, a musical tale based on the classic trilogy by J.R.R. Tolkien, with book and lyrics by Shaun McKenna and Matthew Warchus and music by A.R. Rahman (
With the production set across both the Watermill auditorium and gardens, audiences will be immersed in the magical landscape of Tolkien, joining an ensemble cast and large-scale puppets on an epic journey celebrating the power of friendship and common goodness to conquer unimaginable evil.
Tickets will go on sale to Friends of The Watermill on 15 March, to Watermill email subscribers on 21 March (sign up here), and on general sale on 22 March, via The Watermill website. Tickets for the performance on 22 September, Bilbo Baggins’ birthday, will include a celebration in the Watermill gardens before the show.
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As the Hobbits celebrate Bilbo Baggins’ eleventy-first birthday, he gifts his nephew Frodo his inheritance – including his most precious belonging – a gold ring. Little does he know that his legacy will confront Frodo with an immense and impossible task; a perilous journey across the darkest realms of Mordor to foil the Dark Lord’s quest for total dominion.
We are thrilled to be bringing Bag End to Bagnor this summer with one of the most epic stories ever written. Our production of The Lord of the Rings will take audiences from the lush idyll of the Shire in our gardens to the darkest depths of the Cracks of Doom.You may bewondering how we’re going to fit this huge show in our 200-seat theatre – come and witness the impossible!”
Staging The Lord of the Rings reflects that our ambition hasn’t been diminished by the loss of Arts Council England funding. We’re continuing to invest in the work on our stages, in the talented artists who create this work and in reaching and connecting with audiences locally and nationally. To enable this, we’re continuing to review our business model and we’re pleased to say that we’re able to offer 28% of the tickets for the show for only £25, with priority on sales for Friends and email subscribers. With a 12-week long run, we can’t wait to welcome more people than ever to our unique and magical site to experience this epic story
The Watermill Theatre Announces Epic Summer Musical
Middle-earth Enterprises along with Kevin Wallace can’t imagine a more fitting locale for the live staging of the Fellowship’s epic adventures from the Shire to Mordor, and back again, than at the Watermill Theatre, set in the bucolic Berkshire countryside.”
At Theatre Weekly we are dedicated to giving theatre a new audience. Our News, Reviews and Interviews are all written with the audience in mind, helping you decide what to see next. And when you have decided, our great ticket deals will help save you money too.In 1926, my grandfather was expelled in the eleventh grade in New York City for asking where African Americans were in the history books. He refused to accept what the teacher told him, that African Americans had done nothing to merit inclusion. He was expelled for his so-called impertinence. His pride was so wounded that he never went back to high school. Instead, he went on to become a jazz musician and a painter, inserting images of African Americans in scenes where he thought they should—and knew they did—exist. The endeavor to affirm the dignity of human life cannot be waged without pictures, without representational justice. This, he knew.
When I was asked to guest edit this special issue devoted to photography of the black experience—the first of its kind for Aperture—I could think of no other theme. No matter the topic—beauty, family, politics, power—the quest for a legacy of photographic representation of African Americans has been about these two things. The centuries-long effort to craft an image to pay honor to the full humanity of black life is a corrective task for which photography and cinema have been central, even indispensable.
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Understanding the relationship of race and the quest for full citizenship in this country requires an advanced state of visual literacy, particularly during periods of turmoil. Today, we’ve been able to witness injustices in a firsthand way on a massive scale that would have been unimaginable decades ago. We have had to ask ourselves questions that call upon powers of visual analysis to read, for example, the image of Eric Garner’s killing, virally disseminated through social media, or to understand the symbolism in Dylann Roof’s self-styled portraiture before his killing of the Emanuel 9 in Charleston. Being an engaged citizen requires grappling with pictures, and knowing their historical context, at times, with near art historical precision. Yet it is the artist who knows what images need to be seen to affect change and alter history, to shine a spotlight in ways that will result in sustained attention.
The enduring focus that comes from the power of the images presented in these pages—from artists such as Ava DuVernay and Bradford Young, Deborah Willis and lamel Shabazz, to Lorna Simpson and LaToya Ruby Frazier—moves us from merely seeing to holding a penetrating gaze long enough that we consider what is before us anew.
This issue takes its conceptual inspiration from the abolitionist and great nineteenth-century thinker Frederick Douglass, who understood this long ago. In a Civil War speech, “Pictures and Progress, ” Douglass spoke about the transformative power of pictures to affect a new vision for the nation. This issue opens with that historic framework— Henry Louis Gates, Ir.’s writing on Douglass’s prophetic, probing ideas and theories about the medium of photography at the dawn of the photographic age. Douglass, the most photographed American man in the nineteenth century, argued that combat might end complete sectional disunion, but America’s progress would require pictures because of the images they conjure in one’s imagination.
The Boys In The Boat: Nine Americans And Their Epic Quest For Gold At The 1936 Berlin Olympics: Brown, Daniel James: 0884832131572: Books
We come closer to understanding Douglass’s vision of justice with the generation of imaginative photographers and artists represented by projects in this issue, from Leslie Hewitt’s and Lorna Simpson’s assemblages of archival pictures that speak to the complex legacies of the civil rights movement to Awol Erizku’s stylish studio portraits, in which he appropriates iconic poses of Old Master paintings. We see it in the photographs of Roy DeCarava, Carrie Mae Weems, Frank Stewart, and Jamei Shabazz, who never let us forget the dignity of black life, and in those of Deborah Willis, who has also long chronicled the history of the field. We are fortunate to have essays in this issue by a wide range of scholars, artists, and writers—including Teju Cole, Margo Jefferson, Claudia Rankine, Robin Kelsey, Cheryl Finley, and Leigh Raiford, alongside historians Nell Painter and Khalil Gibran Muhammad and musicians Wynton Marsalis and Jason Moran—who offer invaluable insights about the significance of this relationship between art and citizenship exemplified by the works selected for these pages.
Published in the last year of the Obama presidency, this issue marks a time of unparalleled visibility for an African American family on the world stage. Yet this era must also be defined by the emergence of the #BlackLivesMatter movement, the stagnated wages of working-class citizens, and growing impatience with mass incarceration. Devin Allen, a young photographer who came to national attention through his prolific Instagram feed, chronicled the unrest in Baltimore following the death of Freddie Gray in police custody. Suddenly the streets of 2015 looked like memories of 1968, though the circumstances are dramatically different. Radcliffe “Ruddy” Roye, who has propelled the classic genre of street photography into the age of social media, asks, in his continuous stream of images, how we should imagine dignity in the face of oppression. Catalyzed by events just over fifty years apart, Dawoud Bey’s powerful meditation on the 1963 bombing of the Sixteenth Street Baptist Church in Alabama and Deana Lawson’s portrait series on the families of victims killed in 2015 at Mother Emanuel in Charleston, South Carolina, speak to the legacy of the African American church as a target for terrorism and a refuge of grace.
We often see the nexus of vision and justice as a retrospective exercise, chronicling the recent past. We saw this most notably with what I would call Martin Luther King, Jr.’s ‘aesthetic funerals”: the urge after his death to visually unfurl images, ideas, epic visions of African American culture as if to secure the horizon line that felt suddenly in doubt.
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We saw it in Benedict Fernandez’s photograph, taken on April 5, 1968, of three young boys with their torsos covered in buttons of King’s Poor People’s Campaign as if they were laying out the body of King across their own. At the time of year when Fernandez took this photograph, the Metropolitan Museum of Art was planning an exhibition called Harlem on My Mind to open in 1969, which used the visual poetics of an unfurling, a spreading out of an archive, to show the development of Harlem. As Bridget R. Cooks describes in this issue, Harlem on My Mind was designed as a tour of Harlem, a processional through thirteen chronologically ordered gallery displays of photographs, dominated by James VanDerZee. It also had a most unusual feature: a closed-circuit television
Understanding the relationship of race and the quest for full citizenship in this country requires an advanced state of visual literacy, particularly during periods of turmoil. Today, we’ve been able to witness injustices in a firsthand way on a massive scale that would have been unimaginable decades ago. We have had to ask ourselves questions that call upon powers of visual analysis to read, for example, the image of Eric Garner’s killing, virally disseminated through social media, or to understand the symbolism in Dylann Roof’s self-styled portraiture before his killing of the Emanuel 9 in Charleston. Being an engaged citizen requires grappling with pictures, and knowing their historical context, at times, with near art historical precision. Yet it is the artist who knows what images need to be seen to affect change and alter history, to shine a spotlight in ways that will result in sustained attention.
The enduring focus that comes from the power of the images presented in these pages—from artists such as Ava DuVernay and Bradford Young, Deborah Willis and lamel Shabazz, to Lorna Simpson and LaToya Ruby Frazier—moves us from merely seeing to holding a penetrating gaze long enough that we consider what is before us anew.
This issue takes its conceptual inspiration from the abolitionist and great nineteenth-century thinker Frederick Douglass, who understood this long ago. In a Civil War speech, “Pictures and Progress, ” Douglass spoke about the transformative power of pictures to affect a new vision for the nation. This issue opens with that historic framework— Henry Louis Gates, Ir.’s writing on Douglass’s prophetic, probing ideas and theories about the medium of photography at the dawn of the photographic age. Douglass, the most photographed American man in the nineteenth century, argued that combat might end complete sectional disunion, but America’s progress would require pictures because of the images they conjure in one’s imagination.
The Boys In The Boat: Nine Americans And Their Epic Quest For Gold At The 1936 Berlin Olympics: Brown, Daniel James: 0884832131572: Books
We come closer to understanding Douglass’s vision of justice with the generation of imaginative photographers and artists represented by projects in this issue, from Leslie Hewitt’s and Lorna Simpson’s assemblages of archival pictures that speak to the complex legacies of the civil rights movement to Awol Erizku’s stylish studio portraits, in which he appropriates iconic poses of Old Master paintings. We see it in the photographs of Roy DeCarava, Carrie Mae Weems, Frank Stewart, and Jamei Shabazz, who never let us forget the dignity of black life, and in those of Deborah Willis, who has also long chronicled the history of the field. We are fortunate to have essays in this issue by a wide range of scholars, artists, and writers—including Teju Cole, Margo Jefferson, Claudia Rankine, Robin Kelsey, Cheryl Finley, and Leigh Raiford, alongside historians Nell Painter and Khalil Gibran Muhammad and musicians Wynton Marsalis and Jason Moran—who offer invaluable insights about the significance of this relationship between art and citizenship exemplified by the works selected for these pages.
Published in the last year of the Obama presidency, this issue marks a time of unparalleled visibility for an African American family on the world stage. Yet this era must also be defined by the emergence of the #BlackLivesMatter movement, the stagnated wages of working-class citizens, and growing impatience with mass incarceration. Devin Allen, a young photographer who came to national attention through his prolific Instagram feed, chronicled the unrest in Baltimore following the death of Freddie Gray in police custody. Suddenly the streets of 2015 looked like memories of 1968, though the circumstances are dramatically different. Radcliffe “Ruddy” Roye, who has propelled the classic genre of street photography into the age of social media, asks, in his continuous stream of images, how we should imagine dignity in the face of oppression. Catalyzed by events just over fifty years apart, Dawoud Bey’s powerful meditation on the 1963 bombing of the Sixteenth Street Baptist Church in Alabama and Deana Lawson’s portrait series on the families of victims killed in 2015 at Mother Emanuel in Charleston, South Carolina, speak to the legacy of the African American church as a target for terrorism and a refuge of grace.
We often see the nexus of vision and justice as a retrospective exercise, chronicling the recent past. We saw this most notably with what I would call Martin Luther King, Jr.’s ‘aesthetic funerals”: the urge after his death to visually unfurl images, ideas, epic visions of African American culture as if to secure the horizon line that felt suddenly in doubt.
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We saw it in Benedict Fernandez’s photograph, taken on April 5, 1968, of three young boys with their torsos covered in buttons of King’s Poor People’s Campaign as if they were laying out the body of King across their own. At the time of year when Fernandez took this photograph, the Metropolitan Museum of Art was planning an exhibition called Harlem on My Mind to open in 1969, which used the visual poetics of an unfurling, a spreading out of an archive, to show the development of Harlem. As Bridget R. Cooks describes in this issue, Harlem on My Mind was designed as a tour of Harlem, a processional through thirteen chronologically ordered gallery displays of photographs, dominated by James VanDerZee. It also had a most unusual feature: a closed-circuit television
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