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"Measure for Measure" Definitions
  1. a play by Shakespeare, thought to have been written in 1604 and often regarded as one of his comedies. It is about a duke, Vincentio, who gives his power to his deputy (= assistant), Angelo, and then wears a disguise so that he can watch how Angelo behaves. Angelo behaves in an immoral and cruel way until the duke reveals who he really is and then there is a happy ending.
"Measure for Measure" Synonyms
payback retaliation recompense compensation reparation restitution amends atonement indemnification indemnity meed reciprocity rectification tit for tat lex talionis eye for an eye quid pro quo tooth for a tooth retribution reprisal
"Measure for Measure" Antonyms
turning of the other cheek

403 Sentences With "Measure for Measure"

How to use Measure for Measure in a sentence? Find typical usage patterns (collocations)/phrases/context for "Measure for Measure" and check conjugation/comparative form for "Measure for Measure". Mastering all the usages of "Measure for Measure" from sentence examples published by news publications.

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GURIRA Two years later we did "Measure for Measure" in Central Park.
Measure for Measure challenges us to recognize both their flaws and their humanity.
But their intolerance is matched measure for measure by those on the right.
As the aging courtier Escalus says in Shakespeare's ''Measure for Measure,'' ''Pardon is . . .
This is a class act, because this is Shakespeare from the play Measure for Measure.
"Measure for Measure" is one of Shakespeare's problem plays, and its whole setup is bizarre.
A rootin'-tootin' adaptation of "Measure for Measure" settles in for a run at New World Stages.
Yet I'm not convinced that a production of "Measure for Measure" should call extra attention to those givens.
What makes sense in "Measure for Measure" makes gorgeous sense here, thanks especially to Ms. Ricketts and Mr. Ryan.
In "Measure for Measure," it's the women who are unfairly asked to fix the mess created by impulsive men.
"Measure for Measure" is set in a corruption-riddled city filled with double-dealing politicians and out-of-control hedonists.
Dozens of reimaginings of Shakespeare's work at the festival include "Measure for Measure" in a mesmeric and critically acclaimed Russian-language staging.
It's hard to know what to do about "Measure for Measure," the kind of play for which Shakespeare's "problem plays" were named.
As in Measure for Measure, Shakespeare's tragedy tempered by burlesque, (see the lines quoted above), Giacometti's sculpture merges horror, pity, and whimsy.
What makes Measure for Measure both timeless and timely is that it engages meaningfully with Isabella's anger, even as it recognizes its limits.
In the final moments of "Measure for Measure," Duke Vincentio proposes to Isabella, and she is given no lines with which to respond.
MEASURE FOR MEASURE Elevator Repair Service ("Gatz") will apply an unusual, Marx Brothers-inspired style to Shakespeare's story about a duke's ethical experiment.
But if you don't already know "Measure for Measure" — and it's an uncommonly hard play to know — you'll need NoDoz to stay engaged.
MEASURE FOR MEASURE Simon Godwin directs Shakespeare's problematic play about repression, lust and hypocrisy — a few human characteristics that never go out of style.
That's true, too, of "Measure for Measure," a strange tangle of a play that Mr. Donnellan and Mr. Ormerod have treated with compassionate insight.
A theater review on Monday about a production of "Measure for Measure" at the Polonsky Shakespeare Center described one element of the production incorrectly.
"Some rise by sin, and some by virtue fall" ("Measure for Measure"); "To do a great right, do a little wrong" ("The Merchant of Venice").
This time the title was borrowed from Shakespeare's "Measure for Measure," deemed a comedy, yet considered so much more, as is the latest Empire offering.
Shakespeare's later (or "mature") comedies often have titles that seem vague and interchangeable: Measure for Measure, As You Like It, All's Well That Ends Well.
Eye for an eye, measure for measure — even when faced with an undeniable hot mic tape of him bragging about sexual assaulting women, Donald Trump counterpunches.
If you're looking for something that can be substituted directly for all-purpose flour, look for those labeled as one-to-one or measure-for-measure.
In "Measure for Measure" at the Almeida Theatre, also in 2010, Mr Kinnear's Angelo—sometimes a monstrous prig—was a man tragically outmatched by his own feelings.
And the European troupe Cheek by Jowl, in partnership with the Pushkin Theater, will stage a breakneck-speed take on Shakespeare's "Measure for Measure" (Oct. 16-20).
This works beautifully with a thorny enigma like "Measure for Measure," where concentrating too much on the characters' warped psychology can strand you in a Freudian wilderness.
I was reminded of this last week at the Public Theater, at Elevator Repair Service's production of Measure for Measure, one of Shakespeare's most perplexing — and powerful — plays.
So it makes sense that when its artistic director, John Collins, decided to direct his first Shakespeare, he decided on "Measure for Measure," perhaps Shakespeare's most problematic of problem plays.
Frustration and even defeat are not unusual responses to "Measure for Measure," which is set in a medieval, vice-ridden Vienna in which fornication before marriage is punishable by death.
Unlike the Elevator Repair Service production playing downtown, almost nothing remains of the "Measure for Measure" text — not the names, not the setting, not even much in the way of moral argument.
The double-dealing Duke in "Measure For Measure" and the ever-conniving Richard III are among the other Shakespeare Machiavels to have prompted more than the occasional chuckle in Mr. Rylance's playing.
In 803 he staged "A Midsummer Night's Dream" and "Measure for Measure" in repertory at the Ahmanson Theater in Los Angeles, then brought his acclaimed revival of Peter Shaffer's "Amadeus" to Broadway.
While much of Measure for Measure is complicated, convoluted, and often psychologically difficult to parse, it also reads in part as a meditation on the power, and limits, of women's justified moral anger.
That minimalist aesthetic has worked just fine in recent takes on "Cymbeline" and "Measure for Measure" — and, for that matter, "Into the Woods," also by Mr. Sondheim, with a book by James Lapine.
"They put great emphasis on tit-for-tat, measure-for-measure type of action," Michael Eisenstadt, director of the Washington Institute's Military and Security Studies Program and an expert on Iran, told BuzzFeed News.
" JOHN DOHERTYStratford-upon-Avon, Warwickshire Lexington might, if he had referred to the president's performances on the world stage, have reasonably turned to "Measure for Measure": "Man, proud man, dress'd in a little brief authority.
Elevator Repair Service, best known for "Gatz," its six-hour take on "The Great Gatsby," returns to the Public with "Measure for Measure," infusing Shakespeare's jaundiced parable with—of all things—Marx Brothers-style slapstick (Sept. 18).
But in the great confrontations between Angelo and Isabella — a hypocritical martinet and a proud novitiate — this "Measure for Measure" soars just as it should into that uniquely Shakespearean plane where absolutely opposing philosophies are given equally compelling expression.
Yet in Declan Donnellan and Nick Ormerod's vivid and uncommonly moving "Measure for Measure" — the Pushkin Theater Moscow/Cheek by Jowl production that's part of the Brooklyn Academy of Music's Next Wave Festival — she is not so easy to fault.
At the time, she was living with actor John Cazale — best known as Michael Corleone's weak brother Fredo in The Godfather and its sequel — whom she had met while appearing in Measure for Measure at the New York Shakespeare Festival in 1976.
"Measure for Measure" as performed by "Shit-Faced Shakespeare" has toured Britain and the US for seven years, winning sell-out runs due to its unique approach: before every performance one cast member is chosen to get drunk before going on stage.
Another of the so-called problem plays by Shakespeare, "Measure for Measure," is being dissected by Elevator Repair Service, the vital troupe that has taken apart and reanimated classic American novels by William Faulkner, Ernest Hemingway and, most spectacularly, F. Scott Fitzgerald.
That trade-off is never easy to negotiate, and the version of "Measure for Measure" that opened on Sunday at Theater for a New Audience, in a production by the British wunderkind director Simon Godwin, leans too heavily on the supposedly funny elements.
This year's theater offerings include Anne Bogart's staging of "The Bacchae," Pushkin Theater and Cheek by Jowl's "Measure for Measure," Early Morning Opera's excavation of Joan Didion and new work from Kaneza Schaal, Andrew Schneider, Phantom Limb Company and the technical theater wizards of the Builders Association.
Across the East River in Midtown Manhattan, Bryant Park will celebrate Shakespeare all summer long: the Drilling Company will perform a runthrough famous death scenes (April 22), "Much Ado About Nothing" (May 19-June 4), "As You Like It" (July 21-23), and "Measure for Measure" (Sept. 1-17).
In "Measure for Measure," Angelo, a government official who is a strong proponent of his society's morality code, tries to get a young woman named Isabella to give up her virginity to him in exchange for pardoning her brother, who is on death row for having violated that code by having sex outside marriage.
Thomas Ostermeier's reworking of "Richard III," from Berlin's Schaubühne Theater; "Measure for Measure" presented by the international touring company Cheek by Jowl with the Pushkin Theater of Moscow; and "Shake," a 1970s-set reimagining of "Twelfth Night" that is the brainchild of Dan Jemmett and his France-based company Eat a Crocodile, will be staged this summer.
If you were hanging out with this guy, watching this game, and then during a commercial, you looked outside and saw a neighborhood dog trot into your front yard and rattle off like six backflips while reciting a monologue from Measure for Measure, and this dude said "damn" as he does here, you wouldn't even mention it to your loved ones.
Angelo tries to seduce Isabella in a Los Angeles production of Measure for Measure. Angelo is a character in Shakespeare's play Measure for Measure. He is the play's main antagonist.
Two Gentlemen of Verona. The Merry Wives of Windsor. Measure for Measure. Comedy of Errors.
2 November 2014.Kelly, Rona. "BWW Interview: Jack Lowden Talks Measure for Measure". Broadway World.
In Measure for Measure an examination of sexuality implies a searching and sympathetic depiction of the monachal orders.
Scheil, pp. 30-3. Davenant's adaptation was published in 1673. As extreme as it may sound to a modern sensibility, Davenant's version was not the last word on adapting Measure for Measure. In 1699, Charles Gildon produced a re-adaptation of Davenant's adaptation: Measure for Measure, or Beauty the Best Advocate.
The Guardian. 24 April 2018.Snow, Georgia. "Hayley Atwell and Jack Lowden to swap roles in Donmar Warehouse Measure for Measure".
La MaMa Archives Digital Collections. "Production: Maldoror (1974)". Accessed August 6, 2018. and Camera Obscura in Shakespeare's Measure for Measure (1974).La MaMa Archives Digital Collections. "Production: Measure for Measure (1974)". Accessed August 6, 2018. Camera Obscura went on tour in Europe in 1973,La MaMa Archives Digital Collections. "Tour: Camera Obscura European Tour (1973)". Accessed August 6, 2018.
In Measure for Measure, Angelo expects to have sex with Isabella, the heroine; but the Duke substitutes Mariana, the woman Angelo had engaged to marry but abandoned. In this case the bed trick was not present in Shakespeare's sources, but was added to the plot by the poet.Anne Barton, Introduction to Measure for Measure, in: The Riverside Shakespeare, pp. 545–6.
She was nominated for a 1994 Ian Charleson Award for her performance in William Shakespeare's Measure For Measure with theatre company Cheek by Jowl.
As Sardou pointed out in his affidavit, this plot device is a common one and had been notably used by Shakespeare in Measure for Measure.
Glover directed student productions at RADA, and in 2008 made his directorial debut with a production of Measure for Measure for the Ambassador's Theatre Group.
"Tour: Great Jones Repertory Company Tour (1972)". Accessed August 22, 2018. In 1973, Moss directed a production of Shakespeare's Measure for Measure at La MaMa.La MaMa Archives Digital Collections.
Jerusalem: Koren Publishers, 2014. Rabbi Levi taught that God told Moses "enough!" in to repay Moses measure for measure for when Moses told Korah "enough!" in .Babylonian Talmud Sotah 13b. In, e.g.
He also appeared on Broadway in Measure for Measure, Sweet Love Remembered, The Best Man, Ah, Wilderness!, Dodsworth (1934), Saint Joan (1936), Old Acquaintance (1941), Antony and Cleopatra (1948) and Bus Stop (1956).
Fleshler's Broadway credits include Death of a Salesman, Guys and Dolls, Arcadia, and The Merchant of Venice. Off-Broadway, he has appeared in such plays as Measure for Measure and Pericles, Prince of Tyre.
Houseman moved into television producing, notably doing The Seven Lively Arts (1957) and episodes of Playhouse 90. He also returned to theatre, producing revivals of Measure for Measure (1957) and The Duchess of Malfi (1957).
Concordia Merrel as Isabella in Measure for Measure - by Cavendish Morton (1909) Concordia Merrel (10 September 1885 - 18 May 1962) was a British stage and silent film actress, photographer's model and a prolific author of romantic fiction.
She was cast in a similar role, playing opposite Bill Paterson, in Hare's BAFTA-award-winning companion play Licking Hitler, for BBC television. Again on screen, in 1978 she played the part of Isabella in the BBC Television Shakespeare production of Measure for Measure, a performance that led the New York Times to describe her as providing "the image of idealized faultlessness"."Measure for Measure", Liner notes, The Shakespeare Collection, BBC DVD, originally broadcast February 18, 1979. In 1979 she was the female lead alongside Frank Langella and Laurence Olivier in Dracula.
After graduating from the Royal Academy of Dramatic Art, Hyland made her professional debut in London in 1950, as Stella in A Streetcar Named Desire. In 1954, she returned to Canada to perform as Isabella in the Stratford Festival production of Shakespeare's Measure for Measure. She became a regular at the festival, performing in ten seasons. Her roles there included Isabella (in Measure for Measure), Portia (in The Merchant of Venice), Olivia (in Twelfth Night), Perdita (in The Winter's Tale), Desdemona (in Othello) and Ophelia in (in Hamlet).
Past productions have won the Maryland Theatrical Association's Best Drama Prize in 2002 and 2005.Laurel Leader, Oct. 1, 2005 The current musical director is Alan Scott. Recent productions include Shakespeare's Measure for Measure and On Thin Ice.
Her productions include Shakespeare's Othello, Hamlet, Romeo and Juliet, and Measure for Measure, Gogol's The Government Inspector, Goethe's The Sorrows of Young Werther, and Beckett's Waiting for Godot. Abadjieva has taken part in international festivals in various countries.
Alvarez is also an audiobook narrator, appearing on the Oregon Shakespeare Festival's audio recording of Measure for Measure, and narrating audiobook works such as Héctor Tobar's The Barbarian Nurseries, Justin Torres's We the Animals, and Sebastian Rotella's Triple Crossing.
Measure for Measure is the fifth studio album by Australian rock/synthpop band Icehouse and was the third album in the world to be recorded entirely digitally. The album's title refers to the Shakespearean play of the same name.
Howard served as the Associate Director of Sydney Theatre Company between 1992 and 1996. He also acted numerous roles in plays including Shrine, Rising Water, Mongrels, The Crucible, The Life of Galileo, Dead White Males, and Measure for Measure.
Measure for Measure (, literally "A tooth for a tooth") is a 1943 Italian historical drama film directed by Marco Elter and starring Carlo Tamberlani, Caterina Boratto and Nelly Corradi. It is based on the William Shakespeare's play of the same name.
Master of Their Domain: 10 Great 'Seinfeld' Episodes In film, she played supporting roles in Mystic PizzaMystic Pizza - cast list and The Next Big Thing.The Next Big Thing - cast list She directed "Measure For Measure" off-Broadway at The Duke Theater.
Her stage credits include Caroline, Or Change, Avenue Q, Che Walker's The Frontline, Juliet in Measure for Measure at [Shakespeare's Globe],Been So Long and Feast (Young Vic). She was nominated for an Evening Standard Award for her performance in Been So Long.
Later, Shakespeare visits Herbert's house, but is brushed off by a servant. He realises that Herbert is avoiding him. He follows him and discovers that Lucie has become Herbert's mistress, and that he pays for her lodging. Embittered, he writes Measure for Measure.
Liston as Pompey in Measure for Measure, by Samuel De Wilde. John Liston (c. 1776 - 22 March 1846), English comedian, was born in London. He made his public debut on the stage at Weymouth as Lord Duberley in The Heir at Law.
Tyke was Emery's great part, in which he left no successor. He was excellent in some Shakespearean parts. Of his Barnardine in Measure for Measure Genest, a reserved critic, says, "Emery looked and acted inimitably". His Caliban and Silence in King Henry IV were excellent.
In Shakespeare's day, it represented a worldview already four centuries old, only modestly updated. Yet several ideas inspired by Batman can be found in Shakespeare. The idea that the rays of the moon cause madness can be found Measure for MeasureShakespeare, Measure for Measure, 3.1.
For the play's first Family Shakespeare appearance in the 1818 second edition, the entry is actually a reprint of John Philip Kemble's amended edition of Measure for Measure. Kemble had edited the comedy for performance at the Theatre Royal in Covent Garden around 1803. As stated by Bowdler in the 1818 preface to Measure for Measure, he chose to use the Kemble text over creating his own version, for the play proved too difficult to expurgate without fundamentally changing it in some way. Bowdler soon rose to the challenge, though, and the next edition (1820) saw the publication of his own fully revised version.
The first page of Shakespeare's Measure for Measure, printed in the First Folio of 1623 Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. Originally published in the First Folio of 1623, where it was listed as a comedy, the play's first recorded performance occurred in 1604. The play's main themes include justice, "morality and mercy in Vienna", and the dichotomy between corruption and purity: "some rise by sin, and some by virtue fall". Mercy and virtue prevail, as the play does not end tragically, with virtues such as compassion and forgiveness being exercised at the end of the production.
The 2011 season, featured All's Well That Ends Well, directed by Daniel Sullivan, and Measure for Measure, directed by David Esbjornson, running in repertory on alternate evenings.Healy, Patrick (March 28, 2011). "Repertory Casting Returns for Shakespeare in the Park". Arts Beat (blog of The New York Times).
National Religious Party's MK Zevulun Orlev said he suspected the allegations were an attempt to "blemish religious Zionism.""Rightist rabbis urge Jews to avenge enemies 'measure for measure'", Haaretz, 12 March 2008."Report: Yeshiva graduates plan revenge attack against Arab figure", Haaretz. Retrieved 19 November 2014.
Measure for Measure The production transferred to the Almeida Theatre in February 2010. From May to June 2015, he starred as Juror number 8 in Bill Kenwright's touring production of Twelve Angry Men, alongside Andrew Lancel, Gareth David- Lloyd, Denis Lill and Drop the Dead Donkey's Robert Duncan.
"Production: Measure for Measure (1973)". Accessed August 22, 2018. He also directed his company, the "Y" La MaMa Workshop, in a production of Roy Kift's Play Mary Play. The production first played at the YM-YWHA of Mid-Westchester (in Scarsdale, New York),La MaMa Archives Digital Collections.
In 1999, the Russian Chekhov International Theatre Festival commissioned Donnellan and Ormerod to form their own company of Russian actors in Moscow. This sister company performs in Russia and internationally. Cheek by Jowl's latest Russian production Measure for Measure is the company's first co-production with Moscow's Pushkin Theatre.
"Gerontion" opens with an epigraph (from Shakespeare's play Measure for Measure) which states: :Thou hast nor youth nor age :But as it were an after dinner sleep :Dreaming of both.T.S. Eliot. Poems, Alfred Knopf (1920) p. 1 The poem itself is a dramatic monologue by an elderly character.
He is best known for his roles in films Cargo 200 and Morphine by Alexei Balabanov. Bichevin has been the member of the Vakhtangov Theatre since 2006, and has participated in plays such as Cyrano de Bergerac, The Dog in the Manger, Troilus and Cressida, Amphitryon and Measure for Measure.
Other publications by Cotter included Poems by eminent ladies (1757), Shakespeare's Measure for measure (1761), Philosophical enquiry (4th ed. 1766) by Edmund Burke, and A collection of apothegms and maxims for the good conduct of life by Gorges Edmond Howard (1767). Cotter married Joseph Stringer (fl. 1754–1783) in 1768.
The title of the play, which also appears as a line of dialogue, is commonly thought to be a biblical reference to the Sermon on the Mount : Peter Meilaender has argued that Measure for Measure is largely based on biblical references, focusing on the themes of sin, restraint, mercy, and rebirth.
Uncle Vanya, 'TheaterMania.com, September 21, 2014, accessed August 13, 2015 With Epic Theater Ensemble and National Black Theater in 2015, she played Isabella in Measure for Measure. She also played Kelly in The Sentinels by Matthew Lopez at 59E59 Theaters."2015's Summer Shorts Festival Opens at 59E59 Theaters", TheaterMania.
Mariana is an 1851 oil-on-panel painting by John Everett Millais. The image depicts the solitary Mariana from William Shakespeare's Measure for Measure, as retold in Tennyson's 1830 poem "Mariana". The painting is regarded as an example of Millais's "precision, attention to detail, and stellar ability as a colorist".King, Sally.
Using this theory, Schanzer distinguishes only Measure for Measure as a Shakespearean problem comedy, identifying both All's Well That Ends Well and Troilus and Cressida as lacking of a pivotal ethical dilemma that divides the audience. Schanzer offers Julius Caesar and Antony and Cleopatra in the place of previously recognized problem plays.
She was cast in the role of Pompey in Measure for Measure for the autumn billing at the Donmar. She appeared in the cast of Emilia (a play about Emilia Bassano) in the West End (2019),Emilia on the Vaudeville Theater website in The Vote, and in 9 to 5 again in 2020.
Glover is also the author of Pocket PC Ref, Deskref, Handyman In- Your-Pocket, Pocket Do It Yourself Source, Measure for Measure and Tech Ref. Comparable books include AutoRef by Glover's sometime-coauthor Richard A. Young, and Pocket Partner "a comprehensive collection of vital information for law enforcement personnel" by Dennis Evers.
In 1985, De Angelis had two leading roles on the stage, Vera Vasilyevna in The Nest of the Woodgrouse at the New York Shakespeare Festival and the Kennedy Center, among other venues. She played Mistress Overdone in Measure for Measure at the Delacorte Theatre.Rosemary De Angelis profile, filmreference.com; accessed March 19, 2016.
Matthews appeared in the 2009 world tour of The Bridge Project as "Pishchick" in The Cherry Orchard and "Antigonus" in The Winter's Tale. In the 2011 summer season of The Public Theater's Shakespeare in the Park, he performed as "the Provost" in Measure for Measure and "Lafew" in All's Well That Ends Well.
He is credited for "frequent interference and occasional co-production" on their 1997 album Whiplash. Eno played on the 1986 album Measure for Measure by Australian band Icehouse. He remixed two tracks for Depeche Mode, "I Feel You" and "In Your Room", both single releases from the album Songs of Faith and Devotion in 1993.
"Theatre's bright young things". Time Out London. Retrieved on 19 November 2007 She had a small role as the Jamaican girl in the 2004 film Vera Drake but was given an entire character backstory by the director Mike Leigh. Her first stage role was in the highly lauded National/Complicite production of Measure for Measure.
Boas contends that the plays allow the reader to analyze complex and neglected topics. Rather than arousing simple joy or pain, the plays induce engrossment and bewilderment. All's Well that Ends Well and Measure for Measure have resolutions, but Troilus and Cressida and Hamlet do not. Instead Shakespeare requires that the reader decipher the plays.
In collaboration with Zurkowski, McDonald composed and performed guitar and piano music to accompany select Frog and Peach Shakespearean productions and readings: Julius Caesar, Two Gentleman of Verona, Hamlet, A Midsummer Nights Dream, King Lear, The Taming of the Shrew and Measure for Measure. In addition, Ian became involved with the band Spooky Tooth.
Douglas proposed that by quoting the "eye for eye" law in a jingly form, in a peculiar circumstance where it does not really fit, surrounded by funny names, the writer of Leviticus may be trying to say something else about the measure- for-measure principle, testing the universal validity of the principle of retribution.
He worked with the New York City Opera company, Hamburg State Opera, La Scala in Milan, the Opera-Comique in Paris and the Spoleto Festival in Italy. He designed either costumes or sets, sometimes both, for 24 Broadway productions. His first production on Broadway was Measure for Measure in 1957, and his last was Goodbye Fidel in 1980.
Freedom Farms Cooperative was an agricultural cooperative in Sunflower County, Mississippi, founded by American civil rights activist Fannie Lou Hamer in 1967 as a community based rural and economic development project. In 1969 Hamer received a $10,000 donation from Measure for Measure, a charitable organization based in Madison, Wisconsin. The FFC ended in the mid 1970s.
Cracknell's first acting jobs were in radio. By 1946, she was performing five episodes of radio plays a week. She also performed on stage with the Sydney based companies the Independent Theatre and the Mercury Theatre. In 1948, she joined the John Alden Company and had roles in King Lear, Measure for Measure and The Tempest.
Film: Born to Win, Rollercoaster, Mask, Ruby and Oswald, Billy Jack Goes to Washington. Television: Hill Street Blues, Police Story, Starsky and Hutch, Nero Wolfe, Julie Farr, M.D., Kaz, Charlie's Angels, Strike Force. Theater: New York—Gorky’s Lower Depths, Giraudoux’s Song of Songs (with Delphine Seyrig), Saroyan’s The Cave Dwellers, Shakespeare’s Measure for Measure (with Nina Foch). Stratford, Conn.
The Duke's Company were granted exclusive rights to ten Shakespearean plays; Hamlet, Macbeth, King Lear, Romeo and Juliet, The Tempest, Twelfth Night, Much Ado About Nothing, Measure for Measure, Henry VII and Pericles, Prince of Tyre. This, combined with the talented actors, such as Betterton, allowed the company to create adaptations of the Shakespeare's within the playhouse.
In The Cadfael Chronicles series of historical detective novels by Ellis Peters, taking place in 12th-century Shrewsbury, England, an important role is played by the town's Provost – who in addition to this position is a prominent shoemaker. The Provost plays an important role in William Shakespeare's Measure for Measure. He is promoted at the end of the play.
William Hamilton of Isabella appealing to Angelo The play draws on two distinct sources. The original is "The Story of Epitia", a story from Cinthio's Gli Hecatommithi, first published in 1565.N. W. Bawcutt (ed.), Measure for Measure (Oxford, 1991), p. 17 Shakespeare was familiar with this book as it contains the original source for Shakespeare's Othello.
The production was directed by Declan Donnellan and designed by Nick Ormerod. In 2018, Josie Rourke directed a uniquely gender-reversal production of the play at the Donmar Warehouse in London, in which Jack Lowden and Hayley Atwell successively alternate the roles of Angelo and Isabella.Brown, Mark. "Measure for Measure gender swap may be theatrical first".
Edmond O'Brien (Casca, left) and Gielgud (Cassius) in Julius Caesar (1953) At the Shakespeare Memorial Theatre, Stratford-upon-Avon, Gielgud did much to reclaim his position as a leading Shakespearean. His cold, unsympathetic Angelo in Peter Brook's production of Measure for Measure (1950) showed the public a new, naturalistic manner in his playing.Hayman, p. 171; and Morley, pp.
The answer was that through gossip, the person afflicted with skin disease separated husband from wife, one neighbor from another, and therefore the Torah punished the person afflicted with skin disease measure for measure, ordaining that the person "shall dwell alone".Babylonian Talmud Arakhin 16b, in, e.g., Talmud Bavli, elucidated by Mendy Wachsman et al., volume 67, page 16b.
Off the Rails is a stage adaptation of William Shakespeare's Measure for Measure by Randy Reinholz, a Choctaw Native American playwright. The play was written in 2015, and inspired by Reinholz's wife and co-founder of the Native Voices theatre company at the Autry Museum of the American West, Jean Bruce Scott. Although Off the Rails follows the plot of Measure for Measure, infamous for being one of Shakespeare's problem plays, the power struggles between the characters help rather than hurt the play's ability to send a powerful message by accentuating the racist treatment of Native Americans. Reinholz utilizes specific projection images and traditional Native American tribal songs and language in the script of the play in order to make a political statement about the horrors of Indian boarding schools.
Naidu's most recent theatre credits include The Master and Margarita with Complicite, a world tour of Shakespeare's Measure for Measure with Complicite, The Resistible Rise of Arturo Ui alongside Al Pacino, directed by Simon McBurney and The Little Flower of East Orange alongside Ellyn Burstyn at New York's Public Theater directed by Philip Seymour Hoffman.Past Winner Database. "The Envelope". Los Angeles Times.
The English verb to blet was coined by John Lindley, in his Introduction to Botany (1835). He derived it from the French poire blette meaning 'overripe pear'. "After the period of ripeness", he wrote, "most fleshy fruits undergo a new kind of alteration; their flesh either rots or blets." In Shakespeare's Measure for Measure, he alluded to bletting when he wrote (IV. iii.
The title comes from lines in Shakespeare's play, Measure for Measure: "If I must die, / I will encounter darkness as a bride, / and hug it in mine arms." In July 2018, the Dayton Literary Peace Prize announced Irving would be the recipient of the 2018 Richard C. Holbrooke Distinguished Achievement Award at its annual gala October 28, 2018, in Dayton, Ohio.
Rahm (also spelled 'Rehm') is a 2016 Pakistani drama-thriller Film, based on William Shakespeare's play Measure for Measure. It is written and produced by Mahmood Jamal and its directed by Ahmed Jamal. Sanam Saeed, Sunil Shanker, Sajid Hasan and Nayyar Ejaz play lead roles in the film. The film's plot will be based on honesty, justice, love and unity.
Thacker is also a prolific television director. He has directed more than 30 TV productions, including episodes of The Vice, Silent Witness, Foyle's War and Waking the Dead. He has also directed films, such as Measure for Measure, A Doll’s House, Broken Glass, The Mayor of Casterbridge and Faith, the critically acclaimed film for the BBC set in the Miners' Strike.
One of the men surprised Abraham saying, "Your wife Sarah will have a son." (1984 illustration by Jim Padgett, courtesy of Distant Shores Media/Sweet Publishing) The Tosefta taught that God rewarded measure for measure Abraham's good deeds of hospitality in with benefits for Abraham's descendants the Israelites.Tosefta Sotah 4:1–6. Land of Israel, circa 300 CE. Reprinted in, e.g.
Jean Lescure became co- director of the clandestine review "Les Lettres françaises" and was one of the founders of the underground organization, the "Comité National des Ecrivains". After the Liberation he was appointed director of the French Radio. He was an early member of Oulipo. Lescure translated Shakespeare's "Measure for Measure" (1949) and the complete works of Giuseppe Ungaretti (1953).
Masterfile is an Audiophile compilation album by Australian rock band, Icehouse. It is the second compilation released by the band following 1989's "Great Southern Land". The album covers material from the band's first album "Icehouse" to 1986's "Measure for Measure". It also features a re-recorded version of their 1981 single "Love In Motion" with Christina Amphlett of Divinyls.
Brooklyn: Mesorah Publications, 1999. The Mishnah cited for the proposition that Providence treats a person measure for measure as that person treats others. And so because, as relates, Joseph had the merit to bury his father and none of his brothers were greater than he was, so Joseph merited the greatest of Jews, Moses, to attend to his bones, as reported in .
On stage Burke appeared in several productions by the Royal Shakespeare Company, including Richard II, Romeo and Juliet, Roberto Zucco, The Tempest, Peer Gynt, Measure for Measure, Troilus and Cressida, Two Shakespearean Actors, All's Well That Ends Well and Antony and Cleopatra. In 2008 he appeared at the National Theatre as the Shepherd in a new version of Sophocles' Oedipus by Frank McGuinness.
He directed many of the early plays of George Bernard Shaw and John Galsworthy."As I remember, Adam", by Angus Bowmer, 1975, chapter 2 In 1907, Payne used William Poel to direct Measure for Measure, by William Shakespeare, with the Manchester Repertory Company."Golden Fire; The Anniversary Book of the Oregon Shakespeare Festival", by Edward and Mary Brubaker, 1985, p. 40 et seq.
Kelsey Brooke Smith of Brigham Young University wrote her dissertation on chastity as a political power in The Convent of Pleasure. Her analysis of Lady Happy portrayed her as a "virtuous, wealthy, and beautiful young virgin" who is understandably sought after during this time.Smith, Kelsey Brooke. Perilous Power: Chastity as Political Power in William Shakespeare's Measure for Measure and Margaret Cavendish's Assaulted and Pursued Chastity.
"No Promises" is a 1985 single released by Australian band Icehouse. Released in October 1985, it was the first single issued from the band's 1986 album, Measure for Measure. The single was released in Australia through Regular Records, on 7", 12" and maxi-cassette single formats. Chrysalis Records issued the single in the UK and Europe on 7" and 12" formats, with different track listings.
Claudio and Isabella (1850) by William Holman Hunt Measure for Measure has frequently been considered a "problem play". It was a problem for Hazlitt in that it contains almost no character with whom one can feel complete sympathy. "[T]here is in general a want of passion; the affections are at a stand; our sympathies are reflected and defeated in all directions."Hazlitt 1818, p. 320.
She received the award after being hailed for her performances in Measure for Measure as Mariana, The Long Christmas Dinner as Ermengarde, Queens of France as Mademoiselle Pointevin, The Displaced Person as Mrs. Shortley, The Rimers of Eldritch as Mary Windrod, and All's Well That Ends Well as Mariana. She followed this in 1968 with the Broadway musical Here's Where I Belong, that closed after one performance.
Her theater credits include Measure for Measure (Isabella), Henry IV Parts I & II (Lady Hotspur), Athol Fugard's, Valley Song and The Ohio State Murders. Hamilton was also an original cast member in the Broadway productions of August Wilson’s The Piano Lesson and Gem of the Ocean. In 2005 she won a Peabody Award for creating and directing the 2003 documentary film Beah: A Black Woman Speaks.
In 2012, he was named Director of Community Engagement and Innovative Programs for the College of Professional Studies and Fine Arts at SDSU. Reinholz's play Off the Rails, an adaptation of Shakespeare's Measure for Measure from a Native American perspective, was produced by Native Voices in 2015. In 2017, the work became the first play by a native writer to be presented by the Oregon Shakespeare Festival.
In 1904 Asche became co-manager with Otho Stuart of the Adelphi Theatre on a three-year lease.Singleton, Brian. Oscar Asche, Orientalism, and British Musical Comedy, Praeger Publishing (2004), p. 49 Their productions included The Prayer of the Sword, A Midsummer Night's Dream, The Taming of the Shrew, Measure for Measure, Count Hannibal (which he wrote with F. Norreys Connell) and Rudolf Besier's The Virgin Goddess.
Between the late 16th and the 18th centuries, punk was a common, coarse synonym for prostitute; William Shakespeare used it with that meaning in The Merry Wives of Windsor (1602) and Measure for Measure (1603-4, published 1623 in First Folio).Dickson (1982), p. 230. The term eventually came to describe "a young male hustler, a gangster, a hoodlum, or a ruffian".Leblanc (1999), p. 35.
Then known as Kathleen Heaney, she was a member of the Juilliard Drama Division's Group 3 (1970–1974) where she studied under Academy Award-winning actor John Houseman. Her performances at Juilliard included several classic roles, such as Masha in The Seagull; Doreen in Tartuffe; Juliet in Romeo and Juliet; Mary Boyle in Juno and the Paycock; Maryanne in Measure for Measure; and Esmeralda in Camino Real.
Kincade was an English band that was formed in 1972. In that year, they had their hit single, "Dreams are Ten a Penny", but the band itself did not exist at the time. The song was written by John Carter and his wife Gill.Liner notes Measure for Measure The John Carter Anthology 1961-1977, RPM Records, RPMD368 Carter also sang all the vocals and played the guitar on the record.
The editor of the Arden Shakespeare volume summed up 19th century repugnance: "everyone who reads this play is at first shocked and perplexed by the revolting idea that underlies the plot."W. Osborne Brigstocke, ed. All's Well That Ends Well, "Introduction" p. xv. In 1896 Frederick S. Boas coined the term "problem play" to include the unpopular work, grouping it with Hamlet, Troilus and Cressida and Measure for Measure.
Carmi's books translated into English include Blemish and Dream (1951), There are no black Flowers (1953), The Brass Serpent (1961), Somebody Like You (1971), and At The Stone Of Losses (1983). He was also translator of Shakespeare to Hebrew. His translations include Midsummer Night's Dream, Measure For Measure, Hamlet, Much Ado About Nothing and Othello. He co-edited The Modern Hebrew Poem Itself, together with Stanley Burnshaw and Ezra Spicehandler.
Lean later said it was his personal favorite of the films he made, and Hepburn his favorite actress.Chandler (2011) p. 204. The following year, Hepburn spent six months touring Australia with the Old Vic theatre company, playing Portia in The Merchant of Venice, Kate in The Taming of the Shrew, and Isabella in Measure for Measure. The tour was successful and Hepburn earned significant plaudits for the effort.
Gaye, pp. 544–55 In her late teens, she was already playing leading adult parts, and, in 1927, she went on a tour to Egypt with Robert Atkins's company, playing Olivia in Twelfth Night, Jessica in The Merchant of Venice, Mariana in Measure for Measure and Bianca in Othello. In August 1928, Dixon married Ernest Schwaiger, a leading jeweller, their marriage lasting until his death in 1976. They had no children.
OPERA: 'Show Boat' after 75 years - International Herald Tribune Burns has also appeared in numerous William Shakespeare productions including "Comedy of Errors" as Nell with Marisa Tomei. She was also seen as Mistress Overdone in "Measure for Measure" with Kevin Kline, Blair Underwood and Andre Braugher. Both were productions for New York City Shakespeare in the Park. Her regional theater productions include roles in several plays and musicals.
Hannah married actress Joanna Roth on 20 January 1996.John Hannah in The Guardian The pair met several years before during a studio production of Shakespeare's Measure for Measure. In many of his interviews he mentions stories from their relationship, such as the visit to London's 'Sri Siam' restaurant where he proposed to her in writing on the tablecloth. They live in Richmond, London with their two children.
The use of an unlocalised stage lacking scenery, and the swift, musical delivery of dramatic speech set the standard for the rapidity and continuity shown in modern productions. Poel's work also marked the first determined attempt by a producer to give a modern psychological or theological reading of both the characters and the overall message of the play.S. Nagarajan (1998). Measure for Measure, New York, Penguin, pp. 181–183.
Their production of A Midsummer Night's Dream in 1905 had Asche as Bottom and Roxy Barton as Titania. In 1905 they produced Hamlet with H. B. Irving in the title role,The Letters of Henry Irving - The Henry Irving Database Under Which King? (1905) with Lily Brayton and Measure for Measure (1906) with Asche as Lucentio.The Adelphi Theatre, The London Encyclopaedia, Pan MacMillan The Graphic of November 1906 wrote, 'Mr.
The play was directed by Gene Frankel, and acted alongside Stacy Keach as Buffalo Bill, Manu Tupou as Sitting Bull, Tom Aldredge, Kevin Conway, Charles Durning, Raul Julia. The play ran for 96 performances and 16 previews.Indians ibdb.comIndians Playbill, retrieved January 1, 2018 In 1977, he starred in on off-broadway production of William Shakespeare's Measure for Measure as Duke Vincentio alongside Meryl Streep and John Cazale at the Delacorte Theatre.
He returned to the works of William Shakespeare in 1931, playing Claudio in Measure for Measure at London's Fortune Playhouse. In 1932 he once again played Romeo at the Embassy Theatre. Other works around this period included productions of Ivor Novello's Sunshine Sisters in 1933, Double Door alongside actress Sybil Thorndike in 1934, J.M. Barrie's A Kiss for Cinderella in 1937, and Robert Morley's Goodness, How Sad in 1938.
However, , the three parts of Henry VI have not been performed at the Delacorte except as the heavily adapted Wars of the Roses in 1970. With the 2019 season, Much Ado About Nothing joined Measure for Measure and Twelfth Night as the most-performed works, each having been produced six times (including a 2018 musical adaptation of Twelfth Night). Due to the COVID-19 pandemic, the 2020 season has been cancelled.
In 1913, Payne was invited to the United States to organize a season of modern plays for the Chicago Theatre Society, a pioneering community theater.Oregon Shakespearean Festival (now Oregon Shakespeare Festival) 1961 Souvenir Program, p. 4 He had been referred to that company by Horniman. The Society produced a repertory season of plays by Shaw and Galsworthy, as well as a conventionally staged production of Measure for Measure.
In Shakespeare's 1604 comedy Measure for Measure a young man sleeps with his betrothed wife before his church wedding. Judged technically guilty of fornication, under puritanical laws he is condemned to die. The plot is driven by the need to rescue him, and audience sympathy is clearly expected to be on his side. Handfasting remained an acceptable way of marrying in England throughout the Middle Ages but declined in the early modern period.
She directed notable Children's Theatre productions at Chicago Shakespeare Theater (CST)—including the premieres of The Emperor's New Clothes (2010); The Adventures of Pinocchio (2011); (Director & Adapter) Short Shakespeare! The Taming of the Shrew (2012)—and Disney's Beauty & The Beast (2012) and Shrek (2013). At CST, she also choreographed productions of The Merry Wives of Windsor, Romeo and Juliet, and Measure For Measure. At Timeline Theatre Company, she directed the regional premiere of Enron (2012).
In "Measure for Measure" he remarks that Shakespeare's morality is to be judged as that of nature itself: "He taught what he had learnt from her. He shewed the greatest knowledge of humanity with the greatest fellow-feeling for it." Shakespeare's "talent consisted in sympathy with human nature, in all its shapes, degrees, depressions, and elevations", and this attitude could be considered immoral only if one considers morality to be "made up of antipathies".
The premise of "Mariana" originates in William Shakespeare's Measure for Measure, but the poem ends before Mariana's lover returns. Tennyson's version was adapted by others, including John Everett Millais and Elizabeth Gaskell, for use in their own works. The poem was well received by critics, and it is described by critics as an example of Tennyson's skill at poetry. Tennyson wrote "Mariana" in 1830 and printed it within his early collection Poems, Chiefly Lyrical.
He also began to translate the works of Shakespeare in French, which raised the interest of Jacques Copeau.Rougemont, p. 68f. Pourtalès's translation of Measure for Measure was performed by the company of Georges Pitoëff in 1920 in Geneva and in Lausanne (with music by Arthur Honegger), and his translation of The Tempest was played by the company of Firmin Gémier in 1929 in Monte Carlo and at the Odéon theater in Paris.Rougemont, p. 12.
Reprinted in, e.g., Koren Talmud Bavli: Sota. Commentary by Adin Even-Israel (Steinsaltz), volume 20, page 73. The Finding of Moses (1862 painting by Frederick Goodall) The Mishnah cited for the proposition that Providence treats a person measure for measure as that person treats others. And so because, as relates, Miriam waited for the baby Moses, so the Israelites waited seven days for her in the wilderness in Mishnah Sotah 1:7–9.
Miller, p. 369 During the decade, Richardson made numerous sound recordings. For the Caedmon Audio label he re- created his role as Cyrano de Bergerac opposite Anna Massey as Roxane, and played the title role in a complete recording of Julius Caesar, with a cast that included Anthony Quayle as Brutus, John Mills as Cassius and Alan Bates as Antony. Other Caedmon recordings were Measure for Measure, The School for Scandal and No Man's Land.
Zuamut participated in many theater productions of the Jerusalem Khan Theatre, such as: "Antigone", "Measure for Measure" and "Abu Nimer stories" by Dahn Ben-Amotz. He also took part in the Al Qasba theater productions, such as: "Romeo and Juliet" and "The Marriage of Figaro". At Beit Lessin Theater he appeared in "A Trumpet in the Wadi". He was best known for his role as Hakim the Chef on the Israeli sitcom HaMis'ada HaGdola.
July 25: 3 Palestinian students killed in an attack on the Islamic College in Hebron.B'Tselem Tacit Consent: Israeli Policy on Law Enforcement toward Settlers in the Occupied Territories by Rona Dudaiha'aretz 15 March 2008 Rightist rabbis urge 'measure for measure' revenge on foes 1985 August 10: an Israeli resident was stabbed in the Hebron casbah. 1986 April 25: a 16-year-old Jew was stabbed. June 6: a Jewish resident was stabbed and injured.
While the play focuses on justice overall, the final scene illustrates that Shakespeare intended for moral justice to temper strict civil justice: a number of the characters receive understanding and leniency, instead of the harsh punishment to which they, according to the law, could have been sentenced. Measure for Measure is often called one of Shakespeare's problem plays. It continues to be classified as a comedy, although its tone sometimes defies this classification.
After training at Rose Bruford College, Fergison started playing the role of Heather Trott on the BBC soap opera EastEnders on 26 June 2007. The character was conceived by the former executive producer, Diederick Santer. Prior to this, Fergison made a brief appearance on the series as a friend of Mo Harris (Laila Morse) in 2005. Fergison's stage credits include Measure For Measure, for the Royal Shakespeare Company and the 2006 season at The Scoop.
Wickwire acted in summer stock theatre productions in Plymouth, Massachusetts, and Syracuse, New York. Her Broadway debut came in Saint Joan (1951). Her other Broadway credits include Here's Where I Belong (1965), The Impossible Years (1965), Traveller Without Luggage (1964), Abraham Cochrane (1964), The Golden Age (1963), Seidman and Son (1962), Measure for Measure (1957), and The Grand Prize (1955). For two summers, she acted in productions at the American Shakespeare Festival in Stratford, Connecticut.
In his works, Agha had experience introducing shorter songs and dialogues with idioms and poetic virtues in plays. He then wrote several more adaptations of Shakespeare's plays, including Shaheed-e-Naaz (or Achuta Daaman in Hindi), Measure for Measure, 1902) and Shabeed-e-Havas (King John, 1907). Yahudi Ki Ladki (The Daughter of a Jew), published in 1913, became his best known work. In the coming years, it became a classic in Parsi-Urdu theatre.
In addition, like citron, Ponderosa lemon trees can flower and bear fruit at the same time, further adding to the visual appeal. While the fruit are larger than that of a normal lemon, they have the same flavor and acidity. As such, the fruit can be used in place of true lemons. There is enough juice for several lemon pies in just one large Ponderosa lemon, and they can replace lemons measure for measure in recipes.
There is a concept in Judaism called in Hebrew midah k'neged midah, which literally translates to "value against value," but carries the same connotation as the English phrase "measure for measure." The concept is used not so much in matters of law, but rather, in matters of ethics, i.e. how one's actions affects the world will eventually come back to that person in ways one might not necessarily expect. David Wolpe compared midah k'neged midah to karma.
Waterston portrayed the president of a fictional news corporation on political drama The Newsroom (2012–14). Waterston has also appeared in a numerous stage productions, both Broadway and off-Broadway, such as La Turista (1967), Halfway Up the Tree (1967), Henry IV, Part 1, as well as Henry IV, Part 2 (1968), Hamlet (1972, 1975–76, 2008), Much Ado About Nothing (1972–73, 2004), The Tempest (1974, 2015), Measure for Measure (1976) and King Lear (2011).
Stratford founded the Owle Schreame theatre company in 2008 in Cambridge. In 2011 he produced, directed and performed in Measure for Measure on the site of the former Rose Theatre. Archived 28 December 2013. In 2013 the company's "Cannibal Valour" programme at St Giles-in-the-Fields in Camden consisted of The Unfortunate Mother by Thomas Nabbes (1640) and two other Renaissance plays, Honoria and Mammon by James Shirley (1659) and Bussy D'Ambois by George Chapman.
He also voiced one of the main characters in the BBC Radio 4 Extra sitcom The Brothers. Coulthard has acted in many stage productions, especially Shakespeare plays, including work for the Royal National Theatre and the Donmar Warehouse. From 2011 to 2012, he played Duke Vincentio in Measure for Measure and Bishop Santa Cruz in Helen Edmundson's play The Heresy of Love for the Royal Shakespeare Company. He portrayed Lord Egerton in the second series of Mr Selfridge.
After Cambridge, Mason made his stage debut in Aldershot in The Rascal in 1931. He joined the Old Vic theatre in London under the guidance of Tyrone Guthrie.Brian McFarlane "Mason, James (1909–1984)", BFI screenonline; McFarlane (ed) The Encyclopedia of British Film, London: Methuen/BFI, 2003, p.438 While there he appeared in productions of The Cherry Orchard, Henry VIII, Measure for Measure, The Importance of Being Earnest, Love for Love, The Tempest, Twelfth Night, and MacBeth.
In 1974, Baker went to Paris, where he performed two Israel Horovitz one-act plays: Hop Scotch and Spared. The same year, he made his Broadway debut in The Freedom of the Theatre. In 1976, he performed with the Phoenix Company in Secret Service, Boy Meets Girl, Pericles, Prince of Tyre, and The Merry Wives of Windsor. He later did a season with the New York Shakespeare Festival, during which he appeared in Henry V and Measure for Measure.
In 1998, Bochner co-founded the Committee to End Violence, a panel designed to study the impact violent images had on culture. He was also active in Association of Canadian Radio and Television Artists and was a licensed amateur radio operator. He joined the Stratford Festival of Canada in its first season in 1953 and spent six years there, playing Horatio in Hamlet, Orsino in Twelfth Night, and Duke Vincentio in Measure for Measure opposite James Mason.
There they were joined by Thomas Betterton, who quickly became their star. In December 1660, the King granted the Duke's Company the exclusive rights to ten of Shakespeare's plays: Hamlet, Macbeth, King Lear, Romeo and Juliet, The Tempest, Twelfth Night, Much Ado About Nothing, Measure for Measure, Henry VIII, and Pericles, Prince of Tyre. In 1661, their first year at Lincoln's Inn Fields, the company revived Hamlet, in a production that employed the innovation of stage scenery.
Blackta (The Young Vic), Macbeth (with the RSC), The Merchant of Venice (Royal Shakespeare Company), Enron (Chichester Festival Theatre, The Royal Court, West End), Painting A Wall (Finborough Theatre), The Hounding of David Olwale (various theatres including; Birmingham Repertory Theatre, Everyman Liverpool, Hackney Empire), Three Sisters (Manchester Royal Exchange), The Local Stigmatic (Edinburgh Festival), Les Jeudis (Centre Pompidou, Paris), Twelfth Night, The Lunatic Queen, Taniko, Measure for Measure, Le Cid, The Cherry Orchard and The Winslow Boy.
Porter began his career as a teacher, director and designer for McGill University in Montreal, Quebec, Canada. He worked at the university from 1952 to 1955 and while there directed productions of Measure for Measure, Les Caprices de Marianne, The Cenci, The Seagull and Much Ado About Nothing. He then directed at various theatres in Canada. In 1956, Porter moved to New York City to direct and produce The Misanthrope at the Off-Broadway Theatre East.
Kanies' roles have included many Shakespearean characters such as Hamlet, Romeo, Mercutio, Macbeth, Theseus/Oberon (A Midsummer Night's Dream), Sir Toby (Twelfth Night), Dromio of Ephesus (A Comedy of Errors) and Lucio (Measure for Measure). Other prominent roles were those of Faust, Orest (Iphigenia) and Biff (Death of a Salesman). He also played several lead roles in musicals. Starting in the 1990s, Kanies played in a large variety of German television series and movies and in eight feature films.
Gary Taylor and John Jowett, Shakespeare Reshaped, 1606–1623 (Oxford University Press, 1993). See also "Shakespeare's Mediterranean Measure for Measure", in Shakespeare and the Mediterranean: The Selected Proceedings of the International Shakespeare Association World Congress, Valencia, 2001, ed. Tom Clayton, Susan Brock, and Vicente Forés (Newark: University of Delaware Press, 2004), 243–269. Braunmuller and Watson summarize the case for Middleton, suggesting it should be seen as "an intriguing hypothesis rather than a fully proven attribution".
Jerusalem: Koren Publishers, 2014. Lord Frederic Leighton, from the 1881 Illustrations for "Dalziel's Bible Gallery") The Israelites Mourn for Moses (illustration from the 1728 Figures de la Bible) The Mishnah and Tosefta cited for the proposition that Providence treats a person measure for measure as that person treats others. And so because, as relates, Moses attended to Joseph's bones, so in turn, none but God attended him, as reports that God buried Moses.Mishnah Sotah 1:7–9, in, e.g.
His first engagements were in Erfurt (1955–1957), Brandenburg an der Havel (1957–1960), and Greifswald (1960 to 1964). He then performed at the Volksbühne am Rosa- Luxemburg-Platz in East Berlin, and from 1966 to 1974 at the Deutsches Theater there. Among his roles were the title role in the world premiere of Moritz Tassow by Peter Hacks in 1966, directed by Benno Besson, and Angelo in Shakespeare's Maß für Maß (Measure for Measure) in 1968, staged by .
For the 2010 Stratford Festival season, he portrayed King Arthur in Camelot and Falstaff in Merry Wives of Windsor. The 2011 season featured him again in a singing role as King Arthur. For the Stratford Festival's 60th season in 2013, Davies portrayed Duke Vincentio in Measure for Measure and the Earl of Leicester in Mary Stuart. The following year, he continued at the Stratford Festival, portraying Antony in Antony & Cleopatra and the Cook in Mother Courage.
Programme book for Peter Pan, RSC London, 1983. Dougall has played a wide range of roles in Shakespeare plays, including Henry VIII, Measure for Measure, Coriolanus, and The Winter’s Tale for the Globe Theatre, A Midsummer Night’s Dream, Twelfth Night, The Taming of the Shrew, Henry V, The Winter’s Tale, Richard III, The Comedy of Errors and The Merchant of Venice for Propeller, and Hamlet, Macbeth, and The Two Gentlemen of Verona for the Royal Shakespeare Company. Other works has included The Devil is an Ass, The Cherry Orchard, and The Crucible for the RSC, Saint Joan at the Strand Theatre; Shadow of a Gunman and John Bull’s Other Island for the Tricycle Theatre, and roles at Menier Chocolate Factory, Greenwich Theatre, the Oxford Stage Company, the Birmingham Repertory Theatre, Six Characters in Search of an Author for the National Theatre of Scotland, and The Comedy of Errors and Translations at the Lyric Theatre, Belfast. Dougall has appeared on television (including Measure for Measure from the Globe)John Dougall filmography page at the BFI website accessed 22 February 2016.
Sonnet 112 in part picks up the thought of Sonnet 111, about the friend's pity effacing his brand of shame; 'impression' recalls Lucrece lines 1763-4 'The face, that map which deep impression bears /Of hard misfortune, carved in it with tears.' Isabella connects 'impression' and 'shame' in Measure for Measure Act II scene iv. The shame in this poem could be vocational (the theatre, suggested by 111), or sexual. 'Vulgar scandal' is an idiom Shakespeare has in common with Fulke Greville.
He spent a season with the National Theatre under Peter Hall for The Tempest (1974) playing Alonso to John Gielgud's Prospero and, with a frightening sense of moral rectitude, Herr Gabor in Frank Wedekind's Spring Awakening (1974). In a season in Greenwich (1975) under Jonathan Miller, he played the King of France in All's Well That Ends Well. He played the Duke in Measure for Measure, set in Freud's Vienna. In the BBC serial The Barchester Chronicles (1982) he played Bunce.
On Broadway Hines was a character actor, he made his debut as Friar Pete in the 1957 production of Measure for Measure in a cast which included Norman Lloyd and Ellis Rabb. He created the role of Orsini-Rosenberg in the original New York production of Amadeus and appeared with Rex Harrison in the 1979 revival of Shaw's Caesar and Cleopatra in the role of Pothinus. Other shows include roles in The Iceman Cometh, with Jason Robards Jr., and The Devils.
Gibson, pp. 383, 387. No direct source for the play has been identified, other than Massinger's own earlier play, A New Way to Pay Old Debts, which was modelled on Thomas Middleton's A Trick to Catch the Old One. Specific connections have been cited between The City Madam and Shakespeare's Measure for Measure (regarding Sir John Frugal's pretended absence and masquerade), Ben Jonson's Volpone (Luke Frugal's rhapsodising over his wealth), and Rollo, Duke of Normandy (Stargaze's astrological verbiage), among other works.
Archer was the son of a watchmaker. He made his first acting appearance at Drury Lane Theatre in 1823 as the King in the First Part of King Henry the Fourth. In the same season he played Appius Claudius in Virginius, Polixenes in the Winter's Tale, Gloucester in Jane Shore, Bassanio in the Merchant of Venice, and Claudio in Measure for Measure, in addition to other characters. He also took part in the melodramas of the Cataract of the Ganges and Kenilworth.
In Shakespeare's Measure for Measure, written between 1601 and 1606, Mariana was a woman who was about to be married, but she was rejected by her fiancé Angelo when her dowry was lost in the shipwreck that also killed her brother. She retreated to a solitary existence in a moated house. Five years later, Angelo was tricked into consummating their betrothal. Tennyson retold the tale in his 1830 poem "Mariana", and returned to it in his 1832 poem "Mariana in the South".
After graduating, Griffiths won a contract on BBC Radio with their Radio Drama Company. He also worked in small theatres, sometimes acting and sometimes managing. He built up an early reputation as a Shakespearean clown with portrayals of Pompey in Measure for Measure and Bottom in A Midsummer Night's Dream with the Royal Shakespeare Company and went on to play the Kings in Love's Labour's Lost and in Henry VIII. He eventually settled in Manchester and began to get lead roles in plays.
He also collaborated with satirist Stan Freberg on several classic 1950s and 1960s satirical music albums. As a trumpet player, during the 1940s big band May recorded such songs as "Measure for Measure", "Long Tall Mama", and "Boom Shot", with Glenn Miller and His Orchestra, and "The Wrong Idea", "Lumby", and "Wings Over Manhattan" with Charlie Barnet and His Orchestra. With his own band, May had a hit single, "Charmaine", in 1952, and he released several albums including Sorta-May.
I may add that I communicated to that gentleman this very correction." The back and forth continued in notes on Jessica's line in Act 5, Scene 1: "I am never merry when I hear sweet music." Steevens opined that: For this point, Steevens cites the word's use in Measure for Measure and a similar usage of dulcia by Horace in his Art of Poetry. Malone responds that "Sweet is pleasing, delightful, and such is the meaning of dulcis in Horace.
On stage, Elliott has appeared in the critically acclaimed Black Watch as Private Fraser, a role he played for two and a half years with the National Theatre of Scotland. In 2010 he played Claudio in a production of Measure for Measure at the Almeida Theatre, alongside Anna Maxwell Martin and Rory Kinnear. In 2009, Elliott was named as "one to watch" by industry magazine Screen International.BBC - Press Office - Paradox press pack: Emun Elliot is Dr Christian King Retrieved 2009-12-24.
Shmailo’s work has appeared in the anthologies Measure for Measure: An Anthology of Poetic Meters (Penguin Random House), Words for the Wedding (Penguin Books), Contemporary Russian Poetry (Dalkey Archive Press), Resist Much/Obey Little: Poems for the Inaugural (Spuyten Duyvil Publishing), Women Write Resistance: Poets Resist Gender Violence (Wiseman Publishing), The Unbearables Big Book of Sex (Autonomedia). From Somewhere to Nowhere: The End of the American Dream (The Unbearables). Verde que te quiero verde: Poems after Federico Garcia Lorca (Pederson). About: Poetry/About.
Stephen Unwin (born 1959) is an English theatre director. Stephen read English at Downing College, Cambridge, where he directed many student productions, including an award-winning production of Measure for Measure that transferred to the Almeida, where he was awarded an Arts Council Trainee Director’s Bursary. He has since directed over 50 professional productions and 12 operas. For much of the 1980s, he was Associate Director at the Traverse Theatre, Edinburgh, and several of his productions transferred to London theatres.
She played Joyce, a civilian employee at the police station, in the 2014 crime drama Happy Valley. Bennison has had numerous roles on stage, including Mistress Overdone in the Royal Shakespeare Company's production Measure For Measure, which played at the Theatre Royal in 2003. She also appeared at the Playhouse as the Queen in Cymbeline in The Tragedy of Cymbeline (2003). Bennison's previous Shakespearean roles have been with the company Northern Broadsides, which "specialises in performing classical plays in north country accents".
He then decided to become an actor too, but had to wait until 1920 before making his first brief appearance on stage, with Pitoëff's company, speaking three lines for the registrar role in the Shakespeare's Measure for Measure. He also worked at this time as the company's photographer. He was spotted for the first time in a supporting role in George Bernard Shaw's Androcles and the Lion. In 1922, his company moved to Paris at the Comédie des Champs-Élysées.
100 Lady Macbeth in Macbeth, and other female roles in The Tempest, Hamlet (as Ophelia), Measure for Measure, Much Ado About Nothing, Twelfth Night, King Lear. In Shakespeare's day, female roles were played by teenage boys, as women and young girls were not allowed on the stage. By the 1660s, however, the laws in England had changed, allowing females to act professionally. Mary's connections through her husband, Thomas, who was also a famous actor, allowed her to play several significant roles.
Stephens began his film career with the role of Othello in 1992, in Sally Potter's Orlando. He has since made regular appearances on television (including in The Camomile Lawn, 1992) and on stage. He played the title role in a Royal Shakespeare Company production of Coriolanus shortly after graduation from LAMDA; that same season he played Claudio in Measure for Measure for the RSC. He also played Stanley Kowalski in a West End production of Tennessee Williams' A Streetcar Named Desire, and Hamlet in 2004.
She followed with Isabella in Measure for Measure with Robert Donat, Pirandello's Naked, the title role in Iphigenia in Tauris, Varya in The Cherry Orchard, and Rebecca West in Henrik Ibsen's Rosmersholm. In 1931, she was cast as the adulterous Abbie in Eugene O'Neill's Desire Under the Elms. Her brief, shocking appearance as the doomed prostitute in James Bridie's play The Anatomist put her firmly on the road to success. "If you are not moved by this girl's performance, then you are immovable" the Observer critic wrote.
The Computer Graphics Lab at the New York Institute of Technology (NYIT) developed a "scan and paint" system for cel animation in the late 1970s. It was used to produce a 22-minute computer-animated television show called Measure for Measure. Industry developments with computer systems led Marc Levoy of Cornell University and Hanna-Barbera Productions to develop a video animation system for cartoons in the early 1980s.Bruce Wallace, Merging and Transformation of Raster Images for Cartoon Animation, Proceedings of SIGGRAPH 1981, Vol 15, No. 3, Aug.
Mastrantonio has appeared on Broadway in various musicals, including West Side Story, Copperfield, The Human Comedy, and the 2002 revival of Man of La Mancha, in which she played Aldonza/Dulcinea opposite Brian Stokes Mitchell. She has appeared in New York Shakespeare Festival productions of Henry V, Measure for Measure, and Twelfth Night. Her New York City stage performances have garnered her a Tony Award nomination and two Drama Desk Award nominations. She also starred in Grand Hotel at the Donmar Warehouse in London's West End.
' So that's how I began. The first year I did a part in King John, a part in Measure for Measure and a part in The Taming of the Shrew. Then I proceeded to learn what Shakespeare was all about, in light of the realistic method of acting that I had discovered during my years with the Group Theatre. The following year, I found myself doing Shylock in The Merchant of Venice, and that was really the opening of the can of peas, for me.
Gates, Anita.For a Veteran Thespian, a Welcome Return to Regional TheaterThe New York Times, April 2, 2009News Release westportplayhouse.com, January 5, 2009 Directing credits: Westport Country Playhouse: Harbor; Into the Woods; Twelfth Night; Lips Together, Teeth Apart; Happy Days; She Loves Me; The Breath of Life; That Championship Season; Of Mice and Men. New York credits: The Rivals, Big Bill, Seascape, Cymbeline, Measure for Measure (Lortel Award), all for Lincoln Center Theater; The Gershwins’ Fascinating Rhythm; The Deep Blue Sea; Our Country's Good (Tony Award nomination).
Rone played multiple roles in the Memphis theatre community, but was best known for his directing. He made his community theatre directorial debut in 1983 with a production of Portrait in Black. Rone worked with multiple troupes and organizations over the course of his long career including Theatre Memphis, Playhouse on the Square, and Germantown Community Theater. Rone was nominated for several Ostrander Awards for his work in various community theatre performances including Sense and Sensibility, Measure for Measure, and I Am a Camera.
''''' (The Ban on Love, WWV 38), is an early comic opera in two acts by Richard Wagner, with the libretto written by the composer after Shakespeare's Measure for Measure. Described as a ', it was composed in early 1836. Restrained sexuality versus eroticism plays an important role in '; themes that recur throughout much of Wagner's output, most notably in Tannhäuser, Die Walküre and Tristan und Isolde. In each opera, the self-abandonment to love brings the lovers into mortal combat with the surrounding social order.
Samuel Pepys saw their production on 24 August; he described it as "done with scenes very well, but above all, Betterton did the Prince's part beyond imagination". Davenant tried to make the most of the limited Shakespearean materials available to him. In 1662 he staged The Law Against Lovers, a heavily adapted version of Measure for Measure that blended in characters from Much Ado About Nothing. It was the earliest of the many Shakespearean adaptations produced during the Restoration era and the eighteenth century.
When juxtaposed against Isabella (mercy), Angelo represents adherence to the law and punishment for sin, though he does not always adhere to the strict justice he enforces. Once Angelo meets Isabella he is forced to consider himself in a different light and acknowledge his shortcomings. Measure for Measure is considered one of Shakespeare's problem plays because it deviates from the traditional comedy. Angelo's character is a major reason for this classification because Shakespeare created him with tragic qualities, but framed his character within a comedy.
Measure for Measure was rarely performed until Samuel Phelps played Duke Vincentio at the Sadler's Wells Theatre in the 1840s. The play proved to be more popular with audiences in the twentieth century, with Angelo being the most attractive role for actors. The most famous performance of the role was by John Gielgud in Peter Brook's legendary 1950 production at the Shakespeare Memorial Theatre. Other actors who have distinguished themselves in the role of Angelo include Charles Laughton, Ian Richardson, Brian Bedford, and John Cazale.
In February 2010, she played freedom of information campaigner Heather Brooke in On Expenses, a BBC Four satirical drama, and later played Isabella in Shakespeare's Measure For Measure at the Almeida Theatre. In February 2011, she played Sarah Burton in a three-part BBC adaptation of Winifred Holtby's novel, South Riding. On 12 July 2011, she played Kay Langrish in a BBC Two dramatisation of The Night Watch. Beginning in September 2012, she starred in the drama mini-series The Bletchley Circle (2012–2014).
Duchêne started to act at the age of 14. She studied French and Spanish at Trinity College, Cambridge in the 1980s, where she became a member of the Footlights theatre group, writing and performing her own material.Mini Bio at IMDb She also acted with the Cambridge Mummers, appearing in such plays as Measure For Measure (as Isabella) in Cambridge and the Edinburgh Fringe. In the 1980s she joined the Traverse Theatre in Edinburgh, appearing in the premiere productions of Losing Venice and The White Rose.
469 Following the Chelsea performances, the opera was not staged again in Purcell's lifetime. Its next performance was in 1700 as a masque incorporated into an adapted version of Shakespeare's Measure for Measure at Thomas Betterton's theatre in London. After 1705 it disappeared as a staged work, with only sporadic concert performances, until 1895 when the first staged version in modern times was performed by students of the Royal College of Music at London's Lyceum Theatre to mark the bicentenary of Purcell's death.Crozier (1987) p.
Campbell in The Man Who Climbed the Pecan Trees by Horton Foote. In 1989, she performed in an Off-Broadway production of Measure for Measure by William Shakespeare in the role of Mistress Overdone. In 1995, Smith starred as Halie in a revival of Buried Child by Sam Shepard at the Steppenwolf Theatre Company which transferred to Broadway in 1996, and for which she received her second nomination for the Tony Award for Best Featured Actress in a Play. In 1997, Smith played the role of Betty in Defying Gravity by Jane Anderson Off- Broadway.
While he admires Romeo's idealistic dream of creating a world where people can live together without sacrifices, Giovanni also believes that Romeo has chosen a long and difficult path to pursue. He often acts as a leader for the village in Romeo's absence. His name is possibly a reference to the poet Giovanni Battista Giraldi, who authored works that provided the plots for Shakespeare's Measure for Measure and Othello. ; : A mysterious yet sage man who frequently smokes from a long pipe, he is suggested, like Ophelia, to bear some connection to Escalus.
'my steel'd sense': 'steeled' is, when it appears, a military word in Shakespeare, but a transferred sense appears in Measure for Measure (IV ii): 'seldom when/ The steeled gaoler is the friend of men'. 'my Adders sense': editors cite Psalm 58: 'the deaf adder who stoppeth her ears', or see Henry VI Part 2, Act 3 scene 2: 'What! art thou, like the adder, waxen deaf?'. In Troilus and Cressida offers the sentiment that 'pleasure and revenge / Have ears more deaf than adders to the voice / Of any true decision'.
Nine graduating students, fresh from London Metropolitan University were chosen to perform William Shakespeare's Measure for Measure at the International Shakespeare festival in Gdańsk, Poland as part of the education program. the performance was directed by lecturers Gian Carlo Rossi and Lucy Richardson with vocal coach acek Ludwig Scarso. As was to become a staple factor in Metra's work, the development of the production drew heavily from the ideas of philosopher Gilles Deleuze. Deleuze refers to ideas as being rhizome, meaning a thick underground stem or root system.
She concurrently embarked on a stage career, making her Broadway debut as the titular Mary in 1947's John Loves Mary. She subsequently starred in several Broadway productions of William Shakespeare plays, including Twelfth Night (1949), King Lear (1950), and Measure for Measure (1955). Foch would gain widespread notice for her role as Milo Roberts in the musical film An American in Paris (1951); Robert Wise's drama Executive Suite (1954), which earned her the Academy Award nomination for Best Supporting Actress; Cecil B. DeMille's The Ten Commandments (1956); and Stanley Kubrick's Spartacus (1960).
A summary of the evidence for Middleton's authorship is contained in Thomas Middleton and Early Modern Textual Culture, general editors Gary Taylor and John Lavagnino (Oxford, 2007). The Oxford Middleton and its companion piece, Thomas Middleton and Early Modern Textual Culture, offer extensive evidence both for Middleton's authorship of The Revenger's Tragedy, for his collaboration with Shakespeare on Timon of Athens, and for his adaptation and revision of Shakespeare's Macbeth and Measure for Measure. It has also been argued that Middleton collaborated with Shakespeare on All's Well That Ends Well.
Grossman, P. et al. (2013). Measure for measure: The relationship between measures of instructional practice in middle school English language arts and teachers' value-added scores. American Journal of Education, 19(3), pp. 445-470. Finally, together with Thomas Dee, Wyckoff has also evaluated IMPACT, the high-powered teacher-evaluation system introduced by Michelle Rhee in Washington D.C., and found that dismissal threats increased the voluntary attrition of low-performing teachers and improved the performance of remaining teachers, while financial incentives were effective in further improving the performance of high-performing teachers.
From 1973 to 1974, Aubrey toured with the Cambridge Theatre Company as Diggory in She Stoops to Conquer and again as Aguecheek. Aubrey performed with the Royal Shakespeare Company for their 1974–75 season, appearing in such roles as Sebastian in The Tempest and Froth in Measure for Measure. He toured with the Cambridge Theatre Company again in 1979 in the roles of Mark in The Shadow Box and Tony in From the Greek. Other venues at which Aubrey appeared include the Birmingham Repertory Theatre, the Comedy Theatre and the Old Vic.
Yet, unlike Coleridge, and despite his own reservations, Hazlitt found much to admire in Measure for Measure, a "play as full of genius as it is of wisdom." He quotes at length passages of "dramatic beauty",Hazlitt 1818, pp. 323–26. and also finds occasion to use this play as an example supporting his characterisation of the general nature of Shakespeare's genius, and the relation between morality and poetry. "Shakespear was in one sense the least moral of all writers; for morality (commonly so called) is made up of antipathies [...]".
While at the RSC, Richardson played leading roles in many productions for director John Barton. These included the title role in Coriolanus (1967), Cassius in Julius Caesar (1968), Angelo in Measure for Measure (1970) and Iachimo in Cymbeline. Work for other directors at Stratford included the title role in Pericles (1969), directed by Terry Hands; the title role in Richard III (1975), directed by Barry Kyle; and Berowne in David Jones' production of Love's Labour's Lost (1973). Richardson cited the role of Berowne as one of his all-time favorite parts.
He was paid ten pounds a week for playing the role (), which was "three times what the miners got". Alpert states that the play garnered mixed critical reviews, but James Redfern of the New Statesman took notice of Burton's performance and wrote: "In a wretched part, Richard Burton showed exceptional ability." Burton noted that single sentence from Redfern changed his life. During his tenure at Exeter College, Burton featured as "the complicated sex-driven puritan" Angelo in the Oxford University Dramatic Society's 1944 production of William Shakespeare's Measure for Measure.
In the summer of 2011, his score for the Public Theater's production of Measure for Measure was heard at the Delacorte Theatre in Central Park. The production was directed by David Esbjornson. Music from this and other productions has been released on iTunes and other digital music services. Gromada composed the theme music for the new ITV television series, The Interrogators, on the Biography Channel, and also composed an original score for the Lifetime network's 2014 film adaptation of The Trip to Bountiful directed by Michael Wilson (director) and starring Cicely Tyson and Vanessa Williams.
His Broadway credits include Friar Francis in Much Ado About Nothing (1959) and Adam Hartley in The Hidden River (1957). His British theatre credits include Measure for Measure and Richard III for The Old Vic, seasons with the Birmingham Repertory Company, the Oxford Repertory Company and the Worthing Repertory Company and the 1937 season at the Regent's Park Open Air Festival. He was also a regular performer with the Shakespeare Festival. His film credits include The Blakes Slept Here (1953) The Men of Sherwood Forest (1954) The Quatermass Xperiment (1955) and Jamboree (1957) among others.
Parsons played legal roles later in his career such as playing an attorney in Divorce, and a Justice in both Love in a Village and in A New Way to pay Old Debts. Around this time, Parsons played Bale in Fair American. Sheridan double bill at Drury Lane, 1785: Parsons as Crabtree in The School for Scandal and Sir Fretful Plagiary in The Critic Parsons moved on and appeared in The Good-Natur'd Man as Twitch. Other plays that Parsons appeared in during this time included The Clandestine Marriage, Measure for Measure and Variety.
In 2013, Atwell collaborated with Alexi Kaye Campbell and Jamie Lloyd again in a revival of The Pride at Trafalgar Studios; her performance gained her a second Olivier Award nomination for Best Actress. Atwell returned to the stage in 2018 in Dry Powder at the Hampstead Theatre and later appeared in Josie Rourke's, Measure for Measure, at the Donmar Warehouse, opposite Jack Lowden. The production gained critical acclaim, with The Daily Telegraph adding that it was "beautifully staged and expertly performed". As a result of positive reception, the play's run was extended.
Haskell is best remembered for his dual performance in the 1970s in the New York City, New York, Off-Broadway musical- theatre production Godspell and its subsequent film adaptation Godspell: A Musical Based on the Gospel According to St. Matthew (1973) appearing as both John the Baptist and Judas Iscariot. He also appeared as Claudio in the Joseph Papp Public Theater/New York Shakespeare Festival off-Broadway theatre production (1976), at the Delacorte Theater, of the play Measure for Measure (circa 1603 or 1604) by William Shakespeare.Database (undated). "David Haskell" .
Early on, Hamilton set her sights on classical theater. In one of her first notable roles, she played opposite Kevin Kline in Measure for Measure in the New York Shakespeare Festival. Her performances in Much Ado About Nothing, Tartuffe, Reckless, Family of Mann, and Two Gentlemen of Verona, earned her a reputation as a serious dramatic actor. In 1995-96, her portrayal of a young, aspiring South African singer in Athol Fugard's Valley Song garnered an Obie Award, the Clarence Derwent Award, the Ovation nomination for best actress, and a Drama Desk nomination.
CCR's mission is "Advancing Chemical Innovation Through Collaboration and Advocacy." CCR serves as a catalyst and partner for initiatives in the field of chemical research, such as the Center for Process Analytical Chemistry and Chemical Industry Vision 2020. CCR produces and sponsors studies such as Measuring Up: Research and Development Counts for the Chemical Industry and Measure for Measure: Chemical R&D; Powers the U.S. Innovation Engine. CCR holds an Annual Meeting, an annual New Industrial Chemistry and Engineering Conference (NIChE), and workshops on topics such as Intellectual Property Issues.
Anthony Nuttall argues Shakespeare's work defies identification of precise religious influences because Shakespeare's ranging and restless mind played with many ideas, alternately promoting and challenging assumptions throughout the plays; in Measure for Measure, Nuttall finds evidence of experimentation with heretical Gnostic theology. However, Eamon Duffy points out that although the majority of Tudor people were muddled and uncertain, accepting of compromise and accommodation, "Religious diversity was not a notion to conjure with in Tudor England. …Ritual and doctrinal diversity were evils, aspects of social and religious disunity."Duffy, Eamon (1996).
Once established, Cellier pursued a career balancing new commercial plays – sometimes farce, often murder drama – and classical roles. His favourite part was Hamlet, and his other Shakespeare roles included Apemantus in Timon of Athens,The Times, 19 May 1920, p. 24 the title role in Henry IV, Part 2,The Times, 18 February 1921, p. 8 Cassio in Othello,The Times, 7 April 1921, p. 8 Touchstone in As You Like It,The Times, 17 February 1923, p. 8 Angelo in Measure for Measure,The Times, 25 April 1923, p.
After the Boxes project, Icehouse was Davies, Kretschmer, Pratt and Qunta with former Members member Simon Lloyd (sax, trumpet, keyboards) and Steve Jansen (drums, percussion). Their 1986 release Measure for Measure featured Brian Eno as an additional performer; it provided the Australian singles of "No Promises" No. 19, "Baby, You're So Strange" No. 12, "Mr. Big" No. 14 and "Cross the Border". Further inroads into the U.S. market occurred with "No Promises" peaking at No. 9 on Billboard Mainstream Rock chart and "Cross the Border" reaching No. 19.
Marriageable daughters were a valuable commodity to ambitious fathers, and the English aristocracy sent few of their eligible daughters to convents. Failure to provide a customary, or agreed-upon, dowry could cause a marriage to be called off. William Shakespeare made use of such an event in King Lear: one of Cordelia's suitors gives up his suit upon hearing that King Lear will give her no dowry. In Measure for Measure, Claudio and Juliet's premarital sex was brought about by their families' wrangling over dowry after the betrothal.
DellaGatta's original opponent was Nick Steel but was unable to appear at the show when someone slashed the tires of his car and Evan Siks took his place. The Crown Jewels-Team Nightmare feud came to an end at "GENESIS 8: Measure for Measure". Prior to their match, DellaGatta and Damon announced that they had offered each member of Team Nightmare $5000 to sell out their partner and leave NECW. Nick Steel accepted their offer and walked out on Evan Siks, leaving him alone in a handicap match.
In 1895 he founded the Elizabethan Stage Society and spent much of his career researching and lecturing on Elizabethan performance. He put his studies to work on stage, as he tried to recreate performances using an open stage, a unified acting ensemble, an uncut text, very little scenery and a swift pace of performance. His work affected many theatre practitioners, most of all Harley Granville Barker. His presentations included Shakespeare's Measure for Measure (1893) and Two Gentlemen of Verona (1910), plays by Marlowe and Ben Jonson, Milton's Samson Agonistes (1900) and Swinburne's Locrine (1900).
Anne Vavasour, with whom Oxford had a tempestuous extramarital affair from 1579–81. Oxfordians see Oxford's marriage to Anne Cecil, Lord Burghley's daughter, paralleled in such plays as Hamlet, Othello, Cymbeline, The Merry Wives of Windsor, All's Well That Ends Well,Looney (1948 edition, New York: Duell, Sloan and Pearce), pp. 391–92. Measure for Measure, Much Ado About Nothing, and The Winter's Tale. Oxford's illicit congress with Anne Vavasour resulted in an intermittent series of street battles between the Knyvet clan, led by Anne's uncle, Sir Thomas Knyvet, and Oxford’s men.
Henry's first season at the Stratford Festival was in 1962, playing Miranda to William Hutt's first Prospero in The Tempest. She became a leading actress at the Stratford Festival in the late 1960s, and has since appeared in some 65 productions at the Festival, 30 of them plays by William Shakespeare. She won acclaim for several roles including Titania in A Midsummer Night's Dream (1969), Isabella in Measure for Measure (1976), Olga in Three Sisters (1976) and Paulina in The Winter's Tale (1978).Martin Knelman, A Stratford Tempest.
Measure for Measure is believed to have been written in 1603 or 1604. The play was first published in 1623 in the First Folio. In their book Shakespeare Reshaped, 1606–1623, Gary Taylor and John Jowett argue that part of the text of Measure that survives today is not in its original form, but rather the product of a revision after Shakespeare's death by Thomas Middleton. They present stylistic evidence that patches of writing are by Middleton, and argue that Middleton changed the setting to Vienna from the original Italy.
In 2006, Badland worked with The Peter Hall Company on two productions at the Theatre Royal in Bath, England. The first was Shakespeare's Measure for Measure, a drama centering on protagonist Isabella's moral dilemma of whether or not to sacrifice her virginity to save her brother. Second was writer Alan Bennett's ensemble piece Habeas Corpus, a farce penned in 1971 and set to modern music of that time. She went on to work with Hall again in 2007 in a production of Noël Coward's The Vortex at London's Apollo Theatre.
More recently, she has engaged with practice-based research, running workshops that staged excerpts of William Davenant's Macbeth and Charles Gildon's Measure for Measure (Folger Theatre, Washington DC) and Thomas Middleton's The Witch (Blackfriars Conference, Staunton, VA). As part of the Performing Restoration Shakespeare project, she served as music director for a workshop of the Restoration-era Tempest (Sam Wanamaker Playhouse, Shakespeare's Globe, London) and co-led a workshop for scholars and served as a consultant for a full professional production of Davenant’s Macbeth at the Folger Theatre, Washington DC.
Dribbling Darts (originally Dribbling Darts of Love) were a New Zealand band based in Auckland which existed from 1989 to 1993. The name is a quote from William Shakespeare, Measure for Measure, Act I, Scene III: "Believe not that the dribbling dart of love..." (may be a reference to Cupid). The band were formed by Matthew Bannister when his move from Dunedin to Auckland led to the demise of his former band, the "Dunedin sound" group Sneaky Feelings). Other members of the Dribbling Darts of Love included Alice Bulmer, Ross Burge and Alan Gregg.
Folger Theatre performs a season of Shakespeare-inspired theater, featuring the works of Shakespeare as well as contemporary plays inspired by his works. Since its inception in 1992, Folger Theatre has staged over half of the plays in Shakespeare's First Folio.Folger Theatre Productions have received 135 nominations for a Helen Hayes Award and won 23, including Outstanding Resident Play for its renditions of Measure for Measure (2007), Hamlet (2011) and The Taming of the Shrew (2013)."Helen Hayes Awards" list on Folgerpedia Folger Theatre's Artistic Producer is Janet Alexander Griffin, who has held the position since 1982.
Hernandez, Ernio. Marin Hinkle Stars as Miss Julie in Craig Lucas' Adaptation Off-Broadway Playbill, May 12, 2005 In 2011, he performed in two plays at Shakespeare in the Park in New York City: Measure for Measure and All's Well That Ends Well. In September 2011 he appeared in the new Theresa Rebeck play Poor Behavior at the Mark Taper Forum, Los Angeles. Zeitchik, Steven. "Reg Rogers is misbehavin', to good effect", Los Angeles Times, September 11, 2011 In August 2013, Rogers costarred with Johanna Day in the world premiere of Carly Mensch’s play Oblivion at the Westport Country Playhouse.
In 2008 he made his directing debut at Guildhall School of Music and Drama with Noël Coward's classic comedy Semi-Monde. In January and February 2008 McGowan starred as the eponymous protagonist of The Mikado by Gilbert and Sullivan, in a revival by the Carl Rosa Opera Company. On 21 April 2008 he took over the role of Emcee in Cabaret at London's Lyric Theatre. In July of that year he appeared in a revival of They're Playing Our Song at the Menier Chocolate Factory. In March 2009 McGowan starred as the Duke in the stage version of Shakespeare's Measure for Measure.
His theater credits include Eugene in Brighton Beach Memoirs, Gary in Noises Off, Claudio in Much Ado About Nothing & Measure for Measure, Lucas in Laughter on the 23rd Floor, Paul in A Chorus Line, and Baby John in West Side Story. Other shows include: Camelot, South Pacific, A Lady in the Dark, Grapes of Wrath, Stand-Up Tragedy. His newest and current credit is host of the television pre-game show on The CW for the 49ers home games. Bill began serving as a do-it-yourself guest expert for HSN, formerly the Home Shopping Network, in May 2008.
Pierson appeared with George C. Scott on Broadway in Tricks Of The Trade, before continuing on to do several New York soap operas and many regional theatre plays. Some notable theatrical roles include Angelo in Measure For Measure at the Yale Rep, Stanley in A Streetcar Named Desire at the Penn Ctr. Stage, Bobby in Speed The Plough at the Philadelphia Theatre Company, and Ricky in Glengarry Glen Ross and Teach in American Buffalo at the Virginia Stage Company. His most prominent daytime role was as Frank Ryan on Ryan's Hope, a role he played from February 1983 through September 1985.
His classical roles include Cassius in Julius Caesar at Bristol Old Vic, and Lucio in Measure for Measure at the National Theatre. In 1972 he had a minor hit with a song, based on Jesu, Joy of Man's Desiring by J.S.Bach & adapted by the song writing duo of Ken Howard & Alan Blaikley, who also produced the 45. It was titled "The Spirit is Willing" and the record label quotes the artist as Peter Straker – The Hands of Dr. Teleny. Released on RCA it entered the charts on 19 February 1972, had a chart life of 4 weeks & peaked at No.40.
After drama school, Matheson began her career in 1967 with the Bristol Old Vic Theatre Company with which she toured the United States, including a season on Broadway, and Canada, followed by Europe and Israel, in three of Shakespeare's plays, the highlight of which was Sir Tyrone Guthrie's production of Measure for Measure. In 1971 she starred opposite Freddie Jones in Charles Wood's experimental drama The Emergence of Anthony Purdy esq. directed by Patrick Dromgoole for Harlech Television. It was chosen that year as ITV's entry in the Monte Carlo TV Festival though it was not widely networked.
From August to October 2007, Merrells performed with the Royal Shakespeare Company at the Courtyard Theatre in Stratford-upon-Avon. He played the role of Orsino in William Shakespeare's Twelfth Night, or What You Will alongside his brother Simon Merrells who played Antonio. The Merrells brothers then went on to tour in A Comedy of Errors with the Royal Shakespeare Company from October to December 2007.A Comedy of Errors From March to April 2009 he appeared in the Theatre Royal Plymouth and Thelma Hunt production of Measure for Measure as Angelo alongside Alistair McGowan as the Duke.
After being cast as Antonio in the Stratford Festival of Canada’s production of Twelfth Night in 1988, Davenport made the plays of Shakespeare a major part of his acting repertoire. The following year he became a member of the theater group Shakespeare & Company in Lenox, Massachusetts, and went to perform with the company 16 seasons. His credits in that venue include Bottom in A Midsummer Night’s Dream, As You Like It, Twelfth Night, Henry IV, Parts 1 & 2, Richard II, the title role in Othello, A Winter’s Tale, Measure for Measure, Richard III, Hamlet, and Henry V.
A CATALOGVE of the ſeuerall Comedies, Hiſtories, and Tragedies contained in this Volume. From the First Folio of Shakespeare's plays, this table of contents divides the plays into groups of Comedies, Histories, and Tragedies. In Shakespeare studies, the problem plays are three plays that William Shakespeare wrote between the late 1590s and the first years of the seventeenth century: All's Well That Ends Well, Measure for Measure, and Troilus and Cressida. Shakespeare's problem plays are characterised by their complex and ambiguous tone, which shifts violently between dark, psychological drama and more straightforward comic material; compare tragicomedy.
At the Haymarket Waldron was the first Sir Matthew Medley in Prince Hoare and Stephen Storace's My Grandmother on 16 December 1793. He was still occasionally seen at Drury Lane, where he played Elbow in Measure for Measure, and the Smuggler in The Constant Couple. On 9 June 1795 he was, at the Haymarket, the first Prompter in George Colman's New Hay at the Old Market. For his benefit on 21 September were produced Love and Madness, adapted by him from Fletcher's Two Noble Kinsmen, and Tis a wise Child knows its own Father, a three-act comedy also by him.
He directed the longest-running show ever produced in S.E. Asia: Phuket Fantasea in Thailand in 1999, in a purpose-built 3800-seat theatre, and this show is still running today (2019). The show is an unusual blend of Las Vegas technical effects, traditional Thai performance techniques and styles and aerial circus skills. Over 6 years he directed a series of large-scale Shakespeare productions at the Stratford Festival, Ontario, Canada. Including among other productions: Pericles, Measure for Measure, Midsummer Nights Dream, Henry V1 Parts 1,2 and 3 (in his own adaptation), Twelfth Night and Two Gentleman of Verona.
One of the best productions from SYF, Jamila Gavin's abridgement of Measure for Measure was performed by the National Youth Theatre at Playhouse in Liverpool. The event was appraised by Phil Redmond, director of Liverpool, European Capital of Culture. As part of the European Capital of Culture year SSF worked throughout Liverpool, with young companies from the Shakespeare Youth Festival performing in 33 venues and locations from museums and cathedrals to parks and bombed out churches. To cap off a busy year, Shakespeare Schools Festival returned in the Autumn with 10,000 pupils from 500 Schools performing in 60 theatres UK-wide.
As a twist to pique public interest, Edwards and Brooke exchanged roles after two weeks' run. However, not all of Edwards' performances were successful: his turn at Angelo in Shakespeare's Measure for Measure was called "invertebrate" by drama critic William John Lawrence; in Lawrence's estimation, Edwards and his fellow actors paled against the powerful performance of Avonia Jones as Isabella. The renowned entomologist and collector William Sharp Macleay was sought out by Edwards whenever his stage appearances took him to Sydney. Beginning in 1858, Macleay mentored Edwards and encouraged him to search for more insect specimens when his theatre obligations allowed.
Reddington's theatre work is extensive and started with The Royal Shakespeare Company. He played Master Froth in Measure for Measure, The Tailor in The Taming of the Shrew (Play of the Year), a 'shape' in The Tempest (along with Ruby Wax and Juliet Stevenson), The Churchill Play,Brenton: Plays One, Methuen, 1986 The Shepherds Play, the multi-award-winning Piaf and for the RSC in the West End both Wild Oats and Once in a Lifetime. He then went to the Bristol Old Vic to play Kent in Edward the Second and Oh! What A Lovely War.
O'Neill was associated with the Haymarket Theatre. His works for the stage include over fifty sets of incidental music for plays, including many by Shakespeare (Hamlet, King Lear, Julius Caesar, Macbeth, The Merchant of Venice, Henry V and Measure for Measure), J. M. Barrie (A Kiss for Cinderella and Mary Rose), and Maurice Maeterlinck (The Blue Bird). Mary Rose, perhaps his best received theatre score, first opened in London at the Haymarket on 22 April 1920, continuing until 26 February 1921, with Fay Compton as Mary Rose, a role which was written for her by Barrie.The Times, 23 April 1920.
Returning to Shakespeare, he played Ariel in Michael Grandage's production of The Tempest at the Sheffield Crucible, with Derek Jacobi starring as Prospero. For this, and for his performance in the play Ghosts, he was awarded second prize for the Ian Charleson Award in 2003. With the Royal Shakespeare Company again, he appeared in Measure for Measure and Cymbeline. In November 2005, he starred in another Sondheim musical, Sunday in the Park with George at the Menier Chocolate Factory in the West End, playing the role of French Post-Impressionist painter Georges Seurat, opposite Anna-Jane Casey.
Olds began acting at age 15 at The Public Theater in New York, in a performance of Measure for Measure in 1987. Soon after, he was cast in 14 Going on 30 (ABC, 1988), a two-part Disney Sunday Movie with an age-shifting plot, similar to Big. In 1992, Olds was hired by Dick Wolf for an episode of Law & Order called "Pride and Joy", in which Olds played an ambitious student who murders his father. In 1993, Olds made his Broadway debut with the drama Any Given Day, a prequel to the Pulitzer Prize-winning The Subject Was Roses.
Cheek by Jowl logo. Cheek by Jowl is an international theatre company founded in the United Kingdom by director Declan Donnellan and designer Nick Ormerod in 1981. Donnellan and Ormerod are Cheek by Jowl's artistic directors and together direct and design all of Cheek by Jowl's productions. The company's recent productions include an Italian-language version of Thomas Middleton's The Revenger's Tragedy, Russian-language productions of William Shakespeare's Measure for Measure and Francis Beaumont's The Knight of the Burning Pestle, an English-language production of The Winter's Tale and a French-language production of Shakespeare's Pericles, Prince of Tyre.
Jishu (Kolkata: Papyrus, 1997); My Life: Khansaheb Alladiya Khan (translated with critical introduction, with Urmila Bhirdikar) (Kolkata: Thema, 2000).;Thema : Culture Studies/ Performance/Media/Film 2 Mosquito and Other Stories: Ghana- da's Tall Tales (a translation of the Ghonada stories of Premendra Mitra) (New Delhi: Penguin, 2004); editions of Shakespeare's Measure for Measure (New Delhi: Macmillan, 2004)::.. Orient Longman Pvt. Ltd. ..:: and Aristotle's Poetics (New Delhi: Longman, 2006). He is the editor of Renaissance Texts and Contexts (New Delhi: Macmillan, 2003) and Music and Modernity: North Indian Classical Music in an Age of Mechanical Reproduction (Kolkata: Thema, 2007).
Rhys has a reputation for committing so fully to stage roles that on two occasions it has caused him to be taken to hospital, once with pneumonia and the other with mental exhaustion. In 2000 he performed in the title role of Hamlet at the Young Vic and later in Tokyo and Osaka. He received several awards for this performance. He also played Angelo in Measure for Measure for which he won the Critics' Circle Theatre Award; Houseman in The Invention of Love; and Edgar in King Lear, for which he was nominated for an Olivier Award.
Juliet Anne Virginia Stevenson, (born 30 October 1956) is an English actress of stage and screen. She is known for her role in the film Truly, Madly, Deeply (1991), for which she was nominated for the BAFTA Award for Best Actress in a Leading Role. Her other film appearances include Emma (1996), Bend It Like Beckham (2002), Mona Lisa Smile (2003), Being Julia (2004), and Infamous (2006). Stevenson has starred in numerous Royal Shakespeare Company and National Theatre productions, including Olivier Award nominated roles in Measure for Measure (1984), Les Liaisons Dangereuses (1986), and Yerma (1987).
Though he botched the lines, he was given other small roles. Bosworth was eighteen years old, and on the cusp of a life in the theater. From left to right, Monte Blue, Miriam Cooper, and Hobart Bosworth in costume for a publicity still for the silent drama Betrayed (1917) Hobart signed on with Louis Morrison to be part of a road company for a season as both an actor and as Morrison's dresser, playing Shakespeare's Cymbeline and Measure for Measure. During his time with the company, Hobart and another writer wrote a version of Faust that Morrison used for twenty years in repertory.
From 1948 to 1949, Audley performed in repertory theatre at the Nottingham Playhouse. The following year, she joined the company of what was then referred to as the Shakespeare Memorial Theatre, touring Germany in the roles of Goneril in King Lear, Mariana in Measure for Measure and Ursula in Much Ado About Nothing. Audley continued to work with this company throughout her career, appearing with them again for their 1955 and 1957 seasons. In the 1955 season, Audley appeared as Lady Macduff in Macbeth, a performance that was praised by Kenneth Tynan as having "exceptional power".
Other Crimson critics described his performances in Shakespeare plays as "a tour de force of sheer talent and intelligence" (in The Winter's Tale)Esme Murphy, "The Sad Tale's Best," The Harvard Crimson, December 10, 1979. and "a very fine and subtle performance" (in Measure for Measure).Thomas Hines, "A Good Measure," The Harvard Crimson, July 7, 1981. He displayed early on his remarkable range when he undertook with inimitable flair and hilarious effect the hugely solemn role of Erde "the green-faced torso", goddess of the Earth, in Peter Sellers's Loeb Drama Center production of "Wagner's Ring" (1979).
The narrator points to some plays by Shakespeare, and according to Sealts, the girl Marianna should remind the reader of both the Marianna in Shakespeare's Measure for Measure and Alfred Tennyson's "Mariana".Sealts (1988), 94 "Bartleby" is set in the Wall Street office of a New York lawyer, who is the narrator of the tale. His new, pale- looking clerk Bartleby refuses to copy documents without giving any other explanation than the repeated mantra: "I would prefer not to." The lawyer cannot bring himself to remove his clerk from his office and finally resorts to moving out himself.
In Canada, "No Promises" reached No.61. On tour for Measure for Measure, Icehouse were Davies, Kretschmer, Lloyd and Qunta with Glenn Krawczyk on bass (replacing new member Vito Portolesi after nine shows) and Paul Wheeler on drums. On 14 August 1986 their performance at New York City's The Ritz was recorded as Icehouse: Live at the Ritz, directed by John Jopson and broadcast on U.S. TV on 9 September 1987 and on Australian TV on 15 November 1987; it was released on VHS and NTSC formats. Jopson was subsequently used to direct four music videos for Icehouse.
After 1992, Hippolyte moved to Skelmersdale, Lancashire, to be close to his children, and started doing directing work in the theatre. He directed the play Home for the Holidays by local playwright Cheryl Martin, which was premiered in the New Works Season 1992 at the Liverpool Playhouse. In 1993 he directed Measure for Measure 2020 with the Forsooth Theatre Company, a futuristic styling of Shakespeare's play, also at the Liverpool Playhouse. He was also the Assistant Director and Lighting Director for Sakoba African Dance Theatre's Ebo Iye, which was a dance piece based on the effects of the slave-culture in Africa.
Knight's first appearance at Covent Garden took place on 25 September 1795 as Jacob in the The Chapter of Accidents (when his wife played Bridget) and Skirmish in the 'Deserter'. Knight was seen in an endless number of parts at Covent Garden. The most important are Sim in 'Wild Oats', Hodge, Bob Acres, Slender in 'Merry Wives of Windsor', Roderigo, Gratiano, Dick Dowlas, Sir Benjamin Backbite, Tony Lumpkin, Sergeant Kite in the 'Recruiting Officer', Sir Andrew Aguecheek, Touchstone, and Lucio in 'Measure for Measure'. His original parts included Young Testy in Holman's 'Abroad and at Home', Count Cassel in Mrs.
The Law Against Lovers was a dramatic adaptation of Shakespeare, arranged by Sir William Davenant and staged by the Duke's Company in 1662. It was the first of the many Shakespearean adaptations staged during the Restoration era. Davenant was not shy about changing the Bard's work; he based his text on Measure for Measure, but also added Beatrice and Benedick from Much Ado About Nothing -- "resulting in a bizarre and fascinating combination."Katherine West Sheil, The Taste of the Town: Shakespearian Comedy and the Early Eighteenth- Century Theater, Lewisburg, PA, Bucknell University Press, 2003; p. 28.
His professional acting debut took place at the Lyric Hammersmith in 1926 in the revue Riverside Nights and he created the role of Viscount Harkaway in Tantivy Towers. In 1933 he joined the Old Vic company in 1933, appearing as Lucio in Measure for Measure, Scandal in Love for Love, and Antonio in The Tempest, also composing the incidental music. He was the first to play Lord Peter Wimsey on stage (Busman's Honeymoon), and created the role of the obsessed husband in Gas Light. After the Second World War Arundell concentrated on opera – as producer, translator, teacher, and historian.
Other work in Russia includes The Winter's Tale for the Maly Drama Theatre of St. Petersburg in 1997. With Cheek by Jowl he and Donnellan have produced further work in Russian including The Tempest with the Chekhov Festival and Measure for Measure in a co-production with Moscow's Pushkin Theatre. Ormerod was nominated for the Laurence Olivier Award Designer of the Year in 1988 for A Family Affair, The Tempest and Philoctetes and won the Corral de Comedias Award with Donnellan in 2008. He directed the 2012 film Bel Ami, an adaption of the Maupassant novel.
Isabella (1888) by Francis William TophamThe earliest recorded performance of Measure for Measure took place on St. Stephen's night, 26 December 1604. During the Restoration, Measure was one of many Shakespearean plays adapted to the tastes of a new audience. Sir William Davenant inserted Benedick and Beatrice from Much Ado About Nothing into his adaptation, called The Law Against Lovers. Samuel Pepys saw the hybrid play on 18 February 1662; he describes it in his Diary as "a good play, and well performed"—he was especially impressed by the singing and dancing of the young actress who played Viola, Beatrice's sister (Davenant's creation).
Edmond Malone called the poem "beautiful", and suggested that Shakespeare may have been trying to compete with Edmund Spenser. Critics have seen thematic parallels to situations in Shakespeare's All's Well That Ends Well and Measure for Measure. According to John Kerrigan in Motives of Woe, the poem may be regarded as an appropriate coda to the sonnets, with its narrative triangle of young woman, elderly man, and seductive suitor paralleling a similar triangle in the sonnets themselves.John Kerrigan, Motives of Woe: Shakespeare and Female Complaint (1991) Stanley Wells and Paul Edmondson note that: Shakespeare is widely accepted as the poems' author.
Colin George (20 September 1929 – 15 October 2016) was a Welsh actor and director, born in Pembroke Dock, Pembrokeshire, Wales. He is known for his many roles in numerous theatre productions as well as the founder of the Crucible Theatre in Sheffield (project time period 1945–68). Colin George was also a member of the Royal Shakespeare Company during the years 1994–1999, in plays such as Peer Gynt, Coriolanus, Measure for Measure, The Merchant of Venice and The Tempest and a stage musical adaptation of the French film Les Enfants du Paradis. Television work has included The Doctors in 2005.
Lloyd was elected to the House of Commons to represent Wirral in the 1945 general election by a majority of 16,625. His maiden speech on 12 February 1946 was not on an anodyne constituency matter as is usual for new MPs, but instead on the Trades Disputes and Trades Unions Bill, reflecting his interest in the subject going back to his student days.Matthew 2004, p159 He said that the public would still oppose another General Strike, and quoted from Shakespeare's "Measure for Measure": "O, it is excellent to have a giant's strength! But it is tyrannous to use it like a giant".
After seasons at the Bristol Old Vic and the Piccolo Theatre in Manchester he started to collaborate with the directors Michael Elliott and Casper Wrede, initially with the 59 Theatre Company. He translated Georg Büchner's Danton's Death (original title: Dantons Tod) for the opening production at the Lyric Theatre, Hammersmith. Elliott and Wrede went on to run the Old Vic company and Maxwell joined them to act in several of the productions including The Merchant of Venice and Measure for Measure. The group then joined with Braham Murray in Manchester to form the 69 Theatre Company.
"Praise for Aust. Actress" The Sydney Morning Herald, 24 November 1951. Retrieved 21 July 2010 From 1956 Johnston appeared in several productions at the Royal Shakespeare Theatre in Stratford-upon-Avon, playing Desdemona in Othello, Portia in The Merchant of Venice and Isabella in Measure for Measure. Two roles in 1959, in Sugar in the Morning at the Royal Court and a rare venture into domestic comedy with The Ring of Truth at the Savoy Theatre, marked her last stage appearances until 1966, when she starred as Lady Macbeth in Michael Benthall's production of Macbeth at the Chichester Festival Theatre in what would prove to be her last stage role.
F. S. Boas used the term to refer to a group of Shakespeare's plays which seem to contain both comic and tragic elements: Measure for Measure, All's Well That Ends Well, and Troilus and Cressida. He wrote that "throughout these plays we move along dim untrodden paths, and at the close our feeling is neither of simple joy nor pain; we are excited, fascinated, perplexed, for the issues raised preclude a completely satisfactory outcome."F. S. Boas, Shakespeare and his Predecessors, John Murray, Third Impression, 1910, pp. 344–408. Later critics have used the term for other plays, including Timon of Athens and The Merchant of Venice.
Foch with Gene Kelly in An American in Paris (1951) In 1951, Foch appeared with Gene Kelly in the musical An American in Paris, which was awarded the Best Picture Oscar that year. Foch also appeared in Scaramouche (1952) as Marie Antoinette. She returned to theater in 1955, appearing in a Off-Broadway production of Measure for Measure, followed by The Taming of the Shrew. Next, Foch starred Cecil B. DeMille's The Ten Commandments (1956) as Bithiah, the pharaoh's daughter, who finds the infant Moses in the bulrushes, adopts him as her son, and joins him and the Hebrews in their exodus from Egypt.
Annie Finch (born October 31, 1956) is an American poet, writer, editor, critic, translator, playwright, teacher, and performer. Her poetry is known for its often incantatory use of rhythm, meter, and poetic form and for its themes of feminist spirituality. Her books include The Poetry Witch Little Book of Spells, Spells: New and Selected Poems, The Body of Poetry: Essays on Women, Form, and the Poetic Self, A Poet’s Craft, Calendars, and Among the Goddesses. Her edited anthologies include A Formal Feeling Comes: Poems in Form by Contemproary Women, Measure for Measure: An Anthology of Poetic Meters, and Choice Words: Writers on Abortion, the first major literary anthology about abortion.
Her stage roles included The Cherry Orchard (as Varya), Measure For Measure (Isabella) and The Winter's Tale (Paulina). In 2001 she was nominated for a Laurence Olivier Theatre Award as Best Supporting Actress for her performance in Passion Play at the Donmar Warehouse. In addition to her theatre work, Gillian Barge has numerous television appearances to her credit. These include guest appearances on episodes of Pie in the Sky (1996), Lovejoy (1994), Midsomer Murders (2002), One Foot in the Grave(1990), All Creatures Great and Small (1980), Van der Valk (1977), Softly, Softly (1972) and also in the BBC Television Shakespeare production of King Lear starring as Goneril in 1982.
403 Forbidden After graduation she worked for the Royal National Theatre and the Royal Shakespeare Company, coming to the attention of critics in 1993's RSC production of Tom Stoppard's Arcadia, in which she created the role of Thomasina,Measure For Measure, Royal Shakespeare Theatre, Stratford-upon-Avon The Independent on Sunday - 6 May 2003 and then most notably in John Ford's The Broken Heart for which she won the Dame Peggy Ashcroft Award for Best Actress. Also in 1993, she was Agnes in The School for Wives at the Almeida Theatre, for which she won the Ian Charleson Award.Fowler, Rebecca. "Triumphant first acts".
Stanton trained at NYU's Tisch School of the Arts Graduate Acting Program and began his acting career in Joseph Papp's production of the play Measure for Measure at the Delacorte Theater in 1985. He was in the resident company of the American Repertory Theater in Cambridge, Massachusetts from 1989 to 1991. His Broadway credits include James Graham’s Ink, George Bernard Shaw’s Saint Joan, John Guare's A Free Man of Color, Friedrich Schiller's Mary Stuart and Tom Stoppard's The Coast of Utopia. Two-dozen Off Broadway credits include David Lindsay-Abaire's Fuddy Meers, A. R. Gurney's A Cheever Evening and Caryl Churchill's Owners and Traps.
The New York Times online Op-Ed page "Measure For Measure" hired Jeffrey Lewis to write a number of short essays on the topic of songwriting, some of which he drew in comic book form. All went up on The New York Times website at intervals from 2008 to 2013. Lewis has created a number of illustrated historical songs, usually sung while flipping through accompanying books of color drawings, including ten such pieces which are in use by The History Channel on their website. In November 2011 The New York Times ran a feature article on Jeffrey Lewis in the Arts section of November 23, written by Ben Sisario.
His first office space at Hines Industries was a work area he built in his garage. During the next 17 years, he was awarded or co-awarded 17 more patents by the U.S. Patent and Trademark Office(Inventor: Hines, Gordon), the first two of which relate to new ideas for hard-bearing balancing machines. Hines Industries is still owned by the Hines family and headquarters are located at 240 Metty Drive in Ann Arbor. Mr. Hines was an avid private pilot, was a member of Measure For Measure Men's Chorus, Cantata Singers, and Barbershop Quartet, and played volleyball and ice hockey regularly until he was 70.
Her solitude and loneliness causes her to be unable to recognise the beauty of her surroundings, and the world to her is dreary.Andres 2004 pp. 62, 64 In contrast to Tennyson's other poems, including "The Lady of Shalott", there is no movement within "Mariana". There is also a lack of a true ending within the poem, unlike the later version Mariana in the South, which reworks the poem so there is a stronger conclusion that can be found within death.Jordan 1988 p. 59 The character of Mariana is connected to Shakespeare's Measure for Measure; there is a direct quotation of Shakespeare's play in regards to a character of the same name.
Guinness and Irene Worth were among the cast of Stratford's inaugural performance of Richard III, working for expenses only. This first performances (like the entire first four seasons) took place in a concrete amphitheatre covered by giant canvas tent on the banks of the River Avon. The first of many years of Stratford Shakespeare Festival production history started with a six-week season opening on 13 July 1953 with Richard III and then All's Well That Ends Well, both starring Alec Guinness. The 1954 season ran for nine weeks and included Sophocles’ Oedipus Rex and two Shakespeare plays, Measure for Measure and The Taming of the Shrew.
Soon afterwards she made her first appearance there as Miss Peggy in The Country Girl to her husband's Sparkish. In the course of the same season Knight acted thirty characters, among which Touchstone, Trappanti, Claudio in 'Measure for Measure', Trim in the 'Funeral', Sir Charles Racket, and Pendragon may be mentioned. In Bath, as at Bristol, which was under the same management, he played during the nine years of his engagement an endless variety of comic parts—Charles Surface, Antonio in 'Follies of a Day', Clown in 'All's well that ends well', Mercutio, Duretête, Goldfinch, Dromio of Ephesus, Pistol, and Autolycus being among the most easily recognisable.
Translated by Jacob Z. Lauterbach. Moses took with him the body of Joseph (1984 illustration by Jim Padgett, courtesy of Distant Shores Media/Sweet Publishing) The Mishnah cited for the proposition that Providence treats a person measure for measure as that person treats others. And so because, as relates, Joseph had the merit to bury his father Jacob and none of his brothers were greater than he was, so Joseph merited the greatest of Jews, Moses, to attend to his bones, as reported in And Moses, in turn, was so great that none but God attended him, as reports that God buried Moses.Mishnah Sotah 1:7–9.
In 1956, Lotis toured with a production of the musical Harmony Close, and first worked as an actor in 1959 in John Osborne's The World of Paul Slickey. He also appeared in several British films, including The Extra Day (1956), The City of the Dead (also known as Horror Hotel, 1960), Sword of Sherwood Forest (1960), What Every Woman Wants (1962) and She'll Have to Go (1962). He also appeared on stage as Lucio in John Neville's production of Shakespeare's Measure for Measure. He continued his career as a singer, appearing on Six-Five Special and Thank Your Lucky Stars, and in the 1960s recorded for the King and Polydor labels.
In the early 17th century, Shakespeare wrote the so-called "problem plays" Measure for Measure, Troilus and Cressida, and All's Well That Ends Well and a number of his best known tragedies. Many critics believe that Shakespeare's greatest tragedies represent the peak of his art. The titular hero of one of Shakespeare's greatest tragedies, Hamlet, has probably been discussed more than any other Shakespearean character, especially for his famous soliloquy which begins "To be or not to be; that is the question". Unlike the introverted Hamlet, whose fatal flaw is hesitation, the heroes of the tragedies that followed, Othello and King Lear, are undone by hasty errors of judgement.
The Daily Telegraph recorded, "Her acting admitted no trace of self-pity or of the laughter she had been accustomed to provoke, and it proved what a serious and emotional actress she could be when given the chance." Between 1977 and 1981, she starred in the Yorkshire Television sitcom You're Only Young Twice, as the forthright Flora Petty. From 1983 to 1985 she was a member of the Royal Shakespeare Company, where critics found her outstanding in both The Dillen and Measure for Measure, and she was the star of the company's production of the farce The Happiest Days of Your Life, as the headmistress of St. Swithin's.Billington, Michael.
David Garrick as Benedick, by , 1770 The play was very popular in its early decades, and it continues to be a standard wherever Shakespeare is performed. In a poem published in 1640, Leonard Digges wrote: "let but Beatrice / And Benedick be seen, lo in a trice / The Cockpit galleries, boxes, all are full." John Gielgud and Margaret Leighton in the 1959 Broadway production of Much Ado About Nothing. After the theatres re- opened during the Restoration, Sir William Davenant staged The Law Against Lovers (1662), which inserted Beatrice and Benedick into an adaptation of Measure for Measure. Another adaptation, The Universal Passion, combined Much Ado with a play by Molière (1737).
Claudio and Isabella is an 1850 Pre-Raphaelite oil painting by William Holman Hunt. It is based on a scene from William Shakespeare's Measure for Measure. In this scene, Isabella is made to choose between sacrificing her brother's life or sacrificing her virginity to Angelo. Hunt's image attempts to depict the characters' tangible emotions in the moment that this choice must be made. Hunt summarized the moral as: ‘Thou shall not do evil that good may come.’ Isabella's purity is reflected by her upright position, her plain white habit, and the sun shining on her through the window, out of which a church can be seen in the distance.
Theaterworks USA as a choreographer for: “Sundiata, the Lion King of Mali” directed by David Schecter. Choreography for “Measure for Measure” directed by Michael Rudman at the New York Shakespeare Festival's held at the Delacorte Theater at Lincoln Center, New York City. Choreography for “Pecong” directed Dennis Zacek held at the Newark Symphony Hall. His theater credits as director and choreographer include: “Ju-Ju Man” at the Billie Holiday Theater in Brooklyn. “Ancestral Earths” at the Apollo Theater in New York. “Ebony Magic” at the Aaronow Theater in New York City. “Sweet Saturday Night”, which was a 20-city tour produced by Gordon Crowe Productions. “American Griot” at the Triplex Theater in New York, New York.
Line Cottegnies has written on Cavendish from the perspective of Shakespeare in an article called "Gender and Cross-dressing in the Seventeenth Century: Margaret Cavendish Reads Shakespeare." Cottegnies writes, “In The Convent of Pleasure, Cavendish uses episodes and devices borrowed from several of Shakespeare’s comedies to reflect on transvestism and its implications.” In particular, Cottegnies believes Cavendish draws on the techniques of Shakespeare's Measure for Measure (1604), in which a Duke disguises himself as a friar and woos a novice, Isabella. Cottegnies found the endings of the two plays especially similar in the silences of both Lady Happy and Isabella when the Prince and the Duke reveal themselves in their respective plays.
The Bristol Old Vic has a long history of taking productions on tour both within the United Kingdom and overseas. Notable production toured include Hamlet, Arms and the Man and A Man for all Seasons to Ceylon and Pakistan in 1962–63; Hamlet and Measure for Measure to America, Holland and Belgium in 1966–67 and Man and Superman to the June Schauspielhaus Festival in Zurich, 1958. The company has also made frequent visits to the Edinburgh Festival and productions have toured to the Theatre Royal Bath, Oxford Playhouse, Royal Court Theatre, London and the Young Vic, London amongst others. Co-productions have taken Bristol Old Vic plays to most of Britain's major theatres.
He returned to London for the 1933–34 Old Vic season and was engaged in four Shakespeare roles (as Macbeth, Henry VIII, Angelo in Measure for Measure and Prospero in The Tempest) and also as Lopakhin in The Cherry Orchard, Canon Chasuble in The Importance of Being Earnest, and Tattle in Love for Love. In 1936, he went to Paris and on 9 May appeared at the Comédie-Française as Sganarelle in the second act of Molière's Le Médecin malgré lui, the first English actor to appear at that theatre, where he acted the part in French and received an ovation. Laughton commenced his film career in Britain while still acting on the London stage.
In February 1922 Quartermaine and Compton married, and remained so until their divorce in 1942. Quartermaine made numerous appearances on Broadway between 1903 and 1935, including Laertes (Hamlet, 1904), Lieutenant Osborne in the American premiere of R. C. Sherriff's Journey's End (1929), and Malvolio (Twelfth Night, 1930). Quartermaine appeared in several films during the 1920s and 1930s, including As You Like It (1936) in which he co-starred as Jacques to Laurence Olivier's Orlando. After the Second World War, Quartermaine joined the Royal Shakespeare Theatre for the 1949 and 1950 Stratford festivals, in a company including John Gielgud, Peggy Ashcroft, Anthony Quayle and other leading Shakespearean actors, in Macbeth, Measure for Measure and Much Ado About Nothing.
Per Rhodes, Shakespeare's problem-plays must address a social issue that can reasonably be debated, ranging from gender roles to institutional power frameworks. Another scholarly analysis of Shakespeare's problem-plays by A.G. Harmon argues that what the problem-plays have in common is how each consciously debates the relationship between law and nature. Many of the problem-plays address a disorder in nature, and the characters attempt to mitigate the disorder in varying manners. In four of the plays that Harmon categorizes as problem-plays, The Merchant of Venice, All's Well That Ends Well, Measure for Measure, and Troilus and Cressida, the social order is restored when faulty contracts are properly amended.
With this mission, Thomas Bowdler aimed to produce an edition of the works of "our immoral Bard", as Bowdler calls Shakespeare in the preface to the second edition, that would be appropriate for all ages, not to mention genders. In addition to the reworkings and a new preface, Thomas also included introductory notes for a few of the plays—Henry IV, Othello, and Measure for Measure—to describe the advanced difficulty associated with editing them. The spelling "Shakspeare", used by Thomas Bowdler in the second edition but not by Harriet in the first, was changed in later editions (from 1847 on) to "Shakespeare", reflecting changes in the standard spelling of Shakespeare's name.
In the 1970s Davis took a long hiatus from feature films, and turned his focus on television for work, including episodes of Follyfoot and The New Avengers, as well as an adaptation of William Shakespeare's Measure for Measure in the BBC Television Shakespeare series. After directing Clash of the Titans, he directed the 1985 feature film adaptation of Agatha Christie's Ordeal by Innocence starring Donald Sutherland and Faye Dunaway. Davis also directed the 1983 television adaptation of Arthur Conan Doyle's The Sign of Four with Ian Richardson as Sherlock Holmes. He continued his work in television, directing a version of Camille with Greta Scacchi and Colin Firth in 1984 and the British drama series The Chief.
He now often plays it live as an introduction to the song "Fake Palindromes". On May 20, 2007, National Public Radio aired a live concert by Bird from Washington, D.C.'s 9:30 Club He also worked with Reverb, a non-profit environmental organization, for his 2007 spring tour. Five of his songs – "Banking on a Myth" from "The Mysterious Production of Eggs," a medley of "I" from Weather Systems and "Imitosis" from "Armchair Apocrypha," and "Skin" and "Weather Systems" from Weather Systems – have been licensed for use by Marriott Residence Inn. Since March 2008, Bird has contributed to "Measure for Measure," a New York Times blog in which musicians write about their songwriting process.
Although she has gained fame through her television and film work, and has often undertaken roles for BBC Radio, she is known as a stage actress. Significant stage roles include her performances as Isabella in Measure for Measure, Madame de Tourvel in Les Liaisons Dangereuses, as Anna in the UK premiere of Burn This in 1990, and as Paulina in Death and the Maiden at the Royal Court theatre and the West End (1991–92). For the latter, she was awarded the 1992 Laurence Olivier Award for Best Actress. In the 1987 TV film Life Story, Stevenson played the part of scientist Rosalind Franklin, for which she won a Cable Ace award.
In 2005 Woronicz appeared on Broadway in Julius Caesar at the Belasco Theatre. In 2006 he directed Pericles, Prince of Tyre at the Illinois Shakespeare Festival and Coriolanus in 2007 at the Utah Shakespearean Festival. He played Leontes in The Winter's Tale at the American Repertory Theatre in Cambridge, MA and has appeared in plays at the Indiana Repertory Theatre, Actors Theatre of Louisville, and the American Players Theatre. In 2009, he served in a consulting capacity as the Executive Producer of the Lake Tahoe Shakespeare Festival, producing productions of Measure For Measure and Much Ado About Nothing at the Festival's amphitheater in Sand Harbor State Park, on the shores of Lake Tahoe.
Tate's versions of what we now consider some of the Bard's greatest works dominated the stage throughout the 18th century precisely because the Ages of Enlightenment and Reason found Shakespeare's "tragic vision" immoral, and his tragic works unstageable. Tate is seldom performed today, though in 1985, the Riverside Shakespeare Company mounted a successful production of The History of King Lear at The Shakespeare Center, heralded by some as a "Lear for the Age of Ronald Reagan."See Riverside Shakespeare Company. Perhaps a more typical example of the purpose of Restoration revisions is Davenant's The Law Against Lovers, a 1662 comedy combining the main plot of Measure for Measure with subplot of Much Ado About Nothing.
Other of Shakespeare's works given operatic treatment included A Midsummer Night's Dream (as The Fairy-Queen in 1692) and Charles Gildon's Measure for Measure (by way of an elaborate masque.) However ill-guided such revisions may seem now, they made sense to the period's dramatists and audiences. The dramatists approached Shakespeare not as bardolators, but as theater professionals. Unlike Beaumont and Fletcher, whose "plays are now the most pleasant and frequent entertainments of the stage", according to Dryden in 1668, "two of theirs being acted through the year for one of Shakespeare's or Jonson's",Dryden, Essay of Dramatick Poesie, The Critical and Miscellaneous Prose Works of John Dryden, Edmond Malone, ed. (London: Baldwin, 1800): 101.
Such examples are shown when he depicts the lust of Tarquin in The Rape of Lucrece; he also looked into the scheming of Angelo in Measure for Measure, a man whose sexual appetite causes a rippling effect on his life; he was also able to portray the jealousy, racism, and passion in Othello. Shakespeare uses a similar theme again with Leontes in his play, The Winter's Tale. The placement of the sonnet leads many to believe that Shakespeare had a direct relation with the "dark lady" (as referenced as the inspiration for sonnets 127-152). Many scholars believe that Shakespeare had an affair and that a mistress was his inspiration for writing as many poems as he did.
Yolande Anne Elissa Palfrey (29 March 1957 – 9 April 2011) was a British actress. She appeared in many BBC programmes including Pennies from Heaven, Measure for Measure, Elizabeth Alone, Wings, Blake's 7 ("Pressure Point"), Crime and Punishment, Nanny, and Doctor Who (in the serial Terror of the Vervoids), and The Ghosts of Motley Hall for Granada Television in the Christmas special "Phantomime" (1977). She also appeared in (among others) The Finishing Line, Love in a Cold Climate for Thames Television, Dragonslayer for The Walt Disney Company and Paramount Pictures, and The Breadwinner for Yorkshire Television. Her stage performances included Murder, Dear Watson at The Mill at Sonning and Great Expectations at the Old Vic.
He also directed Shakespeare's The Merchant of Venice in Hebrew at the Cameri Theatre in Tel Aviv (1981). In 1991 Kyle moved to the United States, founding the Swine Palace company in Louisiana, and building the Swine Palace theatre in Baton Rouge: a restoration of a derelict auction facility for livestock, retaining the earth floor of the original building. This opened in February 2000 with Kyle's production of A Midsummer Night's Dream. In the USA he also directed in New York (Henry V, off-Broadway, 1992 with Mark Rylance which won the Lucille Lortel award) and Measure for Measure (1997) and he also directed in Washington DC (Romeo and Juliet, The Shakespeare Theater, 1994, with Marin Hinkle).
The second subject, meanwhile, is recapitulated in grandeur rather than tenderness: an apotheosis not unlike the thematic transformation of the main subject in Chopin's first Ballade from its initial tender statement in E♭ major to its grand exuberance in A major. Despite the implications of freedom and improvisation entailed in the title "Fantasy," the work is really a rather straightforward (if not formulaic) sonata allegro. Its exposition has a clear first subject and transition, followed by a second subject and closing groups in the relative major. The development section is characteristically stormy, sequencing motives from the exposition; and except for the truncation of the first theme the recapitulation maps measure for measure onto the exposition.
Grant's earlier theater work includes The Public Theater's 2010 productions of Measure for Measure, The Winter's Tale, and The Merchant of Venice. Grant originated the role of Cassandra in Christopher Durang's comedy Vanya and Sonia and Masha and Spike since the beginning of the show's development as a one-act play. She performed alongside Sigorney Weaver, David Hyde Pierce, Kristine Nielsen, Genevieve Angelson, and Billy Magnussen in the world-premiere at the McCarter Theatre Center in Princeton, NJ from September to October 2012 before moving to the Lincoln Center Theatre in an off-Broadway run October 2012 to January 2013. The show's success continued with a Broadway run and Grant's Broadway debut March through August 2013.
Ben Avvai said that everything is judged according to the principle of measure for measure; just as the Egyptians were proud, and cast the male children into the river, so God cast the Egyptians into the sea, as says, "I will sing to the Lord, for he has triumphed triumphantly; the horse and his rider has he thrown into the sea." (Ben Avvai read the double expression of "triumphing" in to imply that just as the Egyptians triumphed over the Israelites by casting their children into the sea, so God triumphed over the Egyptians by casting them into the sea.)Pirke De-Rabbi Eliezer, chapter 42. Reprinted in, e.g., Pirke de Rabbi Eliezer.
Thomas Levenson is a US academic, science writer and documentary film-maker. , he is Professor of Science Writing and director of the graduate program in science writing at the Massachusetts Institute of Technology. He has also written six books: Ice Time: Climate, Science and Life on Earth, Measure for Measure: A Musical History of Science, Einstein in Berlin, The Hunt for Vulcan: And How Albert Einstein Destroyed a Planet, Discovered Relativity, and Deciphered the Universe (shortlisted for the Royal Society Insight Investment Science Book Prize 2016), Newton and the Counterfeiter, and Money for Nothing (longlisted for the Financial Times and McKinsey Business Book of the Year Award, 2020). He also writes articles and reviews for newspapers and magazines.
In May 2010, he played "Dangerous Boys" and "Time Flies Tomorrow" standing on the visitors' dugout at Target Field for the documentary, 40 Nights of Rock & Roll. Westerberg appeared in the video for the title track of Glen Campbell's 2011 farewell to studio recording, a cover of Ghost on the Canvas (which Westerberg wrote in 2009). In the online, May 24, 2013, version of The New York Times' Measure for Measure feature, he set forth his songwriting creed, which privileges the virtues of inspiration and spontaneity over gradually developing and revising a song. In late 2015, Westerberg announced that he had formed a new band called The I Don't Cares with musician Juliana Hatfield.
He ended the year playing Fotheringham in Anthony Powell's Afternoon Men at the New Arts Theatre in August 1963. Engaged by H.M. Tennent Productions, 1964 brought him an international tour of South America and Europe, playing both Bassanio in The Merchant of Venice and Lysander in A Midsummer Night's Dream. Staged by Wendy Toye and starring Ralph Richardson, the productions were first seen at the Theatre Royal, Brighton. At the Phoenix Theatre in May 1965 he was "boldly playing" Simon Challoner in Julian Mitchell's fine stage adaptation of A Heritage and Its History; ending the year at the Nottingham Playhouse as Angelo in Measure for Measure and Bolingbroke in Richard II, co-starring with Judi Dench and Edward Woodward.
The first of many years of Stratford Shakespeare Festival production history started with a six-week season, opening on 13 July 1953, with Richard III and then All's Well That Ends Well both starring Alec Guinness. The 1954 season ran for nine weeks and included Sophocles’ Oedipus Rex and two Shakespeare plays, Measure for Measure and The Taming of the Shrew. Young actors during the first four seasons included several who went on to great success in subsequent years, Douglas Campbell, Timothy Findley, Don Harron, William Hutt and Douglas Rain. The new Festival Theatre was dedicated on 30 June 1957, with seating for over 1,800 people; none are more than 65 feet from the thrust stage.
The Legend of the Wild One (Kevin Jacobsen Productions) which opened in Melbourne in 2000. Subsequent roles as Nancy in Oliver! (IMG/Cameron Mackintosh, Australian tour and Singapore) and Dusty Springfield in Dusty - The Original Pop Diva (Dusty Productions, Australian tour) won Carroll multiple awards. Other leading roles in Australian theatre and musical theatre include Marta in Company (Kookaburra), Isabella in Measure for Measure (Bell Shakespeare), Rizzo in Grease – The Arena Spectacular (SEL/GFO), Tracy Lord in High Society, Rose in Bye Bye Birdie and Sheila in Hair (The Production Company), Vixen in The Threepenny Opera (Belvoir Street Theatre Bogata Festival), Allie in Harbour and Olivia in The Republic of Myopia (Sydney Theatre Company).
" David Rooney, discussing a production of the play Thinner than Water, writes, "There are moving performances, particularly from Mr. Narciso, who is both defensive and contrite about Gary's shortcomings." Charles Isherwood, reviewing Narciso's work in Measure for Measure, wrote, "The character who most wholly embodies the slipperiness Shakespeare explores in the play is probably Lucio (a subtly oily Alfredo Narciso), who delights in stirring almost every one of the plots with a soiled finger." Of Narciso's work in The Misanthrope, Ben Brantley wrote "Alfredo Narciso presents what may be the play's one genuinely contemporary portrait as the poet Oronte." Neil Genzlinger (reviewing Safe) wrote that "[Fellow cast members] are pretty good; Mr. Narciso is better.
She had a lead role in the 2010 well-received film Griff the Invisible, and in the 2012 miniseries Bikie Wars: Brothers in Arms. In 2013, Dermody starred in the 10-part TV series drama Serangoon Road as Claire Simpson who is married to Frank (played by Jeremy Lindsay Taylor) but having an affair with Sam (played by Don Hany). Dermody is also active in the Australian theatre, having appeared in such diverse productions as Killer Joe, Measure for Measure, Our Town, and The Seagull, all for the major theatre companies in Sydney. In Christmas 2015, Dermody starred as Vera Claythorne in BBC One's version of Agatha Christie's thriller And Then There Were None.
Frank Barrie made his first stage appearance in 1959 in the role of Mouldy in Henry IV, Part 2, at the York Theatre Royal. He performed with the Bristol Old Vic company from 1965 through 1969, performing in the title roles of Oedipus Rex and Richard II. The company toured Europe and North America in 1972 with Barrie portraying Mercutio in Romeo and Juliet and Lucio in Measure for Measure. Barrie made his New York theatre debut with the company at the New York City Center on 14 March 1967. Barrie has performed at a number of major venues in his acting career, including the Open Air Theatre, Regent's Park, the Northcott Theatre, the Greenwich Theatre, and the Theatre Royal Haymarket.
As an actor in London he appeared in "Reunion In Vienna" at The Piccadilly, "The Gorky Brigade" Royal Court, "The Great Society", "Something Burning", "Treasure Island", all at the Mermaid, "Streamers" at The Roundhouse, "A Coat Of Varnish" and "Captain Brassbound’s Conversion" at The Haymarket, "Measure For Measure" at The Open Space, "Tsafendas" at The Almost Free. He has also played leading roles in many provincial theatres, on tours and on the continent. His television appearances have been numerous and he has also worked in film and on radio, his credits being too lengthy to mention. His last UK television appearance was for the BBC when he gave a chilling performance as the pedophile murderer, Sidney Cooke in "The Lost Boys".
Metra Theatre performed their second production, a modern take on Aristophanes' Lysistrata (using the Dudley Fitts' translation) in July 2006, their first production developed without the guidance of their lecturers. Continuing on with the Deleuzian theory that Measure for Measure was rooted in, they intuitively jetted through a range of different sources and concepts which have a root in the context of the play, without feeling any pressure to be part of unified theme or universal conclusion. Metra utilised the Essentialist Feminism that is present in the text, drawing on music and dance from the 1920s, evoking a time when women were slowly but firmly rejecting the image of the submissive, dependent housewife. Lysistrata was performed at the Brickhouse on Brick Lane in East London.
The first production was in May 1941 when Shakespeare's The Comedy of Errors was performed in co-operation with Merton College. Peter Bayley was the senior member from the start till the 1960s. After the Second World War, Univ Players was re-founded with a production of Measure for Measure in 1946. In 1952, a young Maggie Smith appeared in a production of He Who Gets Slapped by the Russian playwright Leonid Andreyev, directed by Peter Bayley at the Clarendon Press Institute, after attending a theatrical training scheme and performing in Twelfth Night at the Oxford Playhouse. Michael York (then Michael Johnson) was a Univ Players member in the early 1960s, before graduating with a degree in English in 1964.
From 2003-2009, the Genesis Foundation funded the Directors program at the Young Vic, supported and mentored by the Young Vic's previous artistic director David Lan. This programme provided support for professional directors at the early stages of their career. Rufus Norris, Artistic Director of the National Theatre was the first Genesis Young Director. the Genesis Foundation funds the one-year Genesis Fellowship (holder Nadia Latif), the Genesis Directors Network and two Genesis Future Directors awards per year (holders John Wilkinson and Debbie Hannan). Past Genesis Fellows include: Gbolahan Obisesan (Cuttin’ It and Sus), Natalie Abrahami (Wings, Happy Days and Ah, Wilderness!), Joe Hill-Gibbins (A Midsummer Night’s Dream, Measure for Measure) and Carrie Cracknell (Macbeth, co-directed with Lucy Guerin).
Dormer gained recognition following his performance as Northern Irish snooker star Alex Higgins in Hurricane in 2003, which he wrote and starred in. Dormer won The Stage award for best actor in 2003. In 2004, Dormer won the Irish Times Best Actor Award for his performance in Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme and in 2005 completed a season with Sir Peter Hall at the Theatre Royal and starred in Bath as Antonio in William Shakespeare's Measure for Measure, Jean in August Strindberg's Miss Julie and in a production of Samuel Beckett's Waiting for Godot. Since, Dormer has written a number of plays including The Half and Gentleman's Tea Drinking Society which were produced through Belfast's Ransom theatre company.
Sergio Castellitto was born in Rome in 1953, to parents from Molise, Southern Italy.any grografy books After graduating from the Silvio D'Amico National Academy of Dramatic Art in 1978, he began his theatrical career in Italian public theater with Shakespeare's Measure for Measure at the Teatro di Roma and with roles in other plays such as La Madre by Brecht, Merchant of Venice, and Candelaio by Giordano Bruno. At the Teatro di Genova he starred in the roles of Tuzenbach in Chekhov's Three Sisters and Jean in Strindberg's Miss Julie, both under the direction of Otomar Krejka. In the coming years, he also starred in such theatrical productions as L'infelicità senza desideri and Piccoli equivoci at the Festival dei Due Mondi in Spoleto.
Author Neil Rhodes argues that the defining characteristic of the Shakespearean problem-play is its controversial plot, and as such, the subgenre of problem-plays has become less distinct as scholars continue to debate the controversies in Shakespeare's straightforward tragedies and comedies. What differentiates plays like Measure for Measure from Shakespeare's explicitly comedic or tragic plays is that it presents both sides of a contentious issue without making a judgement for the audience. Rhodes goes on to claim that this offering of the merits of both sides of the social dispute is a rhetorical device employed by but not originated by Shakespeare. Rather, the rhetorical practice of submitting a thesis with a counter-contention that is just as persuasive began in Ancient Greece.
Bennett's first professional role was in film, while he was still living in Paris. He appeared opposite Jean Dujardin in the 2007 French comedy 99 Francs, following this up with another cameo the following year, in Saul Dibb's The Duchess, starring Keira Knightley. After spending a year establishing a stage career, including a role in Samuel West's 2008 production of Waste at the Almeida that The Times named as one of its "Productions of the Decade", in 2009 Bennett won second prize in the Ian Charleson Awards for two performances: as Frank in George Bernard Shaw's Mrs. Warren's Profession and as Claudio in Measure For Measure. Leading roles followed, notably as Ferdinand in 2011's Luise Miller in Michael Grandage’s critically acclaimed Donmar Warehouse production.
In addition to his book, The Making of Nicholas Nickleby, that told the story of the creation of the original Royal Shakespeare Company production, from first conception to the multiple, award-winning production. He has his latest book, by Routledge, Performance in Bali, co-written with the distinguished Balinese Dalang, I Nyoman Sedana. The book explores key aspects of Balinese performance and explores training and performance techniques from the inside Balinese perspective and the outsider looking in. He wrote a book length commentary of Measure for Measure, Applause Books, New York and also contributed the chapter on South East Asian Theatre for the Oxford Illustrated History of Theatre; the chapter explores the major forms of theatre throughout the countries of the region: www.oup.co.
Many sources for the poem and passages within the poem have been suggested by various editors or critics of Tennyson's poet. These sources include passages in the poetry of Sappho and Cinna, Virgil's Aeneid, Horace's Odes, Shakespeare's Romeo and Juliet and Measure for Measure, John Milton's Lycidas, Samuel Rogers's Captivity, and John Keats's Isabella, Sleep and Poetry, and The Eve of St. Agnes. However, there is little evidence to suggest that Keats, though well respected by Tennyson, influenced the poem although Keats's Isabella is linguistically similar to "Mariana" and could serve as a parallel. If Isabella is parallel to "Mariana" in terms of dealing with women who have lost their lovers, so too could Virgil's Aeneid be described as a parallel to the poem.
Krystyna Zachwatowicz (2005) During the decades of communist rule, the Polish theatre employed the artistic techniques of political allusion and metaphor, in order to overcome censorship. Theatre was not created from the text alone, but from what often remained unspoken and only visually significant.University of Victoria, "Theatrical Renditions Of Shakespeare in Democratic Poland" Social Sciences and Humanities Research Council of Canada At the Ludowy, plays by Aeschylus, Carlo Gozzi and Carlo Goldoni were staged. Krystyna Skuszanka prepared successful Shakespeare productions: Measure for Measure with stage design by Tadeusz Kantor (1956), The Tempest (1959), and the Twelfth Night (1961) with set design by Józef Szajna. She also staged Polish Romantic drama, such as Juliusz Słowacki's Balladyna (1956) and Sen srebrny Salomei ('Silver Dream of Salome', 1959).
W. S. Gilbert's stage version, 1871 Though it is not based on the story of Pygmalion, Shakespeare's play Measure for Measure references Pygmalion in a line spoken by Lucio in Act 3, Scene 2: "What, is there none of Pygmalion's images, newly made woman, to be had now, for putting the hand in the pocket and extracting it clutch'd?" There have also been successful stage- plays based upon the work, such as W. S. Gilbert's Pygmalion and Galatea (1871). It was revived twice, in 1884 and in 1888. The play was parodied the musical 1883 burlesque Galatea, or Pygmalion Reversed, which was performed at the Gaiety Theatre with a libretto by Henry Pottinger Stephens and W. Webster, and a score composed by Wilhelm Meyer Lutz.
In affidavits read out in court Bernhardt said that she had never seen the play and knew nothing about it, and Sardou said that preliminary material for the play had been in his desk for fifteen years. In fact, Nadjezda's only resemblance to La Tosca comes from the unholy bargain the heroine makes to save her husband's life, similar to that of Tosca and Baron Scarpia. As Sardou pointed out in his affidavit, this plot device is a common one and had been notably used by Shakespeare in Measure for Measure. Davenport herself was in the courtroom on 27 April 1888 when the judge found in her favour.The account of the court case is from New York Times (28 April 1888) p. 8.
In 1968 he joined the Brighton Combination as a writer and actor, and in 1969 joined Portable Theatre (founded by David Hare and Tony Bicat), for whom he wrote Christie in Love, staged in the Royal Court's Theatre Upstairs (1969) and Fruit (1970). He is also the author of Winter, Daddykins (1966), Revenge for the Royal Court Theatre Upstairs; and the triple-bill Heads, Gum & Goo and The Education of Skinny Spew (1969). These were followed by Wesley (1970); Scott of the Antarctic and A Sky-blue Life (1971); Hitler Dances, How Beautiful With Badges, and an adaptation of Measure for Measure (1972). In 1973 Brenton and David Hare were jointly commissioned by Richard Eyre to write a "big" play for Nottingham Playhouse.
While attending Juilliard, Alvarez trained at the Chautauqua Theater Company, appearing as Bernard in Death of a Salesman and Puck in A Midsummer Night's Dream in 2008. Alvarez portrayed the titular character in Brain Trust Production's The Tragedie of Cardenio at the 2010 Midtown International Theatre Festival, for which he won the award for Outstanding Lead Actor in a Play. After graduating from school, Alvarez performed in regional theater, landing his first professional acting role in a national tour production of Ramona Quimby, based on the popular children's book series. He continued to perform in regional theater, cast in a production of Julius Caesar as Lucius and Metellus Cimber and in Measure for Measure as Claudio for the 2011 Oregon Shakespeare Festival.
He has performed for the Royal National Theatre in a number of plays, including Leontes in The Winter's Tale and the title role in Albert Speer. His Royal Shakespeare Company roles include the title role in Peer Gynt (for which he won an Olivier Award 1995-06 for Best Actor), the title role in Richard II (opposite Anton Lesser as Henry Bolingbroke), Theseus/Oberon in A Midsummer Night's Dream (UK, American tour and Broadway), Angelo in Measure for Measure, and the title role in Hamlet. In 2002, he appeared in the Cameron Mackintosh/Trevor Nunn revival of My Fair Lady at the Theatre Royal, Drury Lane and won an Olivier Award as Best Actor in a Musical. He was an Associate Artist at the Royal Shakespeare Company.
Mordden was born and raised in Pennsylvania, in Venice, Italy, and on Long Island, and is a graduate of Friends Academy in Locust Valley, New York, and the University of Pennsylvania. He at first sought a career in show business, working as music director on off-Broadway and in regional theatre, and enrolling in the BMI Lehman Engel Musical Theater Workshop run by Lehman Engel. As both composer and lyricist, Mordden wrote musicals based on William Shakespeare's Measure For Measure and on Max Beerbohm's Zuleika Dobson, but he ended up earning his living as a writer of English prose. In the 1970s, he was assistant editor to Dorothy Woolfolk on such DC Comics as The Dark Mansion of Forbidden Love.
Wax moved to the UK and studied at the Royal Scottish Academy of Music and Drama in Glasgow. She started her acting career as a straight actress at the Crucible Theatre, Sheffield, where she began a long-standing writing and directing partnership with Alan Rickman, who later was to direct most of her stage comedy shows. In 1978, she joined the Royal Shakespeare Company, working alongside Juliet Stevenson in Measure for Measure, as Jaquenetta opposite Michael Hordern in Love's Labours Lost, replacing Zoë Wanamaker as Jane in The Way of the World and appearing in the Howard Brenton three-hander Sore Throats. While at the RSC, Wax also met and befriended Ian Charleson, and later contributed a chapter to the 1990 book, For Ian Charleson: A Tribute.
At his instance, after she had played with success at Dublin and Edinburgh, she was engaged by Mr. Phelps, and made her first appearance at Sadler's Wells, then under his management, in August 1846, as Lady Mabel in the Patrician's Daughter of Westland Marston. She remained at Sadler's Wells three seasons, representing Juliet, Portia, Isabella in Measure for Measure, Imogen, Miranda, and Lady Macbeth; she appeared as Panthea upon the revival of Beaumont and Fletcher's comedy of A King and no King; and she was the first representative of Margaret Randolph and Lilian Saville in the poetic tragedies of Feudal Times and John Saville of Haysted by the Rev. James White. In 1849 she was playing at the Haymarket with Mr. and Mrs.
In 1979, Clegg made an appearance in the television adaptation of the William Shakespeare play Measure for Measure, in which he played the part of Froth, the foolish gentleman. In 1981, he appeared with various other members of the It Ain't Half Hot Mum cast in game show Family Fortunes, which saw them go head to head with the hosts of the show Give Us a Clue. In 1995 he appeared as a guest on David Croft's appearance on This Is Your Life. In 1997, Clegg featured alongside Helena Bonham Carter and Richard E. Grant in the British romantic comedy Keep the Aspidistra Flying (released in the USA and New Zealand as A Merry War), which was based on the novel by George Orwell.
Marinca graduated from the University of Fine Arts, Music and Drama "George Enescu" in Iași. In 2005, she won three Best Actress Awards (the BAFTA Television Awards, the Royal Television Society Award and the 'Golden Nymph' at 45th ) for her role in Sex Traffic, a CBC/Channel 4 drama about human trafficking. As well as appearing on stage in Romanian theatre productions, she also acted in Measure for Measure at the National Theatre in London. In 2007, she starred in the Romanian film ' (4 Months, 3 Weeks and 2 Days) by Cristian Mungiu, which won the Palme d'Or at the 2007 Cannes Film Festival, and two other awards (the Cinema Prize of the French National Education System and the FIPRESCI Prize).
Blank became a professor emeritus at VCU and was listed in the New Groves Dictionary of Music and Musicians. In 1985 he received a commission from the New York State Council on the Arts' Presenting Organization to compose "Quintet for Clarinet and String Quartet" for the Roxbury Chamber Players. Other awards mentioned in his University of Akron Bierce Library Archives composer profile are: First Prize in the George Eastman Competition (1985) sponsored by the Eastman School of Music for his Duo for Bassoon & Piano, and a grant (1985) from the National Endowment for the Arts to support his one-act opera, The Magic Bonbons. The Virginia Shakespeare Festival at Williamsburg commissioned Blank to write music for their production of Measure For Measure.
He was also the author of Shakespeare on Stage, a collection of interviews with thirteen leading actors focussing on specific Shakespearean roles. It was nominated as 2011 Theatre Book of the Year. In "Shakespeare on Stage" Curry interviewed Brian Cox (about the titular role of Titus Andronicus), Judi Dench (Juliet), Ralph Fiennes (about the titular role of Coriolanus), Rebecca Hall (Rosalind from As You Like It), Derek Jacobi (Malvolio from Twelfth Night), Jude Law (Hamlet), Adrian Lester (Henry V), Ian McKellen (Macbeth), Helen Mirren (Cleopatra), Tim Pigott-Smith (Leontes from A Winter's Tale), Kevin Spacey (Richard II), Patrick Stewart (Prospero from The Tempest), and Penelope Wilton (Isabella from Measure for Measure. A second volume of Shakespeare on Stage was published in 2017.
It stretches out, reaching into all dimensions, rebelling against its own foundations and outgrowing beginnings and endings. Although the production was a modern reworking, it used Shakespeare's original language and attempted to present it in a way that resonates today, not by replacing and resetting it in a parallel era or context, but by drawing on many different ideas, concepts, styles, techniques and quirks, and bring them together to form a unique, explorative and un-unified piece of theatre. Metra Theatre later described it as tackling Measure for Measure ‘with feminist foresight, socio-religious thinking and a bit of jive to boot’. In early 2006, Metra Theatre showcased a new version of the performance - including an Aerial Dance performed by Francesca Hyde - at The Lion and Unicorn pub theatre in Kentish Town, London.
Streep in 1979 One of Streep's first professional jobs in 1975 was at the Eugene O'Neill Theater Center's National Playwrights Conference, during which she acted in five plays over six weeks. She moved to New York City in 1975, and was cast by Joseph Papp in a production of Trelawny of the Wells at the Public Theater, opposite Mandy Patinkin and John Lithgow. She went on to appear in five more roles in her first year in New York, including in Papp's New York Shakespeare Festival productions of Henry V, The Taming of the Shrew with Raul Julia, and Measure for Measure opposite Sam Waterston and John Cazale. \- \- She entered into a relationship with Cazale at this time, and resided with him until his death three years later.
In 2011 the first jig to be performed in over 400 years was staged by the Owle Schreame theatre company, as part of Brice Stratford's production of Measure for Measure on the site of the Elizabethan Rose Theatre. When Shakespeare's Globe in London first began in 1996, an idea of adding a jig at the end of a performance was considered, and one was actually rehearsed, but it was cancelled. Instead, a stately dance has been regularly performed at the end of Shakespearean plays and preceding the curtain call. The dance is referred to as a jig, and though it may revive part of the idea or spirit, as simply a dance it differs from the traditional jig of the Elizabethan theatres in that it does not contain comic dialogue or plot.
She joined the Royal Shakespeare Company in December 1961, playing Anya in The Cherry Orchard at the Aldwych Theatre in London and made her Stratford-upon-Avon debut in April 1962 as Isabella in Measure for Measure. She subsequently spent seasons in repertory both with the Playhouse in Nottingham from January 1963, (including a West African tour as Lady Macbeth for the British Council) and with the Playhouse Company in Oxford from April 1964. In 1964, Dench appeared on television as Valentine Wannop in Theatre 625's adaptation of Parade's End, shown in three episodes. That same year, she made her film debut in The Third Secret, before featuring in a small role in the Sherlock Holmes thriller A Study in Terror (1965) with her Nottingham Playhouse colleague John Neville.
He invited them to lodge overnight in his house and eat and drink. But the men would not accept this for themselves, so he took them by the hand against their will, and brought them inside his house, as reports, “And he urged them greatly.” All were treated with measure for measure, for just as Lot had taken the angels by the hand without their will and taken them into his house, so they took hold of his hand in and took Lot and his family out of the city, as reports, “But he lingered; and the men laid hold upon his hand.” The angels told Lot and his family not to look behind, for the Shechinah had descended to rain brimstone and fire upon Sodom and Gomorrah.
In 2018 he played in five episodes in the BBC drama series Black Earth Rising. His theatre credits include the title role in Macbeth at The Royal National Theatre, Moon On a Rainbow Shawl directed by Maya Angelou/Almeida Theatre, Measure for Measure/Shakespeare & Co. USA, Black Poppies/Royal National Theatre, Some Kind Of Hero/Young Vic Theatre, Smile Orange/Leicester Playhouse, Hard Knocks/The Royal Court, Playboy of the West Indies/Manchester Contact Theatre, The Four Seasons/Edinburgh Festival, Noah’s Wife/Edinburgh Festival, An Enchanted Land/Riverside Studios and Angels Rave On/Nottingham Playhouse. After training with the BBC as a director, he wrote and directed his first short film The Promise of Strangers. His television credits include writing, producing and directing two seasons of BBC’s award- winning comedy sketch show The Real McCoy.
Othello's Act I, scene III monologue from Shakespeare's Othello at the White House Evening of Poetry, Music, and the Spoken Word on May 12, 2009 During this early to mid 1960s Jones acted in various works of William Shakespeare becoming one the best known Shakespeareian actors of the time. He tackled roles such as Othello and King Lear, Oberon in A Midsummer Night's Dream, Abhorson in Measure for Measure, and Claudius in Hamlet. Also during this time, Jones made his film debut in Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) as the young Lt. Lothar Zogg, the B-52 bombardier. Jones would later play a surgeon and Haitian rebel leader in The Comedians, alongside Richard Burton, Elizabeth Taylor and Alec Guinness.
Although Shakespeare commonly adapted existing tales, typically myths or works in another language, Joseph Pearce claims that King John, King Lear and Hamlet were all works that had been done recently and in English with an anti- Catholic bias, and that Shakespeare's versions appear to be a refutation of the source plays.Pearce (2008: 181–82) Pearce believes otherwise he would not have "reinvented the wheel", revisiting recent English plays. Peter Milward is among those who hold the view that Shakespeare engaged in rebuttal of recent English "anti-Papist" works. Again, David Beauregard points out that, in the Italian source for Measure for Measure, the secular heroine is seduced and finally married, but Shakespeare revises his characterisation, so that her counterpart Isabella becomes a Poor Clare novice who maintains her virginity and does not marry.
In his Memoires (1658), Francis Osborne writes of "the last great Earle of Oxford, whose Lady was brought to his bed under the notion of his Mistris, and from such a virtuous deceit she (Oxford's youngest daughter) is said to proceed" (p. 79).. Such a bed trick has been a dramatic convention since antiquity and was used more than 40 times by every major playwright in the Early Modern theatre era except for Ben Jonson. Thomas Middleton used it five times and Shakespeare and James Shirley used it four times.. Shakespeare's use of it in All's Well That Ends Well and Measure for Measure followed his sources for the plays (stories by Boccaccio and Cinthio); nevertheless Oxfordians say that de Vere was drawn to these stories because they "paralleled his own", based on Osborne's anecdote.; .
In his 1562 narrative poem The Tragical History of Romeus and Juliet, Arthur Brooke translated Boaistuau faithfully but adjusted it to reflect parts of Chaucer's Troilus and Criseyde. There was a trend among writers and playwrights to publish works based on Italian novelle—Italian tales were very popular among theatre-goers—and Shakespeare may well have been familiar with William Painter's 1567 collection of Italian tales titled Palace of Pleasure. This collection included a version in prose of the Romeo and Juliet story named "The goodly History of the true and constant love of Romeo and Juliett". Shakespeare took advantage of this popularity: The Merchant of Venice, Much Ado About Nothing, All's Well That Ends Well, Measure for Measure, and Romeo and Juliet are all from Italian novelle.
The Talmud discusses the concept of justice as measure-for-measure retribution (middah k'neged middah) in the context of divinely implemented justice. Regarding reciprocal justice by court, however, the Torah states that punishments serve to remove dangerous elements from society ("…and you shall eliminate the evil from your midst") and to deter potential criminals from violating the law ("And the rest shall hear and be daunted, and they shall no longer commit anything like this evil deed in your midst".). Additionally, reciprocal justice in tort cases serves to compensate the victim (see above). The ideal of vengeance for the sake of assuaging the distress of the victim plays no role in the Torah's conception of court justice, as victims are cautioned against even hating or bearing a grudge against those who have harmed them.
At her later adult baptism at St. Peter's Church, Leeds on 30 December 1866 (born 3 March 1848) she was also named Lilian Adelaide Lizon, daughter of Pierre and Annie Lizon of St. Peters Square, and Pierre's quality being described as gentleman. In the spring of 1865, after having received some instruction from the veteran actor, John Ryder, she appeared at Sarah Thorne's Theatre Royal (Margate), long a training-school for novices, where she made a favourable impression. In 1865, at Theatre Royal (Margate), she appeared as Julia in The Hunchback, a character with which her name was long to be associated. For the next few years, she played at London and provincial theatres in various roles, including Rosalind, Amy Robsart and Rebecca (in Ivanhoe), Beatrice, Viola and Isabella (in Measure for Measure).
Shakespeare also used the Pastoral genre in As You Like It to 'cast a > critical eye on social practices that produce injustice and unhappiness, and > to make fun of anti-social, foolish and self-destructive behaviour', most > obviously through the theme of love, culminating in a rejection of the > notion of the traditional Petrarchan lovers. The stock characters in conventional situations were familiar material for Shakespeare and his audience; it is the light repartee and the breadth of the subjects that provide opportunities for wit that put a fresh stamp on the proceedings. At the centre the optimism of Rosalind is contrasted with the misogynistic melancholy of Jaques. Shakespeare would take up some of the themes more seriously later: the usurper Duke and the Duke in exile provide themes for Measure for Measure and The Tempest.
In 2005, Oswald's third play written for the Globe was first performed: The Storm, an adaptation of Plautus' comedy Rudens (The Rope) – one of the sources of Shakespeare's The Tempest. Other historical first nights were organised by Rylance while director of the Globe including Twelfth Night performed in 2002 at Middle Temple, to commemorate its first performance there exactly 400 years before, and Measure for Measure at Hampton Court in summer 2004. In 2007, he received a Sam Wanamaker Award together with his wife Claire van Kampen, Director of Music, and Jenny Tiramani, Director of Costume Design, for the founding work during the opening ten years at Shakespeare's Globe. In 2013, Shakespeare's Globe brought two all-male productions to Broadway, starring Rylance as Olivia in Twelfth Night and in the title role in Richard III, for a limited run in repertory.
Andrea Louise Riseborough (born 20 November 1981) is an English actress. She made her film debut in Venus (2006), and has subsequently appeared in Happy- Go-Lucky (2008), Never Let Me Go, Brighton Rock, Made in Dagenham (all 2010), W.E. (2011), Shadow Dancer, Disconnect (both 2012), Welcome to the Punch, Oblivion (both 2013), Birdman (2014), Nocturnal Animals (2016), Battle of the Sexes and The Death of Stalin (both 2017) and Mandy (2018). Outside of film, Riseborough received a BAFTA nomination for her portrayal of Margaret Thatcher in the television film The Long Walk to Finchley (2008), and won critical acclaim for her performances in the Channel 4 miniseries The Devil's Whore (2008) and National Treasure (2016). Her stage credits include August Strindberg's Miss Julie and Shakespeare's Measure for Measure (Theatre Royal, both 2006), and Anton Chekhov's Ivanov (West End, 2008).
A Juilliard School graduate in drama, he has been part of Rising Phoenix Repertory from 2005 onwards and takes part in many other theatre groups as well. He made his Broadway debut as Lorenzo in the 2010 revival of The Merchant of Venice and has played the boxer Joe Bonaparte in Golden Boy and as Albert in War Horse both at the Lincoln Center Theater on Broadway. He has also acted off Broadway like in Slipping, Yosemite and Blind as part of Rattlestick Playwrights Theater program, in Too Much Memory, Favorites and Break Your Face on My Hand with Rising Phoenix Repertory, On the Levee and Iphigenia 2.0 with Signature Theatre. Other roles include Gates of Gold with 59E59 and Dutch Masters with LAByrinth and regionally in The History Boys, The Cure at Troy, Measure for Measure and The Judgment of Paris.
He had seen Sir John Gielgud as Angelo in Peter Brook's 1950 Stratford-upon-Avon production of Measure for Measure, "and suddenly knew what I wanted to do". He played Malvolio – "looking as lean, lanky and statuesque as Don Quixote," said the Oxford Mail – in a Mansfield College gardens production of Twelfth Night with Maggie Smith as Viola. He directed and starred in a student production of Richard III and invited one of the leading critics of the day, Harold Hobson, to the performance, telling Hobson that he would be "wanting in his duties" to ignore a Richard III that was "finer than Olivier’s". Out of curiosity, Hobson went to the performance, and reported that he had seen "something not to be missed"; the young actor had a "sardonic, amused condescension and visible superiority complex", and the critic foresaw "a considerable future".
After leaving Stratford she co-starred with Michael Redgrave, in Tiger at the Gates in the West End and on Broadway, before returning to work at the Old Vic. Amongst other roles she played there were Portia in The Merchant of Venice; Imogen in Cymbeline; Beatrice in Much Ado About Nothing; Julia in The Two Gentlemen of Verona; Tamora in Titus Andronicus; Lady Anne in Richard III; Viola in Twelfth Night; Queen Margaret in Henry VI 1–3; Isabella in Measure for Measure; Regan in King Lear; Rosalind in As You Like It; and Viola in Twelfth Night. In 1978 she played Gertrude to Derek Jacobi's Hamlet. She also played Gwendoline in "The Importance of Being Earnest", Beatrice in Shelley's The Cenci and Joan in George Bernard Shaw's Saint Joan, emulating her mentor and friend, Dame Sybil Thorndike.
Holmes has worked with the Royal Shakespeare Company, directing Julius Caesar, Measure for Measure, Richard III, The Roman Actor, A New Way to Please You and the Filter theatre company co-production of Twelfth Night. He has directed plays at the Donmar Warehouse, the Old Vic, the Royal Court and other London theatres, including The Entertainer, The English Game, The Man Who Had All the Luck, The Price, Look Back in Anger, Moonlight and Magnolias and Pornography. He was an associate director of the Oxford Stage Company (now Headlong theatre company) from 2001 to 2006. He directed the new stage adaptation of Treasure Island, starring Keith Allen, which opened at the West End’s Theatre Royal Haymarket in November 2008. He directed a revival of Joe Orton’s Loot, starring Matt Di Angelo, at the Tricycle Theatre from December 2008.
His recent off-Broadway work includes Dada Woof Papa Hot (Lincoln Center Theater), Ripcord Manhattan Theater Club), How I Learned to Drive for 2nd Stage, Twelfth Night, All's Well, Measure for Measure (Delacorte), School For Lies at CSC, Russian Transport and The Spoils for the New Group, and The Brother/Sister Trilogy at the Public. He continues to work for Lincoln Center Theater, NYSF, MTC, CTG, Encores! and Playwrights Horizons as well as for most leading regional theatres in the US. His opera work includes productions at the Metropolitan Opera, New York City Opera, LAMCO, San Francisco Opera, Houston Grand Opera, Santa Fe, Seattle, and Opera Theatre of St. Louis. Outside of the US he has worked at the Royal Opera, Scottish Opera, Opera/North, Bonn, Maggio Festival Florence, L’Arena di Verona, Teatrolirico di Cagliari, La Fenice, Teatro Sao Carlos Lisbon.
This played at the Brooklyn Academy of Music in New York. In the Stratford main house he first directed Shakespeare's Measure for Measure with Michael Pennington, and then went on to direct many others including The Roaring Girl with Helen Mirren, The Taming of the Shrew with Sinead Cusack and Alun Armstrong, Love's Labour's Lost with Kenneth Branagh and Richard II with Jeremy Irons. In 1986 he directed the first production at the RSC's new Swan Theatre: The Two Noble Kinsmen by William Shakespeare and John Fletcher, with Gerard Murphy, Hugh Quarshie and Imogen Stubbs, and served there as Artistic Director until 1991. He pioneered Marlowe's plays in The Swan with The Jew of Malta (1987) and Dr Faustus (1989) and staged rare works such as James Shirley's Hyde Park (1989) with Fiona Shaw and Alex Jennings.
After spending some time in London on the staff of The Old Vic, as well as working on a production of Measure for Measure at Stratford-upon-Avon, Landau's efforts caught the eye of John Houseman, who had been hired as artistic director for the American Shakespeare Festival Theatre and Academy in Stratford, Connecticut, in early 1956. On May 8, 1956, it was announced that Landau would be the new associate director at the Shakespearean establishment. (See American Shakespeare Theatre.) When Houseman resigned his position in August 1959, Landau was appointed as his replacement the following month. In September 1961, Landau was asked to make a Shakespearean theatrical presentation at The White House at the request of President John F. Kennedy and his wife, Jacqueline Kennedy, to honor a visit from President Ibrahim Abboud of the Sudan.
But he also toured around Britain in many productions at local repertory theatres. Among some outstanding performances he played Lambert le Roux in Pravda to critical acclaim, Rev Hale in Arthur Miller's The Crucible, Scrooge in Dickens' A Christmas Carol, Bluntschi in Arms and the Man, Subtle in The Alchemist, Claudio in Shakespeare's Measure for Measure, and Colin in Ashes for which feat of achievement he was cast in The Bill. Leach appeared in a West End production of Anthony Shaffer's play The Case of the Oily Levantine directed by Patrick Dromgoole, and at the Royal Court in Gimme Shelter. In later years he featured as Uncle Max in the Sound of Music, Captain Brackett in South Pacific, the Narrator in The Rocky Horror Show, Doolittle in My Fair Lady, and in 2001, Peachum in a tour of The Threepenny Opera.
Notable 20th century productions of Measure for Measure include Charles Laughton as Angelo at the Old Vic Theatre in 1933, and Peter Brook's 1950 staging at the Shakespeare Memorial Theatre with John Gielgud as Angelo and Barbara Jefford as Isabella. In 1957 John Houseman and Jack Landau directed a production at the Phoenix Theatre in New York City that featured Jerry Stiller and Richard Waring. The play has only once been produced on Broadway, in a 1973 production also directed by Houseman that featured David Ogden Stiers as Vincentio, Kevin Kline in the small role of Friar Peter, and Patti Lupone in two small roles. In 1976, there was a New York Shakespeare Festival production featuring Sam Waterston as the Duke, Meryl Streep as Isabella, John Cazale as Angelo, Lenny Baker as Lucio, Jeffrey Tambor as Elbow, and Judith Light as Francisca.
Grant was born on 20 September 1983 in southwest London, to Irene Whilton, a costume designer, and Kenneth Grant, a district judge. She was trained in classical ballet and was awarded a place as a Junior Associate of the Royal Ballet School at the age of 10 and she performed with The Royal Ballet at Covent Garden Opera House and the Birmingham Royal Ballet at Sadler's Wells. Grant then obtained a place at St Paul's Girls' School where she combined her studies with extra-curricular performing; winning a place as a Junior Associate at the Guildhall School of Music and Drama whilst still at school. At Brasenose College, Oxford University she studied English Literature whilst performing in up to two plays a term in parts such as Isabella in Shakespeare's Measure for Measure, Anna in Patrick Marber's Closer, and Natasha in Chekhov's Three Sisters at the Oxford Playhouse.
Halloran's studio practice is in constant dialogue between art and science. Originating through scientific concepts, her works interweave ideas of the natural world with those of physicality, sexuality, intimacy and movement. Her projects blend these ideas with that of mapping the physics of motion, as seen in The World Is Bound In Secret Knots and Dark Skate, or perception, scale, and giant crystal caves, as seen in The Only Way Out Is Through, or cabinets of curiosities and taxonomy, as seen in Wonder Room, or the periodic table of elements, as seen in Sublimation/Transmutation. Halloran has been involved in several collaborative projects, including co-curating exhibitions, one with artist Rebecca Campbell titled, Better Far Pursue A Frivolous Trade By Serious Means, Than A Sublime Art Frivolously, and another exhibition about the nature of scale with physicist Dr. Lisa Randall, titled Measure for Measure.
In 2015 the company began international touring, playing at the Neuss Festival in Germany in 2015, 2016 & 2017, and at the Craiova International Festival in Romania in 2016. While Shakespeare has clearly been his main focus, Hilton has attracted high praise for his three Chekhov productions - Three Sisters, Uncle Vanya and The Cherry Orchard - and also for his productions of Tom Stoppard's Arcadia, Sheridan's The School for Scandal and Friel's Living Quarters. In most of his work Hilton works in collaboration with the playwright, Dominic Power, who edits Shakespeare with him and has also contributed new scenes to Measure for Measure, The Changeling, The Taming of the Shrew, Two Gentlemen of Verona and All's Well That Ends Well. He has also enjoyed longstanding collaborations with the designer Harriet de Winton, the composer John Telfer and the composer & sound designers Elizabeth Purnell and Dan Jones.
At this house he played Lothario, Banquo, Hector in Dryden's Troilus and Cressida, Angelo in Measure for Measure, Sempronius in Cato, Lord Morelove in The Careless Husband (Colley Cibber), Timon, Carlos in The Fatal Marriage (Thomas Southerne), the King in The Mourning Bride, Ghost in Hamlet, Fainall in The Way of the World, Colonel Briton, Bajazet, Henry VI in Richard III, Young Rakish in The School Boy (Colley Cibber), Falconbridge, Dolabella in All for Love, Horatio in The Fair Penitent, Norfolk in Richard II, Marcian in Theodosius (Nat Lee), Kite in The Recruiting Officer, and Scandal in Love for Love. The last part in which he is mentioned at Covent Garden is Ambrosio in Don Quixote, which he played on 17 May 1739. In 1739–40 he seems to have been resting, but he played, 17 May 1740, Macheath for his benefit at Drury Lane.
In some years a one-off peripatetic performance is staged, using various local, historic sites and batteries as dramatic settings for the play. To date, the company has performed Hamlet at the Prince of Wales Martello Tower twice, Richard III at the Sir Sandford Fleming Tower and at the Halifax Citadel, Henry V at the Halifax Citadel, King Lear at the Halifax Citadel, Julius Caesar in the historic courthouse on Spring Garden Road and Measure for Measure at the Prince of Wales Martello Tower. Murphy has led the drive to develop the rehearsal and office space that the company uses into The Park Place Theatre, an 82-seat black box venue, to be used in the event of poor weather during the summer. The theatre has allowed the company to expand its operations into the spring and fall with small scale productions happening on an annual basis.
He has been nominated for the Henry Awards for Outstanding Scenic Award of Denver Theater Center's Measure for Measure directed by Kent Thompson in 2006, awarded the "Bay Area Critics Award" for Best Set Design of William Saroyan's The Time of Your Life (2004) directed by Tina Landau, and has also received a 2001 Jefferson Award Nomination for Best Set Design of Steppenwolf Theatre Company's Ballad of Little Jo (2000) directed by Tina Landau He was the production designer for feature films Southie (1998) directed by John Shea and Fool's Fire (1992) directed by Julie Taymor, art director of the Amazon children's short Didi Lightful (2012), and assistant art director for the film Big Blonde (1980) directed by Kirk Browning. He lives in both Seattle, Washington and Rowayton, Connecticut with his family while continuing to create, collaborate, and educate others about his work as a theatrical designer.
Cross-dressing, in particular, "released the heroine for a more active role in the plotting, making her the subject as much as the object of action", since it "removes the character from both the domestic arena, where her action would be restricted to the roles of a wife, and the world of city comedy where her sexuality would be at issue."McLuskie (1994, 133). McLuskie relates this dramatic strategy to Thomas Middleton and Dekker's The Roaring Girl (c. 1607). Sonia Massai identifies Heywood's use of stock characters familiar from his other plays, such as the dissolute youth, the pedantic schoolmaster, and the foolish old father, as well as relating The Wise Woman of Hoxton to a number of other contemporary plays that included a Griselda-type heroine: All's Well That Ends Well, Measure for Measure, and How a Man May Choose a Good Wife from a Bad.
In September 2013, Harris was named as one of Variety Magazine's "10 Brits To Watch". Harris has appeared in numerous stage productions, including A Streetcar Named Desire at London's Pack and Carriage and Measure For Measure at Oxford's North Wall, which received favourable reviews. In November 2016, she appeared in the role of Beth Armstrong for the BBC Radio 4 play Michael and Boris: The Two Brexiteers. Harris' musical experience has influenced her acting career, with her recording an original song for a commercial for the technology company Eizo, and her role as the Witch in a production of the musical Into The Woods at the Oxford School of Drama. In November 2016, Harris appeared in the role of sound technician in the music video for Bring Me The Horizon’s single "Oh No". Harris’ other work includes Global commercial roles for the companies Eizo Global, Active Digital, and Coms Plc.
The majority of Shakespeare's tragedies are based on historical figures, with the exception of Measure for Measure and Othello, which are based on narrative fictions by Giraldi Cintio. The historical basis for Shakespeare's Roman plays comes from The Lives of Noble Grecians and Romans by Plutarch, whereas the source of Shakespeare's Britain based plays and Hamlet (based on the Danish Prince Amleth) derive from Holinshed's Chronicles. Furthermore, the French author Belleforest published The Hystorie of Hamblet, Prince of Denmarke in 1582 which includes specifics from how the prince counterfeited to be mad, to how the prince stabbed and killed the King's counsellor who was eavesdropping on Hamlet and his mother behind the arras in the Queen's chamber. The story of Lear appears in Geoffrey of Monmouth's Historia regium Britanniae , and then in John Higgins' poem The Mirror for Magistrates in 1574, as well as appearing in Holinshed's Chronicles in 1587.
Additional theatrical highlights include Days to Come by Lillian Hellman for the Mint Theater Company, Lips Together, Teeth Apart, directed by Mark Lamos (Westport Playhouse, CT), The Front Page, directed by Gordon Edelstein (Long Wharf Theater, New Haven CT), Violet Hour, directed by David Kennedy, and Hedda Gabler, directed by Ron Daniels (Dallas Theater Center, Dallas, TX), P.R. Man (Ohio Theatre, NYC), A View from the Bridge and A Midsummer Night's Dream (Alley Theater, Houston, TX), Galileo and Measure For Measure (Yale Repertory Theater, New Haven, CT), among many others. Television appearances include guest starring roles on Mrs. Fletcher, Chicago Fire, Instinct, Law & Order: SVU, The Good Wife, Cupid and Law & Order, as well as recurring roles on Law & Order: Criminal Intent and Guiding Light. He has appeared in the films Trust (2010 film) (premiering at the Toronto Film Festival), The International and Thirteen Days, and has been seen in dozens of indie features and shorts over the years.
After the war, he played the part of the solicitor Desmond Curry in Terence Rattigan's The Winslow Boy on an extensive tour of the USA (1947-8), before returning to revue in the highly successful Lyric and Globe RevuesWho's Who in the Theatre, 16th edition, 1977. in 1955 he joined the Old Vic Company (with Robert Helpmann and Katharine Hepburn) on a tour of Australia, playing the clown roles in Measure for Measure, The Merchant of Venice and The Taming of the ShrewWho's Who in the Theatre, 16th edition, 1977. During the late 1950s he cemented his reputation as skilled comedy actor in a succession of stage roles, perhaps notably that of Arthur Groomkirby in N. F. Simpson's 'Theatre of the Absurd' play One Way PendulumObituary in The Times, 21 June 1983. Although still noted as a comedy actor, during the 1960s he showed he could also excel in darker and more serious roles.
In 1989 Hilton and Favell joined a group of actors, writers and directors to start the first regular pub theatre in Bristol, dedicated largely to new writing. The company, Show of Strength Theatre Company, found the Hen & Chicken pub in the south of the city, in Bedminster, and inaugurated winter seasons there that were to last for six years and attract national attention. Hilton directed six productions for the company – the world premières of Tales of the Undead by Dominic Power, and Let's Do It and Rough Music by James Wilson; the UK premiere of Michael Gow's Away; the English professional première of Brian Friel's Living Quarters; and an in-the-round production of Measure for Measure. In 1998, after Hilton and Favell had both left the company, Show of Strength moved its operation to the Tobacco Factory – then in process of restoration and redevelopment by George Ferguson – and it was this that inspired them to create 'Shakespeare at the Tobacco Factory in 1999.
The Pre-Raphaelites frequently used allegorical images to create a narrative to teach a moral virtue or virtues, and sometimes used contemporary literature as inspiration for their paintings, which often include numerous details that allow the viewer to "read" the painting. Millais used Tennyson's poetry to create a narrative for his painting of Mariana and he wanted to allow the viewer familiar with Tennyson's poetry to read the entire poem through the painting. It was first exhibited at the Royal Academy in 1851 – the year after Tennyson was appointed as Poet Laureate – with a display caption that contained lines 9 to 12 from Tennyson's poem "Mariana" (1830): She only said, 'My life is dreary, He cometh not,' she said; She said, 'I am aweary, aweary,' I would that I were dead!' Millais's painting may have been painted as a companion piece to William Holman Hunt's 1850 painting Claudio and Isabella, which also depicts a scene from Measure for Measure.
Ellis Jones is a British director and actor. In recent years he has been involved in training and directing student actors, for sixteen years as a resident director at the Royal Academy of Dramatic Art (RADA) London, and subsequently as a guest director for other leading drama schools in the UK and abroad, including the Royal Central School and the Shanghai Theatre Academy, and as a consultant to the New York University Tisch School of the Arts. He became known for his role as the young apprentice Hal Adden, in the 1970s children's comedy series Pardon My Genie. He went on to appear in many other television productions, such as The Squirrels, 1914 All Out, King Lear and Measure for Measure Having worked extensively in recent years in theatre training, directing and producing, Ellis Jones recently made a cautious return to performing, as understudy to Kenneth Cranham in London's West End and on tour in Florian Zeller's award-winning play "The Father".
1742, as Arabella in the London Cuckolds of Ravenscroft, she first appeared at Covent Garden, where she played, among other parts, Sylvia in The Recruiting Officer, Paulina in The Winter's Tale, Nottingham in Essex, Queen in Hamlet, Elvira in the Spanish Fryar, Mrs. Frail, and Doris in Æsop, Benjamin Hoadley's The Suspicious Husband Next year she returned to Drury Lane, playing Amanda in The Relapse, Margarita in Rule a Wife and have a Wife, Elvira in Love makes a Man, Jane Shore, Belvidera, and Kitty Pry in the Lying Valet, and was, on 17 Feb. 1743, the original Clarinda in Fielding's Wedding Day. In January 1744 she was once more at Covent Garden, where she remained until 1747, adding to her repertory Isabella in Measure for Measure, Queen Katharine, Calista, Andromache, Lady in Comus, Abra-Mulé, Lady Macbeth, Queen in Richard III, Portia in Julius Cæsar, Aspasia, Lætitia in Old Bachelor, Evadne in Maid's Tragedy, Mariamne, Lady Brute, Maria in the Nonjuror, Mrs.
Riverside Studios became fully operational in 1978 with Gill's landmark production of The Cherry Orchard, for which Julie Covington turned down the lead in Evita. The venue quickly acquired an international reputation for excellence and innovation with productions including The Changeling with Brian Cox and Robert Lindsay (1979), Measure for Measure with Helen Mirren (1979) and Julius Caesar with Phil Daniels (1980), as well as a variety of international work – including, notably, that of Polish theatre maestro Tadeusz Kantor. In 1978, Riverside hosted the first of many Dance Umbrella seasons, featuring the work of Rosemary Butcher and Richard Alston. Gill also offered residencies to artists including Bruce McLean and Ian Coughlin and companies such as the Black Theatre Co-operative (now nitroBEAT). Art exhibitions (including 'Prints' by Howard Hodgkin, 1978) had been curated by Milena Kalinovska in Riverside's foyer, but following Gill's departure in 1980, a purpose-built gallery space was established by the resident Architect Will Alsop and John Lyall along with Technical Director Steven Scott.
May's compositions included "Long Tall Mama" and "Measure for Measure", recorded with the Glenn Miller Orchestra, "Boom Shot", written with Miller (May's wife Arletta originally received credit as co-author in his place) for the soundtrack of the 1942 movie Orchestra Wives, "Harlem Chapel Bells", which was performed with Glenn Miller and his Orchestra on April 2, 1941 and broadcast on the Chesterfield Moonlight Serenade radio program, "Lean Baby", "Fat Man Boogie", "Ping Pong", "Jooms Jones", "Gabby Goose", "Lumby", "Daisy Mae" and "Friday Afternoon" with Hal McIntyre, "Miles Behind", "The Wrong Idea" with Charlie Barnet, "Wings Over Manhattan", "Filet of Soul", "Mayhem", "Gin and Tonic", and "Solving the Riddle". But his biggest hit as a composer was the children's song "I Tawt I Taw a Puddy Tat", which he recorded with Mel Blanc in 1950. Another arrangement, "Be My Host", served as the winner's fanfare on The Newlywed Game and was played after host Bob Eubanks announced the winning couple.
On 8 September 1813, as Leon in Rule a Wife and Have a Wife by John Fletcher, Terry made his first appearance at Covent Garden, where, with frequent migrations to Edinburgh and summer seasons at the Haymarket, he remained until 1822. Among the parts he played in his first season were Sir Robert Bramble in the Poor Gentleman, Dornton in the Road to Ruin, Ford, Sir Adam Contest in the Wedding Day, Ventidius in Antony and Cleopatra, Shylock, Churlton, an original part in James Kenney's Debtor and Creditor, 26 April 1814, and Sir Oliver in ‘School for Scandal.’Other characters in which he was early seen at Covent Garden included Marrall in A New Way to pay Old Debts, Stukeley in the Gamester, Sir Solomon Cynic in the Will, Philotas in The Grecian Daughter, and Angelo in Measure for Measure. Daniel Terry in the role of Leon from Rule a Wife and Have a Wife.
He joined the company of The Old Vic in 1937 for whom he played Alfred Doolittle in Pygmalion before joining the company of the Shakespeare Memorial Theatre in Stratford-upon-Avon in 1938 for whom he played Launce in The Two Gentlemen of Verona (1938), Bottom in A Midsummer Night's Dream (1938 and 1942), Touchstone in As You Like It (1929–1942), First Gravedigger in Hamlet (1940 and 1942), Porter in Macbeth (1938 and 1942), Pompey in Measure for Measure (1939–1940), Gardener in Richard II (1941), Sir John Falstaff in The Merry Wives of Windsor (1940), Autolycus in The Winter's Tale (1942), Christopher Sly The Taming of the Shrew (1939–1942), Stephano in The Tempest (1938–1942) and Sir Toby Belch in Twelfth Night (1941).Jay Laurier in Twelfth Night (1941), Royal Shakespeare Company. Retrieved 14 May 2020Roles of Jay Laurier (1938–1942), Royal Shakespeare Company. Retrieved 14 May 2020 Laurier played Christopher Sly in The Taming of the Shrew,J.
Productions mounted over the span of the Phoenix Theatre's existence include The Doctor's Dilemma (George Bernard Shaw), The Master Builder (Henrik Ibsen), Story of a Soldier (music drama, Igor Stravinsky), Six Characters in Search of an Author (Luigi Pirandello), The Mother of Us All (opera, Virgil Thomson and Gertrude Stein), Measure for Measure (William Shakespeare), Livin' the Life (musical based on Mark Twain's Mississippi River tales), The Good Woman of Szechuan (Bertolt Brecht), The Taming of the Shrew (William Shakespeare), and Anna Christie (Eugene O'Neill). Houghton, frustrated by the role of theatrical producer because it precluded him from directing, left the Phoenix to become a professor at Vassar College, beginning in 1959 and completely disengaging from the Phoenix within a few years. T. Edward Hambleton continued to run the Phoenix for the remainder of its existence. In 1961 the Phoenix, financially troubled, moved to a new and smaller house (300 seats) at 334 East 74th Street and ceased being a repertory company.
Shakespeare's career continued into the Jacobean period, and in the early 17th century Shakespeare wrote the so-called "problem plays", Measure for Measure, Troilus and Cressida, and All's Well That Ends Well, as well as a number of his best known tragedies, including Hamlet, Othello, Macbeth, King Lear and Anthony and Cleopatra.; . The plots of Shakespeare's tragedies often hinge on such fatal errors or flaws, which overturn order and destroy the hero and those he loves.. In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: Cymbeline, The Winter's Tale and The Tempest, as well as the collaboration, Pericles, Prince of Tyre. Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors.. Shakespeare collaborated on two further surviving plays, Henry VIII and The Two Noble Kinsmen, probably with John Fletcher.
In his biography of Oxford, B. M. Ward suggested that the two aristocrats collaborated, accepting aspects of both Lefranc's and Looney's views, arguing that Derby must have at least contributed to Love's Labour's Lost and other plays. A. J. Evans in Shakespeare's Magic Circle (1956) argued that Derby was the principal author of the plays, with Oxford in a lesser role, and that both passed drafts to other leading men of the day, including Francis Bacon and Roger Manners, 5th Earl of Rutland, for emendations and additions.R. C. Churchill, Shakespeare and His Betters: A History and a Criticism of the Attempts Which Have Been Made to Prove That Shakespeare's Works Were Written by Others, Max Reinhardt, London, 1958, p. 56. Evans drew on a recent argument that the plot of Measure for Measure was similar to the events that occurred in Paris in 1582, when the king Henry III of France was absent.
His appearances with the Royal Shakespeare Company included roles in Doctor Faustus (1969), Much Ado About Nothing (1969), The Hollow Crown (1976), Pleasure and Repentance (1976), The Winter's Tale, (1984), The Crucible (1984), Krapp's Last Tape (1984), The Danton Affair (1986), King John (1989), Henry VI (1989), The Merchant of Venice (1997), Talk of the City (1998), Back to Methuselah (2001) and Women Beware Women (2006). At the National Theatre he appeared in Measure for Measure (1973), The Bacchae (1973), and The Alchemist (2006). Other major stage appearances include roles in Hamlet (1971), The Black and White Minstrels (1973), Donkey's Years (1976), The Importance of Being Earnest (1977), The Achurch Letters (1978), Outside Edge (1979), The Duchess of Malfi (1981), Nightshade (1984), Samuel Beckett's Company (1987), Timon of Athens (1991), Cyrano de Bergerac (1992), Lust - the musical (1993), Richard 2nd (2006) and Love - the musical (2008). He toured with the Old Vic Company, the RSC and Prospect Theatre Company.
He joined the Royal Shakespeare Company on graduation and remained in a junior capacity from 1964 to 1966, playing among other things Fortinbras in David Warner's 1965 Hamlet. He then left the company for eight years and worked in London, both on the stage (in John Mortimer's The Judge, Christopher Hampton's Savages and Tony Richardson's production of Hamlet with Nicol Williamson), and on TV in many single dramas. He returned to the RSC in 1974 to play Angelo in Measure for Measure, beginning a relationship with the company as a leading actor which culminated in his own performance of Hamlet in 1980/81: he also played Berowne in Love's Labour's Lost, Edgar in King Lear, and in new work by David Rudkin, David Edgar and Howard Brenton and classic works by Sean O'Casey, Euripides and William Congreve. He then left the company for a further eight years before appearing in Stephen Poliakoff's Playing with Trains, and ten years after that in the title role of Timon of Athens.
For modern readers and audiences, the bed trick is most immediately and most closely associated with English Renaissance drama,Marliss C. Desens, The Bed-Trick in English Renaissance Drama: Explorations in Gender, Sexuality, and Power, Dover, DE, University of Delaware Press, 1994. primarily due to the uses of the bed trick by Shakespeare in his two dark comedies, All's Well That Ends Well and Measure for Measure. In All's Well That Ends Well, Bertram thinks he is going to have sex with Diana, the woman he is trying to seduce; Helena, the protagonist, takes Diana's place in the darkened bedchamber, and so consummates their arranged marriage. In this case, the bed trick derives from Shakespeare's non-dramatic plot source, the ninth story of the third day in the Decameron of Boccaccio (which Shakespeare may have accessed through an English-language intermediary, the version in William Painter's Palace of Pleasure).Anne Barton, Introduction to All's Well That Ends Well, in: The Riverside Shakespeare, G. Blakemore Evans, general editor; Boston, Houghton Mifflin, 1974; pp. 499–500.
After spending just one year working in repertory theatre, she was given the part of Isabella in 1950 in Peter Brook's production of Measure for Measure at the Shakespeare Memorial Theatre, (later the base of the Royal Shakespeare Company) in Stratford-upon-Avon, playing opposite John Gielgud (Angelo) and Harry Andrews (Vincentio). Over the next four years, she played many more major Shakespearean roles: Anne Boleyn in Henry VIII in 1950; Calpurnia in Julius Caesar opposite Anthony Quayle and Michael Langham in 1950; Hero, opposite John Gielgud and Peggy Ashcroft in 1950; Lady Percy in Henry IV, opposite John Kidd, Anthony Quayle and Michael Redgrave in 1951; Isabel opposite Richard Burton in Henry V, in 1951; Desdemona to Anthony Quayle's Othello in 1952; Rosalind in As You Like It (New Zealand Tour, 1953); Lady Percy in Henry IV, Part 1 ( New Zealand Tour and International Tour, 1953); Hippolyta in A Midsummer Night's Dream in 1954; Kate to Keith Michell's Petruchio in The Taming of the Shrew in 1954; and Helen in Troilus and Cressida in 1954.
The Bowdlers were not the first to undertake such a project, but their commitment to not augmenting or adding to Shakespeare's text, instead only removing sensitive material while striving to make as little of an impact as possible on the overall narrative of the play, differentiated The Family Shakespeare from the works of earlier editors. A Folger collection second folio (1632) went under the pen of a censor for the Holy Office in Spain, Guillermo Sanchez, who, similar to the Bowdlers, focused on redacting sensitive material; however, unlike the Bowdlers, he blacked out and redacted large swaths of Shakespeare's verses with little care for maintaining the integrity of the works, even going so far as to cut Measure for Measure out entirely. Others took more creative liberty in sanitising the Bard's works: In 1681, Nahum Tate as Poet Laureate rewrote the tragedy of King Lear with a happy ending. In 1807, Charles Lamb and Mary Lamb published a children's edition of the bard's work, Tales from Shakespeare, that had synopses of 20 plays but seldom quoted the original text.
Swinton at the 2009 Vienna International Film Festival Swinton joined the Royal Shakespeare Company in 1984, appearing in Measure for Measure. She also worked with the Traverse Theatre in Edinburgh, starring in Mann ist Mann by Manfred Karge in 1987. On television, she appeared as Julia in the 1986 mini-series Zastrozzi: A Romance based on the Gothic novel by Percy Bysshe Shelley. Her first film was Caravaggio in 1986, directed by Derek Jarman. She went on to star in several Jarman films, including The Last of England (1987), War Requiem (1989) opposite Laurence Olivier, and Edward II (1991), for which she won the Volpi Cup for Best Actress at the 1991 Venice Film Festival. Swinton performed in a performance art piece, Volcano Saga, by Joan Jonas in 1989. The 28-minute video art piece is based on a thirteenth- century Icelandic Laxdeala Saga, and it tells a mythological myth of a young woman whose dreams tell of the future. Swinton also played the title role in Orlando, Sally Potter's film version of the novel by Virginia Woolf.
Armstrong moved to the United States in 1981, where she studied under Herbert Berghof and Uta Hagen at the HB StudioHB Studio Alumni in New York City on an acting scholarship.Profile , 16th St Actors Studio, Melbourne With the studio's Playwrights Foundation, she played Juliet in Shakespeare's Romeo and Juliet, Ophelia in Hamlet, and Isabella in Measure for Measure at the Arena Stage in Washington, DC. In order to obtain residency, Armstrong and Robinson agreed she would have to marry a US citizen, so they separated and she married her friend Alexander Bernstein. Armstrong only had a professional arrangement with Bernstein, but her long distance from Robinson dissolved their relationship. In the US, she starred as Christine in Tom Stoppard's Dalliance at the Long Wharf Theatre in New Haven, Connecticut,"Theater; Stoppard's Dalliance in New Haven" by Alvin Klein, The New York Times, 12 April 1987 had an ongoing role in daytime serial One Life to Live, and became part of The Actors' Gang along with John Cusack and Tim Robbins.
Garrett has worked in theatre across Australia, appearing with many major companies, in productions including Blood Wedding, A Midsummer Night's Dream, Hamlet, The Crucible, Dear Janet Rosenberg, Dear Mr Kooning, Butterflies are Free, Measure for Measure, My Shadow and Me, Dusa, Fish, Stas and Vi, As You Like It, The Lady of the Camellias, On Our Selection, Waiting for Godot, The House of the Deaf Man, The Bride of Gospel Place, The Dybbuk, Variations, Top Girls., The Servant of Two Masters, Extremities, Europe, A Chorus of Disapproval, Rough Crossing, From Here to Maternity, The Popular Mechanics, Emma, Blood Moon, The Lift, Brilliant Lies, Breaststroke, Burning Time, Blackrock, The Vagina Monologues, Necessary Targets, Live Acts on Stage, Checklist for an Armed Robber, The Lonely Hearts Club, The Clean House, When the Rain Stops Falling, Biddies, Other Desert Cities, Lighten Up and Summer of the Seventeenth Doll. She has starred in two one-woman shows: The Death of Minnie (1990) by Barry Dickens and Witchplay (1993) by Tobsha Learner, which Garrett produced.
After training at RADA, in 1953 James joined Peter Hall and John Barton's Oxford Playhouse-based Elizabethan Theatre Company. In 1956 he played his first season at Stratford, taking the roles of Guildernstern, Salerio in The Merchant of Venice and Claudio in Measure for Measure. Seasons at the Bristol Old Vic and the Old Vic, London, followed. Notable roles at the RSC included Sir Hugh Evans in The Merry Wives of Windsor, 1968; Gower in Pericles, 1969; Feste in Twelfth Night, 1969; The Boss in Günter Grass' The Plebeians Rehearse the Uprising, 1970; The Cardinal in John Webster's The Duchess of Malfi, 1971; Shylock in The Merchant of Venice, 1971; Iago in Othello, 1971; the title role in King John, 1974; Mephistopheles in Christopher Marlowe's Doctor Faustus, 1974; Chorus in Henry V, 1975; the title role in Henry IV, Parts 1 and 2, 1975–76; York in Henry VI, parts I, II and III, 1977–78; Jaques in As You Like It, 1977; Edgar in Strindberg's The Dance of Death, 1978; Cassius in Julius Caesar, 1983; Malvolio in Twelfth Night, 1984; and Sir Giles Overreach in Philip Massinger's A New Way to Pay Old Debts, 1984.
Her latest book challenges the assumption that early modern censorship was an instrument used by governmental power to punish dissent. Shuger tries to prove that this is an anachronistic error, and that censorship usually had demonstrably more to do with the prevention of slander than it did with the suppression of popular rights—more to do with civility than with mass mind-control. Shuger's previous book confronted the longstanding assumption that the English church had been fully complicit with the repressive hegemonic powers of government in this period. Instead, the church was often a key haven for humane resistance to such repression, a place where ideas of social justice could sustain themselves, and as a resource for individual and collective action—to put it as what recent scholarship would deem an oxymoron, it was a benign patriarchy. Political Theologies uses Shakespeare’s Measure for Measure to show that the laws of the church and of the state interacted in ways that modern researchers have overlooked (resulting in a distorted understanding of the play as well as history) by anachronistically imposing our own categories to differentiate moral from administrative questions.
Cellier started his career at the Leatherhead Theatre in 1953. His theatre work has included seasons at Stratford-on-Avon, The Old Vic and the Chichester Festival Theatre, and he was a founder-member of the National Theatre. Shakespeare plays in which Cellier has appeared include Hamlet, The Merchant of Venice, Othello, Love's Labour's Lost, Measure for Measure, As You Like It, King John, Julius Caesar, Cymbeline and Henry V, as the Dauphin. Other roles include Pinchard in Georges Feydeau's An Absolute Turkey, Tommy Devon in Aunt Edwina, The Dean of Archeo in Body and Soul, Eric Shelding in The Case in Question, Danforth in The Crucible, Duke Francis in The Dark Horse, Dr. Finache in Jacques Charon's National Theatre production of Feydeau's A Flea in her Ear, Charles Blutham in Juno and the Paycock, Dr. Herdal in The Master Builder, Sir John Tremaine in Me And My Girl, The Chaplain in Mother Courage, Christopher in A Private Matter, Captain Brazen in The Recruiting Officer (replacing Laurence Olivier), Polonius in Rosencrantz and Guildenstern are Dead Higgins in Ross, Miguel Estete in The Royal Hunt of the Sun and Desmond in The Winslow Boy.
Schwartz was awarded the Pulitzer Prize for Criticism in 1994 for his work with The Boston Phoenix. Schwartz served as co-editor of an edition of the collected works of Elizabeth Bishop for the Library of America, entitled Elizabeth Bishop: Poems, Prose, and Letters (2008) and edited the centennial edition of Elizabeth Bishop's Prose for Farrar, Straus and Giroux (2011). His poems, articles, and reviews have appeared in The New Yorker, The Atlantic, Vanity Fair, The New Republic, The Paris Review, Ploughshares, Agni, The Pushcart Prize, The Best American Poetry, and The Best of the Best American Poetry. Between 1968 and 1982 he worked as an actor in the Harvard Dramatic Club, HARPO, The Pooh Players, Poly-Arts, and the NPR series The Spider's Web, playing such roles as Scrooge (A Christmas Carol), the Mock Turtle (Alice in Wonderland), Froth (Measure for Measure), Trofimov (The Cherry Orchard), Zeal-of-the-Land Busy (Bartholomew Fair), The Worm (In the Jungle of Cities), Krapp (Krapp's Last Tape), the Disciple John (Jesus: A Passion Play for Cambridge), and played a leading role in Russell Merritt's short satirical film The Drones Must Die.
His parts were mainly confined to Shakespearean clowns and other characters principally belonging to low comedy. Some few might perhaps be put in another category. The Shakespearean parts assigned him included Clown in 'Measure for Measure,' Polonius, Peter in 'Romeo and Juliet,' Dogberry, Trinculo, Sir Andrew Aguecheek, and Shallow in the 'Merry Wives of Windsor.' Other roles of interest were Don Pedro in the 'Wonder,' Don Jerome in the 'Duenna,' Crabtree, Antonio in 'Follies of a Day,' Silky in the 'The Road to Ruin,' Don Manuel in She Would and She Would Not and Sir Robert Bramble in the 'Poor Gentleman.' Out of many original parts taken between 1794 and 1805 the following deserve record: Robin Gray in Arnold's ‘Auld Robin Gray,’ Haymarket, 29 July 1794; Weazel in Cumberland's ‘Wheel of Fortune,’ Drury Lane, 28 February 1795; Fustian in the younger Colman's ‘New Hay at the Old Market,’ Haymarket, 9 June 1795. In the famous production at Drury Lane of Colman's ‘Iron Chest,’ 12 March 1796, Suett was Samson. In the ‘Will’ by Reynolds, 19 April 1797, he was Realize. His great original part of Daniel Dowlas, alias Lord Duberly, in The Heir at Law, was played at the Haymarket on 15 July 1797.
Thus, the Sifre expanded on the metaphor of God as an eagle in , teaching that just as a mother eagle enters her nest only after shaking her chicks with her wings, fluttering from tree to tree to wake them up, so that they will have the strength to receive her, so when God revealed God's self to give the Torah to Israel, God did not appear from just a single direction, but from all four directions, as says, "The Lord came from Sinai, and rose from Seir to them," and says, "God comes from the south."Sifre to Deuteronomy 314:1, in, e.g., Sifre to Deuteronomy: An Analytical Translation. Translated by Jacob Neusner, volume 2, page 337. Abraham and the Three Angels (watercolor circa 1896–1902 by James Tissot) The Tosefta found in demonstration of the proposition that Providence rewards a person measure for measure. Thus just as Abraham rushed three times to serve the visiting angels in , 6, and 7, so God rushed three times in service of Abraham's children when in , God "came from Sinai, rose from Seir to them, [and] shined forth from mount Paran."Tosefta Sotah 4:1. Land of Israel, circa 300 CE, in, e.g.

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