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burningvelvet · 8 months

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oh, i forgot a question. Was ment to go along with the science/technology of the time one.

is there any mention of Ada, or Babbage, et al past Byron's death, by whoever was left of the gang, potentially Mary? Or is there no particular overlap between anybody post whatever year?

(Probably asking a question a bit out of your wheelhouse. Sorry if I am.)

There’s no record of Ada meeting Mary, which is kind of odd tbh. I’ve tried to research this question many times. Apparently this summer there was even a play called “Shelley and Lovelace Never Met” by Dangerous Dames Theatre lmaooooo

But a lot of people in the Romantic circle did keep in touch of course, because they were all friends/lovers/colleagues. There were falling outs too of course. After Shelley died, a lot of the "main circle"Pisa Circle" split up and moved in opposite directions.

As for Ada: It’s important to note that Ada’s parents split when she was a baby and she never met her father. Lady Byron (Anna) was a bit controlling and she largely tried to shelter Ada, who was a wild child, and who Anna compared to Byron. Anna also hated all of Byron’s friends and anyone who liked him really, so Ada wasn’t too encouraged to know them. Some anti-Anna Byronists have historically claimed that Anna totally kept Ada from knowing anything about him but that's not entirely true either; his poetry was around the house, and as an adult Ada cherished his dedication to her in Childe Harold Canto 3, often considered his most touching work (and what made me love his writing).

Ada did meet Augusta Leigh (Byron’s half-sister), disliked her, and blamed the incest allegations entirely on her. Ada may have been biased due to things her mother had said, and Augusta may have been cold to Ada due to Anna, or the pain of being reminded of Byron’s absence. It’s important to remember in biographical studies that everyone is biased and everyone has faulty recollections, so you can’t readily agree with any one figure’s opinions or judgements.

Ada did meet Hobhouse; she disliked him at first, but eventually liked him and he thought she resembled her mother more than LB. Off the top of my head, I don’t know if she met many of his other friends. Byron didn’t have many close friends, and many of them were abroad, dead, or hated by Anna, or simply unknown to her — but being a big celebrity and aristocrat, LB did meet many people in his life, and he was very well known. Many compared Ada to her father in personality and her mother in looks, although Hobhouse said he saw a little resemblance to LB, I assume he was maybe a bit disappointed there wasn’t more of one, since he really did miss Byron deeply, and adored him more than almost anyone else, and also in a more realistic way than almost anyone else. You would have to search his journals for what he thought of Ada; for Hobhouse research, I recommend the Byronist Peter Cochran's website, which has a section dedicated to Hobhouse; I think Cochran is one of the only people to ever read and edit the larger part of Hobhouse's journals or to write books about him. Hobhouse and Cochran are both invaluable resources to Byronist studies. Hobhouse kept detailed journals his whole life, including during his and Byron's trip where LB started Childe Harold, the work that made him famous (and was dedicated to Hobhouse).

As for the others: Mary kept in touch with the Hunts and Thomas Moore, who she helped write Byron's biography with. Claire stayed more in touch with her own family (the Clairmonts) but also stayed in touch with Trelawny til they died. He tried to marry her multiple times and they may or may not have had an affair (Shelley’s friend Peacock also proposed to her years prior). Trelawny also stayed in touch with Mary. Jane Williams (who lived with Mary and Percy, whose husband Edward died with Percy) met and married T J Hogg (Shelley’s best friend from college, who he once encouraged to have a relationship with Mary). As for Byron’s London crew, many of them were aristocrats or went into politics, so everyone knew everyone. Hobhouse, Kinnaird, Davies, Hodgson, all generally kept up, from what I know. It was a very small world. Teresa Guiccioli visited England and met many of Byron’s old associates.

#ask #asks #ada lovelace #mary shelley #research #resources #the geneva squad #geneva squad #biographical criticism #my writing

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paulinedorchester · 6 months

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Some time during the first few days of January, 1974, my parents and I went to the Aldwych Theatre, London, to see the Royal Shakespeare Company's production of Sherlock Holmes, the 1899 play by Arthur Conan Doyle and the American actor-playwright William Gillette. (My research indicates that performances began on Tuesday, January 1st. I'm all but certain that we saw a matinée; assuming that Wednesday is matinée day in the U.K., as it is in the U.S., then this would have had to have been on the 2nd, as we would have needed to return to Chicago no later than the 5th, so that my mother and I would be de-jetlagged and ready for school on the 7th.)

This was the first time in more than 70 years that the play had been seen in London. It was a big enough deal that the R.S.C. put out a commemorative poster:

Look at this cast:

And here's a list of the people who were in the R.S.C. at that time:

This really was a golden age.

That was a memorable afternoon at the theater for many reasons, not all of which had to do with the play itself, or even with the performance.

The performance was very late getting started. Five minutes stretched into ten and then towards fifteen. Finally, someone emerged from behind the curtain to tell us that Trevor Peacock, who played Sidney Prince, had been in a traffic accident and wouldn't be arriving at the theater any time soon, so someone was going to read his part. I don't remember who this was: it might have been the assistant stage manager, Philip Hoare, or Stanley MacKenzie, one of two deputy stage mangers (the other was Diana Bruce). In any case, he was terrific. If you know this play, you know that Sidney Prince is a safe-cracker, and the substitute actor used the script as a prop, consulting it at intervals as though it were a user's manual for getting the job done.

We had main-floor seats. When the lights came up for intermission, we saw that the house wasn't very full (which, again, argues for a weekday matinée). Indeed, there were only two other people in our section and row — and one of them was Paddington Bear! Well, okay, it was actually a very large plush toy Paddington Bear, but there he was, in his own seat, next to a young woman. We asked if he was enjoying the play. She said yes.

#real ife #1974 #london #royal shakespeare company #sherlock holmes #a long post for sunday

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londiniumlundene · 2 years

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Lost London: Walking the Covent Garden Drainage Ditches

Part 2: The Cock and Pye Ditch

Up until the 17th Century, St Giles-in-the-Fields was just a small group of houses in the grounds of a leprosy hospital; between these dwellings were marshy fields known, perhaps unimaginatively, as Marshland, surrounded by a rectangular drainage ditch. These fields were covered by the development known as Seven Dials in the 1690s, and the fields and ditch would in time take on the name of Cock and Pye – the origin of which will become clearer as the walk along this lost watercourse continues.

The route from Drury Lane to Seven Dials requires a walk through an unnamed and (at time of walking) well-enclosed alleyway, leading onto Shelton Street. My guidebook says a small gradient can be found on this road where the subterranean waters of the Cock and Pye flow towards the Bloomsbury Ditch, but this is somewhat difficult to detect.

At the junction of Shelton Street and Neal Street, my walk turned right, in order to follow the eastern edge of the Cock and Pye’s rectangular outline (the ditch also continues straight ahead, so the circuit could in theory be completed in either clockwise or anticlockwise fashion). Neal Street takes it name from Thomas Neale (forgetting the last “e”), the Stuart courtier who was responsible for the development of Seven Dials.

As Neal Street is fairly typical of the area – expensive shops and pricey bars, cafés, and restaurants – a diversion to the centre of Seven Dials is recommended. Here, the seven roads radiate out from a central column, which surprisingly only has six sundials; the central column and surrounding roundabout functions as the seventh. The original column was erected as part of the initial development, though was taken down in 1773; the story that it was pulled down by a mob looking for gold rumoured to be buried beneath it are just an urban legend. The current column is a replica installed in the 1980s.

Turning back to Neal Street, the route then turns left at Shaftesbury Avenue. It is hard to imagine that the surrounding streets here were once the infamous Rookery of St Giles, some of the worst slums in the country. During the 18th Century, at the height of the gin craze, the squalid conditions of the streets of St Giles inspired Hogarth’s etching Gin Lane. Nowadays the most prominent artwork on Shaftesbury Avenue is Drama Through the Ages, a frieze on the Odeon cinema, originally the Saville Theatre. Very few traces of the Cock and Pye Ditch are left, though a small grate at the junction of Shaftesbury Avenue and Mercer Street reveals trickling water below.

The third side of the rectangle is completed by walking along West Street, apparently so named because it was the western boundary of the Cock and Pye fields (a convention not applied to the other three sides though). At the time of walking, the Ambassadors Theatre was also running a rather appropriately named play; its more famous neighbour, St Martins Theatre, has meanwhile been showing the same play, Agatha Christie’s The Mousetrap, for 70 years.

We shall end this section of the walk where West Street meets Upper St Martin’s Lane. It was in this vicinity that the Cock and Pye Inn once stood, and gave its name to the surrounding fields and ditch. Some say that the inn gained its name from serving elaborate peacock pies, though more likely it was simply named after a cock and a magpie – at the time, spelt magpye.

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martinfreemanspotter · 2 years

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Wow, May has been a wonderful months for us Martin fans.

(And a lot of work for me to put this report together. :D )

May 3rd

New clips of Breeders on this video

May 4th

Thanks for all “The Speakeasy Volume 2” love (x)

Keep the pic’s coming…..

Here’s Mr Freeman of North London getting stuck into his copy. Volume 1 & 2 available. Swipe & tap to shop

May 5th

https://colourfulwatson.tumblr.com/post/683385713866276864/from-modfathersclothing-instagram-story-thank-you

May 6th

New trailer for Breeders and Martin will present an award at the BAFTAs.

May 8th

BAFTAS!!

May 9th

BAFTAs afterglow!

Plus, new interview here. And here.

May 10th

3rd season of Breeders aired in the US, episodes 1 & 2.

And interviews. ( x ) ( x )

May 11th

New project, yay!

May 13th

This picture!

May 17th

Episode 4 of Breeders season 3 aired in the US.

May 18th

BAFTA 195 Reopening Celebration

May 19th

Angelyne got released on Peacock.

May 20th

Martin was at The Responder Q&A at the BFI & Radio Times TV Fest. ( 1 2 3 4 5 )

May 23rd

The lovely BFI& Radio Times Responder Q&A was uploaded to Youtube today.

And a new Breeders teaser.

May 24th

Episode 4 of Breeders season 3 aired.

Oh, and a new interview for EW.

May 25th

DJ Martin was back today on BBC 2. Playlist here.

May 27th

A 100% clean spotting.

And this video from yesterday.

May 31st

Episode 5 of Breeders season 3 aired.

And a Bonus podcast from the BFI & Radio Times TV Fest.

And Martin was spotted at the press night performance of "The Glass Menagerie" at The Duke Of Yorks Theatre .

#martin freeman spotter #martin freeman #martin monthly #baftas 2022 #angelyne #breeders fx #bfi & radio times tv fest #the responder

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gramilano · 2 years

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[Review] German Cornejo's Tango After Dark: sizzling passion and pyrotechnic lifts

Guest author Matthew Paluch looks at German Cornejo's Tango After Dark at London's Peacock Theatre. A show of 'impeccable standard'.

Tango After Dark, credit Leo Mason Guest author Matthew Paluch looks at German Cornejo’s Tango After Dark at London’s Peacock Theatre TitleTango After DarkCompanyGerman Cornejo Dance CompanyVenuePeacock Theatre, LondonDate11 October 2022ReviewerMatthew Paluch If anyone mentions Astor Piazzolla I’m there in a flash. This has to do partly with wonderful argot memories of dancing Hans Van Manen’s…

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#Hans van Manen #homosexuality

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alexzalben · 1 year

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So many new cast members have been added to The Lord of the Rings: The Rings of Power Season 2: Oliver Alvin-Wilson, Stuart Bowman, Gavi Singh Chera, William Chubb, Kevin Eldon, Will Keen, Selina Lo, and Calam Lynch.

Bios and headshots below (no roles named as of yet).

Oliver Alvin-Wilson’s television credits include The Bay (ITV), as “Guy Townsend,” Murder in Provence (ITV) as “Luc Martinez,” Collateral (BBC) as ”Chips Benson” and Lovesick (Netflix) as “Alex.” In film, Oliver has been seen in Harkness, Wonder Woman 1984, and The Huntsman. He has appeared on stage in All of Us (National Theatre), Henry VI Rebellion/War of the Roses (Royal Shakespeare Company), The Twilight Zone (Almeida Theatre/Ambassadors Theatre), The Doctor (Almeida Theatre), A Midsummer Night’s Dream (Young Vic Theatre) and Nine Night (National Theatre/Trafalgar Studios) among many others.

Stuart Bowman can currently be seen in the television series The Pact (BBC), Karen Pirie (ITV), and The Control Room (BBC). He has previously played recurring roles in Alex Rider (Prime Video), Guilt (BBC), Bodyguard (Netflix), Versailles (Netflix), Grantchester (ITV), and Deadwater Fell (Channel 4) opposite David Tennant. Stuart’s work in film includes Man and Witch, The Cursed, Sunset Song, and Slow West. His recent theatre credits include Macbeth (Shakespeare’s Globe Theatre) as “Macduff.”

Gavi Singh Chera was most recently seen in the television series The Undeclared War (Channel 4) and The Lazarus Project (Sky). Other television credits include Vera (ITV) and Doctors (BBC). On stage, Gavi has appeared in productions including The Cherry Orchard (The Yard Theatre), Our Generation, Behind the Beautiful Forevers (National Theatre), Duck, 1922: The Waste Land (Jermyn Street Theatre) and Pygmalion (Headlong).

William Chubb is a prolific actor whose television credits include Vampire Academy (Peacock), The Sandman (Netflix), Pistol (Hulu), Quiz, Jonathan Strange and Mr. Norrell (BBC), Law & Order: UK (ITV)and House of Cards (BBC). On stage, William has appeared in numerous productions including The Tempest (Theatre Royal Bath), The Taxidermist’s Daughter (Chichester Festival Theatre), Witness for the Prosecution (County Hall, London), Othello (Shakespeare’s Globe Theatre) and Rosencrantz and Guildenstern Are Dead (Old Vic). His film credits include Sam Mendes’ Empire of Light, A Week in Paradise, and Adrift in Soho.

Kevin Eldon is a well-known performer in television, film and theatre. On television, Kevin has starred in Game of Thrones (HBO), Shadow And Bone (Netflix), Inside Number 9 (BBC) and has had recurring roles in Trigger Point (Peacock) and Dad’s Army. He also appeared in The Crown (Netflix), Criminal: UK (Netflix) and Doctor Who (BBC). In film, he has been seen in Martin Scorsese’s Hugo, Hot Fuzz, Four Lions and Set Fire to the Stars opposite Elijah Wood.

Will Keen will soon start production on Prime Video’s My Lady Jane. He most recently wrapped the indie feature Borderland opposite Felicity Jones and Mark Strong, as well as the TV series The Gold (BBC1/Viacom). He was most recently seen in Ridley Road (BBC) and The Pursuit of Love (BBC) opposite Andrew Scott and Emily Beecham. His other TV credits include His Dark Materials (HBO), The Crown (Netflix), Genius: Picasso (National Geographic), Wolf Hall (BBC) and The Musketeers (BBC). Stage credits include Patriots (Almeida Theatre), Ghosts (Almeida Theatre), Waste (Almeida Theatre), Quartermaine’s Terms (Wyndham's Theatre), The Arsonists (Royal Court) and The Coast of Utopia (National Theatre).

Selina Lo is a British-Asian actress and former martial arts champion, whose film credits include starring in Boss Level (Hulu) as “Guan Yin” and Hellraiser (Hulu) as “The Gasp.” Her work in television includes a recurring role in One Child (BBC) as “Xu Lian.”

Calam Lynch was most recently seen in Bridgerton (Netflix) as “Theo Sharpe.” Other television credits include Derry Girls (Channel 4) as “John Paul O’Reilly” and Mrs. Wilson (BBC) as “Gordon Wilson.” In film, Calam starred in Black Beauty (Disney+), Benediction opposite Jack Lowden, and Dunkirk. He has appeared in theatre in productions including Much Ado About Nothing (The Rose Theatre) and Wife (The Kiln Theatre).

#the lord of the rings #the rings of power #lotr trop #Oliver Alvin-Wilson #Stuart Bowman #Gavi Singh Chera #William Chubb #Kevin Eldon #Will Keen #Selina Lo #Calam Lynch

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jaijaicontextualstudies2001 · 8 days

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How does all of my research in the past 12 weeks link together, and how does it all relate to my graphic media project? P.2

Despite the heavy links between my graphic media and my contextual research, what is the purpose of my graphic media? What is it supposed to be for, and what is it suppose to show? This, I have to admit were not the first questions in mind when I started the physical aspect of my work. But, this is not a disadvantage as it made it easier for me to be able to think as someone viewing my work who has no idea what the themes were, and why I was doing it. A few potential ideas came into mind:

Concepts for an educational play for children and/or individuals with special needs about the French revolution.

A form of doll's house (but as a Rococo theatre instead) so it in an interactive pieces of anyone, but mostly children and/or individuals with special needs. The short animation can be played while children are interacting with the miniatures and theatre, showing through the dolls what happened during the French Revolution. Still to some extend educational.

A miniature model design for a stage set and costume designs for either a play, ballet or opera.

Specifically costume design for a play, ballet or opera, and the theatre is potentially how the theatre will look where the costumes are being worn at. For this idea and the previous one, the short animation film can be a tester to how the costumes are worn, how well they stay on and fit. Alternatively, it can be a snippet of what part of the entertainment they are showing.

An idea that has somewhat piggy-backed off of the last two ideas was how that theatre can be the location of entertainment, whether already built or a set, and the costumes are for actors walking around the set for pretending to be people from the French Revolution. Similar to the actors at the Tower of London. The Animation can be a snippet of part of their acting routine.

Out of all of these ideas I liked the third idea, but I needed to expand on that idea, and not just set it as what it already was. I decided that the costumes were for a fiction ballet based on the French Revolution, each 'main' character conveying different political identities (these identities conveyed through fashion was explained in P.1). This is to convey how fashion involves itself into a change within society. It would also be feminine based as all characters are women, wearing dresses, to convey the femininity in war and uprising. As most ballets, it would be divided into 3 acts, however would I chose a triple bill or a 3-act story? Either construct would fit with my characters, but I decided to go for the 3-act story as there would be more fluidity despite the intermissions between acts. Note that what will be described is not in the animation film.

Act 1

The character representing the green cockade would have a solo dance, only to get interrupted by the back and white character. Despite dancing together, they are against each other as the green is anti-aristocratic and the black and white is anti-revolutionist. Due to the power the anti-revolutionist has over the green character, she over powers the revolutionist cause the character to collapse in the centre of the stage. The anti-revolutionist then has her solo dance, dancing around the body of the fallen and exits at the end of the act.

Act 2

It carries of from the first act with the body laying on the floor. The character does a lot of floor work dances, and appears to be contorting as if it is changing. Background dancers with dark costumes appear dancing around and with the character, appearing as if they are trying to help her. The green character turns into the red, white and blue character with what appears to resemble a peacock displaying his feathers. This conveys a sense of majesty and power. The new character dances around with the other dances before they all lead off set. The transformation conveys the change in colour for the cockades that support revolutionists.

Act 3

Starts off with an empty stage, until the black and white character enters, appearing to be confident and powerful. This takes a turn as the newly developed green character - now red, white, and blue - enters with pride and determination. They mirror the duo dance from act 1, the anti-revolutionist believing that she will defeat the revolutionist again. However, her dancing becomes weaker and not coordinated symbolising that she is being overthrown by the revolutionist character. Right at the end she is 'decapitated' (most likely have fake blood spraying from her neck and angle her head in a way that her neck is appears broken). The revolutionists has won the revolution.

The set, being a Rococo theatre, can be were one of the many rallies during the revolution take place. The set on the stage will open up similarly to how the model opens up - it is like a ballet being performed in a theatre doll house. The film with stop-motion animation aspects will be showing the model and its home-made 'quirks', and a trailer to the ballet.

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loureviewsblog · 3 months

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Review of Ockham's Razor and their circus adaptation of Tess of the D'Urbervilles

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yorkcalling · 6 months

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Nadiya & Kai: Behind The Magic Announced for York Barbican

After the great success of their critically acclaimed debut tour Once Upon A Time, dance stars Nadiya Bychkova and Kai Widdrington have announced they will be touring the UK again throughout June 2024 with their brand new show Behind The Magic. The 25-date tour will begin in Gateshead on 1st June and end in Southampton on 30th June, and includes a date at London’s Peacock Theatre on 23rd June.…

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#York Barbican

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centrestagereviews · 10 months

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Actor of the Week: Luke Connor Hall

Luke is currently performing in The Choir of Man at the Arts Theatre, London Luke trained at The Arts Educational Schools Theatre: Bat Out of Hell (International Tour, AUS/NZ, London Peacock Theatre), QUEENZ: The Show With Balls! (Coventry, Edinburgh Fringe, UK Tour), Priscilla: Queen of The Desert (NCL Epic), Kinky Boots (NCL Encore), Jesus Christ Superstar (Barbican) and Mamma Mia! (Novello…

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#Actor of the Week #Centre Stage #London #luke connor hall #Musical Theatre #The Choir of Man #theatre #West End

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derby-art-foundation-2016 · 1 year

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Friday 16th December

Today, you will gather more primary research in Museums in Derby. You are expected to both photograph and draw into the handmade sketchbook, adding to the drawings done at Chatsworth House. This book needs to be completed for 9.00 Monday 19th December to share with the group

Meet at 10.00 for registration at the Museum of Making, Cathedral Green

Celebrating the area’s rich history of innovation, the Museum of Making is a contemporary space telling Derby’s 300-year history of making to inspire new creativity. From the world’s smallest engine run using a human hair, to a seven tonne Rolls-Royce Trent 1000 engine suspended in a new atrium above visitors’ heads, there are 30,000 objects to enjoy. With a treasure trove of objects displayed according to the materials from which they are made, the museum invites people to create their own journey through 300 years of making.

Visit both floors, and it would be also good to see:

Henry Moore: Threads of Influence

Spanning Henry Moore’s career, from early life drawings and carvings to iconic drawings and late prints, this exhibition demonstrates the multiple facets of Moore’s practice. The exhibition includes life drawings of the human form that laid the foundation for Moore’s ongoing sculptural practice, as well as drawings from his time as an official War Artist. It explores Moore’s influences over the years from artists such as Henri Gaudier-Brzeska and Jacob Epstein, to ancient sculpture from Mexico and beyond.

£2.50 entry with student id

Meet 1.00 for registration at Pickford House: 41 Friar Gate, Derby

Visit and record the house, plus the two exhibitions:

The Peacock Revolution: Men’s Fashion from 1966-1970

This incredible exhibition of men’s clothing is from the private collection of Peter Feely from Derby. Peter has been collecting clothing for over 30 years, concentrating on the period 1966-1970 (the ‘Swinging Sixties’) from those now famous men’s boutiques on Carnaby Street and King’s Road in London. Names like: Granny Takes A Trip, Lord John, Hung On You, Take 6, Apple Boutique are represented in the show.

The Tiny World of Toy Theatre

The exhibition showcases the best of Derby Museums’ world-class toy theatre collection, which is one of the largest in the country. It features toy and model theatres from The Frank Bradley Collection, Anthony Denning and practising toy theatre makers Joseph Hope Williams, Trevor Griffin and Alison Englefield.

Also, as part of The Tiny World of Toy Theatre at Pickford’s House, discover the Cinderella Costume Trail. Explore the rooms of Pickford’s House and find a selection of theatrical costumes created and worn as part of Derby Theatre’s 2015 Christmas production of Cinderella.

2.30- complete drawings as self-directed work, no need to return to the JWC

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cumbriacrack · 5 years

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Strictly Stars Janette & Aljaž Announce Remembering The Oscars UK Tour for 2020 Following their sell-out Remembering The Movies tour – which sold over 50,000 tickets – dance stars Janette Manrara and Aljaž Škorjanec will be returning to theatres Full story: https://www.cumbriacrack.com/2019/09/02/strictly-stars-janette-aljaz-announce-remembering-the-oscars-uk-tour-for-2020/

#Janette Manrara #London #Peacock Theatre #UK

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francesackerley · 2 years

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THE LADY'S MAGAZINE or ENTERTAINING COMPANION for the FAIR SEX, Appropriated Solely to Their Use and Amusement || Vol. 31: Issue 5, June 1800

LADIES' DRESSES at the THEATRE.

PRINCESS LUCY.

AN EXCEEDINGLY beautiful petticoat in Prussian blue. To describe the hue is to do the richness of the colour a disservice. Patrons of this esteemed magazine will have to forgive the limitations of language and implement the furthest reaches of their fine imaginations; richly embroidered in gold in a laurel pattern and trimmed with real gold Vandyke lace; the neckline, elegantly draped with silk, gathered at the center with a three-stone gold broach with bezel framing; head-dress to correspond, a plume of peacock feathers spectacular in height; the tout ensemble was made all the more magnificent when viewed in conjunction with the clever ensemble worn by

the most honorable

COUNTESS VICTORIA HOWARD ST. JOHN.

SPORTING A FETCHING crepe petticoat of the palest absinthe. Adorned with emerald and silver embroidery and flowing silk draperies; ruching along the hem with accompanying glass beading; ornamenting her comely ears, Rubies Of Unusual Size, shined to perfection and impossible to overlook even from a distance; not to be outdone, a decorative paste ring delicately worn on her pinky; blonde locks twisted fashionably a-top her head with silver pins, a few tendrils coquettishly framing her face, particularly her lips, made a charming pink.

to this author’s surprise, rounding out the esteemed trio was

the most honorable

LADY FRANCES FITZROY.

IN A PETTICOAT of luxuriously rich velvet. The colour a currant red, quite flattering against her complexion, with tastefully applied rouge to match. The young ladies included in this magazine's readership may consider exercising a similar restraint and enjoy the pleasing effect it has on their appearance; scalloped white Vandyke lace visible just below the hemline; the drapery of the neckline done in the Italian style, adorned with a festoon of roses embellished with pearls; pearl drop earrings to correspond, hung from yellow gold roped frames; for a head-dress, several ostrich feathers, comparable to those seen on the beasts last July at Cliveden.

----

GENERAL OBSERVATIONS

THE PRESENT FASHION is to wear hair pinned, although loose enough so as to allow curls to frame the face or be bound with a braid wrapped over the head and pinned behind the ears. The style necessitates longer hair, and was worn beautifully by Princess Lucy and Lady Howard St. John. Lady Lovington and Lady Fitzroy favored shorter hair, the former adopting a most peculiar style and while the latter wore a style so de rigeur that it is hardly worth relaying.

The lorgnette is a contentious accessory that gains popularity as the new century commences. Lady Fitzroy carried one of gold and glass, which was passed amongst her gentlemen guests with much pleasure.

Any lady in vogue takes great care not to miss an opportunity for embellishment; each clasp and buckle must be gilded or set with diamonds. The Countess Spencer was particularly industrious is setting hers with topaz, though they paled in comparison to the gemstones chosen by the Countess Effingham.

London continues to feel the absence of Mme Elizabeth Billington to Naples several years prior. Piquet remains the game of choice for distracting oneself from an out-of-tune soprano. Loo is also popular, if one can afford the stakes. Princess Lucy, Countess Effingham and Lady Fitzroy enjoyed the former, in addition to a rousing game of Scopa. Learned readers will recognize the translation as broom, and indeed the game swept attentions from the stage to the Effingham box. Theatre patrons gawked, attempting to see who would play the winning hand.

@lucyofedinburgh @halestcrm

#*drabble #wrote this in december #promptly forgot about it #language heavily cribbed from the lady's magazine

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joshjacksons · 3 years

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Joshua Jackson interview with "Mr Porter" (2021)

Minutes before Mr Joshua Jackson joins me in a booth for a Friday afternoon drink at a vibey hotel bar in Santa Monica, he’s confronted by his past. Or rather, a woman in her early twenties who is binge-watching Dawson’s Creek, the teen show about a close-knit group of high-school friends coming of age in a sleepy American town, which made Jackson incredibly famous between 1998 and 2003. The series, which also made household names of Ms Michelle Williams and Ms Katie Holmes, went off air 18 years ago, but is now streaming on Netflix, to the bemusement of Jackson, who played lovable rogue Pacey Witter. “This girl was like, ‘Are you...?’ And I’m like, ‘Yes, I am. He got old. I’m sorry to break it to you,’” he says, before ordering an iced tea and a charcuterie board to tide him over until dinner time. “It always surprises me when young people say they’ve just got into Dawson’s Creek. I’m like, ‘Is it a costume drama to you? Do you feel like you’re watching a historical documentary?’”

The idea of a Friends-style reunion episode or a Sex And The City revival feels equally far-fetched to Canadian-born Jackson, now 43 and wearing it well in a pale green linen shirt and tailored linen trousers by Oliver Spencer that complement his fading brown hair and Cali-tanned skin.

“I don’t know why you’d want to [bring it back],” he says. “Nobody needs to know what those characters are doing in middle age. We left them in a nice place. Nobody needs to see that Pacey’s back hurts. I don’t think we need that update.”

And Jackson doesn’t need Dawson’s Creek. From Mr JJ Abrams’ sci-fi series Fringe (2008-2013) to the Golden Globe award-winning The Affair (2014-2019), from Ms Ava DuVernay’s ground-breaking true-crime drama When They See Us (2019) to the recent Ms Reese Witherspoon and Ms Kerry Washington-produced Little Fires Everywhere (2020), he has commanded the small screen – with a collection of dynamic and diverse work – ever since.

His latest role as Mr Christopher Duntsch, the Texas surgeon convicted of gross malpractice when 33 of his patients were left seriously injured after he operated on them and two of them died, in chilling Peacock crime drama Dr Death, is only stepping his career up another gear.

“I’ve never played anyone irredeemable before,” says Jackson, who is joined in the eight-part series (based on the 2018 Wondery podcast of the same name) by Messrs Christian Slater and Alec Baldwin. “He is charming, gregarious and has a high-level intellect, but he’s also a misogynist, probably a sociopath, certainly a narcissist and a complete incompetent who is incapable of seeing himself.”

If Duntsch is terrifying, then Jackson’s portrayal is even more so. The artist formerly known as Pacey is virtually unrecognisable (thanks to prosthetics) in the opening scene, but the real challenge for Jackson was allowing himself to view someone who is so “spectacularly evil” as a human being in order to walk in his shoes. “It’s a more damning portrayal of the man to make him into a human being, rather than just make him the bad guy,” he says. “He really believes he’s the hero, he’s the genius and that he’s the victim, so once I got past my own judgment, all the other things fell into place.”

Jackson might have his pick of stellar roles – and challenges – now, but it has not happened by accident. Take it from someone who has been in the business since landing his first job aged 14 in Disney’s live-action movie series The Mighty Ducks, opposite Brat Pack alumnus Mr Emilio Estevez.

“You try to make it look like it happens accidentally,” he says, “but there is no way to do this and not be ambitious. I’d say I’m extremely ambitious because I’ve been doing this cutthroat job for nearly 30 years. I’m in the pay-off phase of my career now. One of the benefits of surviving for as long as I have is you get to learn from your own mistakes.”

Such as? “I wouldn’t say, ‘I wish I hadn’t done that,’ because it all becomes bricks in a path, but [after Dawson’s Creek] I was not choosy enough about the things I was doing. You get stuck. You start trying to perform the performance you think people are hoping to see you do. I was so used to working all the time that I just worked all the time. There was definitely a conscious moment in my mid-twenties when I realised I wasn’t really enjoying the work that I was doing. My manager at the time just said, ‘Take a breath. You’re burnt out.’”

The turning point came in 2005, when Jackson was offered a role in the two-hander Mr David Mamet play A Life In The Theatre, opposite Sir Patrick Stewart. “God bless him, Patrick could have made my life miserable because I had no idea what I was doing, ” he says. “I hadn’t been on stage since I was a kid and now I was in the West End in over my head. But it reminded me that I actually enjoyed being an actor, that it’s not about the red carpet or travelling around the world. What I really enjoy is working on good material with good people.”

It’s no surprise Jackson’s time on Dawson’s Creek led to a career crisis. From the ages of 19 to 24, he lived with his fellow cast mates in Wilmington, North Carolina, filming day in, day out, in an arrangement he likens to college. “You get to the end and they’re like, ‘Here’s your degree. Go live now. You’re an adult. Go out into the world,’” he says.

But most graduates don’t have to deal with global fame. “It’s transitory. You’re only ever cool for a moment and then you become much less cool. I was always pretty dubious about flatterers,” he says, recalling a time he was stung in London in the mid-2000s. “I went on a date in Hyde Park with a woman whose name I will not use – she was socialite-famous – and she was acting completely bizarre, looking over her shoulder the whole time. I came to find out that she had hired a photographer to follow us through the park and gave a whole story to the tabloids about how I was going to meet her family.”

It was his growing fortune, rather than fame, that caused Jackson the most anxiety. “Suddenly, at 19 years old, I was making more in a week than most of my friends’ parents would make in a year,” he says. “It was lovely to have the money, but it was that feeling of nobody is worth that kind of money. You feel like a fraud and it took me a long time to forgive myself for not being the thing that I was perceived as.”

Born in Vancouver, but raised in Topanga, California, until he was eight (before moving back to Vancouver following his parents’ divorce), Jackson bought his childhood home in 2001 and lives in it today with his wife, British Queen & Slim actor Ms Jodie Turner-Smith, and their 15-month-old daughter.

“My father unfortunately was not a good father or a husband and exited the scene, but that house in Topanga was where everything felt simple, so it was a very healing thing for me to do,” he says. Fast-forward to 2021 and his baby daughter now sleeps in her father’s childhood bedroom. “There was a mural of a dragon on the wall in that room that I couldn’t believe was still there, years later. The owner [who sold him the house] said, ‘I knew it meant a lot to somebody and that they were going to come back for it some day.’”

Becoming a first-time parent during a pandemic sounds stressful, but it afforded Jackson months at home with his wife and child that his normal work schedule wouldn’t have allowed.

“I now recognise how perverse the way that we have set up our society is,” he says. “There is not a father I know who works a regular job who didn’t go back to the office a week later. It’s robbing that man of the opportunity to bond with his child and spend time with his partner.”

Despite his obvious career ambitions, fatherhood has changed Jackson’s priorities in “every possible way”, he says. “It’s 100 per cent changed how I approach my work and my life. That has been made so clear to me in this past year. For me to feel good about what I’m doing day to day, my family has to be the central focus.

“There are plenty of things left for me to do, but now the thing that gets me excited is experiencing the world through my daughter’s eyes. I can’t wait to take her scuba diving. I can’t wait to take her skiing. I can’t wait to read a great book with her. I’m not worried at all she’ll be a wallflower. She’s been a character from the word go.”

Jackson met Turner-Smith, 34, two days after his 40th birthday. He had been single since his 10-year relationship with German actress Ms Diane Kruger ended in 2016. “I was not looking to fall in love again or meet the mother of my child, but life has other plans for you,” he says.

The couple met at a party. Turner-Smith was wearing the same The Future Is Female Ejaculation T-shirt Ms Tessa Thompson’s character, Detroit, wears in the 2018 film Sorry To Bother You. “That’s what I used to break the ice. I shouted, ‘Detroit!’ across the room. Not the smoothest thing I’ve ever done, but it worked. We were pretty much inseparable from the word go. It was a whirlwind romance and I can tell my daughter I literally saw her mother across a room and thought, ‘I have to be next to this woman.’”

A self-confessed “useless” shopper, Jackson gives his wife full credit for his current wardrobe. He is jewellery-free, apart from a wedding band and a gold signet “JJ” ring on his little finger (a present from his wife), and discovered tailored sweatsuits (by Stampd and Reigning Champ) in the pandemic.

“Jodie has influence in the way that a wonderful wife encourages you, through love, to dress well. She was like, ‘We’re going to throw away all the sweatpants from your past and I’m going to get you some that actually make you look like an adult male and you will still feel comfortable around the house,’ and I’m like, ‘What an amazing idea!’ Who knew you could get sweatsuits that actually look good on your body?”

Jackson’s style has evolved, he says, “from slovenly teen to it’s-nice-when-your-clothes-actually-fit-you”. The penny dropped after he auditioned for his former co-star Estevez, who was directing the 2006 Mr Robert Kennedy biopic Bobby. He said to me, ‘You only got this job because I know you. You came in here to play a very well-put together 1960s political operative and you’re wearing jeans and a hoodie.’

“I had to grow up a little bit. We are very much raised in Canada to never, ever show off, so it took me a while to recognise it’s OK to look good when you go out.”

Still, when you’ve grown up in front of the camera, “every pimple literally documented”, and lived (very successfully) to tell the tale, you can probably be forgiven for the odd fashion faux pas.

“I wore a silk Ascot to an event once in Paris and I still have nightmares about it,” he says. “I looked like Fred from Scooby Doo, but you live and learn.”

#joshua jackson #interviews #jodie turner smith #dawson's creek #dr death #fringe #emilio estevez #mr porter #patrick stewart #michelle williams #katie holmes

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bethanysnow · 3 years

Text

Edition:01 "The rich and terribly beautiful"

It was the newest season. Everyone from suitors coming home from abroad to the ladies in their second go around and the newest members of society- debutantes. Being ushered in with their newly minted gowns, fresh faces, all about to be fed to wolves.

The encourching season was to be one with joy, pockets to spend, and families to disappoint. In the latest gazette of ‘Affairs of the Aristocratic Woman’ the front page told the story of a lady who debuted privately in front of the Queen. No long carriage ride to Buckingham Palace. No cock race to have the most outlandish and expensive dress. A rumor spread amongst the crowds coming into London that it would be a De Angelis! Or a cousin of.

Victoria De Angelis debuted 2 seasons ago. In a silk champagne gown with purple tulle accents and large jewelry. Far unbecoming if one wishes to be wed properly. That season she was in boys clubs smoking cigarettes and playing billiards. Her family was dutch and italian so no one blamed her for not understanding the importance of such things. She was quoted that she stuck around in England ‘for the music’.

The Opera, the theatre. All blooming with new exciting features.

Actors and musicians all fled to the opera houses to try and get their chance at the stage. Lately a new name had appeared ‘Thomas Raggi’. Composer from Italy. Becoming exceedingly popular, more folks came into the city. Saying how the music lifted souls and painted the heavens with smiles with a Raggi epic. His tragedies were tear inducing, his comedies made people fall over in their seats. His romances had people stunned that Cupid didn’t walk through the doors.

Quickly Thomas Raggi and Victoria De Angelis were seen together at horse races and in Hyde park. Wouldn’t be a scandal to believe the rebellious De Angelis would fall for the composur. But what was scandalous was the latest edition to the dou. From abroad one Ethan Torchio was spotted coming off the train in london. Going straight to De Angelis’s flat. It wasn’t uncommon for families to stay at one address. But a successful man? A successful single man?? With a widely known woman who turned down suitors without a second thought? What was so special about this...Ethan Torchio that he had passed unlike any other. What was known of him was that he expanded the Queens empire in trade across the border to India and some said even Japan. He was seen as a quiet fellow, well educated. Knowing multiple languages, dressed in bright colours and latest fashions. Reading books in the middle of cricket matches and excitedly cheering when Miss. De Angelis hustled other gentlemen out of their earned pension.

While the three of them took drives in the park, no one was prepared for the one that arrived next.

Damiano David.

An appointed advisor to the prince of Italy by the King. Polo Player, and absolute talk of all. When the four of them were seen together on Regatta at Henley people could not stop watching. Everyone's tongues were alight with fire to know more. Mr. David received an invitation from almost every eligible young woman, and even some young men, begging him to attend their event. He gracefully declined most with a wistful smile and a flirtatious kiss on the hand. Stating he will see if the stars aligned with their fate to make it so. Causing this savant to strut around with a slick attitude and everyone wishing to be the pretty thing that catches his eye.

This season would be decided by a bunch of rebels.

Even still, the front page of the AAW told the tale of a woman coming from abroad. Somehow intertwined with these four. What events they would attend, what clothes to peacock around in, who knew? The events were filling up fast and only one more person needed to arrive.

Y/n L/n.

#maneskin #damiano david #måneskin #ethan torchio #damiano david x reader #måneskin imagine #thomas raggi #victoria de angelis #history!au #aristocratic #high society #england #1800s #1900s #x reader #Edition

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