tempestsarekind: (all the world's a stage)
A nice email to receive from Shakespeare's Globe this morning:

We are thrilled to announce that Michelle Terry will be Artistic Director of Shakespeare’s Globe from April 2018.

An Olivier Award-winning actor and writer, Michelle is well-known to the Globe’s stage, having starred as Rosalind in As You Like It (2015), as Titania/Hippolyta in A Midsummer Night’s Dream (2013) and as the Princess of France in Love’s Labour’s Lost (2007). She also directed Richard III, King John and As You Like It for The Complete Walk (2016), a series of short films created as part of the Globe’s celebration of the 400th anniversary of Shakespeare’s death.


I absolutely loved her as the Princess, and was really disappointed that the Globe didn't film her AYLI, because I really wanted to see her as Rosalind. She was also great as Rosaline in LLL at the RSC, and a lovely Helena in the National Theatre's All's Well, although I had some quibbles with the production. (I loved the idea of the fairy-tale concept, but felt that the fairy-tale aspects were mostly a gloss on the top - a red cloak here, a wolf shadow there - rather than worked fully into the deep structures of the production. Don't ask me how one would do such a thing, though.) I suppose she hasn't done much directing (had Mark Rylance done any, before he was artistic director? I genuinely haven't any idea), but unlike some artistic directors, she does seem to enjoy Shakespeare, so that's a plus… and she's clearly familiar with the space, which can only help.

…Also, being me, this bit at the very bottom made me smile: "The panel formed to recruit the Artistic Director Designate comprised: Neil Constable, Louise Jury, Claire van Kampen, Philip Kirkpatrick, Jamie Parker, Emma Stenning and Jenny Topper." :)
tempestsarekind: (posner and scripps)
So I happened to turn on PBS to find an episode of DCI Banks on, and who should run up - and spill coffee all over the main character - but Samuel Anderson as a new detective constable joining the unit!

Then Vicious aired after that - not the episode Sam Barnett is in, but there was still a millisecond of him in the behind-the-scenes featurette that followed the episode.

I decided then to watch the beginning of one of the DVDs I got from the library: the second season of Silk (the first season aired ages back on PBS; I honestly can't remember if they ever got around to airing the second season in my neck of the woods). I couldn't really remember much about the show, except liking Maxine Peake, but I watched the first episode contentedly enough. And then, in the preview for the next episode, a split second of a familiar face: Jamie Parker! It seems to me that at some point I must have been informed that he was in an episode of Silk, but this is not information that I could have previously retrieved without seeing him in the preview.

That's nearly half the set in one evening - and all of them accidents!

(Also, Indira Varma is obviously not a History Boy, but I didn't know she was in the second season of Silk either, yet there she was as well.)
tempestsarekind: (posner and scripps)
The pictures of Jamie Parker from various productions (including a rather nice one of him and Samuel Barnett in the barrel from Rosencrantz and Guldenstern Are Dead) are delightful.


(What is his face even doing in that one from The History Boys?)

on notice.

Jul. 15th, 2016 12:29 am
tempestsarekind: (oh noes)
Everyone is ON NOTICE because NO ONE told me that Jamie Parker was Mark Antony in a BBC Radio production of Julius Caesar back in April! And of course it's not on iPlayer now. Hmph.

You can at least hear him do "Friends, Romans, countrymen," although this mostly just makes me long to know what he did with "O pardon me, thou bleeding piece of earth."


tempestsarekind: (globe)
So I'm reading a sweet interview with Jamie Parker, giggling at his self-deprecation and all, when this paragraph happens:

Parker says he’d like to “branch out a little bit”, in directions as yet unspecified, and indeed he nearly pulled off the branching-out coup of the decade by making it through to the final round of interviews to succeed Dominic Dromgoole as artistic director of the Globe Theatre, a job that eventually went to Emma Rice.




tempestsarekind: (where comedy meets romance)
I thought I posted this when I wrote it - back in October - but it wasn't in my Globe tag when I went looking for other productions I'd seen James Garnon in. I like how this is incredibly representative of me, in that it turns into a Romeo and Juliet rant partway through. At least I'm consistent?

29 October 2014

One of these days, I would like to see The Tempest and have the director take Miranda seriously, and not make her into a whiny, stomping child. Unfortunately, yesterday was not that day - although I did get a wonderfully alien Ariel in Colin Morgan, and a fascinating Caliban from James Garnon, who is quickly rising to the top of my Shakespeare's Globe Awesome People list. (I don't really have a list; I haven't seen enough repeat actors in Globe parts to make a list. It would basically be him and Philip Cumbus, and possibly Joseph Timms.) Seriously, though - Miranda is one of those Shakespearean heroines that I have feelings about but I’m never sure whether anyone else does (Hermia and Emilia belong on this list), and the whole point of her part of the play is that she is growing into a woman; even if she's somewhat sheltered and untried, she needs to be mature and poised enough to make decisions for herself, including the decision to get married. And in the text she is. Jessie Buckley, in the performance I saw last night, had to add the whining over the top of a line like "My affections are then most humble. I have no desire to see a goodlier man" (imagine a sitcom teenager stomping her foot and going, "Daaaaaaaad! You're so embarrassing! GOD," and you'll basically have the tone) – when textually, that line is all about Miranda standing up to her father and expressing her own desires. And it was a real shame, because there were moments last night where I could see the less stereotypical version in Buckley's performance, and she could have been really good at that: you could practically see her Miranda growing up in front of us in the way she said "Hence, bashful cunning," for example. (That line is so much like Juliet's "But farewell, compliment," and I love it for similar reasons: they're no longer playing by the rule book that's been set out for them.)

(I also think a lot of productions have similar problems with Juliet: they don't know how to make her seem young without making her into a caricature of a teenager or a whiny idiot - which is nowhere in the text, really, unless you think she's not supposed to get upset when terrible things happen to her, I guess. It's sort of like how people complain about Romeo being "whiny" when he's crying in Friar Lawrence's cell - you know, a couple of hours after one of his best friends died more or less in his arms, and then he killed a man, and then he found out he was being banished from the only home he'd ever known and would never be able to see his new bride again. I mean - yeah, suck it up, Romeo, you baby. Real men don't cry when they kill people.) (I honestly think one of the weirdest R&J phenomena is the way that people take the Friar's words as an accurate summation of what's happening in the play, or how characters should behave. I mean, that dude does not have the best track record? Ah well.)


While I'm posting random Shakespeare things from October 2014 that I thought I'd already posted, here's another:

I have a weird and irrational antipathy to Tom Hiddleston's Prince Hal/Henry V - I couldn't even watch the episodes because every time he said something, it was like nails on a blackboard. I mean, why would you even put the stress on "And gentlemen in England now abed / Shall think themselves accursed they were NOT here"? The whole point - and the natural stress pattern of the line - is that they are not HERE, with all the other soldiers who form the St. Crispin's Day brotherhood. The goal is to glorify the "here," not care about the others' absence. (Also, bizarrely, I think his clear love for the H5 speeches gets in his way, because he treats them with too much reverence and not enough point; he forgets what they're for, which is to convince and inspire the very specific individuals in front of him, not just to sound generally stirring in a broad sort of way.)

(back to me today) This is the most nitpicky thing to get upset about, and I swear I am not usually one of those "Respect the verse!" people (like Charles Kingman in Slings & Arrows), although I think that the stress patterns can give you cues and clues if you let it, but Hiddleston's line readings kept throwing me off so badly when I tried to watch Henry V that I never even went back to try the Henry IVs. Some of it was clearly residual Jamie Parker adoration - the way he reaches out as if to touch the very air on the word "here" is still imprinted on my mind - but not all of it.
tempestsarekind: (globe)
The blog post says that Jamie is doing the St. Crispin's Day speech rather than "Once more unto the breach," but the important part is that it's Jamie doing it impromptu (at the French Institute, at an event about the recently discovered Saint Omer First Folio), and being lovely. As per, as Scripps would say.


eeeee yay!

Nov. 21st, 2014 12:01 pm
tempestsarekind: (danielle laugh [ever after])
The Globe is doing Richard II next year!


Now if only they decide to cast Jamie Parker as Richard (and film it, of course)…

In not really related news, we started doing Juliet's "Gallop apace" today in class. Bliss. Stressed syllables and plosives together, how wonderful.
tempestsarekind: (hamlet/horatio OTP)
Jamie Parker's Hamlet recording (BBC Radio 4), which I tragically missed when it was available on BBC iPlayer, is now available for purchase on audible.com and iTunes!!!

There are no words for how excited I am to listen to this. Of course, I have to wait until I do all of my quarter grading and comments, but what a lovely reward it will be...
tempestsarekind: (globe)
Dispatch from the Department of Stuff No One Else Cares About, "Eight Actors in Britain" edition: In yesterday's episode of the most recent season of Endeavour (the prequel series to Inspector Morse), I did not spot any actors from Doctor Who, but there were four actors who had been in Globe productions. Two of these are series regulars: Jack Laskey (Orlando in the Thea Sharrock-directed AYLI), and Roger Allam (Falstaff in 1 and 2 Henry IV; also Prospero in last summer's production of The Tempest). The amusing thing was that the other two actors had also been in those same productions: I was of course thrilled to note Jamie Parker's name in the opening credits; he played Oliver opposite Jack Laskey's Orlando, and Hal to Roger Allam's Falstaff. And then Jessie Buckley was Roger Allam's Miranda! (They filmed this production of The Tempest, but who knows if they'll ever get their act together for US screenings; they never did for last year's, as far as I know - which was not a terrible hardship, I suppose, since I'd always planned to buy the DVDs for Jamie's Henry V and Sam Barnett's Twelfth Night anyway, but I still would have loved to see Jamie cry God for Harry, England, and Saint George on a big screen too.)

(Jamie played an utterly obnoxious Oxford tutor of medieval history, clipped upper-crust accent and all - but his voice was still so lovely that I kind of just wanted him to keep being obnoxious forever...)
tempestsarekind: (corset pout)
So I guess I missed Jamie Parker's BBC Radio Hamlet, and it's not up on iPlayer?

Is life really worth living, now?


Jun. 13th, 2013 10:26 pm
tempestsarekind: (posner and scripps)
...someone has written fic of Sam Barnett as Twelve, and Jamie Parker as the companion. So, you know, that is a thing.


(It is a bit adorable. Link via fyjpshakespeare.tumblr.com.)

la la la

Apr. 3rd, 2013 09:36 pm
tempestsarekind: (all the world's a stage)
Just doing that thing where I croon Jamie Parker and Samuel Barnett's names obnoxiously, no big deal:

The Globe seems to have done this much faster this year than last year, yay! No real information up about when or where the screenings will be, beyond a blanket "from June 2013," but if they do happen this summer, that will be great.
tempestsarekind: (posner and scripps)
Jamie Parker and James Garnon as Bolingbroke doing the deposition scene, from the Richard II episode of Shakespeare Uncovered:


I think there's actually some footage here - a few lines, at least - that didn't make it into tonight's broadcast of the episode.
tempestsarekind: (Default)
Is anyone else watching Shakespeare Uncovered on PBS? I saw the first two episodes on Friday night (...and may have watched them again since in repeats. Shut up, it's not that often that there's Shakespeare on my television). Of course, because for some reason PBS doesn't advertise its Shakespeare offerings very well, all the commercials were only for the Ethan Hawke Macbeth episode, even though they showed two of them back-to-back (I get the monthly members' guide, so I was prepared for this, at least), but I suppose I should just be glad that there *were* commercials, since I never saw a single one for David Tennant's Hamlet.

Anyway. The first episode was on Macbeth, and the second on "the comedies." (In practice this was basically just Twelfth Night and As You Like It, but that was the title of the episode.) I rather liked the Macbeth one, particularly because they interviewed Antony Sher and Harriet Walter, who played Macbeth and Lady M opposite one another in 2001, so we got some lovely little details of how they played that relationship. I found Ethan Hawke a much more engaging host than I had expected; he was earnest and a little clueless, but that's not a bad thing for an introductory look at the play. Joely Richardson, on the other hand, seemed to be trying a little too hard to impress - or maybe I'm just miffed that she kept interrupting the Globe rehearsal scenes to talk about how much she loved some theme in Twelfth Night. And I didn't come to this episode with the best grace, anyway, precisely because of the decision to treat any comedy as every comedy, as so often happens: you'd never see someone cram Macbeth and Hamlet into one episode because they both deal with the murder of kings, but Twelfth Night and As You Like It both have heroines who dress up as boys, so they're obviously completely the same and couldn't possibly each deserve an episode. (I'm not saying they both should have gotten an episode, necessarily. I just think they should have picked one play and really concentrated on that one, instead of forcing everyone to talk in vague generalizations about how Shakespeare does the same things in so many of his comedies, and they have great, strong heroines, and are about the difficulties of love.)

This week we get Richard II, which I am greatly looking forward to even if Derek Jacobi does apparently get all anti-Stratfordian in spots*, and Henries IV and V, hosted by Jeremy Irons.

*I may have spent some time crooning "Jaaaaamie" in an unseemly way during the commercials for this episode, even though I have already seen his clips as Richard II thanks to the Jamie Parker Shakespeare tumblr. You'll have to guess, because I'm not telling.


Dec. 27th, 2012 01:13 am
tempestsarekind: (hamlet/horatio OTP)

Of course, my brain just went "Maybe he's actually going to play Marcellus!" because sometimes my brain is a useless smartass, but oh well.

Okay, back to plying myself with herbal tea and stubbornly muttering, "I am NOT getting sick." How do other humans keep from getting sick every time they travel, seriously?
tempestsarekind: (globe)
Looking for YouTube clips of 1 Henry IV to put up on the course website somehow led me to this:


It is a Tumblr devoted to Jamie Parker doing Shakespeare. Yup.

As you were.
tempestsarekind: (eleven and amy)
I'd forgotten that I put together a "year in review" post about things I loved in 2011, and then never posted it because the list seemed so short, and I wanted to see if anything else came to mind. It wasn't a fantastic year for falling in love with new things, I guess. I read 38 books, which I know is barely a sneeze to some of you speed-readers out there, but is a decent sum for me. And I quite enjoyed quite a few of them. 2011 was the year that I finally read A Room With a View (which I liked, but perhaps not as much as Howards End) and We Have Always Lived in the Castle; and I read the odd little book The Brontes Go to Woolworths, and I liked Connie Willis' Blackout and All Clear, and Cat Valente's Fairyland. But I didn't read or watch anything much new that I felt the need to buttonhole people about, and that's generally my standard for a good media year. I didn't have a due South this year, or a Tamsin. Still, what there is, come see. (I have been spending *way* too much time with As You Like It lately, seriously.)

Year in review 2011

--THE PONDS. I've found myself saying lately that "all of my feelings are Pond feelings," and it's perfectly true. Doctor Who is beloved to me generally, of course, but this year has especially belonged to Amy and Rory. I love that their relationship has developed in s6, that Amy is more comfortable showing tenderness to Rory, that they are a love story in every universe. And I love that their relationship with the Doctor has grown and changed, too, that their bonds have deepened and been tested, and that they remain a strange, wonderful family. (*Christmas special flail*)

--honorable mention to Matt Smith, of course, whose face still exists and therefore has delighted me all season. Special kudos for his double act in "The Almost People," which I'm pretty sure I referred to at the time as giddy-making. And oh, that scene with Alfie (aka Stormageddon) in "Closing Time"...I don't want always to have Beat Up on Ten Corner, and that isn't really even how I mean it. But Eleven faces his death with the ability to focus on the good, to remember what he's loved as well as - or more than - what he's lost, and I'm so grateful for that. It's become a commonplace to talk about the way that Matt can suddenly turn so old in scenes like that one, but I think it's partly to do with the way he manages to make one believe that he's actually capable of reflecting on hundreds of years of experiences - sometimes to be made weary by them, but more often to be grateful, even if that gratitude comes with a tearful edge.

--another honorable mention for "The Doctor's Wife." Because Neil Gaiman wrote a love letter to the TARDIS, and it was beautiful. Hello, TARDIS. It was so very nice to meet you.

--And just one more for "Good Night," one of the minisodes on the S6 DVDs (aka the one where Amy and Eleven go get timey-wimey ice cream). This encapsulated so much of what I love about the Moffat era so far: its insistence on the benevolence of time, even in the face of its tragedies, but a benevolence that stems from the way that people orient themselves toward others, and choose to care for each other, as much as from time itself. (I still love the fact that ultimately they don't go back in time to save Vincent van Gogh, but to befriend him. Even though they can't change his fate, they can change his life.) The Doctor can't fix Amy's life; he can't make time travel make any sense. But he can give her the gift of perspective, a little touch of reparation for a childhood sorrow that becomes an answer for her current dilemma. In the face of the inexplicable and the unfathomable, this Doctor puts his faith in the grace of the moment. "Cheer up. Have an ice cream."

--going to London this summer with my friend. Also, theater-stalking several favorite actors: David Tennant, Samuel Barnett and Jamie Parker, and Arthur Darvill.

--(this gets its own line) the Summer of Jamie. This began in London, watching him and Sam in R&G Are Dead, which was like magic (oh, my boys). Then his brilliant turn as Hal in 1 and 2H4, which made me feel so much for Hal for maybe the first time: he was so immediate and in the moment, really piecing together his princehood through the course of the plays. And it's no exaggeration to say that the knowledge that he's playing Henry in H5 has brightened my life so much over the last few months: I so want to know where that journey will have taken him.

--very honorable mention for Roger Allam, who made me enjoy Falstaff. I did not know such a thing was possible.

--Passenger by Lisa Hannigan. I discovered this CD during the lees of the year, and it's quirky and enveloping. (I also bought a copy for my high-school Spanish teacher, as a Christmas present.)

--The Hour. Despite a sad paucity of Jamie Parker, this series was engrossing, and I rather fell in love with the rich textures of cloth it put up on the screen. (so much tweed. <3) /shallow There's also the relationship between Bel and Freddie, which I loved: I don't even necessarily need them to get together romantically (though because I have seen television before, I'm pretty sure they will), so long as they remain so important to each other. They're comfortable together, in a way they can't be with anyone else - particularly Bel, who spends so much time protecting herself emotionally, for all that she's reckless sexually when it comes to Hector, wanting to play by the same rules as men, who can have affairs and not be thought the worse for it. With Freddie, she gets to be both playful and childlike, and motherly and nurturing - because it's also always clear that Freddie couldn't make it without her; he's completely fearless, and he also doesn't have enough sense to come in out of the rain: he's got no instinct for self-preservation, literal or social. They've grown up together: she's proud of how she's molded him, and exasperated by his stubborn obliviousness; he knows her intimate habits, and can be scathing and unfair when he thinks she's playing it safe. It's interesting to watch them both try to grow past that old relationship they share, and yet to continue to need to come back to it. And it occurs to me, incidentally, that the way I respond to their relationship, especially when compared to my response to Bel/Hector, is completely telling about my priorities: the relationship that's supposed to be hot-and-heavy, all passion first and foremost, never interests me like the ones where two people find a resting place or haven in each other.

--Luther s2. I didn't love it quite as much as s1 (needs more Alice!), but I would watch the "Luther does domestic and awkwardly protective" show all day, every day. He's so bad at caring for himself that it's startling to see that he knows the offhand, ordinary routine of caring for someone else - not just protecting someone else, because that's part of his job, but the daily activities of cooking breakfast and nagging someone to go to the job center. It makes me wonder about or imagine the possibility of some occluded history of kindness in his life: who took care of him, when he was young and needed it? Did anyone?

30 Ghosts

Nov. 1st, 2011 08:10 pm
tempestsarekind: (posner and scripps)
Just linking to this because, well, Jamie:

His voice is like blankets and corduroy jackets and hot chocolate with whipped cream. If hot chocolate with whipped cream were always slightly wry about everything.
tempestsarekind: (facepalm)
Yesterday I watched all six episodes of The Hour in what was basically one go, with a pause for dinner and a call from my best friend. So not okay. It was fun, though--although the "I am never attracted to the ruggedly handsome leading man we're supposed to care about" problem is still in effect, which means that there was a little too much focus on outside-the-office Hector for my taste. (Nothing against Dominic West, and Hector's attempts to learn how to be a reporter were interesting; it's just that "ladies' man" character does less than nothing for me. More Bel and Freddie, please. And maybe a subplot about Hector's wife sans Hector; I quite liked her.)

I also engaged in some fairly embarrassing clapping and, er, burbling in delight when Jamie Parker delivered his small handful of lines (I...sort of leaped up off the couch when I first heard his voice?), but no one saw because I live alone, strategically, just to avoid having to inflict this kind of behavior onto other people.

Also, I want all of Romola Garai's dresses. My word.


tempestsarekind: (Default)

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