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"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
Dutch postcard by Gebr. Spanjersberg, Rotterdam / Antwerpen. Photo: Stephen J. Cannell Productions, 1984. Dwight Schulz, Mr. T and George Peppard in The A-Team (1983-1987).
During the 1960s, handsome and elegant actor George Peppard (1928-1994) displayed considerable talent in such films as Breakfast at Tiffany's (1961), How the West Was Won (1962), The Carpetbaggers (1964) and The Blue Max (1966). But he is probably best known as Col. John 'Hannibal' Smith, the cigar-smoking leader of a renegade commando squad in the action series The A-Team (1983-1987).
George Peppard Jr. was born in Detroit, Michigan, in 1928. He was the son of contractor George Peppard and opera singer Vernelle Rohrer. Before his acting career began, he was a newsreader for a local radio station in Pittsburgh for a short time. After radio and television experience (with guest roles in The United States Steel Hour, Alfred Hitchcock Presents and The Alcoa Hour), Peppard made his Broadway debut in 1956, in the play 'Girls of Summer'. He made his feature film debut in the drama The Strange One (Jack Garfein, 1957). In 1958-1959, he played Roger Henderson in the play 'The Pleasure of His Company'. In the late 1950s, Peppard continued to make guest appearances in then-famous television shows and series, like Studio One, Hallmark Hall of Fame and Matinee Theatre. He also had a role in the war film Pork Chop Hill (Lewis Milestone, 1959), starring Gregory Peck. Peppard began to stand out after his role as Robert Mitchum's illegitimate son in Home from the Hill (Vincente Minnelli, 1960). He began to emerge more and more as the leading man, but the Beatnik film The Subterraneans (Ranald MacDougall, 1960) flopped and he returned to television. His good looks, elegant manner and acting skills landed Peppard his most famous film role as struggling writer Paul ‘Fred’ Varjak in the romantic comedy Breakfast at Tiffany's (Blake Edwards, 1961), alongside Audrey Hepburn. Now considered a promising young star by the studios, Peppard was cast in the epic Western How the West Was Won (Henry Hathaway, John Ford and George Marshall, 1962), the British-American war film The Victors (Carl Foreman, 1963) and the Harold Robbins adaptation The Carpetbaggers (Edward Dmytryk, 1964) in which he portrayed a character based on Howard Hughes. His future second wife Helen Davies also had a role in the latter film. In the mid-1960s, Peppard starred in major productions such as the British Spy thriller Operation Crossbow (Michael Anderson, 1965) with Sophia Loren and the thriller The Third Day (Jack Smight, 1965) with Elizabeth Ashley, who had become his second wife. He reached the peak of his popularity in the grim war film The Blue Max (John Guillermin, 1966) with Peppard as an obsessively competitive German pilot during World War I. In the latter half of the 1960s and early 1970s, Peppard seemed to lower the bar and appeared in films of a more average level, except for the war film Tobruk (Arthur Hiller, 1967) in which he co-starred with Rock Hudson. He also appeared in the Westerns Rough Night in Jericho (Arnold Laven, 1967) with Dean Martin and One More Train To Rob (Andrew McLaglen, 1971). Peppard co-starred with Joan Collins in the British Cold War thriller The Executioner (Sam Wanamaker, 1970).
In the 1970s, the film roles George Peppard took on became increasingly uninteresting and he played almost exclusively in television films. Between 1972 and 1974, Peppard starred in the seventeen-episode television series Banacek. He played a wealthy Boston playboy who solves thefts for insurance companies for a finder's fee in 90-minute whodunits. The series briefly revived Peppard's waning popularity. In 1975-1976, he starred in the television series Doctor's Hospital, but towards the end of the season, Peppard indicated he wanted to quit his role in the series. In 1977, Peppard appeared in the post-apocalypse film Damnation Alley (Jack Smight, 1977) with Jan-Michael Vincent and Dominique Sanda. Poorly received by critics and audiences, it has since achieved a cult following. With fewer interesting roles coming his way, he acted in, directed and produced the drama Five Days from Home (1979). The film, about a father escaping from prison to visit his sick son, did not become a success. He plunged back into television films like Torn Between Two Lovers (Delbert Mann, 1979) with Lee Remick and Crisis in Mid-Air (Walter Grauman, 1979). The Euro War film Contro 4 Bandiere/From Hell to Victory (Umberto Lenzi, 1979) and the Space Opera Battle Beyond the Stars (Jimmy T. Murakami, 1980), produced by Roger Corman, also did not become box office hits. He landed the role of Blake Carrington in the TV soap Dynasty but was fired after a week of filming due to creative differences with the producers. He managed to get the role of Hannibal Smith in The A-Team, alongside Mr. T, Dirk Benedict and Dwight Schultz. In the series, the A-Team was a team of renegade commandos on the run from the military for "a crime they did not commit" while serving in the Vietnam War. The A-Team members made their collective living as soldiers of fortune, but they helped only people who came to them with justified grievances. The A-Team became the number-one-rated television show in its first season. 98 episodes of the series were made and aired between 1983 and 1987. Peppard was back in the saddle, but after the series ended, he reportedly was glad it was over. He starred in a few more films and television movies, including two films in the Man Against the Mob series, for which a third was also planned. Due to Peppard's death, it remained only two parts. Furthermore, he played a role in the War film Night of the Fox (Charles Jarrott, 1990) with Michael York. Peppard's last television appearance was a guest role in the television series Matlock. The episode aired eight days before Peppard's death. It was intended as a pilot for a new series. In 1992, Peppard had a small, malignant lung tumour removed. Two years later, George Peppard was again under treatment for lung cancer. Complications from this left him with pneumonia, from which he eventually died in 1994. He was 65. His fifth wife Laura, a West Palm Beach banker, cared for him for the last 18 months of his life. He is buried alongside his parents in Northview Cemetery in Dearborn, Michigan.
Sources: Wikipedia (Dutch and English) and IMDb.
And, please check out our blog European Film Star Postcards.
Actor
Learn more about Bryan here
www.imdb.com/name/nm6882080/?ref_=nmmd_md_nm
Rivertown
Kenner, Louisiana
Tony Award-winning actor Annaleigh Ashford joined fellow Broadway Coloradans Beth Malone ("Fun Home") and Mara Davi ("Dames at Sea" for "United in Love," a special concert event benefiting the Denver Actors Fund on April 30 at the Lone Tree Arts Center. The three were "back to give back," joined by powerhouse singer, actor and First Lady of Denver Mary Louise; Broadway’s Jodie Langel ("Les Misérables"); composer Denise Gentilini ("I Am Alive") and Denver performers Jimmy Bruenger, Eugene Ebner, Becca Fletcher, Clarissa Fugazzotto, Robert Johnson, Daniel Langhoff, Susannah McLeod, Chloe McLeod, Sarah Rex, Jeremy Rill, Kristen Samu, Willow Samu, Thaddeus Valdez, and the casts of both "The Jerseys" (Klint Rudolph, Brian Smith, Paul Dwyer and Randy St. Pierre), and the all-student cast of the upcoming "13 the Musical" (Rylee Vogel, Josh Cellar, Hannah Meg Weinraub, Hannah Katz, Lorenzo Giovannetti, Maddie Kee, Kaden Hinkle, Darrow Klein, Evan Gibley, Conrad Eck and Macy Friday). The purpose of the evening was to spread a message of love and hope while raising funds for the Denver Actors Fund, which has made $90,000 available to local theatre artists facing situational medical need. The concert was presented by presented by Ebner-Page Productions. Photos by RDG Photography, Gary Duff and DCPA Senior Arts Journalist John Moore, also the founder of the Denver Actors Fund. For more information, go to www.denveractorsfund.org
Actor
Learn more about Bryan here
www.imdb.com/name/nm6882080/?ref_=nmmd_md_nm
Rivertown
Kenner, Louisiana
William Horatio Powell was an American actor. A major star at Metro-Goldwyn-Mayer, he was paired with Myrna Loy in 14 films, including the Thin Man series based on the Nick and Nora Charles characters created by Dashiell Hammett. Wikipedia
Actor
Learn more about Bryan here
www.imdb.com/name/nm6882080/?ref_=nmmd_md_nm
Rivertown
Kenner, Louisiana
Actor Josh Duhamel attends "Transformers- Revenge of the Fallen" photocall, at Villa Magna Hotel on June 12, 2009 in Madrid, Spain. (Photo by Fotonoticias)
The display reads:
Utagawa Kunisada
Japan 1786 - 1865
Actor
1845
Woodblock print
Acquisition
Kunisada was one of the most prolific and inventive designers of Ukiyoe woodblock prints. Though print designers such as Kunisada are often given full credit for the finished product, Ukiyoe prints were created in a collaborative environment that depended on the skills of the block-cutters and printers as well as the artists and publishers. The term Ukiyoe, "Pictures of the Floating World" refers to depictions of the fashion and trend conscious cultural milieu of the city Edo, modern day Tokyo. The Kabuki theatre was one of the most popular entertainments of the Edo period and many print designers made their living portraying actors both on and off the stage. This print is a panel from a large multi-paneled composition depicting a scene from an unidentified Kabuki play. The actor, in the guise of a workman or shopkeeper, is comically suspended above the spring scenery from an unseen support.
Taken September 2nd, 2011.
Chad Michael Murray Actor of One tree hill,Home of the brave, A cindrella story ,don't dream it's over. etc..
FotografÃa: JUANI GÓMEZ Mi gratitud sincera al actor murciano JOSÉ CARIDE, que desde el inicio de mi propuesta, colaboró en que mi proyecto de esta sesión fotográfica llegara a buen fÃn. Su aportación a la tv, teatro y CINE español es realmente importante. Grandes pelÃculas incluyen su nombre: "Las ratas" (1.997) ,nominada a la mejor pelÃcula en el festival de Montreal, "Hotel Danubio", (2.003), ambas dirigidas por Antonio Gimenez-Rico, "El abuelo" (1.998) y "Tiovivo"(2.004) dirigidas por José Luis Garci. "Gary Cooper que estas en los cielos", dirigida por Pilar MÃro. (1.981) "Con el viento Solano" (1.967) de Mario Camús... De él dijo el autor Buero Vallejo: "que tenÃa el ritmo del teatro..."
Robert Pattinson, the English actor who plays Cedric Diggory in the latest Harry Potter movie, Harry Potter and the Goblet of Fire.
Tony Award-winning actor Annaleigh Ashford joined fellow Broadway Coloradans Beth Malone ("Fun Home") and Mara Davi ("Dames at Sea" for "United in Love," a special concert event benefiting the Denver Actors Fund on April 30 at the Lone Tree Arts Center. The three were "back to give back," joined by powerhouse singer, actor and First Lady of Denver Mary Louise; Broadway’s Jodie Langel ("Les Misérables"); composer Denise Gentilini ("I Am Alive") and Denver performers Jimmy Bruenger, Eugene Ebner, Becca Fletcher, Clarissa Fugazzotto, Robert Johnson, Daniel Langhoff, Susannah McLeod, Chloe McLeod, Sarah Rex, Jeremy Rill, Kristen Samu, Willow Samu, Thaddeus Valdez, and the casts of both "The Jerseys" (Klint Rudolph, Brian Smith, Paul Dwyer and Randy St. Pierre), and the all-student cast of the upcoming "13 the Musical" (Rylee Vogel, Josh Cellar, Hannah Meg Weinraub, Hannah Katz, Lorenzo Giovannetti, Maddie Kee, Kaden Hinkle, Darrow Klein, Evan Gibley, Conrad Eck and Macy Friday). The purpose of the evening was to spread a message of love and hope while raising funds for the Denver Actors Fund, which has made $90,000 available to local theatre artists facing situational medical need. The concert was presented by presented by Ebner-Page Productions. Photos by RDG Photography, Gary Duff and DCPA Senior Arts Journalist John Moore, also the founder of the Denver Actors Fund. For more information, go to www.denveractorsfund.org
(from the Doug Trumbull collection)
article by Douglas Trumbull on creating Special Effects for 2001: A Space Odyssey
A very professionell Artworker and Actor from Berlin.
Pic and Postwork: Peter Hirth, Astrid Rißmann,
Tony Award-winning actor Annaleigh Ashford joined fellow Broadway Coloradans Beth Malone ("Fun Home") and Mara Davi ("Dames at Sea" for "United in Love," a special concert event benefiting the Denver Actors Fund on April 30 at the Lone Tree Arts Center. The three were "back to give back," joined by powerhouse singer, actor and First Lady of Denver Mary Louise; Broadway’s Jodie Langel ("Les Misérables"); composer Denise Gentilini ("I Am Alive") and Denver performers Jimmy Bruenger, Eugene Ebner, Becca Fletcher, Clarissa Fugazzotto, Robert Johnson, Daniel Langhoff, Susannah McLeod, Chloe McLeod, Sarah Rex, Jeremy Rill, Kristen Samu, Willow Samu, Thaddeus Valdez, and the casts of both "The Jerseys" (Klint Rudolph, Brian Smith, Paul Dwyer and Randy St. Pierre), and the all-student cast of the upcoming "13 the Musical" (Rylee Vogel, Josh Cellar, Hannah Meg Weinraub, Hannah Katz, Lorenzo Giovannetti, Maddie Kee, Kaden Hinkle, Darrow Klein, Evan Gibley, Conrad Eck and Macy Friday). The purpose of the evening was to spread a message of love and hope while raising funds for the Denver Actors Fund, which has made $90,000 available to local theatre artists facing situational medical need. The concert was presented by presented by Ebner-Page Productions. Photos by RDG Photography, Gary Duff and DCPA Senior Arts Journalist John Moore, also the founder of the Denver Actors Fund. For more information, go to www.denveractorsfund.org