Herr Offenbach
Raoul de Gardefeu
Bobinet
Metella
Baron Gyllentott
Baronessan Gyllentott
Pauline
Clara
Live performance of Offenbach's La Vie Parisienne
2001-04-14
0
French General Birabeau has been sent to Morocco to root out and destroy the Riffs, a band of Arab rebels, who threaten the safety of the French outpost in the Moroccan desert. Their dashing, daredevil leader is the mysterious "Red Shadow". Margot Bonvalet, a lovely, sassy French girl, is soon to be married at the fort to Birabeau's right-hand man, Captain Fontaine. Birabeau's son Pierre, in reality the Red Shadow, loves Margot, but pretends to be a milksop to preserve his secret identity. Margot tells Pierre that she secretly yearns to be swept into the arms of some bold, dashing sheik, perhaps even the Red Shadow himself. Pierre, as the Red Shadow, kidnaps Margot and declares his love for her.
Weller Martin and Fonsia Dorsey, two elderly residents at a nursing home for senior citizens, strike up an acquaintance. Neither seems to have any other friends, and they start to enjoy each other's company. Weller offers to teach Fonsia how to play gin rummy, and they begin playing a series of games that Fonsia always wins. Weller's inability to win a single hand becomes increasingly frustrating to him, while Fonsia becomes increasingly confident. While playing their games of gin, they engage in lengthy conversations about their families and their lives in the outside world. Gradually, each conversation becomes a battle, much like the ongoing gin games, as each player tries to expose the other's weaknesses, to belittle the other's life, and to humiliate the other thoroughly.
Fleabag may seem oversexed, emotionally unfiltered and self-obsessed, but that's just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose.
In June 2009, a group Britain's leading actors gathered for one night only to perform a celebration of the work of Harold Pinter at the National Theatre, directed by Ian Rickson. The team who made the acclaimed Harold Pinter documentaries for BBC's Arena was there to record this unique performance.
Set in modern upper-crust Manhattan, an exploration of love and commitment as seen through the eyes of a charming perpetual bachelor questioning his single state and his enthusiastically married, slightly envious friends.
John Hodge's Collaborators centers on an imaginary encounter between Joseph Stalin and the playwright Mikhail Bulgakov.
The Kitchen, Arnold Wesker’s "extraordinary black comedy," is directed by Bijan Sheibani and features an ensemble cast of 29 actors. The production is set in a restaurant in 1950s London.
The innovative interweaving of romance and math was conceived. The 2008 Olivier Award winner for Best New Play, it has toured the world and was recently performed in New York as part of the Lincoln Center Festival.
Grace has agreed to marry Sir Harcourt in return for his financial support of her family. At a house party in her father's place, Harcourt's son Charles also falls in love with Grace. When his father appears on the scene, he has to convince him that there is a case of mistaken identity and he is somebody else. Then Lady Gay Spanker, a married woman also visiting at the house, is persuaded by Charles to seduce his father and thus divert his attention from Grace. Much confusion and scheming ensues.
The Last of Mrs. Lincoln depicts the final seventeen years of Mary Todd Lincoln's life, following her husband's assassination.
As they are leaving the church following their wedding, Count Adrian Beltrami and Countess Anna-Marie are told that the Austrians are marching on the town to quell an Italian uprising. The bride and relatives induce the count to flee to his castle, but Tangy, a silhouette cutter, brings word from the revolutionary committee asking him to return; the count goes, asking Tangy to pose as the count and protect Anna-Marie.
This film is the first adaptation of an operetta written by Ukrainian composer Mykola Lysenko. It follows the trials and tribulations of Natalka and Peter (Petro). The sweethearts planned to get married; however, Natalka's father does not approve of the marriage because Petro was not affluent enough to keep Natalka in the manner he thought that she should be kept. Petro goes off to earn the required fortune.
In a remote village in Eastern Europe, around 1900, the young Motl Mendl is entranced by the flickering silent images on his father's cinematograph.
Separated at birth, two sets of twins collide in the same city for one crazy day, as multiple mistaken identities lead to confusion on a grand scale.
Lotfi Mansouri's spectacular last production as General Director of The San Francisco Opera with Yvonne Kenny making her debut in the title role, new dialogue specially commissioned from Pulitzer Prize-winning playwright, Wendy Wasserstein and an original ballet to set the scene ‘Chez Maxime’ bringing fresh insight into Lehár's classic operetta. This production also features another world premiere, Njegus's song, ‘Quite Parisian’.
Willy Loman is an over-the-hill salesman who faces a personal turning point when he loses his job and attempts to make peace with his family: Willy's long-suffering wife Linda, and Biff and Happy, his troubled sons and his life.
A ship is wrecked on the rocks. Viola is washed ashore but her twin brother Sebastian is lost. Determined to survive on her own, she steps out to explore a new land. So begins a whirlwind of mistaken identity and unrequited love. The nearby households of Olivia and Orsino are overrun with passion. Even Olivia's upright housekeeper Malvolia is swept up in the madness. Where music is the food of love, and nobody is quite what they seem, anything proves possible.
Against the backdrop of Hamlet, two hapless minor characters, Rosencrantz and Guildenstern, take centre stage. As the young double act stumble their way in and out of the action of Shakespeare’s iconic drama, they become increasingly out of their depth as their version of the story unfolds.
After moving to Chicago from the South just as the civil rights movement takes hold, the members of an African American family led by steely matriarch Weedy Warren have different reactions to the social upheaval surrounding them.
National Theatre Live’s 2010 broadcast of Alan Bennett’s acclaimed play The Habit of Art, with Richard Griffiths, Alex Jennings and Frances de la Tour, returns to cinemas as part of the National Theatre's 50th anniversary celebrations. Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by, amongst others, their future biographer and a young man from the local bus station. Alan Bennett’s play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion’s spent: ultimately, on the habit of art.