director jonathan
Why does everyone keep making Nazi comparisons?

The answer, according to America’s Anti-Defamation League (ADL), is simply that it is the “most available historical event illustrating right versus wrong.”

When an argument descends to such fundamentals, the comparison inevitably turns up.

But “misplaced comparisons trivialise this unique tragedy in human history,” the ADL’s national director Jonathan Greenblatt says, “particularly when public figures invoke the Holocaust in an effort to score political points.”

I am passionate about the theater career of James McAvoy and here is the list of his roles updated! If you have more information or corrections, please tell me!


College’s drama productions at the Royal Scottish Academy of Music and Drama (1997-1998) :
- Portia Coughlan - James as Fintan Goolan
- The Cherry Orchard
- Orestes in The Oresteian Trilogy - James as Orestes
- Measure For Measure - James as Claudio
- The Beaux Stratagem

Romeo & Juliet – Perth Theatre Compagny at the Royal Lyceum Theatre (Edinburgh 1997)- appaerence

West Side Story – Courtyard Theatre (Hereford 1998) director Jonathan Stone- James as Riff

Romeo & Juliet – Courtyard Theatre (Hereford 1998) director Jonathan Stone – James as Romeo

The Tempest – Brunton Theatre (Musselburgh 1999) director Mhari Gilbert– James as Ferdinand

Lovers – Royal Lyceum Theatre (Edimburgh 1999) by Brian Friel - director Kenny Ireland –James as Joe

Beauty and the Beast – Adam Smith Theatre (Kirkcaldy 1999) director Jonathan Stone – James as Bobby Buckfast

The Reel of the Hanged Man – Traverse Theatre (Edinburgh 2000)- by Jeanne-Mance Delisle – James as Gerald

Privates on Parade – Donmar warhouse Theatre (London 2001) – by Peter Nichols –director Michael Grandage – James as Steven Flowers

Out in the Open – Hampstead Theatre (London 2001) – by Jonathan Harvey –director Kathy Burke- James as Iggy

Breathings Corpses – Jerwood Theater Upstairs (London 2005) – by Laura Wade – director Anna Makmin – James as Ben

Three days of rain – Apollo Theatre (London 2009) – by Richard Greenberg – James as Walker /Ned

Macbeth – Trafalgar Studios Theatre (London 2013) – director Jamie Lloyd - James as MacBeth

The Rulling Class – Trafalgar Theatre (London 2014) - director Jamie Lloyd - James as the Earl of Gurney

The Children’s Monologues /The monologue of the coin jar– Royal Court Theatre (London 2015) – director Danny Boyle
Parliament-Funkadelic Legend Bernie Worrell Dies at 72

As part of Parliament-Funkadelic, Worrell’s indelible keyboard skills – including his pioneering use of Minimoog on songs like Parliament’s “Flash Light” – were a major influence on R&B in the ‘80s, hip-hop, new wave and early electronic music.

Worrell was also a regular contributor to Talking Heads in the '80s, appearing on several of their albums and featuring in the classic documentary Stop Making Sense. Thirty-one years after that film, Worrell reunited with director Jonathan Demme to play a keyboard player in Meryl Streep’s band in Ricki and the Flash.

Born in Long Branch, New Jersey, Worrell was a piano prodigy who eventually linked up with forward-thinking funk mastermind George Clinton. As part of the Parliament-Funkadelic collective, Worrell’s synthesized keyboard sounds were an essential part of the P-Funk sound that set the template for hip-hop.

Starting with Funkadelic’s self-titled 1970 debut, Worrell became an essential part of Funkadelic’s subsequent 10 albums. By 1974, he had joined sister band Parliament during the party funk band’s mid-to-late-1970s heyday, helping craft mammoth staples of the genre such as “Up For the Down Stroke,” “Dr. Funkenstein,” “Chocolate City,” “P-Funk (Wants to Get Funked Up)” and “Mothership Connection (Star Child).”

His wobbly bass line on “Flash Light” from 1977’s Funkentelechy Vs. the Placebo Syndrome – one of the funkiest ever recorded – was crafted not by longtime bassist Bootsy Collins, but by Worrell running three Minimoog synthesizers together.

Alongside Clinton and Collins, Worrell helped define the sound of that decade by co-writing many of the band’s bombastic hits, and eventually their work would underline the G-Funk era of hip-hop ushered in by Dr. Dre in the early 1990s.

In later years, he released several funk-inspired solo albums and contributed to projects from Ginger Baker, Mos Def and more. His most recent work with the P-Funk collective was on Funkadelic’s 2014 reunion album First Ya Gotta Shake the Gate.

In 1997, Worrell was inducted into the Rock & Roll Hall of Fame alongside Clinton, Collins and 13 other members of Parliament-Funkadelic; the late great Prince was on hand to give the induction speech. [Read More]


Meryl Streep Rocks! … literally 

In the darkly comedic family drama (Ricki and The Flash", Meryl Streep is Ricki Randazzo, the lead singer in a cover band who faced a difficult decision 20 years earlier—a kind of Sophie’s Choice between her obligations as a married mother of three and rock & roll. She chooses Option B and bolted. So when her daughter Julie (Streep’s real-life daughter Mamie Gummer) finds herself in crisis back home, Ricki returns from wannabe rock stardom in the San Fernando Valley to, ahem, face the music. “She comes back to Indiana to help rather than patch things up,” says director Jonathan Demme. “And she’s very much persona non grata, showing up as mom for the first time in decades. Abandonment issues!” 

In the film, Streep belts out a dozen sing-along-worthy hits in the film including Tom Petty’s “American Girl,” “Wooly Bully,” Bruce Springsteen’s “My Love Will Not Let You Down,” and even “Bad Romance” by Lady Gaga, all recorded before a live audience. “We didn’t use playback. We’re not sweetening it up on the soundtrack. It’s performance!” Demme says. “I have to say with our band—I shouldn’t say it—but I want to say what I feel in my heart—Ricki and the Flash blow away every original.” 

 But in order to step into the spotlight as a suicide blonde dressed head-to-toe in leather—think Melissa Etheridge, Lucinda Williams and/or the Pretenders’ Chrissie Hynde, albeit in a punkier vein—the actress spent six months intensively practicing guitar. That six-string commitment got a little too real in the movie’s final scene. Afterward, Demme recalls: “She goes, ‘Jonathan look! Blood!’ Meryl had shred so fiercely, a little blood had spattered on her baby blue dress.” 

 Gummer, 31, a TV and movie actress best known for her title role in the CW’s Emily Owens MD and The Good Wife, made her screen debut opposite Streep in 1986’s Heartburn at 18 months old. The mother-daughter collaboration wasn’t so much a no-brainer as a non-talker. “I was sitting at home, she came by, wordlessly dropped the script and walked away,” says Gummer. “We’ve been careful and conscientious about how we engage in this silly business together,” she continues. “We didn’t talk much about it before stepping onto set the first day. Clearly, I trust she knows what she’s doing. She trusted me. We held hands, shut our eyes and jumped off.” 

 Streep is no stranger to musically demanding parts, having previously sung in Mamma Mia and Into the Woods. And the multiple Oscar winner’s lurking inner rock star was hardly a surprise to her daughter. “She loves, loves, loves to sing,” says Gummer with a laugh. “Loves it more than almost anything. She in part did this so she’d have permission to sing—and I couldn’t tell her to shut up!”

Final Scene
Imelda Staunton, Gemma Sutton
Final Scene

Imelda Staunton and Gemma Sutton perform the final scene at the closing performance of Gypsy.

Director Jonathan Kent found a heartbreaking compromise between the original “happy” ending and the less subtle ending Arthur Laurents staged for the 2008 revival (Louise cackling off while Rose reaches for her name in lights). 

Imelda’s Rose has a monumental emotional breakdown after “Rose’s Turn” (which in this production was less a mad scene than a journey of harsh self-discovery), cued by the line “Like I wanted you to notice me?” Louise embraces her, and Rose unleashes a wail that seemed to come up from her feet. Rose slowly raises her hands, trembling, but suddenly pulls away, unable to return her daughter’s hug (mirroring a similar, smaller moment their characters shared in the second scene). She immediately wipes her eyes and tries to be Rose as usual, but there’s been a powerful shift in their dynamic, and they both know it. 

When Rose gets to the line “And her daughter… GYPSY!!” with hands outstretched, Louise looks out front knowingly and sort-of smirks. After a beat, she pivots away from Rose, without looking at her, and starts to strut upstage. Rose, returning to reality, turns to gauge Louise’s reaction only to realize she’s leaving and scurries to catch up, like a child that’s been left behind. When she does catch up, Louise puts a stiff arm around her and they exit. Blackout.

The final image (with Lara Pulver as Louise):