Today’s Olivier nominations continued a trend.

Tom adds: “We are really excited for the opening season and it’s fantastic to know that our space is now completely equipped with the latest technology to ensure each show can achieve its potential. I have worked with WL on several occasions now, and it has always been a brilliant experience – as it was once again on this occasion”.

Like Fred Rogers himself, this PBS special speaks to the deepest part of us.

Oldroyd and Birch make no such gaffes. The movie’s larger point — which I find irrefutable — is that some people who have been victimized for life are not just inclined to speak truth to power but to abuse what power they have over people with less of it. August Wilson knew that, which is why his plays resonate far beyond melodrama. So does Lady Macbeth. It eats into the mind with its vision of evil as a contagion that transforms victims into oppressors.

Winnie the Pooh has ditched the Hundred Acre Woods.

Can he really cook? The proof is in the pudding … he didn’t make.

Ashley Izard, Mary Tuomanen, and Amié Donna Kelly as the Weird Sisters and Christopher Patrick Mullen as Hecate in Arden Theatre Company's production of .

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What feels modern in Lady Macbeth is Pugh’s Katherine, who manifests an extreme aversion to demureness. She has flashing, insolent eyes on a face as wide as a painter’s canvas, and her throaty voice drips with irony and contempt. There are stunning shots of Katherine striding along the windswept coastal moors that summon comparisons to the Brontës and Hardy, but Northumberland borders the Scottish Lowlands and the trace of a brogue allies her not just with dominated women but dominated people of all kinds. The audience roots for Katherine to give it back to her smug white quasi-captors on behalf of all subjugated people everywhere. This becomes a problem when Katherine begins to kick not just up but down.

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Oldroyd made his name as a theater director, and in his debut film he goes with his strengths. Lady Macbeth is largely confined to the plain, masculine house and its stables, and Oldroyd and cinematographer Ari Wegner show the grinding unsensuality of the place without resorting to the kind of overlong shots designed to make us literally experience her boredom.
They subtly establish a second protagonist, the maid Anna, who is even more cruelly abused by the old master (Christopher Fairbank) and later spies on Katherine and her stable-boy lover, Sebastian (Cosmo Jarvis), through a keyhole. From our modern, liberal perspective, it’s tempting to see Katherine’s revenge on the decrepit industrialist as payback for Anna’s humiliation as well as her own. When a photograph is taken of her beside the upright open coffin of the dead geezer — who has also brutally whipped the lowly Sebastian — we want to cheer.

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Tom Kingdon, Technical and Operations Manager at Tara, comments: “We are really excited about the new Tara Theatre and the great mix of work this space will allow us to bring to audiences, both old and new. Our intention is for the building to showcase some of the most original work in contemporary theatre. Therefore, it’s important that the equipment we have reflects our ambitions. We approached WL in order to complement our existing lighting stock as well as invest in several new fixtures”.

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Jonathan Haynes states: “We are proud to be supporting community theatres, in venues which are not only close geographically, but share a similar ethos to our own. By having its own brand new purpose-built theatre, this is a really exciting chapter in Tara Arts’ history and we are very pleased to be involved, supplying technical solutions for its diverse range of shows”.