young vic

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Eddie Redmayne’s ‘edgy Mary Poppins’

We witness Eddie’s self-deprecating comic skills — and hear his lovely voice a cappella, (a la Empty Chairs at Empty Tables) —in this “Life’s a Pitch” short film by Young Vic. His pitch is a dark and edgy musical about an overly intense “man who spends his days with children in the 21st century…mothers draw their little ones to them, as if the one with the problem is me.”

Note the quiver in his cheek and the rolling tear. He always gives his all.

Begins at approx. 5:00: https://youtu.be/OAHbs6bogy8

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“All of those deaths!  The long parade to the graveyard! Father! Mother! Margaret, that dreadful way!  So big with it, it couldn’t be put in a coffin!  But had to be burned like rubbish!  You just came home in time for the funerals.  Funerals are quiet, but death–not always.  Sometimes their breathing is hoarse, and sometimes it rattles, and sometimes even they cry out to you, “Don’t let me go!” Even the old, sometimes, say, “Don’t let me go.”  As if you were able to stop them!  But funerals are quiet, with pretty flowers.  And, oh, what gorgeous boxes they pack them away in!  Unless you were there at the bed when they cried out, “Hold me!” you’d never suspect there was the struggle for breath and bleeding.  You didn’t dream, but I saw!  Saw! Saw! And now you sit there telling me with your eyes that I let the place go! How in hell do you think all that sickness and dying was paid for?  Death is expensive, Miss Stella!. Why, the Grim Reaper had put up his tent on our doorstep!”

Gillian Anderson as Blanche Dubois in “A Streetcar named desire" 

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The Young Victoria (Queen Victoria & Prince Albert)

“Victoria and Albert were a very real, lively young couple and he had a lot of ambition. Had he not married Victoria, he would have been king of his country, and I think that his drive coupled with her ambition and forcefulness inevitably would lead to a clash. What was extraordinary about it is that every time they did have arguments – and they argued a hell of a lot – they did make up, and I think it made them stronger. They didn’t give up, and I was inspired by that. I didn’t realize that theirs was a genuine love story; that they were a team, they ruled together. They had a family together. It wasn’t a cold, ‘You father my children and then go sit in the study’. They did everything together. They were never apart for a day and I hadn’t realized quite why she was still wearing black at 80. It was just that. She’d had half of her soul ripped away from her when he died.” Rupert Friend

I couldn’t pick just one defining breakthrough role. I like to think that they’re all a part of me. There’s a part of my heart that forever has Anne Boleyn written on it, who I played in The Tudors. Equally, to some I will always be Margaery Tyrell from Game of Thrones, or Miss Julie who I played in After Miss Julie at the Young Vic.

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“I don’t want realism. I want magic! Yes, yes, magic! I try to give that to people. I misrepresent things to them. I don’t tell the truth, I tell what ought to be the truth. And if that’s sinful, then let me be damned for it!” - Blanche DuBois, A Streetcar Named Desire

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Billie Piper says her latest stage role, about a woman desperate to have a child, feels very relevant because it’s an issue being faced by many women she knows.

“It chimed quite vividly with me because so many of my friends are finding it quite hard to go through that,” Piper says. “It seems to be a very common topic at the moment.”

“I read the original, and I thought that it was one of the most beautiful pieces of poetry,” she says. “It’s that story of a modern woman who is suddenly suffocated and strangled by her ticking clock.

"I witness that all around me, and I read about it frequently. I thought that it seemed like a very relevant piece of work.”