Sometimes, I want to say, "I love you, all." But I find it difficult. So, I say something like, "I'm glad we're all here."

We're so glad we're here too.

The Boy, the Mole, the Fox and the Horse Trailer

Based on the book by Charlie Mackesy, The Boy, the Mole, the Fox and the Horse follows a group of friends on a journey to find home. The short film stars the voice talents of Jude Coward Nicole (Boy), Tom Hollander (Mole), Idris Elba (Fox), and Gabriel Byrne (Horse).

The Boy, the Mole, the Fox and the Horse premieres on Apple TV+ on December 25, 2022.

2023 Oscar nominees challenge

The boy, the mole, the fox and the horse (2022)

Dir.: Peter Baynton, Charlie Mackesy

Main cast: Jude Coward Nicoll, Tom Hollander, Idris Elba, Gabriel Byrne

Nominations: Short film (animated)

My rate: ⭐⭐

Disgraced by quote after quote

Beautiful animation art

Predictions: winner

The Oscars "Best Animated Short" Nominees, 2023.

#onemannsmovies review of the Oscar "Best Animated Short" film nominees for 2023.

A One Mann’s Movies review of the nominations for the Oscars in the “Best Animated Short” Category. I’ve not done separate reviews for these Oscar “Best Animated Short” nominees but am including brief reviews for them in this one post. The Boy, The Mole, The Fox and The Horse (2022). Bob the Movie Man Rating(s): Plot Summary: A lost boy is helped with guidance and advice from the animals he…

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Charlie Mackesy's The Boy, The Mole, The Fox And The Horse Getting A BBC Christmas Release

Charlie Mackesy's The Boy, The Mole, The Fox And The Horse Getting A BBC Christmas Release @bbcpress #charlieMackesy #TheBoytheMoletheFoxandtheHorse #animation

It might be about less than 6 months until next Christmas, BBC are already working their festive line up. One of those shows or films coming will be Charlie Mackesy’s internationally bestselling illustrated book The Boy, the Mole, the Fox and the Horse set to premiere on BBC One and iPlayer in a beautiful animated short film. Captivating audiences on the BBC this Christmas, the short film brings…

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"You are loved and important, and you bring to this world things that no one else can. So hold on." -Fox

BAFTA - The Boy, The Mole, The Fox and The Horse won the British Short Animation award.

The Boy, the Mole, the Fox and the Horse is a 2019 illustrated book by Charlie Mackesy. It follows the developing friendship between the four protagonists of the title. The book orbits around the notion of love. Both love for yourself and love for others.

Apple TV+and BBC's hand-drawn Christmas hit "The Boy, the Mole, the Fox and the Horse" has won the best animation award at the Baftas.

Charlie Mackesy's book was turned into a beautifully animated film that debuted on BBC1 in the UK and on Apple TV+ in the rest of the world, for Christmas in 2022. Its all-star cast included Tom Hollander, Idris Elba, and Gabriel Bryne, plus newcomer Jude Coward Nicoll.

#The BoyThe MoleTheFoxandTheHorse #BritishShortAnimationaward #Bafta #BBC1 #AppleTV #CharlieMackesy #book

Apple TV+ unveils trailer for animated short film "The Boy, the Mole, the Fox and the Horse" ahead of December 25 debut

Apple TV+ unveils trailer for animated short film “The Boy, the Mole, the Fox and the Horse” ahead of December 25 debut

Apple TV+ unveils trailer for animated short film “The Boy, the Mole, the Fox and the Horse” ahead of December 25 debut Based on the beloved bestselling book by Charlie Mackesy, the short film features the voice talents of Idris Elba, Gabriel Byrne, Tom Hollander and newcomer Jude Coward Nicoll Apple TV+ released today the trailer for the upcoming animated short film “The Boy, the Mole, the Fox…

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𝗙𝗢𝗢𝗟𝗜𝗦𝗛 𝗟𝗢𝗩𝗘

They say love makes you feel special and important. Love makes you a whole new person and love brings you happiness. Pero bakit gano’n? Bakit ang sakit ng nararamdaman ko nung malaman kong iba ang nagugustuhan mo.

Valentine's day at may special event sa school namin na magbigay ng mensahe sa taong nagugustuhan nila— at isa na Andrey doon. Pinapanood ko siya habang nakangiting sinasabi ang mensahe niya, I was looking from afar silently hoping that I’m the one you’re talking about.

Ngunit alam ko, na kahit na hindi ko pa itanong ang mensahe na sinasabi mo ay para lang kay Nicole— ang babaeng bagong lipat na nakakuha ng oras at atensyon mo. Hindi na dapat ako umaasa kasi simula pa lang may lamat na masyado para maging tayo, I’m hopelessly inlove with someone who can’t love me back anymore.

Napatingin ako sa gawi kung nasa’n sila Nicole at ang mga kaibigan niya, kita sa mukha nito ang kilig at saya nilang magkakaibigan. They were cheering for her while Andrey is continuing his speech at the stage confessing his love from her and not for me.

“Your name is my favorite word. Your laugh is my favorite music. Your smile is my  favorite pose,” Bigkas niya sa mga salitang ‘yon habang may nakaukit na ngiti sa kaniyang mga labi. Tumingin siya sa audience na parang bang hinahanap yung babaeng binibigyan niya ng mensahe, “And that way I love you is my favorite feeling.”

Maraming kinilig sa sinabi niya, abot tainga ang ngiti ni Andrey nung sabihin niya ang dulo ng binigay niyang banat para kay Nicole. Kumurap-kurap ako para hindi tuluyang tumulo ang kanina ko pang pinipigilan na luha. I hate this feeling. I hate the fact na alam ko mismo sa sarili ko na hindi na ako.

Tumayo ako sa inuupuan ko ng walang nakakapansin sa akin, paalis na sana ako ng may kamay na pumigil sa akin. “Saan ka pupunta?” Tanong ni Jude, kita ko sa mata niya ang pag-aalala pero isang mapait lamang ang ngiti na binigay ko sa kaniya.

“Pupunta lang ako sa cr.” Paalam ko sa kaniya, umiwas ako ng tingin sa kaniya tyaka kinagat ang labi ko. Ramdam ko ang pagluwag ng kapit niya sa akin, hindi ko na siya tinapunan ng tingin at lumakad paalis sa pwesto ko.

Bawat hakbang na ginagawa ko ay siyang bigat ng nararamdaman ko, kagat ko pa rin ang labi ko para pigilan ang luha ko. I’m a coward in this foolish love. Hindi ko na tuloy masasabi sa kaniya ang nararamdaman ko para sa kanya, I’m already late saying those three words.

“They say only fools fall in love—” He cut off his sentence, his smile never once left his lips na para bang hindi dapat mawala iyon. Rinig ko sa tono niya nung banggitin niya ‘yon ang saya na nadarama niya, sana ganiyan rin ang nararamdaman ko.

“Then if its only for fools, I must say I’m one with them. Because I’m a fool who fell inlove you.” Tuloy niya, napatigil ako sa paglalakad malapit sa pinto ng sabihin niya ‘yon. I smiled when he said those words that reminds me of myself. Maybe, I’m one with those fools too.

Nagsimula ng tumulo ang mga luha na kanina ko pa pinipigilan, hindi ko na kayang pigilan yung sakit na nararamdaman ko. Mas napakagat ako ng labi ko para hindi lumabas ang hikbi, ayokong makuha ko ang atensyon nila dahil sa iyak ko. That’s why I cried silently.

Why does it have to be end like this? Are we not really for each other? Does fate allow us only to get meet and then pass to another?

Nang gawin ko na ang huling hakbang ay mas lalo akong napaluha dahil sa huling binigkas niya sa maraming tao, mas lalong bumilis ang tibok ng puso ko kaysa noon. The way those words roll off his tongue is like its from the bottom of his heart.

“I’m a fool who fell inlove with you, Amanda.”

Apple TV+ Nabs ‘The Boy, the Mole, the Fox and the Horse’ Short for Christmas Day Release

Starring Tom Hollander, Idris Elba, Gabriel Byrne, and Jude Coward Nicoll, produced by J.J. Abrams and Hannah Minghella, and based on the best-selling book by Charlie Mackesy, the hand-drawn Apple Original Films short, about an unlikely friendship between a boy, a mole, a fox, and a horse, journeying together to find the boy’s home, will debut the same day on the BBC in the U.K. from AWN Headline News https://ift.tt/k7PLOa2

Apple TV+ Nabs ‘The Boy, the Mole, the Fox and the Horse’ Short for Christmas Day Release

Starring Tom Hollander, Idris Elba, Gabriel Byrne, and Jude Coward Nicoll, produced by J.J. Abrams and Hannah Minghella, and based on the best-selling book by Charlie Mackesy, the hand-drawn Apple Original Films short, about an unlikely friendship between a boy, a mole, a fox, and a horse, journeying together to find the boy’s home, will debut the same day on the BBC in the U.K. from AWN Headline News https://ift.tt/U3YeMIG

Ver Tom y Jerry Pelicula Completa en Español Latino (Gratis 2021)

Enlaces de la pelicula Tom y Jerry

VER ONLINE

DESCARGAR

Sinopsis de la pelicula Tom y Jerry

Tom el gato y Jerry el ratón son expulsados de su casa y se trasladan a un elegante hotel de Nueva York, donde una empleada descuidada llamada Kayla perderá su trabajo si no puede desalojar a Jerry antes de una boda de clase alta en el hotel. ¿Su solución? Contratar a Tom para deshacerse del molesto ratón.

Informacion de la pelicula Tom y Jerry

Lanzamiento: 2021-02-11

Duracion: 101 Minutos

Genero: Comedia, Familia, Animación

Actores de la pelicula Tom y Jerry

Chloë Grace Moretz, Michael Peña, Jordan Bolger, Rob Delaney, Patsy Ferran, Pallavi Sharda, Colin Jost, Ken Jeong, Bobby Cannavale, Nick Rivera Caminero, Joey Wells, Na'im Lynn, William Horton, Harry Ratchford, Lil Rel Howery, Utkarsh Ambudkar, Tim Story, Somi De Souza, Ajay Chhabra, Patrick Poletti, Janis Ahern, Camilla Arfwedson, Joe Bone, Edward Judge, Brian Bovell, David Nolan, Jude Coward Nicoll, Christina Chong, Daniel Adegboyega, Craig Stein, Edward Dogliani, Josselyn Ospina Escobar, Ozuna, Paolo Bonolis, Haley Bishop, Norma Butikofer, Marc Wesley DeHaney, Kerri McLean, Sophie Holland, Joseph Begley, Scott Coker, Joe Buck, William Hanna, Mel Blanc, June Foray, Frank Welker, T-Pain, Brian Stepanek, Gianni Calchetti, Joakim Skarli, Wong Charlie, Leandra Ryan, Jeremy Ang Jones, Eleanor Fanyinka, Mike Capozzola, Camilla Rutherford, Densil Jones, Fuzuli Khabibillaev

Detalles de la pelicula Tom y Jerry

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Tal vez hasta has escrito en el buscador "las mejores Tom y Jerry (2020) películas online completas", "ver Tom y Jerry (2020) películas en Español latino" o "dónde puedo ver Tom y Jerry (2020) películas gratis completas sin interrupciones". No lo niegues. No eres el único. Todos los días, millones de personas intentan ver películas online desde sus computadoras, laptops, smartphones, tablets o cual sea el dispositivo móvil de su preferencia.

Sin embargo, la navegación muchas veces termina en páginas web que no cumplen lo prometido, que aseguran tener los últimos estrenos, pero que solo te derivan de un site a otro, que te obligan a dar clic tras clic mientras te llenan la pantalla de publicidad, para finalmente dirigirte hasta un enlace que no funciona o que demora mucho en cargar. Además, la calidad de imagen en estas páginas informales de cine es muy baja. Y repetimos, informales. ¿Por qué? Porque son páginas piratas, que violan derechos de autor y que incluso pueden representar un riesgo.

¿Sabías que muchos de estos sitios esconden virus que podrían dañar tus dispositivos y hasta robar tu información? En todo caso, muchas veces te obligan a registrarte con tus cuentas de Facebook, Gmail u Outlook (Hotmail) para que recién puedas comenzar a ver Tom y Jerry (2020) pelis en Español latino. Por tanto, te sugerimos solo visitar las siguientes plataformas, legales, seguras y sacramentadas.

Algunas incluso permiten escuchar y descargar música MP3 gratis de tus artistas favoritos. ¿Cuáles son las mejores páginas para ver Tom y Jerry (2020) películas HD online gratis? En sí hay muchas de este tipo, pero para efectos prácticos hemos elegido algunas de las más populares en la red de redes. Ya dependerá de ti elegir la que mejor se adapte a tus necesidades, ya sea por catálogo, por interfaz o velocidad de Internet.

Es decir, la que te permita ver películas gratis en Español con mayor facilidad. Incluso algunas tienen versiones para teléfono si buscas dónde ver películas online móvil. ¿Quieres saber cuál es la mejor app para ver películas online? Esa ya no será ninguna preocupación de aquí en adelante. ¿Qué velocidad necesitas para ver películas online? En estas páginas, con una conexión básica te alcanzará y sobrará.

¿Qué plugin necesito para ver películas online? En la mayoría de casos, ¡ninguno! ¿Puedo encontrar dónde ver películas 3D online? Eso quizá está un poco más difícil. Tom y Jerry (2020) Ver películas online gratis A continuación todo lo que debes saber para ver Tom y Jerry (2020) películas online Ojo, la lista solo contempla páginas online legales, que albergan contenido de dominio público, independiente, liberado por sus mismos realizadores o con licencias como Creative Commons. Es decir, si quieres ver Animales Fantásticos 2 completa en Español o Tom y Jerry (2020), La chica en la telaraña, Overlord, Tom y Jerry (2020) o Tom y Jerry (2020) con subtítulos, puede que te decepciones.

Pero si aún te interesan títulos de reciente estreno como estos, aquí puedes revisar la cartelera de tu país de origen, incluidos horarios y precios de entradas por cine. También descubre los próximos estrenos. Eso sí, ¿sabías que hasta puedes ver películas gratis en YouTube? Puedes suscribirte al servicio de paga de YouTube para acceder a contenido exclusivo que jamás has imaginado. Los tres primeros meses son gratis. Classic Cinema Online es una de las páginas de curaduría de clásicos más populares en la red. El sitio está dedicado por completo a la distribución de películas de libre acceso, liberadas de derechos de autor. Por ejemplo, su catálogo de cine mudo es excepcional. ¿Lo mejor de todo? Puedes ver las películas desde YouTube, por lo que navegar es sencillísimo.

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The BAFTA Short Film Animation Nominees, 2023.

#onemannsmovies review of the BAFTA Short Animation nominees for 2023.

A One Mann’s Movies review of the nominations for the BAFTA “British Short Film Animation” Category. I’ve not done separate reviews for these BAFTA Short Animation nominees but am including short reviews for them in this one post. The Boy, The Mole, The Fox and The Horse. Bob the Movie Man Rating(s): Plot Summary: A lost boy is helped with guidance and advice from the animals he meets along…

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Iain Glen nailing Hamlet (1991)

In 1991, after winning the Evening Standard Film Award for Best Actor, Iain Glen gave his soulful all, not on the stage in London, no, not yet, though really he could have, but at the Old Vic in Bristol, donning the persona of the Dane, Hamlet. He won the Special Commendation Ian Charleson Award* for his performance and yet it appears we will never see but stills from this production as no video recording was made, not even by and for the company. The University of Bristol has the archives of the production: the playbook, the programme and black and white stills. The V&A archives have the administrative papers. In our day and age, this sad evanescent corporeal sate of affairs is unimaginable. The memory of the play, of this performance fading away? We rebel against the very thought. We brandish our cell phones and swear we shall unearth and pirate its memory, somehow, somewhere. Even if we have to hypnotize patrons or pull out the very hearts of those who saw Iain Glen on stage, those few, those happy few, to read into their very memory and pulsating membrane just how brilliant he was. Because he was, he was. That’s what they’ll all tell you... 

Below, those pics and testimonies....

*(The Charleson Awards were established in memory of Ian Charleson, who died at 40 from Aids while playing Hamlet at the National Theatre in 1989)

- Iain Glen is a rampaging prince, quixotic, technically sound, tense as a coiled spring, funny. ‘To be, or not to be’ results from throwing himself against the white walls, an air of trembling unpredictability is beautifully conveyed throughout. ‘Oh, what a rogue and peasants slave’ is blindingly powerful. My life is drawn in angrily modern post Gielgud Hamlets: David Warner, Nicol Williams, Visotsky, Jonathon Price. Iain Glen is equal to them. He keeps good company. THE OBSERVER, Michael Coveney

- Paul Unwin’s riveting production reminded me more strongly than any I have ever seen that the Danish Court is riddled with secrecy. Politics is a form of hide and seek: everyone stealthily watches everyone else. Iain Glen’s Hamlet is a melancholic in the clinical sense: his impeccable breeding and essential good nature keep in check what might be an approaching breakdown. His vitriolic humour acts as a safety valve for a nagging instability, his boyish charm is deployed to placate and deceive a hostile and watchful world. Glen brings out Hamlet’s fatal self absorption: the way he cannot help observing himself and putting a moral price tag on every action and failure. He is a doomed boy. And his chill but touching calm at the end is that of a man who has finally understood the secrets behind the closed doors. The Sunday Times, John Peter

- This is an excellent production of Hamlet from the Bristol Old Vic. The director Paul Unwin and his designer Bunnie Christie have set the play in turn of the century Europe. Elsinore is a palace of claustrophobically white walls and numerous doors. All this is handled with a light touch, without drawing attention away from the play. Our first encounter with Hamlet shows him bottled up with rage and grief. Glen gives a gripping performance. The self-dramatising side of the character is tapped to the full by this talented actor. The Spectator, Christopher Edwards

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The following though is my favorite review/article because it situates Iain Glen’s creation is time, in the spectrum of all renowned Hamlets.

How will Cumberbatch, TV’s Sherlock, solve the great mystery of Hamlet? by Michael Coveney - Aug 17, 2015

In 1987, three years before he died, the critic and venerable Shakespearean JC Trewin published a book of personal experience and reminiscence: Five and Eighty Hamlets. I’m thinking of supplying a second volume, under my own name, called Six and Fifty Hamlets, for that will be my total once Benedict Cumberbatch has opened at the Barbican.

There’s a JC and MC overlap of about 15 years: Trewin was a big fan of Derek Jacobi’s logical and graceful prince in 1977 and ended with less enthusiastic remarks about “the probing intelligence” of Michael Pennington in 1980 (both Jacobi and Pennington were 37 when they played the role; Cumberbatch is 39) and emotional pitch and distraction of Roger Rees in 1984 (post-Nickleby, Rees was 40, but an electric eel and ever-youthful).

I started as a reviewer in 1972 with three Hamlets on the trot: the outrageous Charles Marowitz collage, which treats Hamlet as a creep and Ophelia as a demented tart, and makes exemplary, equally unattractive polar opposites of Laertes and Fortinbras; a noble, stately Keith Michell (with a frantic Polonius by Ron Moody) at the Bankside Globe, Sam Wanamaker’s early draft of the Shakespearean replica; and a 90-minute gymnastic exercise performed by a cast of eight in identical chain mail and black breeches at the Arts Theatre.

This gives an idea of how alterable and adaptable Hamlet has been, and continues to be. There are contestable readings between the Folios, any number of possible cuts, and there is no end of choice in emphasis. Trewin once wrote a programme note for a student production directed by Jonathan Miller in which he said that the first scene on the battlements (“Who’s there?”) was the most exciting in world drama; the scene was cut.

And as Steven Berkoff pointed out in his appropriately immodestly titled book I Am Hamlet (1989), Hamlet doesn’t exist in the way Macbeth, or Coriolanus, exists; when you play Hamlet, he becomes you, not the other way round. Hamlet, said Hazlitt, is as real as our own thoughts.

Which is why my three favourite Hamlets are all so different from each other, and attractive because of the personality of the actor who’s provided the mould for the Hamlet jelly: my first, pre-critical-days Hamlet, David Warner (1965) at the Royal Shakespeare Company, was a lank and indolently charismatic student in a long red scarf, exact contemporary of David Halliwell’s Malcolm Scrawdyke, and two years before students were literally revolting in Paris and London; then Alan Cumming (1993) with English Touring Theatre, notably quick, mercurial and very funny, with a detachable doublet and hose, black Lycra pants and bovver boots, definitely (then) the glass of fashion, a graceful gender-bender like Brett Anderson of indie band Suede; and, at last, Michael Sheen (2011) at the Young Vic, a vivid and overreaching fantasist in a psychiatric institution (“Denmark’s a prison”), where every actor “plays” his part.

These three actors – Warner, Cumming, Sheen – occupy what might be termed the radical, alternative tradition of Hamlets, whereas the authoritative, graceful nobility of Jacobi belongs to the Forbes Robertson/John Gielgud line of high-ranking top drawer ‘star’ turns, a dying species and last represented, sourly but magnificently, by Ralph Fiennes (1995) in the gilded popular palace of the Hackney Empire. Fiennes, like Cumberbatch, has the sort of voice you might expect a non-radical, traditional Hamlet to possess.

But if you listen to Gielgud on tape, you soon realise he wasn’t ‘old school’ at all. He must have been as modern, at the time, as Noel Coward. Gielgud is never ‘intoned’ or overtly posh, he’s quicksilver, supple, intellectually alert. I saw him deliver the “Oh what a rogue and peasant slave” soliloquy on the night the National left the Old Vic (February 28, 1976); he had played the role more than 500 times, and not for 37 years, but it was as fresh, brilliant and compelling as if he had been making it up on the spot.

Ben Kingsley, too, in 1975, was a fiercely intelligent Royal Shakespeare Company Hamlet, and I saw much of that physical and mental power in David Tennant’s, also for the RSC in 2008, with an added pinch of mischief and irony. There’s another tradition, too, of angry Hamlets: Nicol Williamson in 1969, a scowling, ferocious demon; Jonathan Pryce at the Royal Court in 1980, possessed by the ghost of his father and spewing his lines, too, before finding Yorick’s skull in a cabinet of bones, an ossuary of Osrics; and a sourpuss Christopher Ecclestone (2002), spiritually constipated, moody as a moose with a migraine, at the West Yorkshire Playhouse.

One Hamlet who had a little of all these different attributes – funny, quixotic, powerful, unhappy, clever and genuinely heroic – was Iain Glen (1991) at the Bristol Old Vic, and I can imagine Cumberbatch developing along similar lines. He, like so many modern Hamlets, is pushing 40 – as was Jude Law (2009), hoary-voiced in the West End – yet when Trevor Nunn cast Ben Whishaw (2004) straight from RADA, aged 23, petulant and precocious, at the Old Vic, he looked like a 16-year-old, and too young for what he was saying. It’s like the reverse of King Lear, where you have to be younger to play older with any truth or vigour.

Michael Billington’s top Hamlet remains Michael Redgrave, aged 50, in 1958, as he recounts in his brilliant new book, The 101 Greatest Plays (seven of the 101 are by Shakespeare); Hamlet, he says, more than any other play, alters according to time as well as place.

So, Yuri Lyubimov’s great Cold War Hamlet, the prince played by the dissident poet Vladimir Visotsky, was primarily about surveillance, the action played on either side of an endlessly moving hessian and woollen wall. And in Belgrade in 1980, shortly after the death of Tito, the play became a statement of anxiety about the succession.

There’s a mystery to Hamlet that not even Sherlock Holmes could solve, though Cumberbatch will no doubt try his darndest – even if he finds his Watson at the Barbican (Leo Bill is playing Horatio) more of a hindrance than a help; there are, after all, more things in heaven and earth than are dreamt of in his friend’s philosophy.

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Oh! Did I say that we were never going to see Iain Glen in the skin of the great Dane? Tsk. How silly of me. Meet IG’s Hamlet in Tom Stoppard’s postmodern theatrical whimsy ROSENCRANTZ AND GUILDENSTERN ARE DEAD, shot the year before the Bristol play.

Though almost surreal and most often funny as the film follows the Pulp Fiction-like misadventures of two forgettable Shakespearian characters, crossing paths with other more or less fortunate characters, their time with Hamlet makes us privy to the Dane as we never quite see him in the Bard’s play... but for one memorable scene,  in which Iain Glen absolutely nails it, emoting the famous “To be or not to be” which you see tortures his soul, brings tears to his eyes and contorts his mouth; the moment made all the more memorable by the fact that it is a silent scene. You never hear him utter the famous line, but you see the words leave his lips and feel them mark your soul.

I’m kinda telling myself that it’s 1991 and I’m sitting in the Old Vic, in Bristol, not London. Not yet.

The Lieutenant of Inishmore – Aidan Turner by Johan Persson

MGC today announce the full casting for Michael Grandage’s production of Martin McDonagh’s The Lieutenant of Inishmore which opens at the Noël Coward Theatre on 4th July, with previews from 23rd June and runs until 8th September. Joining Aidan Turner (Padraic) completing the all Irish cast are Denis Conway (Donny), Will Irvine (Christy), Brian Martin (James), Daryl McCormack (Brendan) Julian Moore-Cook (Joey), Charlie Murphy (Mairead), and Chris Walley (Davey).

The Lieutenant of Inishmore joins Grandage’s production of John Logan’s Red with Alfred Molina and Alfred Enoch in the West End. Red opens at the Wyndham’s Theatre on 15 May, with previews from 4 May, and runs until 28 July.

The plays have over 40,000 seats at just £10 – 25% of the total capacity, continuing the company’s unique access policy and its commitment to developing new audiences.

Who knocked Mad Padraic’s cat over on a lonely road on the island of Inishmore and was it an accident? He’ll want to know when he gets back from a stint of torture and chip-shop bombing in Northern Ireland: he loves that cat more than life itself.

Martin McDonagh is an award-winning writer and director. His plays are The Beauty Queen of Leenane, A Skull in Connemara, The Lonesome West, The Lieutenant of Inishmore, The Cripple of Inishmaan, The Pillowman, A Behanding in Spokane, Hangmen and the upcoming A Very Very Very Dark Matter. As a writer and director for film his credits are Seven Psychopaths, In Bruges, Six Shooter as well as Three Billboards Outside Ebbing, Missouri – which won four Golden Globes including Best Drama Motion Picture and Best Screenplay of a Motion Picture, and Best Screenplay at the Venice Film Festival, the Grolsch People’s Choice Award at the Toronto Film Festival and was the closing film at this year’s BFI London Film Festival.

Denis Conway plays Donny. His theatre work includes The Death of Harry Leon, Myrmidons, Making History (Ouroboros Theatre Company), Wallenstein (Chichester Festival Theatre), The Walworth Farce (Druid Theatre and National Theatre), and Homelands, The Recruiting Officer, A Cry from Heaven and The Wild Duck (Abbey Theatre, Dublin). His television work includes Single Handed, The Running Mate, Hide and Seek, Showbands, The Clinic and The Return; and for film, Garage, The Wind that Shakes the Barley, Tiger’s Tail, Alexander the Great, Borstal Boy and Michael Collins.

Will Irvine plays Christy. His recent theatre work includes End Of (Dublin Fringe), Lady Chatterley’s Lover (ETT), Inkheart, Angel Meadow (Home), The Nether (Royal Court Theatre & Headlong) and Pentecost (Lyric Theatre Belfast). His television work includes Will, Centenary, Legends, Charlie, Vikings, Titanic: Blood and Steel, The Clinic and The Tudors; and for film, Dublin Old School, Born a King, The Current War, Maze and The Alarms.

Brian Martin plays James. For Shakespeare’s Globe his work includes Boudica, The Merchant of Venice (also national and international tour), Sunday Sonnets and Titus Andronicus. His other theatre work includes Snapshot (Hope Theatre), Damned by Despair, Juno and the Paycock (National Theatre), Stars in the Morning Sky (Belgrade Theatre Coventry) and The Wake and Macbeth (Abbey Theatre).

Daryl McCormack plays Brendan. His theatre work includes The Voice Factor X (New Dublin Theatre), Enjoy (Rough Magic), Othello (Theatre Royal), Romeo and Juliet (Gate Theatre Dublin) and The Grapes of Wrath (Project Arts Centre). For television, his work includes A Very English Scandal, Immortality, Dawn, Fair City and Vikings; and for film, A Good Woman is Hard to Find and The Randomer.

Julian Moore-Cook plays Joey. His theatre work includes Mother Courage and Her Children (Southwark Playhouse), Three Sisters (Lyric Theatre Belfast), Rolling Stone (Orange Tree Theatre), Twelfth Night (Iris Theatre), Obamamerica (Theatre503), Our American Cousin (Finborough Theatre) and Beyond Caring (The Yard Theatre). His television work includes Benidorm (as series regular Callum) and 24: Die Another Day; and for film, Mission Impossible 5.

Charlie Murphy plays Mairead. Her theatre work includes Arlington (St Ann’s Warehouse and Galway International Arts Festival), Big Maggie (Druid Theatre), Disco Pigs (Young Vic), Pygmalion (National Theatre of Ireland – Best Actress Irish Times Theatre Award), The Silver Tassie (Druid Theatre and Lincoln Center) and The Colleen Bawn and This is Our Youth (Bedrock Theatre). For television, her work includes Peaky Blinders, Happy Valley, Rebellion, To Walk Invisible, The Last Kingdom, The Village, Quirke, Ripper Street, Misfits and Love/Hate for which she twice won the Best Actress Award at the Irish Film and Television Awards; and for film, Dark Lies the Island, The Foreigner, ’71, Northmen – A Viking Saga and Philomena.

Aidan Turner plays Padraic. His theatre work includes The Plough and The Stars, Romeo and Juliet and A Cry from Heaven (Abbey Theatre Dublin), Cyrano and Titus Andronicus (Project Arts Centre). For television, his work includes The Clinic, Being Human, Desperate Romantics, Hattie and as the title role in Poldark, now in its 4th series; and for film, The Hobbit trilogy of films, The Mortal Instruments, The Secret Scripture, Loving Vincent and the forthcoming Look Away and The Man Who Killed Hitler and then the Bigfoot. He was named GQ Actor of the Year for 2016 and Radio Times’s Most Popular UK Actor in 2015, 2016 and 2017.

Chris Walley plays Davey. This production marks Walley’s professional stage debut, following training at RADA. His film work includes The Young Offenders.

Michael Grandage is Artistic Director of the Michael Grandage Company in London. For the company he directed Photograph 51, Dawn French: 30 Million Minutes, Henry V, A Midsummer Night’s Dream, The Cripple of Inishmaan, Peter and Alice and Privates on Parade, and the feature film Genius. He was Artistic Director of the Donmar Warehouse (2002–2012) and Artistic Director of Sheffield Theatres (2000–05). He is the recipient of Tony, Drama Desk, Olivier, Evening Standard, Critics’ Circle and South Bank Awards. He has been awarded Honorary Doctorates by the University of London, Sheffield University and Sheffield Hallam University and is President of Central School of Speech and Drama. He was appointed CBE in the Queen’s Birthday Honours 2011. His book, A Decade At The Donmar, was published by Constable & Robins in 2012. His work for the Donmar Warehouse includes directing Eddie Redmayne in Richard II, Felicity Jones in Luise Miller, Derek Jacobi in King Lear, Red (also New York, Tony and Drama Desk Awards Best Director), Jude Law in Hamlet (also Elsinore and New York), Ivanov (Evening Standard and Critics Circle Award Best Director), Madame de Sade, Twelfth Night, The Chalk Garden (Evening Standard and Critics Circle Awards Best Director), Don Juan in Soho, Frost/Nixon (also Gielgud, New York, USA tour, Tony Nomination Award for Best Director), Othello (Evening Standard and Critics’ Circle Awards for Best Director), The Wild Duck (Critics Circle Award Best Director), Guys and Dolls (Olivier Award for Outstanding Musical Production), Grand Hotel (Olivier Award for Outstanding Musical Production and Evening Standard Award Best Director), The Cut, After Miss Julie, Caligula (Olivier Award Best Director), Merrily We Roll Along (Evening Standard Award Best Director), Passion Play (Evening Standard Award and Critics Circle Award for Best Director). For Sheffield Theatres he directed many productions including Don Carlos (Evening Standard Award Best Director). He mostly recently directed Disney’s Frozen at Buell Theatre, Denver, ahead of opening on Broadway in the Spring.

MICHAEL GRANDAGE COMPANY MGC is a london based production company that produces work across all media, nationally and internationally. The company has also established a general management service and looks after a select group of creative practitioners.

Since launching in 2012 their work includes Privates on Parade with Simon Russell Beale, Peter and Alice with Judi Dench and Ben Whishaw, The Cripple of Inishmaan with Daniel Radcliffe, A Midsummer Night’s Dream with Sheridan Smith and David Walliams and Henry V with Jude Law as part of a year long season at the Noël Coward Theatre, Dawn French: 30 Million Minutes (national and international tour and West End), The Dazzle with Andrew Scott (Found111), Photograph 51 with Nicole Kidman (Noël Coward Theatre), Hughie with Forest Whitaker (Broadway) and Labour of Love with Martin Freeman and Tamsin Greig (Noël Coward Theatre); and the feature film Genius with Colin Firth, Jude Law and Nicole Kidman.

THE LIEUTENANT OF INISHMORE by Martin McDonagh 23 June – 8 September 2018 Press night: 4 July at 7pm

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