a doll ' s house ( 1922 film )
​a movie poster for the 1922 silent version of a doll' s house .
figure 3 - publicity photo for a doll’s house (charles bryant, 1922). the margaret herrick library, los angeles .
figure 4 - publicity photo for a doll’s house (charles bryant, 1922). the margaret herrick library, los angeles .
movie poster for the​ other 1973 version of a doll' s house starring jane fonda .
a doll' s house is a 1959 live telecast based on henrik ibsen' s 1879 play a doll' s house directed by george schaefer which was broadcast on 15 november 1959 and is preserved as a kinescope .
1922: silent film with alla nazimova as nora and alan hale sr. as torvald. charles bryant directed .
movie poster for the 19​73 version of a doll' s house starring anthony hopkins and clair bloom .
figure 2 - publicity photo for a doll’s house (maurice tourneur, 1918). the margaret herrick library, los angeles .
figure 1 - publicity photo for a doll’s house (joseph de grasse, 1917). the margaret herrick library, los angeles .
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the doll' s house
originally opened at palmer' s theater on december 21, 1889, and has been revived on broadway eight times as of 2008 .
a doll’s house, part 2 casts her as a forerunner to betty friedan, whose landmark 1963 study the feminine mystiqu e identified how suffocating domesticity drove women to depression and suicide .
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a doll’s house, part 2 continues through july 23 at the john golden theatre, 252 w 45th street, new york, ny 10036. ticket information can be found here .
since ibsen’s a doll’s house debuted in 1879, it has been produced not only on stages around the world, but also has been adapted for film, television and radio. among the actors featured in the theatrical performances are joan crawford, basil rathbone, juliet stevenson and toby stephens .
after 138 years onstage and 15 years off, nora helmer has come home. a doll’s house, part 2, lucas hnath’s sequel to henrik ibsen’s groundbreaking play about a woman daring to leave her husband and children, has opened on broadway—and it’s a new nora who has walked through the door .
style and the durability of gender roles the question of whether or not to consider the doll’s house films as period dramas or as contemporary narratives can also be understood as an aesthetic concern. there are connections between, for example, nazimova’s acting in her 1922 film and other aspects of the film, such as set and costume design. several reviews mention that the costume design (by natacha rambova) suggests that it is a contemporary story. this view is also reflected in interpretations of nazimova’s performance. as louis reeves harrison states in moving picture world :
2013: nora, british film with hattie morahan in the title role. this short film was released by london’s young vic theatre as part of ​its yv shorts, a series of short films inspired by works upon vic' s stages .
a group of friends are brought to a haunted house to explore it for a doll that is being asked for by an online user for 25, 000 but things turn out to be totally different then expected .
taught in literature classes and performed in drama schools, a doll’s house continues to be frequently revived and hotly debated by theater folk and academics. in 2006, the centennial of ibsen’s death, it was the most performed play of the year .
a doll’s house was so shocking that ibsen reluctantly wrote a different ending in which torvald helmer forces nora into the doorway of their children’s nursery as they sleep, rendering her seemingly unable to leave. ibsen described it as “a barbaric act of violence” that was “absolutely contrary to my wishes. ”
1918: silent film with elsie ferguson as nora and holmes herbert as torvald. directed by maurice tourneur
1993: sara, iranian film with niki karimi as the nora character. directed by dariush mehrjui .
1973: american film with jane fonda as nora and david warner as torvald. directed by joseph losey .
1973: british film with claire bloom as nora and anthony hopkins as torvald. directed by patrick garland .
a doll' s house is a british videotaped television production from the bbc of the play of the same name by henrik ibsen. it was directed by david thacker and first broadcast on bbc 2 on 21 november 1992, and was later shown on pbs' s masterpiece theatre in the united states .
1917: silent film with dorothy phillips as nora and william stowell as torvald. directed by joe de grasse .
1923: nora, silent german film, with olga tschechowa as nora and carl ebert as torvald. berthold viertel directed .
in contrast to nazimova, elsie ferguson had a background in musical comedy. this background was commented upon in connection with her dance scene in tourneur’s 1918 doll’s house film. explaining the appeal of dance and the female body in this scene, the moving picture world stated: “possessed of an exceptional voice, blessed by nature with beauty of face and symmetry of figure, and displaying unusual grace as a dancer, miss ferguson might today be known as a queen of musical comedy if the call of her ambition had not led her into emotional dramatic channels. ” [ 16 ]
first performed in 1879, a doll’s house presented radically critical views of 19th - century marriage. while insisting that the work was not deliberately intended to support the women’s rights movement, ibsen said the play was inspired by his belief that “a woman cannot be herself in modern society, ” because it is “an exclusively male society, with laws made by men and with prosecutors and judges who assess feminine conduct from a masculine standpoint. ”
eirik frisvold hanssen is head of section for film and broadcasting in the department of research and dissemination at the national library of norway. he has a phd in cinema studies from stockholm university (2006) and has published on colour and cinema, visual culture, and classical film theory in various edited volumes and journals such as
1943: casa de muñecas, argentinian film with delia garcés as nora and george rigaud as torvald. ernesto arancibia directed and set the story in the ‘40s .
wow, that’s a tough one. i struggle between two and really, it’s about how badly i want to do them :
a wealthy woman' s attempts to help her financially troubled husband go unrewarded .
all the way, a midsummer night’s dream, a wrinkle in time, the intelligent design of jenny chow, a christmas carol, tartuffe .
the film adaptations of a doll’s house were produced at a moment in the reception of ibsen (at the end of the “progressive era”) where the limitations of his “women’s plays” were being considered, not only by film critics (who, in the material i have studied, are predominantly male), discussing the various adaptations of the play, but also on a more general level in contemporary feminist debate. along with arguing for ibsen’s diminished relevance to discourses on the position of women and gender relations in early twentieth - century modernity, contemporary reviews emphasized the individual performances of the lead actresses in the films, and linked their diverging acting styles to specific cultural and national contexts and backgrounds. perceived in individual rather than collective terms, and disassociated from inter - or transnational feminist issues, such readings of the characters and their gender relations seem to have diminished the political potential of the films .
most audiences and critics in 1879 were appalled. m. v. brun wrote of the play’s conclusion in folkets avis (copenhagen’s “the people’s paper”) :
2018: forthcoming film adaptation is set against the backdrop of the current economic crisis, with ben kingsley as doctor rank and michele martin as nora. charles huddleston is set to direct .
harrison thus indicates that nora’s behaviour is still unacceptable. the majority of the reviews in the material i have had access to have been written by men. in fact, the only writing that i have found that claims that the play still has relevance is by a female writer, adele whitely fletcher. as the editor of motion picture magazine, reviewing the nazimova film, she writes: “altho [ sic ] ibsen wrote “the doll’s house” in the latter half of the nineteenth century, it is particularly pertinent today. as a matter of fact, he was undoubtedly premature in his conception of nora, the woman who demands her right to be an individual before and above everything else. ” [ 26 ]
demonstrating the zeal of the convert, nora at times comes across a little too strongly in a dolls house, part 2. but given all she’s achieved and all she can lose, who can blame her? the woman has completely transformed her life, but she hasn’t accomplished it without repercussions .
how did cinnamon come to join your family? she was a foster - to - adoption success, correct? yes, it’s a love story, and a great story i love to tell because i wasn’t looking for a dog; she literally showed up one day at my house and climbed into my lap. she reminded me of a dog i fell in love with one summer when i lived in malibu .
​that’s a hard call. part of shakespeare’s genius to me means that i respond differently to his plays at different life stages. in reflecting on this now, i found myself thinking a lot about
differing considerably from henrik ibsen' s classic play, the basic story of a woman who forges her father' s name and comes to grief therefore is retained .
during what she says is the first serious talk she and torvald ever had, she informs him, “i have existed merely to perform tricks for you, torvald. but you wanted it like that. you and father have committed a great sin against me. it is your fault that i have made nothing of my life. our home has been nothing but a playroom. i have been your doll - wife, just as at home i was father’s doll - child; and here the children have been my dolls. ”
the evening’s signature cocktail was “the pirate’s daughter, ” which was comprised of tanqueray gin and tonic with cranberry and lime juice, a fitting libation to honor the bard of avon .
i guess it shouldn’t be a surprise that actors love stories about actors! and this story is almost a fan - fiction interpretation of shakespeare’s writing—it creates a fun and loose world in which to play .
when the bell rings, junie b. runs off to gather her coat and mittens. and that’s when she notices something terrible—something that’s even more terrible than being called a nutball. her mittens are gone. 911! someone stole junie b. ’s black furry mittens !
while the reed is soaking, draw out the farthingale' s size and shape on plywood and hammer in a lot of nails around the perimeter (like a fence) .
it was an iconic, modern film and the greatest love story ever written—combined! and, the chance to speak the words of both romeo and juliet! heaven! somewhat ironically, i rarely have had the opportunity to work on british plays, so it' s been wonderful to embody a character in my mother tongue and whom i can relate to on an instinctual, gut level .
( plus, i’m an alumnus of the theatre conservatory’s acting intensive program) .
because it’s hilarious and utterly absurd, yet relatable, on so many levels .
director beth lopes makes her scr debut with the production. of junie b. , lopes says: “she’s a clever, lovable oddball who is firmly in control of her own universe. that’s not to say she isn’t flawed, which is one of the best parts about junie b. jones is not a crook. the story teaches us that you can be a good person and still make mistakes. ” author barbara park also observed that junie b. ’s imperfections are part of what makes her so relatable to children and adults alike. “i’ve never been sure whether junie b. ’s fans love her in spite of her imperfections…or because of them, ” park told publisher random house. “but either way, she’s gone out into the world and made more friends than i ever dreamed possible. ”
. though it’s a fabricated story, i believe it reveals the real struggles of being a writer and creating something. but i think the best part is the humor with which it’s done, particularly for theatre people. there are so many great inside jokes about the theatre and nods to so many of shakespeare' s plays. i love that !
for its theme of forgiveness and redemption. ​since it' s generally accepted by scholars to be shakespeare' s last written play, the character of prospero giving up his art at the end of the play parallels shakespeare' s own, saying goodbye as a playwright by giving up the quill. that last speech of prospero always reduces me to a puddle .
because it’s such a beautifully crafted story of one person’s trial through his own personal loss of faith (winter). yet wonderful shakespeare, he notes that after winter there is always rebirth in hopeful spring. ​another favorite is
it’s inspiring, and yet disheartening to hear nora speak of her hope for the future. that future, of course, embraces our present. nora has arrived on broadway at a time when women’s rights are being threatened by the recently elected trump administration. it’s not the the future she has worked for .
during the 1910s both psychological realism and the naturalistic acting style of the “new drama” influenced american cinema. however, ben brewster and lea jacobs have argued that the influence of naturalist acting techniques were not as pronounced as asserted in some studies, in particular with regards to the restraining of pictorial effects in silent film. they state: “naturalist theatre was famously wordy, and to some extent the emphasis on the language compensated for the opacity of gesture and action typical of the acting style. it required considerable sophistication to adapt it to the new medium. ” [ 8 ] the challenges of adapting ibsen to the screen were referred to in a moving picture world review of a doll’s house starring dorothy phillips. as the reviewer explains, “the absence of the theatrical in the ibsen method and the difficulty of conveying the fine shades of meaning in the dialogue without the aid of speech render the task of the actors in the cast doubly hard. ” [ 9 ] to portray nora on the screen was understood as a demand that specifically tested the performance skills of the individual actress .
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this is my debut​. i am an alumna of the theatre conservatory’s acting intensive program .
from that time began her unconscious preparation for cinema art. because she realized that she must play in a new language and that the words as she spoke them might at first mean but little to the audience, she knew she must depend for the most part upon her facial mobility, upon the expressive gestures of body and hands. she studied appearances as well. where the lines of hedda gabler required a tall, dominant personality, she disguised her height by costumes of sweeping lines; where the buoyant child - wife nora plays with her children in a doll’s house, she used the scant, short gowns that made her seem in truth a child. in master builder she seemed an immature young girl in a sailor suit until the strength of the character of hilda required more dominance, then by clever use of steps, she took command of the scene in appearance as well as in the lines. all this was excellent preparation for the cinema. [ 13 ]
in order that her husband may retire and recover his health, nora helmer goes to krogstad, a moneylender, and forges her father' s name to a note. six years later, torvald, her husband, has risen to managership in a bank but refuses to retain krogstad in his employ; the latter threatens nora with exposure unless she uses her influence in his behalf. in spite of nora' s efforts, her husband denounces krogstad as a criminal, and in desperation he sends torvald a letter exposing nora' s forgery. instead of shielding his wife, torvald is infuriated at the blow to his reputation; however, influenced by mrs. linden, krogstad relents and withdraws his accusation, and all is well. nora, finding her illusions about her marriage shattered, perceives the truth about her doll - like existence and asserts her right to live her own life .
i have had the pleasure of being the stunt double for katie lowes (“quinn perkins”) on tv’s “scandal” for the past five seasons. some other recent projects include
baskets ,
better things ,
curb your enthusiasm ,
modern family ,
american horror story
and
disjointed .
i have multiple film credits, too. haley has done some commercial work in the past and has had a few background extra roles on
modern family .
she’s taking a little break from acting and auditions due to her middle school homework load and soccer schedule. she and i are both represented by urltoken in the commercial department. but enough about us, let’s get back to the real star !
the whole crook business begins with a story called “once upon a time my grandfather named frank miller went to the store and he bought me some mittens, ” by junie b. jones. once upon a time, junie b. ’s grandfather, named frank miller, went to the store and bought her some mittens. junie b. ’s new mittens aren’t just any mittens, though. they’re made out of black furry fur and grandpa miller bought them for no good reason—it wasn’t even junie b. ’s birthday! that’s how come she loves that guy very much .
a show like shakespeare in love requires more than 60 costumes that include a minimum of five pieces each, making the overall costumes and garments tally for this production enormous. we recently chatted with scr’s costume shop manager amy hutto to get the lowdown on what it takes to pull off shakespeare in love ’s sartorial splendor .
in the eyes of some, nora is unquestionably selfish and villainous because she left her children without a word—a standard that women are held to, whereas men aren’t. when anne marie mentions nora’s sons and daughter, nora’s immediate response is, “don’t bring up the children as though that drowns out anything i have to say about why i did what i did and whether what i did was right. is that not enough? men leave their families—happens all the time… but if a woman does it – she’s a monster, and the children are ruined. ”
i grew up writing with actual ink pens at school, so i’m happy with quill and ink. however, given today’s paper, i also need a ballpoint .
what’s the best part about working on a period piece like shakespeare in love? what about challenges? the fact that it’s a period piece. the people who go into theatre costuming want to do period costumes. for the most part, we are not particularly interested in contemporary fashion. that is a different aspect of clothing that will be more interesting to us when it is 20 years old .
during the 1910s and early 1920s, around 30 known ibsen adaptations were made in a number of countries. mostly adaptations of stage plays, these films often generated debates in reviews and articles on the differences between cinema, theatre, and literature. in trade press and film discourses of the 1910s, ibsen was a recurring cultural reference, but also an ambivalent and paradoxical one. he is often mentioned as an important source of inspiration with regard to the aesthetic of realism, the use of social themes, and his intricate and precise dramaturgy and plot construction. at the same time, ibsen is also considered old - fashioned, representing an aesthetic to be avoided in cinema, and a set of social themes belonging to a time long passed. ibsen’s stage plays were thus widely understood paradoxically as a model for – and as the antithesis of – cinema’s assumed medium specificity .
while some viewed nora’s abandoning her husband and children as “untruthful, unattractive and unmotivated, ” others saw it as uncommonly brave. the issue of whether a woman’s action is “attractive” is, sadly, much too relevant to present - day culture—just ask amy poehler and tina fey .
nora helmer has years earlier committed a forgery in order to save the life of her authoritarian husband torvald. now she is being blackmailed lives in fear of her husband’s finding out and of the shame such a revelation would bring to his career .
it’s a celebration of the theatre and is accessible to all. audiences familiar with shakespeare' s life and work will love the inside jokes. those less familiar will enjoy the comic characters, story and production values. hopefully, they will be inspired to read and see more shakespeare plays .
( off - broadway), “grey’s anatomy, ” “scandal, ” “ncis, ” “the last ship. ”
( actors theatre of louisville), “eastbound and down, ” “one tree hill, ” “dawson’s creek. ”
twelve angry men, the odd couple, a walk in the woods, god of carnage, twelfth night, the comedy of errors, romeo and juliet, a midsummer night’s dream, amadeus, anything goes, my fair lady, the morini strad .
when audiences first meet nora, she doesn’t seem to have a care in the world. she is sweet and childish, and—depending on the actress playing her—perhaps a bit annoying. a well - to - do housewife and mother of three children, nora lives a comfortable life of privilege .
she makes a valid and timeless point. mothers’ expected levels of responsibility continue to be much higher than those of fathers. though nora says abandoning her children was the hardest part of leaving her life behind, hnath never implies she should have stayed. in contrast to ibsen’s nora, who built a web of lies entangling everyone around her, hnath’s nora is bracingly honest .
as nora’s story unfolds, hidden financial problems emerge and she is blackmailed by krogstad, a lowly employee at the bank where torvald has just been promoted to manager. she also experiences a transformative epiphany about her life, and, more specifically, her marriage .
nora helmer has years earlier committed a forgery in order to save the life of her authoritarian husband torvald. now she is being blackmailed lives in fear of her husband' s finding out and of the shame such a revelation would bring to his career. but when the truth comes out, nora is shocked to learn where she really stands in her husband' s esteem .
based on the ibsen play, a drama centered on a woman married to an overbearing husband, set against the backdrop of the current economic crisis .
after deciding how large a diameter the skirt base should be, get a piece of reed about ¾​ - inch round and a little longer than ​the circumference. we started with an 8 - foot. piece of reed .
young will shakespeare and lady viola de lesseps—or rather, actors paul david story and carmela corbett—head up a nearly two - dozen - strong cast for shakespeare in love. the ensemble is a mix of new and returning faces and includes a couple who met a decade ago while doing another play, two scr alums whose specialty license plates attest to their love of things elizabethan and shakespearean, a the walking dead alumnus and a heart - melting canine .
first night attendees and honorary producers jean and tim weiss found shakespeare in love to be highly entertaining. “tom stoppard is one of our favorite playwrights, so when we had the chance to underwrite one of his plays (well, i guess it' s a bit of a hybrid of authors) we jumped on it, ” they said. “ shakespeare in love did not disappoint. with stoppard, it’s like watching a play within a play, which makes it just that much more fun and interesting. this production was one of the most enjoyable and lighthearted plays we’ve seen at scr. the music, the acting (especially the character actors), the set, the directing and the writing were all amazing. it’s the type of production that’s like a big chocolate cake—there are all sorts of layers to enjoy and savor. ”
it' s so romantic. i love the music and i love all of the inside jokes about the theatre .
but she does seem able to inspire acceptance of her actions in her estranged husband, which is a start. reunited momentarily, nora and torvald talk candidly. she remains adamant that she did what she needed to do. she explains herself to him, and he listens. even if he doesn’t completely understand, he hears her, and after she leaves the house again, it is torvald who shuts the door behind her .
but now, thanks to the orlando - born playwright hnath, nora is back, and it is very good to see her. played by the formidable laurie metcalf in the play’s broadway premiere at the john golden theatre, she is a single woman, a successful writer, and a loud and proud advocate for women’s rights. as she reunites with anne marie (jayne houdyshell), her former housekeeper and nanny, nora proclaims, “i’ll tell you what: i’m not the same person who left through that door. i’m a very different person. ”
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“ncis, ” “csi, ” “the mentalist, ” “without a trace. ”
her worst problem is a sweet tooth, which makes her husband torvald constantly rebuke her. it is obvious that nora and torvald’s relationship resembles that of a father and daughter more than that of a husband and wife. he calls her his “little sparrow” and his “squirrel. ” in return, she performs for him, playing the role of a light - hearted, high - spirited wife who is cared for by her older and wiser husband .
in a nod to our neighbors across the pond, the celebratory fête featured a menu inspired by british cuisine, including mini fish and chips, mini chicken pot - pies and split - pea soup shooters. another favorite of the festive crowd were the mashed potato martinis, served along with chef’s selection of various toppings. for a sweet finish, partygoers indulged in a tempting array of delicious, miniature desserts such as tarts, cookies, brownies and crème brûlées .
first night guests were thrilled to have the opportunity to meet and mingle with the entire cast (including english bulldog cinnamon) at the rooftop terrace pavilion’s sophisticated setting. all the while, lively conversation and laughter continued to swirl around shakespeare in love, a romantic feast featuring mistaken identities, ruthless scheming, backstage theatrics and much more. all in attendance at shakespeare in love ’s first night agreed—it was a lovely soiree, indeed !
the romance! it' s hard not to fall in love with these characters. the writing is so incredibly witty and specific .
it’s deeply satisfying to witness nora’s return as a confident, successful writer pleased with the life she has built for herself as an independent woman. long stifled by her existence as a daughter, wife, and mother, she has found her voice writing about women “and the things women do and want and don’t want and don’t do. and the way the world is towards women and the ways in which the world is wrong. ”
and it’s wonderful to have such a big cast! laughter, heartbreak, fights, music and, of course, the costumes! plus, i get to be in a show with my beau, who conveniently is named bo [ foxworth ]. this is our first show together since we met 10 years ago doing a play. he may have a bigger part than me, playing henslowe, but i, of course, have the better costumes as the queen !
poured aspects of himself into all of his characters, so this makes playing him wonderfully intriguing. he embodies juliet, romeo, mercutio, a priest, a mother, a nurse and others. yet, he is constantly a struggling, anxious writer. his nurturing concern for his characters and need to express their desires drives his actions .
filmplay described this moment in the following terms: “it is a cruel night that nora goes into. a great wintry storm of snow and wind is blistering down the street. she stands for a moment hesitant and then steps out into the world and with arms outstretched and a great air of invincibleness, she exultantly breasts the elements”. [ 15 ]
emily ghosh, who is the ​founding ​partner ​and ​chief ​executive ​pawfficer, told me pebbles was up for immediate adoption after her spay and would need a nice foster home to recover. since emily was the one who brought pebbles to the party, she said, “well, i approve your home, that’s the first step. ” that’s how the foster process began .
nora helmer has years earlier committed a forgery in order to save the life of her authoritarian husband torvald. now she is being blackmailed lives in fear of her husband' s finding out and... see full summary »
i’ve played both viola and olivia. i love it because of its delicious dramatic ​and comedic elements. it’s heart - wrenching ​to watch viola deal with losing her brother, an orphan in a foreign land, and survive only by hiding her identity and her love for orsino. then it’s hilarious watching sir toby and his pals screw with malvolio, not to mention the mistaken identity silliness when viola’s twin brother sebastian shows up on the scene. there are fights and songs, laughter and tears. i just love it .
when the reed feels bendy (that’s the technical term), ​urge it, firmly but gently, into shape inside the fence of nails .
she has made nora into an extremely timely person; not flapperful exactly, but full of antics and a youthful exuberance which more than once strained our credibility. we don’t know that the motherhood of three children necessarily implies a sombre maturity, yet one scarcely expects to see a woman who has attained to that dignity jumping over furniture and turning somersaults. but nazimova’s nora did both of these and more [ … ] ” [ 22 ]
what kind of pan is long enough to soak it in? a rain gutter works fine .
a christmas carol, silent sky, misalliance, the heiress, the importance of being earnest .
if i take ​this choice metaphorically i can say, unequivocally, quill and inkwell. since i was a very young boy i always wanted to be a knight. growing up in a very rural area with horses, i was sometimes able to take that fantasy to another level. i became an expert horseman and practiced sword fighting, which led me to becoming a competitive fencer for the ucla fencing team with the saber. i even had a personalized license plate that said chvalry. i think i always felt that i was meant to live in another time period and that may be part of the reason i enjoy performing shakespeare’s plays so much .
nazimova began her screen career in 1916 with war brides (herbert brenon, 1916). she had a reputation as both a famous stage actress and as an “exotic type. ” in an interview with cinema chat in 1920, her foreignness becomes a metaphor for the transition from stage to screen. [ 12 ] as she continued her career in the us, her challenges with regards to performing in a foreign language are described, in the article accompanying the interview, as a preparation for the cinema :
although i love the notion and romantic feel of a quill and ink, i have to say that, personally, i write with a ballpoint pen and still enjoy the lost art of letter writing .
. it is a story about the transformation of prince hal, from a rebellious son to the king of england, who faces the burden and responsibility of power. these are themes which continue to resonate today. the play is also one of the four plays to feature mistress quickly as a character !
the story brings together such an unlikely and unusual assortment of characters and changes them for the better. and, of course, it’s funny and completely charming .
what nora cannot do herself is get a divorce. the only way she can file for one is to claim that torvald abused her, but she will not stoop to lies or besmirch her husband. emmy (condola rashad), her now - grown daughter, urges nora to fake her own death in order to protect her family’s reputation. again she refuses, saying, “i’m already in a prison if i’m having to rely on torvald to give me a divorce…. ”
amadeus, one man, two guvnors, a christmas carol, taking steps, hamlet, cyrano de bergerac .
ballpoint pen. i would just splatter the ink all over the place if i had to use a quill .
my 12 - year old daughter, haley, met ​pebbles for the first time at the animal hospital, and took one look at her and said, “mom, she doesn’t look like a pebbles, she looks like a big fat cinnamon roll. let’s name her cinnamon. ” so, once we renamed her, we knew she was going to be ours. we didn’t officially finish the adoption paperwork until a month later, right before christmas. i made a facebook announcement about the new addition to our family and, within minutes, she was discovered by my friend lori monnier, the ​general ​manager at scr. lori said they were looking for a bulldog and asked if cinnamon wanted to be in a play. the next day, i got an email and a call from joanne denaut, ​scr' s ​casting director, with details about ​ shakespeare in love and asked if we could come in to meet the director. so after the holidays, haley, cinnamon and i met marc masterson and some of the cast. amy hutto, from the costume department, measured her neck. cinnamon nailed her audition and started rehearsals that week !
but the longer junie b. is without her mittens, and the longer she keeps the pen that isn’t hers, the more she begins to wonder: will she ever catch the mitten crook? is finders keepers really a good rule? is she actually a nutball? and, worst of all, is junie b. jones a crook herself ?
how does cinnamon get along with her ​fellow actors? she’s super - friendly and approachable, so it didn’t take long to warm up to everyone. adam ​ [ silver​ ] and james [ macewan ] have been great with her in their scenes. elyse ​ [ mirto​ ], the queen, says she, “very much likes the dog! ” nick offers to take her out for potty breaks and has her leash during the curtain call. sam ​ [ maytubby ] on the deck crew also has an english bulldog, so i’ve enjoyed talking with him. cinnamon can be found on the couch in the green room hanging out with the ​tech ​crew before every show. she’s really getting spoiled. she loves visiting everyone and sniffing around in their dressing rooms. we cruise around and say “hello” to our friends in the ​box ​office and ​costume ​department. she’s getting lots of love and attention from everyone, especially the prop girls and everyone in the hair / wig room. she’s pretty popular and brings a smile to everyone’s face .
“i ask openly: is there a mother among thousands of mothers, a wife among thousands of wives, who would act as nora acts, who would leave husband and children and home so she herself first and foremost can become ‘a human being’? and i answer most decidedly: no, absolutely not! there is not, in her pretentious effort of justification…a single point which justifies her action, and the transformation of her character, which the playwright forces to happen, is so untruthful, unattractive and unmotivated, that we are surprised that a playwright like ibsen will admit paternity. ”
the final role to be cast in shakespeare in love was that of “spot, ” the heart - melting canine who instantly charms audiences every time she walks onstage. we recently spoke with lisa dempsey, cinnamon’s owner, on what it takes to be a stage mom to this lovable, rising star .
the embodiment of a true romantic and is fanatical about poetry and the theatre. she begins the play as a somewhat youthful dreamer and, over the course of it, finds her strength and voice as she comes into her full womanhood .
anyone who has seen my handwriting will be lobbying hard for a word document in 12 - point times new roman font .
the humor makes it a joy to perform and especially rewards any shakespeare nerds in the audience. and its lovely use of
along with generous laughter, the first night audience showed their appreciation with enthusiastic applause and a standing ovation. it was obvious that theatregoers greatly enjoyed the romantic comedy’s witty repartee and the performances of the talented cast of 23 actors and a dog. led by paul david story as will shakespeare and carmela corbett as lady viola de lesseps, the entire ensemble delivered impressive performances while transporting the audience back to the late 1500s of elizabethan london .
it’s the peeking behind the stage curtain while enjoying the action onstage. it allows the audience to invest in the drama because we see the cost and risk to the actors and writer involved .
tammy smith - warnock and i have been doing volunteer work together at memorial care miller children’s & women’s hospital in long beach, calif. , for years. tammy is a photographer and takes pictures of nicu (neonatal intensive care unit) babies for our special events. what i didn’t know is that tammy also does volunteer work with animal shelters, taking pictures of rescue dogs for adoptapet. com. i rent my studio apartment to tammy and she had a holiday party there. the next thing i knew, all these people arrived and brought dogs from the rescue organization. when cinnamon (formerly known as “pebbles”) arrived, i sat down on the grass and she climbed into my lap. tammy took a few photos of us for the adoption website .
is closest to my heart. i was fortunate enough to work behind - the - scenes on a fantastic production, directed by our very own marc masterson, and that perspective provided a deep appreciation of its beautiful balance of romance, comedy and magic .
live love animal rescue is a 501 (c) (3) registered nonprofit organization that rescues homeless animals by providing them the necessary medical care, allowing for physical and emotional rehabilitation, finding them their perfect forever homes, and showering them with love throughout their journey, ” says lisa dempsey. “live love specializes in rescuing difficult medical and behavior cases and put a great emphasis on not only physical rehabilitation for their rescued dogs, but emotional as well. cinnamon was rescued after she had been abandoned by her owners and dumped at a local dog grooming salon. she was in poor health and had been neglected. i am grateful she has fully recovered thanks to the detailed care live love provided her before she came to me. i intend to donate a portion of cinnamon’s paycheck back to the organization as a thank you. ” urltoken
junie b. jones is not a crook was adapted for the stage by playwright allison gregory and combines storylines from two books, junie b. jones is not a crook and junie b. jones loves handsome warren. it is the second junie b. adaptation by gregory that scr has produced. (the first, junie b. in jingle bells, batman smells! , was part of the theatre’s 2011 - 12 theatre for young audiences season. )
tell us about your background. what do you enjoy the most about being scr’s costume shop manager? my training was in design and technical production. i had managed, and sometimes designed, for several shakespeare ​festivals and repertory companies before coming to scr. theatre was a great discovery for me when i realized it combined all the things i enjoy: reading, art history, researching different times and countries, creating things with my hands and a little psychology .
what does cinnamon seem to like about being onstage? i don’t know if she knows what’s really going on. maybe she thinks it’s like playing with new friends ​who wear funny clothes. i think she loves the affection from the entire cast and crew. she isn’t frightened by the audience. everyone who sees her in the green room stops to say hello, rub her head or scratch her belly. she’s like the good luck / good karma buddha. she gets treats before act 1, then dinner after her two scenes. she power - naps at intermission, then gets more treats before her last scene in act 2. she enjoys duck and mackerel treats, chicken jerky, trader joe’s just chicken and cheddar cheese. i put an extra sardine in her dinner, so, she gets rewarded and is very food - motivated .
to bring junie b. jones is not a crook to life, lopes has assembled a top - notch creative team and cast. the design team includes keith mitchell (set), kathryn poppen (costumes), karyn d. lawrence (lighting) and matt caspary and mark glenn (sound design). together, they have created a bold and colorful physical world, complemented by a whimsical soundscape. the cast of seven is comprised of joseph abrego, rosemary brownlow, paul culos, nicole erb, gio munguia and jasmine st. clair—all of whom make their scr debuts in the production—as well as ann noble, a veteran of many scr theatre for young audiences productions .
1959: a live broadcast (preserved in kinescope) with julie harris as nora and christopher plummer as torvald. directed by george schaefer .
it was the first shakespeare play that i was in. i recently had the opportunity to work with british stage veteran maxine peak on some of hamlet' s soliloquies. it was, and she is, quite amazing !
at school, junie b. shows her furry mittens to everyone: grace, lucille, ricardo and even meanie jim. but then, during recess, junie b. takes off her coat and mittens—so as not to die from heat perspiration—and sets them aside. she forgets all about them when she sees handsome warren—what a chunk! —the new boy in room eight. lucille wants handsome warren to be her boyfriend. but neither grace nor junie b. even got a crack at him yet! the three girls try to impress handsome warren in various ways. grace shows him how fast she can run. lucille shows him her best dance moves. and junie b. tries out her best joke. a really good one. in fact, it’s so good that it sends junie b. straight to the ground in a fit of laughter. but handsome warren seems less impressed. before he leaves, he calls junie b. a nutball .
“ it’s really hard to hear your own voice, and every lie you tell makes your voice harder to hear, and a lot of what we do is lying, ” she tells torvald. “especially when what we want so badly from other people is for them to love us. so i find that i’m best—that i’m my best self if i’m by myself. ”
what are you enjoying most about the experience of having cinnamon in ​this play? i knew this would be a big time commitment, but also a super - fun way to start 2018! it’s really an amazing opportunity that again, just fell into my lap. this is an incredible show and i feel honored to be able to be at the right place at the right time. i enjoy knowing that she was the last puzzle piece to make the cast complete. i am also having fun with the extra pampering i can give her. for example, we go to our neighborhood spoiled paws grooming shop for a good ear cleaning, mani / pedi, shampoo / blow - dry. cinnamon and i have our own special wrinkle - care routine. i feel like a clean dog is a happy dog and, if you are going to be on stage, you should look your best! i hope there might be a future for her with other projects in show business. who knows? this experience has inspired me to look into animal training and find some connections in the movie industry .
nora helmer has years earlier committed a forgery in order to save the life of her authoritarian husband torvald. now she is being blackmailed ...
each costume has a minimum of ​five pieces, but as you see ​for the ​queen, it can be a lot more than ​​that. our dressers have to track every undershirt, pair of tights, socks, shoes, jewelry and all of the larger garments including as doublets, pumpkin hose and hats.
a doll 's house is a 1922 american silent drama film produced by and starring alla nazimova and directed by her husband charles bryant . the couple released the film through united artists . it is based on the play a doll 's house by henrik ibsen with the scenario written by nazimova under the pseudonym peter m. winters . the film was the fourth silent version filmed of the play , being preceded by a 1918 paramount film directed by maurice tourneur . the film is classified as being lost . 
a doll's house is a 1922 american silent drama film produced by and starring alla nazimova and directed by her husband charles bryant. the couple released the film through united artists. it is based on the play a doll's house by henrik ibsen with the scenario written by nazimova under the pseudonym peter m. winters. the film was the fourth silent version filmed of the play, being preceded by a 1918 paramount film directed by maurice tourneur. the film is classified as being lost.
a doll's house is a 1922 american silent drama film produced by and starring alla nazimova and directed by her husband charles bryant. the couple released the film through united artists. it is based on the play a doll's house by henrik ibsen with the scenario written by nazimova under the pseudonym peter m. winters. the film was the fourth silent version filmed of the play, being preceded by a 1918 paramount film directed by maurice tourneur. the film is classified as being lost.