BBC Television Shakespeare - Wikipedia. The BBC Television Shakespeare is a series of British television adaptations of the plays of William Shakespeare, created by Cedric Messina and broadcast by BBC Television. Transmitted in the UK from 3 December 1. April 1. 98. 5, the series spanned seven seasons and thirty- seven episodes. Development began in 1. Messina saw that the grounds of Glamis Castle would make a perfect location for an adaptation of Shakespeare's As You Like It for the Play of the Month series. Upon returning to London, however, he had come to envision an entire series devoted exclusively to the dramatic works of Shakespeare. History of Sex in Cinema: The Greatest and Most Influential Sexual Films and Scenes (Illustrated) Pre-1920s. Alex Ramon has mesmerized millions around the world with his magic! He was the 'Magical Zingmaster' for Ringling Bros. Official website for Fergie. With news, events, albums, videos, photos, store, lyrics, and community. When he encountered a less than enthusiastic response from the BBC's departmental heads, Messina bypassed the usual channels and took his idea directly to the top of the BBC hierarchy, who greenlighted the show. Experiencing financial, logistical and creative problems in the early days of production, Messina persevered and served as executive producer for two years. When he was replaced by Jonathan Miller at the start of season three, the show experienced something of a creative renaissance as strictures on the directors' interpretations of the plays were loosened, a policy continued under Shaun Sutton, who took over as executive producer for seasons five, six and seven. By the end of its run, the series had proved both a ratings and a financial success. Initially the adaptations received generally negative reviews, although the reception improved somewhat as the series went on, and directors were allowed more freedom, leading to interpretations becoming more daring. Several episodes are now held in high esteem, particularly some of the traditionally lesser known and less frequently staged plays. The complete set is a popular collection, and several episodes represent the only non- theatrical production of the particular play currently available on DVD. Introduction. Barrie's. The Little Minister for the BBC's Play of the Month series. By the time he had returned to London, however, his idea had grown considerably, and he now envisioned an entire series devoted exclusively to the dramatic work of Shakespeare; a series which would adapt all thirty- seven Shakespearean plays. He had anticipated that everyone in the BBC would be excited about the concept, but this did not prove so. Don't forget to catch Deirdre on Blonde on Blonde, Wednesdays at 7:35am and Psychos, Thursday at 7:35am on Imus in the Morning! The Chicago Cubs finally conquered their 108-year curse. Take a look back at the many, many inventions that were created since the Cubs’ last World Series win in 1908. The Navy Yard has been transformed by one of Philadelphia’s largest and most iconic companies, Urban Outfitters, Inc., the retailer that started here in 1970 with a. In particular, the Drama/Plays division felt the series could not possibly be a financial success without international sales, which they did not see as likely. Furthermore, they argued that Shakespeare on television rarely worked, and they were of the opinion that there was simply no need to do all thirty- seven plays, as many were obscure and would not find an audience amongst the general public, even in England. Disappointed with their lack of enthusiasm, Messina went over the departmental heads, forwarding his proposal directly to Director of Programmes, Alasdair Milne and Director- General, Ian Trethowan, both of whom liked the idea. Exclusively made- for- television Shakespearean productions had commenced on 5 February 1. Act 3, Scene 2 from As You Like It, directed by Robert Atkins, and starring Margaretta Scott as Rosalind and Ion Swinley as Orlando. Clarke- Smith as Iago (1. December). Clark- Smith as Mark Antony and Ernest Milton as Caesar (2. July). None of them survive now. After the war, Shakespearean adaptations were screened much less frequently, and tended to be more 'significant' specifically made- for- TV productions. In 1. 94. 7, for example, O'Ferrall directed a two- part adaptation of Hamlet, starring John Byron as Hamlet, Sebastian Shaw as Claudius and Margaret Rawlings as Gertrude (5 & 1. December). The first was The Life and Death of Sir John Falstaff (1. Produced and directed by Ronald Eyre, and starring Roger Livesey as Falstaff, the series took all of the Falstaff scenes from the Henriad and adapted them into seven thirty- minute episodes. Produced by Peter Dews and directed by Michael Hayes, the show comprised fifteen episodes between sixty and eighty minutes each, which adapted all eight of Shakespeare's sequential history plays (Richard II, 1 Henry IV, 2 Henry IV, Henry V, 1 Henry VI, 2 Henry VI, 3 Henry VI and Richard III). Featuring nine sixty- minute episodes, the series adapted the Roman plays, in chronological order of the real life events depicted; Coriolanus, Julius Caesar and Antony and Cleopatra. The Wars of the Roses was a three- part adaptation of Shakespeare's first historical tetralogy (1 Henry VI, 2 Henry VI, 3 Henry VI and Richard III) which had been staged to great critical and commercial success at the Royal Shakespeare Theatre in 1. John Barton, and directed by Barton and Peter Hall. At the end of its run, the production was remounted for TV, shot on the actual Royal Shakespeare Theatre stage, using the same set as the theatrical production, but not during live performances. Directed for television by Michael Hayes and Robin Midgley, it originally aired in 1. Henry VI, Edward IV and Richard III). Advanced Packaging Solutions & Products is a project based packaging supplier founded in 2011 by two packaging engineers in Greenville, South Carolina and now has. Due to the popularity of the 1. Starring Christopher Plummer as Hamlet, Robert Shaw as Claudius and June Tobin as Gertrude, the entire play was shot on- location in Helsing. So large was the project that the BBC could not finance it alone, requiring a North American partner who could guarantee access to the United States market, deemed essential for the series to recoup its costs. In their efforts to source this funding, the BBC met with some initial good luck. Cedric Messina's script editor, Alan Shallcross, was the cousin of Denham Challender, executive officer of the New York branch of Morgan Guaranty Trust. Challender knew that Morgan were looking to underwrite a public arts endeavour, and he suggested the Shakespeare series to his superiors. Morgan contacted the BBC, and a deal was quickly reached. Securing the rest of the necessary funding took the BBC considerably longer - almost three years. Exxon were the next to invest, offering another third of the budget in 1. However, because CPB used public funding, its interest in the series caught the attention of US labour unions and theatre professionals, who objected to the idea of US money subsidising British programming. The American Federation of Television and Radio Artists (AFTRA) and the American Federation of Labor and Congress of Industrial Organizations (AFL- CIO) began to put pressure on CPB not to invest in the series. Joseph Papp, director of the New York Shakespeare Festival was particularly aghast, arguing that US television could do the entire canon for TV just as easily as the BBC, and publicly urging CPB not to invest. It is a BBC- TV and Time/Life television co- production, presented for the Public Broadcasting Service by WNET/Thirteen, New York. That was in itself a kind of extraordinary feat. Wilders initially wanted the shows to work from completely new texts re- edited from the various quartos, octavos and folios specifically for the productions, but when the time necessary for this proved impractical, Wilders decided instead to use Peter Alexander's 1. Complete Works as the series . This idea was quickly rejected, however, as it was felt to be an unacceptable compromise and it was instead decided to simply have one season with seven episodes. Initially, Messina toyed with the idea of shooting the plays in the chronological order of their composition, but this plan was abandoned because it was felt that doing so would necessitate the series beginning with a run of relatively little known plays, not to mention the fact that there is no definitive chronology. Measure for Measure was selected as the season's . When the production of the inaugural episode, Much Ado About Nothing, was abandoned after it had been shot, it was replaced by The Famous History of the Life of King Henry the Eight as the sixth episode of the season. Messina had wanted to shoot the eight sequential history plays in chronological order of the events they depicted, with linked casting and the same director for all eight adaptations (David Giles), with the sequence spread out over the entire six season run. Additionally, in an attempt to establish a connection with the first season's Richard, Jon Finch returned as Henry IV, and The First Part of King Henry the Fourth opened with the murder of Richard from the previous play. The second set of four plays were then directed by Jane Howell as one unit, with a common set and linked casting, airing during the fifth season. Another early idea, which never came to fruition, was the concept of forming a single repertory acting company to perform all thirty- seven plays. The RSC, however, were not especially pleased with this idea, as it saw itself as the national repertory. However, before the plan could be put into practice, the British Actors' Equity Association blocked the proposal, arguing that as many of its members as possible should get the chance to appear in the series. During the planning for season two, when it came to their attention that Messina was trying to cast James Earl Jones as Othello, Equity threatened to have their members strike, thus crippling the series. This forced Messina to abandon the casting of Jones, and Othello was pushed back to a later season. This was based upon what Messina knew of TV audiences and their expectations. His opinion, supported by many of his staff, was that the majority of the audience would not be regular theatregoers who would respond to stylization or innovation. Speaking of the Romeo & Juliet set, Henry Fenwick notes that. Both . You could do Romeo & Juliet against white or black drapes but I think you'd alienate a hell of a lot of the potential viewers. I would love to have tried to do Romeo outside in a Verona town somewhere. John Wilders, for example, preferred the . Unfortunately, it may create the impression that we have tried to build realistic sets but have failed for want of skill or money. Urban Outfitters Bares All . Even after construction crews filled the back channel to glue the dot to the mainland, the Navy Yard remained an island in spirit and function, a city unto itself. Warships were built there. Navy, toiling in a waterfront cluster of hot, noisy, cavernous brick buildings, some of which were painted dull gray and shielded to prevent leaking light from revealing their location to enemy bombers. Sixteen percent of the employees were women, including hundreds of . Wrote one supervisor in 1. But the pits where crews once bent steam pipes have been converted to koi ponds. A stone Buddha keeps watch over the fish. Dogs snooze on pillows beneath the desks of women . Free People sells bohemian clothes for younger women; Terrain sells garden planters and outdoor furniture and a $2,4. Most of the decisions on product mix, store footprint, visual identity and business strategy have been made in this city, by artists and marketers and executives who are either from the region or were lured from other places, including fashion capitals like New York and L. A. Before there was a tech scene here, before designers and coders packed co- working spaces and musicians built studios in Fishtown, URBN brought creative talent to Philly. Yet there. In fact, it has never liked to talk about itself in the broad sense. Five or six years ago, this story couldn. But the company has stumbled recently into a seemingly endless series of PR disasters . Richard Hayne, founder, CEO and chairman of the board, is a dog lover. The grass looked new and lush. He manages this campus and oversees build- outs for new stores. He stood on a path between two red brick buildings, about 2. Delaware, along with Mc. Cullough, a former financial analyst in a denim dress. They were about to lead me on a tour inside URBN. It was a cloudless sunny day. On a grid of intersecting walkways, young women in rompers and filmy tops and t- shirt dresses crisscrossed men in polos and jeans. It felt like college. The company is here, and the campus looks the way it does, because of Richard Hayne. People at URBN call him Dick. At this point, his origin story has been fairly well told despite his almost total lack of interest in telling it. There was once a man with an anthropology degree from Lehigh University, long hair, and an obsession with the JFK assassination. He liked liberal causes and was married to a peace activist, Judy Wicks. In 1. 97. 0, with a $5,0. Penn campus . When they divorced soon after, Dick kept the store, later renaming it Urban Outfitters and expanding into new cities, hoping to attract a kind of customer he would call . They have two children and live in Chestnut Hill. And over the years, his political views changed. The lefty who used to travel across the country with the Zapruder film supports Republicans now. An early ad for Urban Outfitters . Beyond a brief email from Margaret introducing some of her colleagues, I didn. Unlike CEOs who become public mascots for their companies, Dick Hayne would prefer not to have a public image at all, a quirk that dovetails with his beliefs about business strategy in a way that shapes the structure and culture of URBN at a molecular level. They have their own leaders, their own PR reps. One URBN person used the phrase . According to David Ziel, Hayne wanted to bring employees together to create a . Past the entrance, a high wall to the left glittered with oversize blue and green beads, and beyond it, a huge open corridor bustled with a coffee shop and people eating on tree stumps next to the koi ponds with the Buddha statue. Ziel pointed out the central heating and cooling plant for the campus, a neat lattice of meticulously painted pipes behind tall panes of glass. Instead of hiding the machinery, the company turned it into an aesthetic element. On the far end of the building is an URBN- owned cafeteria simply called 5. But URBN is entering the food business. Last November it bought the Vetri Family group, the restaurants of acclaimed Philly chef Marc Vetri, in what Fortune called . And customers today spend more than they used to on dining out, so it makes sense to lure them with food. Three months ago URBN opened a Pizzeria Vetri in D. C., and in October the company will add a Pizzeria Vetri with a bar and lounge at the King of Prussia mall. Seen in this light, the cafeteria at the Navy Yard is a testing ground, a place to experiment with a concept before it goes national. Other parts of the campus have played a similar role. Anthropologie has begun to open megastores that run to 3. Next, we toured Building 1. Anthropologie. You enter beneath an ornate statue of an eagle. Inside, two vast perpendicular hallways meet at a place called . Urban Outfitters employees work surrounded by steel columns that have been blasted to partly remove layers of old primer, then lacquered over to preserve a decayed look. In all the buildings I toured, there were signs of people making things with their hands . For a certain kind of entrepreneurial person, URBN shines like a beacon in an industry that. Ana Hartl, senior director of creative for Free People, remembers that when she first joined URBN in 2. Within her first weeks, she was in meetings with the creative director of a billion- dollar brand. A Free People employee carrying samples . Several former employees described an environment of long hours, intense pressures and threadbare support . The attitude was kind of like, if you don. She worked weekends and missed her friends. She lost a lot of weight. It was nice to have the option to bring her dog to work, but if she didn. But the fact that the email was leaked suggests that some employees weren. When I asked the spokesperson about working conditions at the Navy Yard, he said, . Otto is in her late 5. She has green eyes and straight jet- black hair, and she wears black every day, usually a black sweatshirt, black denim pants and black sneakers, because, she said, it makes life simpler when you don. A former teacher, she joined the company in 1. Urban Outfitters location, in Cambridge, Massachusetts, and attending hardcore punk shows at night. On a visit to the Cambridge store that year, Dick Hayne recognized that she had a good eye and encouraged her to shape the store to her own taste: . Customers loved it. After that, Hayne recruited Otto to help open new stores in new cities. Leadership at Urban Outfitters has gone through a period of flux; between 2. UO brand president. A woman, Trish Donnelly, currently holds that position, and recently Otto and a close colleague at UO, Joanna Ewing, who started with the company 1. Urban Outfitters in New York and is now executive creative director of marketing and imagery across the brand, were essentially brought in to turn the ship around, to start repairing the image of the brand and the company in the wake of all those controversies. She folded her arms and leaned forward. A poster on the wall said . There have been so many . Among the headlines of critical stories on the feminist site Jezebel: . One you might call Outrageous Product, involving items that seem to cross a clear line of sensitivity or taste, connected to the Urban Outfitters brand. Examples: the aforementioned sweatshirt that read KENT STATE UNIVERSITY, the site of a famous shooting, and had a reddish stain; a bottle of . By mid- 2. 00. 3, he and his wife had donated $1. Pennsylvania senator Rick Santorum, who that year compared homosexuality to incest and bestiality. At the time, Hayne didn. Independent designers have posted pictures of URBN products that look nearly identical to their own designs (a handbag that says ESCAPE; a line of necklaces shaped like the U. S. And URBN is now defending a major trademark suit brought in 2. Navajo Nation, a sovereign Native American tribe of about 3. Southwest. The suit mainly concerns mass- produced items sold by URBN with the words . Otto responded instantly: . Urban Outfitters sourced the shirt from a Scandinavian company, and the star was that company. In no way it was intended. A vintage item, Otto said, a one- off. There were like 1. Obviously when someone said, . People go, did you do that for marketing? Here, I only sensed woundedness, bewilderment. This is probably the controversy that has caused the most damage to URBN . And I think it really sucks for them. They get a huge lack of respect . The former CEO, Glen Senk, is openly gay, and his partner worked at URBN, too. All the creative leaders I met . Since then, another woman has joined the board. Of all the questions I asked, the ones that made employees most uneasy involved URBN. The only unambiguous answers are written in URBN. The company has denied all wrongdoing, arguing in legal documents that . With some products, URBN is packaging and selling a kind of frictionless experience of the Other. If that starts to be uncool, it. In 2. 01. 2, a man named Chad referenced asking a woman named Kate . We just try to keep things as light as possible . Evoke a mood, but don. Evokes the vibe/trend but doesn. And it never ends for me. It used to be if bands had millions of followers, you. But Otto has tried to roll with it. Some members of her team were recently afraid to present her with ideas for Justin Bieber t- shirts. Were we more authentic when we had two stores and didn? And we were selling shitty ladies? If anything, the brand is pivoting toward sincerity. Knowing that we are conveying the values of our customer. URBN has always functioned as a kind of ruthless creative vortex, recruiting bright young people and giving them power, aggregating ideas and fantasies and pieces of the culture to transform and curate and place into shelves and catalogs and websites. She sees it with her daughter, who reads online about animal rights and other issues and urges her mother to check out petitions on change.
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