Please refrain from tweeting him about the following things:
The Bingo hat
“Why don’t you ever reply to me?? You must hate me :(”
Asking why “he” did something that was clearly management’s fault
Calling him racist
“Is this the Krusty Krab?”
Instead, try asking him about intelligent/worthwhile things such as:
Meanings of songs
Declan (we all know he loves talking about him)
His opinion on different artists
What it’s like on tour
Literally anything that isn’t a tired, worn-out meme that he’s clearly shown disinterest in
“Call it summer madness.” That’s the explanation Mark
Gatiss’s Shpigelsky gives for his sudden and memorably farcical marriage proposal
in Three Days in the Country, Patrick
Marber’s new adaptation of a Russian classic at the National Theatre.
Shpigelsky is far from the only one whose desire reaches
boiling point in the inescapable heat. At the centre of Turgenev’s tangled web
of unrequited feelings is Natalya, who has – rather inconveniently – fallen desperately
in love for the first time, not with her husband, wealthy landowner Arkady, nor
steadfast admirer Rakitin, but Belyaev, the young tutor to her son.
Said tutor has also caught the eye of Natalya’s ward Vera
and maidservant Katya, futilely wooed by a much older neighbour and fellow
servant respectively. “I wish I could explain,” sighs Natalya, but this is love
as an unreasonable and pitiless force.
Amanda Drew as Natalya and Royce Pierreson as Belyaev. Photo by Mark Douet.
So far so Chekhovian, you might think, but Turgenev’s 1848
country-house tragicomedy actually preceded his fellow countryman’s by half a
century. Nor are they alone in skilfully exploiting the dramatic possibilities
of a sweltering summer setting: playwrights as diverse as Shakespeare, Noël
Coward, Tennessee Williams and Arthur Miller are among that company.
Their summers are often characterised by disruption,
operating outside the normal rules of engagement, whether abandoning the court
for an enchanted wood, gathering a disparate group for a holiday, or trapping an
estranged, combatant family in close quarters.
As the temperature rises, social conventions and class
restraints melt away in the face of unbridled, ungovernable passion. “For now,
these hot days, is the mad blood stirring,” warns Benvolio in Romeo and Juliet, and that loss of self-control
can result in dreamlike liberation or fatal tragedy.
In either case, the glare of the sun mercilessly magnifies everything
from lust to loathing. It’s an invaluable tool in communicating the intensity
of feeling to an audience.
This season can carry, too, great allegorical importance.
Whether the last gasp of a dying world or innocence about to be lost, the end
of summer signals monumental change.
Here are 10 great plays set in summer. If we’ve missed
your favourite, do share it in the comments below.
1. A Midsummer
Night’s Dream, William Shakespeare, c. 1595
Susan Fleetwood as Titania and Derek Newark as Bottom in the National Theatre’s 1982 production, directed by Bill Bryden. Photo by Michael Mayhew.
Referencing Midsummer’s Eve and May Day – both associated
with subversive magic and mayhem – the Bard’s giddy comedy escapes Athens’
patriarchal rule for the chaotic, carnivalesque fairy world.
The focus on courtship echoes the festivals’ celebration of
fertility: of the crop and human variety. In contrast to Theseus and
Hippolyta’s strategic union, the young lovers give full vent to their ardour,
while the transformed Bottom engages in a transgressive act that he later
attributes to a dream. But like the May festivals, this heady summer
enchantment cannot last forever – at the end, order must be restored.
2. A Streetcar Named
Desire, Tennessee Williams, 1947
A hot, sticky, cramped apartment in the New Orleans French
Quarter is the punishing location for this battle royale, where Williams pits smouldering,
blue-collar Stanley against sister-in-law Blanche, the faded Southern belle
clinging to the illusion of refinement.
In this cauldron, mutual antagonism and animalistic
attraction rise from slow simmer to volcanic eruption – with the aid of
alcohol: “Liquor goes fast in hot weather.” Melodrama is avoided by enveloping
the raw, ravenous emotion in hazy lyricism, producing a piece of almost
mystical poetry and pathos.
3. The Cherry
Orchard, Anton Chekhov, 1904
Vanessa Redgrave as Ranevskaya in the National Theatre’s 1999 production, directed by Trevor Nunn. Photo by John Haynes.
Chekhov’s elegiac masterpiece begins in May, when there’s
still time for aristocrat Ranevskaya to save her ancestral estate, and ends in
October, when all hope is gone.
The noble family’s sleepwalking to disaster over a languid
summer mirrors a ruling class refusing to adapt to the new Russia, stripped of
its feudal system by Alexander II’s emancipation of the serfs. Chekhov is
critical of this delusional behaviour, yet also sympathetic to the carnage of
change: the play is suffused with grief, framed by personal loss and the demise
of the cherry trees, symbolic of sadness at the passing of an era.
4. The American Plan,
Richard Greenberg, 1990
Move over, Poldark. Greenberg’s play opens with virile Nick
emerging from a lake, the preppy prince come to save high-strung Lili from her
draconian mother. Except the fairy-tale summer romance is not what it seems:
this world is populated by consummate fantasists.
The title refers to an all-you-can-eat Catskills resort
option, in stark contrast to recent wartime deprivation, but its lavishness
comes at a price – “an intricately unhappy life lived out in compensatory
splendour”. The livin’ is easy, the loving anything but: the sixties revolution
comes too late for these outsiders, stifled by collective values.
5. Humble Boy,
Charlotte Jones, 2001
Simon Russell Beale as Felix Humble in the premiere production at the National Theatre, directed by John Caird. Photo by Catherine Ashmore.
Jones conjures the pastoral idyll of an English country
garden in midsummer, featuring Pimm’s, cricket whites, rose bushes and hosepipe
bans, and vividly juxtaposes it with familial strife, culminating in a riotous
battle involving garden implements.
Hamlet-esque Felix Humble (Simon Russell Beale in the
original National Theatre production), a socially awkward theoretical astrophysicist,
returns home following his father’s sudden death. Wearing a too-small suit,
sitting on a too-low stool and hampered by his prepubescent stutter, he’s
plunged back into childhood, even as he mourns its loss: “It’s the summer
solstice. The longest day. It’s all downhill from now on.”
6. All My Sons,
Arthur Miller, 1947
James Hazeldine as Joe Keller and Catherine McCormack as Ann Deever in the National Theatre’s 2000 production, directed by Howard Davies. Photo by Ivan Kyncl.
Miller’s dissection of the American Dream begins in picture-perfect
upper-middle-class contentment: self-made businessman Joe Keller reading the
Sunday paper in his comfortable suburban backyard on a sunny August morning.
Just 24 hours later, this post-war paradise has been annihilated.
The tragedy is tortuously slow burn, with Joe’s past
decision to prioritise family and profit over morality and wider social
responsibility leading to his inexorable downfall. The destructive power of brutal
truth, constantly present in the guise of the felled apple tree, is inexorable,
and the feverish weather accentuates the play’s oppression.
7. Hay Fever, Noël
Maggie Smith in the National Theatre’s 1964 production, directed by Noël
Coward. Photo by Angus McBean.
Coward struck comic gold with his depiction of the country-house
party from hell. Rather than an idyllic June weekend retreat, guests of the bohemian,
wilfully eccentric Bliss clan become unwitting cast members in their domestic
dramatics. It’s a high-spirited, hijinks version of Who’s Afraid of Virginia Woolf?
The visitors, lured by the promise of escape from
convention, soon feel the loss of dependable social niceties, and an accidental
quadruple-booking prevents romantic intrigue from materialising. Vagaries of
British summertime leave them at the mercy of the family’s fraught, deliciously
self-absorbed game-playing when torrential rain traps them inside.
8. Twelve Angry Men,
Reginald Rose, 1954
First appearing as a TV drama, Rose’s celebrated play
confines the action to a single space. His deliberating jurors are imprisoned
in the shabby, claustrophobic backroom of a New York court with a broken fan on
“the hottest day of the year”, literally sweating their crucial decision.
The steaming heat contributes to some of the jurors’ wish
for a speedy guilty verdict, but, once the 8th Juror has begun to
sow the seeds of reasonable doubt, also inflames the impassioned conflict
between dissenters, as personal prejudice bursts forth.
9. Ah, Wilderness!,
Eugene O’Neill, 1933
It’s that rarest of creations: a tender O’Neill
coming-of-age comedy. Set in 1906, this semi-autobiographical folk play is the
sunny counterpart to Long Day’s Journey
Into Night, which shares its coastal Connecticut setting. Here, drunkenness
and conflict merely disrupt rather than destroy familial harmony.
Rejecting Fourth of July celebrations, teen rebel Richard
flirts with a different kind of independence after gorging on anti-establishment
literature, but, in an idealised version of O’Neill’s experience, his parents
are sympathetic to this search for identity. “It has the sweet charm of a dream
of lost youth,” declared the playwright of this paean to volatile but protected
10. August: Osage
County, Tracy Letts, 2007
The sun-scorched Oklahoma homestead, so blistering that even
the tropical pet parakeets have dropped off their perch, is a key ingredient in
the spectacular meltdown of Letts’s dysfunctional family.
The fractious clan, reunited following the demise of
alcoholic patriarch Beverly, is subjected to the mental and physical tortures
of his pill-popping wife Violet (Meryl Streep in the film version): not only is
she a lacerating manipulator, but she doesn’t believe in air conditioning.
Enclosure in this fetid, suffocating dwelling raises the action to operatic
levels as scandalous secrets are exposed and long-held resentments explode into
SO. Yesterday was my birthday.. And it was the best birthday ever because i got to meet Fall Out Boy! Patrick put the party hat on top of his fedora and i didn’t even see Andy’s face because Patrick holds eye contact like a motherfucker. Pete and Patrick wished me a happy birthday and Patrick asked how my day had been and i was shaking so hard ugh. Pete said he liked my hair color then called me emo right after I left so all and all yesterday was a great day!
Hii! I'm going through a dry patch in reading and want to get out of it asap. Have any suggestions on what to read?
These are some of my favourites:
• The Book Thief by Markus Zusak
• Wonder by R.J. Palacio
• the Stephanie Perkins novels
• Vampire Academy by Richelle Mead
• Angelfall by Susan Ee
• Throne of Glass by Sarah J. Maas
• My Life Next Door by Huntley Fitzpatrick
• anything by Rainbow Rowell
• The Unbecoming of Mara Dyer by Michelle Hodkin
• The Knife of Never Letting Go by Patrick Ness
• More Than This by Patrick Ness
• A Monster Calls by Patrick Ness
• The Mortal Instruments or Infernal Devices by Cassandra Clare
• Morgan Matson
• Rainbow Rowell (Fangirl is my favourite)
• To All the Boys I’ve Loved Before by Jenny Han
• Popular by Maya Van Wagenen
• The Darkest Minds by Alexandra Bracken
• To Kill a Mockingbird by Harper Lee
• To All the Boys I’ve Loved Before by Jenny Han
• The Sky is Everywhere by Jandy Nelson
• I’ll Give You the Sun by Jandy Nelson
• Percy Jackson and the Olympians by Rick Riordan
• Harry Potter
Hope you can find something to pull you out of the slump!!
At 10:25 Patrick calls Andy ‘shades’ hahahaha “Listen shades, you need to..”
quote Joe: Interviewer: What’s your favourite thing to do here when you have time off?
Joe: I live here. So I like to do that.
quote Pete:“so far we’ve been having great reunion sex” (I do think they cut part of the video off (bc I cannot find the gif part?) but there aren’t any others from that interview(?)
at a pool party in the neighborhood this lady was telling us how her daughter was a fan of fob when they first started out and she said when the show was over a few of the girls didnt have rides waiting to take them home. so all the members of fob were waiting with them outside while their parents came and they CALLED their parents for them to make sure they were coming i stg these men