How long is Nahum Tate's adaptation of King Lear?
The History of King Lear
The History of King Lear is an adaptation by Nahum Tate of William Shakespeare's "King Lear". It first appeared in 1681, some seventy-five years after Shakespeare's version, and is believed to have replaced Shakespeare's version on the English stage in whole or in part until 1838.
King Lear (2008 film)
It features the same cast and director as the 2007 RSC production, and started filming only a few days after the final performance at the New London Theatre, at Pinewood Studios in Buckinghamshire. The film was released on DVD in the UK and then in the US on 21 April 2009. It was shown on Channel 4 on 26 December 2008, as well as being broadcast on PBS in 2009 and a number of other TV stations internationally, including NHK Japan.King Lear started filming only a few days after the final stage performance on 12 January 2008. Filming at Pinewood Studios lasted for around a month.
BBC Television Shakespeare
Originally, Cedric Messina had cast Robert Shaw to play Lear, with an aim to do the show during the second season, but Shaw died suddenly in 1978 before production could begin, and the play was pushed back. Jonathan Miller had previously directed a Nottingham Playhouse production of "King Lear" in 1969, starring Michael Hordern as Lear and Frank Middlemass as the Fool. In 1975, he remounted that same production for the BBC "Play of the Month", a heavily truncated version, which happened to be the BBC's last Shakespeare production prior to the beginning of the "Television Shakespeare". During his producership, Miller tried to persuade the BBC to use the "Play of the Month" production as their "Lear", but they refused, saying a new production had to be done. At the end of the fourth season, Miller's last as producer, his contract stipulated that he still had one production to direct. In-coming producer Shaun Sutton offered him "Love's Labour's Lost", but Miller wanted to do one of the three remaining tragedies; "Lear", "Macbeth" or "Coriolanus". He had never directed "Macbeth" or "Coriolanus" before, but he felt so comfortable with "Lear" that he went with it. The production was much the same as his 1969/1975 version, with the same two leading actors, the same costumes design, the same lighting, and the same design concept. The only significant difference is that more of the text is used in the latter production. Miller used a "board and drapes" approach to the play; all interiors were shot on or near a plain wooden platform whilst all exteriors were shot against a cycloramic curtain with dark tarpaulins. As such, although exteriors and interiors were clearly distinguished from one another, both were nonrepresentational. To enhance the starkness of the look of the production, Miller had lighting technician John Treays desaturate the colour by 30 per cent. Miller also used colour to connect characters; the Fool wears white makeup which washes off during the storm, Edgar wears a white mask when he challenges Edmund to fight, and Cordelia wears white make-up after her death. Similarly, the Fool has red feathers in his hat, Edgar has a red tunic, and Cordelia's red welts on her neck stand out starkly against the white of her skin after her death.
King Lear
The first film of "King Lear" was a five-minute German version made around 1905, which has not survived. The oldest extant version is a ten-minute studio-based version from 1909 by Vitagraph, which, according to Luke McKernan, made the "ill-advised" decision to attempt to cram in as much of the plot as possible. Two silent versions, both titled "Re Lear", were made in Italy in 1910. Of these, the version by director Gerolamo Lo Savio was filmed on location, and it dropped the Edgar sub-plot and used frequent intertitling to make the plot easier to follow than its Vitagraph predecessor. A contemporary setting was used for Louis Feuillade's 1911 French adaptation "Le Roi Lear Au Village", and in 1914 in America, Ernest Warde expanded the story to an hour, including spectacles such as a final battle scene.
Chatrichalerm Yukol
After "Suriyothai", Chatrichalerm started work on an even bigger project, "King Naresuan", about the 16th century Siamese monarch, Naresuan. More epic in scope than "Suriyothai", "Naresuan" was initially released in two parts in early 2007. Under the title "King of Fire", the second part of the series was submitted by Thailand for the Academy Award for Best Foreign Language Film. As of late 2007, a third part is scheduled to start production in early 2008.
Nahum Tate
Nahum Tate ( ; 1652 – 30 July 1715) was an Irish poet, hymnist and lyricist, who became England's poet laureate in 1692. Tate is best known for "The History of King Lear", his 1681 adaptation of Shakespeare's "King Lear".
The History of King Lear
The tragic ending was briefly restored by Edmund Kean in 1823. In 1838, William Charles Macready purged the text entirely of Tate, in favour of a shortened version of Shakespeare's original. Finally, Samuel Phelps returned to the complete Shakespeare text in 1845.
The History of King Lear
As Tate's "Lear" disappeared from the stage (except when revived as a historical curiosity), and as critics were no longer faced with the difficulties of reconciling a happy ending on the stage with a tragic ending on the page, the expressions of indignation and disgust became less frequent, and Tate's version, when mentioned at all by modern critics, is usually mentioned simply as an interesting episode in the performance history of one of Shakespeare's greatest works.
The Lion King (franchise)
Early production of "The Lion King" began in late 1988, with the film originally being titled "King of the Kalahari" and later "King of the Jungle". The treatment, inspired by "Hamlet", was written by Thomas M. Disch (author of "The Brave Little Toaster") as work-for-hire; Disch received no credit or royalties. Production took place at the Walt Disney Animation Studios in Glendale, California. Also, nearly 20 minutes of the film were animated at the Disney-MGM Studios. Ultimately, more than 600 artists, animators and technicians contributed to "The Lion King" over its lengthy production schedule. More than one million drawings were created for the film, including 1,197 hand-painted backgrounds and 119,058 individually colored frames of film.
Anna and the King of Siam (film)
Anna and the King of Siam is a 1946 drama film directed by John Cromwell. An adaptation of the 1944 novel of the same name by Margaret Landon, it was based on the fictionalized diaries of Anna Leonowens, an Anglo-Indian woman who claimed to be British and became governess in the Royal Court of Siam (now modern Thailand) during the 1860s. Darryl F. Zanuck read Landon's book in galleys and immediately bought the film rights.
Nala (The Lion King)
On November 1, 2017, it was confirmed that would voice adult Nala in Jon Favreau's "The Lion King", which is expected to be released in July 19, 2019. The same day Shahadi Wright Joseph was cast as young Nala in the film.
Ursula Mohan
Ursula Mohan is a British actress. From 25 May 1966 she appeared in Sławomir Mrożek's play "Tango" at the Aldwych Theatre alongside Patience Collier, Mike Pratt, Peter Jeffrey and Dudley Sutton under director Trevor Nunn. In 2014 and 2016 she took the title role in Phil Willmott's "Queen Lear", an adaptation of William Shakespeare's "King Lear".
Strengleikar
Strengleikar (English: Stringed Instruments) is a collection of twenty-one Old Norse prose tales based on the Old French "Lais" of Marie de France. It is one of the literary works commissioned by King Haakon IV of Norway (r. 1217-1263) for the Norwegian court, and is counted among the Old Norse Chivalric sagas. The collection is anonymous. It has been attributed to Brother Robert, a cleric who adapted several French works into Norse under Haakon, the best known of which is "Tristrams saga ok Ísöndar" (a Norse version of the Tristan and Iseult legend), but there is also reason to think that the collection may be a gathering of the work of several different translators. Unlike many medieval translations, the "Strengleikar" are generally extremely close in sense to the Old French originals; the text which differs most is "Milun", which is abridged to half its original length.
King Lear
Jonathan Miller twice directed Michael Hordern in the title role for English television, the first for the BBC's "Play of the Month" in 1975 and the second for the "BBC Television Shakespeare" in 1982. Hordern received mixed reviews, and was considered a bold choice due to his history of taking much lighter roles. Also for English television, Laurence Olivier took the role in a 1983 TV production for Granada Television. It was his last screen appearance in a Shakespearean role, its pathos deriving in part from the physical frailty of Olivier the actor.
King Liar
King Liar is a 2016 Indian Malayalam-language comedy film scripted by the Siddique-Lal duo and directed by Lal. It stars Dileep and Madonna Sebastian in the lead roles. It was produced by Ousepachan Valakuzhy under his production Ousepachan Movie House. The soundtrack and score were composed by Alex Paul and Deepak Dev. The film was released on 2 April 2016. The movie is about a compulsive liar, Sathyanarayan. The movie brought the writer-director duo Siddique-Lal together after 22 years.
King Lear (1987 film)
King Lear is a 1987 film directed by Jean-Luc Godard, an adaptation of William Shakespeare's play in the style of experimental French New Wave cinema. The script was primarily by Peter Sellars and Tom Luddy, and was originally assigned to Norman Mailer. It is not a typical cinematic adaptation of Shakespeare's eponymous tragedy, although some lines from the play are used in the film. Only three characters – Lear, Cordelia and Edgar – are common to both, and only Act I, scene 1 is given a conventional cinematic treatment in that two or three people actually engage in relatively meaningful dialogue.
The History of King Lear
who, after sufferings and tortures such as [Lear's], would wish to see his life prolonged? What! replace a sceptre in that shaking hand?—a crown upon that old grey head, on which the tempest had poured in its wrath, on which the deep dread-bolted thunders and the winged lightnings had spent their fury? O never, never!
Jameson was equally appalled by the introduction of a romance between Cordelia and Edgar, which had not been part of the old legend. While acknowledging that prior to Shakespeare's writing of "King Lear", some versions of the story had ended happily, and that Tate's returning of the crown to Lear was therefore not a complete innovation, Jameson complained that on stage:
they have converted the seraph-like Cordelia into a puling love heroine, and sent her off victorious at the end of the play—exit with drums and colours flying—to be married to Edgar. Now anything more absurd, more discordant with all our previous impressions, and with the characters as unfolded to us, can hardly be imagined.
The Shakespearean critic A.C. Bradley was more ambivalent. Though agreeing that we are right to "turn with disgust from Tate's sentimental adaptations, from his marriage of Edgar and Cordelia, and from that cheap moral which every one of Shakespeare's tragedies contradicts, 'that Truth and Virtue shall at last succeed'", yet he "venture[d] to doubt" that "Tate and Dr. Johnson [were] altogether in the wrong". Sharing Johnson's view that the tragic ending was too harsh, too shocking, Bradley observed that "King Lear", while frequently described as Shakespeare's greatest work, the best of his plays, was yet less popular than "Hamlet", "Macbeth", and "Othello"; that the general reader, though acknowledging its greatness, would also speak of it with a certain distaste; and that it was the least often presented on stage, as well as being the least successful there. Bradley suggested that the feeling which prompted Tate's alteration and which allowed it to replace Shakespeare on stage for over a century was a general wish that Lear and Cordelia might escape their doom. Distinguishing between the philanthropic sense, which also wishes "other" tragic figures to be saved, and the dramatic sense, which does not, but which still wishes to spare Lear and Cordelia, he suggested that the emotions have already been sufficiently stirred "before" their deaths, and he believed that Shakespeare would have given Lear "peace and happiness by Cordelia's fireside", had he taken the subject in hand a few years later, at the time that he was writing "Cymbeline" and "The Winter's Tale". Agreeing with Lamb that the agony that Lear has undergone makes "a fair dismissal from the stage of life the only decorous thing for him", Bradley argues that "it is precisely this "fair" dismissal which we desire for him", not the renewed anguish which Shakespeare inflicts on him with the death of Cordelia.
The King and I
In 1950, British actress Gertrude Lawrence's business manager and attorney, Fanny Holtzmann, was looking for a new vehicle for her client when the 1944 Margaret Landon novel "Anna and the King of Siam" (a fictionalized version of Leonowens' experiences) was sent to her by Landon's agent. According to Rodgers biographer Meryle Secrest, Holtzmann was worried that Lawrence's career was fading. The 51-year-old actress had appeared only in plays, not in musicals, since "Lady in the Dark" closed in 1943. Holtzmann agreed that a musical based on "Anna and the King of Siam" would be ideal for her client, who purchased the rights to adapt the novel for the stage.
Timon and Pumbaa
Timon and Pumbaa are an animated meerkat and warthog duo introduced in Disney's 1994 animated film "The Lion King" and its franchise. Timon was portrayed through his many appearances by Nathan Lane (in all three films and early episodes of the show), Max Casella (the original actor in "The Lion King" Broadway musical), Kevin Schon (in certain episodes of the show), Quinton Flynn (in certain episodes of the show), Bruce Lanoil in the "Wild About Safety" shorts and "Kingdom Hearts II", and while Pumbaa is voiced by Ernie Sabella (in all of his animated speaking appearances), and was portrayed by Tom Alan Robbins in the original cast of the Broadway musical. In the upcoming live-action remake, the characters will be portrayed by Billy Eichner and Seth Rogen respectively. Nathan Lane and Ernie Sabella first came to audition for the roles of the hyenas, but when the producers saw how well they worked together they decided to cast them as Timon and Pumbaa. Lyricist Tim Rice however was pulling for Rik Mayall (for Timon) and Adrian Edmondson (for Pumbaa) to play the roles, as he got the idea for the lyrics to "Hakuna Matata" by watching their show "Bottom".
Invincible Lee Pyung Kang
Invincible Lee Pyung Kang (), also known as Taming of the Heir, is a 2009 South Korean television series starring Nam Sang-mi and Ji Hyun-woo. In a modern retelling of the classic Korean folktale "Princess Pyeonggang and the Fool Ondal" in which a princess helps her timid husband transform into an outstanding general during the Three Kingdoms era, Lee Pyung-kang is a golf course planner who "tames" Woo On-dal, the prodigal son of a rich man. It aired on KBS2 from November 9 to December 29, 2009 on Mondays and Tuesdays at 21:55 for 16 episodes.
Wena Poon
Poon's novel "Alex y Robert" was commissioned by a Singapore theatre director originally for the stage. It was acquired by BBC Radio 4 and made into a 10 episode radio drama starring veteran BBC American actress Lorelei King. A short story spinoff from "Alex y Robert", "Dialogue Between Novillera & Minotaur", was translated in French and performed in the ancient Roman amphitheater in Nimes, France. It was shortlisted for France's Hemingway Prize and later published by Avocats du Diable in a French anthology called "Pas De Deux" (September 2011).
King Lear (2018 film)
"Vulture"'s Matt Zoller Seitz praised the "terrific" cast and the story's sub-plots, writing "Eyre has cut the text to the bone, sometimes to its detriment, though the edits elevate the play’s parallel, secondary story--the bastard Edmund (John McMillan) plotting against his father, the Earl of Gloucester (Jim Broadbent) and his half-brother Edgar (Andrew Scott)--in fascinating ways." Hanh Nguyen of "IndieWire" wrote that the adaptation "starts to break down near the last third with a choppiness that takes a toll on the logic of the piece" but commended the performances and stated "Amazon’s King Lear is by no means a definitive adaptation of what is arguably the Bard’s finest tragedy, but it is a thrilling and entertaining one."
King Lear
The only two significant screen performances of Shakespeare's text date from the early 1970s: Grigori Kozintsev was working on his "Korol Lir" at the same time as Peter Brook was filming his "King Lear". Brook's film starkly divided the critics: Pauline Kael said "I didn't just dislike this production, I hated it!" and suggested the alternative title ""Night of the Living Dead"". Yet Robert Hatch in "The Nation" thought it as "excellent a filming of the play as one can expect" and Vincent Canby in The New York Times called it "an exalting "Lear", full of exquisite terror". The film drew heavily on the ideas of Jan Kott, in particular his observation that "King Lear" was the precursor of absurdist theatre: in particular, the film has parallels with Beckett's "Endgame". Critics who dislike the film particularly draw attention to its bleak nature from its opening: complaining that the world of the play does not deteriorate with Lear's suffering, but commences dark, colourless and wintry, leaving, according to Douglas Brode, "Lear, the land, and "us" with nowhere to go". Cruelty pervades the film, which does not distinguish between the violence of ostensibly good and evil characters, presenting both savagely. Paul Scofield, as Lear, eschews sentimentality: this demanding old man with a coterie of unruly knights provokes audience sympathy for the daughters in the early scenes, and his presentation explicitly rejects the tradition of playing Lear as "poor old white-haired patriarch".
The Yiddish King Lear
The title role became a pillar of Adler's image and career. "Theater Magazine" wrote of Adler's performance in a 1901 revival of "The Yiddish King Lear", "No finer acting has ever been seen in New York than Adler's gradual transition from the high estate of the Hebrew father distributing his bounty in the opening scenes to the quavering blind beggar of later developments." Even after he was nearly paralyzed by a stroke in 1920, Adler managed to play Act I of "The Yiddish King Lear" on several occasions as part of a benefit performance, since his character remained seated throughout this act; he played the role for the last time in 1924, two years before his death.
The play was made into a 1934 Yiddish-language film. The play continues to be revived often, and there have been several recent English-language translations and adaptations. In 2018, David Serero performs the play in his own English adaptation, featuring Yiddish songs of the era, at the Orensanz Foundation in New York and records the first cast album recording of the play
Nahum Tate
Tate published a volume of poems in London in 1677, and became a regular writer for the stage. "Brutus of Alba, or The Enchanted Lovers" (1678), a tragedy dealing with Dido and Aeneas, was dedicated to Charles Sackville, 6th Earl of Dorset; it was later adapted as the libretto for Henry Purcell's opera "Dido and Aeneas" (1688 or earlier). "The Loyal General", with a prologue by Dryden, played at the Dorset Garden Theatre in 1680.
The History of King Lear
Nahum Tate's "The History of King Lear" was successfully remounted in New York, at The Shakespeare Center on Mahattan's Upper West Side, staged by the Riverside Shakespeare Company in 1985. For this production, conventions of the mid-17th century English theatre, when Tate's "Lear" was popular, were used in the staging, such as raked stage covered with green felt (as was the custom for tragedies), footlights used for illumination on an apron stage (or curved proscenium stage), and period costumes drawn from the era of David Garrick. Musical interludes were sung by cast members during the act breaks, accompanied by a harpsichord in the orchestra pit before the stage. The production was directed by the company's Artistic Director, W. Stuart McDowell, and featured Eric Hoffmann in the role of Lear, and supported by an Equity company of fifteen, including Frank Muller in the role of the Bastard Edmund. The play, with its "happy ending", became known as a ""King Lear" for optimists" by the press, and proved one of the most popular productions by the Riverside Shakespeare Company.
The History of King Lear
In a letter to the editor of "The Spectator" in 1828, Charles Lamb expressed his "indignation at the sickly stuff interpolated by Tate in the genuine play of "King Lear"" and his disgust at "these blockheads" who believed that "the daughterly "Cordelia" must whimper [her] love affections before [she] could hope to touch the gentle hearts in the boxes." Some years previously, Lamb had criticised Tate's alterations as "tamperings", and had complained that for Tate and his followers, Shakespeare's treatment of Lear's story:
King Lear
"King Lear" provides a basis for "the primary enactment of psychic breakdown in English literary history". The play begins with Lear's "near-fairytale narcissism".
Leir of Britain
Leir's life was dramatised on the Elizabethan stage in an anonymous play "King Leir", which was registered in 1594 and published in 1605 under the title "The True Chronicle History of King Leir, and his three daughters, Gonorill, Ragan, and Cordella". This precursor to William Shakespeare's tragedy was a comedy, repeating Geoffrey's story and ending happily with Leir's restoration to power. The story also appears in John Higgins's "Mirror for Magistrates", Edmund Spenser's "The Faerie Queene", and other works.
Paapa Essiedu
Essiedu joined the Royal Shakespeare Company in 2012 to play Fenton in Phillip Breen's production of "The Merry Wives of Windsor". Afterwards, he went to the National Theatre, playing Burgundy and understudying Edmund in Sam Mendes’ production of "King Lear". When Sam Troughton lost his voice during a performance, Essiedu stepped in and played the role to critical acclaim. He has acted in "Outside on the Street ("Pleasance Theatre)", Black Jesus" (Finborough Theatre)", Romeo and Juliet" (Tobacco Factory)", You For Me For You" (Royal Court), and most recently the title role in "Hamlet" and Edmund in "King Lear", both at the (Royal Shakespeare Company). The judges described his Hamlet as one the audience listened to "completely still", and they noted that as an actor he could turn on a sixpence – sweet, playful and flirtatious one minute, and fiercely intelligent the next. "Like all great actors", a judge noted, he "made all the lines his own". His Edmund in "King Lear" was noted for his chilling contempt and cynicism.
Ran (film)
There are some crucial differences between the two stories. "King Lear" is a play about undeserved suffering, and Lear himself is at worst a fool. Hidetora, by contrast, has been a cruel warrior for most of his life: a man who ruthlessly murdered men, women, and children to achieve his goals. In "Ran", Lady Kaede, Lady Sué, and Tsurumaru were all victims of Hidetora. Whereas in "King Lear" the character of Gloucester had his eyes gouged out by Lear's enemies, in "Ran" it was Hidetora himself who gave the order to blind Tsurumaru. The role of the Fool has been expanded into a major character (Kyoami), and Lady Kaede serves as the equivalent of Goneril, but is given a more complex and important character. Kurosawa was concerned that Shakespeare gave his characters no past, and he wanted to give his version of "King Lear" a history.
Prahallada Nataka
Prahallada Nataka ( "Prahallāda Nāṭaka"), or simply called "Raja Nata" (also Prahlada Nataka, Raja Nataka, Sangeeta Prahlada Nataka), is a traditional theatre form native to the Indian state of Odisha. Consisting of music, dance and drama, it retells the story of Vishnu's man-lion "avatar", Nrusingha or Narasimha. It is primarily based on a text written by Raja Ramakrusna Chhotaraya, King of "Jalantara", a small kingdom in former southern Odisha, now in the Srikakulam district of Andhra Pradesh. A typical performance lasts for 12 hours. The complete play, as enacted in royal courts of Odisha's southern "gadajatas," often took as long as seven nights. To this day, fifty troupes still continue to perform Prahallada Nataka throughout the year in the villages of Ganjam and Gajapati.
Talawa Theatre Company
In late June 2016, Talawa Theatre Company announced the film of King Lear, in a collaboration with the Royal Exchange Theatre and funded by the digital commissioning body The Space. The film was available to view on-demand and free of charge on BBC iPlayer and the British Council's websites for three months in summer 2016, ahead of a cinema release in September and October 2016, and closed 2016 by being screened on BBC4 on Christmas Day.
Jeremy Kemp
In 1958, Kemp joined the Radio Drama Company by winning the Carlton Hobbs Bursary His television credits include: "Colditz", "" and a number of other series such as: "Hart to Hart", "The Greatest American Hero", "The Fall Guy", "The Adventures of Sherlock Holmes", "Conan the Adventurer", "", "The Winds of War", "War and Remembrance" and "Murder, She Wrote". He played King Leontes in the BBC Television production of "The Winter's Tale" (1981). He also appeared as Cornwall in the 1984 TV movie version of "King Lear" opposite Laurence Olivier as Lear.
From the mid-1960s to the mid-1970s, Kemp had a prominent film career, usually appearing as second male leads or top supporting roles. His films include "Dr. Terror's House of Horrors", "Operation Crossbow", "The Blue Max", "Darling Lili", "A Bridge Too Far", "The Seven-Per-Cent Solution", "Top Secret!" and "Four Weddings and a Funeral".
Alan W. Lear
Lear wrote four plays for the Audio Visuals series of amateur-produced "Doctor Who" stories in the 1980s entitled "Enclave Irrelative" (which featured Michael Wisher as "Maul"), "Minuet in Hell" (again featuring Wisher, this time as Lord Sandwich), "Cloud Of Fear" and "Planet Of Lies" (developed from an original scenario by Jim Mortimore). The latter saw the destruction of Gallifrey and the Time Lords by the Daleks many years before the 2005 revival of "Doctor Who" did something similar, but long after the BBC Books range destroyed Gallifrey.
The Lears
The Lears is a 2017 American comedy-drama film written and directed by Carl Bessai and starring Bruce Dern, Anthony Michael Hall and Sean Astin. It is a modern adaptation of William Shakespeare's "King Lear".
The History of King Lear
Tate's version is about 800 lines shorter than Shakespeare's. Some of Shakespeare's original lines are left intact; some are modified slightly, or given to different speakers. In the words of Stanley Wells, Tate "rather asked for trouble by retaining as much of Shakespeare as he did, thereby inviting odious comparisons with verse that he wrote himself." But Wells also points out that at the time that Tate was making his alterations, Shakespeare was not regarded as a master whose works could not be touched, but "as a dramatist whose works, however admirable, required adaptation to fit them for the new theatrical and social circumstances of the time, as well as to changes in taste."
Nam Naadu (2007 film)
Nam Naadu () is a 2007 Tamil film starring Sarath Kumar and Karthika Mathew in lead roles and is the remake of the Malayalam film "Lion".Dubbed In Hindi As Hukumat Ki Jung 2.The film received negative reviews and failed to replicate the success of the original.
Dominic Mafham
In autumn 2017 Mafham appeared in "King Lear" (as Albany), at the Chichester Festival Theatre. Ian McKellen played Lear and featured Sinead Cusack as a female Kent. The production received rave reviews, and Mafham's performance described as "revelatory" in the Daily Mail. The production transferred to the West End in 2018.
Catharine and Petruchio
"The Taming of the Shrew" was revived following the English Civil War in the second half of the seventeenth century, but not necessarily in Shakespeare's 'original' version. The seventeenth and eighteenth centuries saw multiple adaptations of Shakespeare's "The Shrew." And, as in Nahum Tate's adaptation of "King Lear", which transforms the tragic ending into a happy marriage between Cordelia and Edgar, the idea that Shakespeare's works were sacrosanct and inalterable was not yet established.
Riverside Shakespeare Company
Like Tate's other immensely popular "happy ending" version of "Romeo and Juliet" (which was a central part of the Royal Shakespeare Company's production of "Nicholas Nickleby") Tate's equally popular adaptation of Shakespeare's "King Lear" was the only performed version of "King Lear" for over 150 years, beginning in the late 17th century when Tate wrote his adaptation, through the early 19th century.
Richard Davey
Davey's long lasting interest in Shakespeare's "King Lear" saw production in November 2007 of an adaptation "The Madness of King Lear" in Hobart, Tasmania.
King Lear
Besides the subplot involving the Earl of Gloucester and his sons, the principal innovation Shakespeare made to this story was the death of Cordelia and Lear at the end; in the account by Geoffrey of Monmouth, Cordelia restores Lear to the throne, and succeeds him as ruler after his death. During the 17th century, Shakespeare's tragic ending was much criticised and alternative versions were written by Nahum Tate, in which the leading characters survived and Edgar and Cordelia were married (despite the fact that Cordelia was previously betrothed to the King of France). As Harold Bloom states: "Tate's version held the stage for almost 150 years, until Edmund Kean reinstated the play's tragic ending in 1823."
Nahum Tate
Tate wrote the libretto for Henry Purcell's opera "Dido and Aeneas"; its first known performance was in 1689. He also wrote the text for Purcell's Birthday Ode "Come Ye Sons of Art" in 1694. Tate also translated "Syphilis sive Morbus Gallicus", Girolamo Fracastoro's Latin pastoral poem on the subject of the disease of syphilis, into English heroic couplets.
Nathan Lane
In 1994, Lane voiced Timon, the meerkat, in Disney's blockbuster animated film "The Lion King" and reprised the role in its sequels. In 1995, Lane voiced the meerkat in the early episodes of "Timon & Pumbaa". In 1995, he played the Cowardly Lion in "The Wizard of Oz in Concert" at Lincoln Center to benefit the Children's Defense Fund. The performance was originally broadcast on Turner Network Television (TNT). In 1999, he appeared in the Encores! concert revival of "Do Re Mi" at City Center"." That same year he also voiced the role of Snowbell in the family film "Stuart Little", opposite his "Life With Mikey" co-star Michael J. Fox.
The King and I (1956 film)
The King and I is a 1956 American musical film made by 20th Century Fox, directed by Walter Lang and produced by Charles Brackett and Darryl F. Zanuck. The screenplay by Ernest Lehman is based on the Richard Rodgers and Oscar Hammerstein II musical "The King and I", based in turn on the novel "Anna and the King of Siam" by Margaret Landon. That novel in turn was based on memoirs written by Anna Leonowens, who became school teacher to the children of King Mongkut of Siam in the early 1860s. Leonowens' stories were autobiographical, although various elements of them have been called into question. The film stars Deborah Kerr and Yul Brynner.
Emi Wada
Wada also designed the costumes for the 2018 Chinese adaptation of Shakespeare's "King Lear".
Kuningas Lear
Kuningas Lear (King Lear) is an opera in two acts by Aulis Sallinen, with a libretto by the composer, based on the play by William Shakespeare and premiered in 2000; it was Sallinen’s sixth opera.
King Lear (1987 film)
The film begins with a sequence of extended inter-titles: 'The Cannon Group / Bahamas', 'A Picture Shot In The Back', 'King Lear / Fear and Loathing', 'King Lear / A study', 'An Approach'. A three-way telephone conversation is heard between the film's producer, Menahem Golan, Godard, and Tom Luddy. Golan complains about how long Godard is taking to make the film and insists that it must be ready for the 1987 Cannes Film Festival.
Namárië
"Namárië" is the longest Quenya text in "The Lord of the Rings" and also one of the longest continuous texts in Quenya that Tolkien ever wrote. He rewrote it many times before it reached the form that was published (see Early versions below), and he wrote many Tengwar versions. An English translation is provided in the book.
Happy ending
The presence of a happy ending is one of the key points that distinguish melodrama from tragedy. In certain periods, the endings of traditional tragedies such as "Macbeth" or "Oedipus Rex", in which most of the major characters end up dead, disfigured, or discountenanced, have been actively disliked. In the Seventeenth Century, the Irish author Nahum Tate sought to improve William Shakespeare's "King Lear" in his own heavily modified version in which Lear survives and Cordelia marries Edgar. Tate's version dominated performances for a century and a half, Shakespeare's original nearly forgotten. Both David Garrick and John Philip Kemble, while taking up some of Shakespeare's original text, kept Tate's happy ending. Edmund Kean played "King Lear" with its tragic ending in 1823, but failed and reverted to Tate's crowd-pleaser after only three performances. Only in 1838 did William Macready at Covent Garden successfully restore Shakespeare's original tragic end – Helen Faucit's final appearance as Cordelia, dead in her father's arms, became one of the most iconic of Victorian images and the play's tragic end was finally accepted by the general public. Most subsequent critics have not found Tate's amendments an improvement, and welcomed the restoration of Shakespeare's original. Happy endings have also been fastened – equally, with no lasting success – to "Romeo and Juliet" and "Othello".
Mary Slingsby
In "Henry VI, Part I, with the Murder of Humphrey, Duke of Gloucester", adapted by John Crowne from Shakespeare, and acted in 1681, the part of Queen Margaret was assigned to Lady Slingsby. In "Henry VI, Part II, or the Misery of Civil War", from the same source, the same character went to Mrs. Lee. As the second part was written first, and probably produced first, Mrs. Lee's marriage may have been in 1681. In Nahum Tate's adaptation of "King Lear" Lady Slingsby was Regan, in Nat Lee's "Lucius Junius Brutus, the Father of his Country", Sempronia, and Marguerite in Lee's "Princess of Cleve".
Soumitra Chatterjee
Since November 2010, he has been regularly performing in the title role of the play "Raja Lear" directed by Suman Mukhopadhyay, a play based on King Lear by William Shakespeare. Soumitra has received widespread critical and popular accolades for his acting in the play.
King Lear
Although an exact date of composition cannot be given, many academic editors of the play date "King Lear" between 1603 and 1606. The latest it could have been written is 1606, as the Stationers' Register notes a performance on 26 December 1606. The 1603 date originates from words in Edgar's speeches which may derive from Samuel Harsnett's "Declaration of Egregious Popish Impostures" (1603). In his Arden edition, R. A. Foakes argues for a date of 1605–6, because one of Shakespeare's sources, "The True Chronicle History of King Leir", was not published until 1605; close correspondences between that play and Shakespeare's suggest that he may have been working from a text (rather than from recollections of a performance). Conversely, Frank Kermode, in the "Riverside Shakespeare", considers the publication of "Leir" to have been a response to performances of Shakespeare's already-written play; noting a sonnet by William Strachey that may have verbal resemblances with "Lear", Kermode concludes that "1604-5 seems the best compromise". Dr. Naseeb Shaheen dates the play c1605-6 per line 1.2.103
"These late eclipses in the sun and moon" which relates to the lunar eclipse of 27 September 1605 and the solar eclipse of 2 October 1605.
Nahum Tate
Tate then turned to making a series of adaptations of Elizabethan dramas. His version of William Shakespeare's "Richard II" altered the names of the characters, and changed the text so that every scene, to use his own words, was "full of respect to Majesty and the dignity of courts"; but in spite of these precautions "The Sicilian Usurper" (1681), as his rewrite was called, was suppressed on the third performance on account of a possible political interpretation. In 1681 Thomas Betterton played Tate's version of "King Lear", which entirely omitted the Fool, and ended happily in marriage between Cordelia and Edgar. (Though Joseph Addison protested at this mutilation of Shakespeare, Samuel Johnson defended the poetic justice of Tate's adaptation.)"Coriolanus" became "The Ingratitude of a Commonwealth", played at the Theatre Royal, Drury Lane in 1682. Tate's farce "Duke and no Duke" (first printed 1685, but acted earlier at the Theatre Royal) imitated Sir Aston Cockayne's "Trappolin suppos'd a Prince". His "Cuckold's Haven" (performed 1685 at the Theatre Royal) was derived from Chapman and Marston's "Eastward Ho". "The Island Princess, or the Generous Portugals" (1687) was adapted from John Fletcher. "Injur'd Love, or the Cruel Husband" (1707), altered from Webster's "The White Devil", seems never to have been acted.
Michael Hordern
Miller and Hordern's collaboration continued into 1969 with "King Lear" at the Nottingham Playhouse. Hordern immediately accepted the title role but later said that it was a character he never much cared to play. Writing about Miller in his autobiography, Hordern stated: "It was one of the most exhilarating and funny experiences I have had in the theatre." Miller recruited Frank Middlemass to play the fool, but contrary to tradition, Miller made the character an intimate of Lear's as opposed to a servant, something which Shakespearean purists found difficult to accept. Miller decided to further defy convention by concentrating on the relationships between the characters rather than adding detail to scenery and costume; he was eager not to use lavish sets and lighting for the fear of detracting from the characterisations and the sentimentality of the storyline. As such, the sets were bleak and the costumes more so; it was a style that was also used when the play was televised by the BBC later that decade.
List of The Catherine Tate Show episodes
"The Catherine Tate Show" is a British comedy sketch series that premiered on 16 February 2004. It aired on BBC Two from 2004 to 2006 and on BBC One from 2007 to 2014. Three series were aired between 2004 and 2006, with four Christmas specials between 2005 and 2009 and a Comic Relief special in 2007. The show returned for a one-off "Nan" special on 4 January 2014. A total of 24 episodes have been aired to date. The series was co-written by the show's leading character Catherine Tate.
Jasper Britton
Britton worked for six years as an assistant stage manager and sound operator until 1989 when, while working for Jonathan Miller at the Old Vic, he forced his way into Miller's office and refused to leave until Miller agreed to let him audition for "King Lear". His King of France to Eric Porter's Lear was the beginning of a prolific stage career. Early plays included "The Visit" with Theatre de Complicite at the Royal National Theatre, "The Cherry Orchard", "Macbeth" and "A Flea in her Ear" at Nottingham Playhouse. A season at the Royal Shakespeare Company included "A Jovial Crew" for Max Stafford-Clark, "Tamburlaine" for Terry Hands and "The Beggar's Opera" and "Antony and Cleopatra" for John Caird. There followed the Dauphin in "St Joan" at the Strand Theatre and an award winning performance as Rupert in "Rope" at Salisbury Playhouse.
Hoon Lee
On June 18, 2015, it was announced that Lee will succeed Jose Llana in the role of the King of Siam in Lincoln Center's Tony-winning revival of "The King and I". Lee formally joined the cast on September 29, 2015, playing the King until April 2016.
Nicholas Pegg
Pegg has written stage plays, including numerous pantomimes for British theatres including Harrogate Theatre, the Queen's Theatre, Hornchurch, the MacRobert Playhouse in Stirling, and the Theatre Royal, Nottingham. He is also the author of the "Doctor Who" audio play "The Spectre of Lanyon Moor", and he adapted the text of "King Lear" for the 2017 Big Finish version starring David Warner.
The Legend of King Naresuan: The Series (season 1)
The Legend of King Naresuan: The Series - Hongsawadee's Hostage () is the first season of the MONO29 Thai historical series "" premiered on January 9, 2017, and concluded on February 14, 2017. It consisted of 12 episodes. The series was developed by Nutchanon Bunsiri, Napapach Thitakawin, Pattaravadee Laosa, Patcharanamon Nontapa, Korapat Kirdpan, Sorapong Chatree based upon the original film in 2003 directed by Chalermchatri Yukol, which premiered exactly 14 years earlier. The series centers on the "Prince Naresuan" when he stayed in Hongsawadee city as a hostage.
Mr. Chalermchatri Yukol director said, "I'm very happy. But there is space for improvement, because it was the first time I created a TV series. We work every week. But we do not do all the same. The damage was moderate. Cost and more time but enough to continue. We control these things better. Better actor we took the problem from the movie "The Legend of Suriyothai" to fix in the film King Naresuan. And we took the knowledge from this film to fix in the film "Panthai Norasing" (). And we took the knowledge from this film to come to this drama. Make the series look more modern. This is one of the experiments.
Elizabeth Barry
Later into Barry’s career, she was given more roles of a motherhood figure than a sexual object. Barry worked for the Duke's Company from 1675 to 1682, taking the role of Cordelia opposite Thomas Betterton's Lear in Nahum Tate's 1681 adaptation of Shakespeare's "King Lear". After the Duke's and the King's companies were amalgamated in 1682, she continued as one of the star performers of the new United Company, which remained for 12 years the only theatrical company in London. The absence of rival companies left the actors in a weak bargaining position in relation to management, and when the United Company fell under the mismanagement of Christopher Rich (theatre manager) in the 1690s, "as sly a Tyrant as ever was at the Head of a Theatre."
Nala (The Lion King)
Nala is a fictional character who appears in Disney's "The" "Lion King" franchise. Introduced in the animated film "The Lion King" in 1994, Nala subsequently appears as a less prominent character in the film's sequels "" (1998) and "The Lion King 1½" (2004), and serves as a recurring character in "The Lion Guard" (2015–). In the original film, the adult Nala is voiced by American actress Moira Kelly. Young Nala's speaking voice is provided by actress Niketa Calame, while singers Laura Williams and Sally Dworsky provide the singing voices of young and adult Nala respectively.
The King Is Alive
A group of tourists are stranded in the Namibian desert when their bus loses its way and runs out of fuel. Canned carrots and dew keep the tourists alive, but they are helplessly entrapped, completely cut off from the rest of the world. As courage and moral fibre weaken and relationships grow shaky, Henry, a theatrical manager, persuades the group to put on Shakespeare's tragedy "King Lear". As the tourists work their way through Henry's hand-written scripts for an audience of only the sand dunes and one distant, indigenous watcher, real life increasingly begins to resemble the play.
Jon Brewer
Following the worldwide success of B.B. King: The Life of Riley and his deepening alliances in America's South, Jon Brewer with his wife, writer and executive producer, Laura Royko chronicled in depth the development of blues music over 300 years of music as expressionism through slavery, abolition of slavery and the Civil Rights Movement, taking music right into early Rock N Roll in the 3 part Miniseries seen on Sky Television and Amazon Prime : Monochrome: Black, White and Blue.[9]
Following the positive reception of B.B. King: The Life of Riley,[10] Brewer was contacted by the Nat King Cole estate to create a documentary feature on the life of Nat King Cole.[11] In 2014 the documentary film Nat King Cole: Afraid of the Dark finished filming and edit. The film premiered in London on 13 May 2014, and has continued to be broadcast worldwide, winning the 2015 Screen Nation 'Diversity in Factual Programming Award' sponsored by BBC and ITV .
Anna and the King (TV series)
"Anna and the King" is a non-musical adaptation of the 1956 film of Rodgers and Hammerstein's "The King and I", which was in turn based on the novel "Anna and the King of Siam" by Margaret Landon. Unlike the majority of attempts to turn hit films into television series, "Anna and the King" featured the original film's star, Yul Brynner, who was probably more identified with that role than any other.
William Hutt (actor)
Hutt's acting career was centered around the Stratford Festival where he won acclaim in many roles including those of King Lear (1988), James Tyrone in Eugene O'Neill's "Long Day's Journey into Night" (1994–1995) (a production which was subsequently filmed), and Lady Bracknell in "The Importance of Being Earnest" (1975–1979). He played such Shakespearean roles as Hamlet, Lear, Falstaff, Prospero, Macbeth and Titus Andronicus.
Inbar Lavi
In 2004, at the age of 17, Lavi moved to New York City, where she performed in various off-Broadway productions. After eight months, she moved to Los Angeles, after being accepted with a full scholarship to the Lee Strasberg Theatre and Film Institute. Among her earliest English-speaking roles was Cordelia in a 2006 production of "King Lear", starring and directed by Tom Badal.
King Lear (1953 film)
King Lear is a 1953 live television adaptation of the Shakespeare play staged by Peter Brook and starring Orson Welles. Preserved on kinescope, it aired October 18, 1953, as part of the CBS television series "Omnibus", hosted by Alistair Cooke. The cast includes Micheál Mac Liammóir and Alan Badel.
Nala (The Lion King)
In the film's first direct-to-video sequel "" (1998), Nala appears in a less prominent role as Queen of the Pride Lands and mother of Kiara, the spirited daughter of her and Simba. Nala observes that Kiara, of whom Simba is very protective, has inherited her father's rebellious personality and love of adventure. When Kiara befriends Zira's son Kovu, a young lion from an exiled pride of Scar's followers known as the Outsiders, Nala is much more tolerant of their relationship than Simba, and convinces him to offer Kovu a chance to prove himself trustworthy.At the end of the film, Nala gains Kovu as her son-in-law after he marries Kiara. In "The Lion King 1½" (2004), which focuses instead on Timon and Pumbaa's friendship, Nala's role is virtually identical to that of her appearance in "The Lion King" because filmmakers reused most of the character's footage from the first film.
King Lear
David Garrick was the first actor-manager to begin to cut back on elements of Tate's adaptation in favour of Shakespeare's original: he retained Tate's major changes, including the happy ending, but removed many of Tate's lines, including Edgar's closing speech. He also reduced the prominence of the Edgar-Cordelia love story, in order to focus more on the relationship between Lear and his daughters. His version had a powerful emotional impact: Lear driven to madness by his daughters was (in the words of one spectator, Arthur Murphy) "the finest tragic distress ever seen on any stage" and, in contrast, the devotion shown to Lear by Cordelia (a mix of Shakespeare's, Tate's and Garrick's contributions to the part) moved the audience to tears.
Vision of Lear
Toshio Hosokawa composed his first opera in 1997 and 1998 on a commission of the City of Munich for its 1998 Munich Biennale. The libretto was written in English by Tadashi Suzuki, based on Shakespeare's play "King Lear". The opera in two acts includes elements from the traditional Japanese Noh theatre.
Nigel Osborne
"King Lear" (2001)
Lear (play)
Lear is a 1971 three-act play by the British dramatist Edward Bond. It is an epic rewrite of William Shakespeare's "King Lear". The play was first produced at the Royal Court Theatre in 1971, featuring Harry Andrews in the title role. It was revived by the Royal Shakespeare Company in 1982 with Bob Peck, and revived again at the Crucible Theatre, Sheffield, in 2005 with Ian McDiarmid.
Nahum Tate
In 1985, the Riverside Shakespeare Company of New York City staged Tate's "History of King Lear" in its original form, "happy ending" and all, directed by W. Stuart McDowell at The Shakespeare Center. This included removing the Fool altogether, adding a confidante for Cordelia, named Arante, as well as an "abduction" scene of Cordelia on the heath. The play concluded with multiple happy endings: for Lear and Kent, and Cordelia and Edgar, who presumably wed after the play's conclusion. Musical interludes were sung by cast members during the act breaks, accompanied by a harpsichord in the orchestra pit.
King Lear
In the early 18th century, some writers began to express objections to this (and other) Restoration adaptations of Shakespeare. For example, in "The Spectator" on 16 April 1711 Joseph Addison wrote ""King Lear" is an admirable Tragedy ... as "Shakespeare" wrote it; but as it is reformed according to the chymerical Notion of poetical Justice in my humble Opinion it hath lost half its Beauty." Yet on the stage, Tate's version prevailed.
King Lear (2008 film)
King Lear is a 2008 television film based on the William Shakespeare play of the same name, directed by Trevor Nunn. It was broadcast on More4 in the UK on Christmas Day, and shown on PBS' "Great Performances" in the United States in March 2009. The production was filmed mainly at Pinewood Studios in England.
King of the Nerds
On July 31, 2014, British Sky Broadcasting channel Sky 1 announced that it had ordered a British adaptation of "King of the Nerds" for the United Kingdom. The UK version, produced by Objective Productions, was hosted by British television presenter Konnie Huq and was narrated by Greg McHugh. The show ran for one season, from July 12 to August 30, 2015.
The History of King Lear
Although Shakespeare's entire text did not reappear on stage for over a century and a half, this does not mean that it was always completely replaced by Tate's version. Tate's version was itself subject to adaptation. It is known that Garrick used Tate's complete text in his performances in 1742, but playbills advertising performances at Lincoln's Inn Fields the following year (with an anonymous "Gentleman" playing Lear) mentioned "restorations from Shakespeare". Garrick prepared a new adaptation of Tate's version for performances given from 1756, with considerable restoration from the earlier parts of the play, although Tate's happy ending was retained, and the Fool was still omitted. Garrick's rival Spranger Barry also played Tate's Lear the same year, in a performance which, according to the poet and playwright Frances Brooke, moved the whole house to tears, though Brooke marvelled that Spranger and Garrick should both have given Tate's work "the preference to "Shakespeare"'s excellent original", and that Garrick, in particular, should "prefer the adulterated cup of "Tate" to the pure genuine draught offered him by the master he avows to serve with such fervency of devotion."
King Lear (1910 film)
King Lear () is a 1910 Italian silent historical drama film directed by Gerolamo Lo Savio and starring Ermete Novelli, Francesca Bertini and Olga Giannini Novelli. It is an adaptation of William Shakespeare's "King Lear".
The Shakespeare Center
On the stage of "The Shakespeare Center" the Riverside Shakespeare Company mounted numerous productions of works by Shakespeare, his contemporaries, and Commedia dell'Arte comedies, as well as The Shakespeare Project, and major New York premieres of Bertolt Brecht's "The Life of Edward II of England" and Nahum Tate's adaptation of Shakespeare's "King Lear", entitled "The History of King Lear", directed by Artistic Director of the Shakespeare Center, W. Stuart McDowell, and sponsored by Riverside Shakespeare Company benefactor, Samuel H. Scripps (left).
CalArts Center for New Performance
"King Lear" (2003)
King Lear
On 10 April 1994 in celebration of Sir John Gielgud's 90th birthday, Kenneth Branagh's Renaissance Theatre Company performed a radio adaptation directed by Glyn Dearman starring Gielgud as Lear, with Keith Michell as Kent, Richard Briers as Gloucester, Dame Judi Dench as Goneril, Emma Thompson as Cordelia, Eileen Atkins as Regan, Kenneth Branagh as Edmund, John Shrapnel as Albany, Robert Stephens as Cornwall, Denis Quilley as Burgundy, Sir Derek Jacobi as France, Iain Glen as Edgar and Michael Williams as The Fool.
Michael Hordern
Hordern and Jonathan Miller reprised their collaboration in 1982 with a final performance of "King Lear", again televised by the BBC. The actor considered this version to be his best and attributed its success to the fact he was getting older and therefore able to better understand the character. The author Joseph Pearce, writing in 2008, claimed that Hordern played the king "straight up with no gloss" and made a "reliable and workmanlike Lear" who is "forceful when he should be forceful, compassionate when he should be compassionate, [and] sorrowful when he should be sorrowful". Despite the praise, Pearce thought that Hordern's performance in Act 3 "lack[ed] the required fierceness and miss[ed] the mythic quality when compared to some of the bigger names".
King Lear (2018 film)
Set in an alternate universe 21st-century highly militarized London, the sovereign King Lear calls his family together one evening in order for him to announce the division of his kingdom among his three daughters. The two elder daughters, Regan and Goneril, make open statements about their allegiance to and love for their father and receive each a share of the kingdom. The king's youngest daughter Cordelia, however, finds the act of making such a verbal statement overly superficial and declines to make a comparable declaration. As a result, she is refused her part of inheritance, which is now entirely divided between her two elder sisters, while Cordelia is left to her own devices to survive the end of her father's reign.In October 2017, the BBC commissioned a new adaptation of the Shakespeare play in a co-production with Amazon Studios. It stars Anthony Hopkins as the title character with Emma Thompson, Emily Watson and Florence Pugh as his daughters. Filming began in the same month in Stevenage, A first look image was distributed in February 2018.
Vision of Lear
Vision of Lear is the first opera by Toshio Hosokawa which premiered at the Munich Biennale in 1998. The opera in two acts is an adaptation of Shakespeare's "King Lear", including elements from the traditional Japanese Noh theatre. The libretto was written in English by Tadashi Suzuki.
King Lear (1971 USSR film)
King Lear () is a 1971 Soviet drama film directed by Grigori Kozintsev, based on William Shakespeare's play "King Lear". The Russian composer Dmitri Shostakovich composed the score.
King Lear
"King Lear" was politically controversial during the period of George III's madness, and as a result was not performed at all in the two professional theatres of London from 1811 to 1820: but was then the subject of major productions in both, within three months of his death. The 19th century saw the gradual reintroduction of Shakespeare's text to displace Tate's version. Like Garrick before him, John Philip Kemble had introduced more of Shakespeare's text, while still preserving the three main elements of Tate's version: the love story, the omission of the Fool, and the happy ending. Edmund Kean played "King Lear" with its tragic ending in 1823, but failed and reverted to Tate's crowd-pleaser after only three performances. At last in 1838 William Macready at Covent Garden performed Shakespeare's version, freed from Tate's adaptions. The restored character of the Fool was played by an actress, Priscilla Horton, as, in the words of one spectator, "a fragile, hectic, beautiful-faced, half-idiot-looking boy." And Helen Faucit's final appearance as Cordelia, dead in her father's arms, became one of the most iconic of Victorian images. John Forster, writing in the "Examiner" on 14 February 1838, expressed the hope that "Mr Macready's success has banished that disgrace [Tate's version] from the stage for ever." But even this version was not close to Shakespeare's: the 19th-century actor-managers heavily cut Shakespeare's scripts: ending scenes on big "curtain effects" and reducing or eliminating supporting roles to give greater prominence to the star. One of Macready's innovations – the use of Stonehenge-like structures on stage to indicate an ancient setting – proved enduring on stage into the 20th century, and can be seen in the 1983 television version starring Laurence Olivier.
King Leir
King Leir is an anonymous Elizabethan play about the life of the ancient Brythonic king Leir of Britain. It was published in 1605 but was entered into the Stationers' Register on 15 May 1594. The play has attracted critical attention principally for its relationship with "King Lear", Shakespeare's version of the same story.
King Lear
"King Lear" was broadcast live on the BBC Third Programme on 29 September 1967, starring John Gielgud, Barbara Jefford, Barbara Bolton and Virginia McKenna as Lear and his daughters. At Abbey Road Studios, John Lennon used a microphone held to a radio to overdub fragments of the play (Act IV, Scene 6) onto the song "I Am the Walrus", which The Beatles were recording that evening. The voices recorded were those of Mark Dignam (Gloucester), Philip Guard (Edgar) and John Bryning (Oswald).
Burt Caesar
In 2017 Caesar played the role of Gloucester in "King Lear" in a production directed by Nancy Meckler at Shakespeare's Globe (10 August – 14 October).
Curse of the Royal Harem
Curse of the Royal Harem (Traditional Chinese: 萬凰之王; literally "The King Among Ten Thousand Phoenixes") is a 2011 Hong Kong period drama produced by TVB under executive producer Chong Wai-kin. The 45-minute episodes aired from 31 October to 4 December 2011, in a total of 27 episodes in Hong Kong and 29 episodes for the overseas audience. It is one of three grand TVB productions used to celebrate the channel's 44th anniversary, the other two being "Super Snoops" and "Forensic Heroes III".
List of The Legend of the Legendary Heroes episodes
"The Legend of the Legendary Heroes" is an anime television series adapted from the light novels of the same title by Takaya Kagami and Saori Toyota. Produced by Zexcs and directed by Itsuro Kawasaki, the series was broadcast from July 10, 2010 to December 16, 2010 on TV Tokyo for 24 episodes. The series follows the adventures of Ryner Lute, a student of the Roland Empire Royal Magician's Academy who sets out on a journey to search for the relics of a "Legendary Hero", accompanied by the local swordswoman Ferris Eris. However, the two soon discover that a deadly curse is spreading throughout the continent.
Shadowland (The Lion King)
Nala contributes to two duets to the animated film: "I Just Can't Wait to be King" and "Can You Feel the Love Tonight". Director Julie Taymor consistently found herself drawn to the South African musical influences Lebo brought to the production during rehearsals. Citing the film's lack of prominent female roles, the director longed to expand Nala's role into that of a more complex, three dimensional female character for the stage musical and felt that "Shadowland" would help develop her into a stronger heroine. Will Albrittonat of the University of South Florida's "The Oracle" agreed that the song contributes to strengthening Nala's character, providing her with a more significant role. Taymor explained, "When you talk about lions, the females do all of it ... So I threw out a lot of the soft stuff in the film and made Nala very strong", giving the character "one of the best songs in the show, 'Shadowland,' which is about being a refugee," a subject matter that the director felt continues to be "very topical". Additionally, Taymor cited the song as a "perfect" example of music that "has a narrative force of its own", via which "Nala's feelings are transmitted". Calling the ballad "extraordinary", Taymor identified "Shadowland" as one of her favorite songs in the musical, after "Circle of Life", and continues to get emotional when she hears it. In addition to originating the role of Nala, Trinidadian-American singer and actress Heather Headley recorded "Shadowland" for "".
Thomas Betterton
In appearance he was athletic, slightly above middle height, with a tendency to stoutness; his voice was strong rather than melodious, but in recitation it was used with the greatest dexterity. Pepys, Pope, Steele, and Cibber all bestow lavish praise on his acting. His repertory included a large number of Shakespearian roles, many of them presented in the versions adapted by Davenant, Dryden, Shadwell and Nahum Tate. Even though those adapted versions did not receive critical acclaim, they did not harm or shadow Betterton's acting either. Still, his performances were largely praised. He played Lear opposite Elizabeth Barry's Cordelia in Tate's modified version of Shakespeare's "King Lear". Betterton was himself author of several adaptations which were popular in their day.
Nathaniel Butter
Nathaniel Butter (died 22 February 1664) was a London publisher of the early 17th century. The publisher of the first edition of Shakespeare's "King Lear" in 1608, he has also been regarded as one of the first publishers of a newspaper in English.
King Lear (1916 film)
King Lear is a 1916 silent film based on the 1606 play, directed by Ernest C. Warde and starring his father, the noted stage actor Frederick Warde. The film is one of a spate of Shakespearean films produced at the time to coincide with the 300th anniversary celebrations of William Shakespeare's death.
Overtures by Hector Berlioz
"Le roi Lear" (King Lear), Op. 4. Composed in Nice in 1831 during Berlioz's journey back to France after his stay in Italy (due to winning the Prix de Rome). The overture is based on Shakespeare's "King Lear", a recent discovery for the composer whose love of the dramatist is evident in many other of his works. It was first performed at the Paris Conservatoire on 22 December 1833.
The Yiddish King Lear
The play is not a translation of William Shakespeare's "King Lear", but the title is an acknowledgement of the roots of the plot. Gordin's play is set in Vilna (Vilnius, Lithuania), in 1890. It begins at the Purim feast given by David Moishele, a wealthy Russian Jewish merchant – a personification of what Adler referred to as the "Grand Jew", surrounded by family, friends, servants: in effect, a monarch in his court. As he divides his empire, the story of Shakespeare's "Lear" is recounted to him as a warning by the virtuous daughter who denied his authority by becoming a student in St. Petersburg. He is destined to follow in the same path to ruin and madness; unlike Shakespeare's Lear (but quite like the way "Lear" was often staged from the English Restoration well into the 19th century), there is a relatively happy ending, with differences set right and David Moishele living to forgive and be reconciled with his children.
King Lear
In 2015 Toronto's Theatre Passe Muraille staged a production set in Upper Canada, against the backdrop of the Upper Canada Rebellion of 1837. This production starred David Fox as Lear.
The Tragedy of King Lear (screenplay)
The Tragedy of King Lear is an unpublished screenplay by Harold Pinter. It is an adaptation of William Shakespeare's "King Lear" and was commissioned by actor and director Tim Roth with backing from Film Four. Pinter completed the screenplay on 31 March 2000, but as of 2017 it has not been filmed. It is one of only three screenplays that Pinter adapted from another dramatist's play, the others being his screenplay adaptation of "Butley", by his good friend Simon Gray, and "Sleuth", originally written for the stage by Anthony Shaffer.