2006-11-20
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Film adaptation of a stage play about a therapy group for male sex-addicts.
When You Come Home was Randle’s seventh feature film, and sees him recount his life as a music hall odd job man to his grandaughter.
Moments before the curtains rise on their high school’s production of Julius Caesar, Rob (Brutus) accidentally stabs Wyatt (Caesar) backstage. Rob and his best friend Craig (Cassius) must then try to get Wyatt ready for the show, or -if things don’t work out- hide the body and find a replacement. Before the night is over, they’ll have to deal with a lovesick Casca, a sledgehammer-wielding Antony, and a stray Nick Bottom who has been kidnapped from the rival high school’s Midsummer. The filmed version of the Shakespeare in the Dark production of “Et Tu, Rob?” combines the best elements of live theatre, film, and streaming to bring the "cultural" "phenomenon" to homes around the world for a thrilling, once-in-a-lifetime experience.
A group of feisty, talented young performers pool their resources and buy a dilapidated theatre to showcase their acts – but unscrupulous property developers also want the theatre and resort to dirty tricks to disrupt the first night's performance!
Elyot Chase and Amanda Prynne are glamorous, rich, reckless…and divorced. Five years later, their love for one another is unexpectedly rekindled when they take adjoining suites of a French hotel while honeymooning with their new spouses. This chance encounter instantly reignites their passion, and they fling themselves headlong into a whirlwind of love and lust once more, without a thought for partners present or turbulences past. This Chichester Festival Theatre production of Noël Coward’s Privates Lives was filmed live at London's Gielgud Theatre.
An entirely improvised comedy play, with a cast who conjure up a 'lost' Jane Austen novel, based on nothing more than a title suggested by the audience.
William Shakespeare's darkest comedy, Measure for Measure. Live from Shakespeare’s Globe Theatre in London, this television production of the play was broadcast on BBC4 on Sept 4, 2004. Directed for stage by John Dove and for television by Janet Fraser Cook. Presented by Andrew Marr and with comment from historian David Starkey, actress Juliet Stevenson and the production’s director John Dove. Starring Mark Rylance, Liam Brennan and Sophie Thompson.
In a woods filled with magic and fairy tale characters, a baker and his wife set out to end the curse put on them by their neighbor, a spiteful witch.
"Pensées d'Alexandrie", "Bises du Caire" ... It's summer. They took their car, drove in coaches, flew in planes and visited camera in shoulder strap some distant country bristling with monuments and other "things to see", such as Egypt, Greece, India or Bordeaux. So as they are bored a bit far from their home sweet home, the Rouchon write to Brochon and vice versa - we are polite all the same! They send postcards not stung from the beetles. In these letters from the front of the leisure society, François Morel as a "melancholy mocker" has fun with often tender humor, sometimes biting, of this irrepressible need to change scenery to finally eye with a weary eye the pyramids and all those centuries that contemplate you while thinking of the evening meal (wine is free and at will) and the friends who have stayed in the country.
Before it was a movie, it was a theatrical phenomenon! When Helen learns that her husband is leaving her for her best friend, the women in her family are ready with advice. Her devout mother preaches strength and forgiveness, while her parolee grandmother shows up with a gun! Acclaimed African-American playwright Tyler Perry dares to mix sacred and secular humor with riotous results. Experience his most famous morality tale, now a major motion picture, in its original stage format...complete with live musical numbers!
Ah, summer! School is out, work slows down and passions heat up in the warm summer air. Theatrically speaking, it's the perfect time for a sexy comedy where no one is what, or who, they seem and life is full of romantic possibilities. In other words, the perfect time for William Shakespeare's TWELFTH NIGHT, or 'What You Will—’ which Lincoln Center Theater presented in the summer of 1998 at the Vivian Beaumont Theater.
'Scots star sings songs in music hall setting.' (British Film Catalogue)
An English comedian is infuriated by a Scottish comedienne's impersonation of him
Fired from his skiffle band, Francis Henshall becomes minder to Roscoe Crabbe, a small time East End hood, now in Brighton to collect £6,000 from his fiancée’s dad. But Roscoe is really his sister Rachel posing as her own dead brother, who’s been killed by her boyfriend Stanley Stubbers. Holed up at The Cricketers’ Arms, the permanently ravenous Francis spots the chance of an extra meal ticket and takes a second job with one Stanley Stubbers, who is hiding from the police and waiting to be re-united with Rachel. To prevent discovery, Francis must keep his two guvnors apart. Simple.
Plans for an arranged marriage between the beauteous young Juliet and the wealthy but off-putting Count Paris are thrown awry when Juliet falls for Romeo, the son of her father's only enemy. Their romance will yield explosive passions — and deadly consequences.
The lives of Stan Laurel (1890-1965) and Oliver Hardy (1892-1957), on the screen and behind the curtain. The joy and the sadness, the success and the failure. The story of one of the best comic duos of all time: a lesson on how to make people laugh.
Failed music hall performer Jack James inherits a brothel when his ancient Aunt dies. He takes over the running of the business and falls in love with its star attraction, beautiful prostitute Virginia.
Tottie True is a gay-90s British music-hall performer who has her sights set on moving from rags to riches, who loses her heart to the pure-and-true blue balloonist, Sid Skinner, but continues her upward search on improving her social status. She finally settles for Lord Landon Digby who has lots of assets and a very-stiff upper lip. She gets a lot of the latter and very little of the former, and decides Sid might have been a better choice.