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Post by manda on Sept 9, 2003 17:14:33 GMT 12
everyone bring in any old shat i've drawn, dirty or non dirty. i just GOT to have a look! ak in a sheet, oh boy is this gonna be good or what..!
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Post by Cedric on Sept 9, 2003 19:31:00 GMT 12
Do you still have that pic you drew of Clement? , did you ever show that to him? oh, and I don't think I still have that pic... we ripped it out coz you didn't want anyone to see it. You wanted to pretend it didn't exist.
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Post by ~Fallen Kitty~ on Sept 9, 2003 21:57:05 GMT 12
thats just silly since we all kno that it exists
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Post by Manda on Sept 10, 2003 0:09:40 GMT 12
actually kat, if rina hadn't remembered it, i highly doubt u wouldn't remembered it existed. i only showed like, rina and anu cos they were in my class.
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Post by ~Fallen Kitty~ on Sept 10, 2003 2:17:32 GMT 12
well i srsly do remember seeing it so i think rina actually did eventually show it around b4 it got demolished
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Post by Cedric on Sept 10, 2003 16:14:01 GMT 12
Don't forget, you remembered seeing a sign that said 'Cyclists must wave'.
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Post by manda on Sept 10, 2003 19:14:56 GMT 12
.. that wasn't me. wasn't that cindy?
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Post by Cedric on Sept 10, 2003 22:23:51 GMT 12
I was talking to Kathia... You've just insulted her even more by thinking she was Cindy... Does anyone remember where the 'Cyclists must wave' sign came from? It might have something to do with me...
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Post by Nesstar on Sept 15, 2003 0:46:29 GMT 12
Cyclists must wave...an invention of the crazy minds of Rina and me on the 686 one arvo...oh the joys...
And yes...everyone must bring in Manda's ak pix...and i also remember the bedsheet one...so more ppl saw it than u think Manda...I prolli saw it on the bus or something...
Ah, the ak obsession rekindled... ;D
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Post by Cedric on Sept 17, 2003 21:05:12 GMT 12
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Post by Nesstar on Oct 7, 2003 23:52:47 GMT 12
Everyone should head to www.bellshakespeare.com.auand find Hamlet and the Hamlet production photos...our dear AK is in 2 of them Damnit Rina, we should have gone 2 c it....
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Post by Cedric on Oct 8, 2003 12:00:22 GMT 12
Guess what I did. I was naughty and saved the shockwave file so that if we want to look at it, it will still be around even after the Bell Shakespeare website changes (which it will, otherwise they'd still have R&J stuff up). I made a page for it. It links from the Angus King page. Look at this, someone else is looking for Angus King. groups.yahoo.com/group/QSTAGE/message/4016I feel like I should help this person by directing him to Angus King's imdb page. I like his description of Angus King. On Danny Deckchair:There were in fact 180 speaking parts – a huge number by Australian film standards. Says Balsmeyer: “Yes, everyone was constantly reminding me how many different parts we had – but the film really needs to be rich in characters and that’s part of its attraction. And they were all so great! John Batchelor, for instance, who played Pete, had the most incredible sense of humour and of timing; Jane Ruggiero and Dina Gillespie who played Kaz and Donna were fantastic; Darren Kehole was another great role and Angus King was a complete find – just hilarious. Michelle Boyle who plays Louella just lights up the screen; Big Jim – I could go on and on. I couldn’t be more thrilled with all the performances.” HE was hilarious! Don't you love Angus King? ((I think I've modified this post three times today)) [This must be like the tenth time I've modified it]
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Post by Cedric on Oct 10, 2003 18:11:50 GMT 12
Anyway, whilst on the Bell Shakespeare website today, I decided to go looking for R&J stuff... and only right this second has it occured to me to check out the other Bell plays he's been in. So, if you go to the RESOURCES section, right at the end of the line of links down the bottom, pick archive. Then Select 'List by Play' and find 2001 Shakespeare's R&J.
Now I'm off to check the other AK plays.
Oh yeah, I put the swf up on the site, get there through the AK page. It's really slow loading, though.
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Post by Cedric on Oct 10, 2003 19:14:39 GMT 12
Shakespeare's R & J Reviews
Boyish take on youthful passions The Australian, Friday 27 May John McCallum
"FOR now, these hot days, is the mad blood stirring," warns Benvolio, and well he might in the intense atmosphere of this version of Romeo and Juliet. It reframesthe original to give a new and different sense of urgency to a love story that is pretty urgent to begin with.
For boys at a conservative Catholic school that has banned the play have a secret copy of the script and they perform it for themselves in the gym after dark. The two playing Romeo and Juliet find something in it that helps them discover and express their attraction for each other - partly lust and partly a yearning for affection in a rigidly repressive institutional environment.
The other two look on and worry about the gay implications. Gradually, the four friends become absorbed in their performance and, by the end, the play has somehow liberated them all. They have successfully gone through what Nick Enright once called the small window of opportunity that testosterone-driven boys have to find, usually with little help, to become adults.
This hothouse of young male aggression and sexuality informs the boys' performance of the play in interesting ways. Mercutio's wildness, and particularly the Queen Mab speech, is infected by the anxious homophobia of the boy playing him. the wedding scene almost destroys their friendship. The entire performance is driven by their personal reactions to the drama, like a second action underlying the original.
It is performed by a highly energetic and talented cast, well directed by John O'Hare, on a bare stage marked as a basketball court with the audience sitting on all sides, like parents at a game. Justin Smith, as the boy who plays Romeo, and Josh Quong Tart, playing Mercutio, are particularly good - filtering Shakespeare's characters through the boys' emotions.
Darren Weller plays the Nurse as might a giggling, self-consciously macho boy who relishes drag, as on The Footy Show. Angus King is also good, presenting Juliet as a decent but naive young man might understand her. The overall effect is of the entire script delivered in quotation marks.
The original play is drastically cut and interspersed with lines from A Midsummer Night's Dream and the sonnets, as if the boys wanted to do only the best bits - or perhaps just those that meant something to them.
R & J: hot-blooded, tender and brave Sydney Morning Herald, Monday 23 April
Skylarking deepens in a passionate embrace, writes Bryce Hallett.
Joe Calarco's wonderful interpretation of Shakespeare's hate and love classic Romeo and Juliet dispenses with the sumptuous settings and costumes usually decorating the near-epic work.
The simplicity of the staging immediately focuses the audience on the performers, their physical agility, individual strengths and acting prowess. Happily, Justin Smith, Angus King, Josh Quong Tart and Darren Weller, who play multiple roles in increasingly crumpled school uniforms as the action intensifies, seize the text and the challenging and liberating discovery it brings.
The adaptation is not homo-erotic or sensationalist and John O'Hare's attentive direction assures that the work's imaginative power and its remarkable insights into the nature and value of love holds the audience in its thrall.
Calarco sets the tale in the repressive environment of a regimented Catholic boarding school where Romeo and Juliet has been banned from the syllabus. It's too sexually hot and bawdy for the four teenagers' charges to handle, but not the youths who meet in the evenings after the school alarm pierces the air. Initial reminders of Peter Weir's Dead Poet's Society fall away when the students, at first mocking and reckless, enter into the intoxicating spirit and seduction of the play, and fathom their own meanings. As is often the way, those things which are strenuously opposed or denied can accrue an alluring form, so much so that natural impulses or desire bravely cut through the risk, irrespective of probable dangers.
Before they plunge into the passionate and dramatically-charged embrace of the warring Montagues and Capulets, the schoolboys march with regimental precision and recite prayers. In a few broad strokes it establishes their school's ritualistic codes and rigid authority. They exclaim in unison "Thou shalt not kill! Thou shalt not steal! ... Thou shalt not lust!" the tone of the last ironic and insistent.
The intelligence of Calarco's version partly lies in the way it vigorously responds to Shakespeare's experimentalism. It heightens existing ambiguities and couches the action in a context which sheds light on sexual power, behavioural traits, prescribed roles and relations between men as well as between women and men. "Without women, men soon resume the savage state ... An amiable woman rules the haughty man" are among the sayings chanted by the adolescents in the opening scene, laying the foundations of a quarrel extending beyond age-old notions of the weaker sex and, perhaps, seeking restorative balance.
As recent productions such as The Gigli Concert and Blue Remembered Hills testify, O'Hare is an ideal choice of director to bring Shakespeare's R & J into exuberant, physicalised play. The cast, with a mixture of sheer enthusiasm and abandonment, rise to the challenge of the horseplay and mime as well as the language's demanding rhythms and necessity for deft timing and pace. What begins as mocking and fun, no better evidenced than in Weller's initially giggling, self-conscious nurse, soon changes complexion as the attachment of the players to their characters - and to the play - deepens. The well-publicised kiss between Justin Smith's Romeo and Angus King's Juliet is a natural part of the story and, on one level, plays on the fact that women were barred on the Elizabethan stage. More immediately, however, it surveys the vulnerable relationship between the schoolboys and their own tangle of awakening emotions as the star-crossed, doomed lovers.
During the spare, absorbing production - enlivened by resourceful sound effects and passages of music, classical and pop - the splendidly-realised scene between Smith and King brings manly tenderness to the fore, the ambiguity and apparent truthfulness of the act causing their schoolmates discomfort and fear, enough for them to interfere and censor.
Romeo and Juliet, like much of Shakespeare, is ripe for contemporary retelling given the potency of the love tragedy and the destructiveness which, like the families depicted, may force warring parties and bullying gangs to reappraise their values and look to conciliatory means. Baz Luhrmann's uncompromisingly violent and dynamic film version a few years ago managed to excite young audiences. It kept about half the original text intact while making it accessible and utterly persuasive. In terms of budget, scale, beauty and cinematic invention it is admittedly a far cry from Shakespeare's R & J and yet the intimacy and energy of the chamber piece re-asserts the essential magic of the theatre. The Bell Shakespeare and Spirit Entertainment co-production is sure to have audiences responding to its vigour and honesty - an exploration of desire, love and fate intelligently communicated and all the stronger for not forcing issues.
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Post by Nesstar on Oct 26, 2003 13:22:09 GMT 12
I went back to Bell Shakespeare's site and re-visited R&J stuff. Then I had a look thru the archives in hope of finding productions with AK. Some productions have cast lists - probably the major productions, with people that each play 1 part!!~ AK was in Henry 4 in 1998 and Henry 5 in 1999 - isn't he highly versatile?! Guess who else was in both those productions? Joel Edgerton!!~ Now itz MUCH easier to link AK to Star Wars!!~ And u dun have to use LOTR...WOW ;D
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