpeg?itok=2nSY518z", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/The%20Sound%20Inside%20small.jpg?itok=vGDNIxHy", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/In%20Two%20Minds%20small.jpg?itok=v7G5rLmR", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Harry%20Treadaway%20%28Tom%20Joad%29%20and%20Cherry%20Jones%20%28Ma%20Joad%29%20in%20The%20Grapes%20of%20Wrath%20at%20the%20National%20Theatre%20%28c%29%20Richard%20Hubert%20Smith%206123.jpg?itok=T3GKvvET", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/theyears1.jpg?itok=rHrHLRzs", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Fiddler%20on%20the%20Roof%20PROD-346%20Liv%20Andrusier%2C%20Hannah%20Bristow%20and%20Georgia%20Bruce.%20Credit%20-%20Marc%20Brenner.jpg?itok=2D3nAYwd", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/%28L-R%29%20Mireia%20Mambo%20%28Richie%20Walters%29%2C%20Amy%20Thornton%20%28Sheila%20Bryant%29%2C%20Katrina%20Dix%20%28Ensemble%29%20and%20Chloe%20Saunders%20%28Val%20Clarke%29%20-%20Photography%20by%20Marc%20Brenner.jpg?itok=dt70JTkE", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/The%20Mosinee%20Project%20small.jpg?itok=b2Q7dPa5", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/042524_Rifco_FrankieGoesToBollywood_PRODUCTION-1-0073-BW.jpg?itok=Br8Pl8y5", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Heartbreak%20Hotel%20small.jpg?itok=iw4EmTlM" ]	[]	[]	[ "" ]	null	[ "Antony Sher" ]	2018-03-13T11:00:00+00:00	The actor's Lear Diaries tell of his preparation to clamber up theatre's tallest peak for the RSC		https://theartsdesk.com/sites/default/files/favicon.ico		https://theartsdesk.com/theatre/antony-sher-year-mad-king-extract	Sher kept a record of his performance in Year of the King. Other Shakespearean memoirs have followed, including Year of the Fat Knight about playing Falstaff and, with Gregory Doran, Woza Shakespeare!, about staging Titus Andronicus in South Africa. In 2016 Sher returned to Lear, this time in the title role, for the RSC production, directed by Doran: theartsdesk described Sher's performance as a "remarkable journey". Next month the production travels to New York, and in May returns home to Stratford. In the meantime, Sher has kept another diary. This is an extract, with Sher's illustrations, from Year of the Mad King: The Lear Diaries Monday 1 June 2015 It’s June but could be November. Cold, wet, windy. I’ve lived in England for 47 years now, so why does the weather still continue to surprise and appal me? Never mind – I’m holed up in my warm study, with a little stack of Lear scripts on my desk. I want to try reading it afresh, despite the fact that I know it well. It has cropped up rather frequently during my life in this country… 1968. On the first weekend after we checked into the Pastoria Hotel, my mother joined me on a special pilgrimage to a place which held mythic status for me. Stratford-upon-Avon. I was finally going to see the Royal Shakespeare Company in the flesh, and in action. We would have happily watched anything that was in their current repertoire, but the play at that Saturday matinee performance happened to be King Lear. Directed by the RSC’s new Artistic Director, the 28-year-old Trevor Nunn, and starring Eric Porter. In the first scene, Lear was carried in on a litter, and all the courtiers abased themselves, as if to a god. I was immediately on the edge of my seat, and I don’t think I sat back for the next few hours. I had never seen theatre like this. I remember the design was very dark, with a strong use of chiaroscuro: figures lit in the surrounding blackness, Rembrandt-like. I remember Norman Rodway as Edmund – his effortless amorality. I remember Alan Howard as Edgar, and the shock of his near-nakedness in the storm scenes (exposing what I was later to hear Terry Hands describe as "the strongest thighs on any Shakespearean actor"). Most of all, I remember Michael Williams as the Fool, his face frozen in the mask of Comedy, his heart visibly breaking. I’m afraid I don’t remember much about Porter himself. Years later when I worked with him (Uncle Vanya, National Theatre, 1992) he said that it was an unhappy and unsuccessful production. What? – but it was a revelation to me. Later, Tim Pigott-Smith (who talked to Porter about it when they worked on The Jewel in the Crown) told me that Porter simply resented having a young upstart as his director. (Illustrated below right: Eric Porter and Michael Williams) 1972. My first proper job as an actor was at the Liverpool Everyman, and my first show there was King Lear, directed by the company’s great Artistic Director, Alan Dossor – though by Everyman standards it was a very conventional production. An Australian actor, Brian Young, was too young for Lear, Jonathan Pryce was electric as Edgar, and I was the Fool. Inspired entirely by Michael Williams’ performance, I tried to make the character both funny and tragic. He became a scruffy little figure in a huge overcoat, with a slight underbite which gave an unintentionally goonish sound to anything he said. He was being laughed at, as much as with. This suited the cruelty of the play. 1982. When I began my career with the RSC, it was again playing the Fool in King Lear. Adrian Noble directed a brilliant, anarchic production, and Michael Gambon was the best Lear I’ve ever seen. The Fool didn’t just have an underbite now, he was disabled, hobbling about on inward-twisted feet. But he also had a red nose, a white-painted face, a battered bowler hat, and carried a miniature violin which he couldn’t play. He and Lear did little routines together – a ventriloquist act, a front-cloth act – and later, still together, they were plunged into the chaos of the storm. It ended with Lear accidentally stabbing the Fool to death in the mock-trial scene. (Hence explaining the Fool’s mysterious disappearance from the play.) Today, sitting in my study, I put aside the A4 text from the RSC Literary Department. That only has the dialogue, but to fully understand the play, I’ll need help from the editor’s notes in one of the published editions. I look at my script from the 1982 production. We didn’t get issued with A4 typed-up scripts then, and mine was the old Arden edition, with a beautiful portrait of Lear in his crown of flowers on the cover (done by the artist Graham Arnold, a member of the Brotherhood of Ruralists). I open it. No good. It’s full of my sketches – of Adrian, Gambon, the rest of the cast, and my efforts to work out what the Fool might look like – and there are scribbled notes, and my lines are underlined in red. All this would be distracting. (Illustrated below left: sketch for the Fool, 1982) I pick up another edition, the RSC’s own, edited by Jonathan Bate and Eric Rasmussen. I start to read the Introduction. It quotes Charles Lamb: "The Lear of Shakespeare cannot be acted. The contemptible machinery by which they mimic the storm… is not more inadequate to represent the horrors of the real elements, than any actor can be to represent Lear." I lower the book, sighing. Well, nobody said this was going to be easy. After all, Lear is known as the Everest of Acting. I’m always surprised that people think that the creation of a character happens in rehearsals, and that rehearsals happen a few weeks before the show opens. Not so. Impossible, in fact, with Shakespeare’s major roles. The RSC may regard the beginning of King Lear rehearsals as 20 June next year, but for me the beginning of rehearsals was today.
5894	dbpedia	3	84	https://www.amazon.com/Beside-Myself-Actors-Antony-Sher/dp/1848420358	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/rhnrlggh/Captcha_wcwgebdqgl.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=FA1CG9NKW6Q2H0MHFCW4&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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5894	dbpedia	2	26	https://www.theatermania.com/news/antony-sher-conquers-his-final-shakespearean-role-with-king-lear_84664/	en	Antony Sher Conquers His Final Shakespearean Role With King Lear	https://www.theatermania…134450.jpg?w=620	https://www.theatermania…134450.jpg?w=620	[ "https://www.theatermania.com/wp-content/uploads/sites/4/2023/01/TheaterMania_Logo-white-orange.png", "https://www.theatermania.com/wp-content/uploads/sites/4/2023/02/favicon-32x32-1.png?w=30", "https://www.theatermania.com/wp-content/uploads/sites/4/2023/01/newyorkClub.jpg?w=400", "https://www.theatermania.com/wp-content/uploads/sites/4/2023/01/londonClub.jpg?w=400", "https://www.theatermania.com/wp-content/uploads/sites/4/2023/01/newyorkClub.jpg?w=400", "https://www.theatermania.com/wp-content/uploads/sites/4/2023/01/londonClub.jpg?w=400", "https://cs-tm-prod-photos.azureedge.net/134450.jpg", "https://cs-tm-prod-photos.azureedge.net/134451.jpg", "https://cs-tm-prod-photos.azureedge.net/134452.jpg", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/Warriors-Turnbull-Acs-and-The-Bronx-Landscape-.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/ToroJM91ED0053.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/2017-03-15-Joan-of-Arc-014_Rodrick-Covington_Kyle-Selig.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/George_Bernard_Shaw.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/Poe-130-photo-credit-Joey-Stocks.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/497-Delia-Cunningham-Alison-Cimmet-Damian-Young-Shakur-Tolliver-Gamze-Ceylan-and-Ana-Cruz-Kayne-in-Someone-Spectacular-by-Domenica-Feraud-directed-by-Tatiana-Pandiani-©Julieta-Cervantes.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/22-Sutton-Foster-in-Once-Upon-A-Mattress-credit-Joan-Marcus_316.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/steven-pasquale-and-company-in-nine_photo-by-matthew-murphy-and-evan-zimmerman_small.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/Kristin-Chenoweth-as-Jackie-Siegel-in-The-Queen-of-Versailles-Credit-Matthew-Murphy.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/LifeAndTrust_Photo-by-Jane-Kratochvil.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/Eric-William-Morris-and-Noah-Weisberg-in-CELLINO-V.-BARNES-Photo-by-Marc-Franklin-3.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/05/Theroommate.png?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/06/632578121-hoc-0012w-theatermania-300x200_v1.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/05/627953093-mnl0012-w-theatre-site-assets-theatermania-keyart-300x200-v1.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/06/YF-Temp-Art_300x200.jpg?w=300", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/04/Ourtown.png?w=300", "https://www.theatermania.com/wp-content/plugins/wpforms/assets/images/submit-spin.svg", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/4-The-Cast-of-WATER-FOR-ELEPHANTS-Photo-by-Matthew-Murphy-1.jpg?w=640", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/08/003_WAITRESS_Jessica-Vosk-Lissa-deGuzman-Nicole-Michelle-Haskins_Photo-by-Phillip-Hamer.jpg?w=273&h=180&crop=1", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/07/HADESTOWN_7_11_24_EVAN_ZIMMERMAN_0073.jpg?w=273&h=180&crop=1", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/07/2_LOTR_LizLauren.jpg?w=273&h=180&crop=1", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/07/P01385-05_288-copy.jpg?w=273&h=180&crop=1", "https://www.theatermania.com/wp-content/uploads/sites/4/2024/07/Screen-Shot-2024-07-15-at-11.25.48-AM-e1721296693455.png?w=273&h=180&crop=1", "https://www.theatermania.com/wp-content/uploads/sites/4/2023/01/TheaterMania_Logo-white-orange.png", "https://www.theatermania.com/wp-content/plugins/wpforms/assets/images/submit-spin.svg" ]	[]	[]	[ "" ]	null	[]	2018-04-05T00:00:01+00:00	The British stage legend brings his acclaimed performance as the “Mad King” to Brooklyn Academy of Music.	en	https://www.theatermania…5/tm-57x57-1.png	TheaterMania.com -	https://www.theatermania.com/news/antony-sher-conquers-his-final-shakespearean-role-with-king-lear_84664/	"There's nowhere else to go," Antony Sher says with a hint of sadness in his voice. Over the course of his nearly 50-year career, this South African native, who has become one of Britain's most esteemed classical actors, has tackled most of the major male roles that Shakespeare wrote, more often than not at his longtime artistic home, the Royal Shakespeare Company. Sher's still-legendary Richard III in 1984, on crutches that made him look like a spider, earned him an Olivier. He has played Shylock, Titus, Macbeth, Prospero, and Falstaff. Now, Sher has reached his final Shakespearean part, the titanic title character of King Lear. Sher first played Lear in 2016, in a production directed by his longtime partner in life and art, RSC artistic director Gregory Doran. Now, timed alongside the release of his latest journal-memoir, Year of the Mad King: The Lear Diaries, Doran's staging is coming to Brooklyn Academy of Music April 7-29 before a victory lap at the RSC's Stratford-upon-Avon home May 23-June 9. Once you play Lear, there's really "nowhere else to go," Sher says. Admittedly, he's a little melancholy. But he's mostly proud to have traveled the tremendous journey of the Shakespeare canon, and thoroughly grateful to the Bard for being there every step of the way. This interview has been condensed and edited for clarity. The press materials for this production are calling this your "final Shakespearean role." Is that true? For the male actor, Shakespeare really marks out a fantastic career of parts, taking him through each of his ages: Romeo and Hamlet in the beginning, Macbeth and Iago and Leontes in the middle range, and then, eventually, three great parts for the older actor: Prospero, Falstaff, and Lear. And now I've done them. There's nowhere else to go, Shakespeare-wise. As an actor, how do you feel about that? Do you look at it as an accomplishment? Are you sad? Both. There's a melancholy and a sense of "gosh, I've gone the journey." Looking back now, I wish I'd played Hamlet, which I didn't do out of a sense of self-oppression. What do you mean? I thought I wasn't what Hamlet looked like. There was an old-fashioned idea that he had to be tall and handsome and blond. But that's nonsense, of course. I missed it and it's my own fault. But otherwise, Shakespeare served me very well. I'm very grateful. In rapid succession over the course of two years, you went from playing Falstaff to Willy Loman, back to Falstaff, and then to Lear. How hard was it to keep all of that straight in your head? Is returning to a role easier or harder than working on it the first time? The human brain is an extraordinary thing. I had played Falstaff for at least a year, and then left off and did Willy Loman, at which stage I started learning Lear, and then brushed up on Falstaff, which is really two parts. So that's four huge parts. I mean, how does the brain do that? [laughs] Generally, coming back to a part…it's a bit like cooking. The part has marinated in a way that makes it feel much more inside you than when you did it originally. There's an almighty battle about whether you can do this great part or not, and whether the decisions that you're making are right. If you've done the part, leave it alone, and come back to it, you have a sense that you can do it, because you have done it, and now it's in your blood in a different way, which is a feeling I like. It's not perfect, but it feels right inside you. Even with your classical and Shakespearean background, is the idea of playing Lear intimidating? The part of Lear is the Everest of acting. There is something completely epic about it. It's no accident that at the heart of the play is a huge storm scene. In that storm scene, Lear is there alone, shouting at, arguing with, a storm. In a way, that is what you're up against when you take on the part. The part requires not so much an actor as a force of nature, another "storm." You do come to it feeling inadequate. It's very intimidating. How does your King Lear differ from the other recent Lears that we've seen here in New York and abroad? There have been some very successful chamber-piece Lears in recent years, some of which have indeed come to BAM: the Donmar Warehouse one with Derek Jacobi; the Chichester Festival production with Frank Langella. But Greg and I said we're going to try and go for the full epic scale of this, and that's what we've done. It has meant taking on the combat of this great play as a heavyweight match. We're going to do it big, as we think it should be done.
5894	dbpedia	3	85	https://royalcentral.co.uk/uk/the-prince-of-wales-pays-tribute-to-sir-antony-sher-169362/	en	The Prince of Wales pays tribute to Sir Antony Sher	https://royalcentral.co.…es-BBC-still.jpg	https://royalcentral.co.…es-BBC-still.jpg	[ "https://royalcentral.co.uk/wp-content/uploads/2019/01/New-site-logo.png", "https://rc-sandbox.info/wp-content/uploads/2019/01/New-site-logo.png", "https://secure.gravatar.com/avatar/ac5c5c56007565a785fd9cf4c858ac28?s=28&d=28&r=g", "https://royalcentral.co.uk/wp-content/uploads/2021/10/Prince-Charles-BBC-still.jpg", "https://secure.gravatar.com/avatar/ac5c5c56007565a785fd9cf4c858ac28?s=170&d=200&r=g", "https://secure.gravatar.com/avatar/3d48835441c657d5a335f9e5751734e9?s=28&d=28&r=g", "https://royalcentral.co.uk/wp-content/uploads/2019/09/me-for-profile-48x48.png", "https://royalcentral.co.uk/wp-content/uploads/2019/01/Social-Media-150x150.png", "https://secure.gravatar.com/avatar/3d48835441c657d5a335f9e5751734e9?s=28&d=28&r=g", "https://secure.gravatar.com/avatar/ac5c5c56007565a785fd9cf4c858ac28?s=28&d=28&r=g" ]	[]	[]	[ "" ]	null	[ "Jess Ilse", "Jessica Storoschuk", "Lydia Starbuck", "Royal Central" ]	2021-12-05T18:30:00+00:00	The Prince of Wales has paid tribute to his favourite actor, Sir Antony Sher, calling him a “great man and an irreplaceable talent.” In a statement posted on his official website, Prince Charles wrote that...	en	https://royalcentral.co.…p-icon-32x32.png	Royal Central	https://royalcentral.co.uk/uk/the-prince-of-wales-pays-tribute-to-sir-antony-sher-169362/	The Prince of Wales has paid tribute to his favourite actor, Sir Antony Sher, calling him a “great man and an irreplaceable talent.” In a statement posted on his official website, Prince Charles wrote that he was “deeply saddened by the news of Sir Antony Sher’s death” at the age of 72. Sher passed away from cancer. Prince Charles wrote: “As the President of the Royal Shakespeare Company, I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role. My most treasured memory of him was as Falstaff in a brilliant production of Greg Doran’s. I feel particularly blessed to have known him, but we have all lost a giant of the stage at the height of his genius. “My heart goes out to Greg Doran and to all at the R.S.C. who will, I know, feel the most profound sorrow at the passing of a great man and an irreplaceable talent.” On a royal visit to India in 2017, Prince Charles was asked by a student in New Delhi who his favourite actor was. Prince Charles replied, “There is a very good actor called Sir Antony Sher who is a brilliant Shakespearean actor, and everything else.” Sher was born in South Africa in 1949 and moved to London in his early twenties to study drama and acting. After stints with various performance schools, Sher’s professional career began at the Liverpool Everyman Theatre before he moved to the Royal Shakespeare Company in 1982. From there, a storied career as one of his generation’s greatest stage actors began. His many tributes all mention his 1984 performance as the titular king in Shakespeare’s Richard III as his breakthrough and one of his best performances. He would win the Laurence Olivier Award—the most prestigious theatre award in the United Kingdom—for the performance, and went on to win once more in 1997. Sher toured the country performing with the Royal Shakespeare Company, and also appeared in television and film productions from time to time. Behind the scenes, he also worked as a theatre director and writer. In a statement on the Royal Shakespeare Company’s website, its Executive Director, Catherine Mallyon, and its Acting Artistic Director, Erica Whyman, wrote: “Antony was deeply loved and hugely admired by so many colleagues. He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. We will ensure friends far and wide have the chance to share tributes and memories in the days to come.” Sher’s husband, Gregory Doran, is Artistic Director of the Royal Shakespeare Company, though he has been on compassionate leave since the beginning of the year.
5894	dbpedia	3	9	https://www.ft.com/content/24bc65a2-cdf1-441d-b36e-265e3513c21c	en	Subscribe to read	https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&format=svg	https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&format=svg	[ "https://www.ft.com/__origami/service/image/v2/images/raw/https://barrier-page-components.s3.eu-west-1.amazonaws.com/assets/icons/primary_product_icon_standard.svg?source=next-barrier-page&format=svg", "https://www.ft.com/__origami/service/image/v2/images/raw/https://barrier-page-components.s3.eu-west-1.amazonaws.com/assets/icons/primary_product_icon_premium.svg?source=next-barrier-page&format=svg", "https://www.ft.com/__origami/service/image/v2/images/raw/https://barrier-page-components.s3.eu-west-1.amazonaws.com/assets/icons/primary_product_icon_bundle.svg?source=next-barrier-page&format=svg", "https://spoor-api.ft.com/px.gif?data=%7B%22category%22%3A%22page%22%2C%22action%22%3A%22view%22%2C%22system%22%3A%7B%22source%22%3A%22non-ctm%22%7D%2C%22context%22%3A%7B%22name%22%3A%22barrier-page%22%2C%22product%22%3A%22next%22%2C%22data%22%3A%7B%22source%22%3A%22%5BSOURCE%5D%22%7D%7D%7D" ]	[]	[]	[ "" ]	null	[]	null			https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&format=svg		null	Then €69 per month. Complete digital access to quality FT journalism on any device. Cancel anytime during your trial.
5894	dbpedia	3	93	https://www.theguardian.com/stage/video/2015/feb/04/antony-sher-henry-iv-rsc-video	en	Antony Sher in Henry IV Parts I and II: 'Give me a cup of sack!' – video	https://i.guim.co.uk/img…e8b0ddb13e677d1f	https://i.guim.co.uk/img…e8b0ddb13e677d1f	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Stage%2CTheatre%2CAntony+Sher%2CRoyal+Shakespeare+Company%2CCulture%2CWilliam+Shakespeare" ]	[]	[]	[ "" ]	null	[ "Guardian staff" ]	2015-02-04T00:00:00	<p>Antony Sher's 'magnificent, magnetic Falstaff' holds court in Gregory Doran's inspired production</p>	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/stage/video/2015/feb/04/antony-sher-henry-iv-rsc-video	This article is more than 9 years old The Royal Shakespeare Company's production of Henry IV Parts I and II, directed by Gregory Doran, is out now from Opus Arte on DVD and Blu-ray. Watch Antony Sher's 'magnificent, magnetic Falstaff' hold court in the tavern, followed by a conversation between King Henry (Jasper Britton) and Prince Hal (Alex Hassell). Readers' favourite versions of Henry IV Parts I and II Most viewed Most viewed
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"https://www.intiman.org/wp-content/uploads/2023/08/Property-1mentor-03.png", "https://www.intiman.org/wp-content/uploads/2023/08/image-16-2.png", "https://www.intiman.org/wp-content/uploads/2023/08/image-16-2.png", "https://www.intiman.org/wp-content/uploads/2023/08/image-16-1-1.png", "https://www.intiman.org/wp-content/uploads/2023/08/image-16-1-1.png", "https://www.intiman.org/wp-content/uploads/2023/08/Property-1Artist-01-1-1.png", "https://www.intiman.org/wp-content/uploads/2023/08/Property-1Artist-01-1-1.png" ]	[]	[]	[ "" ]	null	[]	2023-08-16T00:55:17+00:00	Our History About Intiman Theatre uses the power of story and education to activate dialogue, confront inequity, and build collective joy. Intiman is the professional theatre-in-residence at Seattl…	en	https://www.intiman.org/…q_logo-32x32.jpg	Intiman Theatre	https://www.intiman.org/about/our-history/	The theatre was founded in 1972 by Margaret Booker, a Fulbright Scholar who studied in Sweden and named her new company Intiman—which means “the intimate” in Swedish—after August Strindberg’s theatre in Stockholm. Booker programmed her early seasons with an emphasis on Scandinavian drama and international dramatic literature. The debut 1972-1973 Season launched with Ibsen’s Rosmersholm in the Creative Arts League, a 65-seat theatre in Kirkland, Washington. Ibsen’s drama was followed by Strindberg’s The Creditors, Sternheim’s The Underpants and Tabori’s Brecht on Brecht, and Intiman officially incorporated as a non-profit theatre in 1973. In its early years, Intiman’s company featured such notable actors—many of whom continue to perform on stages both in Seattle and nationally—as Dennis Arndt, Megan Cole, Clayton Corzatte, Ted D’Arms, the late John Gilbert, Patricia Healy, Patricia Hodges, Lori Larsen, Richard Riele and Jean Smart. Under Booker’s leadership during the theatre’s first decade, the company regularly participated in international arts festivals and engaged in “hands on” collaborations with artists from foreign countries to learn new perspectives and styles. Intiman has maintained this deep connection to international collaborations throughout its history. In Seattle, however, Intiman was without a permanent home, producing seasons at the Cornish Institute (1974), the Second Stage Theatre (1975-1984) and the Broadway Performance Hall (1985-1986). In 1985, Peter Davis, the theatre’s first Managing Director, succeeded General Manager Simon Siegl. A former scenic designer, Davis negotiated a plan for Intiman to operate and manage the Playhouse at Seattle Center, the cultural heart of Seattle. Originally built for the 1962 World’s Fair, the Intiman Playhouse opened in 1987 after a $1.2 million renovation, with all of the company’s operations—the performance, rehearsal, production, shop and administrative areas—in one location for the first time. The first production in the Playhouse was Shaw’s Man and Superman, directed by the Elizabeth Huddle, an actor and director who had joined Intiman as its new Artistic Director in 1986. Among the highlights of her six-year tenure, which also brought a new emphasis on modern classics and contemporary plays to “Seattle’s Classic Theatre,” Huddle developed the Living History arts-in-education program with Intiman teaching artists and Roosevelt High School drama teacher Ruben Van Kempen, for whom Intiman’s VK Award is named. This award-winning program continues to reach thousands of students annually in high schools from Seattle to rural communities across the state. Under the leadership of Huddle and Davis, Intiman’s budget and number of annual performances grew and, in 1988, the theatre produced its first world premiere—Peter S. Beagle’s ambitious dance/theatre stage adaptation of his own novel The Last Unicorn, which was directed by Huddle and choreographed by the founding Artistic Director of Pacific Northwest Ballet, Kent Stowell, and featured members of the PNB company. Two years later, Intiman presented the Sovremennik Theatre of Moscow’s production of Into the Whirlwind—which involved hosting 60 Russian artists for six weeks, and was the Sovremennik’s free-world debut—at the Goodwill Arts Festival in Seattle. In addition to this production, which The New York Times called the “theatrical coup of the festival,” Intiman (the only theatre in Seattle to participate in the Festival) also presented the Sovremennik’s staging of Chekhov’s Three Sisters as part of its 1990 season; both productions, which were in Russian with simultaneous translation, sold out. In 1991, undertaking another huge project, Intiman produced the world premiere of The Kentucky Cycle, Robert Schenkkan’s two-part drama spanning the lives of three families during 200 years of American history. The Fund for New American Plays awarded the largest grant in its history to Intiman for this production, and Schenkkan went on to win the 1991 Pulitzer Prize for Drama—the first time the award was given for a play not yet produced in New York. The Kentucky Cycle opened to rave reviews at the Mark Taper Forum in Los Angeles in 1992 and played both at the Kennedy Center in Washington, D.C. and on Broadway in 1993 and 1994. Warner Shook, director of The Kentucky Cycle, became Intiman’s new Artistic Director in 1993. During his six-year tenure, Intiman built a national reputation for productions of plays by such bold contemporary writers as Edward Albee, Athol Fugard, Lynn Nottage, Anna Deavere Smith, Paula Vogel and Chay Yew. Shook and Victor Pappas, Intiman’s Associate Artistic Director, also supported writers through the New Voices series, which focused on new-play development. Leslie Ayvazian’s Nine Armenians, Jeffrey Hatcher’s Smash and Ellen McLaughlin’s Tongue of a Bird all began as New Voices readings and had their world premieres at Intiman; these and other plays developed through the series have subsequently been produced across the country, including at the Mark Taper Forum, Manhattan Theatre Club and The Public Theater. In 1994, Intiman became the first regional theatre company in the country awarded the rights to produce Tony Kushner’s two-part epic Angels in America after it won the 1993 Pulitzer Prize and Tony Award for Best Play. Part One: Millennium Approaches closed the 1994 season, and Part Two: Perestroika opened the 1995 season. Directed by Shook, the complete Angels in America—with a large ensemble cast including Peter Crook, Gina Nagy, Jeanne Paulsen, Robynn Rodriguez and Laurence Ballard as Roy Cohn—reached more than 63,000 patrons over its two-year run and remains one of Intiman’s most enduring achievements. Laura Penn succeeded Peter Davis as Managing Director in 1994 and, during a tenure that would last 14 seasons, guided the company’s efforts to advocate for civic dialogue and community building in the Puget Sound region and nationally. In addition to extending Intiman’s education and community programs, Penn oversaw the establishment of the Intiman Theatre Foundation and a remodel of the public spaces at the Playhouse. Bartlett Sher joined Intiman as the theatre’s new Artistic Director in 2000 and directed his first production, Shakespeare’s Cymbeline, for the opening of the 2001 Season. Sher went on to direct a new production of the play, produced by Theatre for a New Audience, at the Royal Shakespeare Company in Stratford-upon-Avon—where it was the first American production of a Shakespeare play ever presented at the RSC—and in New York, where it had an award-winning Off-Broadway run. During his 10 years as Intiman’s artistic leader, Sher directed 16 productions, including the world premieres of Prayer for My Enemy and Singing Forest and new adaptations of Chekhov’s Three Sisters and Uncle Vanya by Craig Lucas, the playwright and screenwriter who was Intiman’s Associate Artistic Director during Sher’s tenure. Other notable productions directed by Sher include the world premiere of Nickel and Dimed, Joan Holden’s commissioned adaptation of the nonfiction bestseller by Barbara Ehrenreich, and plays by Chekhov, Goldoni and Tony Kushner. In recent years, Sher has received national and international acclaim for his visionary productions, in Seattle and elsewhere, of classics, world premieres and operas. Now Intiman’s Artistic Director Emeritus, he is the Resident Director of Lincoln Center Theater, which produced The Light in the Piazza, a musical by Lucas and composer/lyricist Adam Guettel, after it premiered as a co-production between Intiman and Chicago’s Goodman Theatre in 2003-2004. The Lincoln Center production, which received six 2005 Tony Awards, returned to Seattle as part of its National Tour in 2007, in a special “homecoming” engagement at the Paramount Theatre that was co-presented by Broadway Across America–Seattle, Intiman and Seattle Theatre Group. Under Sher and Penn’s leadership, Intiman received acclaim for its American Cycle series of classic American stories and outreach programs for multigenerational audiences. This large-scale wide initiative, which launched in 2004 with Thornton Wilder’s Our Town, directed by Sher and starring Tom Skerritt in the role of the Stage Manager, has served tens of thousands of King County audiences and students, bringing our community together through civic dialogue and public participation. In addition to large-scale mainstage productions of great American stories, the Cycle has included free programs that take place beyond Intiman in coffeehouses, centers for youth, libraries, living rooms and many other unexpected locations across King County, all with the goals of cultivating curiosity, advocating for literacy, encouraging an informed citizenry and understanding interconnectedness. The American Cycle productions have included Linda Hartzell’s iridescent staging of John Steinbeck’s The Grapes of Wrath, adapted by Frank Galati (2005); Kent Gash’s searing world-premiere adaptation of Richard Wright’s Native Son (2006); and Harper Lee’s To Kill a Mockingbird, adapted by Christopher Sergel and directed by Fracaswell Hyman, which became the best-selling production in Intiman’s history (2007); Robert Penn Warren’s novel of political and ambition, All the King’s Men, adapted by Adrian Hall and directed by Pam MacKinnon, coinciding with the presidential election season (2008); and Robert Sherwood’s Abe Lincoln in Illinois (2009), about the making of an American hero—and what it means to be an American hero today. This critically acclaimed production was directed by Seattle artist Sheila Daniels, Intiman’s Associate Director for two seasons. In recent years, Intiman’s achievements have been saluted nationally and locally. In 2004, the theatre was the first Washington State company to be honored as a Leading National Theatre by the Doris Duke Charitable Foundation. The Municipal League of King County named Intiman Organization of the Year (the first arts organization to be so honored) at its 2006 Civic Awards, recognizing its outstanding contributions to the community. That same year, Intiman was honored with the Tony Award® for Outstanding Regional Theatre, the most prestigious award given in the nonprofit theatre field. Kate Whoriskey, one of the most adventurous directors in the American Theatre today, became Intiman’s Artistic Director in 2010. Her production of Lynn Nottage’s Ruined, the Pulitzer Prize-winning play about violence against women in the Democratic Republic of Congo, became the second-best-selling show in the theatre’s history after its extended run this summer. Inspired by the play’s message of unlikely hope and indomitable spirit, Intiman’s staff and community came together for numerous programs designed to raise awareness about this conflict, including a successful Run/Walk for Congo Women. In 2011, Intiman Theatre recognized the need to pause, reflect and relaunch with a financially sustainable and artistically vibrant new model. After listening to input from artists, audiences, funders and the community, Intiman launched its first summer theatre festival in July and August of 2012 under the leadership of Artistic Director Andrew Russell and Managing Director Keri Kellerman. The festival, curated from the impulses of an artist collective, featured four plays and a repertory company of 17 actors who stretched through over 40 roles. For the first time, Intiman also produced one of the 2012 plays in its intimate studio space, offering a fresh perspective that tantalized both actors and audiences. Today, Intiman Theatre continues to produce work that is surprising, relevant and encourages conversation, activism and a personal connection between the theatre and its audiences. Intiman supports diverse voices and unique collaborations that allow audiences to experience worlds that are different from their own, and then make a connection back to themselves through dialogue both at the theatre and in the community. In all of its activities, Intiman remains dedicated to making well-crafted work that speaks to our times. In 2017, Intiman welcomed Phillip Chavira as the first Executive Director, and first person of color to lead this organization. At the end of 2017, Andrew Russell completed his tenure as Producing Artistic Director and Intiman welcomed Jennifer Zeyl as the seventh Artistic Director. Intiman produced Robert O’Hara’s BARBECUE and Sara Porkalob’s DRAGON LADY. In 2018, Intiman co-produced with ArtsWest HIR by Taylor Mac, then produced Allison Gregory’s WILD HORSES and closed the season with Karen Zacarias’s NATIVE GARDENS. Intiman retired a historical $2.7m in debt and obligations at the end of 2018. In 2019, Intiman produced Christopher Chen’s CAUGHT, David Grieg’s THE EVENTS, and Eisa Davis’s BULRUSHER. Intiman created the Community Ticket Project, which supports free tickets to shows. In 2020, Amy Zimerman was welcomed as Managing Director. Together with Jennifer Zeyl, they oversaw the company’s move to Capitol Hill and established Intiman as the professional theatre-in-residence at Seattle Central College. Zimerman was succeeded by Wesley Frugé in early 2022, who stepped into the role following three years as Intiman’s Development and Communications Director.
5894	dbpedia	3	11	https://theshakespeareblog.com/2021/12/sir-antony-sherthoult-come-no-more/	en	Sir Antony Sher:”thou’lt come no more”	https://theshakespearebl…oran-300x200.jpg		[ "https://theshakespeareblog.com/wp-content/uploads/2012/03/cropped-headerDSCN3142.jpg", "https://theshakespeareblog.com/wp-content/uploads/2021/12/sher-macbeth-300x182.jpg", "https://theshakespeareblog.com/wp-content/uploads/2021/12/sher-and-doran-300x200.jpg", "https://static.addtoany.com/buttons/share_save_256_24.png" ]	[]	[]	[ "" ]	null	[]	null		en			https://theshakespeareblog.com/2021/12/sir-antony-sherthoult-come-no-more/	This morning, 10 December 2021 was bright and sunny in Stratford-upon-Avon. We headed for the river for a walk while the sunshine was strong at this, the darkest time of year. Approaching Holy Trinity Church, where Shakespeare is buried, we heard the slow toll of a single bell. A funeral. As we neared the west entrance to the churchyard we could see people, including actors and people from the theatre, striding along the path to the church. Tony Sher. It became a pensive walk. Passing the Royal Shakespeare Company’s theatres we remembered some of those roles we’ve seen Tony Sher perform over a period of well over thirty years. His Shakespeare career at the RSC began with the Fool in King Lear in 1982, memorably wearing a red nose, and ending with King Lear himself. In between, so many extraordinary performances: Richard III of course, Shylock, Malvolio, Vendice in The Revenger’s Tragedy, Tamburlaine, Macbeth, Leontes, Prospero, Falstaff. More recently, in modern plays: Willy Loman in Death of a Salesman, Kunene and the King. I particularly remember his outrageously funny Tartuffe, performed at the RSC’s intimate theatre the Pit at the Barbican. I’ve heard several accounts over the past week of how much painstaking preparation he put into creating performances that sometimes felt on the verge of being out of control. You will have your own memories, and since the RSC’s announcement of Tony’s death on 3 December there have been many tributes including this one. You don’t need me to tell you what a powerful presence he bought to everything he did. Hearing Judi Dench trying to define his quality, and clips of his King Lear have reminded me how ephemeral and elusive theatre performance is. This afternoon, back from another walk before the light faded, I received a message from a friend that the BBC’s Last Word, coming on in minutes, was to include a tribute to Tony Sher from his husband, the RSC’s Artistic Director Gregory Doran. They have formed an extraordinarily powerful partnership in the world of theatre, and not just in the UK. Hearing Gregory Doran speak about their life together was very touching, and the best tribute Tony Sher could have wished for. “He was my all the world, and I’ll miss him very, very much”.
5894	dbpedia	0	13	https://aspenphys.org/astrophysics-at-the-aspen-center-for-physics-the-middle-years/	en	Astrophysics: The Middle Years	https://aspenphys.org/as…710355313544.jpg	https://aspenphys.org/as…710355313544.jpg	[ "https://aspenphys.org/assets/2022/11/aspenphysicslogo.svg", "https://aspenphys.org/assets/2022/11/aspenphysicslogo.svg", "https://aspenphys.org/assets/2023/09/ACP-60th-Anniversary.8.12.22.326-e1710355313544.jpg", "https://aspenphys.org/assets/2023/07/David-Schramm-199x300.jpg", "https://aspenphys.org/assets/2023/09/astro1.jpg", "https://aspenphys.org/assets/2023/09/deathmarch.jpg", "https://aspenphys.org/assets/2023/09/ACP-60th-Anniversary.8.12.22.760-1024x683.jpg", "https://aspenphys.org/assets/2023/01/craig-wheeler-1024x812.jpeg", "https://aspenphys.org/assets/2023/12/ACP_0178-1024x678.jpg", "https://aspenphys.org/assets/2022/11/NSF.svg.png" ]	[]	[]	[ "" ]	null	[ "Emily Taylor" ]	2023-09-25T22:18:12+00:00	I came to Aspen for the first time in 1979. I was a young postdoc attending the NASA astrophysics workshop, that year entitled Stellar Collapse and Neutrino Physics. By then, astrophysics was a well-established part of the summer program and many astrophysicists attended on a regular basis,	en	/assets/2022/11/cropped-HZ9vmyQM_400x400-32x32.jpg	Aspen Center for Physics	https://aspenphys.org/astrophysics-at-the-aspen-center-for-physics-the-middle-years/	1980-1995 I came to Aspen for the first time in 1979. I was a young postdoc attending the NASA astrophysics workshop, that year entitled Stellar Collapse and Neutrino Physics. By then, astrophysics was a well-established part of the summer program and many astrophysicists attended on a regular basis, usually during the three-week June NASA workshop. The “astro- style” summer workshop was different, more formal, with hours of talks and individuals staying for a single week or two rather than the three- or four-week stays that physicists enjoyed. By the end of the middle years, that would change as astrophysics became fully integrated into the ACP. In 1972 NASA began funding a workshop that provided the structure for the astrophysics program. There was an “Astrophysics Organizing Committee” (AOC) that oversaw the selection of the topic, wrote the proposal and selected the participants. The AOC operated as a “shadow government” for astrophysics. (So shadowy that almost all the records of its existence are oral; in going through the archives I found only one written memo, dated 1986 from David De Young to the ACP President Mike Simmons, which De Young signed as Vice Chair of the AOC). The core group of astrophysicists who rotated in and out of the AOC, and took care of the program until astrophysics was mainstreamed included W. David Arnett, Al Cameron, Stirling Colgate, David De Young, George Field, Jay Gallagher, Susan Lea — the lone female — Dick McCray, Bill Saslaw, Gary Steigman, James Truran, J. Craig Wheeler, and Robert Williams. Their names appear on many of the NASA proposals, and these Aspen astro-pioneers got astrophysics established at the Center. In the early years, the astro-pioneers had help and encouragement from astro-leaning physicists like Gordon Baym, David Pines and Hans Bethe. Bethe served as ACP Vice-President from 1972 to 1973; Stirling Colgate served as a Trustee from 1972 to 1978 and many members of the AOC ultimately went on to serve as members, trustees and officers of the ACP (e.g., Robert Williams served as Treasurer from 1985 to 1988, James Truran served as Vice President from 1985 to 1988, and David De Young as President from 2001 to 2004). As the story has often been told, Aspen began as a particle-physics theory center; very soon, condensed matter physics was added (see other histories). The path to “full membership” for astrophysics would take longer. In the early years astrophysics at Aspen revolved around neutron stars, pulsars, and nucleosynthesis. The first two topics were triggered by the 1967 discovery of pulsars, and their quick identification as neutron stars. The science of neutron stars was rich with exciting physics — superfluidity, ultra-high-temperature superconductivity (1012 K), nuclear physics and general relativity — and the informal, interdisciplinary environment of Aspen was the ideal place to address it. Later, when astrophysics began to make inroads into the mainstream in Aspen, cosmology was the vehicle. In 1978, Gary Steigman organized a physics workshop (as opposed to the yearly NASA workshop), entitled The Early Universe. Early-Universe cosmology brought together particle physicists and cosmologists. The physics at the intersection of particle physics and astrophysics/cosmology was ripe for breakthroughs and would be a major theme at the Center for the next 30 years. Today, particle astrophysics and cosmology is central to both astrophysics and particle physics, with the agendas of both fields having great overlap. Aspen played a significant role in making this happen. David Schramm, who spent his first summer as a “physicist” in Aspen in 1978 (see below), was a pioneer in bringing particle physics and astrophysics/cosmology together in Aspen and around the world. Schramm and his “Chicago mafia” (myself included) made Aspen one of the incubators for this new field. Tragically, Schramm died in a plane crash in 1997 before particle astrophysics and cosmology achieved the central role that it has in both fields today. Nonetheless, during his more than 20 years at the Center, he helped elevate astrophysics to the prominence that it has today. (Until the late 1980s, attendees were classified as either astrophysicists or physicists. In 1976 Schramm attended officially for the first time, as an astrophysicist. While at the ACP in 1976, he collaborated with Steigman and Gunn on his most influential paper — the 1977 Physics Letter B on the BBN limit to the number of neutrino species. This paper also helped to launch the field of particle cosmology.) There has always been (and probably always will be) a spirited discussion about the role and importance of unstructured research vis-à-vis workshops at Aspen. However, there is no better example of how workshops bring new people and new fields to the Center than astrophysics. Beginning with the yearly NASA summer workshop, followed by a growing number of physics workshops in astrophysics and finally winter conferences, astrophysics grew to be one of the three scientific pillars of the Center. Once a new group discovers the ACP, it keeps coming back and astrophysicists were no different! Starting around 1980, powered by an influx of new ideas from particle physics about the early Universe, cosmology went from a sleepy topic shunned by physicists to one of the most active and exciting areas of both physics and astrophysics. Activities at the Aspen Center for Physics played a key role in this cosmic revolution. Between 1980 and 1995 there were at least 15 summer workshops on topics at the intersection of particle physics and astrophysics/cosmology, another three particle physics workshops with significant overlap, and four winter conferences focused on cosmology (The Early Universe in 1986, The Physics of the CMB in 1990, Recent Advances in Cosmology in 1991 and the Cosmological Distance Scale in 1993). While a couple of the summer cosmology workshops occurred within the NASA astrophysics program, most did not. Not only did these activities help to move the field forward, but they also helped to launch (or to advance) the careers of a number of today’s leaders in cosmology — including Andy Albrecht, Marc Davis, Simon White, Katie Freese, Josh Frieman, Marc Kamionkowski, Lawrence Krauss, Rocky Kolb, Pierre Sikivie, Neil Turok and myself. With the advent of grand unified theories (GUTs), there was the smell of big things in the air for particle physics — unification of the forces and particles, proton decay, magnetic monopoles, and neutrino mass — and for cosmology — baryogenesis, dark matter, inflation, and monopoles. The 1980 workshop Cosmology and Particle Physics (organized by Gary Steigman and Frank Wilczek) featured talks on the baryon asymmetry of the Universe, superheavy magnetic monopoles, the quark/hadron transition, and gravitational radiation. John Preskill laid out the monopole problem, the dramatic overproduction of magnetic monopoles in the standard hot big-bang cosmology. The monopole problem spurred Alan Guth to discover the inflationary universe scenario. The participant list included John Preskill, Frank Wilczek, Rocky Kolb, Keith Olive, James Fry, Robert Wagoner, and myself. In 1982, the NASA workshop was entitled Large-scale Structure of the Universe. Alex Szalay discussed the role of massive neutrinos in structure formation, Gary Steigman spoke on his theme topic – big-bang nucleosynthesis (BBN) – Bob Kirshner summarized our knowledge of the mean density of the Universe (definitely sub critical!); Schramm spoke about the age of the Universe and whether or not the different cosmic clocks were consistent, and before leaving for the Nuffield conference on the Very Early Universe, where the current inflationary paradigm would come together, I spoke about ideas from the early Universe that would impact structure formation. Among the other participants were Simon White, Joe Silk, Jerry Ostriker, Dick Bond, Katie Freese, Francois Bouchet, Adrian Mellot, Bernard Carr, Carlos Frenk, Avashai Dekel, and Ethan Vishniac. About this time, the idea of particle dark matter was beginning to take hold and impact the study of structure formation, first with eV-mass neutrinos (hot dark matter) and soon thereafter with WIMPs (cold dark matter). Over the next two decades, workshops at the Center would play a crucial role in developing the current paradigm for structure formation: inflation + cold dark matter. Edward (Rocky) Kolb and Erick Weinberg organized the 1990 summer workshop Cosmological Phase Transitions. Andy Albrecht, Pierre Sikivie and Ed Copeland spoke about cosmic strings and numerical simulations of the formation of string networks. Two new models of inflation were discussed: extended inflation (Paul Steinhardt), a model based upon Brans-Dicke theory, and natural inflation (Josh Frieman), a model where the inflaton was a Nambu- Goldstone boson. Neil Turok spoke about a new mechanism for baryogenesis. The absence of detected fluctuations in the cosmic microwave background (CMB) temperature arising from the primordial density perturbations that seeded cosmic structure formation was becoming a concern in cosmology. [In fact, a silly book entitled The Big Bang Never Happened (by “Ph.D. astronomer” Eric J. Lerner) appeared that summer on Aspen bookshelves, and one of Lerner’s few scientific arguments against the big bang was the absence of detected CMB fluctuations.] At the same time, CDM and cosmic strings were making more and more quantitative predictions about large-scale structure and the level of the CMB fluctuations: at least 10-5, near the then- current upper limits. In 1991, Mark Dragovan, Jim Peebles and David Wilkinson organized a workshop, Cosmic Background Radiation, to discuss the state of affairs and plans for the future. Timing is everything: that same summer, scientists – including Aspen regulars George Smoot and Ned Wright – were analyzing data from the DMR instrument on NASA’s Cosmic Background Explorer (COBE) satellite, and on 23 April 1992 they would announce the first detection of CMB anisotropy, confirming the gravitational instability theory of structure formation that Peebles had helped to invent and strengthening the foundations of cosmology (we haven’t heard from Lerner since!). The COBE detection, which led to a Nobel Prize for Smoot and John Mather, ushered in the era of precision cosmology. Over the years, Aspen has hosted the visits of many Soviet scientists, providing a venue for maintaining scientific connections between the East and West during the Cold War. In the summer of 1991, the Soviet and US Academies of Sciences held an exchange program for young cosmologists in Aspen, organized by Alexei Starobinskii, David Schramm and Kip Thorne. The US delegation included Josh Frieman, Marcelo Gleiser, David Seckel, Jennie Traschen, Jane Charlton, Barbara Ryden, Hume Feldman, and Hardy Hodges. The Russian side featured three young scientists who would eventually spend much time in the US: Nick Gnedin (now at Fermilab and UChicago), the late Lev Kofman (who spent much of his career at CITA and the University of Hawaii), and Igor Tkachev (after several years at Fermilab, back in Russia and now a member of the Russian Academy of Sciences). Baryogenesis, large-scale structure, cosmological phase transitions, inflation, and the loitering universe (models with a cosmological constant) were among the topics discussed. The 1992 summer workshop Massive Neutrinos in Particle Physics and Astrophysics featured talks on the effect of lepton-number violation on core collapse (David Seckel, Graciela Gelmini and George Fuller), solar neutrinos (Gene Beier, Hamish Robertson, Lincoln Wolfenstein, Robert Shrock, George Fuller, David Schramm, Lawrence Krauss, Adam Burrows, Peter Rosen, Steve Parke, Sergei Petcov, Boris Kayser and David Cline) and measuring the non-Gaussianity of the density field of the Universe (Robert Scherrer, Josh Frieman and Jim Fry).Today, non- Gaussianity has become a topic of great interest in cosmology as it provides a means of testing inflation and ruling out the simplest models. That same summer Craig Hogan organized a workshop entitled Gravitational Lensing in Cosmology, and the attendees included Christopher Stubbs, Tony Tyson, Rachel Webster, Roger Blandford, Ramesh Narayan, Chris Kochanek, and Kip Thorne. While gravitational lensing had been first observed in 1979 (the twin quasar Q0957+561 discovered by Walsh, Carswell and Weymann), its use as a tool to study the Universe – searching for cosmic strings, mapping out dark matter and large-scale structure, determining the Hubble constant and constraining the cosmological constant – was still in its infancy and this workshop helped to shape the future of the subject. Today, both strong and weak gravitational lensing are powerful probes of the Universe. The COBE team’s April 1992 announcement of the detection of anisotropy in the CMB the DMR instrument on angular scales of order 10 degrees transformed cosmology. Among other things, it provided a physics-based normalization for the power spectra of density perturbations predicted by inflation and cosmic strings. That in turn spurred new ideas about structure formation because the simplest version of inflation + cold dark matter (i.e., a critical-density Universe comprised only of CDM and baryons) so normalized did not fit all the data; new variants, including the hot + cold dark matter and ΛCDM arose. With the long-sought CMB anisotropy having been detected, the next step was the design of experiments with better angular resolution to map out the CMB anisotropy on all scales to test the different models of structure formation and reap the treasure trove of information therein. The 1993 workshop entitled Large- scale Structure after COBE (organized by Nick Kaiser, Robert Scherrer and Wojciech Zurek) brought together theorists and experimentalists to assess where cosmology stood after the COBE detection and to discuss what future CMB experiments should be carried out. The design of WMAP, Planck and a host of ground-based experiments were informed by this workshop whose participants included Andrei Linde, Andy Albrecht, Marc Kamionkowski, Jim Peebles, Paul Steinhardt, David Wilkinson, Jim Bardeen, Robert Brandenberger, Josh Frieman, Hume Feldman, Andrew Liddle, Angela Olinto, Joel Primack and myself. Running concurrently with the COBE workshop was a particle physics workshop entitled B+L Violation in Electroweak Theory, organized by Larry McLerran and Valery Rubakov. There were several joint sessions and the topic of electroweak baryogenesis was of interest to both the cosmologists and the particle physicists. The gradual acceptance that B+L violation within the standard model led to rapid B+L violating interactions in the early Universe changed the way baryogenesis was viewed, eventually leading to the current view that baryogenesis likely begins with a lepton asymmetry (leptogenesis) that is morphed into a baryon asymmetry by B+L violating interactions when the Universe was a picosecond old. In 1994 David Weinberg and Adrian Melott organized a workshop entitled Gravitational Clustering in Cosmology. Numerical simulations of the formation of large-scale structure in the Universe were becoming increasingly predictive and the quality and quantity of large-scale structure data with which to compare were improving as well. (E.g., both the SDSS and 2dF Surveys were getting ready to begin.) The participants in this workshop, which included Neal Katz, Francois Bouchet, John Huchra, Angela Olinto, Gus Evrard, Lev Kofman, Anatoly Klypin, Carlos Frenk, Guinevere Kauffmann, and Simon White, were enthusiastic about the interactions that took place at the workshop, calling it “one of the best ever.” The summer 1995 workshop, Inflation: From Theory to Observation and Back (organized by Katie Freese and myself), drew an impressive group of US “inflationists” (Albrecht, Linde, Guth, Frieman, Martin White, Arthur Kosowsky, Kamionkowski, Janna Levin) and members of the growing British inflation community (Andrew Liddle, David Lyth, and Malcolm Perry). There was intense discussion of open inflation (the growing evidence for a matter density less than the critical density was pushing some inflation proponents to relax the inflationary prediction of a flat Universe) as well as what CMB measurements on small angular scales (less than 1 degree) could reveal about inflation and the features of the Universe more broadly (e.g., determination of cosmological parameters including the curvature, composition and age of the Universe). Mixed dark matter (hot + cold dark matter) was a “hot” topic, because it was a variant of CDM (along with ΛCDM) that could fit all the data. Lisa Randall attended this workshop, and she and Guth worked together on a search for “natural” (i.e., well-motivated) particle physics models of inflation. The two-week Big-bang Nucleosynthesis (BBN) workshop organized by Lawrence Krauss and Schramm) featured a spirited debate between the Chicago school (Schramm and Turner) and the Ohio school (Steigman, Scherrer, Walker, and Olive) about whether or not there was a crisis involving the primordial Helium abundance, one of the key predictions of BBN. Arguing for a low value for the primordial helium abundance (around 24%) the Ohio school claimed BBN was in crisis because not all three neutrino species could be accommodated with such a low Helium abundance. The Chicago school argued that the evidence for a low Helium abundance was weak and there was no crisis (which turned out to be correct). Interestingly enough, there is a crisis today involving the primordial Helium abundance once again. This time, some of the same people who argued for a low primordial abundance are arguing for high primordial abundance, around 26%, which necessitates an additional neutrino species. The only certain thing is the importance of BBN to both cosmology and particle physics: It is the earliest quantitative test of the big-bang framework and a powerful probe of particle physics. And that BBN connection between particle physics and cosmology traces back to the paper Steigman, Schramm and Gunn wrote in Aspen in the summer of 1976. Cosmology wasn’t the only area of astrophysics that flourished at the Center during the middle period. Core collapse, supernovae, neutron stars and nucleosynthesis continued to be major scientific themes, as evidenced by summer workshops and winter conferences on these subjects. Supernova 1987A, the brightest supernova in almost 400 hundred years and the first to be “seen” in neutrinos certainly had a lot to do with that. Other notable non-cosmology workshops included New Directions in Pulsar Physics (1984, organized by Jon Arons, Roger Blandford, David Helfand and Franco Pacini) and Gamma-ray Bursters (1994,organized by Don Lamb and Bohdan Pacyznski) held at the height of the debate about whether or not gamma-ray bursts were galactic or extragalactic events. Bohdan and Don would debate the subject in Washington, DC in April 1995 (Great Debate II, modeled after the famous 1920 Curtis-Shapley debate about the size of the Universe). Don would win the debate, but Bohdan had the right answer (which is much more important than winning the debate!). Two years later, the BeppoSAX satellite settled the question: GRBs are extragalactic. (The BeppoSAX detection of GRB afterglows revealed that distant galaxies host them.) Arguably the most influential astrophysics workshop of the middle period was Adaptive Optics in 1992. The extensive classified work on adaptive optics was first shared with the astrophysics community in this workshop. The NSF Science Technology Center on Adaptive Optics at UC Santa Cruz traces its origins to discussions at this Aspen meeting, and adaptive optics has transformed astronomy by giving every ground-based telescope the potential to have the same visual acuity as a space telescope. During this period, general relativity, especially its intersection with cosmology, astrophysics, and particle physics was an active area at the Center as well, with workshops on Gravitational Radiation in 1980 (organized by Bob Wagoner and Dave Douglas), Baby Universes in 1989 (organized by Steve Giddings and Sidney Coleman, with a participant list that included Leonard Susskind and Stephen Hawking who gave a July 5th public lecture), Current Problems in Classical Gravitation (organized by Jim York, Richard Matzner and Tsvi Piran), Cosmic Censorship in 1992, Quantum Aspects of Black Holes also in 1992, Gravitational Problems in Relativistic Astrophysics in 1993, and Numerical Investigations of Singularities in General Relativity in 1994 (triggered by Matt Choptuik’s successful numerical modeling of black-hole formation from scalar fields). While relativity per se has not risen to be a primary activity at the Center, it continues to be a recurring theme. To the chagrin of many of my astrophysics colleagues – especially the members of the AOC — during my presidency (1989 to 1993) we mainstreamed astrophysics, abolishing the single guaranteed June astrophysics workshop in favor of astrophysics competing with particle physics and condensed matter physics for workshop slots. Likewise, the AOC disappeared (of course, like Skull and Bones, it may continue secretly to this day). Astrophysicists in increasing numbers were added as general members and trustees – Neta Bahcall, David De Young, Katherine Freese, Josh Grindlay, Craig Hogan, Angela Olinto, P.J.E. Peebles, Mal Ruderman, Joe Silk, J. Craig Wheeler, and David Wilkinson. In 1980, only two of the 23 members/trustees were astrophysicists; by 1995, almost one third of the nearly 80 general members were astrophysicists and the ACP had had its first astrophysicist as president. In the 1990s, several astrophysics workshops were held each summer, in the informal Aspen style with lots of interactions and few formal talks. In 1986, during the second year of the Winter Conference series, astrophysics joined as a permanent member. Some winters have had as many as three weeks devoted to astrophysics. During the middle years, astrophysics at Aspen transitioned from a program built around a single, yearly NASA-sponsored workshop to an integral part of the Center’s scientific program. The early connections between astrophysics and condensed matter physics built around neutron stars remained, but new, stronger connections between particle physics and cosmology emerged and greatly enhanced astrophysics at Aspen. The Center can proudly claim that it helped to propel the field of particle astrophysics and cosmology to its current prominence by providing a summer home for workshops and research. Moreover, cosmology provided the vehicle for the Center to “go big” in astrophysics. During the modern era, astrophysics would grow to stand on its own, bringing the full breadth of contemporary astronomy to the Center and establishing new connections to the other disciplines.
5894	dbpedia	2	0	https://www.bbc.com/news/entertainment-arts-58601697	en	Obituary: Sir Antony Sher, a giant of the stage	https://ichef.bbci.co.uk…es-597700070.jpg	https://ichef.bbci.co.uk…es-597700070.jpg	[ "https://www.bbc.com/bbcx/grey-placeholder.png", "https://ichef.bbci.co.uk/news/240/cpsprodpb/260C/production/_121304790_antonysherkinglearrsc2016gettyimages-597700070.jpg.webp 240w,https://ichef.bbci.co.uk/news/320/cpsprodpb/260C/production/_121304790_antonysherkinglearrsc2016gettyimages-597700070.jpg.webp 320w,https://ichef.bbci.co.uk/news/480/cpsprodpb/260C/production/_121304790_antonysherkinglearrsc2016gettyimages-597700070.jpg.webp 480w,https://ichef.bbci.co.uk/news/640/cpsprodpb/260C/production/_121304790_antonysherkinglearrsc2016gettyimages-597700070.jpg.webp 640w,https://ichef.bbci.co.uk/news/800/cpsprodpb/260C/production/_121304790_antonysherkinglearrsc2016gettyimages-597700070.jpg.webp 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feeling like an impostor to becoming a giant of the British stage.	en	/bbcx/apple-touch-icon.png		https://www.bbc.com/news/entertainment-arts-58601697	Antony Sher, who has died aged 72, once believed that acting was about "becoming someone else". As a young man, not being himself was appealing. In his own mind, he had much to hide. He was born a white South African, Jewish and gay. Introduced to the Queen as one of Britain's finest classical actors, he struggled to shake off an inner voice telling him he was an impostor. But, as he slowly came to realise, the insecurities helped him on stage. Shakespeare's great characters were outsiders too. Richard III was physically warped; King Lear and Iago were consumed by rage and jealousy; Shylock was part of a spurned community. With every part he played, Sher confronted a little more of himself, learning to draw on painful memories to master Falstaff, Leontes and Macbeth. It was a difficult journey, which saw him treated for depression and cocaine addiction. But, by the end, he had changed his mind on a fundamental point. "Acting is not about hiding," he admitted. "It is about revealing." Trespasser Antony Sher began life in Sea Point, a middle-class suburb of Cape Town, on 14 June 1949. He was born with a membrane around his head, which the doctor insisted was a sign of greatness. Growing up in South Africa, young Tony felt out of place. He was weedy, artistic and withdrawn - with little in common with his sports-obsessed white classmates. "I always felt like a trespasser," he recalled. Later, there was also a sense of shame. His grandparents were Lithuanian-Jewish immigrants who had fled persecution in Europe, but the family never questioned the system of apartheid under which they now lived. Sher confessed that he - like everyone he knew - had internalised the message that blacks were inferior. None of them had heard of Nelson Mandela, although Robben Island was visible from Sea Point's beaches. He did experience anti-Semitism in the South African army. Forced to do national service, he was savaged for his Jewish heritage - and took care to keep his sexuality to himself. Short, bespectacled and with flat feet, the army despaired at what to do with Rifleman 65833329. Finally, it put him in charge of an empty hut in the Namibian desert - and ignored him. Rejection In 1968, Sher left South Africa and travelled to England. His mother - convinced by the doctor that her third son was 'special' - recorded home movies of him arriving for drama school auditions. Success, she believed, was divinely ordained. The rejection letters cut deep. "Not only have you failed this audition," wrote Rada, "we strongly urge you to seek a different career." Fortunately, London was crawling with drama schools. Eventually, he enrolled at the Webber-Douglas Academy of Dramatic Art. Having seen little theatre in Cape Town, Sher could now watch the greats: John Gielgud, Ralph Richardson and Laurence Olivier. He admired how actors could transform themselves with wigs and prosthetics. It was an attractive skill for a man who was hiding himself. Sher was shocked to discover South Africa was a pariah state, and ashamed that his family had not taken a stand. He adopted an English accent and said he'd been born in Hampstead. He tried to deny his sexuality - first becoming engaged to a fellow student and later briefly marrying a "splendidly named, splendidly spirited woman" called Jo Jelly. "I went into so many closets," he later admitted. Not sexy enough On leaving drama school, the principal made a prediction. Sher, he said, would not succeed as an actor until he was 30. It proved accurate. At Liverpool's Everyman theatre, he did his acting apprenticeship alongside up-and-coming talents like Jonathan Pryce, Pete Postlethwaite and Julie Walters. But he was rarely the star of the show. Then, a week after his 30th birthday, a part fell into his lap which made Antony Sher a household name. The BBC offered him the role of Howard Kirk - a manipulative, womanising sociology lecturer - in a TV adaptation of Malcolm Bradbury's The History Man. His confidence was initially destroyed on discovering that playwright Christopher Hampton - who adapted Bradbury's novel for the series - had opposed his casting. Sher was not, Hampton argued, sexy enough. But the BBC stuck to its guns. Sher, having gone to a gym in an effort to be 'sexy', delivered a masterly performance as the ruthless, moustachioed bully. There followed a Bafta nomination, questions in Parliament about the sex scenes and - most importantly - a telephone call from the Royal Shakespeare Company. Kings and Queens He had auditioned for the RSC before but had failed to impress. When asked to do a Scottish accent for Macbeth, Sher had attempted an impression of football manager Bill Shankly - and everything had fallen apart. This time was different. In his first season, he played the Fool opposite Michael Gambon's King Lear - and was then cast as Richard III. A spectre hung over the role, in the shape of Laurence Olivier. The great man's portrayal of the hunched, murderous King was etched in every actor's memory. To play it differently, Sher used crutches. Richard was presented as a frightening, many-limbed beast or - in Shakespeare's words - a "bottled spider". Riding a wave of stellar reviews, his next project could not have been more different. He became Arnold, a Jewish New York drag queen, in Harvey Fierstein's Torch Song Trilogy. Sher usually researched his roles exhaustively, but chose to play Arnold straight from the heart. "My only regret," he later confided, "is that I wasn't out at the time, so I was in the ridiculous situation of not being able to say why this play was so important to me." At the 1985 Olivier Awards, Sher picked up prizes for both Richard III and Torch Song. "I'm very happy to be the first actor to win an award for playing both a king and a queen," he announced. Not every part was a triumph. Sher's portrayal of Malvolio in Twelfth Night flopped when he tried - too hard - to inject humour. "It was death by slow crucifixion," he lamented. His performance as Shylock, by contrast, was universally praised. It was also where he met Greg Doran, a fellow member of the cast. Doran went on to become artistic director of the RSC, Antony Sher's life partner and - when the law permitted - husband. Under Doran's direction, he was encouraged to look deeper into himself. To play King Leontes, the jealous lover of The Winter's Tale, Sher was encouraged to stop transforming into somebody else and to draw on his own memories. He looked back and remembered his old rivalry with Simon Callow. There had been a time when Callow seemed to be getting all the parts he coveted. At times, Sher couldn't bear to be in the same room. "I felt," he recalled, "like Salieri to his Mozart." The two actors eventually set things right after a four-hour lunch at the Caprice. Working with Doran was hard at first. Crockery was thrown after a production of Titus Andronicus - until they agreed a pact never to discuss work at home. But there were advantages. Sher trusted Doran absolutely, which gave him the confidence to reveal ever more of himself in the parts they created together. "There was something about the material that was so sacred, so much bigger than my own ego - that there was no space for my petty feelings," he recalled. In 2008, Sir Antony took Doran and their production of The Tempest to South Africa, which bore little resemblance to the land he had left 40 years previously. Together, they explored Cape Town's thriving, desegregated gay nightspots, and spotted a newspaper headline that showed how far both man and country had come. "Jewish boy from Sea Point," it read, "plays Prospero at last". In September 2021, the Royal Shakespeare Company announced that Sher had been diagnosed with a terminal illness. Doran stepped down as artistic director to care for his husband in his final months. Together, they had just finished a run of memorable productions - including Henry IV part 1, King Lear and Arthur Miller's Death of a Salesman. A fleeting appearance in Shakespeare in Love aside, Sir Antony never had the kind of Hollywood career that others from the RSC enjoyed. The History Man - despite its rave reviews - proved a rare foray into television. But it never seemed to bother a man who will be remembered as one of the world's great stage performers. As far as Antony Sher was concerned, Shakespeare wrote better scripts.
5894	dbpedia	3	46	https://mynorthwest.com/3264972/acclaimed-shakespearean-actor-antony-sher-dies-at-72/	en	Acclaimed Shakespearean actor Antony Sher dies at 72	https://mynorthwest.com/…dcff42443a11.jpg	https://mynorthwest.com/…dcff42443a11.jpg	[ "https://cdn.bonneville.cloud/i/MyNorthwest/custom_320x240.webp", "https://mynorthwest.com/wp-content/uploads/2021/12/ap_2bf7fcf2284e4e4aaf23dcff42443a11.jpg", "https://secure.gravatar.com/avatar/2919d82729d84c184bb1a955b9414701?s=96&d=mm&r=g", "https://mynorthwest.com/wp-content/uploads/2024/08/Barred-owl.jpg", "https://mynorthwest.com/wp-content/uploads/2024/08/Trump_Classified_Documents_52537-scaled.jpg", "https://mynorthwest.com/wp-content/uploads/2024/08/Untitled-Design-2024-08-23T140715.898.jpg", "https://mynorthwest.com/wp-content/uploads/2024/08/Blinken.jpg", "https://mynorthwest.com/wp-content/uploads/2024/08/Blinken.jpg", "https://mynorthwest.com/wp-content/uploads/2024/08/Perdue-nuggets.png", "https://mynorthwest.com/wp-content/uploads/2024/08/Perdue-nuggets.png", "https://mynorthwest.com/wp-content/uploads/2024/08/teen-court-1.jpg", "https://mynorthwest.com/wp-content/uploads/2024/08/teen-court-1.jpg", "https://mynorthwest.com/wp-content/uploads/2024/07/Anacortes.jpg", "https://mynorthwest.com/wp-content/uploads/2024/07/Anacortes.jpg", "https://mynorthwest.com/wp-content/uploads/2024/07/make-a-wish.jpg", "https://mynorthwest.com/wp-content/uploads/2024/07/make-a-wish.jpg", "https://mynorthwest.com/wp-content/uploads/2024/07/rats-2-1.jpg", "https://mynorthwest.com/wp-content/uploads/2024/07/rats-2-1.jpg", "https://mynorthwest.com/wp-content/uploads/2024/07/crash-4.jpg", "https://mynorthwest.com/wp-content/uploads/2024/07/crash-4.jpg", "https://mynorthwest.com/wp-content/uploads/2024/05/Cares-Partner-Living.jpg", "https://mynorthwest.com/wp-content/uploads/2024/05/Cares-Partner-Living.jpg", "https://mynorthwest.com/wp-content/uploads/2024/06/GSBA.jpg", "https://mynorthwest.com/wp-content/uploads/2024/06/GSBA.jpg", "https://cdn.bonneville.cloud/i/MyNorthwest/custom_320x240.webp", "https://cdn.bonneville.cloud/i/MyNorthwest/custom_320x240.webp" ]	[]	[]	[ "MyNorthwest.com - Seattle news", "sports", "weather", "traffic", "talk and community.", "Home", "MyNorthwest.com" ]	null	[ "Associated Press" ]	2021-12-02T23:56:16+00:00	LONDON (AP) -- Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday.	en	https://mynorthwest.com/…vicon-needle.png	MyNorthwest.com	https://mynorthwest.com/3264972/acclaimed-shakespearean-actor-antony-sher-dies-at-72/	LONDON (AP) — Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in “Richard III.” He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the “Henry IV” plays, Leontes in “The Winter’s Tale,” Shylock in “The Merchant of Venice,” Iago in “Othello” and the title characters in “Macbeth” and “King Lear.” Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller’s “Death of a Salesman” and the title role in Moliere’s “Tartuffe.” Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s “Torch Song Trilogy.” He won the 1985 best-actor Olivier Award jointly for “Torch Song Trilogy” and “Richard III.” He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ “Stanley” at the National Theatre and on Broadway. After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage. He adapted Primo Levi’s powerful Auschwitz memoir “If This is a Man” into a one-man stage show, “Primo,” that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.” Sher’s last role for the RSC came in 2019 in South African writer John Kani’s “Kunene and The King.” Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.” On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series “The History Man.” His film roles included Dr. Moth in “Shakespeare in Love,” Benjamin Disraeli in “Mrs Brown” and Adolf Hitler in “Churchill: The Hollywood Years.” Sher also wrote several novels and theatrical memoirs, along with an autobiography, “Beside Myself,” and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. “I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in “Macbeth” and “Death of a Salesman.” “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said. Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.” “He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.'” Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage. Copyright © The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
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"https://static.euronews.com/website/images/vector/social-icons/social_icon_youtube.svg", "https://static.euronews.com/website/images/vector/social-icons/social_icon_linkedin.svg", "https://static.euronews.com/website/images/vector/social-icons/social_icon_dailymotion.svg", "https://static.euronews.com/website/images/vector/social-icons/social_icon_instagram.svg", "https://static.euronews.com/website/images/vector/social-icons/social_icon_vk.svg", "https://www.facebook.com/tr?id=1612819098956034&ev=PageView&noscript=1" ]	[]	[]	[ "Theatre", "William Shakespeare", "actor" ]	null	[ "Euronews" ]	2021-12-03T00:00:00	After winning acclaim as a pillar of British theatre, Sher began to explore both his Jewish and his South African heritage.	en	/apple-touch-icon.png	euronews	https://www.euronews.com/culture/2021/12/03/antony-sher-shakespearean-specialist-with-stage-fright-dies-aged-72	Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in “Richard III.” He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the “Henry IV” plays, Leontes in “The Winter’s Tale,” Shylock in “The Merchant of Venice,” Iago in “Othello” and the title characters in “Macbeth” and “King Lear.” Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller's “Death of a Salesman” and the title role in Moliere's “Tartuffe.” Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s “Torch Song Trilogy.” He won the 1985 best-actor Olivier Award jointly for “Torch Song Trilogy” and “Richard III.” He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ “Stanley” at the National Theatre and on Broadway. After winning acclaim as a pillar of British theatre, Sher began to explore both his Jewish and his South African heritage. Stage Fright He adapted Primo Levi’s powerful Auschwitz memoir “If This is a Man” into a one-man stage show, “Primo,” that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.” Sher's last role for the RSC came in 2019 in South African writer John Kani’s “Kunene and The King.” Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.” On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series “The History Man.” His film roles included Dr. Moth in “Shakespeare in Love,” Benjamin Disraeli in “Mrs Brown” and Adolf Hitler in “Churchill: The Hollywood Years.” Sher also wrote several novels and theatrical memoirs, along with an autobiography, “Beside Myself,” and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. “I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in “Macbeth” and “Death of a Salesman.” “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said. Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.” “He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.’” Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage.
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"https://images.squarespace-cdn.com/content/v1/585832425016e17cbf7235be/1484770273876-7WSPOHTGL5ZY5LRNS0LW/image-asset.jpeg" ]	[]	[]	[ "" ]	null	[ "Julia Alexander", "Edward Karam", "Nicole Colbert", "Chloe Edmonson", "Lea Fridman", "Deborah Anderson", "Rich Monetti", "Charles Wright", "James Wilson" ]	2024-08-09T00:00:00		en	https://assets.squarespace.com/universal/default-favicon.ico	Off Off Online	https://www.offoffonline.com/offoffonline/tag/Shakespeare	The very notion or necessity of taming an outspoken, independent woman—or a shrew—is about as offensive as it gets. It’s a criticism Shakespeare came up against even in his time, so any production today must partly run afoul of such discussion. But Rebecca Patterson has been directing the play long enough to know better. Having first done Taming of the Shrew in 2005 and having workshopped it for the last few years, she’s secure in the knowledge that Shakespeare always moves “toward the light” and doesn’t worry that the real message will be lost. OffOffOnline: What is your interpretation of The Taming of the Shrew? Rebecca Patterson: Shakespeare is a humanist. He has extreme compassion for people who are getting the short end of the stick, so this is not a battle of the sexes. It’s about marriage and the oppression that happens at the most intimate of places, which is in our hearts and our bedrooms. On the other hand, he’s also extremely honest, and writing in a misogynistic time. This meant he explored his world but still hoped to shift domination and submission in relationships on a path toward egalitarianism. OffOffOnline: Are we allowed to laugh? Patterson: That’s what’s so amazing about the play. It’s dark, it’s dangerous, and it’s funny. Of course, the situation Katherina is caught in is not funny. But one of the most empowering things you can do is laugh or tell a joke. So there are points that are hilarious, but the one thing that is often ignored is the Bianca story. What I’ve done—given the expectations for her suitors—was have her played by a— OffOffOnline: By what? Patterson: A blow-up doll. OffOffOnline: Oh, really. Patterson [laughing]: Exactly. A blow-up doll is perfect, because she’s what everybody wants her to be. OffOffOnline: Does she speak? Patterson: That’s what made it so easy to lift out her lines. She doesn’t really affect anybody and doesn’t have any effect. So people talk around her, but she does speak at the end because even the blow-up doll finds her voice. OffOffOnline: What are you trying to get across by using an all-female cast? Patterson: Nothing. One of the things that I’ve found is contemporary women are better able to channel the Renaissance male reality, which is emotionally accessible and strong. Still, Shakespeare is all about humanity—not necessarily men and women. So if we do an all-female cast, it resonates simply as human. OffOffOnline: Why do you think women have better access? Patterson: Because contemporary men from a young age are taught not to show their emotion, but the Renaissance man must have a fully expressed emotional life to understand Shakespeare’s journeys. You have to see into their souls, and that degree of inner transparency is easier for contemporary women. OffOffOnline: How else do you diverge from the original? Paterson: Shakespeare is like a diamond: there are so many difference facets. But I am true to the words that are spoken. The only thing is I have streamlined some scenes because the theatrical expectations are different from the audience. Still, people always ask if I keep the final scene where Katherina lays out the expectation that women had to be subservient. That’s what he wrote. Shakespeare was being honest, but the play doesn’t end there. We take a modern context. For anybody who’s been caught in a marriage of subservience, there’s a journey that still needs to be taken—especially for the dominator to get to a place where they can truly love. OffOffOnline: Was Shakespeare the only one who wrote in rhyme? Patterson: They all wrote that way at the time. It was thought that the elevated speech was how you unleashed the human heart. Shakespeare was just the one who did it best. OffOffOnline: What if you don’t necessarily speak Shakespeare. Can you still enjoy this? Patterson: My actors are extremely talented and well trained classical actors. So people walk out of our play, and say, “I’m impressed how you updated the language.” But we don’t. The trick is you have to find the rhythms of the language. I liken it to rap. So we make him strut, and the consonants and vowels actually reach inside of us to play our hearts. OffOffOnline: How do you see your role as a director? Patterson: My actors see the text as I do, so all I do is guide them to places where there might be a misinterpretation. It’s less about doing it wrong, and more about “There’s something else here” or “I don’t think this is what the moment is about.”
5894	dbpedia	3	89	https://www.goodreads.com/quotes/567952-i-m-having-my-lunch-when-i-hear-a-familiar-hoarse	en	Quote by Antony Sher: “I’m having my lunch when I hear a familiar hoar...”	https://i.gr-assets.com/…8264l/281342.jpg	https://i.gr-assets.com/…8264l/281342.jpg	[ "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/siteheaderbannerimages/1722529902i/427.jpg", "https://s.gr-assets.com/assets/gr/icons/icon_close_white-dbf4152deeef5bd3915d5d12210bf05f.svg", "https://s.gr-assets.com/assets/facebook/fb-icon-8d74377d3ff4a368f05860c35d8025b2.png", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/authors/1560398771i/157513._UX200_CR0,33,200,200_.jpg", "https://s.gr-assets.com/assets/gr/share_module/share_facebook_circle-ecf94fc18c887e845025d979d27f758d.svg", "https://s.gr-assets.com/assets/gr/share_module/share_twitter_circle-1e3cc199af6bf2bd798502acf873657a.svg", "https://images.gr-assets.com/users/1426204060p2/6005310.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327998264l/281342._SX50_.jpg", "https://s.gr-assets.com/assets/site_footer/footer_facebook-ea4ab848f8e86c5f5c98311bc9495a1b.svg", "https://s.gr-assets.com/assets/site_footer/footer_twitter-126b3ee80481a763f7fccb06ca03053c.svg", "https://s.gr-assets.com/assets/site_footer/footer_instagram-d59e3887020f12bcdb12e6c539579d85.svg", "https://s.gr-assets.com/assets/site_footer/footer_linkedin-5b820f4703eff965672594ef4d10e33c.svg", "https://s.gr-assets.com/assets/app/badge-ios-desktop-homepage-6ac7ae16eabce57f6c855361656a7540.svg", "https://s.gr-assets.com/assets/app/badge-android-desktop-home-2x-e31514e1fb4dddecf9293aa526a64cfe.png 2x", "https://s.gr-assets.com/assets/facebook/login_animation-085464711e6c1ed5ba287a2f40ba3343.gif", "https://pixel.quantserve.com/pixel/p-0dUe_kJAjvkoY.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=6035830&c3=&c4=&c5=&c6=&c15=&cv=2.0&cj=1" ]	[]	[]	[ "" ]	null	[]	null	Antony Sher — ‘I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the l...				https://www.goodreads.com/quotes/567952-i-m-having-my-lunch-when-i-hear-a-familiar-hoarse	“I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. … Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’ As reported by Gambon, their conversation went like this: Olivier: ‘What are you going to do for me?’ Gambon: ‘Richard the Third.’ Olivier: ‘Is that so. Which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, I understand that, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’ Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’ Olivier: ‘What, the King? Richard?’ Gambon: ‘ — the Third, yeah.’ Olivier: “You’ve got a fucking cheek, haven’t you?’ Gambon: ‘Beg your pardon?’ Olivier: ‘Never mind, which part are you going to do?’ Gambon: ‘Richard the Third.’ Olivier: ‘Don’t start that again. Which speech?’ Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘ Olivier: ‘Right. Whenever you’re ready.’ Gambon: ‘ “Was ever woman in this humour woo’d –” ‘ Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’ Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘ Olivier: ‘Wait. Stop. What’s the blood?’ Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’ A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done. Gambon: ‘Shall I start again?’ Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’ Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic. ‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning.” ― Antony Sher, Year of the King: An Actor's Diary and Sketchbook Read more quotes from
5894	dbpedia	3	5	https://www.rsc.org.uk/news/death-of-sir-antony-sher	en	Death of Sir Antony Sher	https://cdn2.rsc.org.uk/…fvrsn=d918b221_2	https://cdn2.rsc.org.uk/…fvrsn=d918b221_2	[ "https://cdn.rsc.org.uk/sitefinity/images/rsc/rsc_logo.tmb-logo-98x75.png", "https://cdn2.rsc.org.uk/sitefinity/images/miscellaneous/rsc-grey-button-1.jpg?sfvrsn=d5518521_4", "https://cdn2.rsc.org.uk/sitefinity/images/miscellaneous/rsc-grey-button-2.jpg?sfvrsn=74d9121_8", "https://cdn2.rsc.org.uk/sitefinity/images/rsc/icons/basket-915116554.svg?sfvrsn=3f9aaf21_2", "https://cdn.rsc.org.uk/sitefinity/website-assets/icons/search_icon.svg", "https://cdn2.rsc.org.uk/sitefinity/images/people/actors/antony-sher/richard-iii_-1984_-antony-sher-as-richard_1984_photo-by-reg-wilson-_c_-rsc_206027.tmb-img-1824.jpg?sfvrsn=5012b221_1 2x", "https://cdn2.rsc.org.uk/sitefinity/images/people/actors/antony-sher/macbeth_-2001_-film_2001_photo-by-jonathan-dockar-drysdale-_c_-rsc_2463526c26d4ee74f76138967eff00002337f7.tmb-gal-670.jpg?sfvrsn=e7d1b521_1", "https://cdn2.rsc.org.uk/sitefinity/images/rsc/legal-compliance-images/star-logo-rsc.jpg", "https://cdn2.rsc.org.uk/sitefinity/images/sponsor-logos/fundraising-regulator-registered-logo.png", "https://cdn.rsc.org.uk/sitefinity/images/sponsor-logos/artscouncil.png" ]	[]	[]	[ "" ]	null	[]	null	Today (Friday) we announced the death of Sir Antony Sher, Honorary Associate Artist and husband of Artistic Director, Gregory Doran.	en	https://cdn.rsc.org.uk/sitefinity/images/rsc/icons/favicon.ico		https://www.rsc.org.uk/news/death-of-sir-antony-sher	Catherine Mallyon, RSC Executive Director and Erica Whyman, Acting Artistic Director, said: We are deeply saddened by this news and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. 'Antony had a long association with the RSC and a hugely celebrated career on stage and screen. Antony’s last production with the Company was in the two-hander Kunene and The King, written by his friend and fellow South African actor, writer and activist, John Kani. 'Other recent productions at the RSC include King Lear, Falstaff in the Henry IV plays and Willy Loman in Death of a Salesman. Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth, Tamburlaine the Great, Peter Flannery’s Singer, Cyrano de Bergerac, as well as his career defining Richard III. He also attracted critical acclaim for his performances at the National Theatre in his one man show Primo, Pam Gems’ Stanley (Olivier Award and TONY nominated) and Uncle Vanya with Ian McKellen. In the West End in Torch Song Trilogy (Olivier award winning for this and Richard III), at the Royal Court in Carol Churchill’s Cloud Nine and his first big hit playing Ringo Starr in Willy Russell’s John, Paul, George, Ringo and Bert; and on film in Mrs Brown and on television in Malcolm Bradbury’s The History Man. 'Antony was a widely exhibited artist and author of multiple books including the theatre journals Year of the King, Woza Shakespeare!, co-written with Gregory Doran, four novels including Middlepost, three plays, a television screenplay and his autobiography Beside Myself. 'Antony was deeply loved and hugely admired by so many colleagues. He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. We will ensure friends far and wide have the chance to share tributes and memories in the days to come.' RSC Chair Shriti Vadera added: 'Our hearts go out to Greg today, as on behalf of all RSC Board members, past and present, we express our deep sadness, affection and condolences to him and other members of Antony’s family. Antony was beloved in the RSC and touched and enriched the lives of so many people.' Susie Sainsbury, Artists’ Associate and former RSC Deputy Chair said: 'Tony and Greg were together for over 30 years, and their careers as actor and director have brought them international acclaim, both individually and in the many productions where they worked together so productively. 'Tony will be remembered for many exceptional roles on stage and screen, but also for his passion for painting and drawing, which occupied his days increasingly in recent years. The last decade – with Greg as Artistic Director of the RSC – has been spent mainly in Stratford-upon-Avon, where Tony was delighted to have his own studio at their house, and we will remember them together not only in the theatre but as genial and generous hosts, with endless good food and fascinating conversations. 'Their many friends and colleagues will each have particular memories - mine is an image of the two of them, bearded and smiling, on the window seat in their sitting room, utterly content in each other’s company. It is impossible to imagine one without the other, and our thoughts and deep sympathy are with Greg and their families.' Actor and Playwright John Kani writes: 'Both Tony Sher and I were born when our country South Africa was the worst place a child could be born let alone to be raised by parents who worked very hard to prepare their children for a difficult future - Apartheid South Africa. By the Grace his God and my Ancestors, like Romeo and Juliet, we found each other in 1973. We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists and we both had the honour of celebrating together 25 years of South Africa’s Democracy in my latest play Kunene and the King. I am at peace with you my friend and myself. Exit my King. Your Brother.' Gregory remains on compassionate leave and is expected to return to work in 2022. Read further tributes to Sir Antony Sher by RSC artists
5894	dbpedia	3	70	https://celebrity.nine.com.au/latest/celebrity-death-antony-sher-shakespearean-actor/1ce617f5-148c-43ec-ba34-36655ddbe9e1	en	Acclaimed Shakespearean actor Sir Antony Sher dies, aged 72	https://imageresizer.static9.net.au/jq0_RFEpP7jICQMvTaF2gIs9TcA=/0x118:3667x2180/1200x628/smart/https%3A%2F%2Fprod.static9.net.au%2Ffs%2Ffe488708-fcef-4072-9448-b31d6d885dc1	https://imageresizer.static9.net.au/jq0_RFEpP7jICQMvTaF2gIs9TcA=/0x118:3667x2180/1200x628/smart/https%3A%2F%2Fprod.static9.net.au%2Ffs%2Ffe488708-fcef-4072-9448-b31d6d885dc1	[ "https://imageresizer.static9.net.au/-wI88Cg20zMtHHalI2MqdJ0cy4Y=/396x0/https%3A%2F%2Fprod.static9.net.au%2Ffs%2Ffe488708-fcef-4072-9448-b31d6d885dc1", "https://imageresizer.static9.net.au/mDvDju0HBrB-FFk-UTCE0jVJ43g=/396x0/filters:brightness(8)/https%3A%2F%2Fprod.static9.net.au%2Ffs%2F83ca7505-22c7-46e2-8c21-5f51d94d3055", "https://imageresizer.static9.net.au/EV_n6ni_SquwALZ3F6DhQwLacPU=/396x0/https%3A%2F%2Fprod.static9.net.au%2Ffs%2F9da8db26-1277-4771-a877-3628a40a6676", "https://imageresizer.static9.net.au/TjFxfLBtzm3Q9UTcHP2la9nXxXU=/396x223/https%3A%2F%2Fprod.static9.net.au%2Ffs%2F7409afa6-8f0f-42c2-ad9c-1c8a78c574d4", "https://imageresizer.static9.net.au/zs-CGnxy59OqeZVmjOMXngMZ7Fg=/0x166:1396x952/88x88/https%3A%2F%2Fprod.static9.net.au%2Ffs%2F4c99e32d-9c1a-45b8-8c09-0bcf620b27cc", "https://imageresizer.static9.net.au/ZHhcD9iLG1C1iFxdcLk31wTCCJU=/0x401:5376x3425/88x88/https%3A%2F%2Fprod.static9.net.au%2Ffs%2F81c7437e-48a2-459e-b8e5-71448577f51f", "https://imageresizer.static9.net.au/YgHyqwi5B3ZnVjfqXrpO70eOXj4=/83x0:1860x1000/88x88/https%3A%2F%2Fprod.static9.net.au%2Ffs%2Fa0136123-cbe7-489d-a491-476addbc6975" ]	[]	[]	[ "" ]	null	[]	2021-12-03T16:00:54+00:00	Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Arti...	en	/assets/imgs/celebrity/apple-icon-57x57.c4a1fad5.png		//celebrity.nine.com.au/latest/celebrity-death-antony-sher-shakespearean-actor/1ce617f5-148c-43ec-ba34-36655ddbe9e1	Sir Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949 and was raised there before moving to London to study at the Webber-Douglas Academy of Dramatic Art 1969-1971. He joined the Royal Shakespeare Company in 1982. READ MORE: Laverne & Shirley actor Eddie Mekka dies, aged 69 In films, Sher was known for his roles in Shakespeare in Love (1998), Mrs. Brown (1997), The Wolfman (2010) and Erik the Viking (1989), but it was in theatre that he became a renowned name, winning the Olivier award for Best Actor twice — in 1985 for Richard III and Torch Song Trilogy and in 1997 for Stanley. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in Richard III, which won him a best-actor prize at British theatre's Olivier Awards. He went on to play most of Shakespeare's meaty male roles, including Falstaff in the Henry IV plays, Leontes in The Winter's Tale, Shylock in The Merchant of Venice, Iago in Othello and the title characters in Macbeth and King Lear. Non-Shakespearean roles for the company, based in the Bard's hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller's Death of a Salesman and the title role in Moliere's Tartuffe. Sher also performed with Liverpool's innovative Everyman Theatre and at many of London's main theatres, getting his first West End starring role as a drag artist in Harvey Fierstein's Torch Song Trilogy in 1985. He won a second Olivier, and got a Tony nomination, for playing artist Stanley Spencer in Pam Gems' Stanley at the National Theatre and on Broadway. Sher adapted Primo Levi's powerful Auschwitz memoir If This is a Man into a one-man stage show, Primo, that ran on Broadway in 2005. He also earned a BAFTA TV award Best Actor nomination for Primo in 2007. His last role for the RSC was in South African writer John Kani's Kunene and The King, in which Sher played a veteran actor diagnosed with cancer. Sher's film roles included Dr. Moth in Shakespeare in Love,Benjamin Disraeli in Mrs Brown and Adolf Hitler in Churchill: The Hollywood Years. Sher also wrote several novels and theatrical memoirs, along with an autobiography, Beside Myself. He was knighted by Queen Elizabeth in 2000. Shakespeare scholar James Shapiro said Sher's performances "profoundly deepened my understanding of Shakespeare." "He was a brilliant actor and an incredibly kind and thoughtful person," Shapiro said. "Hamlet put it best: 'take him for all in all, I shall not look upon his like again.'" Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalised in 2005. They married in 2015 when the UK legalised gay marriage.
5894	dbpedia	3	27	https://theartsdesk.com/theatre/antony-sher-i-discovered-i-could-be-other-people	en	Antony Sher: 'I discovered I could be other people'	https://theartsdesk.com/…fe4c8a53c6_0.jpg	https://theartsdesk.com/…fe4c8a53c6_0.jpg	[ "https://theartsdesk.com/sites/all/themes/artsdesk_new/logo.png", "https://theartsdesk.com/sites/default/files/styles/mast_image_landscape/public/mastimages/methode_sundaytimes_prod_web_bin_9bc5a48c-7425-11e6-9f79-34fe4c8a53c6_0.jpg?itok=squC1C8U", "https://theartsdesk.com/sites/default/files/images/stories/THEATRE/jasper_rees/_120606777_antonysherhistorymanhi001550361.jpg", "https://theartsdesk.com/sites/default/files/images/stories/THEATRE/jasper_rees/woza.jpg", "https://theartsdesk.com/sites/default/files/images/stories/THEATRE/jasper_rees/JS34112464.jpg", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/peanut1.jpg?itok=h_K4m95F", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Paapa%20Essiedu%20in%20Death%20of%20England%20Delroy%20at%20%40sohoplace%2C%20Credit%20Helen%20Murray%20%2865%29.jpg?itok=sVu5uzIX", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Unknown-90.jpeg?itok=2nSY518z", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/The%20Sound%20Inside%20small.jpg?itok=vGDNIxHy", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/In%20Two%20Minds%20small.jpg?itok=v7G5rLmR", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Harry%20Treadaway%20%28Tom%20Joad%29%20and%20Cherry%20Jones%20%28Ma%20Joad%29%20in%20The%20Grapes%20of%20Wrath%20at%20the%20National%20Theatre%20%28c%29%20Richard%20Hubert%20Smith%206123.jpg?itok=T3GKvvET", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/theyears1.jpg?itok=rHrHLRzs", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Fiddler%20on%20the%20Roof%20PROD-346%20Liv%20Andrusier%2C%20Hannah%20Bristow%20and%20Georgia%20Bruce.%20Credit%20-%20Marc%20Brenner.jpg?itok=2D3nAYwd", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/%28L-R%29%20Mireia%20Mambo%20%28Richie%20Walters%29%2C%20Amy%20Thornton%20%28Sheila%20Bryant%29%2C%20Katrina%20Dix%20%28Ensemble%29%20and%20Chloe%20Saunders%20%28Val%20Clarke%29%20-%20Photography%20by%20Marc%20Brenner.jpg?itok=dt70JTkE", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/The%20Mosinee%20Project%20small.jpg?itok=b2Q7dPa5", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/042524_Rifco_FrankieGoesToBollywood_PRODUCTION-1-0073-BW.jpg?itok=Br8Pl8y5", "https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Heartbreak%20Hotel%20small.jpg?itok=iw4EmTlM" ]	[]	[]	[ "" ]	null	[ "Jasper Rees" ]	2021-12-06T00:30:00+00:00	Remembering the brilliant actor knight who revealed himself both on stage and in pioneering performance diaries. Obituary by Jasper Rees		https://theartsdesk.com/sites/default/files/favicon.ico		https://theartsdesk.com/theatre/antony-sher-i-discovered-i-could-be-other-people	He also wrote plays, and he painted. It was as if the stage could not contain him. The screen certainly couldn’t: Sher's acting style was so volatile, so expansive, so technically adapted for the theatrical space that aside from his well-remembered turn as Howard Kirk (pictured below), the voraciously heterosexual lecturer in Malcolm Bradbury’s The History Man (1981), his performances on film are a mere footnote to a towering theatre CV. From the first he was always an actor apart, and he was often at his most consistently thrilling when he was in the undisputed lead role. In perhaps his deepest and quietest performance, he brought Primo Levi to the stage in his own one-man play. Of other real figures he portrayed, he was a sexually tortured Stanley Spencer in Pam Gems’s play Stanley, and a roaring Edmund Kean at the Old Vic. He once told me the story of how he ended up as the lead role in I.D. (2003), the play he wrote for the Almeida about the assassination of South Africa’s first prime minister. The director Nancy Meckler suggested the writer sit mutely in a corner where, for the first time in his professional life, he would watch. “Which I got to enjoy very much,” he said, sounding surprised – even delighted – at the memory of ceding the floor to others. “And I was not going to be in the play. We offered this to a shortlist of actors that we wanted to play that part and they couldn’t do it. I was rather sad the day we decided it’s silly, I might as well do it.” He ended up onstage for almost the entire duration of the play. Sher’s last totemic performance for the RSC (and the subject of his final book) was in King Lear in 2016, when he convincingly played a mighty potentate whose mind is horrifically fractured by the onset of dementia. It was fascinating to watch him graduate to this crowning role. More than 30 years earlier, while at university, I saw the young Daniel Day Lewis interviewed in front of a roomful of students. I don’t remember the context in which this came up, but I firmly recall him quoting Michael Gambon’s advice to actors: “When playing Lear, make sure you aren’t upstaged by your Fool.” Gambon had recently played Lear for the RSC. His capering, sinuous, red-nosed Fool was Sher. The sense that he wasn’t always collegiate onstage became part of the Sher’s reputation and it irked him. I once interviewed an actress who was appearing alongside him in a new play at the National. “He’s probably quite a competitive actor,” she mused, perhaps a little naively. When this thought bubble got published there was all hell to pay in the rehearsal room. I interviewed Sher three times across a decade and found him a fascinating mix of diffident and forthcoming. Anointed a star when he played Richard III on crutches in the manner of a bottled arachnid spitting venom and rage, he was first known for pyrotechnics which shielded deeper energies. But these were unveiled as, across the years, he peeled away the layers of his identity in search of truth and authenticity. Antony Sher was born in Cape Town in 1949. He was of Lithuanian Jewish stock, from a family with not an artistic cell in its DNA. He first knew he was homosexual at four, the same age he started painting. In the shadow of Table Mountain, those two preferences practically amounted to the same thing. He later expressed a hint of envy at his birthplace’s mutation into what he called “the San Francisco of Africa. It's so gay it’s unbelievable.” He was a reticent child, and was sent to elocution class (nobody dared call it acting class) “to draw me out of myself. I was so withdrawn everyone was starting to get worried that they had this peculiar person on their hands.” By the time he was 18, his parents were researching drama courses in London. "They found that Central School was the top school at the time and naively they found digs for me at Swiss Cottage before we left and then we did the audition and it was all over in 10 minutes. They had different grades of letters. Mine was the worst you could get because it said, ‘Absolutely find another profession.’ And then the problems began. My parents found me somewhere else but then they had to go back and I wasn’t in a drama school at the time and then it all became quite scary. London is quite a frightening place if you don’t know anybody. I was very alone. I went to the theatre a lot." After six months he got into Webber Douglas, then went on to Manchester to do a postgraduate course where he made the curious decision to marry. “Never mind about coming out publicly. The very first stage is coming out to yourself, and that was something I, like most people I guess, struggled with a lot and kept telling myself this is just a phase.” It doesn’t take much expertise in cod psychology to see why Sher has played so many outsiders - starting, you could argue, with his West End debut as Ringo in Willy Russell’s play about the Beatles (“my first false nose”). In adulthood it took him as much effort to own up to his nationality – he purgatorily destroyed up his old South African passport – as his sexuality. His first act on entering drama school was to suppress his accent, resulting in a faint nasal blockage that hinted at something underneath fighting to get out. And he encouraged an obsession with losing himself inside his own virtuosity. He had an extraordinarily malleable appearance: the only constants were his height (smallish) and teeth (babyish), but he had no trouble looking young, old, tubby, thin, ordinary, insane. It felt like a form of madness, the terrible feeling that would build up in the afternoon as the evening performance came nearer “I began by just being very interested in disguise on stage. That was a very important thing, that I was kind of hidden. I discovered I could be other people.” In a sense he was going about his father’s business: his father exported hides. Later, he explained, he grew “more interested in what's inside these people. I think it started happened with things that were personally very important to me, with Torch Song Trilogy, Merchant of Venice. You know, Richard III is not personally important to me.” “I always felt like a better actor when the roles related to me personally,” he told me another time, “because there was a personal investment. But I’m completely drawn to power-mad and so-called evil people. I’ve been to some dark places so I’m fascinated by the darkness in people.” He was one of many actor knights called upon to play Hitler (in Churchill: The Hollywood Years). Sher was one of the first thespian grandees to come out. He did so in 1989 at the same time as Characters, a book of his portraits and sketches. "That was the point where it was absurd to not be out, because there were so many pictures in the book of Jim, the guy I lived with at the time. People said, ‘If you come out publicly you don’t get to go to Hollywood’ and you say, ‘Well then you don’t.’ It had been so uncomfortable beforehand: you’d have come to interview me for Torch Song Trilogy [Harvey Fierstein's play about a transvestite nightclub singer] and would have been told ‘he doesn't talk about his private life’.” He actually came out, as he liked to put it, as a gay, Jewish, white South African. Later he owned up to suffering from cocaine addiction for the best part of 20 years before he decided to clean up for good. As he explained in his memoir, Beside Myself (2001), at his first meeting none of his fellow addicts had heard of him. The books’ reviewers smacked their heads at the obviousness of it all and chorused, “Aaah! So that’s why he was always such a jittery, hyperactive performer.” Completely inaccurate, said Sher. “I didn’t use it much onstage. I did one or two good paintings on coke because it made me very free. It definitely didn’t make me a good actor because it separates you from your feelings and creates a paranoid feeling in you. You wondered whether people were noticing that you were now and then licking your gums.” If this was not such a surprise, his later confession to suffering from stage fright was. “It felt like a form of madness,” he says, “the terrible feeling that would build up in the afternoon as the evening performance came nearer. I’d be on stage saying the lines and there’d be another voice in my head saying, 'Any moment now you’re going to f*** up.’ There’d be a second voice telling me to shut up.” For a time, while playing Iago for the RSC, he thought of giving up acting altogether. The eventual cure was to write and perform in a one-man show, in which he played not just any man, but Primo Levi in an adaptation of If This Is A Man. It took him and the National Theatre two years to persuade the Levi family to break their strict embargo on adapting the author’s account of his experiences in Auschwitz. With permission finally secured, he conceded that “it was good to have that material, because if I ever got frightened I could just say my fear is so unimportant compared to his fear of living in this nightmarish place.” It was one of those roles he found so vast and taxing that it spawned a book. The most autobiographical of these was Woza Shakespeare! (1996), the diary he kept with Gregory Doran about mounting Titus Andronicus in South Africa, then bringing it to England. Edited by Andrew Motion, and with a cover illustration by Sher, it has a page-turning inter-continental plot but what made it stand out from the genre is the book’s domestic intimacy: Doran and Sher had lived together for 10 years by then but this was the first of their many professional collaborations. Director and star got along just fine, but they hadn’t worked out how to leave the job at the office. One hilarious flying crockery scene narrated by Doran segues into Sher’s account of contritely combing the lawn for shards of china. If Sher was disappointed by the lack of major screen roles he hid it well. In Shadey (1985) he played a man who performs a sex change operation on himself. There was a small flurry in the second half of the 1990s. In Mrs Brown (1997) he caught the eye as Disraeli, and the following year as Dr Moth in Shakespeare in Love. He was a hammy Sergeant Cuff, Wilkie Collins’s prototype detective, in a TV adaptation of The Moonstone. His bravest screen performance was in Alive and Kicking (1996), also known as Indian Summer, a barely remembered film scripted by Martin Sherman about an Aids counsellor who has an affair with a ballet dancer diagnosed as HIV-positive. It contained the frankest depiction of homosexual love-making yet filmed with such an established actor. Opposite Jason Flemyng, Sher played the scene naked with his knees behind his ears. “It was incredibly brave of me!” he said. “I find that kind of stuff very difficult. It’s going beyond the normal call of actorly duty. We were both very relieved when the day was over.” There was the odd award for these performances, but he found attending awards ceremonies difficult: in 1997 he was happy to be out of town when he won an Olivier for Stanley, and again when he was nominated for a Tony. (He also won an Olivier jointly for Richard III and Torch Song Trilogy in 1985.) That there weren’t more screen leads “actually ceased to be an issue for me,” he said years later. “People have an idea that films are what everyone wants to do. Maybe I did think that as well. A few years ago my agent said, ‘If you really want to do it you are going to have to stop doing these big theatre contracts. Let’s take some time out, read scripts, go up for things.’ And I’ve never read so much rubbish in all my life. I went up for some things. It just doesn’t work for me because what I can do as an actor I can’t bring into a room to meet someone. This is what a film director would be meeting and you’d think, ‘He’s not very interesting.’ And I don’t get the part. But American film actors – they are what you meet. That’s what they do. And that’s not me.” Instead he committed to a lifelong exploration of the great writers and the great roles. Too numerous to list, they included Shylock, Cyrano, Falstaff (pictured above with Alex Hassell), Arturo Ui, Leontes, Tamburlaine, Macbeth and Prospero. In work by contemporary playwrights he shone in, among others, Tom Stoppard's Travesties, Peter Flannery's Singer, Peter Barnes's Red Noses, Arthur Miller's Death of a Salesman and Broken Glass. Climactically, in 2019 he and his compatriot, the actor-playwright John Kani, appeared in Kani's two-hander Kunene and the King. Ostensibly about a black carer and his white terminal patient, it also told of their shared history as South Africans growing up under apartheid. When Sher was playing Edmund Kean in 2007, in a play adapted from Alexandre Dumas by Jean-Paul Sartre about what it takes to be a very great actor, he came across one speech in particular, delivered to an aspiring actress, which puts in a nutshell everything he had been wanting to say about this strange and unique profession to which he had devoted his life: “You act to lie, to lie to yourself, to be what you cannot be and because you are disgusted with what you are. You act so as not to know yourself and because you know yourself too well. You act because you’d go mad if you didn’t.” “It’s hard to believe that someone who isn’t an actor could have written that,” he said. “All those levels of self-loathing and vanity and self-display.”
5894	dbpedia	1	45	https://internetshakespeare.uvic.ca/doc/WT_StageHistory/complete/index.html	en	The Winter's Tale: Performance History :: Internet Shakespeare Editions	https://internetshakespe…ic.ca/ise-16.png	https://internetshakespe…ic.ca/ise-16.png	[]	[]	[]	[ "" ]	null	[]	null			../../../ise-16.png		null	1Early performances But some men will say, "How are the dead raised up? . . ." (Knight 76) In the earliest account of the play's performance, Simon Forman fails to answer this question. Nor does he comment on the dramatic return of Hermione in Act 5. Moreover, he makes no mention of the ferocious bear that does away with Antigonus. The disparity between the text of the First Folio and Forman's account has invited recent critics to conjecture Shakespeares's dramatic revision of the play between its performance at the Globe and its subsequent royal performances at the Banqueting Hall. The original production featured Richard Burbage, who provided a tragic dimension to Leontes's jealousy, and Robert Armin, who invested Autolycus with the roguish qualities highlighted by Forman. It is clear, Forman's observations notwithstanding, that the play's design emphasized the fantastical elements we associate with the "romance" genre. Performed initially at the Globe Theatre in 1611, the play was also presented by the King's Men six times in both the first and second Banqueting Houses, Jacobean spaces for court pageants and masque entertainments. The play incorporates two structural features that accommodate the court performance: dances and an iconic bear. The arrival of the "saltiers" for the satyrs' dance in 4.4 to celebrate the Bohemian sheep-shearing festival has been traced to the contemporary performance of Ben Jonson's Masque of Oberon on January 1, 1611. The description of the dancers—"not the worst of the three but jumps twelve feet and a half by th'square"—suggests that these "saltiers" were skilled jumpers with "twinne wrists" and "shaggie thigh." Jonson's masque also featured white bears as part of its creative device; thus, the appearance of a bear to dispatch Antigonous also suggests the influence of the recent masque. 2The appearance of Hermione as a statue has been attributed to the influence of Anthony Munday's Lord Mayor's show, Chrusos-thriambus: The Triumphes of Golde, which features the restoration of a fourteenth-century mayor from a tomb: "Time striketh on the Tombe with his silver wand and then Faringdon ariseth" (Bergeron "Restoration" 128). The presence of Time and the restoration of Hermione have led David Bergeron to conjecture the relevance of these elements for the wedding celebration of Prince Elizabeth in 1613. Two masques were presented at the nuptials, each of which included statues as part of their invention: The renewal of Hermione would fit these dramatic events and correspond in the larger sense to the occasion of the wedding. One should recall that the marriage of Elizabeth came just a few months after the sudden and tragic death of her brother, Henry, Prince of Wales, on 6 November 1612. Within a brief period of time we meet on the national scene 'with things dying . . . [and] with things newborn." (Bergeron "Restoration" 129-30) By 1634, the play had been performed at the court six times before disappearing for a century from the stage. 3The eighteenth and nineteenth centuries The eighteenth century The eighteenth century productions were "lop'd, hack'd, and dock'd" adaptations that reflected neo-classical taste dismissive of the play's geographical and temporal expanses. These adaptations accorded more attention to Florizel and Perdita's pastoral romance. The sentiments voiced by Sir Philip Sidney in his Apologie for Poesie governed the dramatic unities emphasized by Macnamara Morgan's and David Garrick's adaptations: For where the stage should always represent but one place, and the uttermost time presupposed in it should be, both by Aristotle's precept and common reason, but one day, then is both many dayes, and many places inartificially imagined . . . you shall have Asia of the one side, and Afric of the other, and so many under-kingdoms . . . . Now of time they are more liberal, for ordinary it is that two young princes fall in love. After many traverses, she is got with child, delivered of a fair boy, he is lost, groweth a man, and is ready to get another with child, and all this in two hours space: which how absurd it is in sense, even sense may imagine, and art hath taught, and all ancient examples justified, and at this day the ordinary players in Italy will not err in. The adaptations that were popular during the time—112 performances of the adaptation compared with only 14 Shakespearean productions—reflect the sentimental drama that hewed closely to the neoclassical unities, especially those of time and character. Both Morgan and Garrick accentuated the pathos of Perdita's and Florizel's plight, at the expense of either eliminating or condensing Leontes' and Hermione's reunion. 4Morgan's The Sheep-Shearing: or Florizel and Perdita eliminated Leontes and Hermione and the tragic dimensions behind Perdita's story. The focus on Florizel and Perdita, acted by Spranger Barry and Isabella Nossitor at Covent Garden in 1754, is complemented by the comic exuberance of Ned Shuter as Autolycus. The old Shepherd Alcon, Perdita's surrogate father, provides a narrative flashback to the play's omitted Sicilian past. Alcon offers a safe, sanitized account of Perdita's royal lineage that allows her and Florizel to marry according to proper levels of status: Then let us all be blithe and gay Upon this joyful, bridal day. That Florizel weds Perdita, That Florizel weds Perdita. And let each nymph and shepherd tell No happy pair e'er lov'd so well, As Perdita and Florizel As Perdita and Florizel Sing high, sing down, sing ding-dong bell, For Perdita and Florizel (102-03); 5David Garrick's Florizel and Perdita, a "dramatic pastoral" in three acts, restores Hermione and Leontes at the end in a play confined to Bohemia. More popular than Morgan's adaptation, Garrick's version, sentimental and histrionic in the performances of Garrick and Susannah Cibber, was performed over sixty times between 1756 and 1795. One Drury Lane review captures the truncated version: Her [Hermione's] having lived sequestered for many Years might be allowed, if she did not stand for a Statue at last. This Circumstance is certainly childish, as is likewise the pretended Revival of her by Music. Had Hermione been discovered to us in a rational Manner, the Close would have been pathetic, whereas at present, notwithstanding many Strokes of fine Writing, Reason operates too strongly against the Incident, and our Passions subside into Calmness and Inactivity. (Bartholomeusz 32) Hermione's resurrection is perfunctory, and all elements of eighteenth-century sentimentality fail to recuperate the loss of Shakespeare's original play. Garrick assayed the role of Leontes, Hannah Pritchard and Susannah Cibber the roles of Hermione and Perdita respectively, the former saintly and the latter "innocent and blooming" in productions between 1756 and 1765 (1762 for Cibber). Theophilus Cibber laments: "The Winter's Tale of Shakespeare, thus lop'd, hack'd, and dock'd appears without Head or Tail. In order to curtail it to Three Acts, the story of the three first Acts of the original Play (and which contains some of the noblest Parts) are crowded into a dull Narrative" (Bartholomeusz 38). Despite the extreme cutting of Shakespeare's play, these adaptations addressed audience expectations for a spectacle that elicited audience wonder, hence the popularity of Garrick's dramatic retreat from the resurrected Hermione. It would take the next century for Shakespeare's original design to return to the stage. 6The nineteenth century Despite some restructuring—a transposition of 3.1 and a division of the trial scene into two parts—and the retention of some of Garrick's melodramatic dialogue and lyrics, John Philip Kemble's script restores the two halves of the play without the presence of Time to provide a chronological transition. Kemble added additional characters to swell the ranks of judges, scribes, and morris dancers. The production trimmed lines for decency and comprehension (Florizel's description of Perdita's exquisite dance; Polixenes and Perdita's debate on art and nature) and used a wing-and-flat system of scenic changes to accommodate the Grecian and Gothic shifts in public space and interior, withdrawn space of Leontes's jealousy and Hermione's contrived trial. Kemble's Leontes and Sarah Siddon's Hermione embody the pathos of the play: Kemble "evinced a perfect knowledge of his author, and displayed a judgement and feeling which justly place it among his most successful parts"; Siddons, according to William Hazlitt, presented a Hermione with "monumental dignity and noble passion" (qtd in Hunt 66). 7William Charles Macready's production at Drury Lane and Covent Garden that ran between 1823-43 is distinctive for investing Leontes's jealousy with believability. Indeed, Macready's elevation of Leontes's psychic collapse into a response that was laced with "realism" is a hallmark of this production. Macready's jealousy ripens from his initial doubts over Hermione's fidelity to a devastating hatred that humanizes the spectacle of Leontes's and Hermione's restoration, where Macready's visible joy was measured by his backward movement from the visual epicenter of the scene, Helen Faucit's graceful appearance as Hermione. 8Contrasted with Macready's attempts to humanize the story, Charles Kean's 1856 production at the Princess Theatre was lavish spectacle that stripped away Shakespearean anachronism in favor of a firmly established fourth-century B.C. setting. Kean's major achievement was to transform the choric figure of Time into Chronos, the father of Zeus, seated on the microcosmos that was part of an elaborate allegory. Kean's insistence on spectacle that minimizes Shakespeare's character in favor of theatrical display set the tone for most productions that were staged in the last half of the nineteenth century. Kean's insistence on historical accuracy also led him to alter the seacoast-challenged Bohemia to the Roman colony of Bithynia, sea-coast and all, an adaptation first suggested by Thomas Hanmer's 1744 edition of Shakespeare. 9The Twentieth Century and the "Shakespearean Revolution" Productions of the play during the twentieth century sought to resurrect Shakespeare's play as written, avoiding both the excessive trimming that marked the eighteenth-century productions and the lavish spectacle of the great nineteenth-century actor- managers. On September 21, 1912, Harley Granville-Barker's The Winter's Tale was performed with minimal textual excisions. The stage, costuming (inspired by Giulio Romano), innovative lighting, and naturalized performances reaffirmed the primacy of a text subjected earlier to neo-classical adaptation and sentimental excess. Stripping away the Victorian veneer of pictorial realism and a framed construction, Granville-Barker paid homage to the play's internal drama and created the template for most modern productions. 10His decision to create a thrust stage over the orchestra pit and insert an interior inset stage created a playing area of depth and space. The imaginative use of white columns and curtains embodied the Sicilian court, and the impression of a thatched cottage with leaf-patterned curtains for exterior scenes conveyed the arrival in Bohemia. Henry Ainley, Lillah McCarthy, and Cathleen Nesbitt each conveyed realistically the manic abruptness a jealous Leontes, the dignified repose of the wronged Hermione, and the naïve, bucolic youthfulness of a fresh Perdita. English poet John Masefield characterizes the significance of Granville-Barker's production in these terms: "The performance seemed to me to be a riper and juster piece of Shakespearean criticism than I have seen hitherto in print" (Bartholomeusz 164). 11If Barker's 1912 production gave its audience a Leontes with severe psychic disturbance, an insecure and clearly undignified neurotic, the Phoenix Theatre forty years later provided a nuanced performance by John Gielgud, whose Leontes is matched by Diana Wynyard's gentle, gracious Hermione. Gielgud's Leontes demonstrates a jealousy that mounts from an initial quietness that reaches fever pitch during his query to Camillo, "Is this whispering nothing?" Flora Robson's Paulina was a determined, loyal presence in the play. She is "Fury-like" (Venezky 338) in her denunciations of Leontes. The play's pastoral elements paled next to the tragic intensity of the scenes in Sicilia. Much of this diminution can be attributed to Brook's decision to remove the satyr dance from the sheep-shearing festival. Brook also excised the opening scene with Camillo and Archidamus and the scene with Cleomenes and Dion's arrival from Delphi. The performances enhanced a production for which the multiple stages proved "cumbersome" and awkward in promoting organic, fluid staging. Despite the omissions and the imbalance between the Sicilian and Bohemian sequences, the production at the Phoenix Theatre ran a spectacular 162 performances. 12The Stratford performances at the Memorial Theatre in the latter half of the twentieth century reflect directors who treat the stage as extensions of the psychic state of the play's protagonists. Anthony Quayle's 1948 production transformed the domestic dynamics into a "fairy tale" in which Esmond Knight's Leontes is played as a "tyrant" devoid of nuance or subtlety. Sicily was treated as a Slavic kingdom; Bohemia is transformed into a steppe-like wilderness with Paul Scofield's Clown accentuating the actor's Warwickshire origins. Peter Wood's 1960 production opted to recreate a Renaissance court, replete with Gothic arches and flourishes of courtly magnificence (Tatspaugh 29ff). Eric Porter's Leontes is an urbane, passionate husband propelled by his misunderstanding of Hermione's innocent "If you first sinned with us," to a jealousy that was both reasonable and extreme. His portrait of a man driven to jealousy by the "paddling of palms" and free expression of Hermione's hospitality was lauded as even superior to Gielgud's highly esteemed performance of a decade earlier. In this production, Time (in the guise of Derek Godfrey) is an elegant, eloquent figure with an hour-glass who seemingly supervises the entrances and exits of the play's characters during the transition: summoning forth the arrival and departure in a dumb show of Leontes in his decline and the pastoral meetings of Florizel and Perdita in Bohemia. 13Productions in the latter twentieth century attempted to design a stage that reflected both Sicilia's upheaval and Bohemia's bucolic spirit. Late Stratford productions (Trevor Nunn in 1969; John Barton and Nunn in a 1976 joint production) emphasize Leontes's psychic break through the use of a symbolic stage to suggest the emotional tenor of jealousy that overwhelms Sicilia in the first half of the play. Indeed, Nunn's 1969 production marks a change of style and dramatic vision from Wood's 1960 Renaissance spectacle. Nunn deployed a white box set which allowed for an imaginative use of spare symbols: . . . the figure of Leontes, arms outstretched as if crucified, turning in anguish, appeared in an erect, rectangular box or case with mirrored walls which was placed in the centre of the stage and revealed in flashes of light while a part of Time's speech was heard through the darkness: "I that please some, try all . . . ." (Bartholomeusz 213; also see Tatspaugh 33ff) This mirrored box and the novel use of Time's speech reflect the creative forces that connected Leontes's tortured state, Time's role in human dynamics, and Hermione's statued imprisonment (all three step out of the same perspex box). The opening scene of a white nursery with toys and a white rocking horse captured both the innocence of Mamillius's world and the more insidious forces that destroy this innocence: Hermione is a "hobby horse," the battered doll capturing the domestic violence that unfolds, and the spinning top the fragile core of Leontes's self-display. The Bohemia of this production was not the Russian steppes or a simple pastoral but rather a more contemporary modish community of rock music and contemporary Carnaby Street ambience. More controversial was the decision to have Judi Dench double both Perdita and Hermione, which had been done by Mary Anderson a century earlier. The choice of having Perdita onstage speaking to the statue made for awkward staging as Judi Dench was forced to move offstage to take her place within the mirrored box while a double returned to occupy the Perdita space that Dench was forced to vacate (see Tatspaugh). 14The joint Nunn and Barton production of 1976 invested the play with even more symbolic use of the stage. The world of Sicily is a Lapland rife with bear imagery characterized by one critic as "totemic": Polixenes dons a bear-skin blanket and becomes the imaginary bear hunted down by the playful Mamillius, a blanket that will then be later wrapped around Hermione's shoulders. The implicit threat of this Sicily is incarnated in Ian McKellan's Leontes, whose jealousy is unpredictable and rash. Here McKellen follows Macready and Gielgud in establishing an anguish borne from deep-seated origins. He renders as palpable the evil moving within his psyche. John Nettles, who would play Leontes in Nunn's later 1992 production, doubled both the roles of Time and the bear in this joint production. Antigonus's demise is not treated realistically but mythically: Time holds a symbolic bear mask before his face, striking a stick upon the stage to signal Antigonus's forced removal from the stage. 15Ronald Eyre's 1981 production eschewed the 1976 symbolism for a spare and minimalist approach, often emphasizing the theatricality of the performance: prop tables visible for the audience, actors in the wings visibly waiting for their entrances, the opening of 1.2 in which actors put on their costumes and take props for the opening masque (Hermione a sheaf of wheat; Polixenes and Leontes crowns and robes from tailors' dummies). Autolycus appears with a giant bear and an oversized Father Time enters wearing a giant robe patterned in astronomical figures from the winter constellation. Mamillius creeps out from beneath Time's robe to begin the scene. Patrick Stewart's Leontes is suspicious at the outset, and his jealousy seems organic and developed. Stewart's scenes with Gemma Jones's Hermione are thus tinged with a latent tension. 16Terry Hands's 1984 and Noble's 1992 productions avoided the starkness of the 1981 Eyres's production, returning to the symbolism of earlier 1960s productions: Hands adorned the white set with a scrim to set off the playing areas, a romantic ambience of dramatic set pieces with nursery toys, lighting and reflective surfaces overhead and below that hinted at distortions of the opening scenes of bliss; Noble's "gauze box" could be warmly lit or darkly opaque, flexibly allowing for still-life vignettes and dynamic action spilling out to the main stage. For Hands, Jeremy Irons made Leontes a sardonic husband to Penny Downie's flirtatious Hermione, a man whose fragile marriage makes his jealousy both justifiable and rational. For Noble, John Nettles's Leontes is blissfully in love with Samantha Bond's Hermione, and his jealousy is sudden, violent, and reflected in the lighting that turned to a chilly blue against the floor covered with fissures that reflect the breakage of the romantic promise. 17The stage in Gregory Doran's 1999 production was a perspective stage created by five pairs of sliding panels that narrowed to convey Leontes's (Anthony Sher's) paranoia and insularity. Doran also used sound to suggest suspicious voices and secrets emanating in the psyche of an increasingly paranoid Leontes. The billowy curtains overhead created a threatening gesture that reflected Leontes's descent into a "psychotic jealousy" that cripples him emotionally, which internalizes the physical handicap of the wheelchair-ridden Mamillius (Emily Bruni, who also doubled Perdita). Unlike Jeremy Irons's ironic Leontes, Anthony Sher's Leontes is pathetic and ultimately brutalized by a vindictive Paulina who physically throws him across the stage following the reading of the oracle. Hermione's eventual restoration to him is a therapeutic necessity for his mental health. 18The new century Twenty-first century performances The twenty-first century saw renewed interest in this play, especially in the spring of 2001. By the fall of 2001, however, the play seemed to lose its currency for nearly a decade. Carol Chillington Rutter queried its revival by 2009: "What accounts for the play's currency today? Is it, since that September, our culture's profoundly adjusted attitude to time, history and loss, the daily acknowledgement of life's fragility? Is it a longing for a return to a place we can't recover . . . ." (350). Rutter alludes to the events of 9/11 and the sense of vulnerability created by an act of terrorism. That sense of a failed nostalgia and abrupt violence marks the productions that occurred later in the first decade of the new millennium. The domestic violence and assertion of feminine prerogative, especially in Paulina's bellicosity towards Leontes, found an audience during the new millennium as especially topical and relevant. Notable productions include both the 2005 Propeller Production that featured an all-male cast who doubled parts and the respective 2009 and 2010 high-profile productions in New York by the Bridge Project and Shakespeare in the Park. The Propeller Production attempted to duplicate the all-male productions of Shakespeare's time and the subsequent doubling of parts. Thus, one actor plays Time, Mamillius, and Perdita, accentuating the temporal shifts occasioned by Mamillius's death and Perdita's birth. The play's emphasis on time was reinforced by the rear-projection of the moon ["the watery star" 1.2.1; TLN 50] that gradually became a new moon following the interval. The Bohemia of this production is headed by a band, "The Bleatles," and Autolycus is garbed as punk rocker à la Iggy Pop. Exit pursued by a bear provides the company with an opportunity to play with audience expectations: Mamillius arrives on stage dressed in a bear suit an act earlier than the actual bear, tweaking the audience's expectation. When the bear does arrive to devour Antigonus, it turns out to be Mamillius's stuffed bear. Noteworthy is the coda director Edward Hall appends to the end: the ghost of Mamillius arrives to blow out the candle cradled in Leontes's hands. The coda provides the play with a proper annunciation of a production for a new world. Increasingly, the play turns its attention to the children, Mamillius especially, and the effect of domestic violence on children. 19The Bridge Project was a bi-national production by Sam Mendes that married American and British actors to create the Sicilian and Bohemian realms. Notable in this production was Simon Russell Beale's Leontes, who is credited with making "transparent" Leontes's jealousy while sustaining the enigma of its origins. The power of the first half of the production in Sicilia cast with British actors made pedestrian the Bohemia set in rural Midwest America, a dramatic rarity for a play that necessitates the relief offered by a Bohemian idyll. Suffering in comparison is the 2010 Shakespeare in the Park production registered by actors blaring out dialogue to be heard above urban noise. The psychological layers provided by the 2009 Mendes production are missing in a production for which the Bohemian pastoral setting promise of comic festivities—heightened by puppets and Eastern European dance music—are welcome relief. The production's emotional swings are characterized as achieved more in the telling than in the showing. 20Regional productions at the Old Globe in San Diego in 2005 and at the Guthrie Theatre in 2011 provided the play with elements inspired by regional and thematic tastes. Darko Tresnak's Old Globe production, spare of stage but resplendent with special lighting to highlight seasonal changes, gives Leontes's jealousy a complexity that captures his tragic trajectory. The restoration of Hermione is especially heightened by the presence of a female Time, who cradles Hermione in a recreation of a moving Pietà. Tresnak's production ushers in a Bohemia in which the beer barrel polka and a giant funhouse bear establish the festive mood of the regenerative kingdom. 21Jonathan Munby's 2011 Guthrie Theatre production doubles Time with Antigonus, the actor changing from his military uniform to an all white spectral garb. If the Old Globe created a carnivalesque atmosphere with a cut-out bear's head, the Guthrie production used an actor in a bear suit with special lighting to capture the ominous attack on Antigonus. The Guthrie highlighted its Midwest roots by setting its Bohemia in a northern Minnesota setting with birch trees and black-eyed susans and Ford Ranchero pick ups. Despite the staging idiosyncrasies of these two productions, both directors highlighted the tortured state of Leontes's mind and its incipient jealousy. Munby used a dumb show to capture Leontes's riven mind and pre-recorded vocal murmurings to create the internal monologue that disrupted his state. Tresnak's Leontes gains in sympathy through the moving statue scene, in which his Hermione is restored to his side. The Guthrie production emphasizes especially Hermione's anguish during her trial scene, in which she is dressed in a sackcloth dress stenciled with a number, her hair shorn and skin gaunt from the imprisonment. 22The RSC's imported production (directed by David Farr) in New York in 2011 gave Leontes's jealousy a "cool ferocity" that reveals a jealousy with an extensive germination period. The Edwardian setting provides the most unsettling of transformations; chandeliers come crashing down and ceiling-high bookcases collapse, strewing their books with a cataclysmic thunder. The loose pages are given extra sartorial power by forming the costumes of the Bohemians and the leaves of the trees. Though the production also creates a haunting image of the final restoration of Leontes and Hermione, Farr leaves Autolycus onstage to challenge the audience's acceptance of the play's promise of a festive reunion. He shrugs to reinforce the ambiguity of the resolution. Does the play conclude "happily ever after?" Perhaps not. 23Film The 1981 BBC production of the play is renowned for the influence of producer Jonathan Miller and director Jane Howell in establishing a play that avoided the "realism" of earlier productions in the BBC series. Described as an "economically" adaptive approach to the play for a televised media, Howell's production has a stylized quality more akin to the more experimental theatrical productions (Hall, 178-79). The set was a stark wedge-shaped background with a central entrance, two cones and a tree to suggest a nondescript landscape given seasonal change through lighting. Jeremy Kemp is a stern, domineering Leontes to Robert Stephens's more cheery Polixenes. Anna Calder-Marshall and Margaret Tyzack project, respectively, Hermione's resilience and Paulina's indignant outrage to Leontes's affronts. 24The production is also notable for its striking use of television's intimacy to isolate Kemp's whispered asides to the audience from the onstage action and to unite audience and Autolycus in conspiratorial collusion during his dissembling feats. Grouping of actors in the televised frame allowed Howell to control the audience's interpretation and perspective. In Leontes's interruption of Hermione's intimate moments with Mamillius in Act 2, Howell uses the camera to shift angles from Hermione and her court dressed in light colors on the left and Leontes with his courtiers dressed in black, pulling back to reveal the growing rift within Sicilia's order. A similar effect is used to isolate Hermione during her trial scene as the camera moves from her isolated close-up to take in the sweep of the court's remoteness from her plight. The Bohemian sheep-shearing scenes are similarly staged, with the swelling of the scene from individual to group scenes to capture the festivities as a communal mingling of Perdita, Florizel, and the Bohemian celebrants. As Joan Hall observes, the effectiveness of the fluid medium of television fails to deliver the impact of the final statue scene; the close-ups of Hermione's awakening and Leontes's astonishment deprive the audience of the advantage of the wider perspective as Hermione's return is registered by all the characters onstage.
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"https://www.youtube.com/embed/Z6f0z7i41NU?feature=oembed" ]	[]	[ "" ]	null	[ "Ian Herbert" ]	2021-12-13T21:56:53+00:00	Ian Herbert* Antony Sher, who has died from cancer at the age of 72 (14 June 1949–2 December 2021), has been frequently described as one of the greatest actors of his generation, a view shared by H…	en		Critical Stages/Scènes critiques	https://www.critical-stages.org/24/sir-antony-sher-actor-artist-diarist-novelist-playwright/	Ian Herbert* Antony Sher, who has died from cancer at the age of 72 (14 June 1949–2 December 2021), has been frequently described as one of the greatest actors of his generation, a view shared by HRH Prince Charles, an avid Shakespeare enthusiast, who named him in 2017 as his favourite actor. Born in South Africa of Lithuanian Jewish parents, he grew up in the seaside suburb of Sea Point, Cape Town, where one could look out from the shore on Robben Island, Nelson Mandela’s prison. His talent as an artist was recognised at an early age, but it was his ambition to become an actor that led him to leave with his parents for Britain in 1968. There he was rejected firmly by two leading drama schools, finally gaining a place at the less prestigious Webber Douglas academy. His course there from 1969–71 was followed by a postgraduate year in Manchester. His professional career proper began at the Everyman Theatre, Liverpool, in a repertory company founded by Terry Hands, who would later mentor him in the Royal Shakespeare Company, where he was to play so many leading roles. He played Ringo in Willy Russell’s play about local heroes the Beatles—John, Paul, George, Ringo—and Bert, transferring it to the West End in 1974 with a cast that included Trevor Eve, Bernard Hill and the singer Barbara Dickson. In London, in 1975, he worked with the fringe company Gay Sweatshop, alongside his first partner, Jim Hooper, before David Hare directed him that year in his play Teeth’n’Smiles at the Royal Court, where he also appeared in Caryl Churchill’s Cloud Nine, 1979. He did little work for television, but his 1981 performance as an odious university lecturer in the title role of The History Man, a mini-series adapted from a Malcolm Bradbury novel, is still fondly remembered. After a 1982 West End appearance in Mike Leigh’s Goosepimples, he joined the Royal Shakespeare Company (RSC) in Stratford and, in June of that year, made an immediate impression as the fool to Michael Gambon’s King Lear. His Tartuffe in July 1983, in the RSC’s London Pit venue, had mixed reviews, but he was well received that year in Peter Barnes’s farcical plague comedy Red Noses and David Edgar’s epic left-wing history, Maydays. In Stratford the same year, he established himself as a major talent with a memorably deformed Richard III in Bill Alexander’s production, winning an Olivier award the following year when it transferred to London, jointly for that performance and his lead role in Harvey Fierstein’s gay masterpiece Torch Song Trilogy. His self-illustrated account of that time, The Year of the King, is one of his many fine literary works, which include three novels. In April 1987, he played Shylock, again for Bill Alexander, in the RSC Merchant of Venice, where he fell in love with the young actor playing Solanio, one Gregory Doran. The relationship flourished, and in 2005 the pair celebrated one of Britain’s first gay civil partnerships, later marrying in 2015. Doran, subsequently, turned his hand to directing, his many productions for the RSC bringing him the company’s Artistic Directorship in 2012. In September 2021, he stepped down temporarily from that post to nurse his husband Antony through his terminal illness. Sher continued with the RSC in Stratford, in 1987, as Vendice in The Revenger’s Tragedy and Malvolio in Twelfth Night, transferring with the former to London in 1988. That year also included an RSC season at the Almeida Theatre, where he appeared with a fellow South African, Estelle Kohler, in Athol Fugard’s Hello and Goodbye. In 1990, with the RSC at the Barbican, he made the most of the title role in Peter Flannery’s Singer, about a holocaust survivor turned slum landlord. After a spell with the National Theatre in 1991, playing lead roles in Kafka’s The Trial and Brecht’s Resistible Rise of Arturo Ui, he returned to the RSC in 1992 to play a magisterial Tamburlaine in Stratford, and Henry Carr in a London revival of Tom Stoppard’s Travesties in 1993. He was directed by Greg Doran for the first time in 1994–95 as Titus Andronicus, in a production supported by the National Theatre but rehearsed and first seen at Barney Simon’s Market Theatre, Johannesburg with a South African supporting cast. The show’s complete failure with the local audience, just after the end of apartheid, is amusingly reported in Sher and Doran’s diary of the adventure, Woza Shakespeare! which was, however, able to record its success with English audiences on its subsequent tour to Leeds and (briefly) the National’s Cottesloe Theatre. His remarkable 1996 performance as the artist Stanley Spencer in Pam Gems’s bioplay Stanley was seen first at the National (where it won him his second Olivier award) and the following year on Broadway, gaining him a Tony nomination. 1997 saw him back in Stratford and, subsequently, the West End, as Cyrano de Bergerac. There followed two more major Shakespearean roles for the RSC, Leontes in The Winter’s Tale (1998) and Macbeth (1999), with Harriet Walter as Lady Macbeth. In 2000, he was appointed KBE (Knight of the British Empire). In 2001, he appeared at the Aldwych in the title role of Mahler’s Conversion, a play by his cousin Ronald Harwood, directed by Doran, about the Viennese composer’s renunciation of his Jewish faith before becoming conductor of the Vienna State Opera. It had a disappointingly short run. He, then, took two leads in the RSC’s 2002 Jacobean season in Stratford, which producer Bill Kenwright then brought to the West End. At the Almeida in 2003, he appeared in his own first play, I.D., as the assassin of Hendrik Verwoerd, known as the architect of apartheid, following it in 2004 with another piece of his own, this time a solo, Primo, set in Auschwitz and based on the writings of Primo Levi, which he took from the National Theatre to the Music Box, New York, in 2005. Earlier in 2004, he had played a splendidly devious Iago to the Othello of another South African actor, Selle Maake ka Ncube, directed in Stratford’s Swan by Doran. In 2007, he portrayed another barnstorming actor in Sartre’s Kean, transferring from Guildford to the West End. In November of that year, his next play, The Giant, an RSC commission, imagining a conflict between Leonardo and Michelangelo over the sculpture of David in Florence, was directed by Doran at Hampstead. He returned to South Africa in 2008 to play Prospero in a much-admired Baxter Theatre production of The Tempest, directed by his childhood friend Janice Honeyman with the great John Kani as Caliban, which came to Stratford as part of its 2009 UK tour. After a 2010 stint as anti-hero Thomas Stockmann in An Enemy of the People, directed by Daniel Evans in Sheffield, he played in Arthur Miller’s Kristallnacht evocation Broken Glass at the Vaudeville (2011), followed by Nicholas Wright’s Travelling Light at the National (directed by Nichols Hytner, 2012) and Terry Johnson’s Hysteria, in which he played Sigmund Freud, at the Theatre Royal Bath (2012), repeating the role at Hampstead in 2013. 2014 saw his return to Stratford as Falstaff in the two parts of Henry IV, followed by a triumphant Willy Loman in Death of a Salesman, transferring in the latter to the West End. Henry IV returned to the Barbican in 2016, when Sher played his final great Shakespeare role as King Lear, reprising it in 2018. His last appearance was with John Kani in Kunene and the King, the latter’s two-hander, which moved from Stratford in 2019 to London in January 2020, where its run was sadly curtailed by the arrival of COVID. Kani’s obituary tribute was simple: Both Tony Sher and I were born when our country South Africa was the worst place a child could be born let alone to be raised by parents who worked very hard to prepare their children for a difficult future—Apartheid South Africa. By the Grace of his God and my Ancestors, like Romeo and Juliet, we found each other in 1973. We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists and we both had the honour of celebrating together twenty-five years of South Africa’s Democracy in my latest play Kunene and the King. I am at peace with you my friend and myself. Exit my King. Sher played almost every leading Shakespearean role except Hamlet—in a 2018 interview he said: Looking back now, I wish I’d played Hamlet, which I didn’t do out of a sense of oppression . . .There was an old-fashioned idea that he had to be tall and handsome and blond. But that’s nonsense, of course. I missed it and it’s my own fault. But otherwise, Shakespeare served me very well. I’m very grateful. Short of stature, artistically gifted, gay, Jewish, a product of apartheid—Antony Sher made prolific use of all these traits to become one of the finest actors on the English stage, in a bravura, larger than life tradition that put him up alongside greats like Garrick, Kean, Irving and Olivier. In spite of his extrovert stage persona, he was in private a shy, almost retiring man, who had in earlier years struggled to overcome both mental illness and a serious cocaine addiction, from which his loving partner Gregory Doran was able to release him.
5894	dbpedia	1	7	https://variety.com/2021/legit/global/antony-sher-shakespeare-in-love-actor-dead-1235125535/	en	Antony Sher, ‘Shakespeare in Love’ Actor, Dies at 72	https://variety.com/wp-c…000&h=563&crop=1	https://variety.com/wp-c…000&h=563&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/build/svg/brand-logo.svg", "https://variety.com/wp-content/uploads/2021/12/Anthony-Sher.jpg?w=1000&h=563&crop=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "Naman Ramachandran" ]	2021-12-03T15:11:07+00:00	Theater, film and TV actor Antony Sher, known for his Shakespearean roles, has died of cancer at 72.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/2021/legit/global/antony-sher-shakespeare-in-love-actor-dead-1235125535/	Antony Sher, the South Africa born theater actor known for his Shakespearean roles, has died of cancer. He was 72. The news was revealed by the Royal Shakespeare Company (RSC) on Friday. Sher was born in South Africa in 1949 and was raised there before proceeding to London to study at the Webber-Douglas Academy of Dramatic Art 1969-1971. He joined the Royal Shakespeare Company in 1982. In films, Sher was known for his roles in “Shakespeare in Love” (1998), “Mrs. Brown” (1997), “The Wolfman” (2010) and “Erik the Viking” (1989), but it is in theater that he became a renowned name, winning the Olivier award for best actor twice — in 1985 for “Richard III” and “Torch Song Trilogy” and in 1997 for “Stanley.” He also earned a BAFTA TV award best actor nomination for one-man show “Primo” (2007). Sher was an Honorary Associate Artist at the RSC and husband of the institution’s artistic director, Gregory Doran. Sher was diagnosed with terminal cancer earlier this year with Doran taking compassionate leave from his role in September to care for him. Catherine Mallyon, RSC executive director and Erica Whyman, acting artistic director, said in a joint statement: “We are deeply saddened by this news and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. Antony had a long association with the RSC and a hugely celebrated career on stage and screen. Antony’s last production with the company was in the two-hander ‘Kunene’ and ‘The King,’ written by his friend and fellow South African actor, writer and activist, John Kani.” Popular on Variety “Antony was deeply loved and hugely admired by so many colleagues,” Mallyon and Whyman added. “He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. We will ensure friends far and wide have the chance to share tributes and memories in the days to come.” Sher’s recent productions at the RSC include “King Lear,” Falstaff in the “Henry IV” plays and Willy Loman in “Death of a Salesman.” Earlier landmark performances included Leontes in “The Winter’s Tale,” Iago in “Othello,” Prospero in “The Tempest” and the title roles in “Macbeth,” “Tamburlaine the Great,” “Cyrano de Bergerac,” as well as his career defining “Richard III.” He also played Ringo Starr in Willy Russell’s “John, Paul, George, Ringo and Bert.” Sher’s autobiography “Beside Myself” was published in 2002. RSC chair Shriti Vadera said: “Our hearts go out to Greg today, as on behalf of all RSC board members, past and present, we express our deep sadness, affection and condolences to him and other members of Antony’s family. Antony was beloved in the RSC and touched and enriched the lives of so many people.”
5894	dbpedia	1	53	https://www.atlasholdingsllc.com/team/	en	Atlas Holdings	https://www.atlasholding…sHoldings–OG.jpg	https://www.atlasholding…sHoldings–OG.jpg	[ "https://www.atlasholdingsllc.com/wp-content/uploads/2022/08/brand-atlas.svg", "https://www.atlasholdingsllc.com/wp-content/uploads/2022/08/brand-atlas.svg", "https://www.atlasholdingsllc.com/wp-content/uploads/2023/04/Aludium2.jpg", "https://www.atlasholdingsllc.com/wp-content/uploads/2022/08/quote-logo-newwood.png", "https://www.atlasholdingsllc.com/wp-content/uploads/2022/08/quote-logo-newwood.png", "https://www.atlasholdingsllc.com/wp-content/uploads/2022/08/brand-atlas.svg", "https://www.atlasholdingsllc.com/wp-content/uploads/2022/08/brand-atlas.svg" ]	[]	[]	[ "" ]	null	[]	2022-08-07T11:52:35+00:00	Atlas Holdings LLC is proud to have vast experience and knowledge within our Management Team, Field Associates and Operating Partners.	en	https://www.atlasholding…e-icon-57x57.png	Atlas Holdings	https://www.atlasholdingsllc.com/team/	Management Team Andrew Bursky Managing Partner Andrew M. Bursky is Co-founder and Co-Managing Partner of Atlas Holdings LLC. Mr. Bursky co-founded the firm in 2002. Since then, it has grown into a global family of manufacturing and distribution businesses. Mr. Bursky is a 1978 graduate of Washington University in St. Louis, where he received a B.A. in economics and a B.S. and M.S. in chemical engineering. He also received an M.B.A. from Harvard in 1980. He co-founded Interlaken Capital in 1980, where he served as Managing Director until 1999, building it into one of the nation’s largest privately-owned businesses, according to Forbes magazine. From June 1999 to April 2002, he was a Co-Managing Partner of Pegasus Capital Advisors, L.P., a private investment partnership with approximately $2 billion of capital under management. He serves as Chairman of the Board of Washington University in St. Louis, as a Director of the Washington University Investment Management Company and on the Executive Board of No Labels, an American centrist political organization composed of Republicans, Democrats, and independents whose mission is to combat partisan dysfunction in politics. Management Team Tim Fazio Managing Partner Tim Fazio is Co-founder and Co-Managing Partner of Atlas Holdings LLC. Mr. Fazio co-founded the firm in 2002. Since then, it has grown into a global family of manufacturing and distribution businesses. Mr. Fazio is a 1996 graduate of the University of Pennsylvania, where he earned a BA in International Relations from the College of Arts and Sciences and a BS in Economics with a concentration in Finance from The Wharton School. He joined Interlaken Capital in 1996 and from June 1999 to January 2002, Mr. Fazio was Principal and Vice President at Pegasus Capital Advisors, L.P., a private investment partnership with approximately $2 billion of capital under management, focusing on control investments in middle-market companies at points of stress or significant change. He is a Fellow of the 2017 Class of the Aspen Institute’s Finance Leadership Fellowship and a member of the Aspen Global Leadership Network. He serves on the Board of Advisors for the Center for High Impact Philanthropy at the University of Pennsylvania. Management Team David Filippelli Partner Mr. Filippelli joined Atlas in 2014 and manages the global public affairs and strategic communications functions across Atlas. Mr. Filippelli brings nearly two decades of policy and advocacy experience to his work supporting both Atlas’ existing businesses and due diligence efforts, having held senior roles in both the public and private sectors. Prior to joining Atlas, Mr. Filippelli served as Chair of the governmental affairs practice of Gibbons P.C., a regional law firm headquartered in New Jersey. In this role, he led a team of lawyers and served as the primary public affairs advisor to several large companies, trade associations and nonprofit entities. Before entering the private sector, Mr. Filippelli served as legislative and communications director to a Member of Congress. Mr. Filippelli is a graduate of Fairfield University and American University’s Washington College of Law. Management Team Edward Fletcher Partner Mr. Fletcher joined Atlas in 2007. Prior to joining Atlas, Mr. Fletcher served as Vice President and Chief Financial Officer of Wood Resources LLC, an Atlas platform company. Before that, he was Senior Vice President and Chief Financial Officer of a publicly-traded wireless information and communication services company, where he had oversight and responsibility for all financial aspects of the organization. He began his career in 1993 at Ernst & Young LLP (“E&Y”) in the Assurance Advisory Services Practice. Mr. Fletcher is a graduate of Fairfield University and has received professional certifications as a Public Accountant in the State of New York and as a Fraud Examiner. Management Team Philip Schuch Partner Mr. Schuch joined Atlas in 2003. Prior to joining Atlas, Mr. Schuch was employed at E&Y for over 14 years and was a principal of the firm’s Transaction Support Group, participating in over 100 domestic and foreign due diligence engagements for private equity investor groups and strategic buyers. At E&Y, he had active participation in company financings and significant involvement in fraud/litigation engagements, including numerous projects involving the United States Department of Justice. Mr. Schuch is a graduate of West Virginia University and has received a professional certification as a Public Accountant in the States of New York, Pennsylvania and Illinois. Management Team Janet O’Neil Principal Ms. O’Neil joined Atlas in 2017. Prior to joining Atlas, Janet served as Global Financial Controller of Engelhardt Commodities Trading Partners LLC, previously the commodities division of investment bank, BTG Pactual. Before that, Ms. O’Neil served in various finance roles within Louis Dreyfus North America LLC (“LDC”), including head of finance of Imperial Sugar Company and industrial controller for LDC. Ms. O’Neil began her career in 2002 at KPMG LLP in the Assurance Advisory Services Practice, serving clients in various industries, including consumer products, retail, and industrial manufacturing for 10+ years. Ms. O’Neil is a graduate of Western Connecticut State University and has received a professional certification as a Public Accountant in the State of Connecticut. Management Team Daniel Gresham Principal, Operations Support Dan advises Atlas portfolio companies on their most pressing operational challenges, serving as a trusted resource to help turn those challenges into successes. While he joined Atlas in 2019, he had previously been engaged as a consultant for Novipax, an Atlas portfolio company. He now partners with teams across the enterprise to define, pursue and achieve operational excellence. Before joining Atlas, Dan was a Partner with the Beckway Group where he was deployed to PE-backed companies to provide transformation expertise to drive value creation. Dan holds an MBA from Duke University and is a graduate of Tufts University. Management Team Kimberly Hill Principal, Safety and Special Projects Ms. Hill joined Atlas in 2023 and manages safety due diligence. She also works across Atlas companies to drive world-class safety programs, interpret and address EHS performance trends, and leverage best practices. She most recently served as Chief Risk, Environment, and Safety Compliance Officer for LSC Communications – MCLC, an Atlas portfolio company. With nearly two decades of EHS experience, Ms. Hill is recognized for her process-driven approach, as well as her skill in influencing employee behaviors through change management. She previously was Senior Vice President of Delta Global Services, a wholly-owned subsidiary of Delta Air Lines, where she served as principal consultant to regional safety teams. Ms. Hill also spent more than a decade with General Electric, where she served in global EHS roles for a variety of industrial businesses. She is a graduate of the University of Maine. Management Team Anthony Lando Principal, Talent Management Tony is responsible for spearheading a broad range of Atlas talent initiatives, including leading searches for members of the Leadership Teams of Atlas platform companies, our Field Associate program and our investment team. He works closely with Atlas partners and company Leadership Teams to identify, recruit and secure best-in-class talent. Tony joined Atlas in 2018 after selling his search firm – Benchmark Search Group – to a Fortune 500 company. His relationship with Atlas began in 2008. Earlier professional experience includes working with middle-market companies while in public accounting and spending eight years with one of the largest recruiting firms in the world where he was recognized as one of the top recruiters in the industry. Tony received a bachelor’s degree in accounting from Iona College. Management Team Jonathan McDermott Principal, Talent Support and Development Mr. McDermott joined Atlas in 2024 and is responsible for spearheading a broad range of Atlas human capital initiatives, including talent development, business transformation, compensation, benefits and talent management. He works closely with Atlas and company Leadership Teams to advance talent priorities and leverage the excellence of our colleagues. Jonathan joined Atlas after serving as a Chief Human Resources Officer for Billings Clinic, the State of Montana’s largest healthcare system. His earlier professional experience includes serving in talent development leadership roles at General Electric for more than 20 years. Jonathan received a bachelor’s degree in business management from Virginia Tech University and a master’s degree in labor and industrial relations from Michigan State University. Management Team Troy Schirk Principal, Chief Information Officer Mr. Schirk joined Atlas in 2007. Troy has led the implementation of numerous IT transitions and is deeply engaged in information systems assessments during the due diligence process as well as assisting in the planning and implementation of systems separation in the context of corporate carve out transactions. Prior to joining Atlas, Troy was employed by Forest Resources LLC as IT Director, ComGraphics, Inc. as IT Director, and served as a Senior IT Consultant on major IT projects for Hyundai Motor America. Troy is a graduate of the University of Windsor. Management Team Francesca Capotorto Director of Communications Ms. Capotorto joined Atlas in 2018. In her role, she supports the strategic communications functions across Atlas, including serving as a resource to company Leadership Teams, sharing news with key stakeholders and executing the Atlas Annual Conference. Before joining Atlas, Francesca managed public and community relations for Harris Beach PLLC, a regional law firm headquartered in New York State. Prior to joining Harris Beach, she held communications roles with local government officials and municipalities where she was responsible for speechwriting, community outreach initiatives, press briefings and constituent correspondence. Francesca graduated from the S.I. Newhouse School of Public Communications at Syracuse University with a BS in public relations and holds a master’s degree in strategic leadership from the Jandoli School of Communication at St. Bonaventure University. Management Team Tyler Woodhouse Director, Operations Support Mr. Woodhouse joined Atlas in 2022. Prior to joining Atlas, Tyler served as Vice President of Global Transformation Programs at Tecumseh, an Atlas portfolio company. He joined Tecumseh in 2019 as part of the Atlas Field Associate Program. As Director, Operations Support, Tyler is a resource to Atlas portfolio companies for leadership of operational turnaround and improvement initiatives. He has spent his career in operational leadership roles, first as an officer in the US Army following his graduation from West Point and then as part of General Electric’s Junior Officer Leadership Program for transitioning military officers, where he served in positions across supply chain, sourcing and logistics. Management Team Austin Lake Associate Mr. Lake joined Atlas in 2023. Austin supports due diligence teams with research, analysis and financial modeling and assists Atlas Support Teams and company leadership in value creation initiatives for Atlas portfolio companies. Prior to joining Atlas, he worked as an Investment Banking Associate in the Global Power, Utilities and Renewables Group at Morgan Stanley. Previously, Austin worked as an engineer at Kiewit where he served in various positions supporting liquefied natural gas EPC projects. Austin holds a BS in Civil Engineering from Clemson University and an MBA from The Darden School of Business at the University of Virginia. Operating Partners David Anderson Mr. Anderson has been Chief Executive Officer of Millar Western, an Atlas portfolio company, since January of 2020. He joined Millar Western in 2005 and has served in various roles of increasing responsibility, including Manager – Lumber Sales, Manager – Pulp Sales, and Chief Financial Officer prior to being named Chief Operating Officer in 2017 and eventually CEO. Mr. Anderson holds a Bachelor of Science in Forest Management and a Master of Business Administration degree and is a CFA charter holder. In addition to his role as CEO of Millar Western, Mr. Anderson serves as a member of the Board of Managers of Millar Western. Operating Partners James Andrews Mr. Andrews has served as President and CEO of Granite Shore Power, an Atlas portfolio company, since its establishment in 2018. He has over 25 years of management experience restructuring businesses to optimize cost efficiency. Prior to his current role, Mr. Andrews served as Chief Financial Officer with Iconex, an Atlas portfolio company, leading its transition from NCR. Previously, Mr. Andrews was with Soundview Paper Holdings, a prior Atlas portfolio company, as its Chief Financial Officer during its restructuring and served an advisor to Atlas at Veritas Steel, an operating subsidiary of BF Holdings, an Atlas portfolio company. In addition to his role as President and CEO of Granite Shore Power, Mr. Andrews provides transition and restructuring assistance across multiple industries. Operating Partners Larry Appel Mr. Appel is an experienced executive in the food retail and consumer-packaged goods industries. He is the former CEO and President of The Fresh Market, a leading specialty grocer. During his tenure, he led a successful turnaround of the grocery store chain by refocusing the company on its heritage as a specialty food retailer and positioning the chain as a leader in ready-to-cook and ready-to-eat meals. Prior to this role, Mr. Appel was the first non-founder CEO of Skeeter Snacks, a nut-free snack brand. He began his career in the food industry with Winn-Dixie Stores, a leading Florida-based grocery store chain, joining as General Counsel and subsequently serving as SVP, Human Resources and Chief Strategy Officer before ultimately becoming SVP, Operations where he was responsible for the oversight of all 500 stores. Before entering the food industry, he led the legal department for The Home Depot. Mr. Appel graduated with a B.A. from the University of Virginia and a J.D. from the University of Pennsylvania Law School. Operating Partners Peter Bacon Mr. Bacon spent three decades working in the financial services industry. Most recently, he was European Head of Global Capital Markets for Morgan Stanley, responsible for all debt and equity capital raising activities by corporate, private equity, and government clients in Europe and the Middle East. Prior to that role, he was Global Head of Leveraged Finance for Morgan Stanley. Earlier roles in investment banking included covering the chemicals industry and financial sponsors in both North America and Europe. In addition to Morgan Stanley, Mr. Bacon has worked for the investment banks Wertheim Schroder, Donaldson, Lufkin & Jenrette, and Credit Suisse. For a period, he also served as a partner of GSO Capital Partners, a credit-oriented hedge fund and private debt management group. Mr. Bacon holds a B.A. from London University and a Doctorate in Philosophy from Oxford University. Mr. Bacon is a member of the Board of Managers of Atlas portfolio company Permasteelisa Group and previously served on the Board of Aludium, a former Atlas portfolio company. He is a lead advisor to Atlas on portfolio companies’ operations and investment opportunities in Europe. Operating Partners Jay Baitler Mr. Baitler served as an Executive Vice President of the Contract Division of Staples Inc. from 2004 until his retirement in 2012. Mr. Baitler joined Staples in 1995 and was responsible for business-to-business eCommerce operations, catalog operations, sales, marketing, and supplier relationships. He served as MidAtlantic Regional President and Senior Vice President of Contract Division of Staples. Prior to that, he served as Northeast Regional President of BT Office Products. He also served as President of Summit Office Supply where he oversaw all activities related to sales, marketing, operations, distribution, logistics, information systems, and merchandising. Additionally, Mr. Baitler has been a Director of TESSCO Technologies Inc. (NASDAQ: TESS) since 2007. He serves on the Advisory Council of Office Products International and on the Board of Directors of American Expediting. Mr. Baitler is a native of New York City and graduated from Union College. Mr. Baitler serves on the Board of Managers of Iconex and the Advisory Board of Twin Rivers Paper Company, which are both Atlas portfolio companies, and as an advisor to Atlas in the converted paper products and distribution industries. Operating Partners Donald Banker Mr. Banker founded Banker Steel Company, formerly an operating subsidiary of BF Holdings, a former Atlas portfolio company, in 1997 where he continues as President and CEO. Under Mr. Banker’s leadership, Banker Steel has fabricated award-winning projects that include One Vanderbilt, World Trade Center Tower 1, Barclays Center Arena, Washington Nationals Stadium, and The International Gem Tower. Previously, Mr. Banker served as Vice President of Operations with Hirschfeld Steel Company based in San Angelo, TX. Mr. Banker previously served as a member of the Board of Managers of Banker Steel and Veritas Steel, both operating subsidiaries of Atlas portfolio company BF Holdings, until Atlas’ sale of Banker Steel. He is an advisor to Atlas in the commercial construction industry. Operating Partners Rob Baron Mr. Baron has been CEO of Marcal Holdings, an Atlas portfolio company, since 2016. He joined Marcal as Senior Vice President, Strategy in 2014 and was named President in 2015. Before joining Marcal, Mr. Baron served as Vice President Finance & Chief Financial Officer for Finch Paper, an Atlas portfolio company. Prior to his tenure at Finch Paper, Mr. Baron held several senior leadership positions with Furniture Brands International, including Vice President, Finance, Lane & Broyhill Furniture, VP, Financial Planning & Analysis and Vice President & Chief Financial Officer, Thomasville Furniture Industries. Mr. Baron began his career with IBM in various financial roles. He holds a B.S. in Civil Engineering and an M.B.A. from University of Notre Dame and a Master’s degree in Industrial Engineering from Rensselaer Polytechnic Institute. In addition to his role as CEO, Mr. Baron is a member of the Board of Managers of Marcal and an advisor to Atlas in the paper industry. Operating Partners Gurminder Bedi Mr. Bedi is a 30-year Ford veteran where his progression included head of Ford Quality, President of Ford South America, and COO of Autolatina, a major Ford VW joint venture. He retired from the automaker in 2001 as Vice President, Ford Truck. In the succeeding 15 years, he has successfully partnered with other private equity firms in their investments and served on multiple public Boards. He was Chairman of Compuware and currently serves on the Boards of three public companies: Actuant (NYSE: ATU), Kemet (NYSE: KEM), and Bluebird (NASDAQ: BLBD). He has a B.S. in Mechanical Engineering from George Washington University and an M.B.A. in Finance from University of Detroit. Mr. Bedi serves as a member of the Board of Managers of Motus Integrated Technologies, an Atlas portfolio company, and as an advisor to Atlas in the global automotive industry. Operating Partners Oliver Bell Mr. Bell has held several senior positions in the aluminum industry and other metal related businesses over the last three decades. He previously served as CEO of Deutsche Edelstahlwerke GmbH. Prior to that he held multiple senior leadership roles in Norsk Hydro (OB: NHY), including five years as Executive Vice President of Norsk Hydro and two years as President of the Aluminum Rolled Products, where he was responsible for eight rolling mills and a P&L of over $4.5 billion. Mr. Bell served as a member of the Board of Managers of Aludium, a former Atlas portfolio company, and is an advisor to Atlas on the metals industries. Operating Partners Paul Black Mr. Black brings more than two decades of experience running and working with governments and regulatory authorities to his work with Atlas. He has served as a senior advisor to Canadian politicians on policy and government operations. During his last stint in government, he was charged with overseeing the negotiation of agreements facilitating major policy overhauls and investments in sectors like electricity, energy, forestry, manufacturing, the fisheries, and shipbuilding. He is a volunteer international election observer and has assisted with elections in the Middle East, Ukraine, and North Africa. Mr. Black is a graduate of government studies at Acadia and Dalhousie Universities and has taught Public Administration and Canadian Politics at both universities in recent years. Mr. Black serves as an advisor to Atlas on public affairs and new and existing Canadian investments, including two Atlas portfolio companies, Millar Western and Twin Rivers Paper Company. Operating Partners Mark Caines Mr. Caines is President, Europe of Iconex, an Atlas portfolio company. He previously served as CEO, ASG Americas, a division of ASG, an Atlas portfolio company, until its sale and President and COO of Boehmer Box, a division of Forest Resources, until its sale. Prior to that, he spent 17 years as a senior executive for Quebecor World, one of the largest printing companies in North America. In addition to his role as President, Europe of Iconex, Mr. Caines serves as a member of the Board of Managers of Iconex and as an advisor to Atlas in the packaging industry. Operating Partners Edward Cettina Mr. Cettina is the former Global Chief Operating Officer of AECOM’s Building Construction business, a role which he held from 2017 to 2020 following his time as Chief Operating Officer of the AECOM Building Construction Americas business since 2012. Mr. Cettina spent his career in the construction industry, bringing expertise in planning and executing complex residential and commercial building projects. Before joining AECOM, he held roles of increasing responsibility with privately held Tishman Realty and Construction, including serving on the executive management committee and head of the New Jersey/Pennsylvania operations. Mr. Cettina holds a B.S. in Mechanical Engineering from the College of Engineering and Computer Science at Syracuse University and serves on the College’s Dean’s Advisory Board. He is a licensed engineer in the State of New York. Mr. Cettina is an advisor to Atlas in the commercial construction industry. Operating Partners Luther Cochrane Mr. Cochrane was the Chairman and CEO of BE&K (now KBR) Building Group, a large commercial construction company that he founded and sold to a larger, global, and publicly traded company. Previously, he served as Chief Executive Officer and Director of Lend Lease Construction (EMEA) Limited and as Chief Executive Officer and President of Bovis, Inc. He practiced law for approximately 16 years at Griffin, Cochrane & Marshall. Mr. Cochrane serves as Chairman of the Board of Veritas Steel, an operating subsidiary of BF Holdings, an Atlas portfolio company. He was previously Chairman of Banker Steel, a former operating subsidiary of BF Holdings. He also serves on the board of Atlas portfolio company Permasteelisa Group and as an advisor to Atlas in the commercial construction industry. Operating Partners William Corbin Mr. Corbin has worked in the building materials, construction, and distribution industries for decades. Mr. Corbin served as Chairman of the Board of Wood Resources, a prior Atlas portfolio company, from 2009 through 2012. Prior to his retirement from Weyerhaeuser Company in 2006, he served as Executive Vice President with responsibility for the Industrial Wood Products and International Business Groups, having previously been Executive Vice President of both Wood Products and Timberlands. Earlier in his career, he held senior positions at Crown Zellerbach Corporation and International Paper Company. Mr. Corbin serves as a member of the Board of Managers of RedBuilt, an Atlas portfolio company, and as an advisor to Atlas in the forest products and construction industries. Operating Partners David Critchfield Mr. Critchfield has worked in environmental audit, risk transfer, and due diligence for more than 30 years. He is currently President and Chief Executive Officer of EMSOURCE, Inc., President of Compliance Systems Worldwide, Inc., and President, CEO, Proteus Captives, LLC, an environmental captive insurance company. Additionally, he serves as a board member with several Global Forest Partners, LP investment funds. He previously served as a senior environmental manager with International Paper Company and the Alaska Natural Gas Transportation System. Mr. Critchfield is a member of the Board of Directors of Element Resources, an independent company of Edison Group Companies, an Atlas portfolio company, and serves as an advisor to Atlas on environmental risk assessment and management. Operating Partners Daniel Cromie Mr. Cromie joined Atlas upon its founding in 2002 and served as a Partner until his retirement in 2020. Prior to joining Atlas, Mr. Cromie served as a consultant for the Commodity Operations Group of Goldman Sachs in a variety of capacities including as a member of the development team of an integrated fixed income, currency and commodities operations system. Concurrently, Mr. Cromie toured the country as a professional musician. Prior to his professional music career, he was a Senior Analyst at Interlaken, where he first worked with Atlas co-founders Mr. Bursky and Mr. Fazio. Mr. Cromie is a graduate of the University of Pennsylvania. Mr. Cromie serves as a member on the Board of Managers of Atlas portfolio companies RedBuilt and Bridgewell. He previously served on the Board of Aludium, a former Atlas portfolio company. Operating Partners Sean Curran Mr. Curran is Managing Partner of Bayshore Group LP, a pulp & paper sales company. He is a pulp and paper industry veteran, having previously served as Senior Vice President, Pulp and Paper Sales and Logistics with Catalyst Paper, and prior to that as Executive Vice President, Pulp & Paper and Logistics with Canfor Pulp LP. Mr. Curran is a member of the Board of Directors of Thunder Bay Pulp and Paper, an Atlas portfolio company and serves as an advisor to Atlas in the pulp and paper industry, with an emphasis on sales and customer service. Operating Partners Gregory Gatta Mr. Gatta is an experienced private equity investor, CEO, and board member with experience spanning investment banking, private equity, direct lending, and senior operating roles in private equity-owned portfolio companies across a variety of industries. Mr. Gatta currently serves as the Managing Member of Blue Barn Partners, LLC. From 2018 to 2020, Mr. Gatta served as an Operating Advisor to The Carlyle Group’s U.S. Equity Opportunity Funds. From 2012 to 2018, Mr. Gatta held senior leadership roles at Philadelphia Energy Solutions, LLC, a portfolio company of The Carlyle Group, ultimately serving as Chief Executive Officer and a member of the Board of Managers during a complex operational and financial restructuring, including a Chapter 11 process. From 2010 to 2012, Mr. Gatta served on the Board of Directors of North American Breweries, Inc., a portfolio company of KPS Capital Partners. Prior to that, Mr. Gatta enjoyed a successful career as a private equity investment professional focused primarily on special situations. Mr. Gatta holds a B.S. and an M.B.A., with distinction, from Cornell University and is a member of the Cornell University Council and the Johnson School’s Council of Recent Alumni. He is a certified Six-Sigma black belt and is skilled at implementing enterprise-wide continuous improvement programs using these methodologies. He is active in the greater Philadelphia community, serving on the Board of Directors of the Schuylkill River Development Corporation. Mr. Gatta serves on the Board of Managers of Saxco, an Atlas portfolio company. Operating Partners Ronald Gordon Mr. Gordon has worked in the consumer goods industry for over 40 years. He has served as an executive officer of Nice-Pak Products, Inc., Beiersdorf North America, Goody Products, and Playtex Products. He currently serves on the Board of Directors of Kiss My Face Corporation as its non-executive Chairman of the Board, Nice-Pak Products, Inc., PDII, Inc., and Chaikin Analytics, Inc. Mr. Gordon serves as an advisor to Atlas in marketing and sales management. Operating Partners Richard Gozon Mr. Gozon has worked in the distribution, energy, and forest products industries for over 40 years. He most recently served as Executive Vice President of Weyerhaeuser Company and Chairman of NORPAC (North Pacific Paper, a joint venture with Nippon Paper Industries). He also served as Director, President and Chief Operating Officer of Alco Standard Corporation, as Chairman of AmerisourceBergen Corporation, and as a Director of Amerigas Propane, Inc., Triumph Group, Inc., and UGI Corporation. Mr. Gozon serves as an advisor to Atlas in the pulp and paper, packaging, and distribution industries. Operating Partners Bobby Griffin Mr. Griffin served as President, International Operations of Ryder System, Inc., a global provider of commercial transportation, logistics, and supply chain management solutions from 2005 to 2007. Prior to this role, he served as Executive Vice President of Ryder International from 2003 to 2005 and Executive Vice President of Global Supply Chain Operations from 2001 to 2003. As Vice President for the Western Area of Ryder’s Fleet Leasing and Rental Divisions, he had full responsibility for more than $2 billion in sales and financial results for all regions from Ohio to California. He first joined Ryder via its acquisition of ATE Management and Services Company in 1986. During the time of his tenure with ATE, it was the largest Transit management and consulting company in the United States. Mr. Griffin serves on the boards of Wesco, Inc. (NYSE: WCC), Hanesbrands, Inc. (NYSE: HBI), United Rentals, Inc. (NYSE: URI), Atlas Air, Inc. (NASDAQ: AAWW) and Maxim Cranes, Inc. Mr. Griffin also serves on several panels for the National Academy’s Transportation Research Board and is a member of the Executive Leadership Council and the Morgan State University Foundation Board of Directors. Mr. Griffin received his B.A. from Morgan State University and earned an M.A. from the University of Cincinnati. Mr. Griffin previously served on the Board of Managers of Merchants Metals, formerly an Atlas portfolio company within the Guardwell Distribution platform. Operating Partners Craig Gunckel Mr. Gunckel has spent more than 25 years in the paper, packaging, and retail industries. He previously served as President, Enterprise Solutions for WestRock. During more than two decades with the company, he held a variety of executive roles, including leading its merchandising displays and folding carton businesses. He currently serves on the Board for the Wake Forest University Business School, the Purdue University Krannert School of Management, and the Atlanta Area Boy Scouts. He is a graduate of Purdue University with a degree in organizational leadership. Mr. Gunckel is the Chief Executive Officer and serves on the Board of Managers of Iconex, an Atlas portfolio company, and serves as an advisor to Atlas in the paper and packaging industries. Operating Partners John Haggerty Mr. Haggerty joined Bridgewell Resources, an Atlas portfolio company within the Guardwell Distribution platform, in 2017 and currently serves as Chief Executive Officer and Chief Financial Officer. John was previously a Senior Managing Director at Argus Management Corporation and has advised a range of businesses, including businesses in the construction and distribution sectors through restructuring and growth efforts. Previously, Mr. Haggerty was CEO of Unitek Global and Chief Operating Officer of Noble Environmental, a wind power developer and contractor. Mr. Haggerty graduated from Boston College. In addition to his role as CEO, Mr. Haggerty serves on the Board of Managers of Bridgewell Resources. Operating Partners Kevin Harper Mr. Harper spent his career providing HR leadership to companies around the world, specializing in cross-functional and cultural team integration. An experienced executive in the food and mass retail industries, Kevin spent more than 37 years with Walmart in both the U.S. and International Divisions until his retirement in 2018. Following retirement, he founded a consulting practice focused on Human Resource Transformation and Retail Operational Excellence. He began his career with Walmart as store and market manager in operations where he oversaw all retail activities. He then made the transition into Human Resources where he held several positions as an HR Generalist across the U.S. business, including Vice President HR for U.S. Retail Stores, which included more than one million associates across 3,500 stores. He also spent time in the International Division as Senior Vice President of Acquisition Integration and New Business Formats where he led the integration of 12 acquired companies and supported the launch of two new retail formats. He then served as Senior Vice President of Global Human Resources Strategy and Operation responsible for HR Strategy, Technology, Operating Model, HR Data and Analytics, and Organizational Design. Operating Partners Frederick “Fritz” Henderson Mr. Henderson serves as an Operating Partner to Atlas in the global automotive industry. Mr. Henderson has extensive corporate senior leadership and board leadership experience, as well as operational experience and broad financial expertise related to financial reporting, accounting and compliance for public companies. Mr. Henderson is non-executive Chairman of the Board of Adient, PLC (NYSE: ADNT), an automotive parts manufacturer focused on automotive seating. Mr. Henderson also serves as Lead Independent Director and chair of the Nominating and Governance Committee of Marriott International, Inc. and is also chair of the board of trustees of the Alfred P. Sloan Foundation and a Principal of The Hawksbill Group. He previously served as non-executive chairman of the board of directors of Arconic Corp. until 2023, as a director of Horizon Global Corporation until 2022, Chairman of the Board and CEO of SunCoke Energy, Inc. until 2017, and a director of Compuware Corp. until 2014. Mr. Henderson worked for General Motors for 26 years in several executive management roles, including president and chief executive officer, president and chief operating officer, and vice chairman and chief financial officer. Mr. Henderson holds a Master of Business Administration from Harvard Business School and a Bachelor of Business Administration from the University of Michigan. He is also a certified public accountant. Operating Partners Ramzi Hermiz Mr. Hermiz is an automotive industry veteran, having served in leadership roles for several multi-billion-dollar original equipment and aftermarket businesses. Most notably, he served as President and CEO of Shiloh Industries from 2012 to 2020. As CEO, he transformed a regional supplier of commodity components into a global $1 billion supplier of lightweighting technologies, doubling revenue and growing the company’s customer base to nearly every major auto and commercial vehicle manufacturer. Prior to joining Shiloh, Mr. Hermiz spent 22 years with Federal-Mogul, including seven years based in Europe, leading global powertrain and aftermarket businesses. He holds a bachelor’s degree in mechanical engineering from Marquette University, and an MBA in international business from DePaul University. Mr. Hermiz serves as a member of the Board of Directors of Carlex, an operating company of ACR II Motus Group Holdings LP, an Atlas portfolio company – and as an advisor to Atlas in the global automotive industry. Operating Partners Andrea Hogan Ms. Hogan joined Merchants Metals – formerly an Atlas portfolio company within the Guardwell Distribution platform – as President and CEO in 2015. Prior to her current role, Ms. Hogan was with Bridgewell Resources – also an operating entity of the Guardwell Distribution platform – most recently as Vice President, Business Development. Previously, Ms. Hogan served in a variety of roles within Wesco Distribution, Inc. where she ultimately led the global distribution of lighting, solar, and alternative energy products. Ms. Hogan also served as a member of the management team of Strategic Distribution, Inc. a leading provider of onsite integrated supply services focusing on the indirect material chain for large industrial consumers. Ms. Hogan is a graduate of Florida Atlantic University and a LEAN Blue Belt. Ms. Hogan serves as an advisor to Atlas in the distribution industry. Operating Partners Don Huizenga Mr. Huizenga served as President and CEO of Kurdziel Industries, a large multi foundry group located in the Midwest with domestic plant locations in Michigan, Washington, and Pennsylvania, until his retirement in 2003. Under his leadership, the company tripled in size, expanded its customer base into Europe and Japan, and started a successful manufacturing operation in China to augment global sales initiatives. Mr. Huizenga has developed extensive experience in the\ international market over his career, which spanned the financial, manufacturing, entrepreneurial, and executive management arenas. Since his retirement, he established Deacon Associates, which provides management solutions for companies in various stages of growth transition. Mr. Huizenga is an advisor to Atlas in the global foundry space and a member of the Board of Managers of EQI, an Atlas portfolio company. Operating Partners Giancarlo Iovino Mr. Iovino spent more than two decades in the curtain wall industry, joining Permasteelisa Group, an Atlas portfolio company, when it was a local window and door manufacturer and playing an integral role in the transformation of the company which then became a world leader in custom facades. He began his career at Hitachi followed by a period in the ENI group. Mr. Iovino holds a B.A. in Economics from the University of Pennsylvania. Mr. Iovino is a member of the Board of Managers of Permasteelisa Group. Operating Partners Dale Irwin Mr. Irwin has served as President and CEO of Greenidge Generation, an Atlas portfolio company, since 2014. He has spent almost two decades in management roles in the power generation sector. Having managed numerous large and small scale capital projects, Mr. Irwin provides expertise in outage management, construction management, fossil fuel operations, environmental compliance, and cryptocurrency mining operations. Mr. Irwin spearheaded the transformation of Greenidge Generation into the world’s first fully compliant cryptocurrency mining facility-power plant hybrid that takes advantage of “behind-the-meter” power generation. Mr. Irwin has worked at Greenidge Generation since 2001 and is a graduate of Keuka College. He proudly served in the U.S. Army prior to joining the Greenidge Leadership Team. In addition to his role as President and CEO, Mr. Irwin serves on the Board of Managers of Greenidge Generation. Operating Partners Michael Jackson Mr. Jackson has worked in the paper and packaging industries for over 30 years. He served as President and CEO of Verso Paper Corp from 2006 until his retirement in 2012. Previously, he spent 29 years at Weyerhaeuser Company, most recently as Senior Vice President of Cellulose Fibers and White Papers. He also served as Chairman of NORPAC, Weyerhaeuser’s joint venture with Nippon Paper. Mr. Jackson currently serves on the Board of Directors of SupplyOne. Mr. Jackson serves as Chairman of the Board of Managers of ASG Group, an Atlas portfolio company, and as an advisor to Atlas in the pulp, paper, and packaging sectors. Operating Partners Henrik Jensen Mr. Jensen is the President and CEO of Veritas Steel, an operating subsidiary of BF Holdings, an Atlas portfolio company. He previously served as President and CEO of Pangborn Group, a prior Atlas company, until its sale. He has extensive global experience in development, manufacturing, and sales of mass customized hydraulic, mechanical, and electronic components and solutions. He previously served as Managing Director at Sauer Danfoss, a global manufacturer and marketer of high- and medium-volume customized hydraulic, mechanical, and electronic components and solutions for off-road vehicles and their attachments. Mr. Jensen holds an M.B.A. from Duke University and a B.Sc. in Mechanical Engineering from Syddansk Universitet. In addition to his role as President and CEO of Veritas Steel, Mr. Jensen serves as a member of the Board of Managers of Veritas and Motus Integrated Technologies, another Atlas portfolio company. He previously served on the Board of Banker Steel, a former operating subsidiary of BF Holdings and is an advisor to Atlas in the capital equipment and metal fabrication industries. Operating Partners Sidney Johnson Mr. Johnson serves as Vice President of Procurement and Automotive Sourcing at HARMAN International (“HARMAN”), leading all global direct and indirect procurement for all segments within HARMAN. Prior to HARMAN, he spent more than 25 years with Aptiv, a global mobility technology company with his last role as Senior Vice President, Global Supply Chain Management. In this role, he built supplier capabilities and implemented global sourcing strategies that allowed for greater business flexibility and cost efficiencies. Mr. Johnson began his career at General Motors in 1988, holding a variety of positions in operations, lean manufacturing, purchasing, and quality assurance before joining Delphi in 2000 as Purchasing Director at the former Packard Electric Division. His experiences living and working in diverse cultures around the world have given him a unique and deep knowledge of how to effectively partner with businesses to drive transformational strategies and innovation. Mr. Johnson served as Vice Chairman of the National Minority Development Council Board of Directors and a Board member of the International Trade Centre, a joint agency between the World Trade Organization and the United Nations. He is also the former Chairman of the Board of the Institute for Supply Management. He earned a bachelor’s degree in industrial engineering and technology from Central State University in Wilberforce, Ohio, and a Master’s degree in industrial management from Wesleyan University in Indianapolis. He is a Certified Professional in Supply Management®. Mr. Johnson is a member of the Board of Managers of EQI, an Atlas portfolio company, and advisor to Atlas in supply chain management. Operating Partners Kurt Liebich Mr. Liebich has worked in the building materials, construction, and distribution industries for over 25 years. Previously, he served as President and CEO of Wood Resources, a prior Atlas portfolio company, beginning in 2012 until its sale to Boise Cascade in September 2013. Prior to joining the Atlas companies, Mr. Liebich was an executive with Weyerhaeuser Company, where he served as Vice President of the Trus Joist division after having been Vice President of the Trus Joist Commercial division. Mr. Liebich serves as Chairman of the Board of Managers of two Atlas portfolio companies, RedBuilt and New Wood Resources, and as an advisor to Atlas in the wood products and construction materials industries. Operating Partners Timothy Lowe Mr. Lowe has decades of experience in the pulp and paper industry, having previously served as the Chief Executive Officer of three Atlas portfolio companies – Twin Rivers Paper Company, Finch Paper, and Northern Pulp until its sale in 2011. He previously worked at Domtar Industries Inc. for nearly 30 years in progressively senior roles, including General Manager of the Domtar Pulp Mill in Woodland, Maine. Mr. Lowe serves as the Chairman of the Advisory Board of Twin Rivers, a member of the Boards of Managers of three other Atlas portfolio companies – Finch Paper, Greenidge Generation, and New Wood Resources – and as an advisor to Atlas in the pulp and paper and power generation industries. Operating Partners Stephanie Mains Ms. Mains joined LSC Communications as Chief Executive Officer of Magazines, Catalogs and Logistics (MCL) in 2021. From April 2020 through December 2020, Ms. Mains served as Interim President and Chief Executive Officer of GE Power Conversion. Prior to that, from 2015 to 2019, Ms. Mains served as President and Chief Executive Officer, GE Industrial Solutions, where she led the business pre and post the 2018 strategic acquisition by ABB. In addition to her role as President and Chief Executive Officer, GE Industrial Solutions, she held other executive positions with GE Energy, including President and Chief Executive Officer, Distributed Power Services from 2013 to 2015, and Vice President, Energy Service Operations from 2006 to 2013. Prior to joining GE Energy, Ms. Mains served 17 years across multiple GE businesses in financial and transformational leadership positions, including Chief Financial Officer, Aviation Material and Contractual Services, where she led the aviation material services business and contractual service portfolio. As a former CFO and CEO, Ms. Mains has spent more than three decades building and leading global businesses across multiple industrial and services segments. In addition to her role as CEO of MCL, Ms. Mains serves on the board of Atlas portfolio company Stryten Energy, an operating company of the Edison Group Companies. Beyond Atlas, she serves on the board of directors of independent oil and natural gas company Diamondback Energy, Inc. (NASDAQ: FANG), Gates Industrial Corporation plc (NYSE: GTES), a leading manufacturer of application-specific fluid power and power transmission solutions, and LCI Industries (NYSE: LCII), the leading supplier of components to the recreational vehicle industry in the United States. Operating Partners Paul Meringolo Mr. Meringolo is the former Chairman, President, and CEO of Medical Action Industries, Inc. Mr. Meringolo held various executive positions during his 35 years with the company, including President and Chief Executive Officer for 18 years. Prior to that, he performed sales and operational roles within the company. He led the company from a start-up to an established leading supplier of medical and surgical disposable products until its sale in 2014. Mr. Meringolo serves as an advisor to Atlas in the plastics packaging and plastics parts industry. Operating Partners Debabrata Mukherjee Dr. Mukherjee has worked in the paper products industry for over 20 years. He currently serves as CEO of Atlas portfolio companies Finch Paper and Twin Rivers Paper Company. He previously served in a number of senior positions at P.H. Glatfelter Company, including Division Vice President-Engineered & Converting Products and Vice President & General Manager-Specialty Papers. Dr. Mukherjee holds a Doctorate in Chemical Engineering from Rensselaer Polytechnic Institute and an M.B.A. from York College of Pennsylvania, School of Business. Dr. Mukherjee serves as a member of the Board of Managers of Finch Paper; as a member of the Advisory Board of Twin Rivers Paper Company, an Atlas portfolio company; and as an advisor to Atlas in the pulp and paper industry. Operating Partners Yewande O'Neal Ms. O’Neal has spent more than two decades advising manufacturing companies regarding employee engagement, cultural transformation, talent and leadership development, and achieving operational excellence. She currently serves as President of Kairos Leaders, a consulting firm enabling companies and individuals to build diverse leadership talent pipelines and drive sustainable cultural change. Most recently, Ms. O’Neal worked with LSC – MCL Solutions, to build and develop an employee engagement program and employee-led council focused on improving the employee experience and decreasing employee turnover. Ms. O’Neal spent her business and entrepreneurial career building and leading global teams across multiple industries and segments while specializing in people-focused, cross-functional and cultural transformation. Prior to founding Kairos Leaders, Ms. O’Neal held executive leadership roles at General Electric and ABB in the energy, healthcare, appliances, automotive, industrial, print and media industries. Ms. O’Neal is a certified Lean Six Sigma Master Black Belt. She received her B.S. in Electrical Engineering and M.S. in Industrial Engineering from the University of Pittsburgh. Operating Partners Harry Overly Mr. Overly is an accomplished food industry leader who has led both iconic brands and private label businesses. He serves as CEO of Flagstone Foods, an Atlas portfolio company. Before joining Flagstone in 2022, he served as President and CEO of Sun-Maid, a role he held since 2017. Before leading Sun-Maid, he held roles across product development and innovation, marketing and global operations for businesses including Deoleo, BestSweet, Wrigley and Kraft. Mr. Overly is also the former Chief Customer Officer of TreeHouse Foods, from which Atlas acquired the snacks business to establish Flagstone Foods in 2019. He holds a BS in Food Science from the University of Wisconsin – Madison. In addition to his role as CEO of Flagstone Foods, Mr. Overly serves as a member of the Board of Directors of Flagstone Foods, the Executive Chairman of the Board for Sun-Maid, and as an advisor to Atlas in the food and beverage industry. Operating Partners Blake Phillips Mr. Phillips is the President and CEO of EQI, an Atlas portfolio company. He joined EQI in 2010 as President and became CEO in 2012. Prior to joining EQI, Mr. Phillips spent six years with Precision Castparts Corp. where he worked in sales, engineering, and foundry leadership roles. Before PCC, he served eight years in the U.S. Navy as a Naval Flight Officer on the EA-6B Prowler aircraft. Mr. Phillips graduated with a B.S. in History and General Engineering from the U.S. Naval Academy and an M.B.A. from the UCLA Anderson School of Management. In addition to his role as President and CEO of EQI, Mr. Phillips serves on the Board of Managers of EQI. Operating Partners Jay Pittas Mr. Pittas has more than three decades of manufacturing and sales leadership experience, holding management positions in customer service, sales, technical support, and process engineering. He has been responsible for leading business expansion through new customer and international market development, led acquisition teams, implemented Six Sigma and other productivity programs, restructured operations, and organized global teams to meet competitive challenges. He previously served as the President and Chief Executive Officer of Remy International, a leading supplier of highly engineered automotive parts for passenger and commercial vehicles. Prior to this position, he served as President of the Wolverine Specialty Materials. He has also held significant international and managerial positions with Honeywell, UOP, and ARI Technologies. He also served as a Director for UCI International and PlewsEdelmann. Mr. Pittas holds a B.S. in Chemical Engineering from the University of Notre Dame. He has actively served various industry-focused professional organizations including the Board of Directors of the National Association of Manufacturers (NAM) and Motor & Equipment Manufacturers (MEMA), and the executive committee of the Manufacturing & Productivity Institute (MAPI). Mr. Pittas currently serves as Acting Chairman of the Board of Managers of Tecumseh, an Atlas portfolio company. Operating Partners Al Rice Mr. Rice has more than 30 years of experience across the electric power and insurance industries. Most recently at American International Group (AIG) in its Energy division, Mr. Rice led the Northeast Property Engineering Group and established the company’s power generation center of excellence in support of underwriting insurance for power plants globally. Previously, while at Northeast Utilities and NRG Energy, Mr. Rice served in various operational and construction positions, including Station Manager and Lead Divisional Engineer, for both steam and gas turbine technologies. Mr. Rice is a graduate of the United States Coast Guard Academy with a degree in Engineering and holds an MBA from Rensselaer Polytechnic Institute. Operating Partners Daniel Rothaupt Mr. Rothaupt has more than 30 years of operations, engineering, and management experience in the electric power industry. He previously worked for AES Corporation, a global energy company, serving as Plant Manager and Vice President of Operations for Eastern North America. He is a graduate of the U.S. Coast Guard Academy with a degree in Engineering. Mr. Rothaupt serves as a member of the Board of Managers of Greenidge Generation, an Atlas portfolio company, and as an advisor to Atlas in the power generation industry. Operating Partners Don Schwabe Mr. Schwabe joined RedBuilt, an Atlas portfolio company, in 2014 and served as Chief Operating Officer from 2015 to 2018 prior to his current role as President and CEO. Mr. Schwabe has more than 30 years of experience in the forest products industry and has held various leadership roles with Trus Joist/Weyerhaeuser Company, including Marketing Director from 2003 to 2011 and Director of U.S. Sales for Trus Joist products from 2011 to 2014. He holds a B.S. in Forest Products from the University of Minnesota and a Master’s degree in Management from the Georgia Institute of Technology. In addition to his role at RedBuilt, Mr. Schwabe serves on the Board of Managers of RedBuilt and Board of Directors for Vigilant and Idaho Business for Outdoors. Operating Partners Peter Sheehan Mr. Sheehan has held senior positions in the manufacturing and distribution of cable and connectivity products throughout his career. His previous roles include President of Genuine Cable Group, CEO of Cobra Wire and Cable, President of Belden, Executive Vice President of Cable Design Technologies, and Senior Vice President of Berk-Tek corporation. In these various leadership positions, Mr. Sheehan has been responsible for the development and execution of vertical strategies from building and factory automation to the development of 5G networks. Mr. Sheehan serves as a member of the Board of Directors of International Wire Group, an Atlas portfolio company. Operating Partners Gregory Smith Mr. Smith has served as President and Chief Executive Officer of International Wire Group, an Atlas portfolio company, since 2019. Before joining International Wire Group, Mr. Smith spent a decade with Marmon Engineered Wire and Cable, a Marmon/Berkshire Hathaway company. In his time at Marmon, he led several businesses to profitable and sustainable growth. In his most recent role as Sector Vice President, he was responsible for supplying products and services used in mission-critical, high-value applications in a wide range of industries, including aerospace, nuclear, fire safety, transportation, O&G, and mining. Prior to joining Marmon, Mr. Smith led businesses in the aerospace component manufacturing sector and began his career in the shipbuilding industry. Mr. Smith holds a B.S.M.E. from University of New Haven and an M.B.A. from Rensselaer Polytechnic Institute. Operating Partners David Uri Mr. Uri has been working with the Atlas principals for over two decades. He is currently the Managing Member of Endurance Advisors LLC, which provides corporate advisory and transition support services as well as making direct equity investments in early stage and middle-market companies. Previously, Mr. Uri was a partner with GarMark Advisors, Pegasus Capital Advisors, and EXOR America. Mr. Uri also manages two seed stage venture capital funds. He has been actively involved in supporting the acquisition and transition of several Atlas portfolio companies. Mr. Uri’s work with Atlas includes management consulting, acquisition, transaction, and support services. Operating Partners Lynn Utter Ms. Utter serves as the Director of the Atlas Leadership Academy (ALA), one of Atlas’ signature programs that accelerates the career development of Atlas platform companies’ most promising leaders, as identified by their CEO. A dynamic, engaged, and passionate teacher, she is responsible for developing and bringing to life the ALA’s year-long leadership development curriculum. The ALA has provided Atlas with a unique opportunity to identify and mentor our high potential talent and augment our leadership pipeline. She previously served as Chairwoman of the Board of Directors of Merchants Metals – formerly an Atlas portfolio company within the Guardwell Distribution platform. Prior to joining Atlas, Ms. Utter served as Chief Executive Officer and Board member for First Source LLC, the largest packager and distributor of candy and specialty foods in the United States. Her other previous senior leadership roles include serving as global President and Chief Operating Officer of Knoll Office and Chief Strategy Officer at Coors Brewing Company. She currently serves as a member of the Board of Directors of Lincoln Financial (NYSE: LNC) and Wesco (NYSE: WCC). Operating Partners Peter Vogel Mr. Vogel has decades of experience in the pulp and paper industry, most recently serving as President and CEO of NewPage, Inc. until his retirement in 2004. Previously, he was President of Papers Group at MeadWestvaco Corporation and also served as Interim Principal Financial Officer until August 2004. He had served as Vice President of Finance and Treasurer of Mead Corp. and as Vice President of Business Affairs from February 1999 to January 1997; President of the Zellerbach Division from January 1997 to March 1993, and President of the Gilbert Paper Division from March 1993 to February 1999. Mr. Vogel serves on the Board of Managers of Finch Paper, an Atlas company; the Advisory Board of Twin Rivers Paper Company, an Atlas portfolio company; and as an advisor to Atlas in the pulp and paper industry. Operating Partners Bruce Warren Mr. Warren joined Winston Plywood & Veneer – the operating subsidiary of New Wood Resources, an Atlas portfolio company – in 2018 and serves as President and CEO. Mr. Warren previously served as General Manager for MAGNA International and Vice President for Freudenberg-NOK. He brings a wealth of leadership and operational experience, having spent more than three decades in various operational roles over the course of his career. Mr. Warren holds a B.S. in Mechanical Engineering from North Carolina State University. Operating Partners Ronald Whitaker Mr. Whitaker has worked in the capital equipment and metal processing and fabrication industries for over 35 years. He served as President and Chief Executive Officer of Hyco, Inc., President and Chief Executive Officer of Strategic Distribution, Inc., Wheelabrator Corporation, Johnson Worldwide, EWI Inc., and Colts Manufacturing Co. Mr. Whitaker has an extensive background in turnaround leadership, corporate strategy, operations, and marketing. Mr. Whitaker serves as an advisor to Atlas in the capital equipment and metal fabrication industries. Operating Partners Shannon White Mr. White is President and CEO of Motus Integrated Technologies, an Atlas portfolio company, formed by Atlas in June 2014 to purchase manufacturing assets of Johnson Controls in Michigan, Alabama, Mexico, Germany, and France. He served previously as President and CEO of Guilford Performance Textiles and United Plastics Group. Mr. White is a graduate of the University of Utah and received his M.B.A. from the University of Southern California Marshall School of Business. In addition to his role as President and CEO of Motus, Mr. White serves as a member of the Board of Managers of Atlas portfolio companies Motus, Carlex and Stryten Manufacturing – an operating subsidiary of the Edison Group Companies – and as an advisor to Atlas in the global automotive industry.
5894	dbpedia	2	91	https://www.wsls.com/entertainment/2021/12/03/acclaimed-shakespearean-actor-antony-sher-dies-at-72/	en	Acclaimed Shakespearean actor Antony Sher dies at 72	https://res.cloudinary.c…?_a=DATAfRfiZAA0	https://res.cloudinary.c…?_a=DATAfRfiZAA0	[ "https://t.gmg.io/header/wsls-logo.png", "https://t.gmg.io/header/favicon/wsls.svg", "https://www.wsls.com/static-resources/shared/images/omneLogo.svg", "https://www.wsls.com/static-resources/shared/images/gmg_dark.svg", "https://www.wsls.com/static-resources/shared/images/gd_dark.svg" ]	[]	[]	[ "Harriet Walter", "John Kani", "Queen Elizabeth II", "Primo Levi", "Arts", "Arthur Miller", "entertainment", "Harvey Fierstein" ]	null	[ "Jill Lawless", "Associated Press" ]	2021-12-03T00:00:00	Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72.	en	/pf/resources/images/wsls/favicon.ico?d=762	WSLS	https://www.wsls.com/entertainment/2021/12/03/acclaimed-shakespearean-actor-antony-sher-dies-at-72/	LONDON – Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in “Richard III.” He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the “Henry IV” plays, Leontes in “The Winter’s Tale,” Shylock in “The Merchant of Venice,” Iago in “Othello” and the title characters in “Macbeth” and “King Lear.” Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller's “Death of a Salesman” and the title role in Moliere's “Tartuffe.” Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s “Torch Song Trilogy.” He won the 1985 best-actor Olivier Award jointly for “Torch Song Trilogy” and “Richard III.” He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ “Stanley” at the National Theatre and on Broadway. After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage. He adapted Primo Levi’s powerful Auschwitz memoir “If This is a Man” into a one-man stage show, “Primo,” that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.” Sher's last role for the RSC came in 2019 in South African writer John Kani’s “Kunene and The King.” Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.” On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series “The History Man.” His film roles included Dr. Moth in “Shakespeare in Love,” Benjamin Disraeli in “Mrs Brown” and Adolf Hitler in “Churchill: The Hollywood Years.” Sher also wrote several novels and theatrical memoirs, along with an autobiography, “Beside Myself,” and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. “I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in “Macbeth” and “Death of a Salesman.” “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said. Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.” “He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.’” Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage.
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Richard III. London: BBC; New York: Mayflower, 1983. Ashcroft, Peggy. "Margaret of Anjou." Shakespeare Jahrbuch (West) 109 (1973): 7-9. Ashcroft, Peggy. "Playing Shakespeare." Shakespeare Survey 41 (1988): 11-19. Ashley, L. R. N. Colley Cibber. Boston: Twayne, 1989. Babula, William. Shakespeare in Production: 1935-78. New York: Garland, 1981. Barker, Margaret. Garrick. London, 1948. Barton, John, and Peter Hall. The Wars of the Roses. London: BBC, 1970. Bullough, Geoffrey. "Richard III." In Narrative and Dramatic Sources of Shakespeare, vol. 3, 220-349. London: Routledge; New York: Columbia University Press, 1958. Campbell, Lily B. Shakespeare's Histories, Mirrors of Elizabethan Policy. San Marino: Huntington Library, 1947. Casey, Jim. "'Richard's Himself Again': the Body of Richard III on Stage and Screen." in Shakespeare and the Middle Ages: Essays on the Performance and Adaptation of the Plays with Medieval Sources or Settings, edited by Martha Driver and Sid Ray, 27-48. Jefferson, NC: McFarland, 2009. Churchill, George B. "Richard III" Up to Shakespeare. Berlin: Palaestra, X, 1900. Cibber, Colley. The Plays, vol. 1 [incl. Richard III], edited by William J. Burling and Timothy J. Viator. Cranbury, NJ: Fairleigh Dickinson Press, 2000. Clemen, Wolfgang. A Commentary on Shakespeare's "Richard III." Translated by Jean Bonheim. London: Methuen, 1968. Colley, John Scott. "Richard's himself again": a Stage History of "Richard III." New York: Greenwood Press, 1992. Cox, Brian. The Lear Diaries: the Story of the Royal National Theatre's Productions of Shakespeare's "Richard III"and "King Lear." London: Methuen, 1992. Crowl, Samuel. "Changing Colors like the Chameleon: Ian McKellen's Richard III from Stage to Film." Post Script: Essays in Film and the Humanities 17, no. 1 (Fall 1997): 53-63. Diether, Jack. "Richard III: The Preservation of a Film." Film Quarterly 11, no. 3 (Spring 1957): 280-93. FitzSimons, Raymond. Edmund Kean: Fire from Heaven. 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5894	dbpedia	3	65	https://www.thearticle.com/reinventing-shakespeare-antony-sher-on-the-craft-of-acting	en	Reinventing Shakespeare: Antony Sher on the craft of acting	https://s3-eu-west-2.ama…ft-of-acting.jpg	https://s3-eu-west-2.ama…ft-of-acting.jpg	[ "https://certify.alexametrics.com/atrk.gif?account=YKHHt1FYxz20cv", "https://www.facebook.com/tr?id=303025330596251&ev=PageView&noscript=1", "https://www.thearticle.com/{{ item.image }}", "https://www.thearticle.com/{{ item.image }}", "https://www.thearticle.com/{{ item.image }}", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/authors/2/detail_David-Herman.jpg", "https://www.thearticle.com/assets/capital-a-bg-black-dc4aee94944d11dad033c1e9239e51376aed1228270901398a6ea15701dc8e9e.png", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/4383/cover_desktop_reinventing-shakespeare-antony-sher-on-the-craft-of-acting.jpg", "https://www.paypal.com/en_GB/i/scr/pixel.gif", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/999/listing_desktop_how-to-innovate-in-business-and-embrace-change.jpg", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/2887/listing_desktop_the-transformation-of-the-lia-is-firmly-underway-but-the-next-step-we-take-.jpg", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/3403/listing_desktop_without-bullying-prevention-initiatives-private-schools-do-a-great-disservi.jpg", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/229/listing_desktop_Boisdale-231116_mayfair_211.jpg", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/999/listing_desktop_how-to-innovate-in-business-and-embrace-change.jpg", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/2887/listing_desktop_the-transformation-of-the-lia-is-firmly-underway-but-the-next-step-we-take-.jpg", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/3403/listing_desktop_without-bullying-prevention-initiatives-private-schools-do-a-great-disservi.jpg", "https://s3-eu-west-2.amazonaws.com/photos.thearticle.com/app/production/articles/229/listing_desktop_Boisdale-231116_mayfair_211.jpg", "https://pixel.quantserve.com/pixel/p-9LX76t3TaEYn4.gif" ]	[]	[]	[ "Antony Sher", "John Falstaff", "William Shakespeare", "The Hollow Crown (TV series)", "Theatre", "Richard III (play)", "Drama", "Henry IV", "Part 1", "Henry V (1989 film)", "Hamlet (1996 film)", "Bill Alexander (director)", "Royal Shakespeare Company", "Kenneth Branagh", "Gregory Doran", "Plays", "King Lear", "Titus Andronicus", "Entertainment", "Simon Russell Beale" ]	null	[ "David Herman", "Cass Business School", "Dr Ali Mahmoud", "Dr Sameer Hinduja", "Stephen Rand", "Alain Catzeflis", "Jeffrey Meyers", "Raymond Keene" ]	2022-01-06T13:16:00+00:00	Sir Antony Sher died last month. He was one of the great actors of his generation, one of the stars of the RSC for [...]		https://www.thearticle.c…4f0190ec4798.png	TheArticle	https://www.thearticle.com/reinventing-shakespeare-antony-sher-on-the-craft-of-acting	Sir Antony Sher died last month. He was one of the great actors of his generation, one of the stars of the RSC for almost forty years. He played many of the great Shakespearean roles, from the Fool in King Lear, Richard III and Shylock in the 1980s to Titus Andronicus and Macbeth in the 1990s and, more recently, Prospero, Falstaff and Lear himself. But there was more to Sher’s career than Shakespeare and the RSC. He also starred in some of the best contemporary plays of our time. He started out in plays by Willy Russell, David Hare, Stephen Poliakoff and Mike Leigh in the 1970s, was awarded an Olivier Award for his performance as Arnold in Torch Song Trilogy in the West End in 1985 and gave outstanding performances in the 1990s as Peter Flannery’ s Singer (1990), Henry Carr in Stoppard ’s Travesties (1993) and the artist Stanley Spencer in Stanley by Pam Gems (1997, winning another Oliver Award). Some of his last acclaimed performances were as Phillip Gellburg in Arthur Miller’s Broken Glass (2011), Freud in Terry Johnson’s Hysteria (2013), Willy Loman in Death of a Salesman (2015) and Nicolas in Pinter ’s One for the Road (2018). Sher was also a fine screen actor: Howard Kirk in Malcolm Bradbury’s The History Man (1981), Genghis Cohn (1993), Akiba, an Auschwitz inmate in God on Trial (2008), Peter Glickman, a gangster on the run in Hugo Blick’s brilliant series, The Shadow Line (2011) and Disraeli in Mrs. Brown (1997). Interestingly, all, except for Kirk, were Jewish characters. Sher was not just an outstanding actor. Few actors wrote as well about the craft of acting as he did. He was a fine writer. He wrote four novels, including Middlepost, and a one-man play about Primo Levi, nominated for two awards. But perhaps his most interesting books are about playing some of the great Shakespearean roles, which brought together his many talents as an artist, a writer and as an actor. The best was Year of the King (1985), his account of his acclaimed performance as Richard III in the famous RSC production. What is so interesting about the book, and about his acclaimed performance, is how he tries to take on a role defined for thirty years by Olivier’s famous performance. How do you take on a role, even reinvent a role, defined by the greatest post-war actor? Early on, Sher describes when the director, Bill Alexander, suggests the two of them watch the Olivier film together. “I tell him,” Sher writes, “that I have already seen the film far too many times and that I would no sooner see it again at this point in my life than play the part in a black page-boy wig, long false nose and thin clipped voice.” A few pages later, Sher writes, “Again that giant shadow falls across the landscape and I dart around trying to find some light of my own.” I can’t think of a better account by an actor of trying to reinvent a part, defined for years by one of the most famous performances of the post-war period. Later, he meets Kenneth Branagh. “We share a common problem,” Sher writes, “— living in the shadow of Olivier’s films, Henry V and Richard III .” Of course, they’re not just any Shakespearean films. Olivier’s performances completely defined those roles in a way his film of Hamlet or his TV performance as Shylock never did. Throughout the book, Sher describes trying to find new ways of playing Richard. How crippled should he be? How should he walk? How can Sher create a Richard who is both handicapped and terrifyingly mobile, moving across the stage with astonishing speed? He immerses himself in research, watching Steven Dwoskin’ s autobiographical film Outside In, to get a sense of the sexual fantasies of a disabled man, researching different kinds of deformity while at the same time devising a safe way of playing it, when Richard has to be onstage for most of the production. Perhaps most interesting of all is how Sher works together with designers and the costume team, working out what kind of crutches Richard could use, what kind of hump could he wear that is not too heavy, slowing him down on stage, giving him pain during a long run. His later books are less interesting, less ambitious. Woza Shakespeare! (1996), co-written with his partner and director, Gregory Doran, is about a production of Titus Andronicus, put on in Sher’s native South Africa, just after the end of apartheid. Year of the Fat Knight: The Falstaff Diaries (2015) lacks the energy and interest of his account of playing Richard III. They also lack the tension of the first book, the sense of having to overcome Olivier. It is interesting that his book on Falstaff makes no reference to Robert Stephen’s brilliant performance as Falstaff in Branagh’s Henry V or Richard Eyre ’s superb, star-studded Henry IV, Parts I and II for the BBC’s The Hollow Crown, with Jeremy Irons, Simon Russell Beale, Tom Hiddleston and Julie Walters. Sher must have been aware that the RSC production in which he played Falstaff was lightweight by comparison and would, like Branagh’s film, survive on film. This brings us to another shadow in these last two memoirs. On several occasions he mentions failing to land big film parts. It eats him away. Sher was an outstanding stage actor but, with a few exceptions, rarely made it on the small or large screen. In Year of the King he acknowledges that this is the reason why Olivier casts such a shadow. His most famous performances live on, but on the big screen. Sher’s electrifying stage performances live on in our memories but it’s hard to find them on You Tube or on DVD. To understand what made Sir Antony such a great actor, it’s worth turning to Year of the King. A Message from TheArticle We are the only publication that’s committed to covering every angle. We have an important contribution to make, one that’s needed now more than ever, and we need your help to continue publishing throughout the pandemic. So please, make a donation.
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"https://www.youtube.com/embed/Z6f0z7i41NU?feature=oembed" ]	[]	[ "" ]	null	[ "Ian Herbert" ]	2021-12-13T21:56:53+00:00	Ian Herbert* Antony Sher, who has died from cancer at the age of 72 (14 June 1949–2 December 2021), has been frequently described as one of the greatest actors of his generation, a view shared by H…	en		Critical Stages/Scènes critiques	https://www.critical-stages.org/24/sir-antony-sher-actor-artist-diarist-novelist-playwright/	Ian Herbert* Antony Sher, who has died from cancer at the age of 72 (14 June 1949–2 December 2021), has been frequently described as one of the greatest actors of his generation, a view shared by HRH Prince Charles, an avid Shakespeare enthusiast, who named him in 2017 as his favourite actor. Born in South Africa of Lithuanian Jewish parents, he grew up in the seaside suburb of Sea Point, Cape Town, where one could look out from the shore on Robben Island, Nelson Mandela’s prison. His talent as an artist was recognised at an early age, but it was his ambition to become an actor that led him to leave with his parents for Britain in 1968. There he was rejected firmly by two leading drama schools, finally gaining a place at the less prestigious Webber Douglas academy. His course there from 1969–71 was followed by a postgraduate year in Manchester. His professional career proper began at the Everyman Theatre, Liverpool, in a repertory company founded by Terry Hands, who would later mentor him in the Royal Shakespeare Company, where he was to play so many leading roles. He played Ringo in Willy Russell’s play about local heroes the Beatles—John, Paul, George, Ringo—and Bert, transferring it to the West End in 1974 with a cast that included Trevor Eve, Bernard Hill and the singer Barbara Dickson. In London, in 1975, he worked with the fringe company Gay Sweatshop, alongside his first partner, Jim Hooper, before David Hare directed him that year in his play Teeth’n’Smiles at the Royal Court, where he also appeared in Caryl Churchill’s Cloud Nine, 1979. He did little work for television, but his 1981 performance as an odious university lecturer in the title role of The History Man, a mini-series adapted from a Malcolm Bradbury novel, is still fondly remembered. After a 1982 West End appearance in Mike Leigh’s Goosepimples, he joined the Royal Shakespeare Company (RSC) in Stratford and, in June of that year, made an immediate impression as the fool to Michael Gambon’s King Lear. His Tartuffe in July 1983, in the RSC’s London Pit venue, had mixed reviews, but he was well received that year in Peter Barnes’s farcical plague comedy Red Noses and David Edgar’s epic left-wing history, Maydays. In Stratford the same year, he established himself as a major talent with a memorably deformed Richard III in Bill Alexander’s production, winning an Olivier award the following year when it transferred to London, jointly for that performance and his lead role in Harvey Fierstein’s gay masterpiece Torch Song Trilogy. His self-illustrated account of that time, The Year of the King, is one of his many fine literary works, which include three novels. In April 1987, he played Shylock, again for Bill Alexander, in the RSC Merchant of Venice, where he fell in love with the young actor playing Solanio, one Gregory Doran. The relationship flourished, and in 2005 the pair celebrated one of Britain’s first gay civil partnerships, later marrying in 2015. Doran, subsequently, turned his hand to directing, his many productions for the RSC bringing him the company’s Artistic Directorship in 2012. In September 2021, he stepped down temporarily from that post to nurse his husband Antony through his terminal illness. Sher continued with the RSC in Stratford, in 1987, as Vendice in The Revenger’s Tragedy and Malvolio in Twelfth Night, transferring with the former to London in 1988. That year also included an RSC season at the Almeida Theatre, where he appeared with a fellow South African, Estelle Kohler, in Athol Fugard’s Hello and Goodbye. In 1990, with the RSC at the Barbican, he made the most of the title role in Peter Flannery’s Singer, about a holocaust survivor turned slum landlord. After a spell with the National Theatre in 1991, playing lead roles in Kafka’s The Trial and Brecht’s Resistible Rise of Arturo Ui, he returned to the RSC in 1992 to play a magisterial Tamburlaine in Stratford, and Henry Carr in a London revival of Tom Stoppard’s Travesties in 1993. He was directed by Greg Doran for the first time in 1994–95 as Titus Andronicus, in a production supported by the National Theatre but rehearsed and first seen at Barney Simon’s Market Theatre, Johannesburg with a South African supporting cast. The show’s complete failure with the local audience, just after the end of apartheid, is amusingly reported in Sher and Doran’s diary of the adventure, Woza Shakespeare! which was, however, able to record its success with English audiences on its subsequent tour to Leeds and (briefly) the National’s Cottesloe Theatre. His remarkable 1996 performance as the artist Stanley Spencer in Pam Gems’s bioplay Stanley was seen first at the National (where it won him his second Olivier award) and the following year on Broadway, gaining him a Tony nomination. 1997 saw him back in Stratford and, subsequently, the West End, as Cyrano de Bergerac. There followed two more major Shakespearean roles for the RSC, Leontes in The Winter’s Tale (1998) and Macbeth (1999), with Harriet Walter as Lady Macbeth. In 2000, he was appointed KBE (Knight of the British Empire). In 2001, he appeared at the Aldwych in the title role of Mahler’s Conversion, a play by his cousin Ronald Harwood, directed by Doran, about the Viennese composer’s renunciation of his Jewish faith before becoming conductor of the Vienna State Opera. It had a disappointingly short run. He, then, took two leads in the RSC’s 2002 Jacobean season in Stratford, which producer Bill Kenwright then brought to the West End. At the Almeida in 2003, he appeared in his own first play, I.D., as the assassin of Hendrik Verwoerd, known as the architect of apartheid, following it in 2004 with another piece of his own, this time a solo, Primo, set in Auschwitz and based on the writings of Primo Levi, which he took from the National Theatre to the Music Box, New York, in 2005. Earlier in 2004, he had played a splendidly devious Iago to the Othello of another South African actor, Selle Maake ka Ncube, directed in Stratford’s Swan by Doran. In 2007, he portrayed another barnstorming actor in Sartre’s Kean, transferring from Guildford to the West End. In November of that year, his next play, The Giant, an RSC commission, imagining a conflict between Leonardo and Michelangelo over the sculpture of David in Florence, was directed by Doran at Hampstead. He returned to South Africa in 2008 to play Prospero in a much-admired Baxter Theatre production of The Tempest, directed by his childhood friend Janice Honeyman with the great John Kani as Caliban, which came to Stratford as part of its 2009 UK tour. After a 2010 stint as anti-hero Thomas Stockmann in An Enemy of the People, directed by Daniel Evans in Sheffield, he played in Arthur Miller’s Kristallnacht evocation Broken Glass at the Vaudeville (2011), followed by Nicholas Wright’s Travelling Light at the National (directed by Nichols Hytner, 2012) and Terry Johnson’s Hysteria, in which he played Sigmund Freud, at the Theatre Royal Bath (2012), repeating the role at Hampstead in 2013. 2014 saw his return to Stratford as Falstaff in the two parts of Henry IV, followed by a triumphant Willy Loman in Death of a Salesman, transferring in the latter to the West End. Henry IV returned to the Barbican in 2016, when Sher played his final great Shakespeare role as King Lear, reprising it in 2018. His last appearance was with John Kani in Kunene and the King, the latter’s two-hander, which moved from Stratford in 2019 to London in January 2020, where its run was sadly curtailed by the arrival of COVID. Kani’s obituary tribute was simple: Both Tony Sher and I were born when our country South Africa was the worst place a child could be born let alone to be raised by parents who worked very hard to prepare their children for a difficult future—Apartheid South Africa. By the Grace of his God and my Ancestors, like Romeo and Juliet, we found each other in 1973. We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists and we both had the honour of celebrating together twenty-five years of South Africa’s Democracy in my latest play Kunene and the King. I am at peace with you my friend and myself. Exit my King. Sher played almost every leading Shakespearean role except Hamlet—in a 2018 interview he said: Looking back now, I wish I’d played Hamlet, which I didn’t do out of a sense of oppression . . .There was an old-fashioned idea that he had to be tall and handsome and blond. But that’s nonsense, of course. I missed it and it’s my own fault. But otherwise, Shakespeare served me very well. I’m very grateful. Short of stature, artistically gifted, gay, Jewish, a product of apartheid—Antony Sher made prolific use of all these traits to become one of the finest actors on the English stage, in a bravura, larger than life tradition that put him up alongside greats like Garrick, Kean, Irving and Olivier. In spite of his extrovert stage persona, he was in private a shy, almost retiring man, who had in earlier years struggled to overcome both mental illness and a serious cocaine addiction, from which his loving partner Gregory Doran was able to release him.
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5894	dbpedia	2	68	https://playsinternational.org.uk/my-shakespeare-greg-doran/	en	My Shakespeare Greg Doran reviewed by Tom Bolton	https://playsinternation…-doran-cover.jpg	https://playsinternation…-doran-cover.jpg	[ "https://playsinternational.org.uk/wp-content/uploads/2021/12/cropped-pro-tem-logo-minor.png", "https://playsinternational.org.uk/wp-content/uploads/2021/12/theatre-magazine-mission-statement.jpg", "https://playsinternational.org.uk/wp-content/uploads/2023/06/my-shakespeare-greg-doran-cover.jpg", "https://playsinternational.org.uk/wp-content/uploads/2018/02/romeo-and-juliet-guildford-shakespeare-company-photo-credit-matt-pereira-390x205.jpg", "https://playsinternational.org.uk/wp-content/uploads/2022/07/the-tempest-theatre-royal-bath-featured-image-photo-credit-tristram-kenton-390x205.jpg", "https://playsinternational.org.uk/wp-content/uploads/2021/05/the-merry-wives-of-windsor-falstaff-shakespeares-globe-featured-image-credit-helen-murray-390x205.jpg", "https://playsinternational.org.uk/wp-content/uploads/2021/06/book-review-history-of-romanian-theatre-cristina-modreanu-dana-rufolo-390x205.jpg", "https://playsinternational.org.uk/wp-content/uploads/2022/02/hamlet-guildford-shakespeare-company-featured-image-credit-matt-pereira-390x205.jpg", "https://playsinternational.org.uk/wp-content/uploads/2023/12/richard-ii-theatre-nanterre-amandiers-featured-image-photo-credit-geraldine-aresteanu-390x205.jpg", "https://playsinternational.org.uk/wp-content/uploads/2021/12/tutto-brucia-featured-image-credit-vladamir-bertozzi-130x90.jpg", "https://playsinternational.org.uk/wp-content/uploads/2021/12/dracula-imitating-the-dog-featured-image-credit-ed-waring-130x90.jpg", "https://playsinternational.org.uk/wp-content/uploads/2022/01/once-before-i-go-featured-image-credit-ros-kavanagh-130x90.jpg", "https://playsinternational.org.uk/wp-content/uploads/2024/01/buy-plays-intl-a-coffee.jpg", "https://playsinternational.org.uk/wp-content/uploads/2024/08/antony-and-cleopatra-shakespeared-globe-featured-image-photo-credit-ellie-kurttz-390x205.webp", "https://playsinternational.org.uk/wp-content/uploads/2024/08/pericles-royal-shakespeare-company-photo-credit-johan-persson-130x90.webp", "https://playsinternational.org.uk/wp-content/uploads/2024/06/the-taming-of-the-shrew-shakesepares-globe-featured-image-photo-credit-ellie-kurttz-130x90.webp", "https://playsinternational.org.uk/wp-content/uploads/2024/05/richard-iii-globe-theatre-featured-image-photo-credit-marc-brenner-130x90.webp", "https://playsinternational.org.uk/wp-content/uploads/2023/12/what-was-shakespeare-like-review-simon-jenner-as-jpeg-390x205.jpg", "https://playsinternational.org.uk/wp-content/uploads/2023/11/theatre-spaces-iain-mackintosh-methuen-drama-130x90.jpg", "https://playsinternational.org.uk/wp-content/uploads/2023/06/my-shakespeare-greg-doran-cover-130x90.jpg", "https://playsinternational.org.uk/wp-content/uploads/2023/02/a-dictionary-of-emotions-in-a-time-of-war-john-freedman-cover-130x90.jpg", "https://playsinternational.org.uk/wp-content/uploads/2024/06/obriens-dream-thumbnail-image.jpg", "https://playsinternational.org.uk/wp-content/uploads/2021/12/robert-cohen-actor.jpg", "https://playsinternational.org.uk/wp-content/uploads/2021/12/spid-youth-theatre.jpg", "https://playsinternational.org.uk/wp-content/uploads/2023/03/rosanna-ter-steege.jpg", "https://playsinternational.org.uk/wp-content/uploads/2024/08/boardroom-edinburgh-festival-fringe-390x205.webp", "https://playsinternational.org.uk/wp-content/uploads/2022/01/theatre-magazine-footer-image.png", "https://playsinternational.org.uk/wp-content/uploads/2022/12/as-you-like-it-@sohoplace-featured-image-photo-credit-johan-persson-130x90.jpg", "https://playsinternational.org.uk/wp-content/uploads/2021/06/book-review-history-of-romanian-theatre-cristina-modreanu-dana-rufolo-130x90.jpg" ]	[]	[]	[ "" ]	null	[ "ri-admin" ]	2023-06-11T21:58:31+00:00	One man's lifelong fascination with Shakespeare involves running the RSC and partnership with Antony Sher.	en	https://playsinternation…vicon2-32x32.png	Plays International & Europe	https://playsinternational.org.uk/my-shakespeare-greg-doran/	My Shakespeare: A Director’s Journey through the First Folio by Greg Doran (Methuen Drama) Book review by Tom Bolton Covid and its aftermath felt like an era shift for the Royal Shakespeare Company. In 2020, for the first time since 1879, there was no summer season at Stratford-upon-Avon as theatre across the globe temporarily ceased to exist. It would take three years to return to a pre-pandemic programme. In the meantime, Artistic Director Gregory Doran had stepped down, following the death of his husband and the RSC’s lead actor, Sir Antony Sher. In the circumstances, publishing a book is an achievement, but Doran’s account of his life in Shakespeare is more than that. It is an inspiring piece of writing that reveals Doran’s complete commitment to Stratford, Shakespeare, and the stage, while remaining overwhelmingly modest. It leaves me thinking that we have underestimated a director, who should rank alongside the Stratford legends who first drew him into theatre. Doran’s all-encompassing fascination with Shakespeare defines the book and his career. As a Lancashire schoolboy, a trip to Stratford to see Richard Pasco and Ian Richardson role-swapping in Richard II had him hooked for life, and he was soon playing Richard himself on the school stage and hitchhiking down the M6 to see shows. He joined the RSC as an actor in 1987, falling for Antony Sher while playing opposite him in The Merchant of Venice, the start of a 28-year relationship. They married in 2005, on the first day civil partnerships between same-sex couples became legal. While Sher became an acting legend, Doran soon moved into directing. His first RSC show was his 1996 Henry VIII, and he went on to direct almost the entirety of Shakespeare’s First Folio (apart from The Two Gentlemen of Verona). The plays provide My Shakespeare with its structure, as Doran devotes a chapter to each play from his first ever production aged 20, Romeo and Juliet in 1979, to his 2022 Richard III with Arthur Hughes. He achieves several things at once, producing a fascinating memoir of a theatrical era, an extensive study of Shakespeare through textual analysis, and a moving account of his relationship with Sher. For Stratford watchers, the book is essential. Doran packs it with insightful and often very funny anecdotes. He recalls being grilled by some humourless Americans about the appropriateness of presenting a play “where a husband drugs his wife and makes her submit to bestial intercourse with a donkey” (A Midsummer Night’s Dream, naturally). He recalls the spell-binding moment when Sher, as Shylock, addressed his “pound of flesh” speech to the apartheid South African cultural attaché, squirming inches away in his front-row seat. He tells us how Michael Pennington agreed to replace Alan Bates in the title role of Timon of Athens at two weeks’ notice. We discover that when David Tennant’s Hamlet opened for booking at the Novello Theatre in 2008, selling out in ten minutes, calls to the box office accounted for 10 per cent of the UK’s telephone network capacity. If you find this sort of theatrical detail fascinating, My Shakespeare will keep you very happy. Doran is not someone to blow his own trumpet. He is fully committed to his productions, but freely admits when he did not achieve what he wanted, or the press hated the result. He also acknowledges the company’s ups and downs. He experienced the near meltdown in the early 2000s when Adrian Noble pulled the company out of its permanent London base at the Barbican, before resigning. Doran too has received criticism for, amongst other things, the quality of new writing, the failure to reopen the RSC’s third theatre, The Other Place, and the lack of a strong cohort of Shakespearean directors to provide a succession plan. However, the pressures Doran has worked under have greatly limited his room for manoeuvre, especially the continued lack of a London base, a problem that probably has no solution. And he has delivered a roll call of great productions: Tennant in Hamlet, Patrick Stewart and Harriet Walter’s Antony and Cleopatra, Sher and Walter in Macbeth, Sher’s Falstaff and King Lear, and impressive lesser Shakespeares including Henry VIII, King John, and Timon of Athens. The live-streamed rehearsal performances of the Henry VI plays during the pandemic were brave, ground-breaking, and fascinating. However, Doran does more than just account for his time at Stratford. He also provides us with a lifetime’s worth of textual analysis, packing the book with interpretation of the plays he directed. When he applied, successfully, for the Artistic Director job he set out to emphasize ‘Shakespeare’ in RSC, rather than the ‘Company’ of his predecessor, Michael Boyd. He begins rehearsals not with a read-through, but an exploration of the text as the cast paraphrases each other’s parts to understand what the play is saying. Doran delights in this process, and it becomes clear how much he is influenced by the RSC’s company’s “grandparents” as he describes them, director John Barton and voice coach Cicely Berry. There is no greater tribute than to say that much of the book reminds me of the live workshops Barton sometimes conducted, which were rigorous, rich, rewarding, and unashamedly obsessed with the text. Doran will be succeeded at Stratford by the duo of Daniel Evans and Tamara Harvey, both of whom have considerably less Shakespearean experience than him. This has led some to question whether the tradition of Barton and Berry, who essentially created the modern craft of Shakespearean performance, has ended. Doran says: “I have one special hope: that all those who come after me at the RSC will maintain the discipline and craftsmanship that Shakespeare demands.” His legacy to the company must surely be to establish the words that Shakespeare wrote as the RSC’s core rationale. After all, as he points out, “In Shakespeare’s day you went to ‘hear’ a play.”
5894	dbpedia	1	46	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/	en	Adolescent Alcohol Exposure Persistently Impacts Adult Neurobiology and Behavior	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/logo-pharmrev.png", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/corrauth.gif", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/corrauth.gif", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138absf1.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f1.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f2.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f3.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f4.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f5.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f6.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f7.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f8.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/bin/pr.115.012138f9.jpg" ]	[]	[]	[ "" ]	null	[ "Fulton T. Crews", "Ryan P. Vetreno", "Margaret A. Broadwater", "Donita L. Robinson" ]	2016-10-16T00:00:00	Adolescence is a developmental period when physical and cognitive abilities are optimized, when social skills are consolidated, and when sexuality, adolescent behaviors, and frontal cortical functions mature to adult levels. Adolescents also have unique ...	en	https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico	PubMed Central (PMC)	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5050442/	Pharmacol Rev. 2016 Oct; 68(4): 1074–1109. PMCID: PMC5050442 PMID: 27677720 Adolescent Alcohol Exposure Persistently Impacts Adult Neurobiology and Behavior Leslie A. Morrow, ASSOCIATE EDITOR Bowles Center for Alcohol Studies (F.T.C., R.P.V., M.A.B., D.L.R.), Department of Psychiatry (F.T.C., D.L.R.), and Department of Pharmacology (F.T.C.), School of Medicine, University of North Carolina, Chapel Hill, North Carolina Corresponding author. Address correspondence to: Dr. Fulton T. Crews, University of North Carolina School of Medicine, Bowles Center for Alcohol Studies, 1021 Thurston Bowles Building CB 7178, Chapel Hill, NC 27599-7178., E-mail: ude.cnu.dem@swerctf Copyright © 2016 by The Author(s) This is an open access article distributed under the CC BY-NC Attribution 4.0 International license. Abstract Adolescence is a developmental period when physical and cognitive abilities are optimized, when social skills are consolidated, and when sexuality, adolescent behaviors, and frontal cortical functions mature to adult levels. Adolescents also have unique responses to alcohol compared with adults, being less sensitive to ethanol sedative–motor responses that most likely contribute to binge drinking and blackouts. Population studies find that an early age of drinking onset correlates with increased lifetime risks for the development of alcohol dependence, violence, and injuries. Brain synapses, myelination, and neural circuits mature in adolescence to adult levels in parallel with increased reflection on the consequence of actions and reduced impulsivity and thrill seeking. Alcohol binge drinking could alter human development, but variations in genetics, peer groups, family structure, early life experiences, and the emergence of psychopathology in humans confound studies. As adolescence is common to mammalian species, preclinical models of binge drinking provide insight into the direct impact of alcohol on adolescent development. This review relates human findings to basic science studies, particularly the preclinical studies of the Neurobiology of Adolescent Drinking in Adulthood (NADIA) Consortium. These studies focus on persistent adult changes in neurobiology and behavior following adolescent intermittent ethanol (AIE), a model of underage drinking. NADIA studies and others find that AIE results in the following: increases in adult alcohol drinking, disinhibition, and social anxiety; altered adult synapses, cognition, and sleep; reduced adult neurogenesis, cholinergic, and serotonergic neurons; and increased neuroimmune gene expression and epigenetic modifiers of gene expression. Many of these effects are specific to adolescents and not found in parallel adult studies. AIE can cause a persistence of adolescent-like synaptic physiology, behavior, and sensitivity to alcohol into adulthood. Together, these findings support the hypothesis that adolescent binge drinking leads to long-lasting changes in the adult brain that increase risks of adult psychopathology, particularly for alcohol dependence. I. Introduction Adolescence is a period of developmental transition, encompassing physical, mental, emotional, and social aspects. The development of both physical and interpersonal skills required to successfully integrate into society is essential for living in groups, and these skills improve through adolescence to adult levels. In addition, adolescence is a time when talents, reasoning, and other abilities are formed. Adolescence in humans and other social animals is characterized by high expression of risk taking, exploration, novelty and sensation seeking, social interaction, and play behavior that contributes to this transition. Recent discoveries using human brain imaging provide strong evidence that these characteristics are linked to maturation of brain structure (Lenroot and Giedd, 2006; Bava and Tapert, 2010). Although much of development involves programmed sequences of change in gene expression related to cellular differentiation and protein expression, experience and environment during adolescence also contribute to lifelong adult abilities and characteristics. Nutrition, alcohol exposure, and multiple other environmental factors are known to impact both prenatal and postnatal physical development. Adolescent development of abilities, social skills, and other complex processes is difficult to define and quantitate. However, in general, training and acquisition of skills in adolescence are important for developing both highly-skilled human and animal individuals. Training during adolescence improves abilities involving cognition, like playing chess or training to be a guide dog, as well as physical abilities. Training at all ages improves performance, but the improvement is often much faster and greater during adolescence. During adolescence, physical abilities improve in parallel to the development of self-control, consideration of future consequences, planning, and socialization skills, and eventually reductions in risk taking and sensation seeking. Frontal cortical synaptic refinement and increased myelination in adolescence most likely contribute to maturational changes in reasoning, goal setting, impulse control, and evaluation of consequences. Other adolescent brain changes include increased hippocampal neurogenesis, maturation of brain regulatory neurotransmitters (e.g., their receptors and transporters), as well as hormonal maturation during puberty. Each of these maturation processes is driven by innate programming that responds to environmental stimuli. Adolescent development is common to humans and rodents, allowing controlled preclinical studies to focus on those environmental factors that create resilience or risk for long-lasting changes in adult characteristics. The complex interactions of nature and nurture, intermixed with adolescent resilience and sensitivities, confound discernment of what characteristics are highly sensitive versus insensitive to environment. Many mental disorders emerge during adolescence, perhaps due to genetically programmed dysfunctional development, environmental disruption of developmental programs, or more likely a combination of both (Paus et al., 2008; Davidson et al., 2015). In humans, family structure and socioeconomic status, adolescent choice of peer group, and other individual selections create unique environments that confound a clear understanding of their impact on maturation of adult characteristics and skills. Animal studies have the advantage of control over environmental and genetic factors and can better elucidate the impact of specific environmental events on adolescent development. This review presents findings that support adolescence as a unique period of brain maturation that is characterized by increased vulnerability to binge alcohol-induced alterations in brain maturation and adult neurobiology due to the distinct adolescent responses to alcohol relative to adults. Preclinical studies from the Neurobiology of Adolescent Drinking in Adulthood (NADIA) Consortium, funded by the National Institute of Alcohol Abuse and Alcoholism, are presented and related to human findings when possible. Together, they support the hypothesis that adolescent binge drinking produces long-lasting effects in the brain that increase the risk for the development of psychopathology in adulthood, including alcohol-use disorders. The adolescent period is marked by behavioral and hormonal changes that are common across species. Adolescents are highly tuned to the environment and peers, and adolescence is a critical period of social development and integration into society. In the rat, the adolescent period has been conservatively demarcated as postnatal day (P) 28–P42 (Spear, 2000), although some have suggested a more liberal range from P21 to P60 (Laviola et al., 2003). More recently, the adolescent period has been divided into early (P25–P42) and late (P43–P55) adolescence in rats, with the early and late periods corresponding to approximately 10–18 and 18–25 years of age in humans, respectively (Spear, 2015). Puberty, the hormonal and physiologic change associated with sexual maturation, takes place within the broader adolescent period. Although there are species-specific behavioral and hormonal responses, adolescence and puberty are general developmental periods that are shared across mammalian species. As in humans, complete pubertal maturation of the rat occurs earlier in females than males (approximately P36 and P44, respectively) (Vetter-O’Hagen and Spear, 2012). Importantly, adolescent-typical behavioral characteristics are also conserved across species, such as increased reward and sensation seeking, social interactions with peers, and risk taking, and reduced responses to aversive stimuli, which are all observed during adolescence, even beyond the peripubertal period (for review, see Spear, 2000, 2011). For instance, increased time spent engaging in social behaviors is common in human adolescents (e.g., increased communication with peers) (Csikszentmihalyi et al., 1977; Steinberg, 1989) as well as in adolescent rodents and nonhuman primates (e.g., increased levels of play and affiliative behaviors, such as huddling and grooming) (Ehardt and Bernstein, 1987). In rodents, increased social interactions influence food choices (Galef, 1977) and sexual and aggressive behaviors (Fagen, 1976; Smith, 1982). Rodent adolescents also find peers (Douglas et al., 2004) and novelty (Douglas et al., 2003) more rewarding than adults do. These adolescent-typical characteristics are important during the transition from dependence to independence. These characteristics also result in increased possibility of environmental exposures and influences. As discussed below, the recent discovery of epigenetic mechanisms under environmental regulation may represent a significant portion of the genetic aspects of adolescent maturation. Adolescent high novelty-seeking and risk-taking behaviors contribute to the increased propensity for experimentation and initiation of drug and alcohol use during this developmental period. Furthermore, the ability to learn and acquire new skills or habits can combine with initiation of drug use to increase the risk of long-lasting adult pathology. Given that adolescence is a unique period of brain and behavioral development that is highly sensitive to environmental influences, clinical and preclinical studies focused on adolescent development to understand what factors best promote individual success for all in the community are of great importance. II. Brain Maturation and Adolescence Brain development coincides with improvement in abilities. One example is the maturation of visual and auditory sensory processing. The sensory cortex has unique developmental periods that are highly responsive to enriched or deprived environments that drive synaptic rearrangements and cortical response pattern plasticity far more than are found at other times across the life span. These highly plastic periods of sensory cortical maturation are referred to as critical periods of experience-dependent plasticity, and some of these critical periods occur during the adolescent age (Gordon and Stryker, 1996). Visual cortex maturation involves optimizing visual acuity and discrimination through activity-dependent synaptic pruning of inactive synapses as well as maintenance and strengthening of active synapses. Maturation of the visual cortex precedes the critical period of the auditory cortex, which is characterized by acquisition of tonal specificity and maturation of auditory cortical responses. During plasticity of the cortical critical periods, γ-aminobutyric acid (GABA) interneuron synapse formation and regulation of pyramidal neuronal responses stabilize, and then plasticity subsides. Synaptic rearrangements in the developing cortex are dependent upon neuronal activity that triggers microglial–neuronal signaling. For example, in developing mouse visual cortex at P28 near the peak of the critical period of visual cortical experience-dependent plasticity and synapse formation, light deprivation and re-exposure regulate microglial–synaptic interactions (Tremblay et al., 2010). Microglial activity-dependent synaptic pruning involves complement receptor signaling between immature synapses and microglia (Schafer et al., 2012). In addition, microglia regulate the formation and degradation of extracellular matrix—secreted noncellular molecules that support cells and in brain stabilize synapses and form neuronal nets primarily on GABAergic neurons (Celio and Blumcke, 1994; Celio et al., 1998; Frischknecht et al., 2009; see Coleman et al., 2014). Thus, adolescent brain maturation involves neuronal and glial signaling that regulates synapses, particularly interneuron–projection neuron synaptic fields that are tuned during development to more stable and less plastic adult brain synapses. Synapses are functional elements of the brain that are very small—most are less than 0.1 μM3—whereas brains are 1012–1014 times that size (e.g., human brain is about 1200 cm3 and adult rat brain about 2100 mm3) (Oguz et al., 2013). Interestingly, overall brain structure changes during adolescence, with decreases in gray matter and increases in white matter shown in both human (Giedd et al.,1999; Gogtay et al., 2004; Bava et al., 2010) and rodent studies (e.g., Oguz et al., 2013; Mengler et al., 2014). These changes are far larger than can be explained by changes in synapses, and they are thought to be associated with the processes of synaptic pruning, extracellular matrix formation, and increased myelination. The developmental trajectory of brain regional volumes in humans has been studied (Giedd et al., 1996; Sowell et al., 1999; Gogtay et al., 2006; Demaster and Ghetti, 2013) and is generally similar to that found in rats (Calabrese et al., 2013; Oguz, et al., 2013). For instance, subcortical limbic structures, such as the hippocampus and amygdala, mature during adolescence in humans (Giedd, et al., 1996; Sowell et al., 1999; Suzuki et al., 2005; Gogtay et al., 2006; Uematsu et al., 2012; Demaster and Ghetti, 2013) at a relatively faster pace than the prefrontal cortex (PFC) (see Casey et al., 2005 for review). The PFC is the last structure to mature, and development of PFC structural and functional connectivity continues into late adolescence and early adulthood in humans (Lebel et al., 2008; Petanjek et al., 2011) and rodents (Cunningham et al., 2002; Markham et al., 2007). An immature PFC, along with more developed limbic regions, may lead to an imbalance or disruption of top-down control, which is thought to underlie particular adolescent-typical behavior such as impulsivity and risk taking (Andersen and Teicher, 2008; Casey et al., 2008; Ernst and Fudge, 2009; Casey and Jones, 2010). PFC development and connectivity parallel the appearance of adult executive functions. Late youth and adolescence are also when mental diseases commonly emerge (Paus et al., 2008; Davidson, et al., 2015), with some clearly related to alterations in the patterns of gray and white matter that exemplify the adult brain (Giedd, 2004). Indeed, white matter structures mature hierarchically and become more organized in parallel with the development of cognitive faculties (Asato et al., 2006; Lenroot and Giedd, 2006; Bava and Tapert, 2010). Myelin increases efficient neural transmission throughout the brain, and it is thought to contribute to the enhanced brain-regional connectivity, processing speed, and cognitive function that occur during childhood and adolescence (Casey et al., 2008). In a study of 885 individuals between 3 and 20 years of age, magnetic resonance imaging brain scans accurately distinguished biologic age, primarily by using diffusivity indices of white matter maturation (Brown et al., 2012). Recent studies have related the development of white matter along an accumbofrontal tract connecting the orbitofrontal cortex (OFC) and nucleus accumbens to the maturation of developmental models of decision making (Karlsgodt et al., 2015). Exercise, as assessed by fitness among adolescents, is associated with increased white matter microstructure and frontal and motor fiber connectivity, consistent with the postulate that environment and experience impact white matter development and connectivity (Herting et al., 2014). In rats, whole brain volume increases by approximately 20% from P28 to P80 (that is, from early adolescence to young adulthood), whereas white matter, including the corpus callosum and external capsule, increases by about 30% (Oguz et al., 2013). In rats, there are maturational changes in corpus callosum anisotropy found with diffusion tensor imaging (Vetreno et al., 2016a), and diffusion tensor imaging has been used to detect anisotropic changes in the human adolescent brain that are consistent with increased myelination (Zhu et al., 2012). The PFC is particularly dynamic during adolescence. Human histologic studies find that the dendritic spine density of PFC synapses is two- to threefold higher in youth and declines through adolescence and into the third decade of life before stabilizing at adult levels (Petanjek et al., 2011). These findings are consistent with delayed maturation of PFC and its regulation of mesolimbic, amygdala, and behavioral control, resulting in the thrill-, novelty-, and sensation-seeking behavior that is characteristic of adolescence (Ernst and Fudge, 2009; Pattwell et al., 2012). Human adolescents also show an exaggerated amygdala response to fear that matures with the development of connections between the amygdala and ventromedial PFC in humans and infralimbic PFC in mice (Malter Cohen et al., 2013). This is consistent with studies that find attenuated extinction of fear conditioning in adolescent humans (Pattwell et al., 2012) that matures in parallel with frontal cortical circuits important for fear extinction (although see Broadwater and Spear, 2013a). As discussed above, activity-dependent plasticity in the PFC involves responsiveness of both GABAergic interneurons and glutamatergic pyramidal projection neurons, as well as consolidation of circuitry within other regions, to produce the development of executive functions during adolescence. Maturation of cortical GABAergic and glutamatergic synapses occurs in parallel with ongoing adolescent-specific changes in several major neuromodulatory neurotransmitter systems, such as acetylcholine, serotonin (5-HT), norepinephrine, and dopamine (see Guerri and Pascual, 2010; Spear, 2000, 2010 for review). Neuromodulatory neurotransmitters integrate GABAergic interneuronal and glutamatergic pyramidal neuronal firing, synchronizing firing and connectivity. Thus, both human and animal studies are consistent with adolescence being a critical period of frontal cortical activity-dependent plasticity. Furthermore, it is thought that adolescent frontal cortical integration underlies the maturation of adult emotion and reasoning. As PFC circuits mature, reflections on long-term consequences start to guide behavior, an important adult characteristic that may blunt the impulsive thrill seeking that is often seen during adolescence. III. Adolescent Alcohol Sensitivity A. Developmental Insensitivity to Ethanol Numerous studies have found that adolescents are less sensitive to certain adverse effects of ethanol relative to adults (see Spear, 2011, 2014; Novier et al., 2015 for review), perhaps contributing to a propensity for adolescents to binge drink (Johnston et al., 2015). [TheNational Institute of Alcohol Abuse and Alcoholism definition of binge drinking is 4+ or 5+ drinks in a row for females or males, respectively, or achieving blood ethanol concentrations (BECs) of greater than 0.08 g/dL.] For example, adolescent rats are generally less sensitive to ethanol-induced sedative/hypnotic effects (Moy et al., 1998; Silveri and Spear, 1998; Draski et al., 2001), social inhibition at high ethanol doses (Varlinskaya and Spear, 2002), motor impairment (Hollstedt et al., 1980; Silveri and Spear, 2001; White et al., 2002a), conditioned taste aversion (Anderson et al., 2010; Schramm-Sapyta et al., 2010), and acute ethanol withdrawal (i.e., hangover) (Doremus et al., 2003; Varlinskaya and Spear, 2004; Doremus-Fitzwater and Spear, 2007). Thus, adolescents are less sensitive to several factors that may serve as feedback cues to limit alcohol consumption. A low sedative response to alcohol is a risk factor for development of alcohol-use disorder in humans (Schuckit et al., 2004) and is an adolescent characteristic that crosses species (Spear, 2011). Furthermore, low sensitivity to the perception of alcohol, as measured by the Subjective High Assessment Scale, has been established as one of the most significant risk factors for the development of heavy drinking and alcoholism (Schuckit et al., 2014). Studies relating blood alcohol to behavior have suggested that adolescent humans are less sensitive than adults (Day et al., 2013), although this is more clearly established in animal studies (Spear, 2014). Another index of alcohol sensitivity may be the amount of alcohol consumed, and studies find that both adolescent humans and rodents consume about twice as much as adults (Spear, 2014). Although the mechanisms of adolescent low alcohol sedative response or tolerance-like ethanol responses are not known, adolescent binge drinking in humans is predictive of adult alcohol-use disorders (for review, see Patrick and Schulenberg, 2013), and studies in rodents that control for genetic and environmental differences find adolescents are less sensitive to alcohol sedative/hypnotic effects (Silveri and Spear, 1998; Spear, 2014) and adolescent alcohol exposure of rats leads to long-lasting changes in adult rats that support hypotheses on long-lasting changes in adult human brain due to adolescent drinking. The mechanisms underlying age-specific ethanol sensitivity are not fully understood, but one possibility is that adolescents are less susceptible to many ethanol effects because they metabolize ethanol faster. Although some studies have found that rodent adolescents metabolize ethanol slightly faster than adults (Hollstedt et al., 1980; Brasser and Spear, 2002), this is not a consistent finding (Kelly et al., 1987; Silveri and Spear, 2000). Furthermore, enhanced sensitivity to certain ethanol effects observed in adolescents (detailed below) argues against metabolic rate being the primary mechanism for age-related differences in ethanol sensitivity. Lastly, several studies have directly compared developmental responses to various ethanol concentrations in vitro when metabolism is not a factor (e.g., Swartzwelder et al., 1995a,b; Li et al., 2003). Another potential mechanism is that the functional properties of the neural systems underlying ethanol responses are fundamentally different between adolescents and adults. As suggested by Spear (2014), altered sensitivity to ethanol during adolescence may be due to age-related differences in excitatory glutamate [particularly at N-methyl-D-aspartate (NMDA) receptors], inhibitory GABAergic, and modulatory opioid systems. Relative immaturity of these neurotransmitter systems, which are directly targeted by alcohol, may alter brain excitatory–inhibitory balance during adolescence, perhaps contributing to age-related differences in ethanol effects (for review, see Spear and Varlinskaya, 2005; Spear, 2014). For example, adolescent rats differ from adults in electrophysiological properties, with reduced sensitivity to GABA type A (GABAA) receptor-mediated inhibition in hippocampus (Li et al., 2003, 2006; Yan et al., 2010; but see Yan et al., 2009), yet enhanced sensitivity to ethanol-induced inhibition of NMDA-mediated excitatory postsynaptic currents (Swartzwelder et al., 1995a). Thus, altered responsivity of these neurotransmitter systems during adolescence may underlie differential alcohol sensitivity, perhaps increasing risks of excessive drinking. However, additional research is needed to clearly define the unique aspects of the adolescent response to alcohol. B. Developmental Sensitivity to Ethanol Adolescents also show enhanced sensitivity to certain effects of ethanol (for review, see Spear, 2011, 2014; Novier et al., 2015). For instance, adolescent rats show ethanol-induced social facilitation at low ethanol doses, an effect not observed in adult rats (Varlinskaya and Spear, 2002, 2006), and greater ethanol-mediated reinforcement than adults (Pautassi et al., 2008). Increased sensitivity to the positive and/or reinforcing effects of ethanol may promote alcohol intake, although some would argue that elevated alcohol consumption is due to decreased sensitivity to the rewarding effects in adults (e.g., Koob and Le Moal, 1997). In animal and human studies, multiple factors impact behavior, making unequivocal conclusions on reinforcement difficult (for review, see Stephens et al., 2010). In the case of adolescent alcohol consumption, humans (SAMHSA, 2006) and rodents (Brunell and Spear, 2005; Doremus et al., 2005; Vetter et al., 2007) have been reported to consume up to 3 times more ethanol than adults, which may be related to altered ethanol sensitivity. Adolescents are also more sensitive to some memory-impairing effects of ethanol. For example, adolescent rats show greater memory impairment than adults when assessed on the Morris water maze and in discrimination tasks (Markwiese et al., 1998; Land and Spear, 2004), but the opposite is observed in fear conditioning, another learning and memory paradigm; specifically, adolescent rats are less sensitive to memory-disrupting effects of ethanol (Land and Spear, 2004; Broadwater and Spear, 2013b). Also, people in their early 20s have been found to be more sensitive to the effects of ethanol on multiple memory tasks than those in their late 20s; however, tolerance due to prolonged alcohol use in the older age group cannot be definitively ruled out in this study (Acheson et al., 1998). When measuring the hippocampal electrophysiological response in adolescent rats relative to adults, ethanol more potently inhibits adolescent NMDA receptor-mediated synaptic activity (Swartzwelder et al., 1995a) and the induction of long-term potentiation (Swartzwelder et al., 1995b), perhaps contributing to enhanced sensitivity to memory-impairing effects of ethanol during adolescence. Adolescent rats are also more sensitive to frontal cortical brain damage in binge-ethanol models (Crews et al., 2000), consistent with the hypothesis that developing brain regions are more sensitive to ethanol toxicity than mature brain regions. Although not assessed in the aforementioned studies, others have reported that adolescents do not show higher brain or blood ethanol concentrations compared with adults. Ethanol is typically administered at doses relative to body weight to account for the large differences in body mass between adolescent and adult rodents, but it distributes preferentially into watery, nonfatty tissues (Kalant, 1971). Body composition changes across the life span, and factors that might contribute to adolescent–adult distribution of ethanol include decreases in water content in lean tissue as well as increases in percentage of body fat from adolescence into adulthood (for review in humans, see Veldhuis et al., 2005). Consistent with an increase in percentage of body fat, adult rodents tend to have higher blood ethanol concentrations and a more prolonged ethanol clearance relative to adolescents (Doremus et al., 2003), making the possibility of higher ethanol exposure contributing to enhanced sensitivity to cognitive effects of ethanol during adolescence unlikely. Taken together, these findings suggest that adolescents are more sensitive to some effects of ethanol than adults, perhaps due to enhanced sensitivity of NMDA-mediated ethanol responses. IV. Adolescents Binge Drink Differing from the adult and alcoholic patterns of daily, heavy drinking, adolescents generally drink in social groups on weekends. Moreover, human and rodent adolescents drink about 2–3 times more alcohol than adults per drinking occasion (SAMHSA, 2006; Doremus et al., 2005). Adolescent binge drinking is a problem in many countries. The percentage of students in 2003 who reported being drunk 10 times or more in the last year were 40% in Denmark, 25% in the United Kingdom, and 8% in the United States (Andersson et al., 2002). In the United States 2014 Monitoring the Future Survey, 11%, 30%, and 50% of 8th, 10th, and 12th graders reported having been drunk in their lifetime, and 19% of 12th graders reported binge drinking (5+ drinks in a row) within the past 2 weeks (Johnston et al., 2015). Binge drinking peaks between the ages of 18 and 25 years of age, with males reporting binge drinking four to five times per month (2003 National Survey on Drug Use and Health). In fact, many adolescents drink more, as 1 in 10 high school seniors reported drinking 10 or more drinks in a row, and 5.6% of high school seniors reported consuming 15 or more drinks in a row (Patrick et al., 2013). Longitudinal studies of adolescent and young adult men and women (ages 18 and 24) find that 15–20% report 15–20 maximum drinks per occasion in the 6 months prior to each follow-up (Schuckit et al., 2014). The low sensitivity to alcohol sedation, combined with high risk taking and social reward seeking, most likely contributes to the extreme heavy drinking found in some adolescents. Heavy binge drinking can result in a blackout, or loss of memory of events that took place during a drinking episode. Blackouts are based on the amount of alcohol consumed and are more common in adolescents than adults. BECs of over 0.30 g/dL, or about 4 times the legal BEC limit for driving in the United States (0.08 g/dl), are associated with 60% of alcohol-related blackouts (Hartzler and Fromme, 2003; Wetherill and Fromme, 2009; Rose and Grant, 2010). Blackouts are common in alcoholics and adolescents, consistent with these groups drinking to the very high BECs that can result in blackouts. For example, one study found that college student males who experienced blackouts reported consuming nine drinks on average (Zeigler et al., 2005). Among a sample of US college students, 51% report having experienced an alcohol-related blackout—40% within the last year and 9% within the past 2 weeks (White et al., 2002b). In another study that determined maximum drinks per occasion in subjects from ages 18 to 24, most subjects endorsed 5 as maximum, but about 15–20% endorsed 15–22 drinks as maximum per occasion (Schuckit et al., 2014), which would produce very high BECs. Magnetic resonance imaging studies find lower GABA in frontal cortex in 18- to 24-year-old binge drinkers compared with light drinkers, and binge drinkers with blackouts additionally had lower levels of frontal cortical glutamate (Silveri et al., 2014). In rats, equivalent binge models induce significantly more frontal cortical damage in adolescents than in adults (Crews et al., 2000). Thus, alcohol-related blackouts are common among human adolescents, and rat studies find the adolescent-maturing frontal cortex is uniquely sensitive to damage from binge-drinking levels of alcohol. A lasting impact of adolescent binge drinking is suggested by associations of age of drinking onset with a number of lifelong risks. Adolescents who start drinking before 15 years of age are 4 times more likely to develop alcohol dependence in their lifetime than those who start drinking after 20 years of age (Grant and Dawson, 1997). A young age of drinking onset is also associated with increased risk for lifetime violence and fights and injuries associated with alcohol use (Grant and Dawson, 1997; Sher and Gotham, 1999; DeWit et al., 2000; Dawson et al., 2008; Hingson et al., 2009). Individual genotype and/or personality factors (such as sensation seeking) most likely contribute to early drinking, although peer use and alcohol-abusing parents are environmental factors that also contribute to an earlier onset of alcohol and substance use (Siqueira and Smith, 2015). Population studies of 9- to 20-year-old individuals find that a 10% delay in age of drinking initiation leads to a 35% decrease in subsequent alcohol consumption (Pedersen and Skrondal, 1998). For example, individuals who started drinking before age 13 consumed an average of 7 L alcohol/yr, whereas those who started after age 17 consumed 3.8 L/yr, suggesting that delaying onset of alcohol use can markedly reduce later alcohol consumption (Pedersen and Skrondal, 1998). Twin studies of 10- to 28-year-old subjects also find that early drinking increases risks for alcohol dependence, and that the risk for development of alcohol dependence declines by 21% for each additional year that drinking onset is delayed (Prescott and Kendler, 1999). Moreover, these authors find females to have higher risks than males from early drinking, and they attributed risks to familial factors related to genetics (Prescott and Kendler, 1999). Other studies have linked drinking onset and increased risks of alcohol dependence to familial density of alcoholism, extroversion, event-related brain potentials, and high posture sway (Hill and Shen 2002), supporting genetic components. More recent studies on familial factors have proposed that alcohol may promote unique induction of genes in adolescents that underlies the strong familial associations with an early age of drinking onset (Agrawal et al., 2009). Another recent study found that youth sipping alcohol in the 6th grade, often at home with parents, greatly increased the chances of getting drunk and drinking heavily by 9th grade when compared with nonsippers, even controlling for temperament and other behavioral problems (Jackson et al., 2015), suggesting an environmental familial influence. Thus, the strong familial contribution to early onset drinking and risks of alcohol dependence include both genetic and environmental components that are hard to untangle. As mentioned earlier, extreme binge drinking of 10–15 or more drinks in a row was reported among 5–10% of 12th graders in the past 2 weeks (Patrick et al., 2013). This may represent a group that is at particularly high risk of later alcohol problems (Patrick and Schulenberg, 2013). Regardless, the high prevalence of alcohol binge drinking among school children indicates that many are drinkers ( ). Large longitudinal population studies find that the younger the age of drinking onset, the greater the prevalence of lifetime alcohol dependence. When these are combined with assessments of adolescent drinking, they support the idea that a large percentage of those who develop alcohol-use disorder do so, in part, due to adolescent binge drinking. However, other confounding factors are the adolescent emergence of conduct disorder or antisocial personalities that may identify themselves with early onset of alcohol drinking and that later develop into alcohol dependence. Alternatively, heavy binge drinking might disrupt adolescent brain development, altering maturation in complex ways. One study (White et al., 2011) following boys from 8 to 18 years of age found that impulsivity generally declined with increasing age, as mentioned above. Among a subgroup with intermediate impulsivity, heavy drinking at age 14 increased impulsivity at 15, but not older ages. However, continued heavy drinking at 14, 15, and 16 increased impulsivity within the binge group at each age, although both binging and nonbinging individuals showed decreased impulsivity with increasing age (White et al., 2011). These longitudinal findings indicate that the emergence of specific personality traits, such as impulsiveness, thrill seeking, and anxiety, are all adolescent traits, as well as traits associated with risk for alcohol dependence, and that there may be a bidirectional influence between alcohol use and the expression of these traits. Along these lines, impulsivity among university students has been found to predict the quantity of alcohol consumed per month (Caswell et al., 2016). TABLE 1 Adolescent AgeAdolescent Prevalence of “Having Been Drunk”aPrevalence of Lifetime AD by Age of Drinking OnsetbPrevalence of Lifetime Alcoholism Related to Having Been Drunk at Various AgesbUS Lifetime Prevalence of Alcohol Dependencec (12% of All Ages in US Population)% of Each Grade% that ADCalculated % of Population% of AD Due to Adolescent Drinking AgeGrade 8: 13–14 years old11384.235Grade 10: 15–16 years old30309.075Grade 12: 17–18 years old50178.571 Studies in animals are an important strategy to disentangle genetic and environmental contributions to alcohol use and its consequences. Whereas animals cannot model all aspects of alcoholism (Leeman et al., 2010; Stephens et al., 2010), there are many similarities between animal and human alcohol use. For example, impulsivity is greater in adolescent human binge drinkers and mice with high alcohol consumption (Sanchez-Roige et al., 2014a). Recent studies have also indicated that alcohol can change gene expression through epigenetic mechanisms in a manner that is inherited, representing an environmental alcohol-induced genetic change that was previously unexpected (see Pandey et al., 2015). Indeed, mouse studies find that exposure to alcohol epigenetically alters neuroendocrine and immune gene expression for at least three generations (Sarkar, 2016). Studies in rhesus monkeys have found that drinking in young adulthood strongly disposes individuals toward heavy drinking in adulthood, and this effect is independent of the sociocultural factors present in humans (Helms et al., 2014). Furthermore, studies in mice (Alfonso-Loeches and Guerri, 2011) and rats (Alaux-Cantin et al., 2013) have found that adolescent exposure to alcohol increases later voluntary alcohol drinking. These findings and those described below support the hypothesis that the age of drinking onset contributes to risks of alcohol dependence later in life at least in part via biologic consequences of alcohol exposure. V. Modeling Adolescent Alcohol Drinking Human alcohol abuse and dependence (Leeman et al., 2010), as well as sensitivity to alcohol response (Crabbe et al., 2010), can be difficult to model in rats and mice. Humans will drink far more alcohol by choice than rodents, although alcohol drinking preference, positive reinforcement, and negative reinforcement can be modeled in animals. Furthermore, components of alcohol dependence, alcoholic liver disease, and fetal alcohol syndrome are modeled by exposing animals to alcohol via various routes of administration, including ethanol vapor chambers, intragastric gavage, and i.p. injections, all of which can be used to reach high BECs like those associated with human binge drinking and blackouts. Models of adult alcohol abuse and alcohol dependence often involve long-lasting alcohol exposures, but human adolescent drinking is not typically characterized by continuous daily drinking. Generally, adolescent drinking is heavy binge drinking separated by periods of abstinence, as it often involves social events clustered around weekends or holidays when alcohol is available. Due to commonalities of adolescent development across mammalian species (as described above), we can use animal models to explore the impact of heavy binge drinking during adolescence on the maturation of adult characteristics. Adolescent intermittent ethanol (AIE) exposure is a model that incorporates adolescent age with intermittent ethanol administration, most commonly 2 days of ethanol exposure followed by 2 days off (no exposure). Although all ethanol exposure regimens (vapor, gavage, i.p.) are compared with an appropriate vehicle control exposure, there is the potential for high levels of ethanol to be aversive. Guerri and colleagues first used this model (Pascual et al., 2007), and others have adopted it to investigate adolescent underage drinking in preclinical studies (e.g., Pascual et al., 2009; Vetreno and Crews, 2012; Alaux-Cantin et al., 2013; Ehlers et al., 2013b; Coleman et al., 2014). Some studies directly compare adolescent and adult responses, exposing adolescents to AIE and adults to an identical adult chronic intermittent ethanol (CIE) exposure, and this AIE-to-CIE comparison provides insight into adolescent-specific maturational or age-dependent responses. A major focus of the NADIA Consortium is on AIE-induced changes in behavior and physiology that persist into adulthood. The AIE models used by the NADIA Consortium encompass the adolescent period, include intermittent exposure, and achieve binge-like BECs (>0.10 g/dL). Below we describe studies largely from the NADIA Consortium finding that AIE leads to a persistent increase in neuroimmune gene expression, loss of cholinergic and other neuronal markers, reduced neurogenesis and brain-derived neurotrophic factor (BDNF), as well as persistence of adolescent-like responses to alcohol in adulthood, increased adult anxiety, increased adult alcohol drinking, and epigenetic signaling—all of which suggest that heavy binge drinking in adolescence has long-lasting effects on adult brain and behavior. VI. Lock-In—Persistence of an Adolescent Phenotype in Adulthood, Including an Adolescent-Typical Response to Ethanol Several preclinical studies have supported the hypothesis of a lock-in effect: that is, the idea that adolescent-typical ethanol sensitivities are retained into adulthood following a history of AIE (see Spear and Swartzwelder, 2014 for review). As mentioned earlier, adolescents are less sensitive to certain adverse effects of ethanol. Interestingly, several studies have found a similar adolescent-typical attenuated ethanol sensitivity in adults exposed to AIE, such as decreased sensitivity to ethanol-induced motor impairment (White et al., 2002a), conditioned taste aversion (Diaz-Granados and Graham, 2007; Sherrill et al., 2011; Saalfield and Spear, 2015), social inhibition (Varlinskaya et al., 2014), acute withdrawal (Boutros et al., 2014), and sedative/hypnotic effects (Matthews et al., 2008; Quoilin et al., 2012). The rewarding effects of ethanol may also be enhanced in adulthood after adolescent ethanol exposure, with evidence for greater motivation to consume ethanol on an operant task (Alaux-Cantin et al., 2013) and increased ethanol-induced social facilitation (Varlinskaya et al., 2014). Just as in adolescence, the maintenance of these adolescent-like phenotypes may allow and/or promote greater ethanol consumption in adulthood by attenuating sensitivity to adverse effects of ethanol and enhancing sensitivity to rewarding effects. Indeed, evidence is mounting to suggest that adolescent alcohol exposure in rats increases alcohol intake in adulthood (Pascual et al., 2009; Maldonado-Devincci et al., 2010; Gilpin et al., 2012; Alaux-Cantin et al., 2013; Milivojevic and Covault, 2013); this is described in more detail below. Other long-lasting effects of adolescent ethanol exposure that appear to lock in an adolescent-like phenotype are, for example, a lack of an event-related potential response to ethanol (Ehlers et al., 2014a), increases in impulsivity (although this effect was unmasked after re-exposure to a chronic ethanol procedure in adulthood) (Mejia-Toiber et al., 2014), and greater risk preference (Boutros et al., 2014; Sanchez-Roige et al., 2014a,b; Schindler et al., 2014). Adults with a history of AIE also show adolescent-like increases in sensitivity to the deleterious effects of acute ethanol, such as impairment in hippocampal-dependent memory (White et al., 2000; Broadwater and Spear, 2013b; Risher et al., 2013), and there is evidence of an immature pattern of learning in a fear-conditioning paradigm (Broadwater and Spear, 2014a). Thus, adolescent ethanol exposure produces a variety of long-lasting consequences, many of which are reminiscent of adolescent-like ethanol responses. Although the mechanisms of AIE-induced changes in ethanol responses are poorly understood, Spear and Swartzwelder (2014) propose that synaptic maturation of excitatory and inhibitory balance may be altered after adolescent ethanol, thereby contributing to the retention of an adolescent-like phenotype in adulthood. For example, persistent alterations in GABAA subunit expression have been observed after adolescent ethanol (Centanni et al., 2014; Risher et al., 2015), a receptor system that undergoes considerable reorganization during adolescence (Yu et al., 2006). Furthermore, there is evidence for enhanced sensitivity of GABAergic tonic current (Fleming et al., 2012) and increased propensity for induction of long-term potentiation (LTP) at lower levels of stimulation in the adult CA1 region of the hippocampus (Risher et al., 2015) after AIE. This lowered threshold for hippocampal LTP induction is indicative of an AIE-induced hyperplastic state across the hippocampal circuit, leading to interference in memory processes, and is reminiscent of an adolescent-like hyperexcitability, at least in the hippocampus. AIE exposure also alters adult dendritic spine density in amygdala and hippocampus in a manner consistent with blunted synaptic maturation, although the precise findings differ across brain regions, perhaps due to differences in stage of development. In hippocampus, AIE-exposed adult rats showed an increased number of dendritic spines, typical of immaturity as well as LTP sensitization (Risher et al., 2015). In amygdala, AIE caused a decrease in dendritic spine density in adulthood that was associated with decreased expression of BDNF and increased anxiety-like behavior and alcohol drinking (Pandey et al., 2015). The differences in projection neurons and interneurons as well as the development of synapses in these various brain regions require additional studies. However, as mentioned above, cortical maturation involves changes in interneuron GABAergic synapses regulating pyramidal neuronal inputs, with immature synapses being associated with a low alcohol response. Glial extracellular matrix deposition appears to stabilize synaptic structure and reduce plasticity, and AIE was found to increase frontal cortical extracellular matrix proteins (Coleman et al., 2011). Thus, it is possible that AIE-induced extracellular matrix deposition and/or microglial priming would stabilize immature synapses, resulting in the persistence of adolescent-like responses in adulthood, although more studies are needed to test this hypothesis. Neuronal activation to an ethanol challenge appears to be altered after AIE in a brain-region–specific manner. Immediate early genes, such as cFos and egr1, rapidly increase in expression following neuronal firing and thus provide an indirect measure of neuronal response. Acute ethanol challenges increase cFos and egr1 expression in PFC, amygdala, nucleus accumbens, and ventral tegmental area of adult rats (Liu and Crews, 2015). However, adults with a history of AIE have a markedly reduced expression of immediate early genes in response to ethanol challenge in the PFC (both prelimbic and OFC portions; ), and the adult neuronal response in the amygdala is slightly blunted by AIE. In contrast, the nucleus accumbens, a brain region associated with reward and reinforcement, shows an exaggerated cFos neuronal activation to ethanol challenge after AIE. These data support the interpretation that adolescent binge drinking (i.e., AIE) results in increased activation of reward circuitry and inactivation of frontal cortical executive functions during adult binge ethanol, even after long periods of abstinence. Together, these findings indicate that AIE alters adult brain responses to ethanol as well as other adolescent-typical characteristics in a manner consistent with increased risks of alcoholism. VII. AIE Increases Ethanol Self-Administration in Adulthood Human studies report that earlier initiation of alcohol drinking is associated with an increased likelihood of developing an alcohol-use disorder across the life span (Grant and Dawson, 1997; DeWit et al., 2000). Preclinical models of binge AIE have also revealed increased voluntary ethanol drinking in adulthood in rodents (Pascual et al., 2009; Alaux-Cantin et al., 2013; Broadwater et al., 2013c; Gass et al., 2014; Pandey et al., 2015). When assessed by two-bottle, free-choice drinking with increasing ethanol concentrations (3%, 7%, and 9% every 3 days) beginning in adulthood, an i.p. AIE exposure led to a twofold increase in voluntary ethanol self-administration in male Sprague–Dawley rats (Pandey et al., 2015). Similarly, Alaux-Cantin et al. (2013) found that early (P30–P43), but not late (P45–P58), i.p. AIE exposure to male Sprague–Dawley rats increased voluntary ethanol consumption and preference in adulthood by approximately 75%, also assessed by two-bottle, free-choice drinking. In the same study, increasing the ethanol concentration (i.e., from 10% to 20% ethanol) and limiting the two-bottle choice to every-other-day access led to a larger, twofold increase in drinking and greater escalation of ethanol intake in adulthood. Finally, assessment of operant self-administration of 10% ethanol in adulthood revealed an approximate 70% increase in ethanol intake. These AIE-exposed adults also displayed a higher breakpoint across progressive ratio sessions, indicating that AIE-exposed rats will expend more effort to obtain ethanol. In another study, exposure of male Long–Evans rats to AIE vapor inhalation (P28–P42) increased ethanol intake by approximately 30% in adulthood when assessed via operant self-administration (Gass et al., 2014). Interestingly, these AIE-exposed rats later required approximately 33% more sessions to extinguish the learned ethanol-seeking behavior (Gass et al., 2014). In an adolescent self-administration model involving sole-source 10% ethanol in a sweet solution (0.125% saccharin/3% sucrose) for 30 minutes from P28 to P42, adult Sprague–Dawley rats increased voluntary consumption of sweetened ethanol by approximately 30%, but not consumption of 20% ethanol, relative to control subjects drinking the sweet-only solution (Broadwater et al., 2013c). A caveat of this study, however, was that control rats exposed to the sweet-only solution during adolescence drank relatively more sweet-only solution in adulthood, indicating greater adolescent responding for all rewards as well as the exposure effect increasing familiarity—the adult rats preferred whatever solution they experienced in adolescence. In another study (Pascual et al., 2009), male Wistar rats with a history of i.p. AIE exposure (P25–P38) that were assessed in adulthood on a two-bottle, free-choice model with 10% ethanol every other day for 10 days exhibited a twofold increase in both ethanol preference and resulting BECs in adulthood, and AIE-exposed adults continued to drink more ethanol than controls during a subsequent limited access to ethanol (1-hour access to 10% ethanol at the end of the light phase). Taken together, these rodent studies are consistent with human data and support the hypothesis that early initiation of binge drinking during adolescence increases ethanol seeking and drinking in adulthood, contributing to the development of alcohol-use disorders later in life. VIII. AIE Results in Decreased Behavioral Flexibility Behavioral flexibility refers to the ability to change a previously learned reinforced behavioral response to a new response in light of changing task demands or reinforcement. In a practical sense, behavioral flexibility may represent the ability to adjust to the responsibilities of emerging independence and parenthood. A consistent finding of the NADIA Consortium is that AIE exposure leads to impairments in behavioral flexibility in adulthood. In the section that follows, the long-term effects of AIE exposure on behavioral flexibility will be reviewed. A. Flexibility in Spatial Tasks Spatial learning is often assessed using maze tasks such as the Morris water maze or the Barnes maze. The Morris water maze consists of a circular tub filled with an opaque liquid containing a submerged platform, which is solved when the animal learns to locate the hidden platform by using spatial cues to escape the water. The Barnes maze is a large, brightly illuminated circular platform with multiple holes situated around the edge. An escape box is located under one of the holes, and the rodent uses spatial cues to locate the escape box. These tasks are ideal for assessing not only spatial learning, but also behavioral response to a subsequent challenge, such as moving the platform or escape hole, that would require a flexible strategy. Several studies have shown that AIE exposure does not affect spatial learning in adult mice (Coleman et al., 2011, 2014) or rats (Vetreno and Crews, 2012; Acheson et al., 2013) when assessed on the Morris water maze or the Barnes maze. Similarly, AIE exposure does not alter acquisition of a radial arm maze or operant task (Risher et al., 2013). However, when the learned location of the escape platform or hole is moved, adult AIE-treated mice and rats require significantly more trials to learn the new location or rule (Coleman et al., 2011, 2014; Vetreno and Crews, 2012). Perseveration of previously learned behaviors or difficulties breaking previously learned habits appear to underlie some of this poor performance. Indeed, AIE-exposed rats also exhibited perseverative behaviors, such as spending more time in the area of the original escape platform (Coleman et al., 2011; Vetreno and Crews, 2012), and behavioral inefficiency, such as taking longer and traveling farther to reach the same goal as control rats (Acheson et al., 2013). Interestingly, neuroimmune-signaling molecules have been shown to correlate with these behavioral deficits: increased expression of Toll-like receptors (TLRs) and high-mobility group protein B1 (HMGB1; discussed in more detail below) was associated with reduced behavioral flexibility and increased perseverative behavior on the Barnes maze (Vetreno and Crews, 2012) and may contribute to deficits in behavioral flexibility. These findings suggest that AIE-induced changes in neuroimmune signaling contribute to AIE alterations in PFC synaptic maturation, increased perseveration, and blunted ability to adapt to changes in the environment. B. Flexibility on Operant Tasks Instrumental conditioning involves training an animal to perform a specific action (such as a lever press or nose poke) to obtain a reward, which reinforces the operant action. Several studies have determined that AIE exposure does not alter acquisition of operant self-administration of a reward (Semenova, 2012; Risher et al., 2013; Gass et al., 2014; Mejia-Toiber et al., 2014; Boutros et al., 2016). It also does not change the preference for a large reward (Mejia-Toiber et al., 2014) or performance on a progressive ratio schedule (Gass et al., 2014). However, similar to AIE effects on spatial learning tasks, AIE deficits can emerge when the operant behavior is challenged, such as by changing the contingency between the operant and the reward. In a set-shifting study, Gass et al. (2014) trained rats to use a visual cue to determine which lever to press to receive a reward. Then they changed the rule so that the rat would use location cues and ignore the previously informative visual cue (i.e., set shifting). AIE exposure impacted learning this new rule—rats took longer to perform to criterion and made more errors than control rats (Gass et al., 2014). In a separate group of rats, Gass et al. (2014) trained rats to self-administer a 20% alcohol solution and found that AIE-exposed rats self-administered more alcohol than controls, similar to other reports (Alaux-Cantin et al., 2013). However, when the alcohol reward was withheld (i.e., extinction training), control rats learned to stop pressing the lever much faster than AIE-exposed rats (Gass et al., 2014). In humans, a similar resistance to extinction or abstinence of alcohol drinking after adolescent binge drinking could increase alcohol consumption in adulthood, as well as make it more difficult for individuals to discontinue drinking once initiated. Interestingly, the deficits in both set-shifting and extinction learning were reversed by treatment with the positive allosteric mGluR5 modulator 3-cyano-N-(1,3-diphenyl-1H-pyrazol-5-yl) benzamide, a putative cognitive-enhancing agent. The procognitive effect of 3-cyano-N-(1,3-diphenyl-1H-pyrazol-5-yl) benzamide may be due, in part, to its effects on the medial PFC (Fowler et al., 2013), a brain region particularly vulnerable to the neurotoxic effects of adolescent binge ethanol exposure (Crews et al., 2007). Thus, AIE disrupts frontal cortical control, increases repetitive habit-like responding, and reduces the ability to adapt to changes in reinforcement. IX. Adolescent Alcohol Effects on Anxiety and Negative Affective Behavior Adolescents can be highly emotional, with some suggesting that adolescents drink alcohol to enhance positive emotional states (e.g., enhancement motives), which has been related to heavy drinking and is linked to certain adolescent personality characteristics, such as sensation seeking, low inhibitory control, and impulsivity (Siqueira et al., 2015). Adolescents often exhibit high emotional and impulsive decision making, associated with negative affective states and low distress tolerance (Ernst and Fudge, 2009), especially among teens who misuse alcohol or drugs (Clark et al., 2008). For example, among Caucasian adolescents, negative affect and low distress tolerance are associated with increased probability of alcohol use (Daughters et al., 2009). Furthermore, protracted heavy drinking may provoke negative affect (Brown et al., 1995; Liappas et al., 2002) and diminish problem-solving abilities (Brown et al., 2000; Goudriaan et al., 2007). Youth who engage in heavy episodic drinking have greater recent and lifetime alcohol consumption, more frequent alcohol-induced blackouts, and more withdrawal symptoms, with all being associated with increases in negative affect (Winward et al., 2014). These studies are consistent with the hypothesis that binge levels of alcohol drinking during adolescence result in more negative affect in adulthood. Although emotional responses are difficult to quantitate in animal models, multiple assessment methods of affect have been developed to determine negative affect and/or anxiety-like behavior in rodents. In general, studies suggest that adolescent ethanol exposure induces long-lasting increases in adult negative affect, although there are some caveats to this conclusion. A. Rodent Models of Anxiety Many methods of assessing anxiety in rodents involve measuring locomotion in an experimental chamber, and relative locomotion in risky versus safe aspects of the environment provides an index of anxiety. Such tests include the light–dark box (consisting of a brightly illuminated compartment and a dark compartment) and the elevated plus maze (EPM; consisting of a plus-shaped maze with two open arms and two enclosed arms). Similarly, the open-field test can be used to index anxiety as highly anxious rodents display thigmotaxic behavior, in which they remain close to the walls of the chamber and do not venture into the center. All of these tests involve a conflict between the rodent’s tendency to explore a new environment with the discomfort of being in a bright, elevated, or otherwise unsafe environment (Bourin and Hascoet, 2003). Anxiolytic drugs increase time in the illuminated compartment of the light–dark box and the open arms of the EPM, whereas drugs that reduce time in the illuminated compartment are thought to reflect anxiogenic activity (Pellow et al., 1985; Lister, 1987; Onaivi and Martin, 1989; Bourin and Hascoet, 2003; Prut and Belzung, 2003). Young adolescent rats (P34) move more quickly out of the light compartment into the dark compartment in the light–dark box, consistent with adolescent high anxiety-like behavior, but by late adolescence (P55) behavior is comparable to adult performance (Desikan et al., 2014). Acute ethanol is anxiolytic, and, similar to other ethanol responses, adolescent rats required a higher dose of alcohol to increase open arm times in the EPM than adult rats (Varlinskaya and Spear, 2002; Sakharkar et al., 2012, 2014; Pandey et al., 2015). When examining the long-term effects of adolescent alcohol, Sakharkar et al. (2016) found that AIE exposure led to increased anxiety-like behavior in adulthood, as indicated by a significant reduction from about 65% to 35% time spent exploring the illuminated compartment of the light–dark box. Likewise, AIE exposure of Sprague–Dawley rats resulted in heightened anxiety-like behavior in the EPM, specifically, a decrease in open arm entries from about 45% to 30% at 24 hours after AIE that persisted for at least 50 days (Pandey et al., 2015). In the open-field test, AIE-exposed mice exhibited reduced center exploration when assessed in adulthood (Coleman et al., 2014), and AIE-exposed rats displayed longer latencies to enter the center (i.e., thigmotaxis) when assessed over 100 days later (Vetreno et al., 2014). Consistent with the findings that AIE enhanced anxiety in adulthood, other studies reported persistent increases in immobility in the Porsolt swim test. This test assesses the latency of the rodent to become immobile following placement into a cylinder of water and is a screen for antidepressant drugs, which increase the latency to immobility. Adult animals exposed to AIE exhibited both faster latency to immobility as well as more sinking episodes than controls (Slawecki et al., 2004; Ehlers et al., 2011). B. Anxiety or Disinhibition? As mentioned above, these common tests of anxiety measure the locomotion arising from the conflict of innate fear of brightly illuminated areas contrasted with the drive to explore novel environments. Consequently, these tests are known to vary across sites and can be confounded by impulsivity, poor behavioral control, and hyperactivity. In light of this, it may not be surprising that some studies have reported results that do not support enhanced anxiety when using the same tests. For example, Ehlers et al. (2013b) found that adult AIE-exposed animals exhibited shorter latencies to enter the light box as well as more vertical movements (rears) in the light compartment, which they interpreted as evidence that the AIE-exposed adult animals were more aroused and disinhibited. Other studies found that AIE exposure increases open arm time in the EPM in adulthood, suggesting arousal, disinhibition, and/or impulsivity, as well as anxiolytic responses (Ehlers et al., 2011; Gilpin et al., 2012; Gass et al., 2014). The interpretation of these data as disinhibition is supported by findings from the modified open-field conflict test. This test provides a measure of disinhibition by assessing a rodent’s contact with a food pellet in the center of a brightly illuminated test chamber. Relative to control subjects, adult animals exposed to AIE spent significantly more time approaching and consuming the food pellet, suggestive of disinhibitory behaviors (Ehlers et al., 2011). A potential mechanism for disinhibition could involve AIE-induced alterations in the maturation of the PFC. Indeed, Shah et al. (2004) found that inactivation of the PFC results in increased exploration of the open arms on the elevated plus maze. Thus, anxiety and disinhibition appear to be confounds in these tests of anxiety, and the assessments of AIE exposure most likely reflect relative effects between these outcomes. One factor that may contribute to the disparate findings is the strain of rat, as rat strains are known to differ in baseline anxiety measures. Specifically, some reports of AIE-induced anxiety in adulthood used Sprague–Dawley rats (Pandey et al., 2015; Sakharkar et al., 2016), whereas those reporting disinhibition or impulsivity used Long–Evans or Wistar rats (Ehlers et al., 2011; Gass et al., 2014), although AIE enhanced thigmotaxis (consistent with enhanced anxiety) in adulthood in Wistar rats (Vetreno et al., 2014). Another potential factor is the AIE regimen, as the studies reporting enhanced anxiety used bolus administration routes (intragastric, i.p.) and those reporting disinhibition or anxiety applied the ethanol via vapor. A critical difference in these regimens is that the bolus administration will produce more dynamic BEC that rapidly rise and then fall, whereas vapor results in more stable, high BEC. Although all these routes achieve binge levels of alcohol, the different dynamics may shift the balance from enhanced anxiety to enhanced disinhibition. Thus, evidence from multiple laboratories indicates that AIE can promote both anxiety and disinhibition, but the nature of rodent assessments prevents a clear determination of how AIE impacts these two traits. C. Rodent Models of Social Anxiety Another measure of anxiety and negative affect in the rodent is the social interaction test. Human studies of adolescent development show that adolescents spend more time interacting with their peers than any other age group (Hartup and Stevens, 1997), and these peer interactions become highly significant and motivating (Steinberg and Morris, 2001; Spear, 2010). In a developmentally similar manner, adolescent rats engage in substantially more social activity with age-matched rats, typically in the form of play fighting (Vanderschuren et al., 1997; Varlinskaya and Spear, 2002, 2008). The rodent social interaction test can be used to measure these adolescent-typical behaviors by assessing social motivation as well as play fighting and social investigation (Varlinskaya et al., 1999) and to provide an index of anxiety-like behavior in social settings (File and Seth, 2003). In adolescent rats, low-dose acute ethanol challenge (e.g., 0.50 g/kg) in familiar, nonanxiogenic environments leads to increases in social behavior characterized by increased play fighting that is not observed in adults (Varlinskaya and Spear, 2002, 2006, 2007; Willey et al., 2009), which may be related to enhanced sensitivity to the rewarding effects of ethanol during adolescence (as discussed above). However, higher doses of ethanol (e.g., 1 g/kg) cause social inhibition, albeit to a lesser degree in adolescent relative to adult rats (Varlinskaya and Spear, 2002). These behavioral changes are not simple locomotor effects; the same doses of ethanol do not alter measures of nonspecific locomotion in novel test environments (Varlinskaya and Spear, 2002). Early AIE exposure (P25–P45) significantly decreases social preference and social investigation in adult male but not female rats, indicating that AIE-induced social anxiety is sex-specific. Interestingly, this effect appears to be specific to early adolescence, as intermittent ethanol exposure during late adolescence (P45–P65) did not affect social measures in adulthood. Furthermore, a history of AIE, regardless of the timing of exposure, altered the adult male responses to an acute ethanol challenge—specifically, an alcohol challenge increased social investigation and play fighting displayed by AIE-exposed males that were reminiscent of behaviors typically observed during adolescence, an effect that was not observed in control-exposed rats (Varlinskaya et al., 2014). These data suggest that early adolescence, more than late adolescence, is a critical period for establishment of age-appropriate social consequences in male rats. X. Adolescent Alcohol-Induced Neuroimmune Gene Induction As mentioned above, immune-signaling molecules and microglia, the brain monocyte-like cell, are involved in synaptic plasticity and brain development. During brain development, microglia undergo dramatic changes in morphology, being rounded and amoeboid in the early postnatal period and attaining an adult-like morphology by approximately P20–P30 in rat cortex (Orłowski et al., 2003; Harry and Kraft, 2012). Immune-signaling molecules, such as TLRs, HMGB1, receptor for advanced glycation end products (RAGE), proinflammatory cytokines, and other immune-signaling molecules, contribute to brain development (Boulanger and Shatz, 2004; Barak et al., 2014). Although their precise developmental role is poorly understood, TLRs undergo dynamic changes in expression during brain development (Kaul et al., 2012) and regulate neuroprogenitor cells (Barak et al., 2014). TLR and HMGB1 expression are increased in human developmental cerebral cortical dysplasia (Zurolo et al., 2011), consistent with involvement in cortical development. During maturation of rat PFC from late adolescence (P56) to adulthood (P80), there is an age-associated reduction in expression of immune-signaling receptors (TLR3, TLR4, and RAGE) that parallels the maturational loss of cholinergic and other neurotransmitter receptors (Vetreno and Crews, 2012; Vetreno et al., 2013). In contrast, HMGB1 shows a developmental increase in expression in PFC during maturation (Vetreno and Crews, 2012). There are also developmental increases and subunit changes in GABA and glutamate receptors that most likely reflect maturation of synapses, as discussed above. Interestingly, studies in mice find that microglia play an important role in maturation of brain synapses and function (Paolicelli et al., 2011; Paolicelli and Gross, 2011). Brain neuronal development involves overproduction of neurons and synapses that are later pruned, and elimination of nonintegrated neurons and silent synapses is associated with improved brain function (Paolicelli et al., 2011) and brain regional connectivity (Paolicelli and Gross, 2011). Neuroimmune signals and HMGB1 activate microglia as well as release glutamate from astrocytes (Pedrazzi et al., 2006). Signaling between neurons, microglia, and astrocytes contributes to synaptic excitation ( ). Neuronal excitation can release HMGB1 from neurons, activating microglia, and astrocytes that in turn increase synaptic glutamate and other molecules to impact synaptic signaling. Moreover, alcohol activates microglia and astrocytes (Guerri and Pascual, 2010) through neuroimmune signaling, possibly via HMGB1 release from neurons (Zou and Crews, 2012). Postmortem brains of humans with alcohol-use disorder exhibited elevated microglial markers (He and Crews, 2007) and increased expression of HMGB1, TLR2, TLR3, and TLR4 (Crews et al., 2013), as well as proinflammatory cytokines and other neuroimmune-signaling molecules (Crews and Vetreno, 2016). A recent study reported that heavy binge-drinking adolescents have increased blood cytokines (Ward, et al., 2014). These results and others have led to the hypothesis that ethanol induces neuroimmune-signaling molecules and microglial activation, and that this induction in adolescence disrupts synaptic maturation. In rats, AIE exposure increases HMGB1, TLR4, and RAGE expression compared with controls, and each of these signaling molecules remains elevated in abstinence and into adulthood (Vetreno and Crews, 2012; Vetreno et al., 2013, 2014). These studies are consistent with others indicating a vulnerability of the adolescent brain to AIE, producing long-lasting changes that persist into adulthood. Indeed, we found that expression of TLRs, RAGE, and HMGB1 was negatively correlated with behavioral flexibility; specifically, greater upregulation of innate immune receptor genes was associated with greater impairments in Barnes maze performance in adulthood (Vetreno et al., 2013). The persistence of innate immune gene induction most likely contributes to continuous neurodegeneration (discussed below), as well as to more specific insults to key neurotransmitter systems during adolescent maturation (Crews and Boettiger, 2009; Vetreno et al., 2014). Although this review highlights HMGB1–TLR4 signaling, there are multiple other proinflammatory genes and proteins increased after AIE exposure in the rat, many of which we have also observed in postmortem brains of individuals with alcohol-use disorder. Our first human brain studies looked at microglia and the proinflammatory cytokine monocyte chemoattractant protein-1 (MCP-1; CC chemokine ligand 2), which is the cytokine induced most robustly by ethanol among those measured in brain slice cultures (Crews et al., 2006a; Zou and Crews, 2010). We found that postmortem brains from subjects with a history of alcohol-use disorder contain increased levels of MCP-1 protein and the microglial marker Iba-1 in hippocampus, ventral tegmental area, nucleus accumbens, and amygdala (He and Crews, 2007). In later studies, we focused on the OFC, a component of the PFC, and determined that postmortem alcoholic OFC has more expression of HMGB1 as well as TLRs and RAGE (Crews et al., 2013; Vetreno et al., 2013). We also observed increased interleukin (IL)-1B inflammasome markers in postmortem alcoholic hippocampus that could contribute to loss of neurogenesis (Zou and Crews, 2012). In addition, NADPH-oxidase is increased in human alcoholic OFC (Qin et al., 2013), consistent with increased oxidative stress, as found in the mouse brain after ethanol exposure (Qin et al., 2013). These findings show that neuroimmune-signaling pathways are upregulated in alcohol-use disorder, which may be an important aspect of the neurobiology of the disease ( ). Indeed, work from the Harris laboratory found that activation of the innate immune system increases alcohol consumption in mice (Blednov et al., 2011). Studies by multiple laboratories find that TLR, HMGB1, and other neuroimmune-signaling molecules are increased by alcohol and/or alter responses and preference for drinking alcohol, suggesting a bidirectional relationship between neuroimmune signaling and alcohol drinking. As adolescent drinking is known to increase the risk of developing alcohol dependence during one’s lifetime, we investigated the relationship between alcohol drinking and neuroimmune gene expression across control and alcoholic postmortem brains (Vetreno et al., 2013). Interestingly, two forms of correlations were found linking neuroimmune gene expression to alcohol consumption and alcoholism. First, we found that HMGB1–TLR4 expression in OFC was negatively correlated with age of drinking onset—that is, expression was higher in individuals who initiated alcohol use early. Second, total lifetime alcohol consumption across groups was positively correlated with OFC expression of HMGB1, TLR4, TLR3, TLR2, and RAGE. This persistent relationship between cumulative alcohol use and HMGB1 and TLR gene induction in brain provides support to the hypothesis that alcohol-induced neuroimmune signaling results in long-term changes in brain function and neurodegeneration. The critical role of neuroimmune gene induction in the persistent effects of adolescent alcohol exposure on neurobiology is stongly supported by Guerri’s studies in both rats (Pascual et al., 2014) and mice (Alfonso-Loeches and Guerri, 2011). AIE exposure in rodents insults PFC, hippocampus, cerebellum, white matter, as well as cognition and reward. Guerri’s laboratory finds that alcohol exposure increases neuroimmune protein expression, as assessed by both in vitro and in vivo methods. Guerri’s studies describe adolescent alcohol-induced changes in the dopaminergic system, white matter, and myelination, as well as synaptic and epigenetic factors, all of which may contribute to changes in adult alcohol reinforcement, anxiety, and cognition dysfunction, and other behaviors consistent with alcohol addiction (e.g., Pascual et al., 2007, 2009, 2012, 2014; Montesinos et al., 2015, 2016). Multiple studies have found that transgenic mice lacking TLR4 do not show adolescent brain neuroimmune gene induction following adolescent alcohol exposure (Montesinos et al., 2015, 2016; Alfonso-Loeches et al., 2016). Furthermore, these mice lacking TLR4 do not show the changes in anxiety, alcohol drinking, cognitive dysfunction, reduced myelination, glial activation, glutamate, and GABA receptor protein expression or epigenetic marker expression typically found following AIE treatment of control mice. Taken together, these studies support the hypotheses that the long-lasting pathology associated with adolescent alcohol abuse is linked to alcohol-induced neuroimmune activation and its resulting pathologic changes in brain. XI. Brain Electroencephalography and Sleep Brain function can be assessed using electroencephalography (EEG), an electrophysiological method that records the electrical activity across the brain to evaluate function. EEG rhythmic activity or event-related potentials (ERP) that measure brain responses to a specific sensory, motor, or cognitive event can be studied in both rats and humans to investigate how the brain processes sensory information (Handy, 2005). The P300 or P3 component of the ERP is an electrophysiological measure commonly studied in both humans and rats (Bauer and Hesselbrock, 1999; Porjesz et al., 2005; Ehlers and Criado, 2010). The P3 is a positive potential that occurs approximately 300 ms after unexpected and task-relevant sounds or lights (Gratton et al., 1988). In humans, the amplitude and latency of the visual P3 reduce across adolescence until stabilizing in early adulthood (Hill and Shen, 2002). Adolescent humans and rats have higher amplitude and longer auditory P3 latency compared with adults of their species (Polich et al., 1990; Ehlers and Criado, 2010). A low P3 amplitude in youth with a family history of alcoholism has been suggested to represent impaired inhibitory regulation or disinhibition, possibly due to a developmental delay (Hill and Shen, 2002; Bauer and Hesselbrock, 2003; Berman et al., 2006; Tremere and Pinaud, 2006). Studies of young adult southwestern California Native Americans with a history of adolescent binge drinking reported that low P3 amplitude was related to ethanol dependence (Criado and Ehlers, 2007; Ehlers et al., 2007). Similarly, rats exposed to AIE for 10 days (P30–P40) and assessed as adults 6–7 weeks after ethanol exposure display a reduced P3 ERP amplitude in the dorsal hippocampus (Criado and Ehlers, 2007; Ehlers et al., 2007). Adults tend to have increased ERP amplitude as compared with adolescents. The reduced hippocampal ERP amplitude following AIE exposure is consistent with disruption of hippocampal maturation of function (Ehlers and Criado, 2010). Additional studies are needed to determine how the lasting changes in ERP may be related to alterations in hippocampal neurogenesis, cholinergic signals, glutamate excitatory synapses, and/or other AIE-induced changes in adult hippocampus. The effect of ethanol challenge on ERP responses in adult rats is also altered by AIE treatment. Similar to humans, adolescent rats (P32) have longer latency P3 components compared with adults. In rats, a dose-dependent increase in the latency of the P3 auditory ERP was observed after ethanol (1.5 and 3.0 g/kg) in both adolescents and adults. In adult rats (P99), the change in P3 latency due to ethanol challenge was smaller in rats with a history of AIE compared with age-matched controls not exposed to ethanol during adolescence (Ehlers et al., 2014a). These findings are consistent with other AIE findings supporting long-lasting decreases in adult response sensitivity to ethanol and retention of the adolescent phenotype (Ehlers et al., 2014a). These P3 ERP studies support the hypothesis that AIE alters brain information processing in adulthood, particularly after ethanol challenge, in a manner that reflects behavioral disinhibition and persistence of adolescent-like responses to ethanol. The EEG also assesses rhythmic neural activity, with rhythmic activity divided into frequency bands known as alpha (8–15 Hz), beta (16–31 Hz), theta (4–7 Hz), and delta (<4 Hz) (Ehlers and Criado, 2010). Event-related oscillations (EROs) within and between different brain regions are thought to reflect neural networks and can provide insight into brain maturation in both humans and rodents (Ehlers et al., 2014b). Higher ERO energy and lower synchrony are found in adolescent humans and rats as compared with their adult counterparts. During early adolescence, humans have higher ERO energy in all frequency ranges (alpha, beta, theta, delta) across cortical regions compared with adults. Similarly, early adolescent rats have higher ERO energy in all frequency ranges in parietal cortex and in all frequencies except beta in frontal cortex as compared with adult rats. Early adolescent humans and rats also have lower synchrony within and across cortical regions (Ehlers et al., 2014b). EEG under wake and sleep conditions undergoes large changes in characteristic amplitude and frequency during adolescence. For example, EEG amplitude and frequency of the posterior alpha rhythm are increased in the adolescent brain. Slower waves in the waking EEG also decline across adolescence (Niedermeyer and Lopes da Silva, 1999; Ehlers and Criado, 2010). These findings are consistent with adolescent remodeling of the brain to increase brain regional connectivity, decrease ERO energy, and increase synchrony during maturation of local and regional neurocircuits in both rats and humans. Interestingly, the adult EEG theta response to acute ethanol following AIE was blunted in parietal cortex (Ehlers et al., 2013a). Thus, similar to the P3 ERP studies described above, adolescent waking EEG is less sensitive to ethanol than adult responses, and AIE blunts the sensitivity of waking EEG to ethanol challenge in adult rats. The EEG has been used to study sleep in both rats and humans. EEG is used in sleep studies with other monitors of eye movements and muscle activity that divide sleep stages. A well-studied EEG pattern is the oscillatory theta rhythm of 6–10 Hz, which is prominent in the rat hippocampus, but is also observed in other cortical and subcortical brain structures. Hippocampal theta is observed during a variety of activities, including locomotion and active sniffing, as well as during rapid eye movement (REM) sleep. Theta rhythm in the hippocampus requires cholinergic-GABAergic circuits between the medial septal area and the hippocampus. Most sleep in humans is nonrapid eye movement (NREM or non-REM sleep), and theta disappears in NREM sleep. NREM sleep is divided into three stages, N1, N2, and N3, with the latter called delta sleep or slow-wave sleep (SWS). More SWS occurs earlier in the night, whereas REM sleep increases proportionally in the last cycles before natural awakening. The effects of alcohol on sleep have been studied extensively in adults (Roehrs and Roth, 2001). For example, chronic alcohol abuse in adults produces abnormal sleep patterns that are evident up to 2 years following the last use of alcohol (Drummond et al., 1998). Furthermore, during abstinence, EEG peak frequencies increase in individuals recovering from alcohol dependence (Irwin et al., 2000) with increases in REM sleep associated with relapse. Thus, stages of sleep EEG change during alcohol dependence and recovery. During adolescence, sleep EEG follows a maturational trajectory. For example, waking delta and theta power decline by about 65% between early adolescence (e.g., ages 9–12) and 17 years of age. The maturational decreases in delta and theta sleep EEG are unrelated to pubertal maturation, but are strongly linked to age (Feinberg and Campbell, 2010). The age-related adolescent decline in EEG power is associated with an increase in brain regional interconnectivity and functional specialization of neural networks that underlie the cognitive improvements during maturation to adulthood (Quartz and Sejnowski, 1997; Tarokh et al., 2010). Acute ethanol challenge in naive adolescent rats alters subsequent sleep; for example, 20 hours after ethanol treatment during the rats’ next sleep cycle, ethanol withdrawal decreases SWS frequencies (1–4 Hz) more in adolescents than adults, suggesting that adolescents are more susceptible to hangover disruption of SWS (Ehlers et al., 2013a). AIE exposure followed by 5 weeks of abstinent maturation to adulthood also caused a significant reduction in episode duration and total amount of SWS in rats as compared with controls. According to spectral analysis, AIE significantly increases cortical peak frequencies in the 2–4 Hz, 4–6 Hz, and 6–8 Hz bands during SWS. These findings indicate that AIE exposure reduces adult SWS, consistent with the interpretation that AIE has altered brain maturation of the processes regulating sleep. Poor quality sleep is associated with family history of alcohol dependence, diagnoses of alcohol-use disorders or major depressive disorders across a lifetime, and acculturation stress. As mentioned above, EEG peak frequencies increase in alcohol-dependent individuals in recovery (Irwin et al., 2000), and increases in REM sleep may be an indicator of alcohol relapse (Irwin et al., 2009). Thus, changes in EEG during adolescent maturation as well as during alcohol dependence and recovery are consistent with EEG, providing insight into the mechanisms of brain maturation and the development of alcohol dependence. Although the function of sleep is poorly understood, changes in sleep during maturation and in individuals with psychopathology have helped unravel some sleep-related mechanisms (Feinberg and Campbell, 2010). REM sleep is initiated by cholinergic neurons and inhibited by monoamines such as 5-HT (Brown et al., 2012). REM sleep has been referred to as paradoxical sleep because high-frequency EEG waves that are similar to a waking state occur, yet awakening an individual during REM is more difficult than any other sleep stage. The functions of sleep include links to increased clearance of metabolic waste products via the glymphatic system (Xie et al., 2013) as well as alterations in immune signaling. Sleep-deprived rats show a 20% decrease in white blood cell count and significant alterations in the immune system (Zager et al., 2007). Cytokines, such as IL-1 and tumor necrosis factor (TNF), play a role in the regulation of normal mammalian NREM. Electrophysiological, biochemical, and molecular genetic studies find that blocking IL-1 or TNF systems reduces spontaneous NREM sleep of healthy animals. Furthermore, antigenic challenge to the immune system increases brain IL-1 and TNF as well as NREM. Because sleep deprivation impairs immune function and immune challenge affects sleep, it has been hypothesized that sleep may be considered a component of the acute-phase response to infection and functions in host defense (Krueger and Majde, 1990; Opp, 2009). More recent studies have found that sleep alters monocyte–macrophage immune cell phenotypes, such as M1-proinflammatory macrophages or M2-trophic wound-healing macrophages (Hakim et al., 2014). For example, sleep deprivation reduces the healing of burns in rats (Gümüştekín et al., 2004) and enhances tumor growth in mice (Hakim et al., 2014). Depriving mice of sleep suppresses proinflammatory signals that promote tumor growth. Sleep deprivation shifted macrophages to M2 phenotypes with more TLR4. As discussed above, TLR4 molecules are signaling molecules for immune system activation that are also altered during brain development and by ethanol. Transgenic mice lacking TLR4 were resistant to the effects of sleep deprivation, consistent with sleep contributing to normal immune-signaling processes and overall health. In alcohol-dependent individuals, increased markers of inflammation coincide with more REM sleep, which is thought to predict alcohol relapse. Pharmacologic neutralization of TNF-α, a proinflammatory cytokine, significantly reduces REM sleep in abstinent alcohol-dependent subjects, linking circulating levels of TNF-α and REM sleep disruptions to the neuropathology of alcoholism (Irwin et al., 2009). Thus, innate immune signaling influences sleep cycles and maturation of sleep, and the enhanced innate immune signaling observed in adult rodents after AIE exposure may be one mechanism by which AIE disrupts adult sleep. XII. Cholinergic System Development and Effects of AIE Cholinergic neurons of the basal forebrain play a major regulatory role in learning and memory and are the primary source of cholinergic innervation to the hippocampus (Mesulam et al., 1983; Smith and Pang, 2005). They are generated early in embryonic development (Gould et al., 1989, 1991; Dinopoulos et al., 1992; Linke and Frotscher, 1993) and continue to undergo maturational consolidation of projections during adolescence (Matthews et al., 1974; Nadler et al., 1974; Zahalka et al., 1993). Cholinergic neurons begin to extend their axons toward the hippocampus during embryonic development (Linke and Frotscher, 1993), and axonal expression of acetylcholinesterase, the principal enzyme responsible for degrading acetylcholine, within the hippocampus increases through early to mid-adolescence (P21–P35) (Armstrong et al., 1987; Gould et al., 1991). Similarly, levels of choline acetyltransferase (ChAT), the enzyme responsible for acetylcholine synthesis, peak in hippocampus during early adolescence (about P28) and remain relatively stable until approximately P65, whereas activity of the high-affinity choline transporter was found to increase sharply during mid-adolescence (P40) and return to baseline levels at about P50 (Zahalka et al., 1993). Thus, basal forebrain cholinergic neurons have a developmental trajectory beginning in embryonic development that extends to dynamic maturational synaptic refinement during adolescence. The NADIA Consortium has repeatedly found that basal forebrain cholinergic neurons are vulnerable to AIE exposure ( ). AIE causes a loss of ChAT-immunopositive neurons in the basal forebrain of both rats and mice that persists well into adulthood (Coleman et al., 2011; Ehlers et al., 2011; Vetreno et al., 2014). This effect appears to be somewhat selective for cholinergic neurons, as mouse basal forebrain parvalbumin-positive GABAergic neurons were not affected by AIE exposure (Coleman et al., 2011). AIE also reduces expression of the vesicular acetylcholine transporter, which transports cytosolic acetylcholine into synaptic vesicles for storage until release, in the adult basal forebrain (Vetreno et al., 2014), consistent with the loss of cholinergic neurons. In binge ethanol–exposed adolescent mice, the reduction in cholinergic expression in the basal forebrain is accompanied by downregulation of multiple muscarinic and nicotinic receptors (Coleman et al., 2011) (see ). AIE-induced loss of ChAT expression is adolescent-specific because CIE treatment of adults (P70–P90) did not reduce ChAT (Vetreno et al., 2014). AIE exposure resulted in fewer ChAT plus immunoreactive (IR) neurons at late adolescence (P56) that persisted at similarly reduced levels into young adulthood (P80) and to older ages (P220) (Vetreno et al., 2014). Interestingly, exposure to endotoxin, a known neuroimmune activator, induced a similar decrease in ChAT plus IR, supporting the hypothesis that persistent AIE-induced neuroimmune activation (Vetreno and Crews, 2012, 2015; Vetreno et al., 2013) contributes to the loss of ChAT plus IR. Assessments of ChAT expression in postmortem alcoholic brain found a loss of both ChAT and the vesicular acetylcholine transporter, both markers of cholinergic neurons ( ) (Vetreno et al., 2014). Additional studies are needed to understand the role of cholinergic loss in alcoholism; however, given that human alcoholics tend to start drinking early in adolescence and adult rats exposed to AIE show similar deficits in ChAT expression, it is an intriguing possibility that these two phenomena may be related. XIII. Monoamine System Development and Effects of AIE A. Dopamine Adolescent behavior is characterized by impulsive and risky decision making, which can contribute to alcohol use. These behavioral characteristics are often attributed to specific maturational processes in the brain (Varlinskaya et al., 2013). A circuit of interest for these behaviors includes the ventral tegmental area, nucleus accumbens, and PFC, which are anatomically connected and play key roles in motivated behaviors (Berridge and Robinson, 1998; Schultz, 1998; Miller and Cohen, 2001; Wise, 2004; Goto and Grace, 2005; Watanabe and Sakagami, 2007). Notably, the flow of information through this circuit is clearly multidirectional, involves specific subregions of the PFC and accumbens, and is not completely understood. Studies suggest that signals of motivational significance first enter this circuit at the ventral tegmental area, which sends dopamine projections to the PFC and accumbens to trigger orienting and reward-seeking behavior (Bromberg-Martin et al., 2010). The PFC and nucleus accumbens also project to the ventral tegmental area (Sesack and Pickel, 1992; Williams and Goldman-Rakic, 1998; Frankle et al., 2006); for example, PFC stimulation can modulate dopamine neuron firing (Gariano and Groves, 1988; Svensson and Tung, 1989; Gao et al., 2007; Jo et al., 2013). The PFC additionally sends glutamatergic projections to the accumbens, where inputs are integrated into the direct and indirect pathways of the basal ganglia to produce motor output (such as reward seeking). Importantly, both the mesolimbic and mesocortical dopamine systems are changing during adolescence, but in different ways. Electrophysiology and microdialysis studies indicate that mesolimbic dopamine activity peaks during mid-to-late adolescence (approximately P45), whereas mesocortical dopamine activity appears to increase into adulthood. Specifically, the mesolimbic dopamine system, which is critical for reward-seeking and approach behaviors, exhibits peak activity during adolescence, with higher tonic dopamine levels and greater receptor expression during adolescence as compared with juvenile or adult stages (Andersen et al., 1997; Badanich et al., 2006; McCutcheon and Marinelli, 2009; Philpot et al., 2009). PFC regions involved in executive control (Blakemore and Robbins, 2012) that would moderate reward-seeking and approach behavior develop more slowly. During youth and adolescence, frontal lobe maturation begins with the primary motor cortex, whereas the PFC develops last (Gogtay et al., 2004). At the same time, adolescence is characterized by gradual increases in dopaminergic innervation to the PFC (Rosenberg and Lewis, 1995; Spear, 2000; Wahlstrom et al., 2010; Naneix et al., 2012) as well as changes in dopamine receptor expression in the PFC (Andersen et al., 2000; Naneix et al., 2012). Many studies demonstrate alcohol-induced alteration of dopamine neurotransmission in adulthood, as acute alcohol increases the firing rate of dopamine neurons in the ventral tegmental area (e.g., Gessa et al., 1985) and increases both tonic and phasic release of dopamine in the accumbens (e.g., Imperato and Di Chiara, 1986; Robinson et al., 2009). Less is known about alcohol effects on dopamine in the medial PFC, although alcohol challenge can increase cortical dopamine concentrations (Schier et al., 2013) and alcohol-preferring P rats exhibit lower levels of medial PFC dopamine than Wistar rats (Engleman et al., 2006). Most of this research has been done in adults, with few studies measuring the effects of alcohol on dopamine during adolescence. Of note are microdialysis studies by Philpot and Kirstein showing that adolescent rats have higher basal dopamine levels in the accumbens and a greater dopamine increase to alcohol challenge than adults (Philpot and Kirstein, 2004; Philpot et al., 2009). Emerging data also suggest that AIE has long-term consequences on dopamine function. In adulthood, tyrosine hydroxylase immunoreactivity was reduced in the prelimbic PFC after an extended AIE (P28–P53), and these rats also displayed a preference for risky choice (Boutros et al., 2014). In one study, microdialysis measurements of tonic dopamine in the accumbens demonstrated that repeated alcohol exposure during preadolescence and early adolescence decreased the ability of acute alcohol challenge to induce dopamine release in the nucleus accumbens (Philpot et al., 2009), whereas another study reported no difference in the effect of ethanol challenge after AIE, but an elevation in basal dopamine levels in the accumbens (Pascual et al., 2009). We recently reported that AIE during early to mid-adolescence (P25–P45) blunted the effect of an alcohol challenge to reduce the concentration of dopamine released per impulse in adulthood compared with controls (Shnitko et al., 2016). This finding suggests that AIE exposure results in larger phasic dopamine signals after an alcohol challenge, at least those phasic signals arising from burst firing of dopamine neurons. Consistent with this interpretation, rats that consumed alcohol during adolescence exhibited high-risk preference as adults as well as higher phasic dopamine release in the accumbens to the risky choice (Nasrallah et al., 2011). Moreover, this effect was specific to AIE, as a comparable adult ethanol exposure regimen did not alter risk preference (Schindler et al., 2014). Another dopamine-associated behavior that is altered by AIE is anhedonia, measured with intracranial self-stimulation. AIE-exposed rats did not differ from controls in reward current threshold at baseline, but were less likely to exhibit reward deficits (increased reward current thresholds) after a single or repeated alcohol challenge (Boutros et al., 2014). Less is known about consequences of AIE on mesocortical dopamine systems. AIE induced downregulation of dopamine receptor expression in the medial PFC (Pascual et al., 2009), and preliminary data suggest that AIE impairs function of dopamine D1, but not D2-type, receptors in the same region (Trantham-Davidson et al., 2015). AIE impacts on mesocortical dopamine may be postsynaptic rather than presynaptic, as one study found that early to mid-adolescent ethanol exposure (P25–P45) did not alter the response of electrically-evoked dopamine release to an alcohol challenge (Shnitko et al., 2014). However, negative data can be difficult to interpret—it is possible that a later AIE exposure targeting the mid-to-late adolescent period during which the medial PFC matures might have a greater impact on mesocortical dopamine release, or it is possible that AIE alters some aspects of cortical dopamine release (e.g., tonic levels) other than impulse-dependent release. Indeed, there is much unknown about AIE alterations in both striatal and cortical dopamine function, including local regulation of dopamine release by D2 autoreceptors, cholinergic receptors, and glutamatergic receptors at dopamine terminals and in microcircuits involving interneurons. In summary, AIE produces effects on dopamine-associated behavior and neurophysiology that persist into adulthood and may contribute to behavioral phenotypes such as risky choice and sensitivity to alcohol reward that can lead to excessive alcohol intake in adulthood. B. 5-HT 5-HT is an important neuromodulatory neurotransmitter synthesized in the raphe nucleus. It is one of the first systems to develop in the mammalian brain (Rubenstein, 1998), as 5-HT–immunopositive neurons are generated during early embryonic development (Wallace and Lauder, 1983). Although studies describing serotonergic system development during adolescence are limited, the existent data suggest that this system continues to mature during adolescence, similar to other neurotransmitter systems. Levels of 5-HT
5894	dbpedia	2	13	https://www.telegraph.co.uk/obituaries/2021/12/03/sir-antony-sher-actor-hailed-one-great-stage-performers-time/	en	Sir Antony Sher, actor hailed as one of the greatest stage performers of his time – obituary	https://www.telegraph.co…icy=logo-overlay	https://www.telegraph.co…icy=logo-overlay	[ "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/UK-SVG.svg", "https://www.telegraph.co.uk/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/ui/dist/static/resources/images/flags/USA-SVG.svg", "https://www.telegraph.co.uk/content/dam/obituaries/2021/09/10/TELEMMGLPICT000004231623_trans_NvBQzQNjv4Bql_-dn_bkBoeGShbklIuDGkR8YSybYNWDTYrGStsI8ko.jpeg?imwidth=680", "https://i.ytimg.com/vi/6py4uta09Pg/mqdefault.jpg", "https://www.telegraph.co.uk/content/dam/obituaries/2021/12/03/TELEMMGLPICT000279605081_trans_NvBQzQNjv4BqqVzuuqpFlyLIwiB6NTmJwfSVWeZ_vEN7c6bHu2jJnT8.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2021/09/10/TELEMMGLPICT000176173636_trans_NvBQzQNjv4BqqVzuuqpFlyLIwiB6NTmJwfSVWeZ_vEN7c6bHu2jJnT8.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2021/09/10/TELEMMGLPICT000270744908_trans_NvBQzQNjv4BqQJoTHvv9hWAiaCwwE8274hFtU7A4mwmbb1SdmQIn4Z0.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2021/09/10/TELEMMGLPICT000002516870_trans_NvBQzQNjv4BqqVzuuqpFlyLIwiB6NTmJwfSVWeZ_vEN7c6bHu2jJnT8.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2021/09/10/TELEMMGLPICT000270743570_trans_NvBQzQNjv4BqGQR7TMwEvfaYG0TH6J-Ry06Usa8KZCn8ZaDf3fwLU6E.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2021/09/10/TELEMMGLPICT000270743358_trans_NvBQzQNjv4BqqVzuuqpFlyLIwiB6NTmJwfSVWeZ_vEN7c6bHu2jJnT8.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2021/09/10/TELEMMGLPICT000270743372_trans_NvBQzQNjv4BqtGQB12KHxxQCrwnTZkX0nwgWqwm85JEWpGVhFb46TTg.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2024/08/15/TELEMMGLPICT000389957871_17237192929780_trans_NvBQzQNjv4BqAvJ-jRHKfvAPDF6Empf3tgDq4jFp-ifQeoaxkFyNsJA.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2024/08/15/TELEMMGLPICT000000413242_17237146626570_trans_NvBQzQNjv4BqrAjLUMxWirEqyV9fzbDs815NUcTKNHKqy85KLqtvPLE.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2024/08/14/TELEMMGLPICT000390048990_17236410161060_trans_NvBQzQNjv4BqdyljFSWYbgG_sgKcc-ED-zIC_vgdjjWo4ONVHqZ_ULg.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2024/08/14/TELEMMGLPICT000087797253_17236298745520_trans_NvBQzQNjv4Bqu4gL7XWaXcg95Oi24fZsaZgojZYlP8f0i9h2tPqCNsM.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2024/08/13/TELEMMGLPICT000389391023_17235503712040_trans_NvBQzQNjv4BqrWYeUU_H0zBKyvljOo6zlm8nGi5dnbzU1Uvp1fqu20E.jpeg?imwidth=350", "https://www.telegraph.co.uk/content/dam/obituaries/2024/08/13/TELEMMGLPICT000389969150_17235659144890_trans_NvBQzQNjv4BqkPSl2lWTi_LWBEo5fTkkxHJ35iequz61NgRbciZ-nKU.jpeg?imwidth=350" ]	[]	[]	[ "Obituaries", "Obituary", "Culture obituaries", "Standard", "Royal Shakespeare Company" ]	null	[ "Telegraph Obituaries" ]	2021-12-03T00:00:00	He shot to fame on TV as the lustful lecturer in The History Man, but built his reputation tackling the big roles in the Shakespearean canon	en	/etc.clientlibs/settings/wcm/designs/telegraph/core/clientlibs/core/resources/icons/favicon.ico	The Telegraph	https://www.telegraph.co.uk/obituaries/2021/12/03/sir-antony-sher-actor-hailed-one-great-stage-performers-time/	Sir Antony Sher, the actor, writer and director, who has died from cancer aged 72, made a speciality of playing damaged, neurotic, but strangely charismatic characters. Sher “worked in the arts” in the broadest sense. As well as acting, he wrote several well-received novels, books of memoirs and a few plays. He was also an accomplished painter; as a child in South Africa, he was hailed as an artistic prodigy. His gifts in all these fields were those of a skilled caricaturist. Sher burst into the public consciousness in 1981 in the leading role in the BBC television adaptation of Malcolm Bradbury’s satirical novel The History Man. The story, set in 1972, evoked an era when campus demonstrations and sit-ins seemed constantly to grab the media headlines – and as the monstrous Howard Kirk, the libidinous, Zapata-moustachioed lecturer and campus revolutionary for whom teaching is a means to manipulate young minds and bodies, Sher gave a performance that established him as a household name. He went on to take other parts on television and appeared in a few films, winning an Evening Standard Award for his pricelessly funny performance as Disraeli in Mrs Brown (1996). But it was for his stage performances, mostly for the Royal Shakespeare Company and the National Theatre, that he became best known. Over the years, Sher tackled many of the meatiest roles in the canon, winning an Olivier Award in his second season with the RSC, in 1984, for his venomous, spider-like Richard III, scuttling about the stage on crutches – a role that also helped launch his literary career, with the publication of Year of the King: An Actor’s Diary and Sketchbook in 1985. The previous season he had taken the title role in Tartuffe and had given a vaudevillian performance as the Fool to Michael Gambon’s Lear in Adrian Noble’s production, winning a Laurence Olivier Award nomination for Best Actor in a Supporting Role. Other work included Shylock in The Merchant of Venice (1987), a luxuriously bearded Falstaff in Henry IV pts I and II (2014) and the tortured protagonists in Arthur Miller’s Broken Glass (2011) and Death of a Salesman (2015). In 2016 he played the title role in King Lear, becoming very probably the only person to play both the Fool and Lear at the RSC. Of his performance in the title role of Kean (2007) one critic observed that as the brilliant but dissolute actor on the verge of a nervous breakdown, “Sher establishes himself as one of the greatest stage actors of his time in a performance that effortlessly encompasses low farce and high tragedy.” In 2011, writing in The Sunday Telegraph Magazine, Tim Walker observed that theatreland had become “packed with the ghosts of [Sher’s] definitive performances”. Yet the actor himself always felt that he was an outsider, and he remained endearingly unchanged by adulation and the passage of time. He would recall how, when he was presented to the Queen at the Prince of Wales’s 50th birthday party at Buckingham Palace, Sir Geoffrey Cass – then the chairman of the RSC – told the Queen in a stage whisper: “He is one of our leading actors, ma’am.” Her Majesty frowned, paused for some time and finally said: “Oh, are you?” Luckily she quickly moved on, for (according to Sher) he had been just about to utter the words: “No, of course not, Your Majesty. You’ve seen through me. I’m just a little gay Yid from somewhere called Sea Point on the other side of the world. I shouldn’t be here. I don’t know why I am. I am an impostor.” Nobody, observed Tim Walker, “does neurosis, insecurity and downright paranoia on- and offstage quite like Sher”. Antony Sher was born on June 14 1949 into a Lithuanian-Jewish family in Cape Town, South Africa, and grew up in the suburb of Sea Point; his parents were Emmanuel and Margery Sher. Although “Little Ant”, as his family called him, excelled in art and drama lessons at school, he had an early awareness of being different from his classmates. “I felt I’d been born on the moon,” he recalled in his autobiography Beside Myself (2002), “not just in the wrong country, but on the wrong planet. I just didn’t seem to fit in to that very macho, rugby-playing, extrovert, outdoor-living South African society.” But as he also admitted, as a child he was ignorant of the politics of apartheid. “I was brought up in a very apolitical family. We were happy to enjoy the benefits of apartheid without questioning the system behind it. Reading about apartheid when I came to England was a terrible shock. So I lost the accent almost immediately, and if anyone asked me where I was from I would lie.” After an unhappy spell in the South African Defence Force, Sher moved to Britain in 1968, intent upon becoming an actor. Rejected by Rada and the Central School of Speech and Drama, he won a place at the Webber-Douglas Academy of Dramatic Art. After training, and some early performances with the theatre group Gay Sweatshop, he landed his first job at the Liverpool Everyman, becoming part of a group of young actors and writers comprising such figures as Alan Bleasdale and Willy Russell, Trevor Eve, Bernard Hill, Jonathan Pryce and Julie Walters. Then came the lead in the television adaptation of The History Man, and in 1982 he joined the RSC. Sher had a handful of film credits, but the roles were mostly small. “After Mrs Brown, it felt like, ‘Ah, things are going to happen’ – and they didn’t,” he recalled. A friend came up with one possible explanation: “He said, ‘Well, you’ve got to understand there are not that many parts for Jewish prime ministers.’ That is how Hollywood thinks.” After The History Man, Sher’s television appearances, too, were few and far between. His other stage roles included Primo Levi in Sher’s own adaptation of Levi’s If This Is a Man (2004), the drag queen Arnold in Harvey Fierstein’s Torch Song Trilogy (1985), Iago in Othello (2004), Prospero in The Tempest (2008), Malvolio in Twelfth Night (1987), a world-weary Sigmund Freud in Hysteria (2013), and Dr Thomas Stockmann, the headstrong hero of Ibsen’s An Enemy of the People (2010). His final role, in John Kani’s Kunene and the King, at Stratford (2019), won praise from critics. Sher played Jack, a terminally ill actor who goes to South Africa to play Lear and is looked after by Kunene, a black carer with whom a love-hate relationship develops; for The Spectator’s Lloyd Evans it was “the best sort of role for Sher”, who found “magical elements of warmth and lightness in the spiteful, curmudgeonly Jack”. Sher had taken his first crack at the lead in a West End premiere in 2001, when he was given the role of the composer Gustav Mahler in his cousin Ronald Harwood’s play Mahler’s Conversion, about Mahler’s decision to renounce his Jewish faith prior to his appointment as conductor and artistic director of the Vienna State Opera House in 1897. This was one of his few failures, however. Terrible notices closed it within a month. Among Sher’s other books were Woza Shakespeare: Titus Andronicus in South Africa (with Gregory Doran, 1997), Primo Time (2005), and Year of the Fat Knight (2015); a book of paintings and drawings, Characters (1990), and the novels Middlepost (1989), Cheap Lives (1995), The Indoor Boy (1996) and The Feast (1999). He also wrote several plays, including ID (2003) and Primo (2004), which was adapted as a film in 2005. By his own admission, until the mid-1990s, when he booked himself into a clinic, Sher was doing a lot of cocaine, and although he succeeded in kicking the habit he never entirely lost the paranoia that prolonged use of the drug induces. “You’re talking to someone who suffers every kind of Jewish paranoia imaginable,” he told Helena de Bertodano of The Daily Telegraph in 2000. “Believe me, when I go to Woody Allen films, I really identify very strongly. I wouldn’t call mine a happy life. It’s a fairly bizarre life, but then maybe all of our lives are fairly weird.” Antony Sher was knighted in 2000. In 2005, he and his partner, Gregory Doran, became one of the first gay couples to enter into a civil partnership in Britain, and in 2015 they were married. In September 2021 Doran, artistic director of the RSC, announced that he was taking compassionate leave to care for Sher. Doran survives him. Antony Sher, born June 14 1949, died December 2 2021
5894	dbpedia	1	11	https://en.wikipedia.org/wiki/Michael_Gambon	en	Michael Gambon	https://upload.wikimedia…mbon_cropped.jpg	https://upload.wikimedia…mbon_cropped.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Michael_Gambon_cropped.jpg/220px-Michael_Gambon_cropped.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Michael_Gambon_Autograph.png/150px-Michael_Gambon_Autograph.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/57/Laurence_Olivier_%28borders_removed%29.jpg/170px-Laurence_Olivier_%28borders_removed%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d0/HIMG_2616_%288066409890%29.jpg/240px-HIMG_2616_%288066409890%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Michael_Gambon_as_Private_Godfrey_in_Dad%27s_Army_%28cropped%29.JPG/180px-Michael_Gambon_as_Private_Godfrey_in_Dad%27s_Army_%28cropped%29.JPG", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2003-01-01T14:26:16+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Michael_Gambon	Irish-English actor (1940–2023) Sir Michael John Gambon ( ; 19 October 1940 – 27 September 2023) was an Irish-English actor. Gambon started his acting career with Laurence Olivier as one of the original members of the Royal National Theatre. Over his six-decade-long career, he received three Olivier Awards and four BAFTA TV Awards. In 1998, he was knighted by Queen Elizabeth II for services to drama. Gambon appeared in many productions of works by William Shakespeare such as Othello, Hamlet, Macbeth and Coriolanus. Gambon was nominated for thirteen Olivier Awards, winning three times for A Chorus of Disapproval (1985), A View from the Bridge (1987), and Man of the Moment (1990). In 1997, Gambon made his Broadway debut in David Hare's Skylight, earning a Tony Award for Best Actor in a Play nomination. Gambon made his film debut in Othello (1965). His other notable films include The Cook, the Thief, His Wife & Her Lover (1989), The Wings of the Dove (1997), The Insider (1999), Gosford Park (2001), Amazing Grace (2006), The King's Speech (2010), Quartet (2012), and Victoria & Abdul (2017). He also acted in the Wes Anderson films The Life Aquatic with Steve Zissou (2004) and Fantastic Mr. Fox (2009). He gained wider recognition through his role of Albus Dumbledore in the Harry Potter film series from 2004 to 2011, replacing Richard Harris following his death in 2002. For his work on television, he received four BAFTA Awards for The Singing Detective (1986), Wives and Daughters (1999), Longitude (2000), and Perfect Strangers (2001). He also received two Primetime Emmy Award nominations for Path to War (2002) and Emma (2009). Gambon's other notable projects include Cranford (2007) and The Casual Vacancy (2015). In 2017, he received the Irish Film & Television Academy Lifetime Achievement Award. In 2020, he was listed at No. 28 on The Irish Times's list of Ireland's greatest film actors.[1] Early life [edit] Michael John Gambon was born in the Cabra suburb of Dublin[2] on 19 October 1940.[3] His mother, Mary (née Hoare), was a seamstress, while his father, Edward Gambon, was an engineering operative during World War II.[4] His father decided to seek work in the rebuilding of London, and moved the family to Mornington Crescent in London's Camden borough when Gambon was six. His father arranged for him to be registered as a British subject, a decision that would later allow him to receive a substantive (rather than honorary) knighthood.[5][a] Brought up as a strict Roman Catholic, Gambon attended St Aloysius Boys' School in Somers Town and served at the altar.[6] He went on from there to St Aloysius' College in Highgate, whose former pupils include the actor Peter Sellers.[6][7] The family later moved to North End, Kent, where he attended Crayford Secondary School but left with no qualifications at the age of 15.[8] After leaving school, at the age of 16 Gambon then gained an apprenticeship as a toolmaker with Vickers-Armstrongs.[9] By the time he was 21, he was a qualified engineering technician and kept the job for a further year. He acquired a lifelong passion for collecting antique guns, clocks, watches and classic cars.[10] Career [edit] 1960–1979: Stage debut and National Theatre [edit] At age 24, Gambon wrote a letter to Micheál Mac Liammóir, the Irish theatre impresario who ran Dublin's Gate Theatre, accompanied by a CV describing a rich and wholly imaginary theatre career: he was taken on.[11] Gambon made his professional stage debut in the Gate Theatre's 1962 production of Othello, playing "Second Gentleman", followed by a European tour. A year later, auditioning with the opening soliloquy from Richard III, he caught the eye of Laurence Olivier who was recruiting promising actors for his new National Theatre Company.[12] Gambon, along with Robert Stephens, Derek Jacobi and Frank Finlay, was hired as one of the "to be renowned" and played any number of small roles, appearing on cast lists as "Mike Gambon". The company initially performed at the Old Vic, their first production being Hamlet, directed by Olivier and starring Peter O'Toole. Gambon played for four years in many NT productions, including named roles in The Recruiting Officer and The Royal Hunt of the Sun, working with directors William Gaskill and John Dexter.[13] Gambon made his film debut in Laurence Olivier's Othello alongside Maggie Smith and Derek Jacobi in 1965.[14] After three years at the Old Vic, Olivier advised Gambon to gain experience in provincial rep. In 1967, he left the National Theatre for the Birmingham Repertory Company, which was to give him his first crack at the title roles in Othello (his favourite), Macbeth and Coriolanus.[15] In 1967, he made his television debut in the BBC television adaptation of Much Ado About Nothing as Watchman No. 4. He also appeared in British programmes such as Softly, Softly (1967), and Public Eye (1968). From 1968 to 1970, he featured in the BBC historical series The Borderers as Gavin Kerr. He also had a recurring role in the Canadian series The Challengers (1972). He also appeared in drama anthology series including Play for Today, Play of the Month, and ITV Playhouse. In 1974, Eric Thompson cast him as the melancholy vet in Alan Ayckbourn's The Norman Conquests at Greenwich.[15] A speedy transfer to the West End established him as a comic actor, squatting at a crowded dining table on a tiny chair and agonising over a choice between black or white coffee. Back at the National, now on the South Bank, his next turning point was Peter Hall's premiere staging of Harold Pinter's Betrayal,[15] a performance marked by subtlety – a production photograph shows him embracing Penelope Wilton with sensitive hands and long slim fingers (the touch of a master clock-maker). He is also one of the few actors to have mastered the demands of the vast Olivier Theatre. As Simon Callow once said: "Gambon's iron lungs and overwhelming charisma are able to command a sort of operatic full-throatedness which triumphs over hard walls and long distances". After his film debut, Gambon was asked by James Bond producer Cubby Broccoli to audition for the role in 1970, to replace George Lazenby.[16] He acted in the British horror films Nothing But the Night (1973) and The Beast Must Die (1974). 1980–1994: The Singing Detective and accolades [edit] Gambon's powerful voice and presence were to serve him in good stead in John Dexter's masterly staging of The Life of Galileo by Bertolt Brecht at the National Theatre in 1980, the first Brecht play to become a popular success. Hall called him "unsentimental, dangerous and immensely powerful," and The Sunday Times called his performance "a decisive step in the direction of great tragedy... great acting," while fellow actors paid him the rare compliment of applauding him in the dressing room on the first night.[17] In 1985, he appeared in the British drama film Turtle Diary directed by John Irvin with a screenplay adapted by Harold Pinter. The film starred Glenda Jackson and Ben Kingsley.[18] His craggy looks soon made him into a character actor, a term which Gambon disputed. For his first major lead role in Dennis Potter's The Singing Detective (1986) he won his first British Academy Television Award for Best Actor.[19] He starred as detective Inspector Jules Maigret in an ITV adaptation of twelve of Georges Simenon's books. The National Theatre staged a revival of A View from the Bridge in 1987 at the Cottesloe Theatre. It was directed by Alan Ayckbourn, and Gambon gave an acclaimed performance as Eddie.[20] The Guardian said, "In the first place it shows Michael Gambon shaking hands with greatness."[21] In 1989, Gambon starred in the Peter Greenaway's crime drama The Cook, the Thief, His Wife & Her Lover, which also starred Helen Mirren, Tim Roth, and Ciarán Hinds. Gambon played Albert Spica, "The Thief", a violent gangster. The film premiered at the 1989 Toronto International Film Festival. Film critic Roger Ebert of the Chicago Sun-Times praised the performances writing, "Mirren and Gambon are among the most distinguished actors in Britain-they've played many of the principal roles in Shakespeare -- and here they find the resources to not only strip themselves of all their defenses, but to do so convincingly."[22] In 1990, he played Jerry in Harold Pinter's Betrayal for BBC Radio 3. In 1991, he starred as Tommy Hanbury in an episode of the ITV series Minder called "Look Who's Coming To Pinner". Ralph Richardson dubbed him The Great Gambon, an accolade which stuck, although Gambon dismissed it as a circus slogan.[23][24] But as Sheridan Morley perceptively remarked in 2000, when reviewing Nicholas Wright's Cressida: "Gambon's eccentricity on stage now begins to rival that of his great mentor Richardson". Also like Richardson, interviews were rarely given and raised more questions than they answered. Gambon was a very private person, a "non-starry star" as Ayckbourn called him. Off-stage he preferred to stay out of the limelight.[25] He won screen acclaim, whilst his ravaged King Lear at Stratford, while he was still in his early forties, formed a double act with a red-nosed Antony Sher as the Fool sitting on his master's knee like a ventriloquist's doll. 1995–2003: Broadway debut and film roles [edit] There were also appearances in Harold Pinter's Old Times at the Haymarket Theatre and Ben Jonson's Volpone and the brutal sergeant in Pinter's Mountain Language. In 1995, Gambon starred in David Hare's Skylight, with Lia Williams, which opened to rave reviews at the National Theatre. The play transferred first to Wyndham's Theatre and then on to Broadway at the Bernard B. Jacobs Theatre for a four-month run which left him in a state of advanced exhaustion.[26] "Skylight was ten times as hard to play as anything I've ever done" he told Michael Owen in the Evening Standard. "I had a great time in New York, but wanted to return." Variety wrote of his performance, "Gambon, an Irishman revered on the London stage, gives his rough-hewn character a grace that goes beyond the physical".[27] For this performance Gambon received his only Tony Award nomination for Best Actor in a Play.[28] He later starred as Fyodor Dostoyevsky in the Hungarian director Károly Makk's film The Gambler (1997) about the writing of Dostoyevsky's novella The Gambler. In the 1990s he appeared in films such as, Barry Levinson's fantasy comedy Toys (1992), the period drama Dancing at Lughnasa (1998), the action film Plunkett & Macleane (1998), Michael Mann's political drama The Insider (1999), and Tim Burton's gothic horror film Sleepy Hollow (1999). He also appeared in the BBC serial Wives and Daughters (1999) based on the Victorian novel by the same name by Elizabeth Gaskell.[29] He portrayed Squire Hamley and received his second BAFTA Award nomination and win for Best Actor.[30] The New York Times described Gambon's performance as 'Gruff on the outside, with a huge sentimental streak, the country squire is a familiar type, but he makes him seem endearing and fresh.'[31] During the 2000s, Gambon appeared in several films including Robert Altman's murder mystery ensemble Gosford Park (2001) where he acted alongside Maggie Smith, Helen Mirren, Kristin Scott Thomas, Kelly Macdonald, Emily Watson, and Stephen Fry. Gambon portrays Sir William McCordle, the imperious master of Gosford Park who has invited distinguished company for a weekend shooting party before a murder throws everything into chaos. Empire declared the film, "Altman's best movie in years - an astute exploration of British culture that can stand proudly with his satires of American life. Atmospheric, absorbing, amusing and really fun."[32] The film earned the BAFTA Award for Outstanding British Film as well as nominations for six Academy Award including Best Picture. In 2003, he appeared with Robert Duvall and Kevin Costner, playing the principal villain in the Western film Open Range.[33] Gambon was not among the actors to grace Yasmina Reza's 'Art' at Wyndham's. But together with Simon Russell Beale and Alan Bates, he gave a droll radio account of the role of Marc. And for the RSC he shared Reza's two-hander The Unexpected Man with Eileen Atkins, first at The Pit in the Barbican and then at the Duchess Theatre, a production also intended for New York, but finally delayed by other commitments. In 2001, he played what he described as "'a physically repulsive" Davies in Patrick Marber's revival of Pinter's The Caretaker,[15] but he found the rehearsal period an unhappy experience, and felt that he had let down the author.[citation needed] A year later, playing opposite Daniel Craig, he portrayed the father of a series of cloned sons in Caryl Churchill's A Number at the Royal Court, remembered for a recumbent moment when he smoked a cigarette, the brightly lit spiral of smoke rising against a black backdrop, an effect which he dreamt up during rehearsals. Gambon starred in a made-for-TV adaptation of Samuel Beckett's Endgame (2001) and Perfect Strangers (2001) which together revealed his talent for comedy. Gambon played President Lyndon B. Johnson in the television film Path to War. About his performance The Washington Post said: "Gambon is entirely up to the task of making a larger-than-life icon seem painfully – and in the end, helplessly – human. It is a performance of fire and brimstone".[34] He was nominated for an Emmy Award for Best Actor in a Mini-series or Movie and a Golden Globe Award for Best Actor in a Miniseries or Motion Picture Made for Television. 2004–2011: Harry Potter and acclaim [edit] He played Albus Dumbledore, Hogwarts' headmaster in the third instalment of J. K. Rowling's franchise, Harry Potter and the Prisoner of Azkaban (2004), taking over the role after the death of Richard Harris in 2002; Harris had also played Maigret on television four years before Gambon took that role.[35] Gambon reprised the role of Dumbledore in Harry Potter and the Goblet of Fire (2005), which was released in November 2005 in the United Kingdom and the United States.[36] He returned to the role again in the fifth film, Harry Potter and the Order of the Phoenix (2007), and the sixth film, Harry Potter and the Half-Blood Prince (2009).[37][38] He appeared in the final two films of the series, Harry Potter and the Deathly Hallows – Part 1 (2010) and Part 2 (2011). Gambon told an interviewer that, when playing Dumbledore, he did not "have to play anyone really. I just stick on a beard and play me, so it's no great feat. I never ease into a role – every part I play is just a variant of my own personality. I'm not really a character actor at all."[39] In 2004, he appeared in five films, including Wes Anderson's cult comedy The Life Aquatic with Steve Zissou; the British gangster film Layer Cake; and theatrical drama Being Julia.[40] In 2004, Gambon played the lead role (Hamm) in Samuel Beckett's post-apocalyptic play Endgame at the Albery Theatre, London.[41] In 2005, he finally achieved a lifelong ambition to play Falstaff, in Nicholas Hytner's National production of Henry IV, Parts 1 and 2, co-starring with Matthew Macfadyen as Prince Hal. Michael Billington in The Guardian wrote that Gambon's Falstaff "conveyed a growing sense of age, decrepitude and melancholy".[42] In 2006, Gambon performed voiceover for a series of Guinness advertisements featuring penguins.[43] Also in 2006, he performed as Joe in Beckett's Eh Joe, giving two performances a night at the Duke of York's Theatre in London. That same year, he played Henry in Stephen Rea's play about Samuel Beckett's Embers for Radio 3.[44] In 2007, he was Sam in Harold Pinter's The Homecoming for Radio 3.[45] In 2007, Gambon portrayed Lord Charles Fox in Michael Apted's historical drama Amazing Grace alongside Ioan Gruffudd, Romola Garai, Benedict Cumberbatch, Albert Finney, and Rufus Sewell. The film focuses on William Wilberforce, who led the campaign against the slave trade in the British Empire.[46] The film is highly rated according to Rotten Tomatoes with critics’ consensus describing it as "your quintessential historical biopic: stately, noble, and with plenty of electrifying performances".[47] That same year, he played major roles in the acclaimed BBC five-part adaptation of Mrs Gaskell's Cranford novels alongside Judi Dench and Imelda Staunton, and in Stephen Poliakoff's Joe's Palace. In 2008, Gambon appeared in the role of Hirst in No Man's Land by Harold Pinter in the Gate Theatre, Dublin, opposite David Bradley as Spooner, in a production directed by Rupert Goold, which transferred to the London West End's Duke of York's Theatre, for which both roles each received nominations for the 2009 Laurence Olivier Award for Best Actor. After Pinter's death on 24 December 2008, Gambon read Hirst's monologue selected by the playwright for Gambon to read at his funeral, held on 31 December 2008, during the cast's memorial remarks from the stage as well as at the funeral and also in Words and Music, transmitted on the BBC Radio 3 on 22 February 2009.[48] In late 2009, Gambon had to withdraw from his role of W. H. Auden in The Habit of Art (being replaced by Richard Griffiths) because of ill health. In April 2010, Gambon returned once again to the Gate Theatre Dublin to appear in Samuel Beckett's Krapp's Last Tape, which transferred to London's Duchess Theatre in October 2010.[49] In 2009, he appeared in a television adaptation of Jane Austen's famously irrepressible Emma, a four-hour miniseries that premiered on BBC One in October 2009, co-starring Romola Garai.[50] He played Mr Woodhouse, for which he received a 2010 Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie nomination for his performance.[51] In 2010, Gambon took a supporting role in Tom Hooper's historical drama The King's Speech where he portrayed an ailing King George V. He acted alongside Colin Firth, Geoffrey Rush, Helena Bonham Carter, and Guy Pearce. In 2011, the film received 12 Academy Awards nominations, more than any other film in that year. The film won four Oscars including Best Picture, Director, Actor, and Adapted Screenplay. Gambon appeared in the 2010 Christmas Special of Doctor Who, "A Christmas Carol".[52] During the 2010s, he was also known for his voice work. He appeared as the Narrator in the British version of Kröd Mändoon and the Flaming Sword of Fire. In 2013, Gambon provided the voice for The Prophet, a character in the MMORPG video game The Elder Scrolls Online. 2012–2019: Television projects and final roles [edit] In 2012, he starred with Eileen Atkins in an adaptation of Beckett's radio play, All That Fall. The director, Trevor Nunn, staged the performance as a studio recording of a radio play so that the cast performed with script in hand.[53] Its premiere was at the Jermyn Street Theatre and it later transferred to the Arts Theatre. In November 2013 the production transferred to 59E59 Theaters in New York.[54] Also 2012, Gambon reunited with Dustin Hoffman in the HBO horse-racing drama Luck, which was cancelled in March 2012 after three horses died on set.[55] Gambon participated in the live event, National Theatre Live: 50 Years On Stage (2013), a production that was a part of the celebration of the 50th anniversary of the National Theatre.[56][57] The presentation included live performances, interspersed with documentary footage, and archival footage of live performances of original productions from the National Theatre. Gambon joined Derek Jacobi in a live performance from No Man's Land by Harold Pinter. In 2012, he played a role in Dustin Hoffman's directorial debut with Quartet, based on the same-titled play by Ronald Harwood and starring Maggie Smith, Tom Courtenay, Billy Connolly and Pauline Collins. The film premiered at the 2012 Toronto International Film Festival to favourable reviews. The review aggregator website Rotten Tomatoes reported an 80% approval rating with the consensus reading, "It's sweet, gentle, and predictable to a fault, but Dustin Hoffman's affectionate direction and the talented cast's amiable charm make Quartet too difficult to resist."[58] The following year, he was cast in the role of Howard Mollison in the adaptation of the best-selling book The Casual Vacancy by J.K. Rowling.[59] The BBC One miniseries, produced in association with HBO, consists of three one-hour parts. Production began 7 July 2014 in South West England.[59] In early 2015, Gambon announced that due to the increasing length of time it was taking him to memorise his lines, he was giving up stage work. He had previously tried using an earpiece and being given prompts by theatre staff, but found this unsatisfactory.[60][61] In 2015 and 2018, Gambon starred as Henry Tyson in the first and third series of Sky Atlantic's Fortitude. In 2016, Gambon was the narrator for the Coen Brothers' Hollywood comedy Hail, Caesar!, which satirised the 1950s Hollywood film industry and featured an ensemble cast including Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton and Channing Tatum. The film was well received by critics, earning an approval rating of 86% on Rotten Tomatoes with the consensus being, "Packed with period detail and perfectly cast, Hail, Caesar! finds the Coen brothers delivering an agreeably lightweight love letter to post-war Hollywood."[62] The film also received an Academy Award nomination for its Production Design. Gambon then appeared in comedy film Dad's Army playing the iconic Private Godfrey, based on Arnold Ridley, who had played the character in the original classic BBC series of the same name.[citation needed] Gambon also provided voice-overs as Uncle Pastuzo in the Paddington films[9] (2014, 2017).[63] In March 2018, it was announced that Gambon would star in the comedy series Breeders.[64] However, in April 2019, it was reported that Gambon left the series as he was having trouble memorising lines due to his issues with memory loss.[65] In 2019, he appeared in the biographical film Judy, about Judy Garland, starring Renée Zellweger, Rufus Sewell, Finn Wittrock and Jessie Buckley.[66] That same year Gambon appeared in his final film role in Adrian Shergold's period thriller Cordelia, acting alongside Johnny Flynn and Catherine McCormack.[67] Personal life and death [edit] Gambon married mathematician Anne Miller in 1962.[63] Known for being protective of his privacy, he once responded to an interviewer's question about his wife by asking, "What wife?". The couple had homes in Gravesend, Kent, and Aldeburgh, Suffolk.[68][69] They had one son, Fergus, who later became a ceramics expert on the BBC series Antiques Roadshow.[70] Gambon brought Philippa Hart, a woman 25 years his junior, to the set while filming the 2001 film Gosford Park and introduced her to his co-stars as his girlfriend. When their affair was publicly revealed in 2002, he moved out of the home he shared with his wife, though they later reconciled.[69][71] He was with Hart, a set designer, from 2000, when they worked together on Channel 4 series Longitude.[71][69] In February 2007, it was revealed that Hart was pregnant with Gambon's child and gave birth to a son.[69] The couple had a second son in 2009.[69][72] They owned a home in West London.[69] In the New Year Honours 1998, Gambon was appointed a Knight Bachelor for services to drama.[73] On 17 July 1998, he was invested by Prince Charles at Buckingham Palace.[74] Gambon was a qualified private pilot. His love of cars led to his appearance on the BBC series Top Gear. He raced the Suzuki Liana so aggressively that it went around the last corner of his lap on two wheels. The final corner of the Top Gear test track has been named "Gambon Corner" or simply "Gambon" in his honour.[75][76] He appeared on the programme again in 2006 and set a time in the Chevrolet Lacetti of 1:50.3, a significant improvement on his previous time of 1:55. He clipped his namesake corner the second time, and when asked why by Jeremy Clarkson, replied, "I don't know, I just don't like it."[77] Gambon died in Witham on 27 September 2023, aged 82, with his wife Anne and son Fergus at his bedside, following a bout of pneumonia.[71][68][78] Gambon made headlines in March 2024 when it was revealed that Philippa Hart, his long-term girlfriend and mother of two of his sons, had been left nothing in the actor’s will. Almost all of Gambon’s fortune was passed to Lady Gambon, his wife of 61 years.[79] Acting credits [edit] Awards and nominations [edit] Year Award Category Nominated work Result 1997 Tony Award Best Actor in a Play Skylight Nominated 1979 Olivier Awards Best Actor of the Year in a New Play Betrayal Nominated 1980 Best Actor in a Revival The Life of Galileo Nominated 1983 Best Actor in a New Play Tales from Hollywood Nominated 1986 Best Comedy Performance A Chorus of Disapproval Won 1988 Best Actor A View from the Bridge Won 1990 Best Comedy Performance Man of the Moment Won 1997 Best Actor Skylight Nominated 1998 Tom and Clem Nominated 1999 The Unexpected Man Nominated 2001 The Caretaker Nominated 2003 A Number Nominated 2005 Endgame Nominated 2009 No Man's Land Nominated 2002 Golden Globe Award Best Actor in a Mini-Series or a TV Movie Path to War Nominated Primetime Emmy Award Lead Actor in a Miniseries or a Movie Nominated 2010 Outstanding Supporting Actor in a Limited Series or Movie Emma Nominated 2001 Screen Actors Guild Award Cast in a Motion Picture Gosford Park Won 2010 The King's Speech Won 1987 British Academy Television Awards Best Actor The Singing Detective Won 2000 Wives and Daughters Won 2001 Longitude Won 2002 Perfect Strangers Won 2012 British Independent Film Awards The Richard Harris Award[80] Honorary Won Explanatory notes [edit] References [edit] Further reading [edit] Who's Who in the Theatre, Fourteenth edition, Pitman (1967) for National Theatre at the Old Vic playbills Who's Who in the Theatre, Seventeenth edition, Gale (1981), ISBN 0-8103-0235-7, for Michael Gambon's own CV up to 1980 "Giant of the Stage: A Profile of Michael Gambon" by John Thaxter, The Stage newspaper, 16 November 2000 Gambon: A Life in Acting by Mel Gussow, Nick Hern Books (2004), ISBN 1-85459-773-6 Theatre Record and Theatre Record annual indexes 1981–2007
5894	dbpedia	1	4	https://www.rsc.org.uk/news/bbc-four-celebrates-the-life-of-sir-antony-sher	en	BBC Four celebrates the life of Sir Antony Sher	https://cdn2.rsc.org.uk/…fvrsn=c578b521_1	https://cdn2.rsc.org.uk/…fvrsn=c578b521_1	[ "https://cdn.rsc.org.uk/sitefinity/images/rsc/rsc_logo.tmb-logo-98x75.png", "https://cdn2.rsc.org.uk/sitefinity/images/miscellaneous/rsc-grey-button-1.jpg?sfvrsn=d5518521_4", "https://cdn2.rsc.org.uk/sitefinity/images/miscellaneous/rsc-grey-button-2.jpg?sfvrsn=74d9121_8", "https://cdn2.rsc.org.uk/sitefinity/images/rsc/icons/basket-915116554.svg?sfvrsn=3f9aaf21_2", "https://cdn.rsc.org.uk/sitefinity/website-assets/icons/search_icon.svg", "https://cdn2.rsc.org.uk/sitefinity/images/productions/productions-2010-2014/henry-iv-part-1/production-gallery/henry-iv-part-1_-2014_-falstaff-and-hal_2014_photo-by-kwame-lestrade-_c_-rsc_8614.tmb-img-1824.jpg?sfvrsn=c178b521_2 2x", "https://cdn2.rsc.org.uk/sitefinity/images/people/actors/antony-sher/richard-iii_-1984_-antony-sher-as-richard_1984_photo-by-reg-wilson-_c_-rsc_20602763efd3ee74f76138967eff00002337f7.tmb-gal-670.jpg?sfvrsn=d918b221_2", "https://cdn2.rsc.org.uk/sitefinity/images/people/actors/antony-sher/macbeth_-2001_-film_2001_photo-by-jonathan-dockar-drysdale-_c_-rsc_2463526c26d4ee74f76138967eff00002337f7.tmb-gal-670.jpg?sfvrsn=e7d1b521_1", "https://cdn2.rsc.org.uk/sitefinity/images/productions/2022/much-ado-about-nothing/production-photos/much-ado-about-nothing-production-images_-2022_2022_photo-by-ikin-yum-_c_-rsc_324913-social.tmb-gal-670.jpg?sfvrsn=1c7b721_1", "https://cdn2.rsc.org.uk/sitefinity/images/rsc/legal-compliance-images/star-logo-rsc.jpg", "https://cdn2.rsc.org.uk/sitefinity/images/sponsor-logos/fundraising-regulator-registered-logo.png", "https://cdn.rsc.org.uk/sitefinity/images/sponsor-logos/artscouncil.png" ]	[]	[]	[ "" ]	null	[]	null	An evening of programmes on Sunday 16 January, including a screening of 2014's Henry IV Part I, in which Sir Antony memorably played Falstaff.	en	https://cdn.rsc.org.uk/sitefinity/images/rsc/icons/favicon.ico		https://www.rsc.org.uk/news/bbc-four-celebrates-the-life-of-sir-antony-sher	BBC Four will celebrate the life of Sir Antony Sher on Sunday with an evening of programmes dedicated to the acclaimed actor, who died in December. The centrepiece will be an 8pm screening of our 2014 production of Henry IV Part I, in which Antony plays the loveable rogue Falstaff. Directed by Gregory Doran, RSC Artistic Director and Antony’s husband, the production originally opened Stratford-upon-Avon, followed by a UK tour, a season in London and performances in China. Before the screening, you can see Antony Sher and Gregory Doran in conversation with Sue MacGregor at 7pm (first broadcast in 2015), in which they talk about their shared passion for Shakespeare and their remarkable collection of productions at the RSC. Then at 10.45pm there will be another chance to see 2009's Mark Lawson Talks to Antony Sher, where Sir Antony discusses growing up as a white South African, working with Gregory Doran and bringing Shakespeare to life.
5894	dbpedia	3	49	https://www.heraldscotland.com/news/19762733.obituary-sir-antony-sher-one-greatest-stage-actors-generation/	en	Obituary: Sir Antony Sher, one of the greatest stage actors of his generation	https://www.heraldscotland.com/resources/images/13268130/?type=og-image	https://www.heraldscotland.com/resources/images/13268130/?type=og-image	[ "https://www.heraldscotland.com/resources/images/small_site_logo/", "https://www.heraldscotland.com/resources/images/small_site_logo/", "https://www.heraldscotland.com/resources/images/16135863?type=thumb", "https://www.heraldscotland.com/resources/images/13268130.jpg?type=mds-article-575 575w, /resources/images/13268130.jpg?type=mds-article-962 962w, /resources/images/13268130.jpg?type=mds-article-642 642w, /resources/images/13268130.jpg?type=mds-article-620 620w", "https://www.heraldscotland.com/resources/responsive-static/mds/images/ipso-regulated.svg", "https://www.heraldscotland.com/resources/responsive-static/images/love-local.png", "https://www.heraldscotland.com/resources/images/pixel/" ]	[]	[]	[ "" ]	null	[ "Russell Leadbetter" ]	2021-12-04T16:11:51+00:00	Born: June 14, 1949;	en	/resources/images/17853003/	The Herald	https://www.heraldscotland.com/news/19762733.obituary-sir-antony-sher-one-greatest-stage-actors-generation/	IN his interviews with the media Sir Antony Sher, who has died of cancer at the age of 72, was always compulsively candid. “We’ve all got darkness inside us,” he told one interviewer in 2010. “And I’ve got quite a lot of darkness. I’ve had my problems in terms of acknowledging and celebrating my own identity, instead of being terrified of it, as I was”. In the same breath he spoke of the fact that he was gay, and had been a cocaine user for 20 years. “I’ve been very lucky”, he added, “that I do a job where I can get some of that s--- out on stage, rather than in my ordinary life. It’s very cathartic to scream and shout and murder people on stage. It’s much better doing it on stage than in real life”. In another interview he confessed that he had started life “as a shy, self-hating individual, uncomfortable in his own skin. Acting was an escape from that person”. In others, he spoke of his insecurities. He was, of course, famous for his portrayal of dark and challenging characters on stage: Macbeth, Iago, Richard III. The latter performance, at the RSC in 1984, electrified audiences, critics and fellow actors alike, as he scuttled around the stage, spider-like, on a pair of black medical crutches. Judi Dench said it was “a vision I’ll never forget”; one London critic wrote that it was “the only one in our lifetime to have challenged the 40-year memory of Olivier in that role”. The role made Sher's name, and won him an Olivier award the following year. He was known to research his roles deeply. While preparing to play Macbeth he talked to two men, both of whom had murdered with knives. “In both cases”, he recalled, “they were completely clear, that it needn’t have happened. They were very clear on the detail, one of them describing, for example, how long it takes someone being stabbed to death to die – which was very helpful in my understanding and what I could bring to Macbeth”. His other landmark stage roles included King Lear in 2016 (he had played The Fool, opposite Michael Gambon’s Lear, in an earlier production); Falstaff in the Henry IV plays; Willy Loman in Arthur Miller’s Death Of A Salesman; Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest, and the title roles in Tamburlaine The Great and Cyrano de Bergerac. One theatre critic noted of his Lear: “First making his entrance borne aloft inside a glass cabinet, he gradually sloughs off the mantle of tyrannous impassivity, conveying his dawning insanity. Sher’s delivery errs towards fusty mannerism, but this ranks as a crowning achievement”. His National Theatre dramas included a one-man show, Primo, and Uncle Vanya, with Ian McKellen. He won an Olivier award for his performance as a drag queen in Torch Song Trilogy. Though his film and television career never quite took off, he appeared in a number of movies, among them Mrs Brown (1997, in which he played Benjamin Disraeli) and the Oscar-laden Shakespeare in Love (1998, in which he played a quack psychiatrist, Dr Moth); both were directed by John Madden, and both starred Sher’s friend, Judi Dench. “He was spectacular, the actual epitome of Disraeli ... he could completely immerse himself in a character”, she said of Sher upon news of his death. Sher wrote a much-praised autobiography (Beside Myself, 2001) and several volumes of theatre diaries; in addition, he was a widely-exhibited artist. There seemed to be no end to his talents, but, in the words of his friend and colleague, Dame Harriet Walter, though he was one of the theatre greats he never acted like it. She recalled how, when she appeared alongside him in Macbeth, he declined to take a solo bow in the curtain call, insisting instead that she share it with him, as if to say, ‘This has been a play about two people’. He could be, Walter added, “very jokey, loved a bit of gossip, and was very loyal”. Antony Sher was born to a Lithuanian-Jewish family in Cape Town in 1949, to Emmanuel Sher, who imported animal hides for a living, and his wife Margery.. He grew up in the suburb of Sea Point. His artistic skills came to the fore in his early teenage years, and it is said that he briefly considered going to art school in Italy. He also, while in his teens, discovered a passion for the theatre. He undertook compulsory military service with the South African Defence Force in the desert of Namibia. It was not the happiest of experiences for him. He moved to Britain in 1968, determined to become an actor, but he was rejected by both Rada and the Central School of Speech and Drama before being accepted by the Webber Douglas Academy of Dramatic Art. Success did not arrive overnight, but at length he joined the Liverpool Everyman Theatre, working with a talented crew of writers and actors. His first big break, as Ringo Starr in Willy Russell’s Beatles play, John, Paul, George, Ringo and Bert, came when it transferred from the Everyman to the West End. He became something of a household name with his portrayal of a sex-mad lecturer, Howard Kirk, in a TV adaptation of Malcolm Bradbury’s campus novel, The History Man (1981). He joined the RSC in 1982. Sher, whose final RSC production was a two-hander, Kunene and The King, is survived by his husband, Gregory Doran, the company’s Artistic Director. They became one of the first gay couples to enter into a civil partnership, in 2005. They were married in 2015. Sher was knighted in 2000. Despite all the fame and acclaim that came his way, he retained something of his self-deprecating and slightly insecure nature. One well-known anecdote has him being introduced, to the Queen, as “one of our leading actors”. The monarch paused before asking him, “Oh, are you?” Sher later wrote that he had considered replying to her: “No, of course not, Your Majesty. You’ve seen through me. I’m just a little gay Yid from somewhere called Sea Point on the other side of the world. I shouldn’t be here. I don’t know why I am. I am an impostor.” RUSSELL LEADBETTER
5894	dbpedia	2	72	https://www.nickhernbooks.co.uk/beside-myself	en	Beside Myself - An Actor's Life, By Antony Sher	https://www.nickhernbook…3485-450x450.jpg	https://www.nickhernbook…3485-450x450.jpg	[ "https://www.nickhernbooks.co.uk/images/logo-header.png", "https://www.nickhernbooks.co.uk/assets/29284962/9781848420359-13485-210x290.jpg", "https://www.nickhernbooks.co.uk/assets/29284962/9781848420359-13485-800x600.jpg", "https://www.nickhernbooks.co.uk/assets/78eabad5/9781854597533-14999-100x160.jpg", "https://www.nickhernbooks.co.uk/assets/ae745ce0/year-of-the-mad-king-17686-100x160.jpg", "https://www.nickhernbooks.co.uk/assets/e730394b/9781854598523-15210-100x160.jpg", "https://www.nickhernbooks.co.uk/assets/faa6d7c7/yearofthefatknight2-7962-100x160.jpg", "https://www.nickhernbooks.co.uk/assets/b9646515/9781854595881-14660-100x160.jpg", "https://www.nickhernbooks.co.uk/assets/26bee68b/9781854597540-15002-100x160.jpg", "https://www.nickhernbooks.co.uk/assets/88ef5a8c/year-of-the-fat-knightpb-13036-100x160.jpg", "https://www.nickhernbooks.co.uk/assets/405a1d45/9781848421097-13654-180x250.jpg", "https://www.nickhernbooks.co.uk/assets/b0e33ba1/mylifeinpiecespb-3496-180x250.jpg", "https://www.nickhernbooks.co.uk/assets/64fe2c28/9781854595386-14560-180x250.jpg", "https://www.nickhernbooks.co.uk/assets/2c37a52c/9781854597519-14993-180x250.jpg", "https://www.nickhernbooks.co.uk/assets/edb97aec/9781854597533-14999-180x250.jpg", "https://www.nickhernbooks.co.uk/assets/fece21fb/workingactor-9333-180x250.jpg", "https://www.nickhernbooks.co.uk/images/nhb-logo-footer.png" ]	[]	[]	[ "Beside Myself - An Actor's Life", "Antony Sher" ]	null	[ "Antony Sher" ]	null	Beside Myself - An Actor's Life; A remarkably candid autobiography, utterly involving and often startlingly revelatory - an inspiration to young actors and a treat for seasoned theatregoers.	en	/favicon.ico	Nick Hern Books	https://www.nickhernbooks.co.uk/beside-myself	A remarkably candid autobiography, utterly involving and often startlingly revelatory, Antony Sher's Beside Myself is an inspiration to young actors and a treat for seasoned theatregoers. 'I wish I'd read this book when I was starting out. Not only is Antony Sher one of the all-time greats of classical theatre, he also manages to be a writer of enormous skill and insight' David Tennant Actor, author, artist Antony Sher grew up in the Old South Africa with a profound sense of being an outsider. Small, Jewish and secretly gay, he found refuge in theatre and escaped to London aged just nineteen. In Beside Myself, Sher takes us to the heart of what it is to be an actor today, describing the journeys he undertakes in order to inhabit the roles for which he is famous – including The History Man (his TV breakthrough), Macbeth, Tamburlaine, Cyrano, Stanley Spencer and Richard III. This edition, published to mark the author's 60th birthday, includes a new foreword and epilogue. 'The most unsparingly honest actor's autobiography I have ever read' Michael Billington, Guardian 'An extraordinary work of self-exploration' Irish Times 'A human, funny, nakedly direct memoir, beautifully written' Financial Times 'Fascinating... No praise can be too high' Sunday Times
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His parents, Sheila Gail (Scott) and Ronald Gene Harris, were lawyers and ran a restaurant. He grew up in Ruidoso, New Mexico, a small town 120 miles south of Albuquerque, where he first took up acting in the fourth grade. While tagging along with his older brother of 3 years, Harris won the part of Toto in a school production of Das zauberhafte Land (1939). His parents moved the family to Albuquerque in 1988, the same year that Harris made his film debut in two movies: Purple People Eater - Der kleine Lila Menschenfresser (1988) and Claras Geheimnis (1988), which starred Whoopi Goldberg. A year later, when Neil was 16, he landed the lead role in Steven Bochco's television series about a teen prodigy doctor at a local hospital, Doogie Howser (1989), which launched Harris into teen-heartthrob status. The series lasted1989-1993 and earned him a People's Choice Award for Favorite Male Performer in a New Series (1990) and a Golden Globe Nomination (1990). Harris attended the same high school as Freddie Prinze Jr., La Cueva High School in Albuquerque. Neil acted on stage in a few plays while there, one of which was his senior play, Anatevka (1971), in which he portrayed Lazar Wolf the butcher (1991). When "Doogie Howser, M.D." stopped production in 1993, Harris took up stage acting, which he had always wanted to do. After a string of made-for-television movies, Harris acted in his first big screen roles in nine years, Starship Troopers (1997) with Casper Van Dien and then Wunsch & Wirklichkeit (1998). In July 1997, Harris accepted the role of Mark Cohen for the Los Angeles production of the beloved musical, Rent (2005). His performance in "Rent" garnered him a Drama-League Award in 1997. He continued in the musical, to rave reviews, until January 1998. He later reprised the role for six nights in his hometown of Albuquerque, New Mexico, in December 1998. In 1999, Harris returned to television in the short-lived sitcom Männer ohne Nerven (1999), with Tony Shalhoub. He was also in the big-screen projects Ein Freund zum Verlieben (2000) and Undercover Brother (2002), and he can be heard as the voice of Peter Parker/Spider-Man in the newest animated Spider-Man (2003) series. Harris has continued his stage work, making his Broadway debut in 2001 in "Proof." He has also appeared on stage in "Romeo and Juliet," "Cabaret," Sweeney Todd: The Demon Barber of Fleet Street in Concert (2001), and, most recently, "Assassins." In 2005, Harris returned to the small screen in a guest-starring role on Numb3rs - Die Logik des Verbrechens (2005) and a starring role in the sitcom How I Met Your Mother (2005). Neil played the title role in the web-exclusive musical comedy Dr. Horrible's Sing-Along Blog (2008), widely downloaded via iTunes to become the #1 TV series for five straight weeks, despite not actually being on television. Lance Bass is the quintessential illustration of a highly successful and driven jack-of-all-trades: singer, host, actor, producer, writer, entrepreneur, philanthropist and cosmonaut. Beyond his fame as a member of the phenomenally successful group *NSYNC, where the group sold an impressive 60 million plus records worldwide, Bass has made himself a household name throughout the globe. With countless career highlights in music spanning the past 20 years, including multiple Grammy® nominations, two diamond RIAA awards, MTV Video Music Awards®, American Music Awards® and People's Choice Awards® to name a just a few, he has expanded his accomplishments into multiple entertainment mediums. Bass can currently be seen as a daily contributing panelist on The Meredith Vieira Show (2014), which he joined in September of 2015. In 2007, Bass lit up Broadway, starring as "Corny Collins" in the smash hit, "Hairspray", published his revealing memoir, "Out of Sync", and danced his way to the finals on season seven of ABC's hit competition show, Dancing with the Stars (2005). In 2003, he was inducted into the Mississippi Musician's Hall of Fame, making him the youngest person to ever receive this honor. In 2012, he joined Sirius XM and launched a pop culture daily radio show, called "Dirty Pop", with Lance Bass and, during the weekends, hosts their "Pop2k Countdown", where he can still be heard today. Building on his passion for film and documentaries, Bass has established himself as an acclaimed producer with titles like Kidnapped for Christ, where he was awarded the Audience Award for Documentary Feature during it's Slamdance premiere this past January and Mississippi I Am, which recently won Best Documentary at the Manhattan International Film Festival. This November, he is being recognized for his outstanding achievements at the Mississippi Film Festival with an encore screening of Mississippi I Am. Other producing credits include the Miramax film, On the Line (2001), where he not only served as Executive Producer, but was also the film's star and earned him the coveted Movieguide® Award for excellence in family-oriented programming. In 2005, he executive-produced Randal Kleiser's romantic comedy, Lovewrecked - Liebe über Bord (2005), starring Amanda Bynes, Chris Carmack and Jamie-Lynn Sigler. He is also the recipient of the Golden Apple Award® as Male Film Discovery of 2001. While known for his success in music, including a #1 European dance single, in 2014, called "Walking On Air" and featuring newcomer Bella Blue, Bass has made numerous memorable guest appearances in film, television and as the animated voice in several popular children's cartoons. With his sights focused on hosting, Bass is preparing for his fifth consecutive year as co-host of the American Music Awards' Coca-Cola Red Carpet, has guest-anchored the KTLA Morning News in Los Angeles, filled in for Harvey Levin on TMZ and has become a frequent correspondent with the landmark entertainment show, Entertainment Tonight. As an entrepreneur, he founded Famous Yard Sale, which was inspired by his memories of weekend yard sales in his hometown of Laurel, Mississippi, where he reinvented the yard sale as a virtual auction marketplace for celebrities to donate their excess belongings and raise money for their favorite charities. This led him to create and executive produce the Lifetime series Celebrity Home Raiders. Currently, he has partnered up with Slavco and Daniel Tuskaloski, and TeliApp to create Sparxx, a social relationship and dating app specifically designed for the LGBT community with the goal of breaking the mold of conventional LGBT dating apps. Sparxx was designed to help men and women and their personally defined sexuality, find meaningful and long lasting relationships. Philanthropically, Lance remains active in various charitable organizations including serving on the Young Hollywood Board of the Environmental Media Association. He is also the National Youth Spokesperson for World Space Week, consistent with his interest in space travel. A fact that many are unaware of, Bass is a certified cosmonaut after several months of training in the Russian space program where Bass received cosmonaut certification and continued on to Houston's Johnson Space Center to take part in astronaut training. Additionally, Lance is a strong advocate for animals and has been a spokesperson for animal rescues all over the country, including directly working with Lucky Puppy, a dog rescue based in Los Angeles, CA. Bass currently resides in Los Angeles with his husband Michael Turchin, whom he married in 2014 and was featured as a wedding special on E! in early 2015. Richard Chamberlain became the leading heartthrob of early 1960s television. As the impeccably handsome Dr. James Kildare, the slim, butter-haired hunk with the near-perfect Ivy-League charm and smooth, intelligent demeanor, had the distaff fans fawning unwavering over him through the series' run. While this would appear to be a dream situation for any new star, to Chamberlain it brought about a major, unsettling identity crisis. Born George Richard Chamberlain in Beverly Hills on March 31, 1934, he was the second son of Elsa Winnifred (von Benzon) (1902-1993) and Charles Axiom Chamberlain (1902-1984), a salesman. He has English and German ancestry. Richard experienced a profoundly unhappy childhood and did not enjoy school at all, making up for it somewhat by excelling in track and becoming a four-year letter man in high school and college. He also developed a strong interest and enjoyment in acting while attending Pomona College. Losing an initial chance to sign up with Paramount Pictures, the studio later renewed interest. Complications arose when he was drafted into the Unites States Army on December 7, 1956 for 16 months, serving in Korea. Chamberlain headed for Hollywood soon after his discharge and, in just a couple of years, worked up a decent resumé with a number of visible guest spots on such popular series as Rauchende Colts (1955) and Mr. Lucky (1959). But it was the stardom of the medical series Stationsarzt Dr. Kildare (1961) that garnered overnight female worship and he became a huge sweater-vested pin-up favorite. It also sparked a brief, modest singing career for the actor. The attention Richard received was phenomenal. True to his "Prince Charming" type, he advanced into typically bland, soap-styled leads on film befitting said image, but crossover stardom proved to be elusive. The vehicles he appeared in, Rufmord (1963) with Joey Heatherton and Joy in the Morning (1965) opposite Yvette Mimieux, did not bring him the screen fame foreseen. The public obviously saw the actor as nothing more than a television commodity. More interested in a reputation as a serious actor, Chamberlain took a huge risk and turned his back on Hollywood, devoting himself to the stage. In 1966 alone, he appeared in such legit productions as "The Philadelphia Story" and "Private Lives", and also showed off his vocal talents playing Tony in "West Side Story". In December of that year, a musical version of "Breakfast at Tiffany's" starring Richard and Mary Tyler Moore in the sparkling George Peppard/Audrey Hepburn roles was headed for Broadway. However, it flopped badly in previews and closed after only four performances. Even today, it is still deemed one of Broadway's biggest musical disasters. An important dramatic role in director Richard Lester's Petulia (1968) led Richard to England, where he stayed and dared to test his acting prowess on the classical stage. With it, his personal satisfaction over image and career improved. Bravura performances as "Hamlet" (1969) and "Richard II" (1971), as well as his triumph in "The Lady's Not for Burning" (1972), won over the not-so-easy-to-impress British audiences. And on the classier film front, he ably portrayed Octavius Caesar opposite Charlton Heston's Mark Antony and Jason Robards' Brutus in Julius Caesar (1970), composer Pyotr Ilyich Tchaikovsky in Ken Russell's grandiose Tschaikowsky - Genie und Wahnsinn (1971) opposite Glenda Jackson, and Lord Byron alongside Sarah Miles in Die große Liebe der Lady Caroline (1972). While none of these three films were critical favorites, they were instrumental in helping to reshape Chamberlain's career as a serious, sturdy and reliable actor. With his new image in place, Richard felt ready to face American audiences again. While he made a triumphant Broadway debut as Reverend Shannon in "The Night of the Iguana" (1975), he also enjoyed modest box-office popularity with the action-driven adventure films Die drei Musketiere (1973) as Aramis and a villainous role in Flammendes Inferno (1974), and earned cult status for the Australian film Die letzte Flut (1977). On the television front, he became a television idol all over again (on his own terms this time) as the "King of 80s Mini-Movies". The epic storytelling of Der Graf von Monte Christo (1975), Die Dornenvögel (1983) and Shogun (1980), all of which earned him Emmy nominations, placed Richard solidly on the quality star list. He won Golden Globe Awards for his starring roles in the last two miniseries mentioned. In later years, the actor devoted a great deal of his time to musical stage tours as Henry Higgins in "My Fair Lady", Captain Von Trapp in "The Sound of Music" and Ebenezer Scrooge in "Scrooge: The Musical". Enormously private and having moved to Hawaii to avoid the Hollywood glare, at age 69 finally "came out" with a tell-all biography entitled "Shattered Love", in which he quite candidly discussed the anguish of hiding his homosexuality to protect his enduring matinée idol image. Married now to his longtime partner of over 40 years, writer/producer Martin Rabbett, he has since accepted himself and shown to be quite a good sport in the process, appearing as gay characters in the film Chuck und Larry - Wie Feuer und Flamme (2007), and in television episodes of Will & Grace (1998), Desperate Housewives (2004) and Brothers & Sisters (2006). More recently, he has enjoyed featured roles in the films Strength and Honour (2007), The Perfect Family (2011), We Are the Hartmans (2011), Nightmare Cinema (2018) and Finding Julia (2019). Christian Chavez was born on August 7, 1983 in McAllen, Texas, U.S. At the age of two, he Moved to Mexico City. In 2002, Chávez was cast as Fernando 'Fercho' Lucena in the telenovela Clase 406. The series had four seasons and 350 one-hour episodes in total. In 2005, Chávez joined a new telenovela Rebelde as Juan "Giovanni" Méndez López, a mischievous and rebellious student at a private boarding school in Mexico. Chávez became widely known for his ever-changing hair colors. The soap opera was transmitted in 65 other countries, including the United States, Mexico, Serbia, Peru, Romania, Brazil, Spain, Slovenia, Bulgaria Slovakia, Croatia and Albania. A major plot line of the show revolved around a group of six students forming a pop band. A notable aspect of the series is that Chávez and five of his other co-stars ( Maite Perroni, Dulce María, Anahí, Alfonso Herrera and Christopher Von Uckermann) became actual members of a real life band RBD. RBD created most of the music used on the show, and the six quickly became one of the most popular music acts in Latin America. As part of RBD, Chávez went on to receive two Latin Grammy nominations, achieving multi-platinum status with more than 22 million digital downloads and more than 17 million albums sold worldwide. He has performed concerts in 23 countries in 116 cities, 15,000 articles of merchandising, and selling more than 3,000,000 concert tickets and 4 million DVDs. RBD's first album Rebelde, was released on November 30, 2004 by EMI. The first three singles ("Rebelde" (lead single), "Sólo Quédate En Silencio" and "Sálvame") were all number one hits in Mexico, with the fourth single, "Un Poco De Tu Amor" reaching number two. RBD's first national tour, Tour Generación RBD, included 45 sold out dates in Mexico including three visits in Monterrey performing for more than 150,000 fans. The tour was certified by OCESA as the fourth most rapidly sold tour in Mexican history. In July 2005 a live CD/DVD, Tour Generación RBD En Vivo was released documenting their tour around Mexico (45 sold-out concerts across the country, including sixteen in Mexico City alone). In 2005 RBD released their second studio album, Nuestro Amor. This album set new record sales in Mexico, selling 127,000 copies on its release day, and 160,000 copies within its first week. In the U.S., the album topped the Latin Albums Chart for 3 weeks and peaked at #88 on the Billboard 200. The first four singles reached number one in Mexico. In the United States "Nuestro Amor", "Aún Hay Algo" and "Este Corazón" charted on the Hot Latin chart at #6, #24 and #10 respectively. Nuestro Amor also brought RBD a nomination for the Latin Grammy Awards in the category "Best Pop Album by a Group or Duo". They performed a new version of "Tras de Mí" at the ceremony. RBD's concert at the Los Angeles Coliseum is one of the fastest selling concert in the venue's history, beating megastar Madonna. In 2006, RBD sold 750,000 tickets becoming the 14th top selling act of 2006 worldwide. In November 2006, RBD released their third studio album Celestial produced and directed by Carlos Lara which debuted at number 15 in the Billboard 200, marking first-week sales of over 137,000 copies in the U.S. The album however did not have a full week of album sales, due to its Friday release. Despite this, it became their first album to peak or chart within the top 20 of the Billboard 200 In December of 2006, RBD released their first English album Rebelswhich debuted at number 40 on the Billboard 200 album chart with first-week sales of 94,000 copies. Included on the album was "Tu Amor" a ballad written by Diane Warren and sung by Chavez. In 2007, RBD became spokespeople for Pepsi and appeared in numerous ads televised throughout Latin America. In 2008, RBD performed for over 500,000 fans in Brazil, breaking the record previously held by the Rolling Stones. On August 14, 2008, RBD announced through a press release that they would disband in 2009. To this day, RBD is considered the most successful pop group in Mexican history. In June 2007, Chávez appeared briefly in the stage show Hoy No Me Puedo Levantar, and in May 2008 he participated in Avenida Q (the Mexican version of Avenue Q), where he played the main puppet characters Eugenio (Princeton) and Rodri (Rod); his presence on the shows was intended to be one of the main box office attractions. After RBD's breakup, Chávez launched his career as a solo recording artist. His first studio album Almas Transparentes, peaked at number 56 on the Mexican pop charts. In 2011, Chávez turned heads with the provocative music video for his single "Libertad" featuring singer Anahi which became an instant sensation on YouTube with more than 1,000,000 views within three days of its upload. The video featured Chávez in a church confessional telling a priest he was not sorry for his sexual preference. The video featured a cameo by Perez Hilton. "The video looks super sexy," gushed Hilton on his blog PerezHilton.com. "It's inspired us to unleash our own libertad." "Libertad" continues to be an anthem for gay youth throughout Latin America. Esencial Released 2012 On August 14, 2012, Chávez released the highly anticipated album Esencial, an acoustic compilation of songs performed at his show in São Paulo, Brazil in January 2012. People Magazine called the albums release "the return of Christian Chávez". A red carpet presentation of Esencial was held in Mexico City in June. Chavez performed duets with RBD co-star Maite Perroni and Mexican Pop/Rock Singer Ana Obregón. "Sacrilegio", a track on Esencial also released as a single, immediately landed in the top 10 on Mexican pop charts. Other notable songs on the album include "No Me Olvides", written for Chávez by Mexican singer Juan Gabriel, and a remake of "¿En Donde Estas?" sung as a duet with Indonesian pop star Agnes Monica. In early March 2007, a magazine published pictures of Chávez signing documents and exchanging rings with another man, allegedly his Canadian boyfriend (and later identified as B.J. Murphy), outing Chávez with them. The pictures had been taken in 2005, the year in which gay marriages became legal in Canada. Chávez declared in March 2007, that the photos showed a part of him that he had not been willing to discuss previously.With his announcement, Chávez became the first openly gay Latin recording artist in history. On 30 March 2007, after Chávez's announcement of being gay, Ricky Martín told The Associated Press of his solidarity with Chávez's public declaration, saying, "Life is too short to live closed up, guarding what you say...(Chávez) has to be free in many aspects. I wish him much strength." Though Chavez is outspoken in supporting gay rights and opposing homophobia, he remains one of a handful of openly gay Latin actors and recording artists. He has been the face of numerous HIV awareness campaigns. In 2009, Chávez confirmed divorcing his husband. The reason for their separation has been the subject of much speculation, but Chávez insists that their relationship did not end on bad terms: "[Murphy] is a person I love and respect; I also admire him as a professional." In March 2012, Chávez confirmed dating Los Angeles Real Estate Agent Ben Kruger after photos of them together were published in the tabloid TV Notas. and later People en Español. In May 2012, People Magazine reported that Chavez had signed on as a spokesperson for the 2012 Reelection Campaign of Barack Obama.
5894	dbpedia	2	25	https://www.thestage.co.uk/obituaries--archive/obituaries/obituary-antony-sher	en	Obituary: Antony Sher	https://www.thestage.co.…use_Standard.jpg	https://www.thestage.co.…use_Standard.jpg	[ "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageBurgerIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageCloseIcon3.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageLogoWhite.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageUserIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageSearchIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageSearchIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/229/206027_Richard-III_-1984_-Antony-Sher-as-Richard_1984_Web-use_Standard.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/318/1984_Master_KeyArt_AW-AH1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/318/Photography-by-Ollie-Rosser-3.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/301/06_Thumb.-Ken-Nwosu-as-Othello-in-Othello-in-the-Sam-Wanamaker-P.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/274/shutterstock_1175908009_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/318/1984_Master_KeyArt_AW-AH1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/318/Photography-by-Ollie-Rosser-3.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/301/06_Thumb.-Ken-Nwosu-as-Othello-in-Othello-in-the-Sam-Wanamaker-P.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/274/shutterstock_1175908009_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageLogoWhite.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/272/thestage-new-subs.png", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconFB.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconInsta.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconTwitter.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconLinkedIn.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconPinterest.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconYT.svg" ]	[]	[]	[ "" ]	null	[]	null	Actor whose prodigious accomplishments on stage and screen brought him worldwide acclaim and admiration	en	/AcuCustom/Sitename/Icon/Favorite/favicon-32x32.png?cdn=465	The Stage	https://www.thestage.co.uk/obituaries--archive/obituaries/obituary-antony-sher	Support The Stage by registering or subscribing To continue reading this article you must be logged in. Register or login below to unlock 3 free articles every month. OR
5894	dbpedia	1	70	https://connect.cehd.umn.edu/trio-programs-in-cehd-mark-milestone-anniversaries-and-look-to-the-future	en	TRIO programs in CEHD mark milestone anniversaries and look to the future	https://connect.cehd.umn…alk-1024x683.jpg	https://connect.cehd.umn…alk-1024x683.jpg	[ "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_x_large_super_landscape/public/2024-05/CEHD_W22_Feat1_Tri_Walk-1024x683.jpg?h=199d8c1f&itok=ro53dHzv", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_UB_1-e1639517177450.jpg?itok=c0nmkVse", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_UB_2.jpg?itok=GdyXOnQD", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_Wilkinson-e1639517259243.jpg?itok=N3bayfE_", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_UB_3.jpg?itok=byPopT4Y", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_Munoz-e1639517366844.jpg?itok=QGt3gH1i", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_SSS_1.jpg?itok=axi41bA1", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_SSS_2.jpg?itok=DSL7tWKG", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_SSS_3.jpg?itok=PtILJ2XD", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_Schleskes.jpg?itok=2tcKjMGG", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_Albecker-e1639517770983.jpg?itok=yRWmBZ55", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_MNS_1.jpg?itok=4IfC3Uva", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_MNS_3.jpg?itok=z_8LaZMw", "https://connect.cehd.umn.edu/sites/connect/files/styles/coh_medium/public/2024-05/CEHD_W22_Feat1_Trio_MNS_2.jpg?itok=9vQLiBEN" ]	[]	[]	[ "", "" ]	null	[]	2021-12-01T09:48:09-06:00	TRIO programs exemplify CEHD's commitment to educational equity, supporting underrepresented students through mentorship, advising, and community-building.	en	/themes/custom/cehd/favicon.ico		https://connect.cehd.umn.edu/trio-programs-in-cehd-mark-milestone-anniversaries-and-look-to-the-future	Educational Equity is a core area of research in CEHD, and the three TRIO programs housed in the college are model examples of how that research is put into practice every day. TRIO grew out of the Higher Education Act of 1965, dedicated to improving underrepresented students’ access to higher education. TRIO programs at the U of M began in 1966 with TRIO Upward Bound, a program for underrepresented high school students that offers academic and other support for college-bound students. TRIO Student Support Services (SSS) followed in 1976 and provides academic, financial, personal, and leadership support to low-income students, first-generation students (neither parent has a four-year degree), and students with disabilities from across the Twin Cities campus. In 1991, longtime TRIO directors Bruce and Sharyn Schelske secured funding for the TRIO McNair Scholars Program, which prepares underrepresented students for graduate study through research and mentorship opportunities. TRIO programs formally became housed in CEHD in 2005, and the TRIO SSS program largely contributes to making CEHD one of the most diverse undergraduate colleges at the U of M, with more than 30 percent of Fall 2021 CEHD first-year students identifying as first-generation. And now more than 50 years later, all three TRIO programs’ directors and staff are continuing their core missions, while also adapting to the changing needs of their students and the world around them. TRIO Upward Bound—Helping high school students reach their full potential As the only TRIO program at the U of M that serves high school students, Upward Bound stands out for its impact on the greater Minneapolis community, as it serves students from four Minneapolis high schools. It’s also unique in that it brings students to campus. “Students are able to come each week and begin to feel as if they belong by learning to navigate a large campus, taking public transportation, and engaging with other students not from their high school,” says Tricia Wilkinson, director of TRIO Upward Bound. Upward Bound is the longest running TRIO program at the U of M and also one of the longest running nationally. Wilkinson says by having students participate all four years, it builds a real sense of community. “We not only get to know them during academic classes, activities, and field trips, but also we get to know their families by communicating consistently. Relationships with each other as well as with staff are important factors to retention and student success,” Wilkinson says. Alumni of TRIO Upward Bound are a testament to how the program works, and every year a group of seniors end up attending the U of M Twin Cities, with some enrolling in CEHD. One of those alums is Sarah Yang, who majored in youth studies in CEHD and now works as an Upward Bound advisor and project coordinator. She’s also currently pursuing her graduate degree in CEHD in youth development leadership. “During my time in TRIO Upward Bound, I met lifelong friends, gained social skills—now I feel like I talk too much!—and found my passion in working with youth,” says Yang. TRIO Student Support Services—aiding U of M students through holistic, individualized advising TRIO SSS has been at the U of M for 45 years and as an advising office for first-generation, low-income, or students with disabilities, it has pivoted multiple times to meet the needs of its students. TRIO SSS students are admitted to the program at the same time they are admitted to the U of M and advisors have a low student-to-advisor ratio and are trained to offer financial literacy, career counseling, and mental health advocacy. Beginning in fall of 2021, the program expanded from a two-year model to a four-year model, meaning students have their TRIO advisor throughout their college career. “We know the needs of first-generation college students don’t end after they declare a major,” says Director Minerva Muñoz. “Now we will get to work collaboratively with CEHD departments on how to better address the needs of our students in their programs to graduate in a timely fashion and maximize opportunities that prepare our students to transition out of college and onto their post-graduation journeys.” The advisors teach a one-credit course, Identity, Culture, and College Success, and meet with instructors of first-year courses to ensure wraparound support and proactive interventions. They have also worked with departments across the U of M to develop and instruct integrated learning courses, which are paired with difficult introductory courses that can serve as gateways to in-demand majors. TRIO SSS alumna Cheniqua Johnson credits the program with connecting her to the many opportunities she was able to take advantage of while a student at the U of M. Johnson, a 2017 family social science alum, is a relationship manager for the Saint Paul & Minnesota Foundation, and has been active in state politics. She was recently elected to the leadership team of the Minnesota Democratic-Farmer-Labor (DFL) Party, and in 2018 was the youngest DFL-endorsed woman and one of the first women of color to run in her Southwest Minnesota district. “TRIO Student Support Services saw the potential in me that I now see in myself. Every year, TRIO helped me open doors, build relationships, and reach goals that I didn’t even know were possible. It was the highlight of my college experience,” Johnson says. In addition to the new four-year model, TRIO SSS will begin to work with CEHD transfer students and partner with CEHD Global Initiatives to launch a study abroad experience specifically for TRIO SSS students. Muñoz is excited for these new opportunities, while also recognizing the continual impact of the pandemic and struggles for students who hold multiple marginalized identities. “Our population is diverse, and most students share similar lived experiences. Within our program, students are provided a safer space to transition into college, and we foster a culture of belonging,” she says. This is why we give Bruce and Sharyn Schelske’s involvement with the TRIO programs goes all the way back to their time as undergraduates. “People always ask us if we met in TRIO, but no, we knew each other already,” Sharyn says. The couple started working with the Upward Bound program in 1968. Both were in the College of Liberal Arts; Sharyn was working on her degree in English and Spanish and Bruce was in the sociology program. After they graduated in 1969 and 1970, respectively, they applied for full-time positions in Upward Bound and were hired. For the next four decades, the Schelskes worked tirelessly to bring TRIO to where it is today. They became co-directors of Upward Bound in 1978 and served in that capacity until 1991 when Bruce became director of TRIO Student Support Services (SSS) and Sharyn took the helm of the McNair Scholars. They had earlier assisted in writing the first successful University TRIO SSS grant and co-authored the McNair Scholars grant. Although they retired in 2012, they continue to find ways to give back to the programs they find so dear. Initially, they set up the Bruce and Sharyn Schelske Fund that offers discretionary support to TRIO. “It’s a modest endowment that provides money to support TRIO enrichment activities that the programs may not otherwise be able to fund,” Bruce says. As an example, money from this fund could help pay for students’ passports so they could engage in study abroad or pay costs of leadership experiences. More recently, the couple has committed to establish a TRIO Director Fund to augment the money the U.S. Department of Education and the college provide for the salaries of the program directors. The Schelskes have received state, regional, and national accolades in their decades-long support of TRIO, including a UMN President’s Outstanding Service Award for Bruce in 2005 and another for Sharyn in 2006. However, their biggest reward is the impact the TRIO programs make. “Witnessing what students can accomplish when given the opportunity continues to inspire and motivate us to find more support for the programs and never stop working for equal opportunity,” Sharyn says. TRIO McNair Scholars—Diversifying the next generation of scholars and industry leaders As director of TRIO McNair, Anthony Albecker has a deep commitment to the program’s mission. A former TRIO student who began volunteering with the program in 2004, Albecker knows firsthand how much TRIO can shape a student’s future. An example is all of the McNair staff are former McNair scholars, a testament to the program’s influence on students’ professional paths. “How do we think more creatively of how we use our models to be able to enhance where CEHD is going? We know that there’s an increased need for people with advanced degrees in teaching and social work, for example,” Albecker says. “And we’re in a position in CEHD to fill these roles where representation also matters. The McNair program has been showing for 30 years that we can make it happen.” On average, more than 65 percent of U of M McNair scholars enroll in graduate programs, and a significant portion of them end up staying at the U of M Twin Cities. In recent years, CEHD has had the largest number of McNair scholars admitted to graduate programs, with strong representation in social work; organizational leadership, policy, and development; and educational psychology. Albecker notes that scholars are enrolling and completing doctorates at a rate 12-fold over the national average. Albecker also credits the important contributions of CEHD faculty, who serve as mentors for McNair scholars’ research projects. Many have participated for multiple years and formed lasting relationships with their students. Beth Lewis, director of the School of Kinesiology, and Tabitha Grier-Reed, associate dean for faculty, are both McNair Scholar alums. “They exemplify what McNair is about—preparing future faculty who become leaders who seek to teach and lead transformation in their academic fields,” says Albecker. Family social science undergraduate student Sher Moua worked with faculty mentor Associate Professor Zha Blong Xiong in Summer 2021. “Working with my faculty mentor was an exciting and scary experience because I had no research experience prior to McNair; therefore, I felt the need to meet every deadline I had, even if it was an unfinished draft of a major section. Participating in the McNair program gave me the opportunity to build my leadership skills and community within the cohort,” Moua says. As undergraduate students’ needs have evolved, the McNair team is trying to be responsive to what students want as they prepare for graduate school, especially as students navigate the uncertainties and impact of the pandemic on their post-graduation plans. “TRIO programs are central and core to the mission of what we need to do in CEHD to solve the problems of social injustice and being responsive to the critical needs of today,” Albecker says. Photos courtesy of TJ Turner, Tricia Wilkinson, Minerva Munoz, TRIO Student Support Services, TRIO McNair Scholars For more information, visit cehd.umn.edu/trio. -Christina Clarkson
5894	dbpedia	3	86	https://kstp.com/kstp-news/entertainment/acclaimed-shakespearean-actor-antony-sher-dies-at-72-2/	en	Acclaimed Shakespearean actor Antony Sher dies at 72	https://kstp.com/wp-cont…apantonysher.jpg	https://kstp.com/wp-cont…apantonysher.jpg	[ "https://kstp.com/wp-content/uploads/2021/09/5EWN-276X111.png", "https://kstp.com/wp-content/uploads/2021/09/5EWN-276X111.png", "https://kstp.com/wp-content/uploads/2021/12/kstp_apantonysher.jpg", "https://kstp.com/wp-content/uploads/2021/09/5EWN-276X111.png", "https://kstp.com/wp-content/uploads/2021/09/5EWN-276X111.png", "https://kstp.com/wp-content/uploads/2022/01/ABC-2021-LOGO.png", "https://kstp.com/wp-content/uploads/2022/01/ABC-2021-LOGO.png", "https://kstp.com/wp-content/uploads/2022/01/45tv-40x40-1.png", "https://kstp.com/wp-content/uploads/2022/01/45tv-40x40-1.png", "https://kstp.com/wp-content/uploads/2022/01/metv.png", "https://kstp.com/wp-content/uploads/2022/01/metv.png", "https://kstp.com/wp-content/uploads/2024/07/metvToons_50x50.png", "https://kstp.com/wp-content/uploads/2024/07/metvToons_50x50.png", "https://kstp.com/wp-content/uploads/2023/09/gettv2024_50x50.png", "https://kstp.com/wp-content/uploads/2023/09/gettv2024_50x50.png", "https://kstp.com/wp-content/uploads/2024/07/24-IONPLUS-1370317393-Affiliate-ION-Plus-Rebrand-Graphics_Logo_Gradient.png", "https://kstp.com/wp-content/uploads/2024/07/24-IONPLUS-1370317393-Affiliate-ION-Plus-Rebrand-Graphics_Logo_Gradient.png", "https://kstp.com/wp-content/uploads/2022/01/handi.png", "https://kstp.com/wp-content/uploads/2022/01/handi.png" ]	[]	[]	[ "" ]	null	[]	2021-12-03T15:45:15+00:00	Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72. The Royal Shakespeare Company announced Sher's death on Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him.	en	https://kstp.com/wp-cont…4x1024-32x32.jpg	KSTP.com 5 Eyewitness News	https://kstp.com/kstp-news/entertainment/acclaimed-shakespearean-actor-antony-sher-dies-at-72-2/	Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in "Richard III." He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the "Henry IV" plays, Leontes in "The Winter’s Tale," Shylock in "The Merchant of Venice," Iago in "Othello" and the title characters in "Macbeth" and "King Lear." Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller’s "Death of a Salesman" and the title role in Moliere’s "Tartuffe." Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s "Torch Song Trilogy." He won the 1985 best-actor Olivier Award jointly for "Torch Song Trilogy" and "Richard III." He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ "Stanley" at the National Theatre and on Broadway. After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage. He adapted Primo Levi’s powerful Auschwitz memoir "If This is a Man" into a one-man stage show, "Primo," that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. "If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes," Sher told the Associated Press in 2005. "It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground." Sher’s last role for the RSC came in 2019 in South African writer John Kani’s "Kunene and The King." Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been "comrades in the struggle for a better South Africa." On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series "The History Man." His film roles included Dr. Moth in "Shakespeare in Love," Benjamin Disraeli in "Mrs Brown" and Adolf Hitler in "Churchill: The Hollywood Years." Sher also wrote several novels and theatrical memoirs, along with an autobiography, "Beside Myself," and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. "I think he always felt like an outsider and his outsider’s vision was his strength," said Harriet Walter, who starred opposite Sher in "Macbeth" and "Death of a Salesman." "He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick," she said. Shakespeare scholar James Shapiro said Sher’s performances "profoundly deepened my understanding of Shakespeare." "He was a brilliant actor and an incredibly kind and thoughtful person," Shapiro said. "Hamlet put it best: "take him for all in all, I shall not look upon his like again.’"
5894	dbpedia	3	90	https://www.the-sun.com/news/4197964/antony-sher-dead-legendary-stage-actor-prince-charles-favourite/	en	Antony Sher dead - legendary stage actor, 72, who was Prince Charles' favourite performer loses battle with cancer	https://www.the-sun.com/…00&h=1000&crop=1	https://www.the-sun.com/…00&h=1000&crop=1	[ "https://www.the-sun.com/wp-content/themes/thesuncom/images/sunmasthead.svg", "https://www.the-sun.com/wp-content/themes/thesuncom/images/sunmasthead_mobile.svg", "https://www.the-sun.com/wp-content/uploads/sites/6/2021/12/ML-Antony-Sher-OP.jpg?w=620", "https://www.thesun.co.uk/wp-content/uploads/2021/12/NINTCHDBPICT000697759983.webp?w=335 335w, https://www.thesun.co.uk/wp-content/uploads/2021/12/NINTCHDBPICT000697759983.webp?w=480 480w, https://www.thesun.co.uk/wp-content/uploads/2021/12/NINTCHDBPICT000697759983.webp?w=620 620w, https://www.thesun.co.uk/wp-content/uploads/2021/12/NINTCHDBPICT000697759983.webp?w=670 670w, 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"https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/JB_28_08_RUSSIAN-TANKS_COMP_bdf50a.jpg?strip=all&w=150&h=100&crop=1" ]	[]	[]	[ "" ]	null	[ "Imogen Braddick" ]	2021-12-03T08:17:24-05:00	PRINCE Charles' favourite actor Antony Sher has died at the age of 72.The legendary stage actor, best known for his work performing Shakespeare, was&n	en	https://www.the-sun.com/…g?strip=all&w=32	The US Sun	https://www.the-sun.com/news/4197964/antony-sher-dead-legendary-stage-actor-prince-charles-favourite/	PRINCE Charles' favourite actor Antony Sher has died at the age of 72. The legendary stage actor, best known for his work performing Shakespeare, was diagnosed with terminal cancer in September. The Royal Shakespeare Company announced the double Olivier Award-winning actor's death in a statement on Friday. Acting artistic director Catherine Mallyon said: “We are deeply saddened by this news and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. “Antony was deeply loved and hugely admired by so many colleagues. He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. "We will ensure friends far and wide have the chance to share tributes and memories in the days to come.” Born in Cape Town, Sher joined the Royal Shakespeare Company in 1982 and appeared in productions including The Tempest, Macbeth and Othello. His last show with the company was John Kani’s Kunene and The King in 2019, while he also recently starred in King Lear, the Henry IV plays and Death of a Salesman. On the big screen, the star appeared in the Oscar-winning film Shakespeare in Love and film adaptations of Macbeth and The Winter’s Tale. He was also known for his writing, penning four novels, an autobiography, three plays, a TV screenplay and theatre journals. During his 2017 Commonwealth Tour, Prince Charles referred to Sher as his favourite actor. Tributes have poured in from fellow actors and artists following the news of the legendary stage performer's death. Harriet Walter, an honorary associate artist at the Royal Shakespeare Company, said: "On stage he was a powerhouse, bold and uncompromising. Offstage he was surprisingly unassuming, private and unostentatious. He could also be wickedly funny. "I so enjoyed working with him and watching him work and feel so sad that I won’t have that pleasure again." Actor and playwright John Kani said: "We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists and we both had the honour of celebrating together 25 years of South Africa’s Democracy in my latest play Kunene and the King. "I am at peace with you my friend and myself. Exit my King. Your Brother." Actor Mark Rylance said: "I first saw Tony's work as an actor in the theatre with Mike Leigh and was captivated by his immersion and definition as an actor. "In 1982 we both joined the RSC and became friends. I remember his infectious laugh and sense of humour most. "His meticulous artwork and visual imagination. He was always most generous and kind to me. A gentleman and devoted man of the theatre. A great loss." 'FEROCIOUS TALENT' Janet Suzman, an honorary associate artist at the company, described Sher as a "ferocious talent". "His South African heritage - we share this burden - was only discovered by him quite late in his life, but it surely added to the rich mixture that made him such a magnetic actor," she said. Sher's husband Gregory Doran, the artistic director of the Royal Shakespeare Company, had taken a leave of absence to care for him following his cancer diagnosis. Sher and Doran became one of the first gay couples to enter into a civil partnership in the UK in 2005 and married in 2015. Susie Sainsbury, former deputy chairwoman of the company, said: "Tony and Greg were together for over 30 years, and their careers as actor and director have brought them international acclaim, both individually and in the many productions where they worked together so productively. "Tony will be remembered for many exceptional roles on stage and screen, but also for his passion for painting and drawing, which occupied his days increasingly in recent years. "Their many friends and colleagues will each have particular memories - mine is an image of the two of them, bearded and smiling, on the window seat in their sitting room, utterly content in each other’s company. "It is impossible to imagine one without the other, and our thoughts and deep sympathy are with Greg and their families." Sher's publisher Nick Hern described the actor as a "bit of a wonder". He said: "A magnetic actor, of course, but also and equally an artist and author. "I should know: I published five books by him, and in every case the vivid words were illuminated by equally vivid sketches. "Furthermore, he’s a delight to work with: punctilious, of course, but open to and eager for comment and improvement. If only every author were as receptive."
5894	dbpedia	1	66	https://shakespearenewsletter.com/talking-books-with-dominique-goy-blanquet/	en	Blanquet – The Shakespeare Newsletter	https://shakespearenewsl…21_n-2-32x32.jpg	https://shakespearenewsl…21_n-2-32x32.jpg	[ "https://shakespearenewsletter.com/wp-content/themes/shakespearenewsletter/assets/img/logo.png" ]	[]	[]	[ "" ]	null	[ "Michael P. Jensen" ]	null	Talking Books with Dominique Goy-Blanquet	en	https://shakespearenewsl…21_n-2-32x32.jpg		https://shakespearenewsletter.com/talking-books-with-dominique-goy-blanquet/	I am frustrated by language barriers, but I learned the hard way that I do not acquire other languages easily or with competence, no matter how much effort I make. I first learned about the work of Dominique Goy-Blanquet through her wonderful Shakespeare’s Early History Plays, written in English, and wondered what other books she may have written that may be unknown to me and other non-French speaking readers. There are a few, and her first book turns out to be a prize. Shakespeare et l’invention de l’histoire: Guide commenté du théâtre historique de Shakespeare begins as an overview of England and the English theater in early modern times, then shifts to chronicle plays generally, including quite a bit of detail on each of Shakespeare’s histories and their sources. The book ends with a dictionary of the characters in Shakespeare’s chronicle plays. Professor Goy-Blanquet told me that this volume has “all the relevant information I would very much have liked to find in one book when I began work on the history plays.” It was published by Le Cri in 1997, followed by two augmented editions in 2004 and 2014. I long for an English language edition. That research very much informs Shakespeare’s Early History Plays: From Chronicle to Stage from Oxford University Press in 2003. The book is a fascinating study comparing the first tetralogy with its historical and theatrical sources. Goy-Blanquet makes an important argument in the debate about the ideology of these plays, for instead of reading ideology into them, she shows how this material was turned into drama, and not necessarily into argument. Shakespeare emerges as a man of the theatre, not of a faction. Goy-Blanquet also looks forward from these texts to examine noteworthy productions of the plays in the first tetralogy on stage and screen. Joan of Arc is a pivotal character in the English losses in 1 Henry VI, where she is called Joan Puzel. Shakespeare probably did not write very much of this play and nobody attributes the Joan scenes to him. The play is nevertheless seen by tradition and the First Folio as the anchor of the first tetralogy, and both the play and Joan remain important to the way that many have written about Shakespeare’s early work. That is why Goy-Blanquet’s chapter in Joan of Arc, A Saint for All Reasons: Studies in Myth and Politics seems to fit right in with the previous work. “Shakespeare and Voltaire Set Fire to History” shows the ways that the earliest sources of the Joan story influenced later artists, dwells on 1 Henry VI for a bit, and then moves outward to Voltaire’s 1762 poem “La Pucelle d’Orléans,” usually rendered in English as “The Maid of Orleans.” Of interest to film scholars will be Nadia Margolis’s essay “Rewriting the Right,” which debunks the appropriation of Joan by right-wing French politics between 1824 and 1945, for it is here that Carl Dreyer’s great 1928 film La Passion de Jeanne d’Arc is studied at length, though the helpful “Joan of Arc and the Cinema,” a filmography of Joan as a character by Robin Blaetz, ends the book. The volume has an interesting history. It was first released in 1999 with five essays under Goy-Blanquet’s editorship and in French as Jeanne d’Arc en garde à vue. The English language edition included a new essay, a study of Joan’s image in U.S. drama and literature by Claude Grimal, and was published by Ashgate in 2006, and later acquired by Routledge. Goy-Blanquet tells me that Côté Cour, Côté Justice: Shakespeare et l’invention du droit “examines the common matrix of law and drama, from pedagogic dialogues and pro et contra arguments to the plays performed at the Inns of Court, and the diverging ways followed by English and French law systems.” It was published by Classiques Garnier, 2016. Shakespeare. Combien de prétendants? is a response to Lamberto Tassinari’s self-published 2009 book John Florio the Man Who was Shakespeare. Florio was a translator of French and Italian texts, and a tutor at Oxford. Goy-Blanquet decided to fight the good fight by editing a book refuting Tassinari. Former “Talking Books” guest Lois Potter is a contributor, and tells me that “Tassinari’s book was first published in Italian, then in French, and got quite a lot of notice in France in 2016, even managing to convince some people. The essays in [Goy-Blanquet’s] book deal with different aspects of Shakespeare’s authorship.” I hope this book refuting Tassinari unconvinced many. It was published by Editions Thierry Marchaisse in 2016. Shakespeare in the Theatre: Patrice Chéreau, Arden, 2018, takes a Shakespeare-centered look at the career of the theatre director and filmmaker who died in 2013. It may seem odd that a director with just three professional Shakespeare credits, plus Christopher Marlowe’s Massacre at Paris and Edward Bond’s scathing Lear, should receive a book in the Shakespeare in the Theatre series, but Goy-Blanquet convinces by including Chéreau’s Shakespeare work with students and, most to the point, shows us that Shakespeare was a silent source for much of the director’s work over the decades. There are also short monographs on Richard II and Richard III written for students preparing to take a public service exam to become grammar school teachers. Richard III was published by Didier érudition in 1999 and Richard II by Armand Colin in 2004. Goy-Blanquet is also a translator of English books into French. The Shakespeare related translations are John Dover Wilson’s What happens in ‘Hamlet’? (Le Seuil, 1992) and W. H. Auden’s Lectures on Shakespeare (Anatolia, 2003), in addition to other non-Shakespeare related translations. Dominique Goy-Blanquet is professor Emeritus[1] of Elizabethan Theatre at the University of Picardie, a member of the editorial board of La Quinzaine Littéraire, now transformed into En attendant Nadeau, a member of Centre d’Etudes des Relations et Contacts Linguistiques et Littéraires de l’Université de Picardie, a contributor to The Times Literary Supplement (TLS), and as President of the Société Française Shakespeare from 2009 to 2015 was organizer of the France’s Shakespeare 450 event. MPJ: Shakespeare et l’invention de l’histoire is a great idea for a book. Why did your interest turn to the tetralogy? DGB: Because it gives a unique, fascinating entry into the young writer’s workshop. His progress, the development of his political thought and artistry can be followed step by step throughout the sequence of eight plays, which stages an exploration in depth not only of England’s still bleeding past but of the institution of monarchy that failed to prevent anarchy. Whether Shakespeare wrote all or only parts of Henry VI, despite minor inconsistencies, it shows a coherence, a sense of history far above what other dramatists were producing at the time. Shakespeare or whoever completed the patchwork gave it a meaningful design and made it an accomplished work of creation. David Riggs’s Heroical Histories showed that there was much Marlovian material in the first Henriad, but I don’t think Marlowe could rise to that level of critical judgment, for reasons that Wilbur Sanders has brilliantly argued in The Dramatist and the Received Idea. And I don’t believe that Part One is an ironical “prequel” or an afterthought. it is too raw, its moral and political lessons too simplistic, to have been composed after two far more sophisticated plays, and it adequately fills its place as the first act of a steadily deteriorating process in the fate of Plantagenet England. As Shakespeare’s technique matures, the scaffolding that holds the structure, the rhetorical peacocking, to use Peter Stein’s phrase, the thematic vehicles of Part One, begin to disappear behind an apparently “natural” concatenation of events. MPJ: Whose books were most helpful in your research? DGB: Probably many that I have forgotten, and some I still remember as illuminating. My earliest guides in history and literature were those who introduced me to the anthropological history of monarchy. Marc Bloch, Les Rois thaumaturges (tr. The Royal Touch), on the supernatural powers that kings of France and England were supposed to possess, especially the healing of scrofula, which lent them an intangible majesty. Ernst Kantorowicz, The King’s Two Bodies, and his reading of Richard II by the light of its political, religious, and legal sources. These for me would be completed later by Ralph Giesey’s analysis of royal funeral rites in Le Roi ne meurt jamais. Richard Marienstras, Le Proche et le Lointain (tr. New Perspectives on the Shakespearean World), on the ideological context of the plays, based on a variety of contemporary discourses on the laws of the forest, the status of aliens, treason, sacrifice, and sea journeys. Denis de Rougemont, L’amour et l’occident (tr. Love in the Western World) on the origin of romantic love and its death drive in troubadour literature, the struggle between Eros and Agape. Northrop Frye, Fables of Identity on the central archetypes of poetry. Luc de Heusch, Le Roi ivre ou l’origine de l’Etat (tr. The Drunken King), on African founding myths, more rigorous than Frazer’s Golden Bough and as inspiring. Erich Auerbach, Mimesis: The Representation of Reality in Western Literature, with its variations from the brightly-lit recognition scene in the Odyssey to the dark corners of Peter’s betrayal of Christ in the Gospel of Saint Mark. Ernst Curtius, European Literature and the Latin Middle Ages, the sources of Shakespeare’s European culture. Jean-Pierre Vernant & Pierre Vidal-Naquet, Mythe et Tragédie en Grèce ancienne (tr. Myth and Tragedy in Ancient Greece), especially the chapter on the historical moment of tragedy, between a still vivid epic past and the onset of skepticism, which could apply equally well, mutatis mutandis, to Shakespeare’s Henriads. Jean Jacquot, Le Théâtre tragique, and the CNRS series Le Chœur des muses that he edited, seminal works in theatre studies. Paul Ricœur, La Métaphore vive (tr. The Rule of Metaphor) helped me understand the link between metaphor and muthos in Aristotle’s Poetics as one between interior and exterior form. Other works offered insights into the medieval mentality, Etienne Gilson, La Philosophie au Moyen Âge (tr. History of Christian Philosophy in the Middle Ages), Jacques le Goff, Saint Louis and Pour un autre Moyen Âge (tr. Time, Work and Culture in the Middle Ages), from the medieval perception of time punctuated by church bells to the modern world of clocks and impersonal measurements. On early modern politics, Claude Lefort, Le Travail de l’œuvre: Machiavel (tr. Machavelli in the Making), the revolutionary reframing of traditional ideas on virtue and evil; Quentin Skinner, The Foundation of Modern Political Thought, an intellectual history of Europe through major political texts written from the eighth to the sixteenth centuries; Louis Marin, Le Portrait du roi (tr. Portrait of the King), the violence of power hiding under the veil of justice. On medieval notions of history and historiography, Frank Fussner, The Historical Revolution and Tudor History and the Historians; Paul Veyne, Comment on écrit l’histoire (tr. Writing History), for whom the main phrase of the historical genre is “It’s interesting.” This could be my motto. It was an article of his on suicide that led me to Maurice Pinguet, La Mort volontaire au Japon (tr. Voluntary Death in Japan), which begins with Cato’s suicide as a gesture of resistance against Caesar, and made me want to read Plutarch in Amyot’s translation. Closer to the histories, the most ‘interesting’ in my memory, both learned and thought-provoking, were Wolfgang Iser, Staging Politics: The Lasting Impact of Shakespeare’s Histories, a subtle rereading of Foucault on the continuous struggle of order versus freedom, and Shakespeare’s exceptional “phenomenology of politics,” Moody Prior, The Drama of Power, on the balance between Saint Augustine and Machiavelli, Paola Pugliatti’s discussion of the alleged “death of the author” in Shakespeare the Historian, Michael Hattaway’s Cambridge edition of Henry VI, Wilbur Sanders, The Dramatist and the Received Idea, who brilliantly explores the different political and ethical sensibilities of Shakespeare and Marlowe, Edward I. Berry, Patterns of Decay, on Shakespeare’s anchorage of timeless myths and allegories into the historical reality of fifteenth-century England, Henry A. Kelly, Divine Providence in the England of Shakespeare’s Histories, who first introduced me to the methods and beliefs of the medieval chroniclers. And to the theatre, Lois Potter, The Text, the Play and the Globe, by the keenest, most perceptive and experienced theatre-goer I’ve ever met; Wilhelm Hortmann, Shakespeare and the German Stage, a history that repeatedly crossed ours, thanks among others to the strong influence of Brecht, the Berliner Ensemble, the Schaubühne, Heiner Müller, Peter Stein, Klaus Michael Grüber on our most prominent stage directors; Carol Rutter, Enter the Body, another brilliant theatre-goer, on the use of women’s body in a theatre where they were absent; Michael Coveney’s and Irving Wardle’s witty, insightful, well-informed reviews for the Financial Times and The Independent, Peter Holland, Shakespeare on the English Stage in the 1990s, Russell Jackson, Shakespeare Films in the Making, both “incontournables” on film and theatre, as we say in French of works essential to the theme, both awake to a world elsewhere. MPJ: I see that your favorite theatre and film reviewers are my favorite theatre and film reviewers. How have the French received the history plays? DGB: There was no French production of Henry V until 1999, when it got a tepid welcome, not because it staged our humiliating defeat at Agincourt, but because, according to its reviewers, French directors had lost the epic fiber after Jean Vilar. Shakespeare is now the most frequently performed playwright in France, superseding Molière, but his conquest of the French stage was a very slow process. In 1945 Simone de Beauvoir could still diagnose “It is Shakespeare they don’t like” after the flop of Charles Dullin’s Lear, “they” being the theatre critics. Apart from Richard II and Richard III, the histories were hardly ever performed, and attracted little critical interest until the 1960s, when isolated scholars joined the anti-Tylliardians in their fights against the “Tudor myth.” Planchon’s Henry IV in 1957, performed in two parts entitled “Le Prince” and “Falstaff”, was a huge success, but did not encourage followers. There were a few unmemorable attempts at Henry VI, like the contracted version staged in 1967 by Jean-Louis Barrault, who declared himself very hurt by its hostile reception. But recently Thomas Jolly brought unprecedented popularity to the first Henriad with an eighteen-hour performance of the full texts that won general applause. Joan of Arc and the Hundred Years’ War were treated in a parodic spirit that raised no complaints. The true heroine of the production was an invented character, “La Rhapsode,” who explained events, connected the episodes, apologized for their young director’s errors, so utterly charming that there was a huge roar of protest in the audience when Richard sneaked behind her and strangled her at the end of Henry VI, Part Three to continue alone the management of the story. MPJ: Wow, that is fascinating. I really like Shakespeare’s Early History Plays. Can you describe the adaptive habits for these plays? DGB: I wouldn’t use the word habit, because he tries something new in each play. Part I runs a wild race through thirty years of events, from Henry V’s death to the loss of France, collects, fuses, and redistributes elements of Hall’s chronicle, and borrows his sententious comments on the evils of dissension. The rallying of Burgundy to the French party is a telling example of the method: it concentrates details scattered over fifty pages and seven years in one brief speech by Joan, who played no part in the actual event. Scenes of discord alternate with edifying pictures of union. But the playwright grows increasingly skeptical about the benefits of virtue as he explores the crisis of medieval monarchy. Part II takes a critical distance with Hall’s views, mends his paralogisms, and exposes a highly complex state of affairs through a masterly imbrication of plots. Groups form to seal alliances, and disclose their separate designs at each plotter’s exit. Minute changes significantly alter the facts dramatized, or create causal links between unrelated events. The armorer’s duel, a minor episode in the chronicles, plays a pivotal role in the dramatic collapse of institutions. Part III accelerates the movement of history while keeping the seesaw movement of victory between the two parties, and makes the escalation of violence intelligible through stylized choreographic scenes like the killing of Clifford by the three York brothers. At that point, the playwright seems to have lost interest in Hall’s opinions, and is content with inserting the facts of the chronicle into his own dramatic pattern without significant alterations. Areas of shadow between momentous events create perspective, the working of time in the intervals of the action makes sense of the chroniclers’ linear tales. The passive Henry is transformed into a visionary who sees beyond the cycle of retaliation, and prophesies an end to it by saluting young Richmond as England’s hope. Richard III shows the emergence of a central character, decorates it with Thomas More’s wit, and reverses the pattern of his History: instead of breaking into More’s picture of a merry old England, Shakespeare’s Richard appears as the monstrous offspring of civil war, a living metaphor of disorder. Twelve years of relative peace under his brother Edward’s reign disappear in the steady progress towards his coronation. The political investigation stops with the first Tudor’s entrance, to be continued in the second Henriad and in the Roman plays. MPJ: You seem to do source criticism right. By starting with fundamentals instead of ideology, you are able to step over at least some of the ideology. DGB: As I explained at the opening of my book, I began with no opinion on any of the litigious points that were hotly debated at the time, and strove to stick to hard facts, or rather hard copy, the printed texts of plays and sources. I soon disagreed with a postulate that was then gaining ground, that history is essentially fictive, that there is no coherence or sense in ‘facts’ other than the construction we impose on them, that truth is impossible to reach and therefore of no consequence. To me this amounted to irresponsibility. I much preferred, and still do, Edward Said’s definition of the intellectual as someone who attempts to tell the truth at all times and to the best of his abilities. MPJ: I’m with you. I very much like your explorations of notable productions. How did you research these? DGB: I saw quite a few, reviewed some for the TLS, and was sometimes able to interview directors, actors, scenographers. These experiences often brought out aspects of the plays I hadn’t perceived before, one of the reasons that made the theatre so exciting, such as how a silent character can make a strong statement on stage, which one cannot feel on the printed page. The directors’ cuts were sometimes as revealing as what they chose to show, just as Shakespeare’s selection of material could be, and helped me to a clearer view of Aristotle’s or Horace’s opinions on what deserved to be shown and what should be reported. Some scenes of the Henriad palpably test both modes, and upset the traditional hierarchy by sometimes making the narrative more moving than the actual show, for instance when characters witness an event and are moved only when they hear how the story of it will be told in the future. On productions I didn’t see myself, I read the press files, and the essays available. Most editions of the plays now include a section on their performance history, and that too was often useful. MPJ: Whose are the important ideological voices on these plays? DGB: E.M.W. Tillyard reigned supreme with his Elizabethan World Picture and Shakespeare’s History Plays until some dissenting voices began to make themselves heard in the 1960s: Philip Brockbank (“The Frame of Disorder – Henry VI”), A. P. Rossiter (Angel with Horns) on the scholarly front, expressed doubts about Shakespeare’s orthodoxy. Jan Kott’s best-selling Shakespeare our Contemporary had his kings climb and fall down the grand staircase of history. In his view, Shakespeare spoke to us now, when tyranny on one’s doorstep was again a common experience. On stage Roger Planchon’s Henry IV, Strehler’s Gioco dei Potenti, Barton/Hall’s Wars of the Roses, all strongly politicized, had prepared the way for an onslaught on conservative readings. The next decade or two saw numerous publications on the histories, tearing up most of Tillyard’s assumptions. And, of course, the plays made privileged material for the new historicists and cultural materialists, both intent on tracking the dominant ideologies of the early modern period, and the various forms of resistance, dissent, transgression of the social order, both generally pessimistic about their chances of subverting authority. MPJ: Have you received much blowback from ideologues over this book? DGB: I had many heated but friendly arguments with Michael Hattaway, Richard Wilson, Ton Hoenselaars, Keith Brown, some tenser ones with French anti-Tillyard crusaders who thought me too lenient with the enemy. I had at least one enthusiastic reader, Thomas Pendleton in Shakespeare Newsletter, but don’t remember any ideological blowbacks in the reviews. By the late eighties, most French scholars had grown rather tired of the ideological quarrels and critical theories of the earlier decades, and at Stratford conferences we watched with amazement the delegates throw Barthes, Foucault, Derrida, Lacan, Althusser, Bakhtin at each others’ heads like so many missiles. It came to me as a surprise that one of those conferences, on Shakespeare and Politics, should be predominantly concerned with gender. My paper was one of only two about the histories. MPJ: You write of Thomas Nashe as Shakespeare’s collaborator on 1 Henry VI. The publication of the controversial New Oxford Shakespeare has very much put Shakespeare’s collaborators into conversation, especially the claim that Nashe, Marlowe, and others unknown co-wrote Part One, and Shakespeare just polished it up at a later date. Sir Brian Vickers promotes Thomas Kyd as co-author with Nashe and Shakespeare. Would you write your book differently now in response to these claims? DGB: I would, of course, discuss them, but I don’t think it would significantly alter my approach of the sources. It is Gary Taylor who promotes Nashe, not me. The identifications depend mostly on stylometric tests, applied to a culture in which borrowing, imitating and sharing common sources were the rule, and their results in the past have sometimes been proved misleading. The numerical analyses do grow to something of great constancy and will probably tell us exactly who wrote what in the not too distant future. Frankly, I am not greatly interested by the problem, though I am aware that even if it should not affect our reading of the plays, it does. As to the radical turn taken by the New Oxford Shakespeare, yes, drama is an art of performance, and necessarily collaborative, but it does not mean we should print the stage version, especially when we have no idea whether it was performed at a children’s birthday party or a noble wedding. To hear an actor swear “by Cerebos” – the name of a brand of salt, probably a joke on Setebos made during rehearsals – in Peter Brook’s Tempest, made me sympathize with Hamlet’s irritation against clowns, and feel I’d rather have the author’s solitary voice than a collective of actor’s voices. MPJ: Your essay in Joan of Arc, A Saint for All Reasons, love the pun in the title, intersects with 1 Henry VI. DGB: The pun is Nadia Margolis’s, and the book was the outcome of an invitation to a conference on Joan of Arc by a medievalist colleague. I was intrigued by a line in the play, where Joan claims to be of royal blood. French historians unanimously said that the tale of her royal origin was the invention of a mediocre nineteenth-century playwright, who made her a half-sister of the Dauphin, but they were obviously wrong, since the tale was already there in Henry VI. It was this anomaly that set me off. I couldn’t find any medieval mention of such a rumor, but on the way, I came across another fallacy, which imputes to the Burgundian chroniclers the slanderous tales of her which Hall, Shakespeare and others would repeat. Actually, the real culprit was the London chronicler Robert Fabyan, who turned the high deeds reported by her French admirers into evidence of her devilish ways. This was just the first of the many reversals we followed through our collection of essays, which were Nadia’s inspiration for the punning title. MPJ: Most people in the United States are not especially conscious of Joan, and when we are, it is through the mediations of Giuseppe Verdi, Carl Dreyer, George Bernard Shaw, a couple of sound films, and for Shakespeareans the Nashe/Shakespeare mediation in 1 Henry VI. Help me understand the place of Joan in French society. DGB: There is a very active International Joan of Arc Society, based in America, who have undertaken to publish the proceedings and documents related to her trials in the original Latin or French and in English translation. In France, Joan was an uncontested national heroine until the right-wing party of Jean-Marie Le Pen elected her as their patroness and made her feast day the occasion of a march with their supporters. There were various attempts on the left of the political spectrum to retrieve her from this unfortunate connection, especially Jacques Rivette’s 1994 film, Jeanne la Pucelle, mostly drawn from Michelet, with the very popular Sandrine Bonnaire playing her part. There were also mixed feelings about the fact that the Church canonized a warrior with such violent deeds to her account. But her credit with the public at large does not seem deeply affected. A number of books dedicated to her continue to appear regularly. MPJ: Rivette’s film is on You Tube.[2] It is interesting that the international society is based in America, since I have never heard of them. They are obviously a force in Joan circles, but not in American society, if my ignorance of them reliably indicates this. Before leaving the history plays, what kind of understanding of Richard II and Richard III did the board want students to have that your books supplied? DGB: At that level, the board will usually let the specialist writing the book choose the form and content that he feels appropriate, so it was more or less left to me. The agrégation is a national competition organized by the Ministry of Education to recruit the students who will teach in grammar schools and universities. The tests include a seven-hour dissertation on one of the currently required books, so the students need to have a good working knowledge of the text, and of its critical history. MPJ: Tell me about Côté Cour, Côté Justice: Shakespeare et l’invention du droit. How did your interest turn in this direction? DGB: Since I first read Gorboduc, while researching Henry VI, I felt convinced that the birth of the Elizabethan theatre at the Inns of Court was more than a coincidence, that this original link between law and theatre was the end product of a long process. The Elizabethan theatre had only a short life and no equivalent elsewhere, its memory was erased with the destruction of the Globe, but its drama shared a common past history with the continent, a recycling of texts and political theories across the Channel which I thought worth investigating. For instance, there were similarities in their early days between the theatrical practices of the Inns and the French Basoche, but whereas the Basoche was soon silenced by the government, the society of the Inns has kept up the tradition of theatrical performances to this day. These similarities and dissimilarities reflected the separate paths taken by the political history of our two countries, towards parliamentary monarchy in Britain, towards absolutism in France, and by our legal systems, common law versus droit civil romain. MPJ: What an interesting idea. Readers will find Gorboduc under Thomas Norton in the bibliography. Whose books were helpful to you as you did your research? DGB: As with my other books, the most helpful were works of history, by John Guy (Politics, Law and Counsel in Tudor and Early Stuart England), Patrick Collinson (Godly People: Essays in English Protestantism and Puritanism), Norman Jones (Faith by Statute: Parliament and the Settlement of Religion 1559), Jacques Le Goff (The Birth of Purgatory), and those by historians of the law, Maitland (English Law and the Renaissance), Geoffrey de Clifton Parmiter (The King’s Great Matter. A Study of Anglo-Papal Relations 1527-1534), John H. Baker (The Third University of England: the inns of court and the common-law tradition), Wilfrid Prest (The Inns of Court under Elizabeth I and the Early Stuarts, 1590-1640), Peter Goodrich (Oedipus Lex: Psychoanalysis, History, Law), Paul Raffield (Images and Cultures of Law). But quoting just one title feels unfair to some of these scholars to whom I owe several remarkable books. Essays available when I began discussed either the Inns or the plays performed there, but did not spend much thought on their intimate connection and interaction, works like Raffield’s Shakespeare’s Imaginary Constitution, Oliver Arnold’s Third Citizen or Bradin Cormack’s A Power to Do Justice came later. This gap sent me on a journey back to the sources of the connection between law and theater, both the structural matrixes of drama, especially the pro et contra arguments of legal procedures, the long tradition of pedagogic or polemical dialogues, and their matter, plots, themes, idioms, moral saws borrowed from a large variety of public oratory as well as from actual trials and public events. Shakespeare’s plays are immersed in this legal bain de culture. The question of dynastic right is central to his histories, and it is linked with constitutional theories of succession, but also with common legal problems of inheritance, of matrimony. These and a number of other issues produced a very hefty book, which I am trying to pare down to essentials for an English version. At the time the mass of materials I collected so fired me that I wrote my one and only play (Farewell, King, online at http://shakespeareanniversary.org/2015/farewell-king/) imagining the circumstances of Shakespeare’s sudden departure from the stage. MPJ: Great news about the English version. Turning to Patrice Chéreau, he too worked on at least parts of the first tetralogy with students. You do not mention if any of the Joan of Arc scenes were included in Fragments. DGB: No, they were not. Fragments concentrated on the turning point between Henry VI Part 3 and Richard III. Chéreau had already staged extracts with students in one of his earliest productions, especially the scene in Part 3 where King Henry hears the laments of a father who has killed his son and a son who has killed his father in the civil war, and the litanies of the wailing queens in Richard III. He was slightly frustrated in his project. For instance, he had thought to have two actresses cling to each other to interpret the part of Margaret, the new violent cursing woman emerging like a chrysalis from the deprived Queen, and gave up when he found they had difficulty managing their movements. The seduction of Lady Anne, and the wailing queens also absorbed much of his attention. The actor playing Richard lacked confidence, all of them lacked experience, so he could only make them perform part of what he had in mind, and used their youthful energy rather than their subtlety to carry them through the difficulties of the text. MPJ: I tend to grade productions on how much Margaret and the other women are cut. The play loses too much of its meaning without this chorus of antagonists. The first Shakespeare play Chéreau directed was in 1970. While researching this interview, I read that Richard II was a controversial production because Chéreau imported music-hall, circus, and pankration elements into this history play. Peter Brook’s A Midsummer Night’s Dream famously imported circus elements the same year. Do you think this was a coincidence? Was there something about the time? DGB: I would say a coincidence. Chéreau wrote abundant notes around his Richard II, arguing with Jan Kott’s and other readings of the histories, but never mentions Peter Brook nor the Dream. It was his infuriated translator, the poet Pierre Leyris, who compared Chéreau’s production to circus, music hall or pankration, more as incriminating features than as actual elements of the show. MPJ: Thank you for setting me straight on that. Chéreau studied Shakespeare’s texts with the poet Yves Bonnefoy. You show in your book that some of Chéreau’s stage productions and films developed from these readings, even when there is no obvious Shakespeare connection. What are some of these and what are the connections? DGB: Some of them are pointed out in his notes and in the printed programmes. He contributed an important chapter to Sylvie de Nussac’s Histoire d’un ‘Ring’: der Ring des Nibelungen de Richard Wagner, a collection of essays around his Bayreuth production of the cycle in 1976-80. Wotan stood with his back to the audience, looking at the mirror of Richard II. Lear was also on his mind, Chéreau writes: “Just as Shakespeare’s King Lear had inspired Wagner’s design for Wotan (and Cordelia of course for Brünnhilde), Edward Bond’s Lear which I had staged not long before, and enjoyed working on, got mixed with Wotan and probably with the whole of the Ring.” The fact that the same actor, Gérard Desarthe performed Peer Gynt in 1981 and Hamlet seven years later stressed a continuity between their quests for the self, the range of their acting performances, from intimate psychology to epic. There were similar links, similar parent/child tensions between Hamlet and Elektra, similar anxieties over the pains inflicted on the other and on the self in love relationships. Between these two productions he revisited the father/son conflict in 2003 with Racine’s Phèdre, one of his rare confrontations with the French classics. As Chéreau noted about these characters, they live in a world where fathers are stronger than their sons. He was also well aware that Wagner, Ibsen, and Hofmannsthal had made connections themselves between their characters and Shakespeare’s. As It You Like, on which he was working when he died, was to be about agreement of contraries. During this preparatory work, he remembered La Dispute, its smell of the woods, its protagonists lost in the fog and ghost orchestra, the only French play to offer the liberty of the forest whereas Shakespeare offered it all the time, he commented. There the characters would be reconciled with each other and with themselves. MPJ: He also seemed to have an affinity for Marlowe. DGB: As a teenager, he watched Roger Planchon, his first mentor, rehearse Edward II. His early productions concentrated on the violent transitions between eras, on “politics brought down to the level of private interests and the fluctuation of alliances as interest dictates”, he wrote in his notes. He was fascinated by the Saint Bartholomew Massacre, which he staged in Massacre à Paris and filmed in La Reine Margot. “Death to be feared, or to overcome”, was a leitmotiv of his professional practice to the end. To him Marlowe’s Massacre seemed to rehearse “all the manners of dying except in one’s bed.” He read extensively, all he could find about the Valois reigns and sixteenth-century diplomacy, to flesh out Marlowe’s skeletal plot. MPJ: I want readers to be clear that La Reine Margot is not an adaptation of Marlowe’s play, but of Dumas’s novel with the same title. Your chapter on Chéreau’s films is called “Movable Pictures’’ instead of the usual “motion pictures.” Why? DGB: As in “a movable feast,” something that escapes fixed frames, and travels light. Because after the expensive Reine Margot, he made intimate films with small budgets and light equipment, one of them entitled Ceux qui m’aiment prendront le train, “Those who love me will travel by train.” The moving camera served his obsessive need to come closer to the actor’s face, search the intimacy of body and inner soul of the characters, film their interior drama. MPJ: Where are the resources for studying Chéreau’s work located? DGB: At the IMEC, Institut Mémoires de l’Ecriture Contemporaine, in the Abbaye d’Ardenne, near Caen. There are also documents kept by the Maison Jean Vilar in Avignon, the Théâtre des Amandiers, Nanterre, and the Odéon. MPJ: Thank you. Are there books that look at Chéreau’s work outside of the underlying Shakespeare? DGB: Yes, several, two good ones by Georges Banu and Clément Hervieu-Léger, J’y arriverai un jour, and Anne-Françoise Benhamou, Patrice Chéreau: Figurer le réel, plus a collection of essays, Chéreau à l’œuvre, edited by Marie-Françoise Lévy and Myriam Koutsinas. And a beautiful book, not exclusively about Chéreau, by his scenographer Richard Peduzzi, Là-bas c’est ailleurs. There is also a chapter in the book Une Mémoire by the philosopher François Regnault, who was his dramaturg for years. And the first two volumes of Chéreau’s own writings, Journal de travail, published by Actes-Sud. MPJ: Oh, that’s exciting. Darn language barrier. In my opinion, too few Shakespeareans are interested in debunking the claims of Shakespeare deniers. Did this interest you before the release of Shakespeare. Combien de prétendants? DGB: It was the release of the film Anonymous that first got me concerned, when I saw the amount of historical nonsense and ignorance of bare facts it circulates. A number of scholars think it best to ignore these theories, not wanting to give the deniers an opportunity to air their views and denounce the confederacy of “Stratfordians” who plot to suppress them. We did not set out to try and convince deniers, we know it is impossible. Many tried before us, in vain. Thomas Pendleton, whom you miss much, you told me, wrote a very witty article on the subject in a Shakespeare Newsletter of 1994. Our aim was to inform non-specialists who do not know who or what to believe, amateur Shakespeareans, scholars in other disciplines, and parents of our students who worry that their children may be wasting their time studying the works of a fraud. MPJ: I do miss Tom and am glad you liked that article. Since I do not read French, can you summarize the argument against John Florio? DGB: Florio is a great linguist, but there isn’t much poetry in him, nor intimate knowledge of the theatre, nor marked interest for English folklore or past history. Inversely, Shakespeare’s plays do not show a deep acquaintance with Italy or Italian culture, even if he quotes Florio’s translation of Montaigne and occasionally borrows from his World of Words. In their background, we find Chaucer more than Dante, the forests of Sherwood and Arden, Piers Plowman, the Mystery Cycles of Coventry, The Mirror for Magistrates, and Tyndale’s Bible, which are no part of Florio’s mental landscape. I find it hard to imagine that Florio would have wasted hours reading English chroniclers and writers for whom, according to Tassinari himself, he had little esteem. MPJ: Any chance of an English translation? Lois told me that her chapter was written in English, so you are already part of the way there. DGB: The question would have to be put to English publishers. But they probably don’t think they need us foreigners to do the job. Because of recent claims around the Florio candidacy (reviewed in Le Monde / Sciences of 15 January 2019), our French publisher Thierry Marchaisse thinks it might be worth a new updated edition, with a broader enquiry into the outbreak of this and similar delusional theories, for instance the one asserting that Corneille wrote Molière’s best plays. François Laroque and I are working on it. MPJ: Publishers should know that I actually wrote the works of William Shakespeare. Royalty checks, please. I had not heard similar claims about Corneille and Molière. My eyes roll. I am curious about your translations. Why Dover Wilson and Auden? DGB: In both cases, I was asked if I would like to translate those books, and I did, very much. François Regnault had recommended What Happens in “Hamlet” to Chéreau, who wanted a translation so his cast could read it when he directed the play. It was a bonus to be allowed in to some of the rehearsals, without the least idea then I would one day write a book about him. Auden is another story. The publisher had read and liked my translation of Burgess’s autobiography, Little Wilson and Big God, and wanted me to translate one of the books on his own list. I turned down several of his offers – Burgess’s book had just taken me two years of hard work, and I didn’t feel tempted to spend so much time with any of those, until he came up with Auden’s Lectures on Shakespeare. MPJ: I think that parts of Dover Wilson’s book are just silly and easily debunked. What in the book appealed to Chéreau, or to ask this another way, what did he want his cast to use? DGB: A number of British scholars share your opinion and find his book embarrassing, because its view of the Elizabethan stage is obsolete. But it is splendidly written, far more pleasurable to read than a number of more up to date essays, and still very useful, especially to a stage director, on the range of Elizabethan theological debates and beliefs about ghosts, their notions of mental illness (these especially were brought to Desarthe’s attention), the dueling practices. Chéreau thought Dover Wilson did not understand how a director could make spectators watch what he wanted them to see, but he found his reconstruction of the mischief behind “miching mallecho” brilliant. The ghost and the final duel were two crucial parts of his own production. MPJ: This brings us to a broad question. There must be some great French language Shakespeare scholarship we do not read because we are on the wrong side of the language barrier. What are some of the seminal works? DGB: To me, the greatest is Richard Marienstras’s Le Proche et le Lointain, an entirely new and original approach of the plays. It has been translated, not very well, I was told, but I haven’t read it in English, so can’t say if some of it is indeed lost in translation. Also translated, François Laroque’s influential Shakespeare’s Festive World around carnivalesque traditions and other seasonal rituals, Gilles Monsarrat’s Light from the Porch on stoicism, Robert Ellrodt’s Montaigne and Shakespeare, Jean-Pierre Maquerlot’s Shakespeare and the Mannerist Tradition, none of which, apart from Laroque’s book, attracted the critical attention they deserved. Many of the books that most helped my research (my answer to your second question) have been translated, but I seldom saw them mentioned by anglophone scholars. Jean Jacquot’s were not, and yet he was the first to my knowledge to investigate the influence of iconography, festive entries, ceremonies, on the stages of medieval and early modern Europe in Les Voies de la création théâtrale, yet he is little known outside France, and seldom given tribute for his pioneering work. Others, Gisèle Venet, Temps et vision tragique: Shakespeare et ses contemporains, a philosophical exploration of the consciousness and sensibility of Elizabethan tragedy from Marlowe to Webster, Michèle Willems, La Genèse du mythe shakespearien, 1660-1780 on the neoclassical rewritings of Shakespeare’s plays, Bernard Sichère, Le Nom de Shakespeare on the so-called “Shakespeare mystery” and his staging of the law of the Father, Yves Peyré, La Voix des mythes dans la tragédie élisabéthaine, which explores the mythological sources of plots and dialogues, Henri Suhamy’s works on prosody and rhetoric, Le Vers de Shakespeare, and his Les figures de style (thirteen editions to this day), to quote a few, made significant contributions to French research but remained untranslated. MPJ: SNL is sent to marketing departments of the English and American publishers who send review copies to us, so I hope they take note. Are there recent works exploring arguments unaddressed in English language scholarship? DGB: Most young Shakespeare scholars write and publish directly in English nowadays. I can’t blame them, since that is bound to ensure a larger readership, but I wish they were less eager to emulate the Anglo-American format of conferences, MLA style sheets, gender studies, and so on, which I often find too insular, too focused on narrow specialized areas for my own taste. I like long history, and trans-national areas of research. MPJ: Are there any books that you refer to frequently? DGB: Those I have mentioned above remain with me, but my work has moved on to different areas, making me read other books on law and theatre which has been my main theme of research since the histories, on the transmission and reappropriation of characters like Joan, rewritings of texts like Julius Caesar or Coriolanus, nineteenth-century Shakespeare, past and present performance. MPJ: Are any non-lit-crit books that you have found particularly enriching in your thinking and writing about Shakespeare and early modern theatre? DGB: Yes, many, some have no direct connection or only a distant one with Shakespeare, but belong to the same imaginative mindscape, some lent ideas, styles and colors to my writing: The Oresteia, Homer, Boethius’s Consolation of Philosophy, Geoffrey Chaucer’s The Canterbury Tales, Victor Hugo’s Notre-Dame de Paris, Scott’s Ivanhoe and Kenilworth, Alexandre Dumas’ Mes mémoires, Anthony Burgess’s Dead Man in Deptford and Nothing Like the Sun, Josephine Tey’s The Daughter of Time, Antony Sher’s Year of the King, Jacques Darras’s Reith Lectures, Daniel Mendelsohn’s An Odyssey, Chrétien de Troyes, Philippe de Commynes, Morte d’Arthur, Pound’s Cantos, Eliot’s Waste Land, Roland Barthes’s Sur Racine, Tony Harrison’s Mysteries, Sterne’s Sentimental Journey, Umberto Eco’s The Name of the Rose, Anne Cunéo’s Le Maître de Garamond, Michel Pastoureau’s illuminating studies of color, Rouge, Bleu, Vert, Noir, through the ages. MPJ: You have mentioned some of my favorite books, and I am especially glad you included Tony Harrison’s sometimes overlooked adaptation of The Mysteries, which is fabulous. Are there any books you’d like to mention, but I lacked the wit to ask about? DGB: Two excellent essays I read recently and reviewed in En attendant Nadeau. One I would very much like to see translated in French, Andreas Höfele’s No Hamlets: German Shakespeare from Nietzsche to Carl Schmitt. And Georges Forestier’s superb Molière, a biography that revisits all the sources and completely upsets the traditional portraits of our favorite playwright. MPJ: Thanks, Dominique. I really appreciate you consenting to be my guest in this column. DGB: Thank you for inviting me in. Your questions took me back many exciting years, books, and performances. MPJ: I am also glad to acknowledge some debts. First to Andreas Höfele, who sent me the text of a Shakespeare Association of America seminar paper he wrote years ago, and later included in one of his books. I thought it might help with some research I was doing at the time, and Prof. Höfele was kind enough to share this then unpublished work with me. Additional thanks to Thea Buckley, Balz Engler, José Ramón Díaz Fernández, Ton Hoenselaars, Martin Hyatt, and Bruce Young, all of whom contacted me after I sent out a plea for help when Prof. Goy-Blanquet’s campus email address stopped working in the middle of the interview process. Hardy Cook was kind enough let me post a query for an alternate address on his shaksper list.[3] I am grateful to you all. Bibliography (Prof. Goy-Blanquet offered multiple translations for certain classics.) Aeschylus, Les Tragiques grecs. Eschyle. Sophocle. Euripide. Théâtre complet, Victor-Henri Debidour, trans (Editions de Fallois, 1999). Amyot, Jacques, Les Vies Des Hommes Illvstres Grecs et Romains Compares L vne Avec L’avtre Par Plvtarqve de Chærones (Paris, 1559). Anonymous, Roland Emmerich, dir., 2011, Columbia Pictures. Arnold, Oliver. The Third Citizen: Shakespeare’s Theater and the Early Modern House of Commons (Johns Hopkins University Press, 2007). Auden, W. H. Shakespeare, Dominique Goy-Blanquet, trans. (Rocher, 2003). Auerbach, Erich. Mimesis: The Representation of Reality in Western Literature, Willard R. Trask, trans., (1953, reissued by Princeton University Press, 2013). Baker, John H. The Third University of England: the inns of court and the common-law tradition (Seldon Society, 1990). Barthes, Roland. Sur Racine (Editions du Seuil, 1963). Banu, Georges and Hervieu-Léger, Clément, eds. J’y arriverai un jour (Actes-Sud, 2009). Benhamou, Anne-Françoise. Patrice Chéreau: Figurer le réel (Solitaires Intempestifs, 2015). Berry, Edward I. Patterns of Decay: Shakespeare’s Early Histories (University Press of Virginia, 1975). Bloch, Marc. Les Rois thaumaturges (1924, reissued by Gallimard in 1998). Boethius, Chaucer’s Translation of Boethius’ ‘De Consolatione Philosophiae’, Geoffrey Chaucer, trans., Richard Morris, ed. (Oxford University Press, 1868). _____. Queen Elizabeth’s Englishings of Boethius, ‘De consolatione philosophiae’, Plutarch ‘De curiositate’, Horace, ‘De arte poetica’, Caroline Pemberton, ed. (EETS, 1899). _____. The Consolation of Philosophy, W.V. Cooper, trans. (J.M. Dent, 1902). Bond, Edward. Lear (Methuen, 1972). Brockbank, Philip. “The Frame of Disorder – Henry VI,” On Shakespeare: Jesus, Shakespeare, and Karl Marx, and other essays (Basil Blackwell, 1989). Burgess, Anthony. Dead Man in Deptford (Hutchison, 1993). _____. Nothing Like the Sun: A Story of Shakespeare’s Love Life (Heinemann, 1964). _____. Petit Wilson et Dieu le Père: les confessions d’Anthony Burgess, Dominique Goy-Blanquet, trans. (Grasset, 1996). Ceux qui m’aiment prendront le train, Patrice Chéreau, dir., 1998, Téléma. Chaucer, Geoffrey. The Canterbury Tales, Nevil Coghill, trans. (Penguin Books, 1965). _____. The Riverside Chaucer, Larry D. Benson, ed. (Oxford University Press, 2008). Chéreau, Patrice. Journal de travail (Actes-Sud, 2018). _____. “Lorsque cinq ans seront passés” in Histoire d’un ‘Ring’: der Ring des Nibelungen de Richard Wagner, Bayreuth 1976-1980, Sylvie de Nussac, ed. (Robert Laffont, 1980) , pp. 85-177 Chrétien de Troyes, Le Conte du Graal ou le roman de Perceval (Honoré Champion, 1972). _____. Le Chevalier de la charrette (Honoré Champion, 1962). _____. Yvain, Le Chevalier au Lion (Gallimard, 1944). _____. La Légende arthurienne. Le Graal et la Table ronde Danielle Régnier-Bohler, ed. (Laffont, 1989). Collinson, Patrick. Godly People: Essays in English Protestantism and Puritanism (A&C Black, 1982). Philippe de Commynes, Mémoires, (Agora Pocket, 2004). _____, Memoirs of Philippe de Commynes, Samuel Kinser, ed., Isabelle Cazeaux, trans. (University of South Carolina Press, 1973). Cormack, Bradin. A Power to Do Justice: Jurisdiction, English Literature, and the Rise of Common Law, 1509–1625 (University of Chicago Press, 2008). Cunéo, Anne. Le Maître de Garamond (Bernard Campiche Editeur, 2002). Curtius, Ernst. European Literature and the Latin Middle Ages (1948, reissued by Princeton University Press, 1991). Darras, Jacques. Beyond the Tunnel of History, revised and expanded by Daniel Snowman (University of Michigan Press, 1990). Dreyer, Carl, dir. La Passion de Jeanne d’Arc (Société Générale des Films, 1928). Dumas, Alexandre. Mes mémoires, thirty volumes (Codot, 1852-5). Eco, Umberto. Il nome della rosa (Bompiani, 1980). Eliot, T.S. The Waste Land, (Horace Liveright, 1922). Ellrodt, Robert. Montaigne and Shakespeare: The Emergence of Modern Self-consciousness (Manchester University Press, 2017). Florio, John. Essayes Written in French By Michael Lord of Montaigne Knight of the Order of Saint Michael, Gentleman of the French King’s Chamber: done into English according to the laſt French edition by Iohn Florio (London: 1613). _____. Queen Anna’s New World of Words Or Dictionarie of the Italian and English Tongues (London: 1611). Forestier, Georges. Molière (Gallimard, 2018). Frazer, James George. The Golden Bough: A Study in Comparative Religion (Macmillan & Co., 1890). Frye, Northrop, Fables of Identity: Studies in Poetic Mythology (Mariner Books, 1963). Fussner, Frank, The Historical Revolution: English Historical Writing and Thought 1580-1640 (1962, reissued by Routledge, 2010). _____. Tudor History and the Historians (Basic Books, 1969). Giesey, Ralph, Le Roi ne meurt jamais. Les obsèques dans la France de la Renaissance (Flammarion, 1992). Gilson, Etienne, La Philosophie au Moyen Âge (Payot & Co., 1922). le Goff, Jacques. The Birth of Purgatory, Arthur Goldhammer, trans. (University of Chicago Press, 1986). _____. Saint Louis, Gareth Gollrad, trans. (University of Notre Dame Press, 2009). _____. Pour un autre Moyen Âge (Gallimard 1978). Goodrich, Peter. Oedipus Lex: Psychoanalysis, History, Law (University of California Press, 1995). Goy-Blanquet. Dominique. Côté Cour, Côté Justice: Shakespeare et l’invention du droit (Classiques Garnier, 2016). _____. Richard II (Armand Colin, 2004). _____. Richard III (Didier érudition, 1999). _____. Shakespeare et l’invention de l’histoire: Guide commenté du théâtre historique de Shakespeare (Le Cri, 1997). _____. Shakespeare’s Early History Plays: From Chronicle to Stage (Oxford University Press, 2003). _____. Shakespeare in the Theatre: Patrice Chéreau (Arden, 2018). Goy-Blanquet. Dominique, trans., Pour comprendre Hamlet : enquête à Elseneur by John Dover Wilson (Le Seuil, 1992). _____. Shakespeare by W. H. Auden (Anatolia, 2003). Goy-Blanquet. Dominique, ed., Jeanne d’Arc en garde à vue (Le Cri , 1999). _____. Joan of Arc, A Saint for All Reasons: Studies in Myth and Politics (Ashgate, 2003). Goy-Blanquet, Dominique and Laroque, François, eds. Shakespeare, Combien de prétendants? (Editions Thierry Marchaisse in 2016). Guy, John. Politics, Law and Counsel in Tudor and Early Stuart England (Ashgate, 2000). Harrison, Tony. The Mysteries (Faber, 1985). Heusch, Luc de. Le Roi ivre ou l’origine de l’Etat (Gillimard, 1972). Höfele, Andreas. No Hamlets: German Shakespeare from Nietzsche to Carl Schmitt (Oxford University Press, 2016). Holland, Peter. Shakespeare on the English Stage in the 1990s (Cambridge University Press, 1997). Homer, Iliade, prefaced by Pierre Vidal-Naquet, Paul Mazon, trans. (Folio Gallimard, 1975). _____. L’Iliade. L’Odyssée, Louis Bardollet, Bouquins Laffont, trans. (Bouqins, 1995). _____. Odyssée, prefaced by Paul Claudel, Victor Bérard, trans. (Folio Gallimard, 1955). _____. The Whole Works of Homer, George Chapman, trans. Allardyce Nicoll, ed. (Princeton University Press, 1998 and 2000). Hortmann, Wilhelm. Shakespeare and the German Stage. Two volumes (Cambridge University Press, 1990 and 1998). Hugo, Victor. Notre-Dame de Paris (Gosselin, 1831). Iser, Wolfgang. Staging Politics: The Lasting Impact of Shakespeare’s Histories (Cambridge University Press, 1993). Jackson, Russell. Shakespeare Films in the Making: Vision, Production and Reception (Cambridge University Press, 2007). Jacquot, Jean, Le Théâtre tragique (Centre national de la recherche scientifique, 1962). _____, ed. Les Voies de la création théâtrale (Editions du Centre national de la recherche scientifique, seven volumes, 1970-1987). Jones, Norman. Faith by Statute: Parliament and the Settlement of Religion 1559 (Royal Historical Society, 1982). Kantorowicz, Ernst H. The King’s Two Bodies: A Study in Mediaeval Political Theology (Princeton University Press, 1957). Kelly, Henry Ansgar. Divine Providence in the England of Shakespeare’s Histories (Harvard University Press, 1970). Kott, Jan. Shakespeare our Contemporary trans. Boleslaw Taborski (W. W. Norton & Company, 1974). Laroque, François. Shakespeare’s Festive World: Elizabethan Seasonal Entertainment and the Professional Stage (Cambridge University Press, 1991). La Reine Margot, Patrice Chéreau, 1993, Renn Productions. Lefort, Claude. Le Travail de l’œuvre: Machiavel (Gallimard, 1972). Lévy, Marie-Françoise and Koutsinas, Myriam, eds. Chéreau à l’œuvre (Presses Universitaires de Rennes, 2016). Marienstras, Richard. Le Proche et le Lointain: Sur Shakespeare, le drame élisabéthain et l’idéologie anglaise aux XVIk et XVIIt siècles (Minuit, 1981). Marin, Louis. Le Portrait du roi (Les Editions de Minuit, 1981). Maitland, Frederic William. English Law and the Renaissance (The Rede Lecture for 1901) with some Notes (Cambridge University Press, 1901). Mallory, Thomas. Le Morte d’Arthur (London, 1485). Marlowe, Christopher. Massacre at Paris (London, 1600). Jean-Pierre Maquerlot, Shakespeare and the Mannerist Tradition: A Reading of Five Problem Plays (Cambridge University Press, 2005). A Mirror for Magistrates, six editions (London: 1559-1610) Mendelsohn, Daniel. An Odyssey: A Father, a Son, and an Epic (Knopf, 2017). Monsarrat, Gilles. Light from the Porch: Stoicism and English Renaissance Literature (Didier-Érudition (1984). Norton, Thomas and Sackville, Thomas. The Tragedie of Ferrex and Porrex or Gorboduc (London, 1565). Geoffrey de Clifton Parmiter, The King’s Great Matter. A Study of Anglo-Papal Relations 1527-1534 (Longmans, 1967). Pastoureau, Michel. Vert. Histoire d’une couleur (Le Seuil, 2013). _____. Une couleur ne vient jamais seule (Le Seuil, 2017). Peduzzi, Richard. Là-bas c’est ailleurs (Actes Sud, 2014). Pendleton, Thomas A. “Irvin Matus’s Shakespeare, IN FACT,” The Shakespeare Newsletter, 44:2, 1994, pp. 21, 26, 28-30. _____. “Shakespeare’s Early History Plays: From Chronicle to Stage” review, The Shakespeare Newsletter, 55:3, 2005, pp. 67-8, 76. Peyré, Yves. La Voix des mythes dans la tragédie élisabéthaine (CNRS Editions, 1996). Pinguet, Maurice. La Mort volontaire au Japon (Gallimard, 1991). Potter, Lois. The Text, the Play and the Globe: Essays on Literary Influence in Shakespeare’s World and His Work in Honor of Charles R. Forker (The Fairleigh Dickinson University Press, 2016). Pound, Ezra. The Cantos (Three Mountains Press, 1925 – under the title A Draft of XVI Cantos; New Directions, 1970 – the first 120 cantos under the title The Cantos). Prest, Wilfrid R. The Inns of Court under Elizabeth I and the Early Stuarts, 1590-1640 (Rowman and Littlefield, 1972). Prior, Moody. The Drama of Power: Studies In Shakespeare’s History Plays (Northwestern University Press, 1973). Pugliatti, Paola. Shakespeare the Historian (Palgrave, 1996). Raffield, Paul. Images and Cultures of Law in Early Modern England: Justice and Political Power, 1558-1660 (Cambridge University Press, 2007) _____. Shakespeare’s Imaginary Constitution: Late Elizabethan Politics and the Theatre of Law (Hart Publishing, 2010). Regnault, François. Une Mémoire. Nouveaux Écrits sur le théâtre (Coedition: Riveneuve/Archimbaud, 2018). Ricœur, Paul. La Métaphore vive (Le Seuil, 1975). Riggs, David. Shakespeare’s Heroical Histories: Henry VI and its Literary Tradition (Harvard University Press, 1971). Jeanne la Pucelle, Jacques Rivette, dir., 1994, France 3 Cinéma. Rossiter, A.P. Angel with Horns: Fifteen Lectures on Shakespeare (Longmans, 1961). Rougemont, Denis de. L’amour et l’occident (1939, reissued by Rizzoli, 2006). Rutter, Carol. Enter the Body: Women and Representation on Shakespeare’s Stage (Routledge, 2001). Sanders, Wilbur. The Dramatist and the Received Idea: Studies in the Plays of Marlowe and Shakespeare (Cambridge University Press, 1968). Scott, Walter. Ivanhoe (Archibald Constable, 1819). _____. Kenilworth (Archibald Constable, 1821). Sichère, Bernard. Le Nom de Shakespeare (Gallimard, 1987). Shakespeare, William. The First part of Henry VI, Michael Hattaway, ed. (Cambridge University Press, 1990). _____. The Second Part of Henry VI, Michael Hattaway, ed. (Cambridge University Press, 1991). _____. The Third Part of Henry VI, Michael Hattaway, ed. (Cambridge University Press, 1993). Sher, Antony. Year of the King: An Actor’s Diary and Sketchbook (Methuen, 1985). Skinner, Quentin. The Foundation of Modern Political Thought (Cambridge University Press, 1978). Sterne, Laurence. A Sentimental Journey Through France and Italy (T. Becket and P. A. De Hondt, 1768). Suhamy, Henri. Les Figures de style (Presses universitaires de France, 1981). _____. Le Vers de Shakespeare (Didier-Érudition, 1984). Tassinari, Lamberto. John Florio the Man Who was Shakespeare (Giano Press, 2009). Tey, Josephine. The Daughter of Time (Peter Davies, 1951). Tillyard, E.M.W. The Elizabethan World Picture: A Study of the Idea of Order in the Age of Shakespeare, Donne and Milton (Chatto & Windus, 1943). _____. Shakespeare’s History Plays (Chatto & Windus, 1944). Tyndale, William. The New Testament Of Our Lord And Saviour Jesus Christ: Published In 1526 (London: 1526). Venet, Gisèle. Temps et vision tragique: Shakespeare et ses contemporains (Presses de la Sorbonne Nouvelle, 2003). Vernant, Jean-Pierre and Vidal-Naquet, Pierre. Mythe et Tragédie en Grèce ancienne (F. Maspero, 1972). Veyne, Paul. Comment on écrit l’histoire (Éditions du Seuil, 1971). Voltaire (François-Marie Arouet), “La Pucelle d’Orléans” (Paris: 1755). Willems, Michèle. La Genèse du mythe shakespearien, 1660-1780 (Presses universitaires de France, 1979). Wilson, John Dover. Vous avez dit “Hamlet“?, Dominique Goy-Blanquet, trans. (Amandiers/Presses universitaires de France, 1988). [1] Professor Goy-Blanquet prefers this to “emerita,” because the original Latin is ex meritus. [2] https://www.youtube.com/watch?v=HSMRrPotOrE
5894	dbpedia	0	1	https://en.wikipedia.org/wiki/Ian_McKellen	en	Ian McKellen	https://upload.wikimedia…Ian_McKellen.jpg	https://upload.wikimedia…Ian_McKellen.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/15/SDCC13_-_Ian_McKellen.jpg/220px-SDCC13_-_Ian_McKellen.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/33/Jane_Seymour_and_Ian_McKellen_in_Amadeus%2C_1980_or_1981.jpg/200px-Jane_Seymour_and_Ian_McKellen_in_Amadeus%2C_1980_or_1981.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Ian_McKellen.jpg/160px-Ian_McKellen.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/BAFTA_2007_%28387064580%29.jpg/160px-BAFTA_2007_%28387064580%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/21/BAFTA_2007_%28387059718%29.jpg/220px-BAFTA_2007_%28387059718%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/de/9.24.13WaitingForGodot-NoMansLandPressJunketByLuigiNovi8.jpg/220px-9.24.13WaitingForGodot-NoMansLandPressJunketByLuigiNovi8.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/McKellenRichmnd040219-13_%2846275366854%29_%28cropped%29.jpg/160px-McKellenRichmnd040219-13_%2846275366854%29_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/88/McKellen_2010.jpg/220px-McKellen_2010.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Ian_McKellen_at_Europride_2003_Parade.jpg/220px-Ian_McKellen_at_Europride_2003_Parade.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/The_hands_of_Sir_Ian_McKellen.jpg/220px-The_hands_of_Sir_Ian_McKellen.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/19px-P_vip.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Lancashire_rose.svg/20px-Lancashire_rose.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Flag_of_North_West_England.svg/21px-Flag_of_North_West_England.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Nuvola_LGBT_flag.svg/19px-Nuvola_LGBT_flag.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/P_culture.svg/21px-P_culture.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/19px-Video-x-generic.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Blank_television_set.svg/21px-Blank_television_set.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1d/Radio_icon.png/21px-Radio_icon.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-12-02T22:00:35+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Ian_McKellen	English actor (born 1939) Sir Ian Murray McKellen (born 25 May 1939) is an English actor. With a career spanning more than sixty years, he is noted for his roles on the screen and stage in genres ranging from Shakespearean dramas and modern theatre to popular fantasy and science fiction. He is regarded as a British cultural icon and was knighted by Queen Elizabeth II in 1991.[2][3] He has received numerous accolades, including a Tony Award, six Olivier Awards, and a Golden Globe Award as well as nominations for two Academy Awards, five BAFTA Awards and five Emmy Awards. McKellen made his stage debut in 1961 at the Belgrade Theatre as a member of its repertory company, and in 1965 made his first West End appearance. In 1969, he was invited to join the Prospect Theatre Company to play the lead parts in Shakespeare's Richard II and Marlowe's Edward II. In the 1970s McKellen became a stalwart of the Royal Shakespeare Company and the National Theatre of Great Britain. He has earned five Olivier Awards for his roles in Pillars of the Community (1977), The Alchemist (1978), Bent (1979), Wild Honey (1984), and Richard III (1995). McKellen made his Broadway debut in The Promise (1965). He went on to receive the Tony Award for Best Actor in a Play for his role as Antonio Salieri in Amadeus (1980). He was further nominated for Ian McKellen: Acting Shakespeare (1984). He returned to Broadway in Wild Honey (1986), Dance of Death (1990), No Man's Land (2013), and Waiting for Godot (2013), the latter two being a joint production with Patrick Stewart.[4] McKellen achieved worldwide fame for his film roles, including the titular King in Richard III (1995), James Whale in Gods and Monsters (1998), Magneto in the X-Men films, and Gandalf in The Lord of the Rings (2001–2003) and The Hobbit (2012–2014) trilogies. Other notable film roles include A Touch of Love (1969), Plenty (1985), Six Degrees of Separation (1993), Restoration (1995), Mr. Holmes (2015), and The Good Liar (2019). McKellen came out as gay in 1988, and has since championed LGBT social movements worldwide. He was awarded the Freedom of the City of London in October 2014.[5] McKellen is a co-founder of Stonewall, an LGBT rights lobby group in the United Kingdom, named after the Stonewall riots.[6] He is also patron of LGBT History Month,[7] Pride London, Oxford Pride, GAY-GLOS, LGBT Foundation and FFLAG.[8] Early life and education [edit] McKellen was born on 25 May 1939 in Burnley, Lancashire,[10] the son of Margery Lois (née Sutcliffe) and Denis Murray McKellen. He was their second child, with a sister, Jean, five years his senior.[11] Shortly before the outbreak of the Second World War in September 1939, his family moved to Wigan. They lived there until Ian was twelve years old, before relocating to Bolton in 1951 after his father had been promoted.[11][12] The experience of living through the war as a young child had a lasting impact on him, and he later said that "only after peace resumed ... did I realise that war wasn't normal".[12] When an interviewer remarked that he seemed quite calm in the aftermath of the 11 September attacks, McKellen said: "Well, darling, you forget—I slept under a steel plate until I was four years old".[13] McKellen's father was a civil engineer[14] and lay preacher, and was of Protestant Irish and Scottish descent.[15] Both of McKellen's grandfathers were preachers, and his great-great-grandfather, James McKellen, was a "strict, evangelical Protestant minister" in Ballymena, County Antrim.[16] His home environment was strongly Christian, but non-orthodox. "My upbringing was of low nonconformist Christians who felt that you led the Christian life in part by behaving in a Christian manner to everybody you met".[17] When he was 12, his mother died of breast cancer; his father died when he was 25. After his coming out as gay to his stepmother, Gladys McKellen, who was a Quaker, he said, "Not only was she not fazed, but as a member of a society which declared its indifference to people's sexuality years back, I think she was just glad for my sake that I wasn't lying any more".[18] His great-great-grandfather Robert J. Lowes was an activist and campaigner in the ultimately successful campaign for a Saturday half-holiday in Manchester, the forerunner to the modern five-day work week, thus making Lowes a "grandfather of the modern weekend".[19] McKellen attended Bolton School (Boys' Division),[20] of which he is still a supporter, attending regularly to talk to pupils. McKellen's acting career started at Bolton Little Theatre, of which he is now the patron.[21] An early fascination with the theatre was encouraged by his parents, who took him on a family outing to Peter Pan at the Opera House in Manchester when he was three.[11] When he was nine, his main Christmas present was a fold-away wood and bakelite Victorian theatre from Pollocks Toy Theatres, with cardboard scenery and wires to push on the cut-outs of Cinderella and of Laurence Olivier's reenactment of Shakespeare's "Hamlet".[11] His sister took him to his first Shakespeare play, Twelfth Night,[22] by the amateurs of Wigan's Little Theatre, shortly followed by their Macbeth and Wigan High School for Girls' production of A Midsummer Night's Dream, with music by Mendelssohn, with the role of Bottom played by Jean McKellen, who continued to act, direct, and produce amateur theatre until her death.[23] In 1958, McKellen, at the age of 18, won a scholarship to St Catharine's College, Cambridge, where he read English literature.[24] He has since been made an Honorary Fellow of the college. While at Cambridge, McKellen was a member of the Marlowe Society, where he appeared in 23 plays over the course of 3 years. At that young age he was already giving performances that have since become legendary such as his Justice Shallow in Henry IV alongside Trevor Nunn and Derek Jacobi (March 1959), Cymbeline (as Posthumus, opposite Margaret Drabble as Imogen) and Doctor Faustus.[25][26][27] During this period McKellen had already been directed by Peter Hall, John Barton and Dadie Rylands, all of whom would have a significant impact on McKellen's future career. Career [edit] 1965–1985: National Theatre acclaim [edit] McKellen made his first professional appearance in 1961 at the Belgrade Theatre in Coventry, as Roper in A Man for All Seasons, although an audio recording of the Marlowe Society's Cymbeline had gone on commercial sale as part of the Argo Shakespeare series.[25][27] After four years in regional repertory theatres, McKellen made his first West End appearance, in A Scent of Flowers, regarded as a "notable success".[25] In 1965 he was a member of Laurence Olivier's National Theatre Company at the Old Vic, which led to roles at the Chichester Festival. With the Prospect Theatre Company, McKellen made his breakthrough performances of Shakespeare's Richard II (directed by Richard Cottrell) and Christopher Marlowe's Edward II (directed by Toby Robertson) at the Edinburgh Festival in 1969, the latter causing a storm of protest over the enactment of the homosexual Edward's lurid death.[29] One of McKellen's first major roles on television was as the title character in the BBC's 1966 adaptation of David Copperfield, which achieved 12 million viewers on its initial airings. After some rebroadcasting in the late 60s, the master videotapes for the serial were wiped, and only four scattered episodes (3, 8, 9 and 11) survive as telerecordings, three of which feature McKellen as adult David. McKellen had taken film roles throughout his career—beginning in 1969 with his role of George Matthews in A Touch of Love, and his first leading role was in 1980 as D. H. Lawrence in Priest of Love,[30] but it was not until the 1990s that he became more widely recognised in this medium after several roles in blockbuster Hollywood films.[24] In 1969, McKellen starred in three films, Michael Hayes's The Promise, Clive Donner's epic film Alfred the Great, and Waris Hussein's A Touch of Love (1969). In the 1970s, McKellen became a well-known figure in British theatre, performing frequently at the Royal Shakespeare Company and the Royal National Theatre, where he played several leading Shakespearean roles. From 1973 to 1974, McKellen toured the United Kingdom and Brooklyn Academy of Music portraying Lady Wishfort's Footman, Kruschov, and Edgar in the William Congreve comedy The Way of the World, Anton Chekov's comedic three-act play The Wood Demon and William Shakespeare tragedy King Lear. The following year, he starred in Shakespeare's King John, George Colman's The Clandestine Marriage, and George Bernard Shaw's Too True to Be Good. From 1976 to 1977 he portrayed Romeo in the Shakespeare romance Romeo & Juliet at the Royal Shakespeare Theatre. The following year he played King Leontes in The Winter's Tale. In 1976, McKellen played the title role in William Shakespeare's Macbeth at Stratford in a "gripping ... out of the ordinary" production, with Judi Dench, and Iago in Othello, in award-winning productions directed by Trevor Nunn.[25] Both of these productions were adapted into television films, also directed by Nunn. From 1978 to 1979 he toured in a double feature production of Shakespeare's Twelfth Night, and Anton Chekov's Three Sisters portraying Sir Toby Belch and Andrei, respectively. In 1979, McKellen gained acclaim for his role as Antonio Salieri in the Broadway transfer production of Peter Shaffer's play Amadeus. It was an immensely popular play produced by the National Theatre originally starring Paul Scofield. The transfer starred McKellen, Tim Curry as Wolfgang Amadeus Mozart, and Jane Seymour as Constanze Mozart. The New York Times theatre critic Frank Rich wrote of McKellen's performance "In Mr. McKellen's superb performance, Salieri's descent into madness was portrayed in dark notes of almost bone-rattling terror".[33] For his performance, McKellen received the Tony Award for Best Actor in a Play.[34] In 1981, McKellen portrayed writer and poet D. H. Lawrence in the Christopher Miles directed biographical film, Priest of Love. He followed up with Michael Mann's horror film The Keep (1983). In 1985, he starred in Plenty, the film adaptation of the David Hare play of the same name. The film was directed by Fred Schepisi and starred Meryl Streep, Charles Dance, John Gielgud, and Sting. The film spans nearly 20 years from the early 1940s to the 1960s, around an Englishwoman's experiences as a fighter for the French Resistance during World War II when she has a one-night stand with a British intelligence agent. The film received mixed reviews with Roger Ebert of The Chicago Sun-Times praising the film's ensemble cast writing, "The performances in the movie supply one brilliant solo after another; most of the big moments come as characters dominate the scenes they are in".[35] 1986–2000: Established actor [edit] In 1986, he returned to Broadway in the revival of Anton Chekhov's first play Wild Honey alongside Kim Cattrall and Kate Burton. The play concerned a local Russian schoolteacher who struggles to remain faithful to his wife, despite the attention of three other women. McKellen received mixed reviews from critics in particular Frank Rich of The New York Times who praised him for his "bravura and athletically graceful technique that provides everything except, perhaps, the thing that matters most—sustained laughter". He later wrote, "Mr. McKellen finds himself in the peculiar predicament of the star who strains to carry a frail supporting cast".[36] In 1989 he played Iago in production of Othello by the Royal Shakespeare Company. McKellen starred in the British drama Scandal (1989) a fictionalised account of the Profumo affair that rocked the government of British prime minister Harold Macmillan. McKellen portrayed John Profumo. The film starred Joanne Whalley, and John Hurt. The film premiered at the 1989 Cannes Film Festival and competed for the Palme d'Or. When his friend and colleague, Patrick Stewart, decided to accept the role of Captain Jean-Luc Picard in the American television series, Star Trek: The Next Generation, McKellan strongly advised him not to throw away his respected theatrical career to work in television. However, McKellan later conceded that Stewart had been prudent in accepting the role, which made him a global star and later followed his example such as co-starring with Stewart in the X-Men superhero film series.[38] From 1990 to 1992, he acted in a world tour of a lauded revival of Richard III, playing the title character. The production played at the Brooklyn Academy of Music for two weeks before continuing its tour where Frank Rich of New York Times was able to review it. In his piece, he praised McKellen's performance writing, "Mr McKellen's highly sophisticated sense of theatre and fun drives him to reveal the secrets of how he pulls his victims' strings whether he is addressing the audience in a soliloquy or not".[39] For his performance he received the Laurence Olivier Award for Best Actor.[40] In 1992, he acted in Pam Gems's revival of Chekov's Uncle Vanya at the Royal National Theatre alongside Antony Sher, and Janet McTeer. In 1993, he starred in the film Six Degrees of Separation based on the Pulitzer Prize and Tony Award nominated play of the same name. McKellen starred alongside Will Smith, Donald Sutherland and Stockard Channing. The film was a critical success. That same year, he also appeared in the western The Ballad of Little Jo opposite Bob Hoskins and the action comedy Last Action Hero starring Arnold Schwarzenegger. The following year, he appeared in the superhero film The Shadow with Alec Baldwin and the James L. Brooks directed comedy I'll Do Anything starring Nick Nolte. In 1995, McKellen made his screenwriting debut with Richard III, an ambitious adaptation of William Shakespeare's play of the same name, directed by Richard Loncraine.[41][42] The film reimagines the play's story and characters to a setting based on 1930s Britain, with Richard depicted as a fascist plotting to usurp the throne. McKellen stars in the title role alongside an ensemble cast including Annette Bening, Robert Downey Jr., Jim Broadbent, Kristen Scott Thomas, Nigel Hawthorne and Dame Maggie Smith. As executive producer he returned his £50,000 fee to complete the filming of the final battle.[43] In his review of the film, The Washington Post film critic Hal Hinson called McKellen's performance a "lethally flamboyant incarnation" and said his "florid mastery ... dominates everything".[44] Film critic Roger Ebert of the Chicago Sun-Times praised McKellen's adaptation and his performance in his four star review writing, "McKellen has a deep sympathy for the playwright ... Here he brings to Shakespeare's most tortured villain a malevolence we are moved to pity. No man should be so evil, and know it. Hitler and others were more evil, but denied out to themselves. There is no escape for Richard. He is one of the first self-aware characters in the theatre, and for that distinction he must pay the price".[45] His performance in the title role garnered BAFTA and Golden Globe nominations for Best Actor and won the European Film Award for Best Actor. His screenplay was nominated for the BAFTA Award for Best Adapted Screenplay. That same year, he appeared in the historical drama Restoration (1995) also starring Downey Jr., as well as Meg Ryan, Hugh Grant, and David Thewlis. He also appeared in the British romantic comedy Jack and Sarah (1995) starring Richard E. Grant, Samantha Mathis, and Judi Dench. In 1993, he appeared in minor roles in the television miniseries Tales of the City, based on the novel by his friend Armistead Maupin. Later that year, McKellen appeared in the HBO television film And the Band Played On based on the acclaimed novel of the same name about the discovery of HIV. For his performance as gay rights activist Bill Kraus, McKellen received the CableACE Award for Supporting Actor in a Movie or Miniseries and was nominated for the Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie.[46] From 1993 to 1997 McKellen toured in a one-man show entitled, A Knights Out, about coming out as a gay man. Laurie Winer from The Los Angeles Times wrote, "Even if he is preaching to the converted, McKellen makes us aware of the vast and powerful intolerance outside the comfortable walls of the theatre. Endowed with a rare technique, he is a natural storyteller, an admirable human being and a hands-on activist".[47] From 1997 to 1998, he starred as Dr. Tomas Stockmann in a revival of Henrik Ibsen's An Enemy of the People. Later that year he played Garry Essendine in the Noël Coward comedy Present Laughter at the West Yorkshire Playhouse. In 1998, he appeared in the modestly acclaimed psychological thriller Apt Pupil, which was directed by Bryan Singer and based on a story by Stephen King.[50] McKellen portrayed a fugitive Nazi officer living under a false name in the US who is befriended by a curious teenager (Brad Renfro) who threatens to expose him unless he tells his story in detail. That same year, he played James Whale, the director of Frankenstein in the Bill Condon directed period drama Gods and Monsters, a role for which he was subsequently nominated for the Academy Award for Best Actor, losing it to Roberto Benigni in Life is Beautiful (1998).[24] In 1995, he appeared in the BBC television comedy film Cold Comfort Farm starring Kate Beckinsale, Rufus Sewell, and Stephen Fry. The following year he starred as Tsar Nicholas II in the HBO made-for-television movie Rasputin: Dark Servant of Destiny (1996) starring Alan Rickman as Rasputin. For his performance, McKellen earned a Primetime Emmy Award for Outstanding Supporting Actor in a Limited Series or Movie nomination and received a Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film win. McKellen appeared as Mr Creakle in the BBC series David Copperfield (1999) based on the Charles Dickens classic novel. The miniseries starred a pre-Harry Potter Daniel Radcliffe, Bob Hoskins, and Dame Maggie Smith. 2000–2011: International stardom [edit] In 1999, McKellen was cast, again under the direction of Bryan Singer, to play the comic book supervillain Magneto in the 2000 film X-Men and its sequels X2: X-Men United (2003) and X-Men: The Last Stand (2006).[24] He later reprised his role of Magneto in 2014's X-Men: Days of Future Past, sharing the role with Michael Fassbender, who played a younger version of the character in 2011's X-Men: First Class.[51] While filming the first X-Men film in 1999, McKellen was cast as the wizard Gandalf in Peter Jackson's film trilogy adaptation of The Lord of the Rings (consisting of The Fellowship of the Ring, The Two Towers, and The Return of the King), released between 2001 and 2003. He won the Screen Actors Guild Award for Best Supporting Actor in a Motion Picture for his work in The Fellowship of the Ring and was nominated for the Academy Award for Best Supporting Actor for the same role. He provided the voice of Gandalf for several video game adaptations of the Lord of the Rings films.[52] McKellen returned to the Broadway stage in 2001 in an August Strindberg play The Dance of Death alongside Helen Mirren and David Strathairn at the Broadhurst Theatre. The New York Times Theatre critic Ben Brantley praised McKellen's performance writing, "[McKellen] returns to Broadway to serve up an Elysian concoction we get to sample too little these days: a mixture of heroic stage presence, actorly intelligence, and rarefied theatrical technique".[53] McKellen toured with the production at the Lyric Theatre in London's West End and to the Sydney Art's Festival in Australia. On 16 March 2002, he hosted Saturday Night Live. In 2003, McKellen made a guest appearance as himself on the American cartoon show The Simpsons in a special British-themed episode entitled "The Regina Monologues", along with the then UK Prime Minister Tony Blair and author J. K. Rowling. In April and May 2005, he played the role of Mel Hutchwright in Granada Television's long-running British soap opera, Coronation Street, fulfilling a lifelong ambition, where in 2015 he was gifted a cobble from the soap's exterior set for his seventy-sixth birthday.[54] He narrated Richard Bell's film Eighteen as a grandfather who leaves his World War II memoirs on audio-cassette for his teenage grandson. McKellen has appeared in limited release films, such as Emile (which was shot in three weeks following the X2 shoot),[55] Neverwas and Asylum. In 2006, he appeared as Sir Leigh Teabing in The Da Vinci Code opposite Tom Hanks as Robert Langdon. During a 17 May 2006 interview on The Today Show with the Da Vinci Code cast and director Ron Howard, Matt Lauer posed a question to the group about how they would have felt if the film had borne a prominent disclaimer that it is a work of fiction, as some religious groups wanted.[56] McKellen responded, "I've often thought the Bible should have a disclaimer in the front saying 'This is fiction'. I mean, walking on water? It takes ... an act of faith. And I have faith in this movie—not that it's true, not that it's factual, but that it's a jolly good story". He continued, "And I think audiences are clever enough and bright enough to separate out fact and fiction, and discuss the thing when they've seen it".[56] McKellen appeared in the 2006 BBC series of Ricky Gervais's comedy series Extras, where he played himself directing Gervais's character Andy Millman in a play about gay lovers. McKellen received a 2007 Primetime Emmy Award for Outstanding Guest Actor – Comedy Series nomination for his performance. In 2007, McKellen narrated the romantic fantasy adventure film Stardust starring Charlie Cox and Claire Danes, which was a critical and financial success. That same year, he lent his voice to the armored bear Iorek Byrnison in the Chris Weitz-directed fantasy film The Golden Compass based on the acclaimed Philip Pullman novel Northern Lights and starred Nicole Kidman and Daniel Craig. The film received mixed reviews but was a financial success. In 2007, he returned to the Royal Shakespeare Company, in productions of King Lear and The Seagull, both directed by Trevor Nunn. In 2009 he portrayed Number Two in The Prisoner, a remake of the 1967 cult series The Prisoner.[57] In 2009, he appeared in a very popular revival of Waiting for Godot at London's Haymarket Theatre, directed by Sean Mathias, and playing opposite Patrick Stewart.[58][59] From 2013 to 2014, McKellen and Stewart starred in a double production of Samuel Beckett's Waiting for Godot and Harold Pinter's No Man's Land on Broadway at the Cort Theatre. Variety theatre critic Marilyn Stasio praised the dual production writing, "McKellen and Stewart find plenty of consoling comedy in two masterpieces of existential despair".[60] In both productions of Stasio claims, "the two thespians play the parts they were meant to play".[60] He is Patron of English Touring Theatre and also President and Patron of the Little Theatre Guild of Great Britain, an association of amateur theatre organisations throughout the UK.[61] In late August 2012, he took part in the opening ceremony of the London Paralympics, portraying Prospero from The Tempest.[62] 2012–present: Career expansion [edit] McKellen reprised the role of Gandalf on screen in Peter Jackson's three-part film adaptation of The Hobbit starting with The Hobbit: An Unexpected Journey (2012), followed by The Hobbit: The Desolation of Smaug (2013), and finally The Hobbit: The Battle of the Five Armies (2014).[63] Despite the series receiving mixed reviews, it emerged as a financial success. McKellen also reprised his role as Erik Lehnsherr/Magneto in James Mangold's The Wolverine (2013), and Singer's X-Men: Days of Future Past (2014). In November 2013, McKellen appeared in the Doctor Who 50th anniversary comedy homage The Five(ish) Doctors Reboot.[64] From 2013 to 2016, McKellen co-starred in the ITV sitcom Vicious as Freddie Thornhill, alongside Derek Jacobi. The series revolves around an elderly gay couple who have been together for 50 years.[65][66] The show's original title was "Vicious Old Queens". There are ongoing jokes about McKellen's career as a relatively unsuccessful character actor who owns a tux because he stole it after doing a guest spot on "Downton Abbey" and that he holds the title of "10th Most Popular 'Doctor Who' Villain". Liz Shannon Miller of IndieWire noted while the concept seemed, "weird as hell", that "Once you come to accept McKellen and Jacobi in a multi-camera format, there is a lot to respect about their performances; specifically, the way that those decades of classical training adapt themselves to the sitcom world. Much has been written before about how the tradition of the multi-cam, filmed in front of a studio audience, relates to theatre, and McKellen and Jacobi know how to play to a live crowd".[67] In 2015, McKellen reunited with director Bill Condon playing an elderly Sherlock Holmes in the mystery film Mr. Holmes alongside Laura Linney. In the film based on the novel A Slight Trick of the Mind (2005), Holmes now 93, struggles to recall the details of his final case because his mind is slowly deteriorating. The film premiered at the 65th Berlin International Film Festival with McKellen receiving acclaim for his performance. Rolling Stone film critic Peter Travers praised his performance writing, "Don't think you can take another Hollywood version of Sherlock Holmes? Snap out of it. Apologies to Robert Downey Jr. and Benedict Cumberbatch, but what Ian McKellen does with Arthur Conan Doyle's fictional detective in Mr Holmes is nothing short of magnificent ... Director Bill Condon, who teamed superbly with McKellen on the Oscar-winning Gods and Monsters, brings us a riveting character study of a lion not going gentle into winter".[68] In October 2015, McKellen appeared as Norman to Anthony Hopkins's Sir in a BBC Two production of Ronald Harwood's The Dresser, alongside Edward Fox, Vanessa Kirby, and Emily Watson.[69] Television critic Tim Goodman of The Hollywood Reporter praised the film and the central performances writing, "there's no escaping that Hopkins and McKellen are the central figures here, giving wonderfully nuanced performances, onscreen together for their first time in their acclaimed careers".[70] For his performance McKellen received a British Academy Television Award nomination for his performance. In 2017, McKellen portrayed in a supporting role as Cogsworth (originally voiced by David Ogden Stiers in the 1991 animated film) in the live-action adaptation of Disney's Beauty and the Beast, directed by Bill Condon (which marked the third collaboration between Condon and McKellen, after Gods and Monsters and Mr. Holmes) and co-starred alongside Emma Watson and Dan Stevens.[71] The film was released to positive reviews and grossed $1.2 billion worldwide, making it the highest-grossing live-action musical film, the second highest-grossing film of 2017, and the 17th highest-grossing film of all time.[72][73][74] In 2017, McKellen appeared in the documentary McKellen: Playing the Part, directed by director Joe Stephenson. The documentary explores McKellen's life and career as an actor. In October 2017, McKellen played King Lear at the Chichester Festival Theatre, a role which he said was likely to be his "last big Shakespearean part".[75] He performed the play at the Duke of York's Theatre in London's West End during the summer of 2018.[76][77] McKellen voiced Dr. Cecil Pritchfield the child psychiatrist for Stewie Griffin in the Family Guy episode "Send in Stewie, Please" in 2018.[78] He appeared in Kenneth Branagh's historical drama All is True (2018) portraying Henry Wriothesley, 3rd Earl of Southampton, opposite Branagh and Judi Dench. Peter Bradshaw of The Guardian described his performance "offer solid support" and added that it's a "colossal, emphatically wigged cameo".[79] To celebrate his 80th birthday, in 2019 McKellen performed in a one-man stage show titled Ian McKellen on Stage: With Tolkien, Shakespeare, Others and YOU celebrating the various performances throughout his career. The show toured across the UK and Ireland (raising money for each venue and organisation's charity) before a West End run at the Harold Pinter Theatre and was performed for one night only on Broadway at the Hudson Theatre.[80] In 2019, he reunited with Condon for a fourth time in the mystery thriller The Good Liar opposite Helen Mirren, who received praise for their onscreen chemistry.[81] That same year, he appeared as Gus the Theatre Cat in the movie musical adaptation of Cats directed by Tom Hooper. The film featured performances from Jennifer Hudson, James Corden, Rebel Wilson, Idris Elba, and Judi Dench. The film was widely panned for its poor visual effects, editing, performances, screenplay, and was a box office disaster.[82] In 2021, he played the title role in an age-blind production of Hamlet (having previously played the part in a UK and European tour in 1971), followed by the role of Firs in Chekov's The Cherry Orchard at the Theatre Royal, Windsor.[83][84] Since November 2021, McKellen and ABBA member Björn Ulvaeus have posted Instagram videos featuring the pair knitting Christmas jumpers and other festive attire.[85][86] In 2023, it was revealed that Ulvaeus and McKellen would be knitting stagewear for Kylie Minogue as part of her More Than Just a Residency concert residency at Voltaire at The Venetian Las Vegas.[87] In 2023, he starred in the period thriller The Critic directed by Anand Tucker. The film is written by Patrick Marber adapted off the 2015 novel Curtain Call by Anthony Quinn. The film premiered at the 2023 Toronto International Film Festival.[88] In April 2024, McKellen starred as John Falstaff in Player Kings (an adaptation of Shakespeare's Henry VI Parts 1 and 2) opposite Richard Coyle and Toheeb Jimoh at the Noël Coward Theatre in London's West End and received rave reviews (following runs at New Wimbledon Theatre and Manchester Opera House).[89][90] The production was scheduled to run until 22 June before touring to Bristol, Birmingham, Norwich and Newcastle upon Tyne,[91] however during the performance on 17 June, McKellen fell off the front of the stage during a fight scene and called for assistance; the performance was cancelled and the audience dismissed. He was later reported to have recovered and to be "in good spirits."[92] He subsequently pulled out of the remaining West End and tour performances on medical advice.[93] On 2 July 2024, McKellen released a statement thanking the National Health Service: "My injuries have been diagnosed and treated by a series of experts, specialists and nurses working for the National Health Service."[94] The part of Falstaff was played by McKellen's understudy David Semark. Personal life [edit] McKellen and his first partner, Brian Taylor, a history teacher from Bolton, began their relationship in 1964.[95] Their relationship lasted for eight years, ending in 1972.[96] They lived in Earls Terrace, Kensington, London, where McKellen continued to pursue his career as an actor.[96] In 1978, he met his second partner, Sean Mathias, at the Edinburgh Festival. This relationship lasted until 1988, and according to Mathias, it was tempestuous, with conflicts over McKellen's success in acting versus Mathias's somewhat less-successful career. The two remained friends, with Mathias later directing McKellen in Waiting for Godot at the Theatre Royal Haymarket in 2009. The pair entered into a business partnership with Evgeny Lebedev, purchasing the lease of The Grapes public house in Narrow Street.[97] As of 2005, McKellen had been living in Narrow Street, Limehouse, for more than 25 years, more than a decade of which had been spent in a five-storey Victorian conversion.[98] McKellen is an atheist.[99] In the late 1980s, he lost his appetite for every kind of meat but fish, and has since followed a mainly pescetarian diet.[100] In 2001, Ian McKellen received the Artist Citizen of the World Award (France).[101] McKellen has a tattoo of the Elvish number nine, written using J. R. R. Tolkien's constructed script of Tengwar, on his shoulder in reference to his involvement in the Lord of the Rings and the fact that his character was one of the original nine companions of the Fellowship of the Ring. All but one of the other actors of "The Fellowship" (Elijah Wood, Sean Astin, Orlando Bloom, Billy Boyd, Sean Bean, Dominic Monaghan and Viggo Mortensen) have the same tattoo (John Rhys-Davies did not get the tattoo, but his stunt double Brett Beattie did).[102][103] McKellen was diagnosed with prostate cancer in 2006.[104] In 2012, he stated on his blog that "There is no cause for alarm. I am examined regularly and the cancer is contained. I've not needed any treatment".[105] McKellen became an ordained minister of the Universal Life Church in early 2013[106] to preside over the marriage of his friend and X-Men co-star Patrick Stewart to the singer Sunny Ozell.[107] McKellen was awarded an honorary Doctorate of Letters by Cambridge University on 18 June 2014.[108] He was made a Freeman of the City of London on 30 October 2014. The ceremony took place at Guildhall in London. He was nominated by London's Lord Mayor Fiona Woolf, who said he was an "exceptional actor" and "tireless campaigner for equality".[109] He is also an emeritus Fellow of St Catherine's College, Oxford.[110] Activism [edit] LGBT rights [edit] While McKellen had made his sexual orientation known to fellow actors early on in his stage career, it was not until 1988 that he came out to the general public while appearing on the BBC Radio programme Third Ear hosted by conservative journalist Peregrine Worsthorne.[111] The context that prompted McKellen's decision, overriding any concerns about a possible negative effect on his career, was that the controversial Section 28 of the Local Government Bill, known simply as Section 28, was then under consideration in the British Parliament.[24] Section 28 proposed prohibiting local authorities from promoting homosexuality "... as a kind of pretended family relationship".[112][24][113] McKellen has stated that he was influenced in his decision by the advice and support of his friends, among them noted gay author Armistead Maupin.[24] In a 1998 interview that discusses the 29th anniversary of the Stonewall riots, McKellen commented, I have many regrets about not having come out earlier, but one of them might be that I didn't engage myself in the politicking.[114] He has said of this period: My own participating in that campaign was a focus for people [to] take comfort that if Ian McKellen was on board for this, perhaps it would be all right for other people to be as well, gay and straight.[17] Section 28 was, however, enacted and remained on the statute books until 2000 in Scotland and 2003 in England and Wales. Section 28 never applied in Northern Ireland. In 2003, during an appearance on Have I Got News For You, McKellen claimed when he visited Michael Howard, then Environment Secretary (responsible for local government), in 1988 to lobby against Section 28, Howard refused to change his position but did ask him to leave an autograph for his children. McKellen agreed, but wrote, "Fuck off, I'm gay".[115][116] McKellen described Howard's junior ministers, Conservatives David Wilshire and Jill Knight, who were the architects of Section 28, as the 'ugly sisters' of a political pantomime.[117] McKellen has continued to be very active in LGBT rights efforts. In a statement on his website regarding his activism, the actor commented: I have been reluctant to lobby on other issues I most care about—nuclear weapons (against), religion (atheist), capital punishment (anti), AIDS (fund-raiser) because I never want to be forever spouting, diluting the impact of addressing my most urgent concern; legal and social equality for gay people worldwide.[118] McKellen is a co-founder of Stonewall, an LGBT rights lobby group in the United Kingdom, named after the Stonewall riots.[6] McKellen is also patron of LGBT History Month,[7] Pride London, Oxford Pride, GAY-GLOS, LGBT Foundation[8] and FFLAG where he appears in their video "Parents Talking".[119] In 1994, at the closing ceremony of the Gay Games, he briefly took the stage to address the crowd, saying, "I'm Sir Ian McKellen, but you can call me Serena": This nickname, given to him by Stephen Fry, had been circulating within the gay community since McKellen's knighthood was conferred.[17] In 2002, he was the Celebrity Grand Marshal of the San Francisco Pride Parade[120] and he attended the Academy Awards with his then-boyfriend, New Zealander Nick Cuthell. In 2006, McKellen spoke at the pre-launch of the 2007 LGBT History Month in the UK, lending his support to the organisation and its founder, Sue Sanders.[7] In 2007, he became a patron of The Albert Kennedy Trust, an organisation that provides support to young, homeless and troubled LGBT people.[6] In 2006, he became a patron of Oxford Pride, stating: I send my love to all members of Oxford Pride, their sponsors and supporters, of which I am proud to be one ... Onlookers can be impressed by our confidence and determination to be ourselves and gay people, of whatever age, can be comforted by the occasion to take the first steps towards coming out and leaving the closet forever behind.[121] McKellen has taken his activism internationally, and caused a major stir in Singapore, where he was invited to do an interview on a morning show and shocked the interviewer by asking if they could recommend him a gay bar; the programme immediately ended.[122] In December 2008, he was named in Out's annual Out 100 list.[123] In 2010, McKellen extended his support for Liverpool's Homotopia festival in which a group of gay and lesbian Merseyside teenagers helped to produce an anti-homophobia campaign pack for schools and youth centres across the city.[124] In May 2011, he called Sergey Sobyanin, Moscow's mayor, a "coward" for refusing to allow gay parades in the city.[125] In 2014, he was named in the top 10 on the World Pride Power list.[126] Charity work [edit] In April 2010, along with actors Brian Cox and Eleanor Bron, McKellen appeared in a series of TV advertisements to support Age UK, the charity recently formed from the merger of Age Concern and Help the Aged. All three actors gave their time free of charge.[127] A cricket fan since childhood, McKellen umpired in March 2011 for a charity cricket match in New Zealand to support earthquake victims of the February 2011 Christchurch earthquake.[128][129] McKellen is an honorary board member for the New York City- and Washington, D.C.-based organization Only Make Believe.[130] Only Make Believe creates and performs interactive plays in children's hospitals and care facilities. He was honoured by the organisation in 2012[131] and hosted their annual Make Believe on Broadway Gala in November 2013.[132] He garnered publicity for the organisation by stripping down to his Lord of the Rings underwear on stage. McKellen also has a history of supporting individual theatres. While in New Zealand filming The Hobbit in 2012, he announced a special New Zealand tour "Shakespeare, Tolkien and You!", with proceeds going to help save the Isaac Theatre Royal, which suffered extensive damage during the 2011 Christchurch earthquake. McKellen said he opted to help save the building as it was the last theatre he played in New Zealand (Waiting for Godot in 2010) and the locals' love for it made it a place worth supporting.[133] In July 2017, he performed a new one-man show for a week at Park Theatre (London), donating the proceeds to the theatre.[134] Together with a number of his Lord of the Rings co-stars (plus writer Philippa Boyens and director Peter Jackson), on 1 June 2020 McKellen joined Josh Gad's YouTube series Reunited Apart which reunites the cast of popular movies through video-conferencing, and promotes donations to non-profit charities.[135] Other work [edit] A friend of Ian Charleson and an admirer of his work, McKellen contributed an entire chapter to For Ian Charleson: A Tribute.[136] A recording of McKellen's voice is heard before performances at the Royal Festival Hall, reminding patrons to ensure their mobile phones and watch alarms are switched off and to keep coughing to a minimum.[137][138] He also took part in the 2012 Summer Paralympics opening ceremony in London as Prospero from Shakespeare's The Tempest.[62] Acting credits [edit] Accolades and honours [edit] McKellen has received two Academy Award nominations for his performances in Gods and Monsters (1999), and The Lord of the Rings: The Fellowship of the Ring (2001). He has also received 5 Primetime Emmy Award nominations. McKellen has received two Tony Award nominations winning for Best Actor in a Play for his performance in Amadeus in 1981. He has also received 12 Laurence Olivier Awards (Olivier Awards) nominations winning 6 awards for his performances in Pillars of the Community (1977), The Alchemist (1978), Bent (1979), Wild Honey (1984), Richard III (1991), and Ian McKellen on Stage: With Tolkien, Shakespeare, Others and YOU (2020). He has also received various honorary awards including Pride International Film Festival's Lifetime Achievement & Distinction Award in 2004 and the Olivier Awards's Society Special Award in 2006. He also received Evening Standard Awards The Lebedev Special Award in 2009. The following year he received an Empire Award's Empire Icon Award[139] In 2017 he received the Honorary Award from the Istanbul International Film Festival. BBC stated how his "performances have guaranteed him a place in the canon of English stage and film actors".[140][141] McKellen was awarded a CBE in 1979, he was knighted in 1991 for services to the performing arts, and made a Member of the Order of the Companions of Honour for services to drama and to equality in the 2008 New Year Honours.[142][143][144][145] See also [edit] List of British Academy Award nominees and winners List of actors with Academy Award nominations List of actors with two or more Academy Award nominations in acting categories List of LGBTQ Academy Award winners and nominees References [edit] Sources [edit] Barratt, Mark (2006). Ian McKellen: An Unofficial Biography. London: Virgin Books. ISBN 978-0-7535-1074-2.
5894	dbpedia	2	64	https://therealchrisparkle.com/tag/antony-sher/	en	Antony Sher Archives	https://s0.wp.com/i/webclip.png	https://s0.wp.com/i/webclip.png	[ "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/56697024_1069567629917405_2122000717974601728_n.jpg?resize=98%2C150&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/katk-3.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/katk-7.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/katk-8.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/katk-2.jpg?resize=100%2C150&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/katk-5.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/katk-9.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/katk-1.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2019/04/katk-6.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/img_2644.jpg?resize=105%2C150&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-jonjo-oneill-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-l-r-kate-oflynn-and-maggie-steed-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-paapa-essiedu-and-jonjo-oneill-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-maggie-steed-and-paapa-essiedu-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-paapa-essiedu-in-pinter-one-1.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-paapa-essiedu-and-jonjo-oneill-in-pinter-one-1.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-jon-culshaw-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-antony-sher-and-paapa-essiedu-in-pinter-o.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-quentin-deborne-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-antony-sher-and-kate-oflynn-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-paapa-essiedu-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-paapa-essiedu-and-kate-oflynn-in-pinter-one.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2018/10/p1-paapa-essiedu-in-pinter-one-2.jpg?resize=150%2C100&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2024/07/2024MILFAND_CKF.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2024/07/IMG_0639-246x300.jpeg?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2024/08/2024YESWERE_CEN.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2024/07/IMG_0661-300x225.jpeg?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2020/01/4-stars-1-300x70.png?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2020/01/5-stars-300x64.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2020/01/3-stars-300x70.png?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2024/07/IMG_0692-201x300.jpeg?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2024/07/Lost.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/therealchrisparkle.com/wp-content/uploads/2024/08/2024LADSOFT_AYL.jpg?resize=200%2C200&ssl=1" ]	[]	[]	[ "" ]	null	[]	2019-04-08T15:53:51+00:00		en	https://s0.wp.com/i/webclip.png	The Real Chrisparkle	https://therealchrisparkle.com/tag/antony-sher/	Jack Morris, an ailing, white, Shakespearean actor with liver cancer brought on by excessive drinking, has been hired to perform King Lear at a theatre in Johannesburg. The promise of playing this iconic role is the only thing that keeps him going – well, that, and the Gordon’s gin. Enter Sister Kunene – Sister as in nurse, rather than in family – a black carer from Soweto who has been hired to live with Jack until he dies (I mean, until he gets better). Both men will need to learn the art of compromise if this professional relationship is going to work. But they have one thing in common: Shakespeare. Kunene’s only knowledge of Shakespeare is Julius Caesar, taught in the townships as a warning about conspiracy, but he longs to know more. So when he starts helping Jack with his lines, not only does he start to appreciate the grandeur that is Lear, he also learns how best to communicate with his patient. Whether the patient is prepared to meet him half-way is another matter… Janice Honeyman’s production for the RSC and Cape Town’s Fugard Theatre is an engrossing, vivid, and honest (sometimes brutally so) insight into the world of these two disparate men and the search for the common humanity that must link them. Birrie le Roux’s two-part set portrays both the cluttered, egotistical, bookish home of the actor, no longer able to take care of himself; and the simple, clean dignity of the nurse’s kitchen, making the best of sixty-year-old furniture, with just his football team’s scarf as a decorative note. Incidentally, it’s while we’re enjoying Lungiswa Plaatjies’ mesmeric performance of Neo Muyanga’s strong, entr’acte vocal compositions that somehow the actor’s pad gets transformed into the nurse’s kitchen without our even noticing. Very smooth! There are few greater names associated with the last fifty years of South African theatre than that of John Kani. Actor, playwright, director; a shining beacon in the fight against apartheid through the medium of the stage. It had always been an ambition of mine to see him on stage – and with Kunene and the King, all my expectations of his stage presence and performance quality were exceeded. And not only John Kani, but we get another of South Africa’s theatrical heroes, Sir Antony Sher. It was only a few months ago that he was chillingly brilliant in One for the Road, part of the Pinter at the Pinter season. As Jack Morris he is delightfully irascible, dictatorial, and bossy; but also, like Lear, vulnerable, confused and a foolish, fond old man. It’s a fantastic portrayal of a once powerful character, losing his potency through age and sickness; still immensely proud and independent, harking back to the old days when there’s absolutely no way he would have allowed a black man in his house. John Kani’s Kunene is also a proud and dignified man; nobody’s maid or servant, but a highly qualified professional person, and he needs it to be recognised. When Morris challenges Kunene’s integrity and position, Kunene has to find a way to work through the anger and resentment of the decades in order to carry out his professional role. The final scene, where Jack tracks Kunene back to his Soweto home, narrowly avoiding a public transport disaster to get there, in order to get his publicity photos taken for the production of Lear, culminates in a grand argument where they both realise the awfulness of what each of them is doing to the other; thus they then have their own equivalent of a Truth and Reconciliation process. Written to commemorate 25 years of open elections since the end of apartheid, the strained, yet often joyful relationship between the two characters tells some of the story of how South African society operates today. At barely over 90 minutes without an interval, the play fairly whizzes by. It’s a work of delicate quality, insight and structure, and I could easily have enjoyed another 90 minutes. A chance to watch two masters at work, but it’s only on at the Swan until 23rd April. After that, it opens at the Fugard in Cape Town on 30th April. Unmissable! Production photos by Ellie Kurttz Back at the Harold Pinter Theatre for another session of Pinteresque shorts, and an outstanding programme, beautifully sequenced, of nine fascinating pieces – ok, maybe there was one I wasn’t that keen on, but I just don’t think I had the time to pay attention to it. Eight short pieces were crammed into the first half, plus another one-act play after the interval, and a fantastic night of dramatic tension it truly was. I’ve rarely had such a varied and challenging experience in the theatre, on both an intellectual and emotional level. Jonjo O’Neill opened the proceedings with Press Conference, a piece Pinter wrote for the 2002 National Theatre show Sketches, and a role which he himself originally performed. To an explosion of confetti that lingers, ironically, in your clothes and on the seats and floor for the rest of the evening, the Minister for Culture is received rapturously in some kind of totalitarian state, and then answers questions about the state attitude to children and women, which includes killing them and raping them (“it was part of an educational process”). It’s so outrageous that you’re completely shocked, but the juxtaposition of upbeat jollity and Mr O’Neill’s excellent performance, means it’s hard not to laugh, even though you hate yourself for doing so. You reassure yourself with the thought “it couldn’t happen here…” but then you look around you at the world today, and wonder…. A perfect introduction to a disturbing evening’s entertainment. Precisely, a 1983 sketch originally performed by Martin Jarvis and Barry Foster, featured Maggie Steed and Kate O’Flynn, suited up like two overfed and over-indulged politicians, discussing how to carve up the country for some unknown plan that’s clearly just for their own benefit and no one else’s. Maggie Steed in particular reminded me of the way they used to represent Mrs Thatcher in Spitting Image – with Churchill’s suit and cigar – gritty, cynical, powerful. As is nearly always the case with Pinter, the non-specific nature of the threat made it all the more unsettling. Terrifically acted, brief to perform but hard to forget. The New World Order, first performed in 1991, shows Des (Jonjo O’Neill) and Lionel (the brilliant Paapa Essiedu) tormenting a naked, silent, blindfolded prisoner (Jonathan Glew), and reminded me so much of the mental torturers Goldberg and McCann in The Birthday Party only forty years on. Whilst the majority of their vitriol is hurled against the prisoner, the more experienced Des sometimes challenges the more youthful Lionel about his approach, criticising his use of language: (“You called him a c*** last time. Now you call him a prick. How many times do I have to tell you? You’ve got to learn to define your terms and stick to them.”) Like Press Conference, at times it’s incredibly funny, but the overwhelming atmosphere is one of terror. Next, Mountain Language, a 1988 play that Pinter wrote following a visit to Turkey, although he always insisted that it was not based on the political situation between Turks and Kurds. In some miserable military camp, prisoners are apparently taken captive for the crime of speaking the “mountain language”. They are mountain people, the language is their own language, but it has been outlawed. The deprivation and penalties for transgressing this law are severe. Even though the threat in this play is a little more obvious, it’s no less sinister; and, as in The New World Order, there is an element of comedy in the interplay between the captors and interrogators, as well as some nonsensical rules that cannot be followed – such as when the old woman has been bitten by a Dobermann Pinscher but the authorities won’t do anything about it unless they can tell them the name of the dog. Jamie Lloyd’s direction brings out the starkness of the situation and I loved the decision to give the role of the Guard to the disembodied voice of Michael Gambon – a very effective way of increasing the “otherworldly” aspect of the play. Riveting, disturbing, unforgettable. Then we had Kate O’Flynn performing Pinter’s poem American Football. I think I was still so overwhelmed by the themes and imagery of Mountain Language that I scarcely noticed this short piece. It was written in 1991 as a reaction to the Gulf War, and satirises the action of the American military at war as if they were just playing a game of football. It didn’t, for me, have the stand-out nature of the other pieces; maybe if it had been repositioned in the running order it might have worked better? Genuinely not sure. Then an unexpected moment of lightness. The Pres and the Officer is a short piece only discovered by his widow Lady Antonia Fraser last year in a notepad; she remarked that his handwriting was quite frail so presumably he wrote it sometime in his final years – he died in 2008. Lady Antonia said she has often been asked what Pinter would have made of Trump – so now we know! This presages the American president so accurately that it takes your breath away. The simple premise: the President gives the order to nuke London. He says they had it coming to them. After a short conversation with his officer, he realises he made a mistake and it should have been Paris. So many questions, so little time. With a guest star playing the unnamed President (I think it was Jon Culshaw) this little sketch is horrifyingly hilarious. Another poem next; Death, from 1997, given a sombre but effective reading by Maggie Steed. It takes the form of a clinical set of questions about a dead body that have a strange way of making you think about death and the dead in an unemotional way. A simple, but fascinating poem, which I enjoyed very much, despite its dour subject matter. That led us into the final piece before the interval, One For The Road, and the first time I’d seen Antony Sher on stage since Peter Barnes’ Red Noses for the RSC in 1985. His performance as the creepy, faux-avuncular Nicolas, doing a one-man nice cop nasty cop routine as part of an interrogation procedure, was outstanding and worth the ticket price alone. Dominating both Paapa Essiedu’s Victor and Kate O’Flynn’s Gila into nervous wrecks, the most chilling scene was his interrogation of seven-year-old Nicky, their son, played with fantastic confidence by young Quentin Deborne. It was when Nicolas was fingering the neckline of Nicky’s T-shirt you could really feel your sweat forming and your gorge rising. A riveting play with an immaculate performance, and, despite its awfulness, I loved it. All that, and it was only just time for the interval! After the ice-cream and Chardonnay break, it was back for Ashes to Ashes, directed by Lia Williams. Kate O’Flynn and Paapa Essiedu starred in this moving and disturbing one-act play from 1996; partly a stream of consciousness between a couple in a relationship, partly a sequence of reminiscences and imaginings, partly a conversation with a counsellor in therapy. Because Pinter keeps all the references as obscure as possible, this play can mean all things to all people, but there is definitely a suggestion of families being torn apart on the way to a Concentration Camp at the end of the play. Superb performances – and an exceptional lighting design by Jon Clark that added enormously to the mood and the terror. After the relative frothiness of the afternoon’s Pinter Two programme, this was an emotional sucker punch that left us sitting in our seats for minutes after it had ended, trying to make sense of all that had gone before. Brilliant performances throughout, but it’s Kate O’Flynn and Paapa Essiedu who had the majority of the work to do, and they carried it off amazingly. And, to cap it all, Antony Sher’s nauseatingly superb interrogator Nicolas ran off with the Best Characterisation of the Night award. Congratulations to the whole cast for an awe-inspiring production. Production photos by Marc Brenner
5894	dbpedia	3	28	https://www.independent.co.uk/news/uk/charles-royal-shakespeare-company-judi-dench-prince-of-wales-commonwealth-b1969688.html	en	Charles: Sir Antony Sher was ‘a giant of the stage at the height of his genius’	https://static.independe…h=1200&auto=webp	https://static.independe…h=1200&auto=webp	[ "https://static.independent.co.uk/2021/12/04/00/5ade6429fa2911ca998e95df5bf93a0aY29udGVudHNlYXJjaGFwaSwxNjM4NjYzODc1-2.19995922.jpg", "https://static.independent.co.uk/static-assets/images/newsletter/breaking-news/breaking-news-thumb.png", "https://static.independent.co.uk/2021/12/04/00/c4312f8ae46412ebdc5f763216bc7487Y29udGVudHNlYXJjaGFwaSwxNjM4NjY0MDk1-2.63020519.jpg", "https://static.independent.co.uk/2021/12/04/00/20c174d13a93f0580c21f57d1bc8aa31Y29udGVudHNlYXJjaGFwaSwxNjM4NjY0MzQ1-2.2777793.jpg", "https://www.independent.co.uk/img/icons/google.svg" ]	[]	[]	[ "PA Ready", "Charles", "Royal Shakespeare Company", "Judi Dench", "Prince of Wales", "Commonwealth", "National Theatre", "Benjamin Disraeli", "Falstaff", "Prince", "Primo Levi", "Brian Blessed", "Twitter", "South African", "Stratford-upon-Avon", "West End", "Adolf Hitler", "Shakespeare", "The King", "Churchill", "PA Ready" ]	null	[ "Benjamin Cooper" ]	2021-12-04T18:28:39+00:00	Sir Antony was the Prince of Wales’s favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/news/uk/charles-royal-shakespeare-company-judi-dench-prince-of-wales-commonwealth-b1969688.html	The Prince of Wales has paid tribute to Sir Antony Sher as “a giant of the stage at the height of his genius” following the actor’s death at the age of 72. The Olivier Award-winning actor and director was diagnosed with terminal cancer earlier this year, and his death was announced by the Royal Shakespeare Company (RSC) on Friday. In a statement to the PA news agency, Charles said he was “deeply saddened” to learn of Sir Antony’s passing. “As the president of the Royal Shakespeare Company (RSC), I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role,” the prince said. “My most treasured memory of him was as Falstaff in a brilliant production of Greg Doran’s. I feel particularly blessed to have known him, but we have all lost a giant of the stage at the height of his genius.” Charles offered his sympathy to Sir Antony’s husband, the RSC’s artistic director, saying: “My heart goes out to Greg Doran and to all at the RSC who will, I know, feel the most profound sorrow at the passing of a great man and an irreplaceable talent.” Dame Judi Dench earlier described Sir Antony, with whom she starred in the 1997 film Mrs Brown, as a “sublime” actor who performed with “incredible intensity”. The 86-year-old described his performance as former prime minister Benjamin Disraeli as “spectacular”. Speaking to BBC Radio 4’s PM programme, she said: “He could completely immerse himself in a character and make it completely remarkable, but not necessarily on his own terms. “He was sublime. He was totally engrossed whenever he was working in that part and in that character. “He was one of those remarkable actors who reserved that incredible intensity for the time he was on the stage.” Brian Blessed, who performed alongside Sir Antony in Richard III in Stratford-upon-Avon, told the programme: “He revolutionised Richard III entirely. Amazing imagination, amazing vocal power. He hobbled around the set like a great bottled spider. He would terrify the audience in the first few rows.” Blessed said to be on stage with Sir Antony was “mind-blowing” and added: “It was from another century. It was from another galaxy.” The National Theatre posted a statement on Twitter from director Rufus Norris, saying: “With the tragic passing of Antony Sher, one of the great titans has left us. “His contribution and example to our theatre world was exemplary, and his standing within the ranks of National Theatre actors could not be higher.” Mr Doran announced in September that he was taking a period of compassionate leave to care for Sir Antony. The South African-born actor tied the knot with Doran on 21 December 2005, the first day same sex couples could legally form a civil partnership in the UK. Sir Antony starred in a number of RSC productions, including a role in 2016 in King Lear, as well as playing Falstaff in the Henry IV plays and Willy Loman in Arthur Miller’s Death of s Salesman. He was the Prince of Wales’s favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour. Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth and Tamburlaine The Great, as well as his career-defining Richard III. He moved to Britain to study drama in the late 1960s and joined the RSC in 1982. His breakthrough role came two years later in Richard III, a part which earned him the best actor accolade at the Olivier Theatre Awards. His theatrical skills were not limited to the West End, and his adaptation of If This Is A Man, by Primo Levi, into a one-man show titled Primo, ran on Broadway. Off stage he had roles in films including Shakespeare In Love and Mrs Brown, and played Adolf Hitler in 2004’s Churchill: The Hollywood Years. His final production with the RSC was John Kani’s Kunene And The King, which saw him star opposite Kani as Jack, an actor acclaimed for his roles in Shakespeare who is diagnosed with liver cancer. RSC executive director Catherine Mallyon and acting artistic director Erica Whyman said in a statement: “We are deeply saddened by this news, and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. “Antony had a long association with the RSC and a hugely celebrated career on stage and screen. The RSC said Doran will remain on compassionate leave and is expected to return to work in 2022.
5894	dbpedia	3	53	https://www.largsandmillportnews.com/news/national/19760832.celebrated-stage-screen-actor-sir-antony-sher-dies-72/	en	Celebrated stage and screen actor Sir Antony Sher dies at 72	https://www.largsandmillportnews.com/resources/images/13265274/?type=og-image	https://www.largsandmillportnews.com/resources/images/13265274/?type=og-image	[ "https://www.largsandmillportnews.com/resources/images/small_site_logo/", "https://www.largsandmillportnews.com/resources/images/small_site_logo/", "https://www.largsandmillportnews.com/resources/images/13265274.jpg?type=mds-article-575 575w, /resources/images/13265274.jpg?type=mds-article-962 962w, /resources/images/13265274.jpg?type=mds-article-642 642w, /resources/images/13265274.jpg?type=mds-article-620 620w", "https://www.largsandmillportnews.com/resources/images/13265274/?type=responsive-gallery-fullscreen", "https://www.largsandmillportnews.com/resources/images/13265274/?type=responsive-gallery-fullscreen", "https://www.largsandmillportnews.com/resources/images/13265274/?type=responsive-gallery-fullscreen", "https://www.largsandmillportnews.com/resources/images/13265274/?type=responsive-gallery-fullscreen", "https://image.assets.pressassociation.io/v2/image/production/b437f2cf44182294ce73b619e1b5f888Y29udGVudHNlYXJjaGFwaSwxNjM4NjI1MDc2/2.19995922.jpg?w=320 320w, https://image.assets.pressassociation.io/v2/image/production/b437f2cf44182294ce73b619e1b5f888Y29udGVudHNlYXJjaGFwaSwxNjM4NjI1MDc2/2.19995922.jpg?w=640 640w, https://image.assets.pressassociation.io/v2/image/production/b437f2cf44182294ce73b619e1b5f888Y29udGVudHNlYXJjaGFwaSwxNjM4NjI1MDc2/2.19995922.jpg?w=1280 1280w", "https://www.largsandmillportnews.com/resources/responsive-static/mds/images/ipso-regulated.svg", "https://www.largsandmillportnews.com/resources/responsive-static/images/love-local.png", "https://www.largsandmillportnews.com/resources/images/pixel/" ]	[]	[]	[ "" ]	null	[ "PA News Agency" ]	2021-12-03T18:04:10+00:00	The Royal Shakespeare Company announced the news of his death from cancer.	en	/resources/images/17398570/	Largs and Millport Weekly News	https://www.largsandmillportnews.com/news/national/19760832.celebrated-stage-screen-actor-sir-antony-sher-dies-72/	A statement from the organisation said he had been diagnosed with terminal cancer earlier this year. His husband, Gregory Doran, the RSC’s artistic director, announced in September that he was taking a period of compassionate leave to care for Sir Antony. The South African-born actor tied the knot with Doran on December 21 2005, the first day same sex couples could legally form a civil partnership in the UK. RSC executive director Catherine Mallyon and acting artistic director Erica Whyman said in a statement: “We are deeply saddened by this news, and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. “Antony had a long association with the RSC and a hugely celebrated career on stage and screen. “Antony’s last production with the company was in the two-hander Kunene And The King, written by his friend and fellow South African actor, writer and activist, John Kani.” The statement added: “Antony was deeply loved and hugely admired by so many colleagues. “He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. “We will ensure friends far and wide have the chance to share tributes and memories in the days to come.” Sir Antony starred in a number of RSC productions, including a role in 2016 in King Lear, as well as playing Falstaff in the Henry IV plays and Willy Loman in Arthur Miller’s Death Of A Salesman. He was the Prince of Wales’ favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour. Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth and Tamburlaine The Great, as well as his career-defining Richard III. He moved to Britain to study drama in the late 1960s and joined the RSC in 1982. His breakthrough role came two years later in Richard III, a part which earned him the best actor accolade at the Olivier Theatre Awards. His theatrical skills were not limited to the West End, and his adaptation of If This Is A Man, by Primo Levi, into a one-man show titled Primo, ran on Broadway. Off stage he had roles in films including Shakespeare In Love and Mrs Brown, and played Adolf Hitler in 2004’s Churchill: The Hollywood Years. His final production with the RSC was Kani’s Kunene And The King, which saw him star opposite Kani as Jack, an actor acclaimed for his roles in Shakespeare who is diagnosed with liver cancer. Kani said in a tribute: “Both Tony Sher and I were born when our country, South Africa, was the worst place a child could be born let alone to be raised by parents who worked very hard to prepare their children for a difficult future – Apartheid South Africa. “By the grace of his God and my ancestors, like Romeo and Juliet we found each other in 1973. “We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists, and we both had the honour of celebrating together 25 years of South Africa’s democracy in my latest play, Kunene And The King. “I am at peace with you my friend and myself. Exit my King. Your Brother.” The National Theatre posted a statement on Twitter from director Rufus Norris, saying: “With the tragic passing of Antony Sher, one of the great titans has left us. “His contribution and example to our theatre world was exemplary, and his standing within the ranks of National Theatre actors could not be higher.” Brian Blessed, who performed alongside Sir Antony in Richard III in Stratford-upon-Avon, paid tribute on the BBC’s PM programme. He said: “He revolutionised Richard III entirely. Amazing imagination, amazing vocal power. He hobbled around the set like a great bottled spider. He would terrify the audience in the first few rows.” Blessed said to be on stage with Sir Antony was “mind-blowing” and added: “It was from another century. It was from another galaxy.” The RSC said Doran will remain on compassionate leave and is expected to return to work in 2022.
5894	dbpedia	1	8	https://www.independent.co.uk/voices/alive-and-shocking-1264265.html	en	Alive and shocking	https://www.independent.…icon-192x192.png	https://www.independent.…icon-192x192.png	[ "https://static.independent.co.uk/static-assets/images/newsletter/view-from-westminster/view-from-westminster.jpg" ]	[]	[]	[ "Actors And Actresses", "Shakespeare", "Theatre", "New York", "Internal" ]	null	[ "Jasper Rees" ]	1997-05-30T23:02:00+00:00	Antony Sher master of disguise talks to Jasper Rees	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/voices/alive-and-shocking-1264265.html	By the time you open this newspaper, Antony Sher will have been up for several hours. Like a cowman rising to milk his herd, he's setting the alarm for four in the morning at the moment, to work on a novel - his fourth. He's at the obsessive first-draft stage where the book's the boss, commanding its author to empty the words swilling in his head on to hard disk. When we met in the early evening in an Islington wine bar, Sher had been milking his imagination for 14 hours. Tomorrow there's a break in the schedule. He and his partner Gregory Doran are in Hay-on-Wye to read from Woza Shakespeare!, the book they wrote about mounting Titus Andronicus in Sher's native South Africa, then bringing it to England. It has a page-turning inter-continental plot, but what makes it stand out from the genre is the book's domestic intimacy: Doran and Sher have lived together for 10 years - no theatrical couple is further out of the closet - but this was their first professional collaboration. Director and star got along just fine, but husband and wife hadn't worked out how to leave the job at the office. One hilarious flying crockery scene narrated by Doran segues into Sher's account of contritely combing the lawn for shards of china. "That goes down very well with an audience," he says. Clearly they came through it intact, because they're going to do Cyrano de Bergerac for the RSC later this year. Hence Sher's latest beard (Sher and Doran are also theatre's most facially hairy couple). This time they've agreed not to talk shop outside work. "It was really daft to be working in that kind of an intensity and then take it home. It's not like a blanket rule that you can't breathe a word about it but we'll really be quite strict about it. I think it's important.'' Of course, if he weren't in Hay, Sher would have no excuse not to be in Manhattan. Tomorrow night they dish out the Tony awards, New York's Oliviers, and he has been nominated as best actor for his performance as Stanley Spencer. The Tonys will be almost indistinguishable from a British awards ceremony, because Broadway seems to be importing most of its decent theatre from here these days. Sher is up against Michael Gambon, whose Fool he once played in King Lear. But he won't be there. "Luckily,'' he says. Why luckily? "I find all that very difficult. I don't know how people cope with it, and I don't cope with it. I missed the Oliviers [where he won best actor for Stanley] because we were in New York and felt very pleased about missing them." The other thing Sher may be pleased about is the film career he may finally be on the verge of enjoying. For 15 years, he has been perhaps the most consistently thrilling actor on the British stage, its most daring Shakespearean (although actually he's only played four of the Bard's roles: the Fool, Richard III, Shylock and Titus). But nobody has successfully harnessed his box-office appeal to the screen. There was a very weird low-budget thing called Shadey about a man who performs a sex-change operation on himself. He's been in a couple of silly capers by Terry Jones - Erik the Viking and last year's fairly dreadful The Wind in the Willows. But now he's in Mrs Brown, the new film about Queen Victoria's relationship with her kilted below-stairs confidant, which has just been well received at Cannes. He plays Disraeli (another Jewish novelist). And then there's the film Alive and Kicking, in which Sher takes a plum role as an Aids counsellor who has an affair with a ballet dancer diagnosed as HIV-positive. It opens next week. It's not hard to theorise about Sher's failure to break into film. His own guarded suggestion is that he's "fairly busy all the time with long commitments at the National and the RSC". And the writing career has been increasingly time-consuming. "I would never do what some actors do, which is sit out of work and wait for something to drop from the sky." There's more to it than mere availability, though. Sher's acting style is so volatile, so expansive, so technically adapted for the theatrical space that the camera struggles to contain it. In much of his screen work, like his recent performance as Sergeant Cuff in The Moonstone for the BBC, you get the oddity of a Jewish actor playing ham. But there's still more to it. His first significant role on television was as the voraciously heterosexual Howard Kirk in Malcolm Bradbury's The History Man. That was in 1980, ancient history in television terms but remembered for the nudity it pioneeringly crammed on to the screen. The women were all undressed by Sher's Lothario. "Would I be cast in that role today, one wonders? Probably not.'' Sher came out in 1989 at the same time as Characters, a book of his portraits and sketches."That was the point where it was absurd to not be out, because there were so many pictures in the book of Jim, the guy I lived with at the time before Greg. People said, `If you come out publicly you don't get to go to Hollywood' and I said, `Well then you don't.' It had been so uncomfortable beforehand: you'd have come to interview me for Torch Song Trilogy [in which he played a transvestite nightclub singer] and would have been told `He doesn't talk about his private life'. This is completely the opposite. Alive and Kicking - I'm proud of that film, and we'll talk about why.'' There's a homiletic element to Martin Sherman's script which seeks to be positive about HIV. Keep on dancing, it shouts. At the start of the film a ravishing and gloriously camp dancer called Tonio buries his (equally beautiful) lover. In full health, he wouldn't have gone for Jack, Sher's paunchy, much older, almost alcoholic counsellor, but the virus makes him less picky, and more inclined to monogamy. "It's very important to see that he can still have a very active sex life,'' says Sher. What flows from that is perhaps the frankest depiction of homosexual love-making yet filmed. Anyone curious to know what a great classical actor looks like naked with his knees behind his ears need wonder no more. It looks quite a brave thing to put yourself through."It was incredibly brave of me!'' So brave that you can hear the exclamation mark in his otherwise diffident interview voice. "I find that kind of stuff very difficult. The combined terror of that day, with Jason [Flemyng, who plays Tonio] being straight and having to play a gay love scene and me just being extremely unhappy about doing a nude love scene anyway. It's going beyond the normal call of actorly duty. We were both very relieved when the day was over.'' While it is simplistic to assume that most homosexual actors have lost friends to Aids, it does come as a surprise that Sher has "been very spared of that so far''. He's militant on gay rights, so missionary that, uniquely, he talks much less defensively about his private life than his work. He is always going on marches and generally combating the prejudice that persists even within a largely liberal profession. When the late Derek Jarman harangued Ian McKellen for accepting a knighthood from a homophobic government, Sherman and Sher wrote a letter to the Guardian in support of McKellen. "We needed signatures from prominent people in the arts who were gay but we had great difficulty getting women, lesbians, to sign. I spoke to several who said, `We simply can't be out because it's harder to get jobs for actresses than for actors and so you can't put our names down.' And you have to respect that, but it's frustrating because if they could have put their names on the list, the situation starts changing like it's changing in American TV land.'' And yet he knows exactly how they feel, because if he'd been asked to sign a similar letter 10 years ago, "I would probably have said no.'' Antony Sher was born in Cape Town in 1949. He is of Lithuanian Jewish stock, from a family with not an artistic cell in its veins. His late father was in business (exporting hides), as are his two brothers and sister. He first knew he was homosexual at four, the same age he started painting. In the shadow of Table Mountain, those two preferences practically amounted to the same thing. There is a hint of envy at his birthplace's mutation into "the San Francisco of Africa. It's so gay it's unbelievable.'' He was a reticent child, and was sent to elocution class (nobody dared call it acting class) "to draw me out of myself. I was so withdrawn everyone was starting to get worried that they had this peculiar person on their hands.'' By the time he was 18, his parents were researching drama courses in London. "They found that Central School was the top school at the time and, naively, they found digs for me at Swiss Cottage before we left and then we did the audition and it was all over in 10 minutes. They had different grades of letters. Mine was the worst you could get because it said, `Absolutely find another profession.' And then the problems began. My parents found me somewhere else but then they had to go back and I wasn't in a drama school at the time and then it all became quite scary. London is quite a frightening place if you don't know anybody. I was very alone. I went to the theatre a lot.'' After six months he got into Webber-Douglas, then went on to Manchester to do a postgraduate course where he made the curious decision to marry. "Never mind about coming out publicly. The very first stage is coming out to yourself, and that was something I, like most people I guess, struggled with a lot and kept telling myself this is just a phase.'' His own sister took a longer stroll down an identical route, coming out after a 25-year marriage. Sher - another exclamation mark - found this "astonishing!''. And delightful, "because we clashed as kids, we didn't get on, and in this recent development, she and I have become very close.'' Sher and Doran return to South Africa frequently, though after playing to quarter- full houses at the Market Theatre in Titus, it's unlikely they'll work there again soon. Sher's professional connection with his homeland is confined to fiction. He was encouraged to write the first by Andrew Motion, who had edited Year of the King, Sher's diary of playing Richard III as an Kafkaesque arachnid, and "said there was something in the style of it that suggested a novel and would I like to try.'' His three novels all have a South African theme (although in Middlepost he presumably based his young Lithuanian Jewish hero's lonely introduction to Cape Town on his equivalent arrival in London). He'll also admit to an African theme for the novel that's getting him up at four. There will be no fiction, one suspects, springing from the comfort of his adoptive Islington. "You've got to write what you feel strongly about. It's where my heart is, I guess.'' It doesn't take much expertise in cod psychology to see why Sher has played so many outsiders - starting, you could argue, with his West End debut as Ringo in a Willy Russell play about the Beatles ("my first false nose''). In adulthood, it took him as much effort to own up to his nationality - he purgatorially destroyed his old South African passport - as his sexuality. His first act on entering drama school was to suppress his accent, so that he now speaks with a faint nasal blockage that hints at something underneath fighting to get out. And he encouraged an obsession with losing himself inside his own virtuosity. He has an extraordinarily malleable appearance: the only constants are his height (smallish) and teeth (babyish), but he has no trouble looking young, old, tubby, thin, ordinary, insane. "I began by just being very interested in disguise on stage. That was a very important thing, that I was kind of hidden. I discovered I could be other people. I still like that idea, but now I'm more interested in the other side of it. In something like Stanley, people said I look like him; well fine, but I was much more interested, and am now, in what's inside these people. I think it started with things that were personally very important to me, with Torch Song Trilogy, Merchant of Venice. You know, Richard III is not personally important to me. Alive and Kicking was very refreshing in that there was almost no disguise at all. The guy was very close to me. No strange voice, the look - I sometimes could have that look. It's good for me to prove to myself that I can do that. A lot of my life has been about taking away those disguises.''
5894	dbpedia	3	12	https://www.independent.co.uk/news/obituaries/antony-sher-royal-shakespeare-theatre-b1972228.html	en	Antony Sher: Theatre giant who brought Shakespeare’s work to life	https://static.independe…h=1200&auto=webp	https://static.independe…h=1200&auto=webp	[ "https://static.independent.co.uk/2021/12/08/16/PRI213256319.jpg", "https://static.independent.co.uk/2021/02/11/16/newFile-7.jpg?quality=75&width=230&auto=webp", "https://static.independent.co.uk/2021/12/08/16/PRI213260278.jpg", "https://static.independent.co.uk/2021/12/08/17/shutterstock_editorial_10632794a.jpg", "https://static.independent.co.uk/s3fs-public/thumbnails/image/2020/08/13/11/sf1wjzcg.jpeg?quality=75&width=230&auto=webp", "https://www.independent.co.uk/img/icons/google.svg" ]	[]	[]	[ "Antony Sher", "Royal Shakespeare Company", "Richard III", "Acting", "Theatre", "Drama", "Shakespeare", "Internal" ]	null	[ "Marcus Williamson" ]	2021-12-12T00:00:00+00:00	Groundbreaking role model for many young actors who played many of the key roles in the Bard’s canon	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/news/obituaries/antony-sher-royal-shakespeare-theatre-b1972228.html	Antony Sher was one of the greatest Shakespearean actors of his era and a major figure on the British stage throughout his extensive career. Described by Prince Charles as “a giant of the stage at the height of his genius”, Sher, who has died aged 72, had played many of the key roles in the Bard’s canon during his time at the Royal Shakespeare Company (RSC), including for King Lear, Richard III and Henry IV. Antony Sher was born in Sea Point, a suburb of Cape Town, South Africa, in 1949 to Lithuanian Jewish parents, Margery Abramowitz and Emmanuel Sher, a businessman. Following compulsory military service, he emigrated to London in 1968, enrolling at the Webber Douglas Academy of Dramatic Art, now part of the Central School of Speech and Drama. His earliest acting roles were with the Liverpool Everyman Theatre, working with Alan Bleasdale and Willy Russell, in an environment he described as being where “anarchy ruled”. Sher’s love for Shakespeare led him to some of the playwright’s greatest roles, having joined the RSC in 1982. Whether as King Lear, Macbeth or Richard III, Sher stole the stage with his moving performances. He and his husband, Gregory Doran – artistic director at the RSC since 2012 – were one of the first same-sex couples to enter into a civil partnership when it became legally possible in 2005. Their artistic collaborations reached a peak with King Lear at the Royal Shakespeare Theatre in Stratford in 2016, with Doran directing and Sher as the eponymous king. Reviewing the production at the time in The Guardian, the critic Michael Billington notes: “The key to Sher’s Lear lies in his emotional volatility. He is first seen enthroned like a secular god in an elevated glass cage. Once he comes to Earth, he is prey to violent mood swings … He not only illuminates every line, but the spectacle of two instinctively authoritarian old men reduced to childlike dependence is unbearably moving.” On screen, Sher appeared in a number of films, including Shakespeare in Love (1998), playing Dr Moth whom the young Shakespeare consults about writer’s block. In an especially memorable scene where the young Bard confesses “it’s as if my quill is broken”, Sher, as the psychoanalyst, prescribes a cure involving a bangle found in Psyche’s temple. Then, in Mrs Brown (1997), directed by John Madden, Sher stars with Judy Dench, Billy Connolly and Geoffrey Palmer, brilliantly capturing the role of prime minister Benjamin Disraeli. Beyond stage and screen, Sher was a keen artist who enjoyed painting figures from the theatre. A self-portrait of him as The Fool is in the RSC collection. Sher was knighted in 2000 for services to acting. Interviewed in 2018, he spoke about the Bard’s influence on the thespian’s path in later life: “As a classical actor, Shakespeare maps out your career … and I’ve been lucky enough to do quite a few of them, and in the end, he has three great parts for the older actor, which is Prospero, Falstaff and Lear … so you have to acknowledge that you’ve come to the end of what he has to offer. And since my career has been mainly doing him I don’t really know what’s next.” Sher had last appeared on stage in 2019 for Kunene and the King, written by John Kani. Set in South Africa, 25 years after the end of apartheid, the play depicts an ailing classical actor, his nurse and their shared passion for Shakespeare. Sher himself had been a long-term and committed supporter of the anti-apartheid movement. In September Doran announced that he was taking compassionate leave to care for Sher in his last months. Catherine Mallyon, RSC executive director, and Erica Whyman, acting artistic director, said: “Antony was deeply loved and hugely admired by so many colleagues. He was a groundbreaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. We will ensure friends far and wide have the chance to share tributes and memories in the days to come.” He is survived by his husband Gregory Doran. Antony Sher, actor, born 14 June 1949, died 2 December 2021
5894	dbpedia	0	10	https://www.wikiwand.com/en/special:mylanguage/Sir_Antony_Sher	en	Antony Sher	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png" ]	[]	[]	[ "" ]	null	[]	null	Sir Antony Sher was a British actor, writer and theatre director of South African origin. A two-time Laurence Olivier Award winner and a four-time nominee, he joined the Royal Shakespeare Company in 1982 and toured in many roles, as well as appearing on film and television. In 2001, he starred in his cousin Ronald Harwood's play Mahler's Conversion, and said that the story of a composer sacrificing his faith for his career echoed his own identity struggles.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Antony_Sher	Sir Antony Sher (14 June 1949 – 2 December 2021) was a British actor, writer and theatre director of South African origin. A two-time Laurence Olivier Award winner and a four-time nominee, he joined the Royal Shakespeare Company in 1982 and toured in many roles, as well as appearing on film and television. In 2001, he starred in his cousin Ronald Harwood's play Mahler's Conversion, and said that the story of a composer sacrificing his faith for his career echoed his own identity struggles. Quick Facts SirKBE, Born ... Close
5894	dbpedia	3	45	https://www.sandiegouniontribune.com/entertainment/national/story/2021-12-03/acclaimed-shakespearean-actor-antony-sher-dies-at-72/	en	Acclaimed Shakespearean actor Antony Sher dies at 72	https://www.sandiegounio…jpg?w=1024&h=670	https://www.sandiegounio…jpg?w=1024&h=670	[ "https://www.sandiegouniontribune.com/wp-content/uploads/2024/06/SDUT_logo_black_horizontal.png", "https://www.sandiegouniontribune.com/wp-content/uploads/migration/2021/12/03/0000017d-8095-d5e1-a77f-ddff8c790001.jpg?w=535", "https://secure.gravatar.com/avatar/?s=85&d=mm&r=g", "https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/sut-l-lecoq-chicken-01.jpg?w=525", "https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/sut-l-blinktwice.jpg?w=620", "https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/sut-l-cleopatra2-01_bc4b34-1.jpg?w=525", "https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/Phil_Donahue_04689.jpg?w=525", "https://www.sandiegouniontribune.com/wp-content/uploads/2024/06/SDUT_logo_black_horizontal.png", "https://www.sandiegouniontribune.com/wp-content/themes/wp-mason/static/images/site-logo/skyline-logo.svg" ]	[]	[]	[ "" ]	null	[ "Jill Lawless", "Migration Temp" ]	2021-12-03T00:00:00	LONDON — Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him.Born in Cape Town, South Africa […]	en	https://www.sandiegounio…favicon.png?w=32	San Diego Union-Tribune	https://www.sandiegouniontribune.com/entertainment/national/story/2021-12-03/acclaimed-shakespearean-actor-antony-sher-dies-at-72/	LONDON — Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in “Richard III.” He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the “Henry IV” plays, Leontes in “The Winter’s Tale,” Shylock in “The Merchant of Venice,” Iago in “Othello” and the title characters in “Macbeth” and “King Lear.” Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller’s “Death of a Salesman” and the title role in Moliere’s “Tartuffe.” Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s “Torch Song Trilogy.” He won the 1985 best-actor Olivier Award jointly for “Torch Song Trilogy” and “Richard III.” He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ “Stanley” at the National Theatre and on Broadway. After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage. He adapted Primo Levi’s powerful Auschwitz memoir “If This is a Man” into a one-man stage show, “Primo,” that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.” Sher’s last role for the RSC came in 2019 in South African writer John Kani’s “Kunene and The King.” Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.” On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series “The History Man.” His film roles included Dr. Moth in “Shakespeare in Love,” Benjamin Disraeli in “Mrs Brown” and Adolf Hitler in “Churchill: The Hollywood Years.” Sher also wrote several novels and theatrical memoirs, along with an autobiography, “Beside Myself,” and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. “I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in “Macbeth” and “Death of a Salesman.” “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said. Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.” “He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.’” Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage.
5894	dbpedia	2	3	https://www.nytimes.com/2021/12/05/theater/antony-sher-dead.html	en	Antony Sher, Actor Acclaimed for His Versatility, Dies at 72	https://static01.nyt.com…eff&k=ZQJBKqZ0VN	https://static01.nyt.com…eff&k=ZQJBKqZ0VN	[ "https://static01.nyt.com/images/2021/12/06/obituaries/04sher-1/04sher-1-articleLarge.jpg?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Roslyn Sulcas" ]	2021-12-05T00:00:00	In his long career, most of it with the Royal Shakespeare Company, he played everyone from King Lear to Primo Levi to Ringo Starr.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2021/12/05/theater/antony-sher-dead.html	Antony Sher, an actor known for his masterly interpretations of Shakespeare’s great characters and for his versatility, died on Thursday at his home in Stratford-upon-Avon, England. He was 72. The cause was cancer, said the Royal Shakespeare Company, with which Mr. Sher had been closely associated for more than four decades. Gregory Doran, the company’s artistic director and Mr. Sher’s husband, had announced in September that he would take compassionate leave to care for Mr. Sher. Mr. Sher was 32 when he first attracted notice as an actor, playing the leading role of a libidinous, manipulative lecturer in a 1981 BBC adaptation of Malcolm Bradbury’s novel “The History Man.” He joined the Royal Shakespeare Company the next year. In The Times of London, Sheridan Morley described his portrayal as “the only one in our lifetime to have challenged the 40-year memory of Olivier in that role.” Other critics agreed that it was a career-making performance. “In this unabashed attempt at incarnating evil, Mr. Sher is monstrously convincing,” Mel Gussow wrote in The New York Times. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
5894	dbpedia	2	2	https://spectrumlocalnews.com/nys/central-ny/ap-online/2021/12/03/acclaimed-shakespearean-actor-antony-sher-dies-at-72	en	Acclaimed Shakespearean actor Antony Sher dies at 72	https://s7d2.scene7.com/is/image/TWCNews/Britain_Obit_Antony_Sher_05434	https://s7d2.scene7.com/is/image/TWCNews/Britain_Obit_Antony_Sher_05434	[ "https://spectrumlocalnews.com/etc/designs/news/clientlibs/css/images/ki-accountSignOut-icon.png", "https://spectrumlocalnews.com/etc/designs/news/clientlibs/css/images/ki-x-alt.png", "https://images.spectrumnews1.com/is/image/SpectrumNews/newsLocationsSourceGeneric?fmt=png-alpha", "https://spectrumlocalnews.com/etc/designs/news/clientlibs/css/images/ki-checkmark-circle-f.png", "https://spectrumlocalnews.com/etc/designs/news/clientlibs/css/images/ki-checkmark-circle-f.png", "https://s7d2.scene7.com/is/image/TWCNews/Britain_Obit_Antony_Sher_05434" ]	[]	[]	[ "" ]	null	[]	2021-12-03T00:00:00	Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72	en	/etc/designs/news/clientlibs/css/images/favicon-latest/favicon.svg		https://spectrumlocalnews.com/nys/central-ny/ap-online/2021/12/03/acclaimed-shakespearean-actor-antony-sher-dies-at-72	LONDON (AP) â Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in âRichard III.â He went on to play most of Shakespeareâs meaty male roles, including Falstaff in the âHenry IVâ plays, Leontes in âThe Winterâs Tale,â Shylock in âThe Merchant of Venice,â Iago in âOthelloâ and the title characters in âMacbethâ and âKing Lear.â Non-Shakespearean roles for the company, based in the Bardâs hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller's âDeath of a Salesmanâ and the title role in Moliere's âTartuffe.â Sher also performed with Liverpoolâs innovative Everyman Theatre and at many of Londonâs main theaters, getting his first West End starring role as a drag artist in Harvey Fiersteinâs âTorch Song Trilogy.â He won the 1985 best-actor Olivier Award jointly for âTorch Song Trilogyâ and âRichard III.â He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gemsâ âStanleyâ at the National Theatre and on Broadway. After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage. He adapted Primo Leviâs powerful Auschwitz memoir âIf This is a Manâ into a one-man stage show, âPrimo,â that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. âIf you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,â Sher told the Associated Press in 2005. âIt is the best cure for stage fright in the world, because itâs make or break. Thereâs no middle ground.â Sher's last role for the RSC came in 2019 in South African writer John Kaniâs âKunene and The King.â Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been âcomrades in the struggle for a better South Africa.â On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series âThe History Man.â His film roles included Dr. Moth in âShakespeare in Love,â Benjamin Disraeli in âMrs Brownâ and Adolf Hitler in âChurchill: The Hollywood Years.â Sher also wrote several novels and theatrical memoirs, along with an autobiography, âBeside Myself,â and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. âI think he always felt like an outsider and his outsiderâs vision was his strength,â said Harriet Walter, who starred opposite Sher in âMacbethâ and âDeath of a Salesman.â âHe had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,â she said. Shakespeare scholar James Shapiro said Sherâs performances âprofoundly deepened my understanding of Shakespeare.â âHe was a brilliant actor and an incredibly kind and thoughtful person,â Shapiro said. âHamlet put it best: âtake him for all in all, I shall not look upon his like again.ââ Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage. Copyright 2021 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
5894	dbpedia	0	11	https://natlib.govt.nz/items%3Fi%255Bsubject%255D%3DRoyal%2BShakespeare%2BCompany%26text%3DShakespeare%2B%253A%2B	en				[]	[]	[]	[ "" ]	null	[]	null					null
5894	dbpedia	1	9	https://www.theguardian.com/stage/gallery/2016/jun/20/cumberbatch-olivier-rylance-fiennes-richard-iii-in-pictures	en	To prove a villain: the many faces of Richard III – in pictures	https://i.guim.co.uk/img…d00ad0d9018de285	https://i.guim.co.uk/img…d00ad0d9018de285	[ "https://i.guim.co.uk/img/media/09e46ab301132575b74c669454dd48f0ed627f71/0_123_3446_2068/master/3446.jpg?width=300&quality=85&auto=format&fit=max&s=33eb5d1a1b1bc019e12f05352b274b91", "https://i.guim.co.uk/img/media/e221fa3fed914293a27746d111c3f3d581f5f74a/0_0_2640_3567/master/2640.jpg?width=300&quality=85&auto=format&fit=max&s=009068e7c3152cef2b6bb5fdf0534af6", "https://i.guim.co.uk/img/media/369cf172fb8c5b9c2c52949c0f9f83fc32c49a57/0_0_1783_2208/master/1783.jpg?width=300&quality=85&auto=format&fit=max&s=bf09752c55c9ff24f2806a97dfbea0ed", 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"https://i.guim.co.uk/img/media/d6bebc4c534f7fee8cee92831f921120fd95ec10/0_0_3310_2478/master/3310.jpg?width=300&quality=85&auto=format&fit=max&s=6225482d2d414abeb6873229166c8747", "https://i.guim.co.uk/img/media/53bb7825971d49a63ab87302453e6632df03fdda/0_0_4200_2082/master/4200.jpg?width=300&quality=85&auto=format&fit=max&s=621b008d052f0742a66e3b134a0428b9", "https://i.guim.co.uk/img/media/bc5293f98addc55810e34fe9393ecfef920a0f32/0_0_1706_2559/master/1706.jpg?width=300&quality=85&auto=format&fit=max&s=27676bd6e32d7b0d169f98b90bc8b500", "https://i.guim.co.uk/img/media/09e46ab301132575b74c669454dd48f0ed627f71/0_0_4200_2801/master/4200.jpg?width=300&quality=85&auto=format&fit=max&s=afea737e26b68c59f49ebd9bb095d07b" ]	[]	[]	[ "Richard III", "Theatre", "William Shakespeare", "Stage", "Culture", "Kevin Spacey", "Ralph Fiennes", "Antony Sher", "Laurence Olivier", "Ian McKellen", "Al Pacino", "Mark Rylance", "Alec Guinness", "Kenneth Branagh", "Ian Holm", "Royal Shakespeare Company", "Disability" ]	null	[ "Photograph: Ronald Grant Archive", "Photograph: Tristram Kenton", "The Guardian", "Photograph: Rex", "Photograph: Mark Kennedy", "Photograph: Alastair Muir", "Photograph: Marc Brenner", "Photograph: Tunbridge", "Getty Images", "Photograph: Murdo Macleod" ]	2016-06-20T00:00:00	Arthur Hughes has become the first disabled actor to play Richard III at the Royal Shakespeare Company. Look back at other incarnations of Shakespeare’s villain	en	https://assets.guim.co.u…3329/152x152.png	the Guardian	https://www.theguardian.com/stage/gallery/2016/jun/20/cumberbatch-olivier-rylance-fiennes-richard-iii-in-pictures	Arthur Hughes has become the first disabled actor to play Richard III at the Royal Shakespeare Company. Look back at other incarnations of Shakespeare’s villain Topics
5894	dbpedia	1	30	https://se-ortho.com/	en	Southeast Orthopedic Specialists	https://se-ortho.com/wp-…05/HOME_Hero.jpg	https://se-ortho.com/wp-…05/HOME_Hero.jpg	[ "https://se-ortho.com/wp-content/themes/southeast-ortho/assets/SoutheastOrthopedicSpecialists_1C_White.svg", "https://se-ortho.com/wp-content/uploads/2019/04/wavy.png", "https://se-ortho.com/wp-content/uploads/2019/04/StateoftheartFacility.png", "https://se-ortho.com/wp-content/uploads/2019/04/HighlyTrainedTeam.png", "https://se-ortho.com/wp-content/uploads/2019/04/ConvenientLocations.png", "https://se-ortho.com/wp-content/uploads/2019/04/Affliations.png", "https://se-ortho.com/wp-content/uploads/2019/08/HOPCo_SOS_Join_Forces.jpg", "https://se-ortho.com/wp-content/uploads/2019/04/JointReplacement.jpg", "https://se-ortho.com/wp-content/uploads/2019/04/SpineCare.jpg", "https://se-ortho.com/wp-content/uploads/2019/04/FootAnkle.jpg", "https://se-ortho.com/wp-content/uploads/2019/04/ChiropracticMedicine.jpg", "https://se-ortho.com/wp-content/uploads/2019/04/HandWrist.jpg", "https://se-ortho.com/wp-content/uploads/2019/04/SportsMedicine.jpg", "https://se-ortho.com/wp-content/uploads/2019/04/EmergencyOrthopedic.jpg", "https://se-ortho.com/wp-content/uploads/2019/04/wavy.png", "https://se-ortho.com/wp-content/themes/southeast-ortho/assets/SoutheastOrthopedicSpecialists_1C_Black.svg", "https://se-ortho.com/wp-content/uploads/2021/10/hopco-stacked-small.png" ]	[]	[]	[ "" ]	null	[]	2019-04-08T14:50:49+00:00	Our team of orthopedic surgeons and physical therapists serve Jacksonville, Orange Park, and St. Augustine. We offer expert care for bones, muscles, and joints. Call (904) 634-0640 for an appointment with our orthopedic experts today!	en	https://se-ortho.com/wp-…4/seo_favi_2.png	Southeast Orthopedic Specialists	https://se-ortho.com/	Schedule an Appointment Online Busy phone lines and answering machines are a thing of the past. Southeast Orthopedic Specialists allows you to easily schedule an appointment online, so you can continue your day with little disruption. Schedule Appointment Specialties Southeast Orthopedic Specialists can treat injuries ranging from total hip and knee replacements to arthritis pain and everything else in between. Our surgeons each have unique backgrounds and specializations, so finding the physician that’s right for you is no challenge. The list of treatments we offer and procedures we perform is always growing, so don’t hesitate to contact us no matter how big or small your injury may be. Explore Our Specialties Meet the Team Our highly-trained team of medical and professional staff are the best around. From the moment you step foot through our door to the moment you step out, everyone that you meet will always have your best interests in mind. The office staff, surgeons and other medical professionals all work together to relieve your pain and get you on track for a smooth recovery. About Us Patient Testimonials We value testimonials as a direct reflection of the level of care we provide each one of our patients. If you are a patient and would like to leave feedback, please contact our office for information on how to do so. Testimonials
5894	dbpedia	3	29	https://au.news.yahoo.com/celebrated-stage-screen-actor-sir-135132545.html	en	Celebrated stage and screen actor Sir Antony Sher dies	https://media.zenfs.com/en/the_independent_577/cb53988282d0c26918536ba230f23626	https://media.zenfs.com/en/the_independent_577/cb53988282d0c26918536ba230f23626	[ "https://au.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-AU-en-AU-def%2Cseamless&code=pageRender&device=desktop&lang=en-AU&pageName=deeplink&region=AU&rid=6avu04djbth2i&site=news&t=1723778130800", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/ny/api/res/1.2/TZx8xfHDYMIowUTUJDLD7g--/YXBwaWQ9aGlnaGxhbmRlcjt3PTI4NjtoPTYw/https://s.yimg.com/os/creatr-uploaded-images/2020-12/7b119900-33ff-11eb-bfdb-7285d8d09984", "https://s.yimg.com/ny/api/res/1.2/lUnvDhZ2pe1ZK4zOJiPKXQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD0xNTEw/https://media.zenfs.com/en/the_independent_577/cb53988282d0c26918536ba230f23626", "https://s.yimg.com/ny/api/res/1.2/Rty0_VwfH4k.EO8vyybOWA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA--/https://media.zenfs.com/en/the_independent_577/9bd978c75a321d8cbfd4fa79ef02885a", "https://s.yimg.com/ny/api/res/1.2/Rty0_VwfH4k.EO8vyybOWA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA--/https://media.zenfs.com/en/the_independent_577/9bd978c75a321d8cbfd4fa79ef02885a", "https://s.yimg.com/g/images/spaceball.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=14584066&c7=https%3A%2F%2Fau.news.yahoo.com%2Fcelebrated-stage-screen-actor-sir-135132545.html&c14=-1" ]	[]	[]	[ "" ]	null	[ "Naomi Clarke" ]	2021-12-03T14:48:05+00:00	The Royal Shakespeare Company announced the news of his death from cancer.	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo News	https://www.independent.co.uk/news/uk/south-african-primo-levi-shakespeare-west-end-churchill-b1969286.html	Theatre star Sir Antony Sher has died of cancer, the Royal Shakespeare Company (RSC) has announced. A statement from the organisation said he had been diagnosed with terminal cancer earlier this year. His husband, Gregory Doran, the RSC’s artistic director, announced in September that he was taking a period of compassionate leave to care for Sir Antony. The South African-born actor tied the knot with Doran on December 21 2005, the first day same sex couples could legally form a civil partnership in the UK. RSC executive director Catherine Mallyon and acting artistic director Erica Whyman said in a statement: “We are deeply saddened by this news, and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. “Antony had a long association with the RSC and a hugely celebrated career on stage and screen. “Antony’s last production with the company was in the two-hander Kunene And The King, written by his friend and fellow South African actor, writer and activist, John Kani.” The statement added: “Antony was deeply loved and hugely admired by so many colleagues. “He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. “We will ensure friends far and wide have the chance to share tributes and memories in the days to come.” Sir Antony, reportedly 72 at the time of his death, starred in a number of RSC productions, including a role in 2016 in King Lear, as well as playing Falstaff in the Henry IV plays and Willy Loman in Arthur Miller’s Death Of A Salesman. Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth and Tamburlaine The Great, as well as his career-defining Richard III. He moved to Britain to study drama in the late 1960s and joined the RSC in 1982. His breakthrough role came two years later in Richard III, a part which earned him the best actor accolade at the Olivier Theatre Awards. His theatrical skills were not limited to the West End and his adaptation of If This Is A Man, by Primo Levi into a one-man show titled Primo, ran on Broadway. Off stage he had roles in films including Shakespeare In Love and Mrs Brown, and played Adolf Hitler in 2004’s Churchill: The Hollywood Years. His final production with the RSC was Kani’s Kunene And The King, which saw him star opposite Kani as Jack, an actor acclaimed for his roles in Shakespeare who is diagnosed with liver cancer. Kani said in a tribute: “Both Tony Sher and I were born when our country, South Africa, was the worst place a child could be born let alone to be raised by parents who worked very hard to prepare their children for a difficult future – Apartheid South Africa. “By the grace of his God and my ancestors, like Romeo and Juliet we found each other in 1973. “We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists, and we both had the honour of celebrating together 25 years of South Africa’s democracy in my latest play, Kunene And The King. “I am at peace with you my friend and myself. Exit my King. Your Brother.” The National Theatre posted a statement on Twitter from director Rufus Norris, saying: “With the tragic passing of Antony Sher, one of the great titans has left us. “His contribution and example to our theatre world was exemplary, and his standing within the ranks of National Theatre actors could not be higher.” The RSC said Doran will remain on compassionate leave and is expected to return to work in 2022. Read More Covid-19 infections rise in all UK nations – but no link to Omicron Ofgem launches review into energy network companies’ response to Storm Arwen Spend Local cards see buyers splash out £107m to help local businesses William records audio walking tour for Apple How someone first encounters Covid ‘shapes their future immune response’
5894	dbpedia	0	0	https://en.wikipedia.org/wiki/Antony_Sher	en	Antony Sher	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-09-03T08:24:34+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Antony_Sher	South African-born British actor (1949–2021) Sir Antony Sher (14 June 1949 – 2 December 2021) was a British actor, writer and theatre director of South African origin. A two-time Laurence Olivier Award winner and a four-time nominee, he joined the Royal Shakespeare Company in 1982 and toured in many roles, as well as appearing on film and television. In 2001, he starred in his cousin Ronald Harwood's play Mahler's Conversion, and said that the story of a composer sacrificing his faith for his career echoed his own identity struggles. During his 2017 "Commonwealth Tour", Prince Charles referred to Sher as his favourite actor.[1] Sher and his partner and collaborator Gregory Doran became one of the first same-sex couples to enter into a civil partnership in the UK. Early life and education [edit] Sher was born on 14 June 1949 in Cape Town, South Africa, the son of Margery (Abramowitz) and Emmanuel Sher, who worked in business.[2][3] He was a first cousin once removed of the playwright Sir Ronald Harwood.[4][5] He grew up in the suburb of Sea Point, where he attended Sea Point High School.[6] Sher moved to the United Kingdom in 1968[2] and auditioned at the Central School of Speech and Drama and the Royal Academy of Dramatic Art (RADA), but was unsuccessful. He instead studied at the Webber Douglas Academy of Dramatic Art from 1969 to 1971 and subsequently on the one-year postgraduate course run jointly by Manchester University Drama Department and the Manchester School of Theatre.[citation needed] Sher became a British citizen in 1979.[2] Career [edit] In the 1970s, Sher was part of a group of young actors and writers working at the Liverpool Everyman Theatre.[7] Comprising figures such as writers Alan Bleasdale and Willy Russell and fellow actors Trevor Eve, Bernard Hill, Jonathan Pryce, and Julie Walters, Sher summed up the work of the company with the phrase "anarchy ruled". He also performed with the theatre group Gay Sweatshop, before joining the Royal Shakespeare Company (RSC) in 1982. While a member of the RSC, Sher was cast in the title role in Molière's Tartuffe, and played the Fool in King Lear. His major break came in 1984, when he performed the title role in Richard III and won the Laurence Olivier Award. Also for the RSC, Sher performed the lead in such productions as Tamburlaine, Cyrano de Bergerac, Stanley, and Macbeth, and in 2014 played Falstaff in Henry IV Part 1 and Henry IV Part 2 in Stratford-upon-Avon and on national tour. He played the eponymous 'King Lear' from 2016 to 2018. He also played Johnnie in Athol Fugard's Hello and Goodbye, Iago in Othello, Malvolio in Twelfth Night, and Shylock in The Merchant of Venice. Sher received his second Laurence Olivier Award in 1997 for his performance as Stanley Spencer in Stanley. In 2001, Sher played the role of the composer Gustav Mahler in Ronald Harwood's play Mahler's Conversion, about Mahler's decision to renounce his Jewish faith prior to his appointment as conductor and artistic director of the Vienna State Opera House in 1897. Speaking about the role to The Guardian's Rupert Smith, Sher revealed: When I came to England in 1968, at 19, I looked around me and I didn't see any Jewish leading men in the classical theatre, so I thought it best to conceal my Jewishness. Also, I quickly became conscious of apartheid when I arrived here, and I didn't want to be known as a white South African. I was brought up in a very apolitical family. We were happy to enjoy the benefits of apartheid without questioning the system behind it. Reading about apartheid when I came to England was a terrible shock. So I lost the accent almost immediately, and if anyone asked me where I was from I would lie. If they asked where I went to school, I'd say Hampstead, which got me into all sorts of trouble because of course everyone else went to school in Hampstead and they wanted to know which one. Then there was my sexuality. The theatre was full of gay people, but none of them were out, and there was that ugly story about Gielgud being arrested for cottaging, so I thought I'd better hide that as well. Each of these things went into the closet until my entire identity was in the closet. That's why this play appealed to me so much: it's about an artist changing his identity in order to get what he wants.[4] In 2015, he played Willy Loman in Death of a Salesman. He also had several film credits to his name, including Yanks (1979), Superman II (1980), Shadey (1985), and Erik the Viking (1989). Sher starred as the Chief Weasel in the 1996 film adaptation of The Wind in the Willows and as Benjamin Disraeli in the 1997 film Mrs Brown. Sher's television appearances include the mini-series The History Man (1981) and The Jury (2002). In 2003, he played the central character in an adaptation of the J. G. Ballard short story "The Enormous Space", filmed as Home and broadcast on BBC Four. In Hornblower (1999), he played the role of French royalist Colonel de Moncoutant, Marquis de Muzillac, in the episode "The Frogs and the Lobsters". Sher's more recent credits included a cameo in the British comedy film Three and Out (2008) and the role of Akiba in the television play God on Trial (2008). Sher was cast in the role of Thráin II, father of Thorin Oakenshield in Peter Jackson's The Hobbit: The Desolation of Smaug, but appears only in the Extended Edition of the film. In 2018, he played the title role in King Lear and was the only person to play both the Fool and King Lear at the Royal Shakespeare Company. He returned to Stratford-upon-Avon in 2019 to perform in Kunene and the King with John Kani.[8] Other work [edit] Sher's books included the memoirs Year of the King (1985), Woza Shakespeare: Titus Andronicus in South Africa (with Gregory Doran, 1997), Beside Myself (an autobiography, 2002), Primo Time (2005), and Year of the Fat Knight (2015), a book of paintings and drawings, Characters (1990), and the novels Middlepost (1989), Cheap Lives (1995), The Indoor Boy (1996). and The Feast (1999). His 2018 book Year of the Mad King won the 2019 Theatre Book Prize, awarded by the Society for Theatre Research.[9] Sher also wrote several plays, including I.D. (2003) and Primo (2004). The latter was adapted as a film in 2005. In 2008, The Giant, the first of his plays in which Sher did not feature, was performed at the Hampstead Theatre. The main characters are Michelangelo (at the time of his creation of David), Leonardo da Vinci, and Vito, their mutual apprentice. In 2005, Sher directed Breakfast With Mugabe at the Swan Theatre, Stratford-upon-Avon. The production moved to the Soho Theatre in April 2006 and the Duchess Theatre one month later. In 2007, he made a crime documentary for Channel 4, titled Murder Most Foul, about his native South Africa.[10] It examines the double murder of actor Brett Goldin and fashion designer Richard Bloom. In 2011, Sher appeared in the BBC TV series The Shadow Line in the role of Glickman.[11] Personal life [edit] In 2005, Sher and the director Gregory Doran, with whom he frequently collaborated professionally, entered into a civil partnership in the UK. They married on 30 December 2015, a little over ten years after their civil partnership.[12] On 10 September 2021 it was announced that Sher was terminally ill, and Doran took compassionate leave from the RSC to care for him.[13] Sher died from cancer at his home in Stratford-upon-Avon on 2 December 2021, aged 72.[14][15][16][17] Stage performances [edit] Theatre [edit] 1972–74: Multiple roles at the Everyman Theatre, Liverpool. 1974: Ringo Starr in Willy Russell's John, Paul, George, Ringo ... and Bert at the Everyman Theatre, where it opened in May 1974. Transferred to the Lyric Theatre in August. 1975: Teeth 'n' Smiles by David Hare at the Royal Court Theatre where it opened in September 1975, subsequently transferring to Wyndham's Theatre in May 1976. 1979: American Days by Stephen Poliakoff at the ICA, London. 1982: Mike Leigh's Goosepimples in the West End. 1982: The Fool in King Lear at the Royal Shakespeare Theatre. Transferred to the Barbican Centre in 1983. 1984: Richard III with the Royal Shakespeare Company. Transferred to the Barbican Centre in 1985. 1985: Torch Song Trilogy at the Albery Theatre, West End. 1985: Red Noses at the Barbican Theatre, London. 1987: Shylock in The Merchant of Venice with the RSC. 1987: Henry Irving in Happy Birthday, Sir Larry at the Royal National Theatre, London (Laurence Olivier 80th birthday tribute). 1988: Vendice in The Revenger's Tragedy with the RSC. 1990: Peter Flannery's Singer with the RSC, Barbican Theatre. 1991: Kafka's The Trial and Brecht's The Resistible Rise of Arturo Ui at the National Theatre. 1993: Henry Carr in Travesties at the Barbican Centre with the RSC, later at the Savoy Theatre, West End. Tambourlaine with the RSC, Swan Theatre, Stratford. 1994–95: Titus Andronicus at the Market Theatre, Johannesburg. Transferred to the National Theatre and for a UK tour. 1997: Stanley at the National Theatre (repeated on Broadway at the Circle in the Square Theatre) 1997: Cyrano de Bergerac at the Lyric Theatre, West End. 1998–99: The Winter's Tale at the Barbican Centre with the RSC 1999: Macbeth at the Swan Theatre, Stratford-upon-Avon, with the RSC 2000–01: Macbeth and The Winter's Tale with the RSC 2002: RSC's Jacobean season transfers to the West End. 2003: I.D. at the Almeida Theatre, London 2004: Primo at the Cottesloe Theatre, Royal National Theatre, London (repeated on Broadway at the Music Box Theatre, July–August 2005) 2007: Kean in Kean at the Yvonne Arnaud Theatre, Guildford. Transferred to the Apollo Theatre, West End in May. 2008: Prospero in The Tempest at the Baxter Theatre, Cape Town; Courtyard Theatre, Stratford-upon-Avon; and on tour in Richmond, Leeds, Bath, Nottingham and Sheffield 2010: Tomas Stockmann in An Enemy of the People at the Sheffield Crucible 2011: Phillip Gellburg in Arthur Miller's Broken Glass at the Vaudeville Theatre 2012: Jacob Bindel in Travelling Light at the Royal National Theatre, Sigmund Freud in Hysteria by Terry Johnson at Theatre Royal Bath, later revived at Hampstead Theatre in 2013. 2013: Wilhelm Voigt in The Captain of Köpenick at the Olivier Theatre, Royal National Theatre, London. 2014: Falstaff in Henry IV, Part 1 and Henry IV Part 2 with the Royal Shakespeare Company. 2015: Willy Loman in Death of a Salesman by Arthur Miller with the Royal Shakespeare Company. 2016: The title role in King Lear with the Royal Shakespeare Company (reprised in 2018). 2018: Nicolas in One for the Road from Pinter One at the Harold Pinter Theatre with The Jamie Lloyd Company. 2019-20: Jack Morris in Kunene and the King with the Royal Shakespeare Company. Filmography [edit] Film [edit] Year Title Role 1976 The Madness Militia man/Young man in café 1978 ITV Playhouse Morris 1979 Collision Course Tasic Play for Today Nathan One Fine Day Mr Alpert Yanks G.I. at cinema 1980 Superman II Bell Boy 1985 Shadey Oliver Shadey 1989 Erik the Viking Loki 1990 ScreenPlay David Samuels 1993 Screen Two Genghis Cohn 1994 Shakespeare: The Animated Tales Richard III 1995 The Young Poisoner's Handbook Ernest Zeigler Look at the State We're In! The Don 1996 The Wind in the Willows Chief Weasel Indian Summer Jack The Moonstone Sergeant Cuff 1997 Mrs Brown Benjamin Disraeli 1998 Shakespeare in Love Dr Moth 1999 The Winter's Tale Leontes, King of Sicilia The Miracle Maker Ben Azra (voice) 2001 Macbeth Macbeth 2004 Churchill: The Hollywood Years Adolf Hitler 2005 A Higher Agency Chef Great Performances Primo Levi Primo Primo Levi 2008 Three and Out Maurice Masterpiece Contemporary 2010 The Wolfman Dr Hoenneger 2013 The Hobbit: The Desolation of Smaug Thráin II (Extended Edition only) 2014 War Book David Television [edit] Year Title Role Notes 1981 The History Man Howard Kirk Episodes: "Part 1: October 2nd 1972" "Part 2: October 3rd 1972 (a.m.)" "Part 3: October 3rd 1972 (p.m.)" "Part 4: Gross Moral Turpitude" 1982 The Further Adventures of Lucky Jim Maurice Victor 1 episode 1992 The Comic Strip Presents... : "The Crying Game (Season 6, Episode 2)" Scum editor 1995 One Foot in the Grave: "Rearranging the Dust" Mr Prothrow Acted without dialogue 1999 Hornblower: "The Frogs and the Lobsters" Colonel Moncoutant 2002 The Jury Gerald Lewis QC 2003 Home Gerald Ballantyne 2004 Murphy's Law Frank Jeremy 1 episode 2007 The Company Ezra ben Ezra, the Rabbi 2008 God on Trial Akiba 2011 The Shadow Line Peter Glickman Episodes: "Episode #1.5" "Episode #1.6" 2013 Agatha Christie's Marple: A Caribbean Mystery Jason Rafiel Awards and nominations [edit] BAFTA TV Awards [edit] 0 win, 1 nomination British Academy Television Awards Year Nominated work Category Result 2008 Primo British Academy Television Awards 2008 Best Actor Nominated Laurence Olivier Awards [edit] 2 wins, 4 nominations Laurence Olivier Award Year Nominated work Category Result 1983 King Lear Laurence Olivier Award for Best Actor in a Supporting Role Nominated 1985 Richard III and Torch Song Trilogy Laurence Olivier Award for Best Actor Won 1997 Stanley Won 2000 The Winter's Tale Nominated Drama Desk Awards [edit] 1 win and 1 nomination Drama Desk Award Year Nominated work Category Result 2006 Primo Outstanding One-Person Show "Primo" Won Evening Standard Theatre Awards [edit] 1 win and 1 nomination Evening Standard Theatre Awards Year Nominated work Category Result 1985 Richard III Best Actor Won Evening Standard British Film Awards [edit] 1 win and 1 nomination Evening Standard British Film Awards Year Nominated work Category Result 1997 Mrs Brown Peter Sellers Award for Comedy Won Screen Actors Guild Awards [edit] 1 win and 1 nomination Screen Actors Guild Award Year Nominated work Category Result 1997 Shakespeare in Love Outstanding Performance by a Cast in a Motion Picture Won Theatre Awards UK (TMA) [edit] 1 win and 1 nomination Theatre Awards UK Year Nominated work Category Result 1997 Titus Andronicus Best Actor in a Play [18] Won Tony Awards [edit] 0 win and 1 nomination Tony Awards Year Nominated work Category Result 1997 Stanley Best Actor in a Play Nominated Honours [edit] 1998: Honorary Doctor of Letters (Hon. Litt.D.) from the University of Liverpool 2000: Knight Commander of the Most Excellent Order of the British Empire (KBE) for services to theatre 2007: Honorary Doctor of Letters (Hon. Litt.D.) from the University of Warwick 2010: Honorary Doctor of Letters (Hon. Litt.D.) from the University of Cape Town References [edit]
5894	dbpedia	2	65	https://au.news.yahoo.com/celebrated-stage-screen-actor-sir-135132405.html	en	Celebrated stage and screen actor Sir Antony Sher dies	https://media.zenfs.com/en/evening_standard_239/a0d2c1a278a46f1a1a1c8002f520ae55	https://media.zenfs.com/en/evening_standard_239/a0d2c1a278a46f1a1a1c8002f520ae55	[ "https://au.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-AU-en-AU-def%2Cseamless&code=pageRender&device=desktop&lang=en-AU&pageName=deeplink&region=AU&rid=1bsjq0ljbth24&site=news&t=1723778116240", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/ny/api/res/1.2/RA7svW76ltGtiMjdBXCi5Q--/YXBwaWQ9aGlnaGxhbmRlcjt3PTMwNDtoPTYw/https://s.yimg.com/os/creatr-uploaded-images/2020-11/6333d800-2a7e-11eb-afff-0ae1dd800ead", "https://s.yimg.com/ny/api/res/1.2/Yojd3mB2By56YX_69.eaLA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD04Mjg-/https://media.zenfs.com/en/evening_standard_239/a0d2c1a278a46f1a1a1c8002f520ae55", "https://s.yimg.com/ny/api/res/1.2/B_mK9xwvtoCisC8L5ykuaw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA--/https://media.zenfs.com/en/evening_standard_239/02977a2ce0a019bf78002aa852a2e8d1", "https://s.yimg.com/ny/api/res/1.2/B_mK9xwvtoCisC8L5ykuaw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA--/https://media.zenfs.com/en/evening_standard_239/02977a2ce0a019bf78002aa852a2e8d1", "https://s.yimg.com/g/images/spaceball.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=14584066&c7=https%3A%2F%2Fau.news.yahoo.com%2Fcelebrated-stage-screen-actor-sir-135132405.html&c14=-1" ]	[]	[]	[ "" ]	null	[ "Naomi Clarke" ]	2021-12-03T14:06:31+00:00	The Royal Shakespeare Company announced the news of his death from cancer.	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo News	https://www.standard.co.uk/news/uk/sir-anthony-sher-death-cancer-b969909.html	Theatre star Sir Antony Sher has died of cancer, the Royal Shakespeare Company (RSC) has announced. A statement from the organisation said he had been diagnosed with terminal cancer earlier this year. His husband, Gregory Doran, the RSC’s artistic director, announced in September that he was taking a period of compassionate leave to care for Sir Antony. RSC executive director Catherine Mallyon and acting artistic director Erica Whyman said in a statement: “We are deeply saddened by this news, and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. “Antony had a long association with the RSC and a hugely celebrated career on stage and screen. “Antony’s last production with the company was in the two-hander Kunene And The King written by his friend and fellow South African actor, writer and activist, John Kani.” The statement added: “Antony was deeply loved and hugely admired by so many colleagues. “He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. “We will ensure friends far and wide have the chance to share tributes and memories in the days to come.” Sir Antony starred in a number of RSC productions, including a role in 2016 in King Lear, as well as playing Falstaff in the Henry IV plays and Willy Loman in Arthur Miller’s Death Of A Salesman. Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth, Tamburlaine The Great, as well as his career-defining Richard III. Fellow actor and playwright Kani said in a tribute: “Both Tony Sher and I were born when our country, South Africa, was the worst place a child could be born let alone to be raised by parents who worked very hard to prepare their children for a difficult future – Apartheid South Africa. “By the grace of his God and my ancestors, like Romeo and Juliet we found each other in 1973. “We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists, and we both had the honour of celebrating together 25 years of South Africa’s democracy in my latest play, Kunene And The King “I am at peace with you my friend and myself. Exit my King. Your Brother.” The RSC said Doran will remain on compassionate leave and is expected to return to work in 2022. 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Report	https://www.sajr.co.za/behind-the-scenes-of-a-south-african-born-acting-icon/	To most people, he was Sir Antony Sher, one of Britain’s finest stage actors who was internationally renowned for tackling the toughest Shakespearean roles with successful stints on the big and small screen. To his beloved family in South Africa, he was “just Ant”, not a “Sir” knighted by the Queen for his contribution to theatre or a celebrated thespian who graced the world’s most famous playhouses. They just saw him as a humble, reserved, and warm man who loved Cape Town with all his heart and visited as often as he could. Sher died last week of cancer at the age of 72. His illness was reported in September, when the Royal Shakespeare Company (RSC) announced that its artistic director, Sher’s husband, Greg Doran, would be taking compassionate leave to care for him at the couple’s Stratford-upon-Avon home. “In the United Kingdom [UK], they called him Tony. Here he was Antony, a loved son, brother, uncle, cousin, and friend,” said his niece, Monique Sher, this week. “I fondly referred to him as ‘Sir Uncle’. He once jokingly teased I should be calling him ‘Sir Doctor Uncle’ because I think he received three honorary doctorates,” she said. While the theatre world mourned Sher’s untimely passing, his family took time to reflect on his “magnificent life well lived”. “He was a very lucky man whose passion became his job, and he was good at it,” said Monique. “He died too young at 72, but he had an amazing, wonderful, full life.” She said Sher and Doran, who directed him in many plays, loved to travel and went everywhere together. “From the gorillas in Uganda to my late great-grandfather’s village in Lithuania, they travelled a lot.” Not only was Sher a hugely celebrated actor, he was a fine artist and the accomplished author of several books. “He got to do it all. What a great life he had!” she said. Monique’s father, Randall Sher, said he was hoping to see his late brother soon in London. “Antony and I were very close – as close as brothers could be,” he said. “Antony called me from the UK most Sundays at about 18:00. We were always on the same page. I cannot remember having any disagreements with him,” he said. Sher was one of four siblings including Randall, the eldest, then their sister Verne, Antony in the middle, followed by Joel, the youngest. The children were born and raised in Sea Point, where the boys attended Sea Point Primary and High School. Their parents, Mannie and Margery, were very supportive of Sher, visiting him annually in London and accompanying him when Sher was knighted. “There was a big leaning towards the theatre in our home because our mother was mad about it,” said Randall. “We were very much a theatre-going family although my father fell asleep from the minute the curtain was raised until the end. He would often attend Antony’s performances in London only to sleep through the entire show.” As a child, he said Antony was “withdrawn and quiet”. “He was very artistic and liked to do his own thing. He had one or two good friends. but liked to stay pretty much to himself. He was very talented, and it was often a toss-up over whether he should pursue acting or art as a career,” he said. After completing compulsory military service, Sher moved to London at the age of 19 to study drama and acting. After stints with various performance schools, his professional career began at the Liverpool Everyman Theatre before he moved to the RSC in 1982. It took him years to forge an identity he was comfortable with. He’s quoted in The Times as saying, “Gay, Jewish, white South African, that’s three minority groups. I wasn’t ready to come out as gay. Jewish I was a bit worried about because I couldn’t see any examples of great leading classical actors who were Jewish, and white South African was a problem because my political education didn’t really start until I got here [Britain] and I suddenly realised I’d been part of one of the most abhorrent societies on earth.” From the RSC, a career as one of the greatest stage actors of his time began. His many tributes all mention his astounding 1984 performance as the titular king in Shakespeare’s Richard III as his breakthrough. He would win the Laurence Olivier Award – the most prestigious theatre award in the UK – for the performance as well as for his diverse portrayals including a drag artist in Harvey Fierstein’s Torch Song Trilogy. In his acceptance speech, he quipped, “I’m very happy to be the first actor to win an award for playing both a king and a queen.” Sher went on to win once more in 1997. He toured the country performing with the RSC, and also appeared in television and film productions. One of Sher’s favourite longstanding family traditions was to jump off the imposing granite rocks into the icy sea at Saunders’ Rocks Beach in Bantry Bay. “Once he did it on the way to the airport after one of his visits,” said Monique. Though the family wasn’t religious, they would always get together for meals on Friday nights and high holidays. Upon hearing the news of his passing, Prince Charles paid tribute to Sher, calling him a “great man and an irreplaceable talent”. In a statement posted on his official website, he wrote that he was “deeply saddened” by the news. “As the president of the Royal Shakespeare Company, I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role,” Prince Charles wrote. “My most treasured memory of him was as Falstaff in a brilliant production of Greg Doran’s. I feel particularly blessed to have known him, but we have all lost a giant of the stage at the height of his genius.” Sher was a prolific writer, with novels such as Middlepost (1989) named after the blink-and-you-miss-it town founded by his grandfather when the family arrived in South Africa in the early 1900s; an autobiography titled Beside Myself (2001); and theatre-diaries-cum-acting manuals for young actors including Year of the King (1985), chronicling his role in Richard 111; Year of the Fat Knight (2015) about working on Falstaff; and Year of the ‘Mad King’ (2018) after his portrayal of King Lear which earned him the 2019 Theatre Book Prize. His lifelong “work-and-life” friend, well known South African theatre director Janice Honeyman, described Sher as her “theatre-hero”, her “soul-brother, buddy, colleague, thinker, perfectionist, personal teacher, inspiration, and consummate artist” whom she had known since childhood. In a tribute to her friend in the Sunday Times, she said, “You have always been pure pleasure to direct – you showed willingness to go anywhere I led you, you were greedy for direction, for exploration, for personalising the role, internalising, finding the intimate and infinite detail in the writing, every aspect of your character, and ever-eager for more and more notes to work on! Have you any idea, Tony, how stimulating and gratifying that is for any director?” Another of his closest friends and colleagues, celebrated actor, activist, and playwright, John Kani, said he was “gutted and left breathless” by the news. Ironically, Kani last worked with Sher on Kani’s Kunene and the King, the story of an actor trying to get to play King Lear while dying of liver cancer, directed by Honeyman. Sher’s great-nephew, Joshua Maughan, posted on Facebook, “Not only was he a great uncle, but a mentor and role model who helped me to navigate some of the most transformative moments in my life. It seems more pertinent than ever that the first text we worked on together was Richard II where we sat, overlooking Cape Town’s endless oceans, discussing the stark reality of mortality and how tangible life feels. I will always carry an indescribable amount of love and gratitude for all you were and all you did. I have no doubt that you’re sipping a strong [as it should be] G&T with the Bard upstairs. I miss you already.”
5894	dbpedia	1	67	https://www.owu.edu/alumni-family-friends/owu-magazine/spring-2017/spring-2017-class-notes/	en	Spring 2017 Class Notes	https://www.owu.edu/imag…avicon-32x32.png	https://www.owu.edu/imag…avicon-32x32.png	[ "https://www.owu.edu/images/print_logo.png", "https://www.owu.edu/files/resources/medium_hamilton.jpg", "https://www.owu.edu/files/resources/medium_messing.jpg", "https://www.owu.edu/files/resources/medium_mulholland.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.owu.edu/imag…h-icon-57x57.png	Ohio Wesleyan University	null	1940s Bruce Leonard ’45, a World War II bomber pilot, was featured in the Decatur, Ill. Herald and Review on Nov. 11. 1950s Howard Strauch ’50 and Joann Bowman Strauch ’51 celebrated their 65th wedding anniversary on Aug. 5. Alva Taylor ’52 and his wife, Evelyn, celebrated their 75th wedding anniversary on Oct. 25. James “Clem” Allison ’56 published the book Seeing Beyond: Awakening to the Reality of a Spiritually Interconnected, Evolving World, now available on Amazon.com and Kindle. Allison is professor emeritus of art at Tusculum College in Greeneville, Tenn., where he served as Art Department chairman and then as director of the Division of Arts and Humanities until his retirement in 2000. The Tusculum campus art gallery was named for him in 1996. Judith “Judy” Yingling Giffin ’58 was recognized by the Ohio Association of Two-Year Colleges as the Outstanding Adjunct Faculty of the Year for her work at Rhodes State College. Judy has contributed 28 years of service to Rhodes State and has some 50 years of total teaching experience. Judy majored in chemistry and is married to Bill Giffin ’58. 1960s George Gebhardt ’63, an economics major at OWU, graduated from the Tuck School of Business at Dartmouth College with an MBA in marketing and finance. He spent eight years on the corporate ladder and more than 40 years as an independent IT technical writer, with clients in Washington, D.C., New York, and as far away as Hanoi, Vietnam. His life’s work included teaching management subjects at three Baltimore colleges and rehabbing houses. In May, Gebhardt and his wife, Joan Schaer Gebhardt, traveled to Normandy, France, and walked on Omaha Beach. They also visited the White Cliffs of Dover and toured the World War I battlefields at Verdun. Gebhardt is a member of the Tower Society. They welcome OWU visitors in Pikesville, Md., or Boynton Beach, Fla. Leonard Kobren ’68 received the Founders Society Award from the American College of Prosthodontists Education Foundation for his outstanding contributions to the growth and future of the foundation. Alan Armstrong ’69 is production dramaturg with the Oregon Shakespeare Festival in Ashland, Ore., most recently with Shakespeare’s Henry IV, Part One, which opened in February and runs through October. He previously worked on the 2015 production of Shakespeare’s Pericles and the 2016 adaptation of Great Expectations, which had its world premiere in Ashland. Lowell Folsom ’69, the Roy J. Carver professor of English at the University of Iowa, co-authored the book Song of Myself: With a Complete Commentary, a critique of Walt Whitman’s famous poem. 1970s Tom Friedman ’71 announced his retirement as music director of Jenkintown (Pa.) Music Theatre after 20 years of service. Friedman also served as director of the Thomas Jefferson University Choir and sang with the Choral Arts Society of Philadelphia, the Princeton Opera Company, and the New Jersey Opera Company. Friedman’s Horsham Square Pharmacy was honored by Drug Topics as one of the top 200 pharmacies in the country. Friedman is a guest lecturer on health topics and has served on the boards of the American Boychoir, Singing City of Philadelphia, the Princeton Center for Arts and Education, the Hatboro-Horsham Educational Foundation, the American Red Cross, and the Century Board of Massachusetts College of Pharmacy. Clay Small ’72 published the book Head Over Heels. Thomas Cole ’73 was inducted into the City League Hall of Fame in Toledo, Ohio, on Nov. 7. Michael Howard ’73 announced plans to retire as family court judge in Stark County, Ohio. James Mendenhall ’73 was co-chair of the two-day Martin Luther King Jr. celebration in Delaware, Ohio. Leslie Reed Evans ’74 announced plans to retire as executive director of the Williamstown Rural Lands Foundation in Williamstown, Mass. James Hallan ’74 was appointed to Michigan’s State Officers Compensation Commission, the board that is responsible for determining the salaries and expense allowances of the governor, lieutenant governor, attorney general, secretary of state, members of the state legislature, and justices of the Michigan Supreme Court. Nicholas Calio ’75, a lobbyist for Airlines for America, was included in The Hill’s Top Lobbyists 2016 list in recognition of his success in advancing a major proposal to reform the nation’s air-traffic control system. William Ingram ’75, president of Durham Technical Community College, was awarded the 2016 I.E. Ready Distinguished Leader Award, which is presented annually in recognition of distinguished service and leadership in the North Carolina Community College System. Alden McWilliams ’75 was inducted into the Western New England Preparatory School Soccer Association Hall of Fame and presented with the Western Connecticut Soccer Officials Association Outstanding Service Award. Martin Hurwitz ’76, executive director of Habitude and the founder of Transitioneering, was featured on the podcast “The Un-Billable Hour,” providing tips to help legal practitioners create processes and habits to better leverage their strengths and achieve their goals. Michael Jordan ’76, of Jordan Resolutions, LLC, has been named to the Best Lawyers in America list in several practice areas, including arbitration, mediation, health care, and commercial litigation. He has been named to the list each year for over a decade. In addition, he was recognized by his peers as Healthcare Lawyer of the Year in Cleveland. Penny Pilafas Mercadante ’76 is executive vice president and chief human resources officer at Michael Baker International, a global leader in engineering, planning, and consulting services. Gregory Moore ’76, former editor of The Denver Post, has joined the Boettcher Foundation Board of Trustees. Doug Kridler ’77, CEO of the Columbus Foundation, was named Columbus CEO of the Year by Columbus Business First in December. The Columbus Foundation is the seventh-largest community foundation in the nation. Kridler, a sociology/anthropology and politics & government double major, joined the Foundation in 2002 and has overseen the introduction of The Big Give, a hugely successful 24-hour giving marathon, and The Big Table, a day of conversation and community-building. Thomas Rosenberg ’77 was named a Fellow in the American College of Construction Lawyers. Marcia McBurney Stutzman ’78, a foreign languages teacher at Middletown (Md.) High School, was offered a Fulbright Distinguished Awards in Teaching grant to Morocco by the Department of State and the J. William Fulbright Foreign Scholarship Board. One of 45 U.S. citizens chosen for a grant, she was selected based on her professional achievements, academic ability, and leadership skills. Geron Tate III ’79 is the 2017-18 president of the Mansfield, Ohio, chapter of the National Association for the Advanced of Colored People. 1980s Sally Maher ’80 was appointed to the board of directors for ACell Inc., a regenerative medicine company. Maher is Edwards Lifesciences’ vice president of regulatory and clinical affairs, critical care. Megan Richard ’81 was a featured artist in the Asheville (N.C.) Gallery of Art’s February show, “For the Love of Art,” displaying her watercolor/water-media paintings. Richard “Dick” Spybey ’84, retired University of Alabama golf coach, was inducted into the 2016 class of the Collegiate Golf Coaches Association of America (GCAA) Hall of Fame. Spybey joins OWU alumnus Rod Myers ’61, former coach at Duke, and former OWU coach and athletic director Dick Gordin ’52 in the GCAA Hall. Dwight Hiscano ’85 was curator of the fourth annual Highlands Art Exhibit in Morristown, N.J. Nancy McLaughlin Sackson ’85 is chief philanthropy officer at the Asian Art Museum of San Francisco. She plans and directs integrated fundraising programs to expand local, national, and international support for the museum’s exhibitions, programs, general operations, and institutional growth. Michael van der Veen ’85 was named one of the 2016 Top 10 Criminal Defense Lawyers in Pennsylvania by the National Academy of Criminal Defense Attorneys. He was selected to the National Trial Lawyers Top 100 List for his work in criminal defense, and to the National Trial Lawyers List of the Top 25 Motor Vehicle Attorneys. He was also named in the December 2016 issue of Suburban Life Magazine as a “Justice Seeker” and 2016 Top Attorney. Nancy Kohnen Cahall ’86 was appointed to the Cincinnati State Technical and Community College Board of Trustees. Luisa Cestari ’87 is a real estate agent with LAER Realty Partners. Kenneth Young ’87 was appointed to the board of trustees for Marion Technical College in Marion, Ohio. Young is executive vice president and general counsel for United Church Homes. 1990s Evelyn Jones Walter ’91 supported the 2016 “Step Up For Down Syndrome” fundraiser for the Rocky Mountain Down Syndrome Association. To honor and support her daughter, who has Down syndrome, Walter and her family organized a team of 65 people to participate in the walk and raise money. Marc Cottle ’92 created the Cottle Family Fund, an endowment fund managed by the Scioto Foundation and devoted to assisting public charitable causes in the Portsmouth, Ohio, area. Heather Love Carman ’93 is workforce development administrator at the Huron County, Ohio, Department of Job and Family Services. Frederick Schilling ’93 is partner in and co-CEO of Big Tree Farms, a global organic coconut product firm. Timothy Ward ’93 is principal and casualty practice leader at EPIC Insurance Brokers and Consultants in Stamford, Conn. Lidia Kapoustina Carr ’95 joined the law firm of Kadish, Hinkel and Weibel in Cleveland. D.J. Young ’95 and Andy Young ’96 teamed up with Ellen McCarthy to form Young & McCarthy LLP, a new Cleveland law firm that primarily represents victims of truck accidents in Ohio and nearby states. Marie Kuban ’97 is a vice chair at Ulmer & Berne LLP. Andrew Stillman ’99 is the athletic director at Vermilion (Ohio) High School. Tyler Stillman ’00 is the athletic director at neighboring community and rival Firelands High School in Oberlin. Both recently earned the level of Certified Athletic Administrator by the National Interscholastic Athletic Administrators Association. 2000s Kenyon Commins ’00 was named head football coach at Ross (Ohio) High School. Timothy Sesternenn ’02, assistant professor of biology at Morningside College in Sioux City, Iowa, was awarded the school’s 2016 Sharon Walker Faculty Excellence Award, honoring teaching excellence, effective advising, scholarship, and service to the college. Dana Bucin Diaz Vazquez ’02 is a partner in the immigration practice group of Murtha Cullina LLP. Marc D’Auteuil ’03 was named boys soccer coach at Olentangy Liberty High School in Powell, Ohio. Tim Hawthorne ’03, assistant professor of geographic information systems at the University of Central Florida Department of Sociology, has been appointed associate editor of the Journal of Geography, an academic publication featuring the research of geographers and spatially oriented scholars. Jacob Kagey ’04, associate professor in biology at the University of Detroit Mercy, co-authored an article with a student about cell growth and division of chromosomes in flies, which was published in the journal Advances in Bioscience and Biotechnology. Michael Grady IV ’04 is the owner of Velocity Sports, a baseball facility in North Canton, Ohio, with a focus on improving pitching velocity and bat speed. Joanne Meyer ’04 owns the Backstretch in Delaware, Ohio, which recently rebranded from a bar to a full-service kitchen. Nathanael Jonhenry ’05 was named to the 2017 Ohio Rising Stars list by Super Lawyers in the field of government relations, an honor reserved for those lawyers who exhibit excellence in practice. Only 2.5 percent of attorneys in Ohio receive this distinction. Jonhenry is an associate at the international law firm Squire Patton Boggs (US) LLP, where his primary practice areas are government relations and campaign finance law. Ryan Martin ’05 is director of the youth academy for the D.C. United soccer team. Carrie Williams Schlegel ’05 was inducted into the OWU Athletic Hall of Fame. She was a four-time all-region selection in women’s lacrosse. Andrew Warnock ’06 is director of multifamily housing for RED Mortgage Capital in Columbus. Wes Goodman ’06 was elected to the Ohio House of Representatives, representing the 87th House District. He was sworn into office on Nov. 16. Alexandra “Lixie” Snyder Alford ’07 is director of education at Educational Services, a test-preparation business based in St. Davids, Pa. Qiana McNary ’07 starred in Fox Country Players’ presentation of Sister Act, playing nightclub singer Deloris Van Cartier, in Sugar Grove, N.C. Eric Carpenter ’07, a Los Angeles-based actor, recently wrote and self-published the book Becoming Invincible: Training Your Mind to Achieve the Possible. It is currently available on Amazon Kindle (free), with an audio book scheduled to be released in March. Andy Burd ’09 was named an Institutional Investor “Rising Star of Wall Street” for his coverage of Master Limited Partnerships. 2010s Dave Winnyk ’13 is a co-producer of P.O.V., the iO Talk Show at iO Chicago, an improv comedy theater. Alex Armstrong ’16 was the soloist for January’s First Thursday Noontime Recital Series at Asbury United Methodist Church in Delaware, Ohio. He is a graduate student at the University of Oklahoma. Ben Miller ’16 is a marketing associate at the Orton Family Foundation in Vermont. Alexander Paquet ’16 performed as Field Sleeper at the It Looks Like It’s Open gallery in Columbus on Feb. 3, as part of the Fuse Factory Electronic and Digital Arts Lab’s Frequency Fridays experimental music and sound art monthly series. Marriages 2010s Magdelaine Anthony ’12 was married to James Cushing on Jan. 28. She is the varsity field hockey, squash, and lacrosse coach at the Spence School in New York. Births 2000s Michael Sher ’00 celebrated the birth of son Sebastian Sher on Nov. 21. Casey Dobbins Hinkle ’04 and her husband Doug welcomed daughter Kiersten on Sept. 8. Kiersten joins big sister Callie. Christine Maier ’04 celebrated the birth of daughter Norah Stevie Baker on Dec. 17. Hannah Phillips ’04 celebrated the birth of son Theodore John Thomas on Nov. 21. Emily Kenny Prater ’04 welcomed son James Tappan Prater on Nov. 21. Also celebrating are uncle William Kenny ’09 and grandmother Linda Williams ’74. John Schaefer ’05 and Marie Rymut Schaefer ’07 celebrated the birth of son Nicholas Schaefer on Nov. 25. Also celebrating is aunt Sharon Rymut ’10. Jessica Morris Lieberth ’06 celebrated the birth of daughter Jocelyn Lieberth on Oct. 7. Lynn Kelly McClish ’06 and Jeffrey McClish ’06 welcomed their second child, Audrey, on Dec 3. Audrey joins big brother Spencer. Sarah Tobias ’06 welcomed son Samuel Joseph Gaither on Nov. 22. Sarah Wall ’06 welcomed son Jack Edward Fortier on Jan. 16. Also celebrating are uncles Tyler Wall ’11 and Travis Wall ’12. Farrukh Mushtaq ’07 celebrated the birth of son Aden Montgomery Farrukh on Nov. 8. Jordon Sampson ’07 celebrated the birth of daughter Ella Lynn Sampson on Nov. 11. Amanda Zechiel-Keiber ’09 and her husband Jason celebrated the birth of son Beckett Anthony Keiber on Dec. 8. Beckett had the good fortune of being delivered by Dr. Britta Buchenroth ’09. 2010s James Willison ’11 welcomed son Holden James Willison on Oct. 23. In Memoriam 1930s Geraldine Evans Boyce ’34, of Columbus, Dec. 10, at the age of 104. Geraldine Davidson Roberts ’36, of Pullman, Idaho, Oct. 19, at the age of 102. She was a member of Gamma Phi Beta sorority. Jeanne Grant Stayton ’38, of Newport Beach, Calif., Nov. 11, at the age of 100. She was a member of Gamma Phi Beta sorority. Virginia Wiggins Childs ’39, of Montgomery, Ala., Jan. 7, at the age of 99. She was predeceased by her mother, Gwendolyn Moore Rentz 1916, and a sister, Nancy Wiggins Voght ’41. She was a member of Kappa Alpha Theta sorority. Nansie Dienstel Follen ’39, of Bridgeport, Ohio, Jan. 7, at the age of 99. Serge Hummon ’39, of Holden, Mass., Dec. 29, at the age of 99. He was predeceased by a brother, Norman Hummon ’42, and is survived by a sister, Janet Hummon Rankin ’42. He was a member of Kappa Sigma fraternity. Marguerite Seip Morgan ’39, of North Charleston, S.C., Nov. 1, at the age of 100. 1940s Malinda Horn Gage ’40, of Lancaster, Pa., Jan. 11, at the age of 98. She was predeceased by her husband, John Gage ’38, and was a member of Kappa Kappa Gamma sorority. Eleanore Pottman Kleist ’40, of Fort Myers, Fla., Jan. 11, at the age of 98. She was predeceased by her husband, Peter Kleist ’40, and a son, David Kleist ’72. She is survived by a granddaughter, Julie McMillen Evans ’92. She was a member of the OWU Tower Society and Alpha Xi Delta sorority. Richard Cole ’42, of Whitehall, Pa., Nov. 24, at the age of 96. Irene Dulin Offeman ’42, of Texas, Oct. 9. David Chenoweth ’43, of Warren, Ohio, Nov. 5, at the age of 94. He was predeceased by his parents, Harley Chenoweth 1914 and Pearl Moore Chenoweth 1917. He was a member of Alpha Sigma Phi. Mahlon Hamilton ’43, of Stephens City, Va., Jan. 3, at the age of 97. He was a member of Chi Phi fraternity and played varsity basketball and baseball for three years. He later earned a master’s degree in education and athletic administration at Springfield College, Mass. Hamilton’s senior year at OWU was interrupted by his service in the U.S. Army Air Corps in WWII, flying materials and supplies to allied forces in Burma, and evacuating the wounded and prisoners of war. Later, he flew numerous flights over the Hump to China. He was awarded the Distinguished Flying Cross with one oak leaf cluster and the Air Medal with three oak leaf clusters. He was honorably discharged as Captain, USAF. Hamilton was a health and physical education teacher, coach, and administrator at the high school, college, and community college levels for 37 years. As a member of the American Red Cross for 30 years, he taught swimming, lifesaving, and first aid. He was a high school and college sports official in football, swimming and diving, and baseball for many years. Hamilton was a member of the First Presbyterian Church in Batavia, N.Y., and of North Lake Presbyterian Church in Lady Lake, Fla., for many years. He was preceded in death by his parents and two sisters. He is survived by Lila, his wife of 64 years, three daughters and their families, including seven grandchildren and three great-grandchildren. Claude Martin ’43, of Norwalk, Ohio, Jan. 12, at the age of 95. He is survived by a granddaughter, Trisha Kilgrove Cross ’02, and was a member of Sigma Alpha Epsilon fraternity. John Marshall ’44, of Portsmouth, Ohio, Jan. 27, at the age of 94. He is survived by his wife, Beverly Tierney Marshall ’49. He was a member of Phi Kappa Psi fraternity. Juanita Wright Schlee ’44, of Lakeland, Fla., Nov. 1, at the age of 94. She was predeceased by her husband, Roy Schlee ’43, and was a member of Alpha Xi Delta sorority. Thoburn Anderson ’45, of Heber Springs, Ariz., Dec. 3, at the age of 94. He was predeceased by his wife, Alice Tobin Anderson ’47. Helen Yeiter Bergmann ’45, of Marion, Ohio, Dec. 24, at the age of 93. She was predeceased by a sister, Luella Yeiter Wells ’40, and was a member of the OWU Tower Society. Jacquelyn Staats Cobbledick ’45, of Tucson, Ariz., Dec. 20, at the age of 91. She was a member of Alpha Gamma Delta sorority. E. Dwight Griswold ’45, of Bellbrook, Ohio, Jan. 21, at the age of 94. He was a member of Phi Gamma Delta fraternity. Murland Minor Oliver ’45, of Boynton Beach, Fla., Oct. 1, at the age of 93. She was a member of Kappa Alpha Theta sorority. Charlotte Purdy Mabee ’46, of Mansfield, Ohio, Jan. 13, at the age of 92. She was predeceased by a sister, Jean Purdy McNeill ’40, and was a member of Delta Gamma sorority. Eileen Seabright Smith ’46, of Hamilton, Ohio, Nov. 12, at the age of 91. She was a member of Kappa Delta sorority. Jonathan Amy ’47, of West Lafayette, Ind., Dec. 4, at the age of 93. He was a member of Sigma Chi fraternity. Audus Helton ’47, of Bonners Ferry, Idaho, Dec. 15, at the age of 94. He is survived by his wife, Adeline Waller Helton ’48, and was a member of Delta Tau Delta fraternity. Lois McGee ’47, of Willoughby, Ohio, Jan. 2, at the age of 91. She was a member of Chi Omega sorority. L. Lucille Van Cleve Burrow ’48, of Santa Maria, Calif., Aug. 27, at the age of 91. She was predeceased by her husband, Robert Burrow ’48, and was a member of Alpha Gamma Delta sorority. Patria Olesen Kerrick ’48, Nov. 15, at the age of 92. Marion Garrison LoPrete ’48, of Orchard Lake, Mich., Oct. 1, at the age of 90. She was a member of Pi Beta Phi sorority. William Mulroney Jr. ’48, of Gaithersburg, Md., Nov. 17, at the age of 93. He is survived by his wife, Lenore Pyle Mulroney ’48, and was a member of Phi Kappa Psi fraternity. Donald Boothe ’49, of Spanish Fort, Ala. He is survived by his wife, Joan Foley Boothe ’49, and was a member of Sigma Alpha Epsilon fraternity. Selene Elliott Butters ’49, of Dublin, Ohio, Sept. 27, at the age of 89. She was an active member of the Monnett Club and is survived by her husband Bob, five children, and nine grandchildren, including Andrew Geoffrey Stock ’16. Marilyn Sager Jacobs ’49, of Palm Coast, Fla., Jan 30, at the age of 89. She was a member of Delta Gamma sorority. Thomas Lotrecchiano ’49, of Mahopac, N.Y., and Rhinebeck, N.Y., Dec. 29, at the age of 92. He is survived by a brother, Al Lotrecchiano ’56, two children, Diane Lotrecchiano Holmes ’70 and Donna Lotrecchiano Meyer ’74, and a grandson, Rich Holmes ’98. He was a member of Sigma Phi Epsilon fraternity and the OWU Athletic Hall of Fame. Clarice Johnson Myers ’49, of Carey, Ohio, Nov. 9, at the age of 89. 1950s Grace Butterweck ’50, of Somers, N.Y., and Wellfleet, Mass., Dec. 25, at the age of 88. She was predeceased by a sister, Ethel Bucher ’43. She was a member of the OWU Athletic Hall of Fame and Alpha Gamma Delta sorority. Eleanor Stitt Chenoweth ’50, of Clarksburg, Ohio, Dec. 11, at the age of 88. She was a member of Delta Delta Delta sorority. Geneva Puterbaugh Day ’50, of Tipp City, Ohio, Nov. 4, at the age of 88. She is survived by a son, James Day ’77, and was a member of Gamma Phi Beta sorority. Richard Frieg ’50, of Perry Township, Ohio, Dec. 31, at the age of 90. He is survived by a brother, John Frieg ’44, and was a member of Delta Tau Delta fraternity. William Kelly ’50, of Bellevue, Wash., Dec. 15, at the age of 89. He was predeceased by his wife, Joan Flucke Kelly ’52, and was a member of Phi Gamma Delta fraternity. Charles Mendelson ’50, of Santa Barbara, Calif., Dec. 11, at the age of 88. He was a member of Sigma Alpha Epsilon fraternity. Dale Renner ’50, of Tucson, Ariz., Nov. 6, at the age of 92. He is survived by his wife, K. Annette Halley Renner ’52, and was a member of Phi Gamma Delta fraternity. Phyllis Rogers Adams ’51, of Delaware, Ohio, Nov. 30, at the age of 87. Richard Eesley ’51, of Rockford, Ill., Dec. 4, at the age of 87. He was predeceased by his mother, Edla Scaife Eesley ’26, and is survived by a brother, Daniel Eesley ’53. He was a member of Sigma Chi fraternity. Barbara Huff Ellwood ’51, of Lancaster, Ohio, Dec. 1, at the age of 87. She is survived by a sister, Dorothy Huff Pettibone ’42, and was a member of Kappa Alpha Theta sorority. Agnes Park Fausnaugh ’51, of Rocky River, N.C., Oct. 20, at the age of 87. She was predeceased by her husband, Hal Fausnaugh ’48, and is survived by a grandson, Perry Obee ’06. She was a member of Kappa Kappa Gamma sorority and the OWU Tower Society. William Garrison ’51, of Minden, La., Dec. 1, at the age of 87. He was predeceased by his parents, Clarence Garrison ’26 and Helen Harman Garrison ’27. He was a member of Phi Kappa Psi fraternity. John Nixon ’51, of Lancaster, Ohio, Jan. 19, at the age of 92. He was predeceased by his wife, Catherine Annas Nixon ’49, and was a member of Beta Sigma Tau fraternity. Richard Nowers ’51, of Edgewater, Md., Jan. 23, at the age of 87. He was a member of Phi Delta Theta fraternity. Elizabeth Westland Nye ’51, of New London, N.H., and Palm City, Fla., Dec. 2, at the age of 87. She was a member of Kappa Kappa Gamma sorority. Nancy Schultz ’51, of Delaware, Ohio, Dec. 22, at the age of 87. She was predeceased by her husband, Stanley Schultz ’51, and her mother, Frances Hughes Schultz ’24. She was a member of Alpha Chi Omega sorority. Marguerite Schimmel Wolf ’51, of Bethany Beach, Del., Oct. 18, at the age of 87. She was predeceased by her parents, Elmer Schimmel 1917 and Marguerite Schimmel 1919, and a brother, Harrie Schimmel ’44. She was a member of Alpha Chi Omega sorority. Marilyn Davis Buckley ’52, of Stuart, Fla., Dec. 27, at the age of 86. She was predeceased by her husband, Claude Buckley ’52, and was a member of Delta Gamma sorority. Joanne Plank Greaves ’52, of Tampa, Fla., Jan. 9, at the age of 86. She was a member of Kappa Alpha Theta sorority. Lawrence Green ’52, of Hamilton, Ohio, Jan. 23, at the age of 86. He was predeceased by his father, Albert Green ’23; his wife, Betty Green; a brother, Carl Green ’51; and a sister-in-law, Carol Fox Green ’51, and is survived by a son, John Green ’79. He was a member of Sigma Alpha Epsilon fraternity, and his family says he enjoyed attending OWU reunions and was making plans to attend his 65th class reunion in May. Dolores Deist Fraser ’53, of Silver Lake, Ohio, Dec. 28, at the age of 85. She was predeceased by her husband, Ivan Fraser ’52. Sally Jackman Freeman ’53, of Highlands Ranch, Colo., Dec. 22, at the age of 85. She was predeceased by her husband, Robert Freeman ’51, and is survived by a daughter, Victoria Freeman Kunter ’78. She was a member of Delta Delta Delta sorority. Jack King ’53, of Crawfordsville, Ind., Nov. 17, at the age of 85. He was a member of Sigma Chi fraternity. Winston Lora ’53 of Medford, Ore., Oct. 28, at the age of 85. He was a member of Chi Phi fraternity. Wallace “Wally” Pursell ’53, of Baton Rouge, Dec. 27 at the age of 87. He was predeceased by his wife Zoe F. Pursell ’53, whom he met at OWU, and his brother William Pursell ’51. He was a member of Phi Kappa Psi and later a 1st Lieutenant in the Army before going on to a career in the steel industry. He is survived by three children, grandchildren, a great-grandson, cousin Anne Reed Robins ’56, and nieces and nephews. Wally co-founded the Baton Rouge Astronomical Society in 1981 and volunteered in its community outreach for 35 years. His astronomical equipment designs and astrophotography were published in astronomy magazines, and a minor planet discovered in 1999 was named in his honor. JoAnn Bradley Thompson ’53, of Hermitage, Pa., and Pompano Beach, Fla., Jan. 18, at the age of 84. She was predeceased by her husband, Wallace Thompson ’51, and is survived by children including Wallace Thompson ’75, and grandchildren including Amanda Thompson Oliver ’09. She was a member of Delta Gamma sorority. Thomas Wilson ’53, of Saint Johns, Mich., Oct. 10, at the age of 85. He was a member of Phi Kappa Psi fraternity. John Bennett ’54, of Syracuse, N.Y., Nov. 4, at the age of 84. He was a member of Phi Kappa Tau fraternity. M. Richard Holbrook ’54, of Westlake, Ohio, Oct. 7, at the age of 85. He was a member of Sigma Phi Epsilon fraternity. Patricia Cailor Varley ’54, of Westlake, Ohio, Oct. 19, at the age of 84. She was a member of Kappa Kappa Gamma sorority. James Matz ’55, of St. Clairsville, Ohio, Oct. 2. Laura Merrill Meridon ’55, of Delaware, Ohio, Dec. 7, at the age of 82. She is survived by a son, John Donnenwirth ’82, and was a member of Alpha Chi Omega sorority. Laurence Miller ’55, of Wellington, Ohio, Jan. 12, at the age of 83. He is survived by his wife, Mary Whitman Miller ’53, and was a member of Phi Delta Theta fraternity. James Wilkins ’55, of Birchaven Village, Ohio, Nov. 22, at the age of 83. He was predeceased by his wife, Nancy Martin Wilkins ’58, and was a member of Phi Gamma Delta fraternity. David Carr ’56, of Bowling Green, Ohio, Dec. 7, at the age of 82. He was a member of Sigma Chi fraternity. Donald Corfield ’56, of Monroeville, Pa., Oct. 4, at the age of 82. He was a member of Beta Sigma Tau fraternity. Dorothy “Dot” Kelley Downing ’56, of Uxbridge, Mass., Nov. 19, at the age of 82. She was a member of Alpha Chi Omega sorority and earned her degree in psychology. She is survived by her five children: John, Kathleen, Brian, Matthew, and Nicole. She is also survived by six grandchildren and her long-term partner, John Congdon. Dorothy was born in Middleboro, Mass., and graduated from Hingham High School in Massachusetts. After earning her degree at Ohio Wesleyan, she became a small-business owner. She enjoyed cooking at the restaurant she owned and later at the diner she owned. In addition to her career, Dorothy also pursued a master’s degree while raising five active children. During retirement, Dorothy became an accomplished artist and loved to cook for her many friends and family members. She also was an enormous fan of the New England Patriots and was intensely interested in politics. After becoming ill with lung cancer and later suffering a major stroke, she maintained her amazing strength and sense of humor. She often made jokes with hospital staff and family while undergoing treatment. Dorothy personified grace and dignity. Her unwavering spirit will forever be an inspiration to the many who knew and loved her. William Wiggins Jr. ’56, of Bloomington, Ind., Dec. 24, at the age of 82. He is survived by a sister, Anna Wiggins Smith ’64, and was a member of Beta Sigma Tau fraternity. Thomas Zesiger ’57, of North Fort Myers, Fla., Jan. 2, at the age of 81. He is survived by his wife, Hanna Holt Zesiger ’57. He was a member of the OWU Athletic Hall of Fame and Phi Gamma Delta fraternity. Glen Butterman ’58, of Marion, Ohio, Jan. 15, at the age of 80. He was a member of the OWU Athletic Hall of Fame and Sigma Alpha Epsilon fraternity. He served in the Army from 1959 to 1961, and he retired in 1999 from ESCO in Bucyrus, Ohio. He was an active person and enjoyed bowling, fishing, running, bicycling, hiking, camping, and playing chess in his later days. Butterman took great pride in his children and grandchildren and will be missed by family and friends. Kayanne Garber Day ’58, of Hudson, Ohio, Dec. 13, at the age of 80. She was predeceased by a sister, Veda Garber Rose ’59. She is survived by her husband, Ralph Day ’58, a sister, Joyce Garber McHaffie ’68, a son, Bryan Day ’84, and a daughter, Karen Biava ’88. She was a member of Delta Gamma sorority. Telford Fuge ’58, of Johnstown, Pa., Jan. 18, at the age of 83. He was predeceased by his wife, M. Jane Meek Fuge ’59, and was a member of Beta Theta Pi fraternity. Urlin Harris Jr. ’58, of Delaware, Ohio, Dec. 8, at the age of 80. He is survived by a son, Urlin Harris ’83, and was a member of Beta Theta Pi fraternity. Clyde Cox ’59, of Lakeside, Ohio, Oct. 3, at the age of 79. He is survived by a son, Andrew Cox ’92. He was a member of Alpha Tau Omega fraternity and the OWU Tower Society, and he was a former member of the OWU Board of Trustees. Kenneth Gallinger ’59, of Harford, Pa., Dec. 14, at the age of 80. He predeceased by his wife, Ruth-Anne Spurrier Gallinger ’58, and was a member of Chi Phi fraternity. Gordon Greek ’59, of Bluffton, Ind., Dec. 5, at the age of 79. He was a member of Beta Theta Pi fraternity. Donna Sherard Hunkins ’59, of Columbus, Jan. 5, at the age of 80. She was a member of Zeta Tau Alpha sorority. James Whittaker ’59, of Virginia Beach, Va., Nov. 2, at the age of 79. He was a member of Alpha Tau Omega fraternity. 1960s G. Thorpe Mitchell ’60, of Leesburg, Ind., Dec. 11, at the age of 78. He was a member of Sigma Alpha Epsilon fraternity. Katharine Boerner Rindge ’60, of Columbus, N.C., Nov. 1, at the age of 77. She is survived by her husband, Fred Rindge IV ’59. Ernest Bickford ’61, of Pilesgrove, N.J., Oct. 13, at the age of 81. Aaron Messing ’62, of Morgantown, Pa., formerly of West Orange, N.J., Oct. 22, at the age of 76. He is survived by his wife, Virginia Drick Messing ’63. He was a member of Chi Phi fraternity and the OWU Tower Society. Messing graduated from OWU with a degree in chemistry, then from Baruch College in 1972 with an MBA in management and finance, and the American College in 1974 with a CLU. He was a member of Chi Phi fraternity at OWU, a founding member of the Garden State Theater Organ Society in 1973, and a lifelong member of the Temple Sinai in Summit, N.J. He enjoyed woodworking in his home workshop, playing competition-level chess, and was an avid collector of lmari. Although only a hobby, his optical microscopy work was recognized with winning entries in the Nikon Small World competition in 2002 and 2003. He was also a world traveler and visited all 50 states. In March 2016, he became a member of the Chrysler 300M Enthusiasts Club as an owner of the classic 2002 Chrysler 300M. In addition to his wife of 50 years, he is survived by two sons and two grandchildren. In lieu of flowers, the family asks that donations be made to the “Aaron and Virginia Messing Scholarship” at Ohio Wesleyan. Kathy Kerr ’63, of Troy, Ohio, Jan. 16, at the age of 75. She was predeceased by her father, Ellis Kerr ’29, and is survived by a sister, Karol Kerr McCarthy ’59. She was a member of Kappa Alpha Theta sorority. Don Noland ’64, of Rockwall, Texas, Feb. 4, at the age of 74. He is survived by two brothers, Stan Noland ’60 and Tom Noland ’67, and a daughter, Katie Noland ’01. He is also survived by his wife, Nancy Stevenson Noland; a son, Jeff Noland; a daughter-in-law, Heather Kristoff Noland; and two grandchildren, Carter and Delaney. Noland was a four-year letterman for OWU football and was a member of Sigma Phi Epsilon fraternity. Russell Brown ’65, of New Concord, Ohio, Dec. 28, at the age of 73. He was predeceased by his mother, Marjorie Smith Brown ’31, and was a member of Tau Kappa Epsilon fraternity. Marilyn Warner ’65, of Delaware, Ohio, Jan. 18, at the age of 81. She was predeceased by a brother, Robert Warner ’58. Stephen Bricker ’69, of Richmond, Va., Oct. 11, at the age of 69. He was a member of Chi Phi fraternity. Alice Schneider ’69, of Rockland Township, Pa., Sept. 24, at the age of 68. 1970s Mark Shankland ’71, of Yarmouth, Maine, Oct. 21, at the age of 67. He was predeceased by his father, Alan Shankland ’34, and is survived by a brother, David Shankland ’75. He was a member of Alpha Sigma Phi fraternity. Michele Carr Kiene ’75, of Schwetzingen, Germany, Dec. 20, at the age of 63. Susan Souders Obrecht ’77, of Greenwich, Conn., Nov. 13, at the age of 61. She was a member of Kappa Alpha Theta sorority. 1980s James Ned Walls ’80, of Hartly, Md., Sept. 28, at the age of 58. He was a member of Beta Theta Pi fraternity. Lane Bettcher ’83, of St. Petersburg, Fla., Nov. 5, at the age of 55. He is survived by his parents, Laurence Bettcher ’61 and Nancy Lamvermeyer Scott ’61, and a brother, Robert Mack ’87. He was a member of Sigma Phi Epsilon fraternity. Julie Monteith ’83, of Milwaukee, Dec. 2, at the age of 55. She was a member of Delta Delta Delta sorority. Royce Mulholland ’83 (pictured here with wife Lauretta Kennedy Mulholland ’84), died at home on March 3, at the age of 56. He leaves a legacy in the communities he deeply touched in New York City and beyond, including his hometown of Douglas Manor, N.Y. Whether he was raising money for the new dock project or officiating at the annual July 4th track and field games for local kids, Royce was proud of his friends and the community that they had built together. He was a passionate advocate for affordable housing. His company, The Mulholland Group, developed, managed, and was lauded for creating modern multi-family housing in upstate New York as well as in Texas and Virginia. After graduation from OWU, Royce went to work for New York Gov. Mario Cuomo, where he developed the love for housing and helping those less fortunate that shaped the balance of his life’s work. Royce was a passionate man with big appetites. He thought he had the coaching acumen to bring Notre Dame football another national title. Royce was a longtime supporter of Providence House, a Brooklyn nonprofit shelter that helps women who are homeless and recently released from prison transition back into society. He was a member of Alpha Tau Omega fraternity. He is survived by his wife, Lauretta Kennedy Mulholland ’84, daughters, Noelle, Shannon, Annie and Blair; and his son Royce Jr., his mother Dorothy, brothers and sister and more than 40 nieces and nephews. Donald Rodgers ’84, of Sherman, Texas, Nov. 6, at the age of 54. He is survived by a sister, Marcy Rodgers ’82. 1990s Jeffery Head ’90, of Toledo, Ohio, Jan. 4, at the age of 48. Faculty/Staff Robert Fichter, of Hampton, Conn., Nov. 25, at the age of 95. Fichter taught religion and philosophy at OWU. He is survived by his wife, Angela Hawkins Fichter ’69, and a daughter, Allison Fichter ’73. John “Jack” Fulcher, of Hopewell Township, Pa., Jan. 9, at the age of 98. He taught psychology at OWU. Anne Wood Galloway, of Evans, Ga., Dec. 3, at the age of 86. Marian Hoffman, of Delphi, Ohio, Jan. 3, at the age of 97. Mont Christy Hollingsworth, of Sunbury, Ohio, Nov. 27, at the age of 68. Sandy Jones, of Lecanto, Fla., Jan. 4, at the age of 66. Richard King, Jan. 29, at the age of 85. He was a chemistry professor at OWU. Maxine Main, of Delaware, Ohio, Nov. 29, at the age of 96. She taught home economics at OWU. Paul McEnderfer, of Harrisonburg, Pa., Dec. 1, at the age of 85. He taught and conducted orchestras at OWU. Joyce Ross, of Delaware, Ohio, Nov. 30, at the age of 78. She was a former cafeteria worker at OWU. James Rowley, of Charleston, S.C., Dec. 14, at the age of 91. Friends James Dicke, of New Bremen, Ohio, Nov. 11, at the age of 94. Sympathy To William Jacobson ’68 for the loss of his father, Arthur Jacobson. Marlene Yellin Wilson ’70 and Laura Zionts Yellin ’74 for the death of Mark Yellin. L. Clark Morehouse III ’73, Susan Currie Morehouse ’74, Sarah Morehouse ’05, Meryl McCumber Stemberg ’09, and Thomas “Mac” Stemberg ’07 for the loss of William Currie, Oct. 19, at the age of 95. Laurie Smith Darling ’77 for the loss of her mother, Claire Smith, Dec. 16, at the age of 88. Eric Tillman ’77 for the loss of his mother, Joan Tillman, Dec. 15, at the age of 88. Carolyn Shenk Connolly ’79 for the loss of her father, Louis Shenk Jr., Nov. 30, at the age of 90. We Want to Hear from You! Please email your news to classnotes@owu.edu. You can also submit your news to: Attn: Class Notes Editor OWU Magazine Ohio Wesleyan University Mowry Alumni Center 61 S. Sandusky St. Delaware, OH 43015 Include your name and class year as well as a daytime phone number, should we need to reach you. Photos are welcome. Submissions may be edited for space. The deadline for receiving Class Notes and Faculty Notes submissions for the Fall 2017 OWU Magazine is June 9, 2017.
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In this fascinating blog, Packer selects three of his favourite illustrations and reveals how he transformed his ideas to the page. Finding an Image My primary task as an illustrator is to give a visual identity to a book. This is not exclusively my role as it is a collaboration between the illustrator, the art director, the production designer and the typesetter as well as the editor, and requires everyone to have a sense of where we need to take a design. Lengthy discussions about an approach will take place before work even begins on a design, as everyone must be in agreement about the direction. There are many factors in play such as budget, a timetable, and who we might want a book to appeal to, but above all else is the idea that we must serve the text and how visually this can best be achieved. Our first consideration in designing this edition was that it should be a suitable celebration of the First Folio from 1623, and that stylistically this needed to be at least the starting point for our design – an edition that paid homage to and respected that of 400 years ago but which wasn’t a facsimile and felt modern, or, perhaps more importantly, timeless. So, my first question upon starting to think about the illustrations for this book was this: ‘Had the 1623 edition been fully illustrated, what might that have looked like?’ To answer that question, I turned to playbills and other printed ephemera from that period. If these were illustrated at all then they might be accompanied by a rudimentary woodblock illustration in a single colour, often focused on an actor rather than a character. In truth, very few images from Shakespeare plays from that period exist at all, but here was the imagery that I wanted to use and it was its simplicity which would be key to illustrating The Complete Plays. At the heart of all of Shakespeare is the character and the human condition – he is impossibly good at understanding how humans react and interact as events, great or small, shift around them. Of how all the emotions that make us who we are can be weaponised, deployed or broken in the pursuit of love or power, and how we are always victims of circumstance. Impossible ideas to even try to illustrate! Of course, it is far better to let Shakespeare do it all for us, but if once could represent a character or group of characters in a clear and engaging enough way, then perhaps the reader could identify the play from the illustration alone. For me then the key was to edit and strip away as much as possible and to arrive at a simple image of a character or small group stripped of background noise; something that would clearly represent a given play. Elizabethan theatres did not deploy lots of scenery, perhaps only a few props, and de-cluttering the images not only tied in with the aesthetic of playbills, but helped focus on a single idea. Richard III Taken from a scene in Act 5, chosen partly for its significance within the structure of the play, this image shows Richard on the eve of the Battle of Bosworth, visited in his sleep by a procession of ghosts of those he had killed. Each appears as an image of retribution foreshadowing Richard’s own imminent death. My choice of subject is equally driven by the image itself, primarily what might make for a strong or interesting picture, but I must also consider all the other illustrations in the book and try to put some clear water between each one. Again, it comes down to finding a unique and simple graphic that in this case simply says ‘Richard III’. Illustration by Neil Packer My influences as an illustrator are wide and varied, it is often a disappointment to hear where ideas come from for it is most probably as mundane as ‘life experience’. Ideas hide in plain sight; they are everywhere but one probably doesn’t recognise them as ideas at the time of absorbing them. They can swim around in your head for decades and then hopefully suggest themselves at the right moment. Looking back at this image now, more than a year after I made it, I can see that clearly the Elizabethan woodblock print is my starting point with all the unsettling atmosphere which usually attends them. But I can also see the influence of outsider art, particularly in the depiction of the ghosts I notice a little of my liking for Albrecht Durer’s engravings within the faces and I am pretty certain that Richard’s stance, with his weight on the two sticks, comes from Antony Sher’s legendary breakthrough performance of Richard III in 1984. The Two Gentlemen of Verona The Two Gentlemen of Verona is thought to be one of the earliest of Shakespeare’s works and its primary theme is the conflict between loyalty to friends and submission to passion. The two eponymous gentlemen are Valentine and Proteus, and the moral twists and turns of their journeys are at the heart of the play. However, much of the comedy is driven by the characters of their servants Lance and Speed, and the nature of their behaviour better helps us understand that of their masters. It would not have been socially acceptable for higher status characters to discuss subjects such as sex, money or class and so often the nuance of the primary characters’ relationships are related through the comedic musings of the servants, and this play is a fine example of such. Illustration by Neil Packer Another reason for choosing this scene and eventually the image I settled upon for this play is the presence of Lance’s dog Crab who is used to great comic effect being unmoved and indifferent to any of the tumultuous events reverberating around his human companions. It has been suggested that Crab is the funniest non-speaking role in all of Shakespeare, but more importantly Crab is the only dog in the whole of Shakespeare thus making his inclusion an obvious way of identifying the play. At some point when I had finished the illustrations for this book, I conducted a blind experiment with a friend of mine who is very familiar with the works of Shakespeare. Sitting in a pub in the City of London that dates from not long after the First Folio was published, I conducted the ‘Caz’ test (Caz being my friend in question). I showed her the images from each of the plays but minus the title and she was charged with the task identifying each play from the image alone. I am pleased to report a 90% success rate at the first guess and pretty much 100% by the 2nd. Cymbeline The image for this illustration depicts the character of Iachimo emerging from a chest in which he has been hiding to steal Innogen’s bracelet. The choice of scene is yet again to clearly mark out the illustration as an image from Cymbeline. It is important to try to avoid ambiguity within the pictures and often a more famous or more key scene will work less well as it may be visually less unique. These images appear at the start of each play and are not directly next to the scene they represent so have to stand alone, and there can easily become a danger of showing a succession of unidentifiable figures gesturing at each other with no real sense of the unique flavour of each of the plays. Illustration by Neil Packer The stylistic inspiration for this illustration comes again in part from Elizabethan woodblock prints but perhaps equally from very early 20th century illustration by the likes of Aubrey Beardsley and Byam Shaw, with a healthy side helping of Egon Schiele. My focus for this project would probably have been entirely on the Elizabethan woodblock work, however I can’t but help elements from other passions, obsessions and studies of artworks from deep inside the recesses of my memory filtering through. In fact, it is something that I try to actively encourage. In this case I have chosen to dress the character of Iachimo in Elizabethan costume to directly tie the image to the Shakespeare play. Other images of historical figures such as that of Antony and Cleopatra I have depicted in dress from their own period, to tie them to the real world, again this is a device to try and put as much clear water between the images as possible and is more of an intuitive conceit than intellectual.
5894	dbpedia	3	87	https://dunyanews.tv/en/Entertainment/631543-Shakespearean-actor-Antony-Sher-dies-aged-72	en	Shakespearean actor Antony Sher dies aged 72	https://img.dunyanews.tv…543_42998138.jpg	https://img.dunyanews.tv…543_42998138.jpg	[ "https://dunyanews.tv/newweb/assets/img/logo/dn-en.webp", "https://dunyanews.tv/newweb/assets/img/network-icons/urdu-web.png", "https://dunyanews.tv/newweb/assets/img/network-icons/roznama-dunya.webp", "https://dunyanews.tv/newweb/assets/img/network-icons/lahore-news.webp", "https://dunyanews.tv/newweb/assets/img/network-icons/urdu-new.png", "https://img.dunyanews.tv/news/2021/December/12-04-21/news_big_images/631543_42998138.jpg", "https://img.dunyanews.tv/news/2021/December/12-04-21/news_big_images/631543_42998138.jpg", "https://img.dunyanews.tv/news/2024/August/08-28-24/news_big_images/833623_88729848.jpg", "https://img.dunyanews.tv/news/2024/August/08-28-24/news_big_images/833570_93048618.jpg", "https://img.dunyanews.tv/news/2024/August/08-23-24/news_big_images/832668_16613591.jpg", "https://img.dunyanews.tv/news/2024/August/08-26-24/news_big_images/833271_38349597.jpg", "https://img.dunyanews.tv/images/29Aug24-PS.jpg", "https://img.dunyanews.tv/images/28Aug24-mr-01.jpg", "https://img.dunyanews.tv/images/28Aug24-otf-01.jpg", "https://img.dunyanews.tv/images/28Aug24-nn-01.jpg", "https://img.dunyanews.tv/images/28Aug24-DMBKS-01.jpg", "https://img.dunyanews.tv/images/28Aug24-IG.jpg", "https://img.dunyanews.tv/images/28Aug24-Lahore-hig.jpg", "https://img.dunyanews.tv/images/28Aug24-weather.jpg", "https://img.dunyanews.tv/images/28Aug24-strike-upd-upd.jpg", "https://img.dunyanews.tv/images/28Aug24-Nawaz-Sharif.jpg", "https://img.dunyanews.tv/images/28Aug24-Rain.jpg", "https://img.dunyanews.tv/images/28Aug24-Shutter-Down-Strike.jpg", "https://img.dunyanews.tv/images/thumb-sanet.jpg", "https://img.dunyanews.tv/images/molana-entry.jpg", "https://img.dunyanews.tv/images/thumb-ijlas.jpg", "https://dunyanews.tv/newweb/assets/img/footer/google-icon.png", "https://dunyanews.tv/newweb/assets/img/footer/apple-appstore.png", "https://dunyanews.tv/newweb/assets/img/footer/huawei-appgallery.png", "https://dunyanews.tv/newweb/assets/img/footer/punjab-colleges.png", "https://dunyanews.tv/newweb/assets/img/logo/dn-en.png" ]	[]	[]	[ "Shakespearean actor", "Antony Sher", "dies", "" ]	null	[ "www.facebook.com" ]	2008-02-14T20:00:00	Shakespearean actor Antony Sher dies aged 72	en	https://dunyanews.tv/new…e-touch-icon.png	Dunya News	https://dunyanews.tv/en/Entertainment/631543-Shakespearean-actor-Antony-Sher-dies-aged-72	LONDON (AFP) - The award-winning theatre and film actor Antony Sher has died aged 72 after suffering from cancer, the Royal Shakespeare Company announced on Friday. South Africa-born Sher was widely considered to be one of Britain’s finest contemporary actors, playing almost all the great Shakespearean roles from King Lear to Shylock. In 1985, he won an Olivier Award for his energetic portrayal of Richard III as a villainous hunchback, propelling himself around the stage on crutches. He was in several successful movies, including "Shakespeare In Love" and was once described by Prince Charles as his favourite actor. While at the RSC, Sher met his husband, Gregory Doran, who would become the company’s artistic director. They were one of the first gay couples to enter a civil partnership in Britain in 2005. Doran stepped back from his role in September to care for his husband after his condition was diagnosed as terminal. RSC executive director Catherine Mallyon and Erica Whyman, acting artistic director, said they were "deeply saddened" at Sher’s death. "Our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time," they said. "Antony had a long association with the RSC and a hugely celebrated career on stage and screen." RSC chair Shriti Vadera said the actor was "beloved" in the organisation "and touched and enriched the lives of so many people".
5894	dbpedia	2	24	https://cafesociety956.wordpress.com/2017/08/27/year-of-the-fat-knight-antony-sher/	en	Year of the Fat Knight ~ Antony Sher	https://cafesociety956.w…/08/img_0250.jpg	https://cafesociety956.w…/08/img_0250.jpg	[ "https://cafesociety956.wordpress.com/wp-content/uploads/2017/08/img_0250.jpg?w=300&h=171", "https://2.gravatar.com/avatar/b1f8e6ac7023ffe55efa683369c121f17059a9a547b5bd3b227a2c3d88814f04?s=40&d=identicon&r=G", "https://0.gravatar.com/avatar/08e608c4f476cc43817ad0c3afeba2e7a8fd86cf825fe5ecc3a8f00da602dba2?s=40&d=identicon&r=G", "https://annabookbel.net/wp-content/uploads/2020/07/cropped-gravatar.jpeg?w=48", "https://2.gravatar.com/avatar/b0a29e74418a03e078b63d6b7735099aeb5d2c3e441804bba022f324e7c6d2b8?s=48&d=identicon&r=G", "https://necromancyneverpays.files.wordpress.com/2022/11/cropped-img_6462-1.jpg?w=48", "https://2.gravatar.com/avatar/281e2468315e4af90fe50e2a83a11438c779786d542fb41389325e40b47e5ce9?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/08e608c4f476cc43817ad0c3afeba2e7a8fd86cf825fe5ecc3a8f00da602dba2?s=48&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Café Society" ]	2017-08-27T00:00:00	Shakespeare is big in my life. And, because I live only an hour's drive away from Stratford, the same is true of the Royal Shakespeare Company. I saw them on stage for the first time in 1962 and have been a constant visitor ever since. I have dozens of memorable productions stowed away in my…	en	https://s1.wp.com/i/favicon.ico	Café Society	https://cafesociety956.wordpress.com/2017/08/27/year-of-the-fat-knight-antony-sher/	Shakespeare is big in my life. And, because I live only an hour’s drive away from Stratford, the same is true of the Royal Shakespeare Company. I saw them on stage for the first time in 1962 and have been a constant visitor ever since. I have dozens of memorable productions stowed away in my memory and not a few of them have featured performances by Antony Sher. Now, I know that Sher is something of a marmite actor: you love him, or you hate him. I have one friend who refuses to see any further performances of Richard III because she wants nothing to diminish her memory of his 1984 interpretation. I have other friends who pointedly avoid anything he’s in. Personally, I am a fan. I first saw Sher in 1982 playing the Fool to Michael Gambon’s Lear. This was not long after I had started out on what was to prove to be a nineteen year marathon during which I studied for three successive degrees at the same time as holding down a full-time job. Going to the theatre was about the only other activity I found time for and over that period of nearly two decades Tony Sher was one of a small number of actors who never failed to stimulate me and send me out of the theatre with new ideas careering round my brain. I didn’t always agree with his interpretations (the least said about his Malvolio the better) but he was never there just to make up the numbers. It was fitting, then, if completely unexpected, to turn up for my third and final graduation ceremony and find that he was the Honorary Graduand. He gave a speech that day which managed to turn what had been threatening to be a very embarrassing morning, centred round a hard-nosed plea for money from the university’s Chancellor, into what it should have been: a celebration of the achievements of the young people who had worked so hard and long for their degrees. I wrote to him afterwards to thank him and received a very generous response. As I say, I am a fan. I am always glad then to see another in his series of diary accounts chronicling his journey towards the creation of a new part. There have now been three of these: The Year of the King, Wozza Shakespeare, and most recently, Year of the Fat Knight. The first was concerned with Richard III, the second, written jointly with his partner, Greg Doran, focused on a production of Titus Andronicus staged in post Apartheid South Africa, and the third about the current production of the Henry IVs. I love the Henry IVs. They are up there amongst my favourite plays, especially Part II, which I think has a melancholy all of its own. And, I have seen some cracking productions over the years. So I was delighted when they were announced for the 2014 season with Sher cast as the reprobate, Falstaff. I didn’t share the doubts about his ability to play the role that he seems to have had and in fact, the early sections of this journal centre around the question of whether or not he is going to agree to take the part on. Some of the most interesting discussion focuses on why many of our greatest character actors have refused to agree to play Falstaff. Both Derek Jacobi and Ian McKellen had turned it down before it was offered to Sher and neither Olivier nor Gielgud ever played the part. As Sher says Gielgud would have been the Don Quixote of Falstaffs and like him I’d have paid blood to see [Scofield] do it. Once committed to the role Sher sets about discovering the Falstaff he can play and we go on the journey with him as he mines the text for indications of what it is that makes the fat knight recognisable to us as a real human being. This is a painstaking process and for someone like me, who is of an age with the actor, one I can empathise with, especially when he talks about the growing difficulty of learning lines. I didn’t think that there was as much analysis of the part and of the plays as there had been in the earlier books and felt this as a loss, but there is still much discussion of the rehearsal process and given that he was talking about people I have become familiar with over past seasons and spaces that I know very well, the book was nevertheless a very enjoyable read. The added bonus where this journal is concerned is that it is now possible to go back and watch the plays again in the light of the journey Sher has laid before us. Recordings are available and although they will never quite catch the magic of the live performance it’s a darn sight better than not being able to see it at all. If you are a lover of Shakespeare or simply a lover of the theatre in general then I recommend a weekend spent with this book and the DVDs of the two plays. You won’t regret the time spent.
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"https://www.iab.com/wp-content/uploads/2024/07/podcasting-in-the-creator-economy-where-influence-drives-purpose-2.png", "https://www.iab.com/wp-content/themes/iab/lib-browser/img/icons/redesign/RedBackArrow.png", "https://www.iab.com/wp-content/uploads/2024/07/privacy-law-essentials-for-digital-advertising-professionals-10-24-4.png", "https://www.iab.com/wp-content/themes/iab/assets/img/iab-footer.jpg", "https://www.iab.com/wp-content/themes/iab/assets/img/iab-footer.jpg", "https://www.iab.com/wp-content/themes/iab/assets/img/backtotop.png" ]	[]	[]	[ "" ]	null	[]	2023-08-03T18:37:06+00:00	Join fellow business leaders in Marco Island, FL on Jan 28 - 30, 2024 for executive keynotes, insightful panel discussions, and networking.	en	//www.iab.com/wp-content/themes/iab/assets/img/iab.ico	IAB	https://www.iab.com/events/alm-2024/	Robert M. Bakish is President and Chief Executive Officer of Paramount Global. Bakish oversees one of the world’s leading producers of media and entertainment content, driven by a global portfolio of powerful consumer brands and flagship streaming platforms, including CBS, Showtime Networks, Paramount Pictures, Nickelodeon, MTV, Comedy Central, BET, Paramount+, and Pluto TV, among others. In this role, which he assumed in December 2019, Bakish is responsible for growing the company’s creative assets, content capabilities and streaming services to serve important and diverse audiences, which consume over 30 billion hours of Paramount content globally across more than 180 countries. Bakish’s leadership was integral to the successful merger of Viacom and CBS as he led the transformation efforts within the new company, combining two great cultures, formalizing a best-in-class leadership team and aligning the organization around strategic growth priorities centered on streaming. Importantly, Bakish created a new, unified global streaming organization and strategy to maximize Paramount content across pay, free and premium streaming services spotlighted by Paramount+, Pluto TV and Showtime OTT. Prior to the recombination of Viacom and CBS, Bakish was the President and Chief Executive Officer of Viacom since December 2016. He led the revitalization and evolution of Viacom’s core businesses, returning the company to growth, and extending its leadership across multiplatform entertainment content, next-generation distribution and advertising. Through a strategy to deepen and expand Viacom’s presence in digital and live experiences, Bakish also stewarded the key acquisitions of free streaming television service Pluto TV; Gen-Z focused brand Awesomeness; influencer marketing firm WHOSAY; and VidCon, the world’s largest celebration of online video fans and creators. Bakish previously headed the company’s international business as President and CEO of Viacom International Media Networks (VIMN) since 2007. Under his leadership, VIMN more than doubled revenues and broadened its portfolio with new, broadly distributed pay-TV networks, including Spike and the Paramount Channel, as well as general entertainment broadcast networks Channel 5 in the U.K., Telefe in Argentina and Colors in India. At the same time, he guided the company to launch Viacom Play Plex and other innovative mobile streaming offerings that introduced a new generation of young audiences to Viacom’s popular brands and IP. Bakish joined Viacom in 1997, and held a series of senior corporate, sales and development positions at the company. He previously worked as a partner with Booz Allen & Hamilton in its Media and Entertainment practice. Bakish has an M.B.A. from Columbia Business School and a B.S. in Operations Research from Columbia’s School of Engineering and Applied Science. He serves on the boards of both schools and is also a Director on the Board of AVID Technologies, a NASDAQ-listed company. U.S. Senator Marsha Blackburn was sworn in to the Senate in January 2019. Marsha Blackburn was elected to the U.S. Senate in 2018, and is currently serving her first term representing the state of Tennessee. Before her election to the Senate, Marsha represented Tennessee’s 7th Congressional District. Marsha’s public service is dedicated to promoting opportunities for women and making America a more prosperous place to live. Marsha’s leadership philosophy is based on her experiences in the private sector as a small business woman and author, as well as being a mother and grandmother. Marsha went to college on a 4-H scholarship and worked her way through school selling books for the Southwestern Company as one of their first female sales associates, and later as one of their first female sales managers. She then became Director of Retail Fashion and Special Events for the Castner Knott Company, which was a Nashville-based regional department store. Later, Marsha founded her own business, Marketing Strategies, which focused on the retail marketplace, as well as electronic and print media. Marsha began her career in public service in 1995 when she was named executive director of the Tennessee Film, Entertainment, and Music Commission. In 1998, she was elected to the Tennessee State Senate. In the state legislature, she earned a reputation for fiscal responsibility and government accountability by identifying waste and offering realistic solutions to Tennessee’s budget challenges. While serving in the Tennessee Senate, Marsha led a statewide grassroots campaign to defeat a proposed state income tax. The tax was defeated, and Marsha’s leadership earned her a reputation as an anti-tax champion. In 2014, the people of Tennessee passed an amendment to the state constitution to expressly prohibit a state income tax – a fitting cap to a 14-year battle. In 2002, Marsha was elected to represent the people of Tennessee’s 7th Congressional District based on her record in the state legislature. She brought her Tennessee values to Washington, DC, and became a leader in the fight for small, efficient federal government that is accountable to its citizens. As a Congressman, Marsha was often selected by her colleagues to lead the charge for principled conservativism. Her congressional career was also noted for her Chairmanship of the Energy and Commerce Committee’s Subcommittee on Communications and Technology, as well as bipartisan expertise in defending songwriters’ and performers’ rights. Marsha is a member of numerous charitable organizations and is an active member of her church, Christ Presbyterian. Marsha and her husband Chuck live in Williamson County, Tennessee. They have two children, Mary Morgan (Paul) Ketchel and Chad (Hillary) Blackburn, two grandsons, and a granddaughter. Originally from Laurel, Mississippi, Marsha is a graduate of Mississippi State University. Peter E. Blacker is currently Executive Vice President, Streaming and Data Products at NBCUniversal’s Global Advertising & Partnerships division. Blacker is responsible for leading the company’s efforts to grow revenue and relationships across NBCUniversal’s best-in-class products including Peacock, Streaming, Programmatic, DDL and Partnerships, working in close coordination with the entire sales team. In addition, Blacker also leads NBCUniversal’s DEI initiatives across the ad sales division driving a single, streamlined DEI team that supports all internal employee programs and external DEI-related partnerships. Blacker dually reports to NBCUniversal’s Global Advertising and Partnerships Chairman, Linda Yaccarino and President & Chief Business Officer, Krishan Bhatia. Before joining NBCU Advertising & Partnerships, Blacker served as Chief Commercial Officer and Head of DTC Licensing for NBCUniversal Telemundo Enterprises. Blacker led the Revenue Strategy and Distribution division, focusing on the commercialization, monetization and distribution of Telemundo content for SVOD and AVOD platforms in the US and Globally. Blacker began his tenure at NBCUniversal launching one of the company’s first forays in Digital Media developing Telemundo’s Digital, Social and Mobile business units, which he managed for over a decade and growing them into an award-winning powerhouse. His pioneering work in English and Spanish spanned multiple genres including developing interactive primetime programming with Telemundo Studios, multiple US Election’s coverage on digital platforms, record breaking digital and social experiences for the 2018 FIFA World Cup as well as launching NBCU’s first bilingual multiplatform global entertainment news program LATINX Now! Additionally Blacker developed Telemundo’s bilingual movie studio, FLUENCY, whose award-wining productions led him to be tapped to be an Executive Producer for Telemundo Global Studios where he worked closely with the content development teams, connecting storytelling and technology to maximize the audience and revenue potential of Telemundo intellectual property. Blacker also led Telemundo’s first distribution and partnership agreements with Hulu, Netflix, and Amazon for the US and Global markets. Prior to joining NBCUniversal, Blacker served as Vice President, Multicultural & International for AOL Media Networks. There he created AOL’s first marketing, sales and research strategies for the U.S. multicultural market and assisted the development of AOL Latino, AOL BlackVoices, AOL Japan, AOL Germany and AOL Latin America. In 2021, Blacker was one of 30 senior revenue, advertising and tech executives to be included in Variety’s Valleywood Impact Report and has won multiple awards for his pioneering work over the past 20 years. A strong believer in the importance of education and community service, Blacker is on the National Board of the Posse Foundation and has been the Chairman of Posse Miami for over a decade. He is a graduate of Cornell University and speaks both Spanish and Portuguese. David Cohen joined IAB in April 2020 as President and was named Chief Executive Officer in September 2020. Cohen is a widely respected advertising agency leader who, prior to IAB, served as President, North America for MAGNA, Interpublic Group’s (IPG) centralized media intelligence, investment, and innovation arm. In this role, Cohen was responsible for more than $20 billion in media spend. During his tenure, Cohen structured and executed large global transactions on behalf of IPG and its clients, with such major IAB member companies as Facebook, Google, Microsoft, Spotify, Twitter, and Verizon Media. Prior to MAGNA, Cohen served as Chief Investment Officer of UM, ensuring that digital innovation, data, and technology acumen flowed throughout the agency to drive performance. From 2001 to 2011, Cohen served in critical, transformational roles at UM during the explosive growth of digital advertising, including Chief Media Officer, Chief Digital Officer, and Executive Vice President, U.S. Director of Digital Communications. In the late 1990’s, Cohen was responsible for launching and building IPG’s digital practice. Cohen has a long history of working with trade organizations including IAB and 4As, where he served as chairman of the Interactive Marketing Committee from 2009-2013. He has also been instrumental in initiating several vital industry-wide programs, including the Future of Television, facilitated by EY. Cohen is a Queens native, with a bachelor’s degree in communications from Adelphi University. He was recognized by Adweek as a “Media All Star” and was part of the “Adweek 50” in 2012. In 2016, David was elected to the Board of Directors of Partnership with Children a non-profit whose mission is to strengthen the emotional, social, and cognitive skills of vulnerable children in New York City to help them succeed in school, society, and life. David enjoys spending time with his wife and two teenage daughters. A self-described gadget-geek and sometimes fitness fanatic – he ran the NYC Marathon in 2014 and 2019 and Boston Marathon in 2016. With 25+ years of experience, Jill Cruz has been specifically entrenched in both the buy side and sell side of retail media for a decade – well before it was a buzz word and explosive growth area for our industry. She helped grow retail media network practices for three of the top four holding companies and paved the way for many top clients to strategically enter the e-commerce and retail media space. At Publicis, she is tasked with further strengthening the organization’s commerce media capabilities, including advocating for more strategic retail media partnerships; championing the Publicis integration with newly owned solutions; and providing thought leadership, commerce training and enablement services to all Publicis agencies to build best-in-class retail media network practices. She represents Publicis on the IAB’s Retail Media Committee where she has been a contributor to the 2023 Retail Media Buyer’s Guide and co-chair for the RMN Measurement and Standards Committee. Prior to Publicis, she held a dual role within WPP – on the senior leadership team at Wunderman Thompson Commerce (WTC), helping grow commerce revenues 2.5x and leading three key clients to become some of the organization’s most successful clients in 2021. She was also chosen by Mediacom to help build its retail media network practice and develop a specialized commerce team to serve Mars – an account for which she helped triple the agency team supporting the business over a span of two years. Over her career, she has won many retail awards and led dozens of Fortune 500 clients across many different sectors, such as energy, banking, telecom and CPG (including brands like P&G, Tyson, GE and Hershey). She was a pioneer in the industry as VP of Sales at early retail media network, MyWebGrocer (MWG), where her leadership impacted how the various retailers connected with consumers to provide end to end advertising and promotion solutions across on/off site advertising, data platforms and retailer software. At that time, the company was the retail media network for Kroger, Albertson’s, Peapod, Giant Eagle and 100 local and regional grocery chains. She is a well-respected, awarded leader and speaker in the space. She was the Path to Purchase Retail Media Award winner and been named CampaignUS 40 over 40. She is the recipient of both Global and North America Effie awards and has served multiple times as an Effie juror and Grand juror. Her work has also been awarded at the ANA’s REGGIE Awards, receiving the coveted Super REGGIE as well as Gold (2) and Silver (1) distinctions. She received numerous awards at MWG for Largest Retail Media Growth Account (P&G), and awarded multiple times as the Top Retail Media Revenue Producer. Jill was an inaugural member of the leading women’s executive leadership organization, Chief, where she has been a dedicated member for the past five years. She has mentored many young up and coming commerce talent and championed better inclusion across all the work she does. She is a driving force in the industry to usher in a new age of commerce for clients where every moment can be a buying moment. That artifcial intelligence will transform our world is inevitable. To Eric Daimler—a leading expert in the feld of robotics & AI—it’s also an incredible opportunity for augmentation in all that we do. Lost in the Hollywood narrative that robots will defeat or dehumanize us is their truth: robotics & AI will unlock an ability for individuals and companies to unleash their potential in ways not yet fully imaginable. While Daimler sees no Terminator apocalypse, he does see urgency in understanding AI’s possibilities: adapt or risk obsolescence of skill or industry. When President Obama saw the need for a dynamic conversation about robotics & AI to guide smart adoption and policy, he turned to Daimler. Today, the AI feld is concentrated in technical hands. What sets Daimler apart is his rare and high- level success all around robotics & AI through entrepreneurship, policy, early- stage venture investment, and academic research & teaching. This combination of knowledge and experience makes Daimler uniquely positioned to discuss the AI revolution both broadly and deeply, across industries, and in language relevant to a range of audiences —from farmers to Fortune 500 executives. He knows AI from every angle and can speak to specifc fears and desires for a pragmatic approach to embracing AI. Daimler’s message aims to bridge corporations and people into the imminent new age so that they may thrive and prosper. Those who hear him speak leave enthralled, empowered, and comforted knowing that they, too, have a role to play in a future that was once the stuf of science fction. Dr. Eric Daimler is a leading authority in robotics and artifcial intelligence with over 20 years of experience as an entrepreneur, investor, technologist, and policymaker. Eric served under the Obama Administration as a Presidential Innovation Fellow for AI and Robotics in the Executive Ofce of President, as the sole authority driving the agenda for U.S. leadership in research, commercialization, and public adoption of AI & Robotics. Eric has incubated, built and led several technology companies recognized as pioneers in their felds ranging from software systems to statistical arbitrage. Currently, he serves on the boards of WelWaze and Petuum, the largest AI investment by Softbank’s Vision Fund. His newest venture, Conexus, is a groundbreaking solution for what is perhaps today’s biggest information technology problem — data deluge. Eric’s extensive career spanning business, academics and policy give him a rare perspective on the next generation of AI. Eric sees clearly how information technology can dramatically improve our world. However, it demands our engagement. Neither a utopia nor dystopia is inevitable. What matters is how we shape and react to, its development. As a successful entrepreneur, Eric is looking towards the next generation of AI as a system that creates a multi- tiered platform for fueling the development and adoption of emerging technology for industries that have traditionally been slow to adapt. As founder and CEO of Conexus, Eric is leading the development CQL, a patent- pending platform founded upon category theory — a revolution in mathematics — to help companies manage the overwhelming and rapidly growing challenge of data integration and migration. A frequent speaker, lecturer, and commentator, Eric works to empower communities and citizens to leverage robotics and AI to build a more sustainable, secure, and prosperous future. His academic research has been at the intersection of AI, Computational Linguistics, and Network Science (Graph Theory). His work has expanding to include economics and public policy. He served as Assistant Professor and Assistant Dean at Carnegie Mellon’s School of Computer Science where he founded the university’s Entrepreneurial Management program and helped to launch Carnegie Mellon’s Silicon Valley Campus. He has studied at the University of Washington- Seattle, Stanford University, and Carnegie Mellon University, where he earned his Ph.D. in Computer Science. A seasoned executive with 24+ years of digital media, marketing and operations experience, Angelina Eng has focused her career on supporting agencies and brands to define, build and manage digital media and marketing efforts while enabling teams to operationally work efficiently and effectively with both internal and external partners and platforms. She’s been responsible for the development and management of internal systems and workflow, establishment of deliverable standards, designing ad trafficking and tracking guidelines, implementation of emerging platforms, as well as establishing best practices at companies such as Morgan Stanley, Merkle, Dentsu Aegis and Publicis Modem. Over the years, She has been involved with multiple organizations and events to help define, establish and advocate some of the industry standards that we see in today’s digital media ecosystem (such as ad verification/brand safety, ad fraud, viewability and programmatic, social, etc) Angelina has been awarded the AdMonsters 2018 Power List, IAB Data Rockstar 2016 and AdMonsters Digital Media Leadership Award 2016. Victoria Garrick Browne is a TED Talk speaker, mental health advocate, podcast host, and former Division I Athlete who has amassed 2M+ followers across social media where she’s known for her unfiltered campaign, #RealPost. Victoria first began sharing her story of how she battled and overcame depression & anxiety as a student-athlete in her 2017 TED Talk, “The Hidden Opponent,” which has been viewed over 500,000 times. She delivered the talk as a sophomore member of the University of Southern California Women’s Volleyball Team, where she was a four year starter, PAC-12 Champion, and finished her career with the top five most digs in program history. She has been featured in The New York Times’, The Players’ Tribune, E! News, People, Access Hollywood, and is the Founder & CEO of mental health non-profit, The Hidden Opponent, which was recognized as a standout resource for athletes by Kobe Bryant in his novel, “Geese Are Never Swans.” She also brings her message of authenticity to life daily on her social media platforms as well as her podcast, Real Pod, which has surpassed 5M downloads and featured guests like Katie Couric, Josh Peck, & Kerri Walsh-Jennings. Victoria now tours the country speaking at universities throughout the country in hopes of destigmatizing the conversation around mental health and encouraging all people to be their unfiltered selves. Sheryl Goldstein is the Executive Vice President, Chief Industry Growth Officer at the IAB (Interactive Advertising Bureau). In her role, she oversees engaging the IAB’s 650+ members across all of the IAB’s vast initiatives, activities and thought leadership programs. Under Sheryl’s watch are the Member Engagement, Centers of Excellence, Research and L&D teams. She also spearheads talent development, diversity, equity and inclusion initiatives and runs the IAB CRO Council. Sheryl Goldstein is a “net vet” with over 20 years of driving meaningful revenue growth through consultative selling in the dynamic digital landscape (Yahoo, AOL, About.com). She is adept at building successful teams, developing go-to-market strategies and gaining consensus across key stakeholders. Her background includes a wide variety of digital media platforms and technologies and numerous leadership roles. In addition to her experience as a sales leader, Sheryl brings years of talent development and training to her role and is committed to making the digital media landscape a great industry for diverse talent to thrive and have a long and exciting career. Sheryl is a current board member for 212NYC, Makers and was a past Board member of She Runs It. She serves on the Rutgers Business School Advisory Board for Marketing and is helping RBS craft a digital marketing graduate program. In addition, she has served on Boards and Committees for the NY Ad Club, Women in Communications, Inc. and the IAB and is a member of Chief. She is an award-winning sales leader (Yahoo Accelerator Award, AOL Best Media Partner presented by Verizon, AOL Presidents Club, AWNY Crystal Award Winner). Sheryl is a graduate of Syracuse University Newhouse School and lives in New Jersey with her partner Cindy and dogs Pancho and Camden. On the weekends, you can catch her on the pickleball court or riding around the Jersey Shore on her new electric bike. Her daughter Sarah-Jaana lives in the Boston area with her husband Michael. Evan Hovorka is Vice President of Product Innovation at Albertsons Media Collective. Evan and his team focus mainly on the expansion and diversification of Albertsons Media Collective’s product mix, adtech stack and capabilities through strong collaboration and key external partnerships. By assessing market demand, Evan and his team have been able to uncover and build solutions for a variety of advertisers and consumer concerns. Evan was an instrumental part of the team that took retail media in-house at Albertsons. In the first year after the launch of Albertsons Media Collective, he was able to leverage insights to design and build patented, industry-leading, products that drive growth for the organization and the Retail Media industry as a whole. Evan’s 20+ year industry experience across innovation, data, privacy and business, combined with his deep passion for finding solutions to complex problems, has allowed Evan to redefine what’s possible for Albertsons’ retail media offering. Evan’s dedication to innovation and collaborative problem-solving began in his at-home garage. Now, “The Garage” is an Albertsons Media Collective mindset and mantra that drives growth and industry-leading innovation while maximizing partnerships, capitalizing on opportunities, and building solutions. Prior to his time at Albertsons Media Collective, Evan was at Target for over 17 years in various roles from Senior Data Analyst to Director of Business Development and Monetization Products for Target’s retail media network, Roundel. At Roundel, Evan managed digital media channels and drove product and partnerships, taking the retail media network from launch to its first billion-dollar year. Evan holds an MBA and a bachelor’s degree in computer science. Todd Kaplan is Pepsi’s Chief Marketing Officer, overseeing marketing for the Pepsi brand and PepsiCo’s sparkling water business in North America. He is responsible for all creative communications, brand strategy, product innovation, and commercial execution across a number of brands in PepsiCo’s sparkling portfolio including Pepsi, Bubly Sparkling Water, and more. Recognized as a top CMO by Forbes on their “Entrepreneurial CMO Top 50” list and by Business Insider as one of the “Top 25 Most Innovative CMOs in the World”, Todd has brought a disruptive, unapologetic, and cultureforward perspective to Pepsi that has been foundational to re-energizing the brand. Since Fall of 2018, he has infused a challenger mindset into Pepsi and has brought the brand back into the cultural zeitgeist – from reinvigorating the Pepsi Super Bowl Halftime Show platform with historic performances from JLo & Shakira, Dr Dre, Snoop, Eminem, The Weeknd and many more, to developing disruptive new products like Nitro Pepsi, to putting out some of the boldest and most talked about and globally awarded brand creative the Pepsi brand has ever seen. Todd has also been instrumental in establishing Pepsi as an industry leader around the development of new content models, pushing the brand into new spaces including the creation of multiple television shows, long form films, creator partnerships, and NFT projects. He even boldly created a new Pepsi logo and visual identity system for the brand that successfully brought a widely celebrated modern, distinctive, and familiar feel to the brand for its first visual identity refresh in over 14 years. Kaplan’s impact has been broadly felt across both the business and the brand. Under Todd’s leadership, Pepsi has experienced its first positive sales growth in well over 15+ years, and has sustained that positive sales growth for 18 consecutive quarters and counting. Simultaneously, Pepsi has seen increases across all core brand equity measures (including an +11pt improvement in brand consideration) while achieving all-time highs in earned media, social conversation, and creative effectiveness. Prior to this assignment, Kaplan has spent much of his career at PepsiCo, where he has consistently brought his creativity, strategic thinking, and passion to each of his roles. Most recently, he led the transformation of PepsiCo’s multi-billion-dollar U.S. Water Portfolio by creating and launching two new brands – BUBLY (sparkling water) and LIFEWTR (premium water). These two brands quickly became the biggest new product launches in PepsiCo history, delivering close to $500MM in sales in their first two years alone, catapulting PepsiCo to become the #1 driver of growth in the entire U.S. water category. Over the years, Kaplan has consistently made an impact within a variety of different roles at PepsiCo, whether it was leading marketing for Mountain Dew, overseeing Pepsi’s vast roster of Sports Marketing partnerships, or leading Consumer Insights and creating disruptive new Beverage Innovation products for PepsiCo’s foodservice division. Prior to joining PepsiCo he worked for Millsport LLC, a sports marketing consultancy, where he oversaw the VISA International business. Kaplan’s efforts have been widely recognized and well regarded within the marketing community and beyond, as his work has been awarded numerous Cannes Lions, and he has been honored with the UJA’s “Industry Visionary Award” and in The Wall Street Journal as an inaugural honoree in MTM’s “Visionaries” platform. He has been featured by Rolling Stone as a “Marketing Rockstar” and selected as one of the country’s “Top 50 Marketers in North America” multiple times by OnCon Icon Awards, while playing a critical role in PepsiCo being named as Marketing Dive’s “Marketer of the Year”. He regularly gives his time back to organizations within the marketing community, where he has served as a juror for industry leading awards ranging from the Cannes Lions International Festival of Creativity to The Effies, and has been a key executive supporter of the AdWeek DEI Council’s “Executive Mentor Program”. Todd is a thought leader within the industry, recognized as one of LinkedIn’s “Top Voices” as one of the “30 Most Influential Marketers” on the platform and one of the “Top 30 CMOs to Follow” on social media. He has keynoted and spoken at a range of events from the Cannes Lions International Festival of Creativity to South by Southwest to NY Advertising Week to the Milken Institute Global Conference. He sits on the Board of Advisors for the Yale University Center for Customer Insights and the North America Board of Directors for the International Advertising Association, and holds a BA in Economics from Northwestern University, and an MBA from Yale University. Jenna is a passionate marketer with a track record of success in a variety of settings from tech startups to agencies to Fortune 100 insurance company. As Chief Marketing Officer of Liberty Mutual Insurance, Jenna leads the development and execution of the company’s overall marketing strategy. She is responsible for building the Liberty Mutual brand, driving efficient and profitable growth, and creating customer and agent loyalty. Jenna has held a series of marketing leadership roles with increasing responsibility since joining Liberty in 2013. Jenna has made significant contributions to the organization building the company’s social, digital, and direct marketing capabilities. She led our insourcing efforts including building out our in-house creative agency, Copper Giants, which creates 80% of all consumer-facing work today. In her last role as VP of Brand & Integrated Marketing, she repositioned the brand, created a new consumer segmentation, and launched the LiMu Emu & Doug campaign which has received positive reception and results contributing to the category’s highest unaided brand awareness growth. Her work at Liberty has been recognized by a variety of publications like AdAge, AdWeek, USA Today, Business Insider, The Boston Globe, Fortune, and Forbes and she has won over three dozen awards including a 2015 Cannes Lions. Prior to Liberty, she worked at Digital Marketing agency, Likeable, managing social media strategy for brands like Verizon, Johnson & Johnson, GE, Medtronic, and Logitech. Jenna earned her BA from Stonehill College and her MA from Emerson College. She currently serves on the Alumni Board of Directors for Emerson College. She was a member of Boston’s Future Leaders program in 2017 and was the recipient of the 2018 Ten Outstanding Young Leaders Award presented by the Greater Boston Chamber of Commerce. Peter Naylor is Vice President of Global Advertising Sales at Netflix, responsible for launching and driving the ad-supported advertising sales revenue strategy for Netflix’s advertising business. Naylor joined Netflix from Snap Inc, where he was the Vice President of Americas responsible for driving the growth of the company’s advertising business across the United States, Canada and Mexico. Prior to Snap, Peter Naylor was the SVP and Head of Advertising Sales at Hulu where he oversaw the sales and operations teams driving the company’s billion-dollar advertising business. Under Naylor’s leadership, Hulu more than tripled its ad revenue and significantly expanded its offerings for brands, introducing new interactive ad units and alternate ad solutions, and deeper data and analytics. Naylor was also the leading force in delivering solutions for measurement in the Streaming TV space, achieving complete measurement of viewership in OTT and launching the industry’s first closed-loop attribution tool. Before Hulu, Naylor was the EVP of Digital Media Sales for NBCUniversal (NBCU) where he ran digital advertising sales for NBCU’s entertainment, news and sports digital properties. Before NBCU, Naylor served as the SVP of Sales for the iVillage Properties, which was acquired by NBCU in May 2006. Prior to joining iVillage, he served as Vice President of Sales for Terra Lycos. He started his digital advertising sales career at Wired Digital. In the advertising community, Naylor is on the Board of Directors for MMA Global and the Foundation Board of She Runs It. He also is a board member and sits on the executive committee for and the Interactive Advertising Bureau (IAB), in which he served as the Chairman in 2012 and was named the founding chairman for the IAB’s Video Center of Excellence in 2014. He also serves non-profits such as the Sandy Hook Promise media advisory board, the National Kidney Foundation and the TD Foundation, an organization that provides aid to Gold Star Families. Naylor has earned several industry accolades, including being honored as one of Variety’s Digital Innovators pushing the boundaries of media and one of the 50 Most Indispensable Executives in Media by Adweek. He was also recognized in 2020 as Digiday’s Video Executive of the Year. Amie has over 15+ years of experience within the shopper media industry and has worked with many of the world’s biggest companies, including Johnson & Johnson, Mars, Coca-Cola, Unilever, Colgate, Henkel, Levi’s Energizer, Amex, Hershey’s as well as retailers, CVS, ALDI, The Home Depot, and more. A results-driven, innovative leader with extensive experience in all facets of retail marketing and advertising, she is the industry’s go-to expert on Commerce media, a practice she pioneered at UM. As head of this discipline for more than ten years, Amie conceptualized, developed, and launched UM’s first Commerce Media team supporting our current three solutions: “Commerce as a tactic” drives sales online and in store through 400+ global media retail networks, identifying consumers most likely to covert and connecting the dots on their consumer journey to reach point of sale. Created out of the merge of data, tech, and retail media, “Commerce as a strategy” customizes each pathway to a specific user journey, using the latest data and advancements in shoppable tech to reach audiences where they are, with the right messages, at the likeliest moments of purchase. “Commerce as content” engages shoppers with curated content based on their own media consumption and behaviors, creating a personalized advertising experience. Amie has most recently been recognized as 40 under 40 from Ad Age as well as P2Pi. She was a 2021 Adweek Media All-Star, a 2020 Cynopsis Top Woman in Media, 2019 GenNext She Runs It winner, and won a spot as a 2022 MAKER. She has served as an Effie judge for the Commerce awards over the last four years and regularly speaks at the industry’s most prominent events. An avid runner who has participated in over 10 marathons, Amie runs in support of the Leukemia and Lymphoma Society to honor her friends and family who have lost their lives to these cancers, and also supports the National Blood Clot Alliance. She resides in Long Island, NY with her husband Rod, five-year-old son Connor, 22-month-old daughter Emma, and their dog Rigley. Shenan Reed was appointed global chief media officer in January 2024. As GM’s global chief media officer, Shenan will be responsible for building a leading-edge global media team that accelerates GM’s media approach into the future. Reed joined GM from L’Oréal where she was senior vice president and head of Media and was responsible for elevating the quality of consumer connections for the L’Oréal USA brands. She has over 20 years’ experience in the digital media, advertising, analytics, and entrepreneurial space and is a highly sought-after thought leader, regularly presenting at major advertising and digital media industry conferences. Her insights and opinions have been cited in The New York Times, The Wall Street Journal, AdAge, MediaPost, Huffington Post, AdWeek and Women’s Wear Daily. Her deep understanding of advertising, media and analytics has mandated her inclusion on several advisory boards including Pinterest, ANA Media Council, ANA Board, MMA, IAB, VOX, SeeHer and others. She previously led the GSK and Verizon Power of One solutions for Publicis and lead the L’Oréal business and Digital Practice at Wavemaker. Prior to her tenure at Wavemaker, Shenan founded the digital marketing agency Morpheus Media, which became renowned for its work with premier luxury, fashion and retail clients. Over the course of her career, Shenan has also worked across a wide variety of brands including The New York Times, Neiman Marcus, LVMH, Net-A-Porter, Tiffany & Co., Chanel, A&E Networks, Vimeo, IFC, Sundance and The Economist. A strong advocate for developing the next generation of female leaders in her industry, Shenan was a 2023 212NYC Thought Leadership Honoree, selected by AWNY as a Changing the Game Winner in 2016 and an AWNY Working Mother of the Year Honoree 2015. She has been a judge for the Stevie Awards for Women in Business as well as an award recipient. Shenan resides in Bronxville, New York with her husband, two children and their beagle Pebbles, named for the Flintstones character who grows up to be an advertising executive. Adam Roodman, SVP Product Strategy & Management, Yahoo Advertising As SVP of Yahoo DSP, Roodman drives the Demand Side Platform’s Product Roadmap, Strategic initiatives and advertising partnerships for the global platform. Roodman manages teams around the world and is focused on the company’s focused Demand-side strategy, particularly in the areas of connected TV (CTV), Identity, Measurement and Outcome-based advertising. Roodman has more than 20 years experience in the advertising industry, six of those with Yahoo. Prior to his appointment as SVP, Roodman served as SVP Ad Exchange at Yahoo. In that role Roodman drove the company’s SSP and Exchange strategy and commercial teams around the world across multiple formats including video, mobile, native and display. Roodman spearheaded the consolidation of assets from AOL and Yahoo (formerly Verizon Media) under one platform that delivered billions in ad spend annually. Since Roodman’s appointment he’s overseen the launches of Yahoo Backstage, the largest MFA-free direct-to-publisher solution on the internet with over 100 premium publishers such as DIRECTTV, Warner Brothers Discovery, TelevisaUnivision, A&E Netoworks, Vizio and LG ads amongst others. Subsequently, he oversaw the launch of Yahoo Blueprint, the central AI suite that powers performance-based solutions within the Yahoo DSP for buyers like Keurig Dr. Pepper and Novus Media. Roodman is an advertising technology veteran, having previously served as VP of Demand at AOL, and Sr. Director Demand at Microsoft where he led the demand side of their first launched Ad Exchange, AdECN. Roodman is a graduate of the Washington State University’s Edward R. Murrow School of Communication and lives and works in Seattle with his wife and three children. Jenny is an award-winning innovator, curator and connector among the world’s leading CMOs and beyond. She’s built a professional reputation as a trusted, unbiased thought leader, trend-tracker and visionary. Having served as a business journalist for more than 25 years covering the advertising, marketing and brand industry and exclusively executive-level marketing decision-makers, she has a deep understanding of the dynamics of marketing and the marketing industry and its leadership. She’s conceived of and successfully launched multiple initiatives, platforms, series and events for CMOs, other C-suite executives, and the broader advertising and marketing ecosystem. Currently Chief Experience Officer at Adweek, she’s tasked with bringing a community-first lens to everything Adweek does, creating new initiatives, resources and experiential offerings to better connect with and serve marketing decision-makers and the overall marketing ecosystem, building consistency and value across all touchpoints. She previously served as Managing Director and Cofounder of CMO House at Black Glass, a marketing consultancy that is part of IPG, advising CMOs and providing them with needed resources and access to excel. Prior to that, she spent 10 years at Forbes as Communities Director, Assistant Managing Editor and Editor and Chair of the CMO Network, where she managed content and events critical to executive-level marketing decision-makers, particularly the annual Forbes CMO Summit; interviewed hundreds of CEOs and CMOs as part of her ongoing Forbes CMO Video Interview Series; led the World’s Most Influential CMOs list; developed the Forbes CMO University Alumni Series; conceived of and launched Forbes CMO Next, an annual list of 50 game-changing CMOs; and oversaw development of the Forbes 30 Under 30 in Marketing and Advertising list. As Editorial Communities Director, she conceived of and launched the Forbes CxO practice, spotlighting C-suite executive collaboration, and oversaw all of Forbes’ editorial communities focused on the C-suite and aspiring entrepreneurial networks. Social Media: X (formerly Twitter): @jenny_rooney LinkedIn Profile: https://www.linkedin.com/in/jenniferrooney/ Dave Rosner is the CMO of Audigent, the leading data activation, curation, and identity platform. Audigent is driving change in the programmatic ad industry, unlocking the promise and value of first-party data for publishers, and delivering a new approach that delivers better results for advertisers. As CMO, Dave works to accelerate the value for both brands and publishers of the next generation of advertising, programmatic, and the cookieless future. Dave is a career marketer and innovator, having been a thought leader in marketing, advertising, PR, social, creative, and programmatic for B2B and B2C marketing. He is an expert in navigating the changing media landscape and leveraging change to deliver a competitive advantage. Throughout his career, and especially for the past 15+ years since the digital revolution, he’s stayed ahead of technology and trends to create high-impact, award-winning marketing strategies and programs that build brands, grow revenue, and get results. Select past roles include Head of Marketing at Collab, a digital content studio & digital creator company and the number one TikTok network; Head of Marketing at ZEFR, a leading data, and advertising company and Head of Innovation at IPG Agency, Initiative, a full-service media agency. Dave is a senior manager who owns P&Ls with a track record of building diverse, high-performing teams at large corporations and start-ups. As a team leader, he focuses on identifying every person’s ‘work superpower’ and helping them bring that to life. After earning his bachelor’s degree from Washington University in St. Louis, Dave earned his M.B.A. in Marketing from Columbia University. Dave has appeared in consumer and BtoB press, from The Wall St Journal to Ad Age. He has been recognized with innumerable awards, including Cannes Lion, Shorty Awards, and Media Plan of the Year. With over a decade of experience in digital advertising, I am a passionate and driven leader who thrives in the dynamic and fast-growing gaming industry. I oversee Enthusiast Gaming’s global advertising business: sales, account management, programmatic, revenue operations and marketing strategy. Enthusiast is the largest gaming media platform in North America, reaching over 300 million gamers monthly. We work with leading brands and agencies to create innovative and impactful campaigns that connect with engaged audiences and drive brand growth. I bring a strategic approach to processes, new product ideation, and people that is both creative and solution-oriented, which has been instrumental in building Enthusiast Gaming’s advertising revenue business since I joined in the fall of 2019. I have extensive experience in global brand partnerships at Electronic Arts, where I worked with major brands such as Coca-Cola and Verizon to integrate them into popular gaming franchises such as FIFA, Madden & TheSims. I am a proud member of both Chief (a private network of women leaders who support and inspire each other to achieve their goals) and SheRunsIt (a network for women in advertising). I’m always eager to learn from and collaborate with diverse and talented teams. I believe that gaming is not only about play, but learning, creation, and ultimately dee. I started Raise Your Game, an initiative that focuses on connecting trailblazing women, persons who identity as women, and nonbinary individuals in the ad industry. RYG provides a place to share stories, experiences, & triumphs in the professional world while using gaming as a backdrop. Zoe Soon has 10+ years of experience building products in technology-driven businesses with a heavy focus on mobile. Six years ago Zoe flew 21 hours from Sydney to NYC for a 30min coffee meeting which led to her first job in NYC. Since then she’s worked with three major New York based media companies, The New York Times, Condé Nast and Business Insider on projects ranging from location-based apps to paywalls. Zoe began her career as a user researcher and UX design consultant working with three of the top five banks in Australia. She was then hired to establish a user insights practice at Fairfax Media, a leading Australian news and media conglomerate. Here she led the user research for the flagship news apps which won Best Mobile News Product at the 2012 Australian Mobile Awards and went on to become product lead for the news sites. In this role she launched a content paywall and a unified user data system to diversify revenue and enable more targeted marketing. Prior to joining the IAB Zoe was General Manager of apps and email at Business Insider where she was charged with defining the go-to market strategy for these platforms. In this role Zoe launched Insider Inc’s first OTT apps across Apple, Amazon Fire and Roku offering advertisers cross-platform video digital distribution and access to an audience that generates over 2 billion views each month. Zoe has a Masters in Organizational Psychology and lives in New York. She enjoys burning pancakes, Cuban salsa dancing and talking to strangers in line. Academy Award-winning writer, director, and renowned playwright Aaron Sorkin graduated from Syracuse University with a B.F.A. in Theatre. He made his Broadway playwriting debut at the age of 28 with the military courtroom drama A Few Good Men, for which he received the John Gassner Award as Outstanding New American Playwright. The following year saw the debut of his off-Broadway play Making Movies, and in 2007, he returned to Broadway with The Farnsworth Invention, directed by Des McAnuff. Sorkin made the jump to feature films with his 1993 adaptation of his own play A Few Good Men. The film was nominated for four Academy Awards including Best Picture. He followed this success with the screenplays for Malice, starring Alec Baldwin and Nicole Kidman, The American President, starring Michael Douglas and Annette Bening, and Charlie Wilson’s War, starring Tom Hanks, Philip Seymour Hoffman, and Julia Roberts. In 2011, Sorkin won the Academy Award, Critics’ Choice Award, British Academy of Film and Television Arts Award, and Writers Guild Award in the Best Adapted Screenplay category as well as the USC Scripter Award for The Social Network. The following year, Sorkin adapted, alongside Steve Zaillian with story by Stan Chervin, Moneyball for the big screen. The film won Sorkin the Critics’ Choice Award and New York Film Critics’ Award for Best Adapted Screenplay, and went on to receive four Academy Award nominations including Best Picture and Best Adapted Screenplay. In 2015, Sorkin wrote the feature film Steve Jobs based on the Walter Isaacson biography of the late Apple co-founder. His adaptation garnered him nominations for a Broadcast Film Critics’ Association (BFCA) Critics’ Choice Award, Writers Guild Award, and multiple regional critics’ association awards. Sorkin made his directorial debut in 2017 with Molly’s Game, which he also wrote based on the personal memoir by Molly Bloom. It made its world premiere at the 2017 Toronto International Film Festival to rave reviews and garnered Sorkin Best Screenplay nominations for an Academy Award, Writers Guild Award, and BAFTA Award. In 2020, Sorkin premiered his feature drama The Trial of the Chicago 7, which he wrote and directed for Netflix. The picture features an all-star ensemble cast and garnered Sorkin six Academy Award nominations, including Best Picture and Best Original Screenplay as well as three British Academy Film Award nominations, including Best Film and Best Original Screenplay. The following year, Sorkin wrote and directed Being the Ricardos, a biographical film about Lucille Ball and Desi Arnaz’s relationship starring Nicole Kidman and Javier Bardem as Ball and Arnaz, respectively. The film received three Academy Award nominations and two British Academy Film Award (BAFTA) nominations, including Best Original Screenplay. For television, Sorkin created and produced NBC’s renowned series “The West Wing,” which earned nine Emmy nominations in its first season. The series went on to win a total of 26 Primetime Emmy Awards, including Outstanding Drama Series for four consecutive years from 2000-2003. For his work on the series, Sorkin twice received the Peabody Award and Humanitas Prize, as well as three Television Critics Association Awards and Producers Guild Awards, and a Writers Guild Award. He also produced and wrote the television series “Sports Night” for ABC, which garnered eight Emmy nominations and won the Humanitas Prize and the Television Critics Association Award. Additionally, Sorkin created the series “Studio 60 on the Sunset Strip,” which took place behind-the-scenes of a live sketch-comedy show and received five Emmy nominations in 2007. In 2012, Sorkin made his return to television with the HBO drama “The Newsroom,” bringing in an average of 7 million viewers per episode. The show won a Critics Choice Television Award for Most Exciting New Series and has been nominated for numerous awards, including five Primetime Emmy Awards, a Writers Guild Award, and Directors Guild Award. The third and final season aired on HBO in 2014, closing the series on a ratings season high. In 2018, Sorkin premiered his Broadway stage adaptation of Harper Lee’s iconic American novel To Kill a Mockingbird. The production currently holds the title of the highest-grossing American play in Broadway history. Next up is Sorkin’s Broadway adaptation of the classic Lerner & Loewe musical Camelot. Featuring a book by Sorkin, based on the original book by Alan Jay Lerner, Camelot will reteam Sorkin with Mockingbird director Bartlett Sher. Samantha is the Vice President of Client Council and Industry Trade Relations at Meta, a team she’s led for over a decade with a mission to drive progress on the most important issues and opportunities facing the advertising industry. Meta’s Client Councils are made up of top marketing and agency executives around the world, and are an indispensable part of Meta’s commitment to listening to customers and building deep relationships grounded in trust. The feedback gleaned during Council engagements has helped influence some of the company’s most important go-to-market strategies. As a company helping to define the next phase of human connection, Samantha and her team know it’s imperative to empower our partners to build for the future. They are also responsible for developing partnerships with industry trade associations around the world, engaging in high impact initiatives, events and coalitions to help tackle the most complex challenges in our digital ecosystem, including brand safety, data privacy, cross media measurement, DE&I and sustainability in advertising. Samantha is a passionate advocate for AI-powered brand safety and suitability solutions to equip advertisers with the most cutting-edge control and transparency options within their brand environments. She has represented Meta in the Global Alliance for Responsible Media (GARM) since it was first established in 2019. Samantha lives in Newtown Square, PA with her husband David and two children, Hadley (14) and Hunter (17). In her spare time, she enjoys Bikram Yoga and skiing. She grew up as a competitive figure skater and competed in the US National Championships. Kenan Thompson is an award-winning actor, comedian and producer best known for his work on “Saturday Night Live.” He returns to the iconic late-night series for his 21st season as the longest-running cast member. A six-time Emmy Award nominee, Thompson received two nominations in 2021 for Outstanding Lead Actor in a Comedy Series for his comedy series “Kenan” and Outstanding Supporting Actor in a Comedy Series for “SNL.” He previously received two Emmy nominations in 2018 and 2020 in the supporting actor category for his work on “SNL.” He won an Emmy for Outstanding Original Music and Lyrics in 2018 for the “SNL” song “Come Back, Barack,” and received a nomination in the same category in 2017 for co-writing “Last Christmas” from the popular “Jingle Barack” “SNL” music video. In 2022 Thompson hosted the 74th Primetime Emmy Awards and was honored with a star on the Hollywood Walk of Fame. Thompson has made numerous contributions to “SNL” with his slew of hilarious impressions that include Rev. Al Sharpton, Charles Barkley, Steve Harvey and David Ortiz, and by playing memorable characters such as DJ Dynasty Handbag, the scathingly fierce co-host of “Deep House Dish,” “Weekend Update” correspondent Jean K. Jean, “Black Jeopardy” host Darnell Hayes and Diondre Cole, the disruptive singing talk show host on the popular sketch “What Up With That.” He recently appeared in season two of HBO Max’s “That Damn Michael Che” and Prime Video’s “The Kids in the Hall.” For two seasons, Thompson executive produced and starred as the title character in the NBC comedy series “Kenan.” He also served as a producer and judge on NBC’s comedy competition series “Bring the Funny.” A native of Atlanta, Thompson made his television debut as an original cast member of Nickelodeon’s all-kid sketch comedy series “All That.” He and Kel Mitchell debuted on the popular spinoff “Kenan and Kel” in 1996 and starred in the fan-favorite “Good Burger” movie released in 1997. Thompson served as an executive producer on Nickelodeon’s 2019 “All That” reboot and is set to star in the upcoming “Good Burger 2,” a Paramount+ sequel to the original ’90s film. Thompson’s forthcoming memoir, “When I Was Your Age: Life Lessons, Funny Stories & Questionable Parenting Advice from a Professional Clown,” will be released in December. His past projects include “Clifford the Big Red Dog,” “Home Sweet Home Alone,” “Hubie Halloween,” “Going in Style,” “Brother Nature,” “They Came Together,” starring opposite Samuel L. Jackson in “Snakes on a Plane,” “The Magic of Belle Isle” with Morgan Freeman, “Wieners,” “Barbershop 2,” “Fat Albert,” “My Boss’s Daughter,” “The Adventures of Rocky and Bullwinkle,” “D3: The Mighty Ducks,” “D2 The Mighty Ducks” and “Heavyweights.” He also had a recurring role on the WB’s “Felicity.” Thompson showcased his voice talents as Bricklebaum in “The Grinch,” which made history as the #1 Christmas movie of all time. He has also lent his voice to the animated films “Trolls World Tour,” “Wonder Park,” “The Smurfs,” “The Smurfs 2” and “Space Chimps,” the television series “Sit Down, Shut Up” and the Kobe Bryant/LeBron James Nike puppet campaign during the 2009 NBA playoffs. He was the voice of Austin “Impresario” Sullivan in the Hulu animated series “The Awesomes” and Riff in the film “Rock Dog.” In 2021 Thompson co-founded Artists for Artists, a full-service production and talent management company. Thompson currently resides in New York and his birthday is May 10. Lartease Tiffith is the Executive Vice President for Public Policy at the Interactive Advertising Bureau (IAB). He leads IAB’s public policy team, which is responsible for advocating on behalf of IAB’s more than 700 member companies on complex issues, including consumer privacy, data security, global trade, international data transfer rules, and more. Lartease also leads IAB’s Public Policy Council, the marketing and media industry’s largest legislative and regulatory advisory group, with senior executives from more than 200 companies contributing to solutions to advance consumer benefits and economic growth. He also plays an important role in supporting IAB Tech Labs efforts to align the industry’s technical development and best practices. Lartease joined IAB from Amazon, where he led the company’s public policy work around advertising, privacy, security, data governance, cross-border data flows, and consumer protection issues. In his role, he provided counsel to internal legal and business partners on global public policy matters to help guide the development of products, services, and internal policies. During his tenure at Amazon, INSIDER named him as one of the key players in politics and the tech world. Prior to joining Amazon, Lartease served as Senior Counsel to then-U.S. Senator Kamala Harris, and Counsel to U.S. Senator Dianne Feinstein. Before working in the Senate, he practiced law at two international law firms (Kirkland & Ellis LLP and O’Melveny & Myers LLP) and the U.S. Department of Justice. Lartease began his legal career as a Law Clerk to the Honorable Roger L. Gregory, Circuit Judge, on the U.S. Court of Appeals for the Fourth Circuit. Lartease earned his B.A., J.D., and M.B.A. from Northwestern University. For over 20 years, Ritu has been a noteworthy leader in the marketing space. You may know her from her current work leading retail and QSR businesses at Mindshare, TJX and Domino’s. But Ritu can also be credited with contributions to agencies such as Ogilvy, Universal McCann and Media Vest and publishers like Microsoft and AOL. Ritu is a master orchestrator, agile, collaborative and has deep respect and devotion to her clients and team. Her impressive background in digital strategy and buying allows her to lead, challenge, and transform businesses. Having spent her entire career in digital media, both from the buyer and seller sides, combined with responsibility and oversight for traditional channels, gives her a unique vantage point of the media landscape and its evolution over time to better evaluate communication opportunities for her clients. Over the years, Ritu has won many industry accolades, is a frequent contributor to panels and her thoughts have been published in many publications such as Adweek, Mediapost, NYTimes, WWD etc.. Ritu is Vice President of the industry organization 212 NYC, and sits on many advisory boards for the Ad Council, OWR and at Mindshare she is an executive sponsor of The Collective, an agency consultancy and cultural imperative that works to drive a diverse, intersectional workplace. Julio Vaqueiro is an award-winning journalist and anchor of “Noticias Telemundo,” the network’s flagship newscast which is consistently a leading broadcast evening news program for Hispanics regardless of language. He also leads Noticias Telemundo’s special reports, breaking news and political coverage. Vaqueiro was named the main anchor of Noticias Telemundo in September 2021 after anchoring the late-night weekday editions of the “Noticias Telemundo” newscast. A leading bilingual broadcast journalist, Vaqueiro has covered some of the most important stories in recent years, including the coronavirus pandemic, the 2020 presidential election, the 2022 midterm elections, the humanitarian crisis in Europe triggered by the Russia-Ukraine war and the Israel-Hamas conflict. Vaqueiro co-anchored Noticias Telemundo’s live primetime 2022 midterm election night coverage and reported extensively from the campaign trail. He also appeared on Meet the Press to discuss U.S. politics. Noticias Telemundo’s signature newscast frequently features his on–the-ground reporting. He has sat down for in-depth interviews with a broad range of newsmakers including U.S. President Joe Biden and Pope Francis. Vaqueiro has been recognized with numerous honors including an Emmy Award. In 2022, he was named to Adweek’s “Young Influentials” list which recognizes people under 40 who are advancing innovation and creativity across media and tech. The Hollywood Reporter recognized Vaqueiro in 2023 as one of the leading Latinos in film, TV and music. Vaqueiro joined Telemundo’s national news network in 2017 as co-anchor of the weekend newscast, “Noticias Telemundo Fin de Semana.” He was previously a co-anchor at Telemundo’s owned and operated station KVEA – Telemundo 52 in Los Angeles. Before moving to the United States, Vaqueiro worked as a reporter and anchor at Efekto TV in Mexico City. He also worked as a Mexico City correspondent for the newsmagazine “Al Rojo Vivo” and collaborated with MSNBC as a contributor. He earned his bachelor’s degree in communications from Universidad Anáhuac del Norte in Mexico City. Robin Wheeler is the Chief Revenue Officer at Fetch, where she leads the sales organization, leveraging her extensive 20+ year career in driving revenue teams at major social and traditional media companies. Under Wheeler’s guidance, Fetch’s sales organization continues to thrive, helping consumer packaged goods (CPG), restaurant, and retail brands reach today’s consumers and influence their purchasing journeys. Wheeler’s strategic acumen and dedication to driving results make her an essential leader in Fetch’s mission to revolutionize the consumer engagement landscape. Prior to joining Fetch, Wheeler held several leadership positions during her 11-year tenure at X (formerly Twitter), where she oversaw sales teams for the CPG, technology and telecom verticals. Wheeler most recently served as X’s Vice President of U.S. Client Solutions, where she onboarded and worked with some of the country’s biggest brands including P&G, Kraft, Coca-Cola, Kellogg, and Mondelez. Previously, at X, she also headed up the social media platform’s global mobile-app monetization business, MoPub, as Chief Commercial Head. Earlier in her career, Wheeler demonstrated her exceptional sales and leadership skills during her tenure at some of the most recognizable companies in the media industry. At AOL, she served as the Category Sales Manager, driving revenue in the tech, telecom, and retail spaces. There, she successfully launched and led the political category, making a significant impact during the 2010 midterm elections. Earlier, at Time Inc., she held key roles, contributing to digital and print media sales for People Magazine. Prior she held positions at leading media company U.S. News & World Report, and advertising agency TBWA\Chiat\Day LA in sales and media planning, respectively. As the Chief Revenue Officer at Fetch, Wheeler is at the helm of revenue growth and strategic development, leading Fetch’s dynamic sales team, guiding them to success in achieving revenue targets while cultivating and nurturing essential client relationships. Her role is vital in developing revenue strategies, optimizing the sales process, and ensuring that Fetch’s consumer engagement platform aligns seamlessly with the demands of the CPG, restaurant, and retail industries. With a keen eye on market dynamics and a wealth of experience, Wheeler is dedicated to expanding Fetch’s capabilities and solidifying its position as a best-in-class consumer engagement platform. Pam is a 30+ year veteran of the media and marketing industry who is a proven media strategist across digital, programmatic, and traditional platforms. Known for innovative approaches to media and marketing challenges that turn the complex media eco system into understandable ideas for both the C-Suite and day-to-day tacticians. Pam sees the world as a white board – empty, boundless space to create, transform and innovate for growth; to re-imagine how media and marketing can work to grow brands and build companies. Pam believes winning at the intersection of data, content, marketplace, and technology means refusing to let the status quo be good enough and being humble enough to know true transformation takes collaboration, iteration, willpower, and trust. Pam spent her first 25 years on the agency side at Publicis Media leading clients such as Procter & Gamble, Microsoft, Activision, Yahoo and others. In addition to client leadership Pam built new practices for the agency including Advanced TV and Experience Design. To broaden her experience, Pam also spent 3 years leading Media for Starcom Mediavest Group in Russia when that market first opened to media in the mid-1990s. This taught Pam that anything is possible to create in the marketplace with some ingenuity, marketplace knowledge, and a relentless push creates win – win – win experiences for consumers, marketers and publishers. Following her work on the agency side, Pam spent five years consulting for the media and technology companies (NBCU, Fox, Viacom, Double Verify) helping them design custom programs and market their digital assets for growth. For the past fifteen months, Pam has been at Amobee, an Ad Tech firm, leading their marketing and sales strategy efforts to bring new identity, performance and new targeting techniques to the DSP and cross channel planning marketplace. Pam lives in Hastings on Hudson, NY with her two sons.
5894	dbpedia	1	5	https://www.haaretz.com/2001-08-22/ty-article/simply-to-be/0000017f-e15c-df7c-a5ff-e37efa250000	en	Simply to Be			[]	[]	[]	[ "be", "Simply", "to" ]	null	[ "Michal Levertov" ]	2001-08-22T00:00:00	After Years of Addiction, Four Novels, an Autobiography and a Brilliant Career in the Royal Shakespeare Company Which Earned Him a Knighthood, Anthony Sher Feels Like a Complete Person.	en	/v1/hdc-app-bucket/static/hdc/images/favicon.ico	Haaretz.com	https://www.haaretz.com/2001-08-22/ty-article/simply-to-be/0000017f-e15c-df7c-a5ff-e37efa250000	ICYMI The Ring of Fire Around Israel: A Look at the Arsenals of Iran, Hezbollah and the Houthis Outpouring of Condemnations of Israeli Strikes on Gaza Disguise the World's Inaction Welcome to Hell: B'Tselem's Ignored Abuse Report Shows Israel's True Face What Is Really Going on in Iran While Israel Braces for Retaliation? Israeli Soldiers in Top Secret Bases Reveal Sensitive Data Online
5894	dbpedia	1	47	https://www.thestage.co.uk/opinion/re-visiting-the-past-especially-of-paul-scofield	en	Re-visiting the past, especially of Paul Scofield	https://www.thestage.co.…2x32.png?cdn=465	https://www.thestage.co.…2x32.png?cdn=465	[ "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageBurgerIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageCloseIcon3.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageLogoWhite.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageUserIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageSearchIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageSearchIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Users/3CF63684-FDA8-344E-2F0265917BAC7CD4/3CF63684-FDA8-344E-2F0265917BAC7CD4p.jpg?cdn=dt11252022103433", "https://www.thestage.co.uk/AcuCustom/Sitename/Users/3CF63684-FDA8-344E-2F0265917BAC7CD4/3CF63684-FDA8-344E-2F0265917BAC7CD4p.jpg?cdn=dt11252022103433", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/17aoTwitterIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Users/3CF63684-FDA8-344E-2F0265917BAC7CD4/3CF63684-FDA8-344E-2F0265917BAC7CD4p.jpg?cdn=dt11252022103433", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/17aoTwitterIcon.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/316/f1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/316/MILDRED-YUAN-Credit-PND-Photos-edited_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/316/Daniel-Dresner-Credit-Robin-Savage-edited_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/316/CMYK_Harmony-Aimola1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/318/Triple-montage-template1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/318/Triple-montage-template1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/188/LongReadAMB_LargeLandscape_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/112/Antony-Sher-_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/111/King-Lear-production-photos_-2016_2016_Photo-by-Ellie-Kurttz-_c_-RSC_202354_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/109/Kunene-and-the-King-6-John-Kani-Anthony-Sher-Photo-Ellie-Kurttz1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/316/f1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/316/MILDRED-YUAN-Credit-PND-Photos-edited_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/316/Daniel-Dresner-Credit-Robin-Savage-edited_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/316/CMYK_Harmony-Aimola1_Thumb.jpg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageLogoWhite.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/DAM/272/thestage-new-subs.png", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconFB.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconInsta.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconTwitter.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconLinkedIn.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconPinterest.svg", "https://www.thestage.co.uk/AcuCustom/Sitename/Icon/Icons/19stageIconYT.svg" ]	[]	[]	[ "" ]	null	[]	null	Antony Sher is following in Paul Scofield's footsteps - but those are big shoes to fill.	en	/AcuCustom/Sitename/Icon/Favorite/favicon-32x32.png?cdn=465	The Stage	https://www.thestage.co.uk/opinion/re-visiting-the-past-especially-of-paul-scofield	Support The Stage by registering or subscribing To continue reading this article you must be logged in. Register or login below to unlock 3 free articles every month. OR
5894	dbpedia	2	86	https://www.news4jax.com/entertainment/2021/12/03/acclaimed-shakespearean-actor-antony-sher-dies-at-72/	en	Acclaimed Shakespearean actor Antony Sher dies at 72	https://res.cloudinary.c…?_a=DATAfRfiZAA0	https://res.cloudinary.c…?_a=DATAfRfiZAA0	[ "https://t.gmg.io/header/wjxt-logo.png", "https://t.gmg.io/header/favicon/wjxt.svg", "https://www.news4jax.com/static-resources/shared/images/omneLogo.svg", "https://www.news4jax.com/static-resources/shared/images/gmg_dark.svg", "https://www.news4jax.com/static-resources/shared/images/gd_dark.svg" ]	[]	[]	[ "Harriet Walter", "John Kani", "Queen Elizabeth II", "Primo Levi", "Arts", "Arthur Miller", "entertainment", "Harvey Fierstein" ]	null	[ "Jill Lawless", "Associated Press" ]	2021-12-03T00:00:00	Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72.	en	/pf/resources/images/wjxt/favicon.ico?d=754	WJXT	https://www.news4jax.com/entertainment/2021/12/03/acclaimed-shakespearean-actor-antony-sher-dies-at-72/	LONDON – Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in “Richard III.” He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the “Henry IV” plays, Leontes in “The Winter’s Tale,” Shylock in “The Merchant of Venice,” Iago in “Othello” and the title characters in “Macbeth” and “King Lear.” Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller's “Death of a Salesman” and the title role in Moliere's “Tartuffe.” Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s “Torch Song Trilogy.” He won the 1985 best-actor Olivier Award jointly for “Torch Song Trilogy” and “Richard III.” He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ “Stanley” at the National Theatre and on Broadway. After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage. He adapted Primo Levi’s powerful Auschwitz memoir “If This is a Man” into a one-man stage show, “Primo,” that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.” Sher's last role for the RSC came in 2019 in South African writer John Kani’s “Kunene and The King.” Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.” On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series “The History Man.” His film roles included Dr. Moth in “Shakespeare in Love,” Benjamin Disraeli in “Mrs Brown” and Adolf Hitler in “Churchill: The Hollywood Years.” Sher also wrote several novels and theatrical memoirs, along with an autobiography, “Beside Myself,” and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. “I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in “Macbeth” and “Death of a Salesman.” “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said. Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.” “He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.’” Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage.
5894	dbpedia	2	69	https://www.actorhub.co.uk/2582/year-of-the-fat-knight-by-antony-sher-the-falstaff-diaries	en	Year of the Fat Knight by Antony Sher – The Falstaff Diaries	http://www.actorhub.co.uk/wp-content/uploads/2015/07/Year-of-the-Fat-Knight_240.jpg	http://www.actorhub.co.uk/wp-content/uploads/2015/07/Year-of-the-Fat-Knight_240.jpg	[ "https://www.actorhub.co.uk/wp-content/uploads/2013/12/AH_header_new_2013_6.png", "http://www.actorhub.co.uk/wp-content/uploads/2015/07/Year-of-the-Fat-Knight1.jpg", "http://www.actorhub.co.uk/wp-content/uploads/2013/09/amz_actorhub_prices_button.jpg", "http://www.actorhub.co.uk/wp-content/uploads/2013/09/amz_actorhub_details_button.jpg", "http://www.actorhub.co.uk/wp-content/uploads/2013/09/amz_actorhub_reviews_button.jpg", "http://www.actorhub.co.uk/wp-content/uploads/2015/05/VISIT-OUR-SHOP_41.png", "http://www.actorhub.co.uk/wp-content/uploads/2014/07/newsletter_application.jpg", 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"http://rcm-uk.amazon.co.uk/e/cm?t=fcshub-21&o=2&p=8&l=as1&asins=B003EQ4YFO&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr", "http://rcm-uk.amazon.co.uk/e/cm?t=fcshub-21&o=2&p=8&l=as1&asins=0684190400&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr", "http://rcm-uk.amazon.co.uk/e/cm?t=fcshub-21&o=2&p=8&l=as1&asins=0413761401&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr", "http://rcm-uk.amazon.co.uk/e/cm?t=fcshub-21&o=2&p=8&l=as1&asins=0413774236&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" ]	[]	[ "" ]	null	[]	null	We review the 2015 book 'Year of the Fat Knight' by Antony Sher - An account of researching, rehearsing and performing one of Shakespeare's best-known and most popular characters - Renew, refocus and refresh your acting. Actor Hub - a career and lifestyle guide for actors in the UK	en	https://www.actorhub.co.uk/wp-content/uploads/builder-favicon/NLFERlXLPW.ico		https://www.actorhub.co.uk/2582/year-of-the-fat-knight-by-antony-sher-the-falstaff-diaries	In A Nutshell Year of the Fat Knight is Antony Sher’s account -splendidly supplemented by his own paintings and sketches – of researching, rehearsing and performing one of Shakespeare’s best-known and most popular characters. He tells us how he had doubts about playing the part at all, how he sought to reconcile Falstaff’s obesity, drunkenness, cowardice and charm, how he wrestled with the fat suit needed to bulk him up, and how he explored the complexities and contradictions of this comic yet often dangerous personality. On the way, Sher paints a uniquely close-up portrait of the RSC at work. Actor Hub Review “When you’re young, it seems so straightforward: you learn the lines and that’s that. But when you’re older, you’re aware of a series of tests and obstacles ahead, each of which will put pressure on you, and the lines will often be the first casualty. So…” Back when I was studying for my GCSE’s I read Antony Sher’s Year of the King and it changed my life. Sher’s account of his journey towards playing Richard III for the RSC showed me that I could take acting seriously as a career and that as a young character actor I could reinterpret roles and make them my own. Twenty five years later I was delighted to see a new diary from Sher – Year of the Fat Knight – this time exploring a year’s journey towards playing Falstaff in the both parts of Henry IV – this performance was acclaimed by critics and audiences and earned Sher the Critics Circle Award for Best Shakespearean Performance. An actors journey to a role is not just about learning lines and where to stand and Sher takes us through the uncertainty, the frustration, the laughter, the fear, the fittings, the rehearsals, the highs and the lows – every step of the process is explored in this honest, humourous and enlightening book of the rollercoaster ride Antony Sher has tackling and embracing ‘the Fat Knight’ I am ashamed to say that I did not know the Henry plays before reading this book, I also knew very little about Falstaff but you actually don’t need to know anything about the play or the part to enjoy Sher’s account of his process. As he explores the character and past performances you begin to get an insight into this magnificent and complicated role. Yes, there were parts of the play which it would have helped to be familiar with to fully appreciate the story of the mounting of this production – but that did not detract from my enjoyment of Sher’s process. As an actor myself it is refreshing to read that even the greats suffer from anxiety and worry about their suitability for a role and their performance. Antony Sher is totally honest and upfront about how he feels at every step through his process towards opening night. We are given a ‘backstage’ view on the rehearsal process in London and watch from the wings as the shows gets to previews in Startford Upon Avon. The book is beautifully illustrated throughout with Sher’s wonderful sketches, paintings and artwork. This is the type of book which makes me long to act on stage again, as a screen actor it made me jealous of that luxurious process which a stage actor can indulge in as they prepare for their performance. I longed for the camaraderie of being a member of a company all working towards a common goal whilst being on one’s own personal journey. I am pleased to say I have found a book which I know I will revisit time and time again, I for one am hoping that we get a similar diary for Arthur Miller’s Death of a Salesman as I would love to explore that role with Sher. This book is a great addition to any actor’s reading list, and if you are not an actor but are looking for a fascinating insight into how an actor researches, rehearses and performs then look no further.
5894	dbpedia	1	84	https://ncana.na3.iiivega.com/search/card%3Fid%3Ddf6b9262-7d83-11ed-ab78-8f033cf92cc6%26entityType%3DAgent	en		https://ncana.na3.iiivega.com/search/favicon.ico	https://ncana.na3.iiivega.com/search/favicon.ico	[]	[]	[]	[ "" ]	null	[]	null		en	favicon.ico		null
5894	dbpedia	3	72	https://beyondthedash.com/obituary/antony-sher-1083972728	en	Beyond the Dash	https://adas-oregon-cas-…0695ed94f9da.jpg	https://adas-oregon-cas-…0695ed94f9da.jpg	[ "https://d2zfowlldib7se.cloudfront.net/assets/beyondthedash/images/mobile-menu-icon.png", "https://cdn-otf-cas.prfct.cc/dfs1/eyJ3IjozODAsImgiOjM4MCwiZCI6NzIsInVybCI6Imh0dHBzOlwvXC9hZGFzLW9yZWdvbi1jYXMtb2JpdHMuczMuYW1hem9uYXdzLmNvbVwvcGhvdG9zXC9jcmVhdGVfc3RvcnlcLzYxYjE1OWEyNjdlMDNcLzFmYmQzNTM2YmVjY2YyNWUwNjk1ZWQ5NGY5ZGEuanBnIn0=", "https://d2zfowlldib7se.cloudfront.net/assets/beyondthedash/images/ipad-story-moore.png", "https://d2zfowlldib7se.cloudfront.net/assets/beyondthedash/images/ipad-mobile-moore.png", "https://cdn-otf-cas.prfct.cc/dfs1/eyJoIjoxNDgsImQiOjcyLCJ1cmwiOiJodHRwOlwvXC9hZGFzLW9yZWdvbi1jYXMtb2JpdHMuczMuYW1hem9uYXdzLmNvbVwvcGhvdG9zXC9jcmVhdGVfc3RvcnlcLzVhYTE1MDNiOGEwZDNcL2FiZmZmYWMxYjFhOWY2ZThjYWU2OWM1ZDBmMzcuanBnIn0=", "https://cdn-otf-cas.prfct.cc/dfs1/eyJoIjoxNDgsImQiOjcyLCJ1cmwiOiJodHRwOlwvXC9hZGFzLW9yZWdvbi1jYXMtb2JpdHMuczMuYW1hem9uYXdzLmNvbVwvcGhvdG9zXC9jcmVhdGVfc3RvcnlcLzVhOTk2YThmZjJiODdcLzZlNGYzMTRhNmY1Yjk5ZGI2MTUxZjA0OWFhZmIuanBnIn0=", "https://cdn-otf-cas.prfct.cc/dfs1/eyJoIjoxNDgsImQiOjcyLCJ1cmwiOiJodHRwOlwvXC9hZGFzLW9yZWdvbi1jYXMtb2JpdHMuczMuYW1hem9uYXdzLmNvbVwvcGhvdG9zXC9jcmVhdGVfc3RvcnlcLzVhYjU0MWJkYTA5MmNcLzYxYTIwNWRhZjZjMzY2YWJjOGU2ZTQ5MjE5ZDkuanBnIn0=", "https://cdn-otf-cas.prfct.cc/dfs1/eyJoIjoxNDgsImQiOjcyLCJ1cmwiOiJodHRwOlwvXC9hZGFzLW9yZWdvbi1jYXMtb2JpdHMuczMuYW1hem9uYXdzLmNvbVwvcGhvdG9zXC9jcmVhdGVfc3RvcnlcLzVhYTE0ZTVlNTU2ZWFcLzQzYjRmODVkNmM3N2RmMDYyNTI3M2YxYmNlOTYuanBnIn0=", "https://adas-oregon-cas-obits.s3.amazonaws.com/photos/create_story/61b159a267e03/1fbd3536beccf25e0695ed94f9da.jpg" ]	[]	[]	[ "Antony Sher", "Beyond the Dash", "obituary", "obituaries", "obits", "express condolences", "remembrances", "life story", "memories", "milestones", "newspaper obituaries", "online obituaries." ]	null	[]	null	Antony Sher passed away 2021-12-02 in This is the full obituary story where you can express condolences and share memories.	en	//d2zfowlldib7se.cloudfront.net/assets/beyondthedash/images/favicon.png		https://beyondthedash.com/obituary/antony-sher-1083972728	LONDON (AP) — Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died aged 72, the Royal Shakespeare Company said Friday. Sher had been diagnosed with terminal cancer earlier this year. His husband, Royal Shakespeare Company Artistic Director Gregory Doran, took leave from his job to care for him. Born in Cape Town, South Africa in 1949, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in “Richard III.” He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the “Henry IV” plays, Leontes in “The Winter’s Tale,” Shylock in “The Merchant of Venice,” Iago in “Othello” and the title characters in “Macbeth” and “King Lear.” Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller's “Death of a Salesman” and the title role in Moliere's “Tartuffe.” Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s “Torch Song Trilogy.” He won the 1985 best-actor Olivier Award jointly for “Torch Song Trilogy” and “Richard III.” He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ “Stanley” at the National Theatre and on Broadway. After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage. He adapted Primo Levi’s powerful Auschwitz memoir “If This is a Man” into a one-man stage show, “Primo,” that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.” Sher's last role for the RSC came in 2019 in South African writer John Kani’s “Kunene and The King.” Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.” On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series “The History Man.” His film roles included Dr. Moth in “Shakespeare in Love,” Benjamin Disraeli in “Mrs Brown” and Adolf Hitler in “Churchill: The Hollywood Years.” Sher also wrote several novels and theatrical memoirs, along with an autobiography, “Beside Myself,” and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. “I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in “Macbeth” and “Death of a Salesman.” “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said. Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.” “He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.’” Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage. Jill Lawless, The Associated Press
5894	dbpedia	3	7	https://www.hollywoodreporter.com/movies/movie-news/antony-sher-dead-shakespearean-actor-1235057134/	en	Antony Sher, Acclaimed Shakespearean Actor, Dies at 72	https://www.hollywoodrep…296&h=730&crop=1	https://www.hollywoodrep…296&h=730&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2021/12/Antony-Sher-Oxford-Obit-GettyImages-933211700-H-2021.jpg?w=1296&h=730&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/uploads/2024/07/MCDTWIS_UV022.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/The-Deliverance-Publicity-2-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/UNN_20220503_02345_R.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/A-Woman-Under-the-Influence-Gena-Rowlands-everett-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/AMBER_Trailer_SG_00046RC21.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Nicholas-Cage-John-Madden-Split-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "The Associated Press", "THR Staff" ]	2021-12-03T23:29:18+00:00	His film roles included Dr.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/movies/movie-news/antony-sher-dead-shakespearean-actor-1235057134/	Antony Sher, one of the most acclaimed Shakespearean actors of his generation, has died, the Royal Shakespeare Company said Friday. He was 72. Sher had been diagnosed with terminal cancer this year. His husband, Royal Shakespeare Company artistic director Gregory Doran, took leave from his job to care for him. Born in 1949 in Cape Town, South Africa, Sher moved to Britain in the late 1960s to study drama. He joined the RSC in 1982 and had a breakthrough role in 1984 as the usurping king in Richard III. He went on to play most of Shakespeare’s meaty male roles, including Falstaff in the Henry IV plays, Leontes in The Winter’s Tale, Shylock in The Merchant of Venice, Iago in Othello and the title characters in Macbeth and King Lear. Non-Shakespearean roles for the company, based in the Bard’s hometown of Stratford-upon-Avon, included Willy Loman in Arthur Miller’s Death of a Salesman and the title role in Moliere’s Tartuffe. Sher also performed with Liverpool’s innovative Everyman Theatre and at many of London’s main theaters, getting his first West End starring role as a drag artist in Harvey Fierstein’s Torch Song Trilogy. He won the 1985 best-actor Olivier Award jointly for Torch Song Trilogy and Richard III. He gained a second Olivier, as well as a Tony Award nomination for playing artist Stanley Spencer in Pam Gems’ Stanley at the National Theatre and on Broadway. After winning acclaim as a pillar of British theater, Sher began to explore both his Jewish and his South African heritage. He adapted Primo Levi’s powerful Auschwitz memoir If This is a Man into a one-man stage show, Primo, that ran on Broadway in 2005. He created the solo show despite being afflicted with debilitating stage fright. “If you suffer from stage fright, is it a good idea to perform a one-man show? The answer, surprisingly, turns out to be yes,” Sher told the Associated Press in 2005. “It is the best cure for stage fright in the world, because it’s make or break. There’s no middle ground.” Sher’s last role for the RSC came in 2019 in South African writer John Kani’s Kunene and The King. Sher played a veteran actor diagnosed with cancer, looked after by a Black South African carer. Kani, who starred opposite Sher, said the two men had been “comrades in the struggle for a better South Africa.” On television, Sher starred as a memorably sleazy university lecturer in 1981 BBC series The History Man. His film roles included Dr. Moth in Shakespeare in Love, Benjamin Disraeli in Mrs. Brown and Adolf Hitler in Churchill: The Hollywood Years. Sher also wrote several novels and theatrical memoirs, along with an autobiography, Beside Myself, and exhibited his paintings and drawings in galleries. He was knighted by Queen Elizabeth II in 2000, becoming Sir Antony Sher. “I think he always felt like an outsider and his outsider’s vision was his strength,” said Harriet Walter, who starred opposite Sher in Macbeth and Death of a Salesman. “He had abundant creative energy and protean powers and an almost clinical curiosity about what makes people tick,” she said. In a statement to The Hollywood Reporter, Helen Mirren said “the theater has lost a brilliant light.” She continued, “I will never forget the moment I met the actor in Antony. We were doing the first reading rehearsal of the play Teeth and Smiles by David Hare. Antony was a comparatively unknown actor at the time. We were buried in our scripts.” Added Mirren: “I read the first words of our scene together and he answered. I raised my eyes above the pages to look at him more precisely, as with simply those minimal words I immediately realized I was opposite a great actor. Of course he went on to become the celebrated artist he was, but the extraordinary ability was born in him, as natural to him as breathing: it was as clear as a summer sky.” Shakespeare scholar James Shapiro said Sher’s performances “profoundly deepened my understanding of Shakespeare.” “He was a brilliant actor and an incredibly kind and thoughtful person,” Shapiro said. “Hamlet put it best: “take him for all in all, I shall not look upon his like again.'” Sher and Doran were one of the first couples to have a civil partnership in Britain after same-sex unions were legalized in 2005. They married in 2015 when the U.K. legalized gay marriage.
5894	dbpedia	2	28	https://www.independent.co.uk/news/uk/charles-royal-shakespeare-company-judi-dench-prince-of-wales-commonwealth-b1969688.html	en	Charles: Sir Antony Sher was ‘a giant of the stage at the height of his genius’	https://static.independe…h=1200&auto=webp	https://static.independe…h=1200&auto=webp	[ "https://static.independent.co.uk/2021/12/04/00/5ade6429fa2911ca998e95df5bf93a0aY29udGVudHNlYXJjaGFwaSwxNjM4NjYzODc1-2.19995922.jpg", "https://static.independent.co.uk/static-assets/images/newsletter/breaking-news/breaking-news-thumb.png", "https://static.independent.co.uk/2021/12/04/00/c4312f8ae46412ebdc5f763216bc7487Y29udGVudHNlYXJjaGFwaSwxNjM4NjY0MDk1-2.63020519.jpg", "https://static.independent.co.uk/2021/12/04/00/20c174d13a93f0580c21f57d1bc8aa31Y29udGVudHNlYXJjaGFwaSwxNjM4NjY0MzQ1-2.2777793.jpg", "https://www.independent.co.uk/img/icons/google.svg" ]	[]	[]	[ "PA Ready", "Charles", "Royal Shakespeare Company", "Judi Dench", "Prince of Wales", "Commonwealth", "National Theatre", "Benjamin Disraeli", "Falstaff", "Prince", "Primo Levi", "Brian Blessed", "Twitter", "South African", "Stratford-upon-Avon", "West End", "Adolf Hitler", "Shakespeare", "The King", "Churchill", "PA Ready" ]	null	[ "Benjamin Cooper" ]	2021-12-04T18:28:39+00:00	Sir Antony was the Prince of Wales’s favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/news/uk/charles-royal-shakespeare-company-judi-dench-prince-of-wales-commonwealth-b1969688.html	The Prince of Wales has paid tribute to Sir Antony Sher as “a giant of the stage at the height of his genius” following the actor’s death at the age of 72. The Olivier Award-winning actor and director was diagnosed with terminal cancer earlier this year, and his death was announced by the Royal Shakespeare Company (RSC) on Friday. In a statement to the PA news agency, Charles said he was “deeply saddened” to learn of Sir Antony’s passing. “As the president of the Royal Shakespeare Company (RSC), I had the great joy and privilege of knowing him for many years, and admired him enormously for the consummate skill and passion he brought to every role,” the prince said. “My most treasured memory of him was as Falstaff in a brilliant production of Greg Doran’s. I feel particularly blessed to have known him, but we have all lost a giant of the stage at the height of his genius.” Charles offered his sympathy to Sir Antony’s husband, the RSC’s artistic director, saying: “My heart goes out to Greg Doran and to all at the RSC who will, I know, feel the most profound sorrow at the passing of a great man and an irreplaceable talent.” Dame Judi Dench earlier described Sir Antony, with whom she starred in the 1997 film Mrs Brown, as a “sublime” actor who performed with “incredible intensity”. The 86-year-old described his performance as former prime minister Benjamin Disraeli as “spectacular”. Speaking to BBC Radio 4’s PM programme, she said: “He could completely immerse himself in a character and make it completely remarkable, but not necessarily on his own terms. “He was sublime. He was totally engrossed whenever he was working in that part and in that character. “He was one of those remarkable actors who reserved that incredible intensity for the time he was on the stage.” Brian Blessed, who performed alongside Sir Antony in Richard III in Stratford-upon-Avon, told the programme: “He revolutionised Richard III entirely. Amazing imagination, amazing vocal power. He hobbled around the set like a great bottled spider. He would terrify the audience in the first few rows.” Blessed said to be on stage with Sir Antony was “mind-blowing” and added: “It was from another century. It was from another galaxy.” The National Theatre posted a statement on Twitter from director Rufus Norris, saying: “With the tragic passing of Antony Sher, one of the great titans has left us. “His contribution and example to our theatre world was exemplary, and his standing within the ranks of National Theatre actors could not be higher.” Mr Doran announced in September that he was taking a period of compassionate leave to care for Sir Antony. The South African-born actor tied the knot with Doran on 21 December 2005, the first day same sex couples could legally form a civil partnership in the UK. Sir Antony starred in a number of RSC productions, including a role in 2016 in King Lear, as well as playing Falstaff in the Henry IV plays and Willy Loman in Arthur Miller’s Death of s Salesman. He was the Prince of Wales’s favourite actor – a fact the royal revealed during his 2017 Commonwealth Tour. Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth and Tamburlaine The Great, as well as his career-defining Richard III. He moved to Britain to study drama in the late 1960s and joined the RSC in 1982. His breakthrough role came two years later in Richard III, a part which earned him the best actor accolade at the Olivier Theatre Awards. His theatrical skills were not limited to the West End, and his adaptation of If This Is A Man, by Primo Levi, into a one-man show titled Primo, ran on Broadway. Off stage he had roles in films including Shakespeare In Love and Mrs Brown, and played Adolf Hitler in 2004’s Churchill: The Hollywood Years. His final production with the RSC was John Kani’s Kunene And The King, which saw him star opposite Kani as Jack, an actor acclaimed for his roles in Shakespeare who is diagnosed with liver cancer. RSC executive director Catherine Mallyon and acting artistic director Erica Whyman said in a statement: “We are deeply saddened by this news, and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. “Antony had a long association with the RSC and a hugely celebrated career on stage and screen. The RSC said Doran will remain on compassionate leave and is expected to return to work in 2022.

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