Источник

Этот журнал сам по себе явился для меня настоящим открытием и я еще не все там посмотрела. puddles2 пишет обо всех актерах КАФ, с которыми встречалась, к которым ходила на спектакли. Очень много о Рэнди (фоточки после спектаклей присутствуют в отчетах), виделась с Дином Армстронгом, была на мероприятиях Хэла Спаркса. Полистайте, почитайте, не пожалеете!
Жаль, что ЖЖ не ведется с 2011 года(

И замечательный отчет со спектакля)

Orpheus Descending
19 фев, 2010

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I so enjoyed seeing Orpheus Descending last night. The performances from everyone were fantastic. This being my 3rd Tennessee Williams play, I am really liking them. They are always a little dark but then you can't always have light-hearted and funny.

The Gale that I met last night was a totally different one to the one I met in 2007 and this one is so much fun. I met him at the end of his Suddenly Last Summer run and by that time, he was meeting and greeting fans but a bit intense about "no pictures". Last night he hung around to meet everyone that wanted to and in between he greeted people he knew that were there with shouts of joy and big bear hugs. I didn't see the familiar "frown" at all. He was still suffering a little bit from the cold he had last week and said he couldn't hear very well out of his right ear. I had brought a book of 4 of Tennessee Williams plays which included the two that Gale had done and we talked about the plays, Gale's performance in them. I told him that I thought the role of Val was so perfect for him, a better one than Dr. Sugar and he agreed that it had a lot more action in it. I told him that I hadn't read it until I saw it but now that I had seen it, I was going to read it and he said "you should". He explained the part that I hadn't quite understood which was the people in masks and the voodoo type guy. He said they were kind of the "storytellers". He clowned around with people, made a silly face for a picture (said it was his Wolfman face) and then insisted they take a serious one too. He didn't mind getting pictures by himself but preferred to have people in it with him saying "let's get couple pictures here". I met Claudia Mason who was very genuine and also Denise Crosby and they both said they'd see me tomorrow and seemed glad that I was going back. He'd hang on to you and wait forever while camera malfunctions happened and he's take another one, no problem. I also got a picture with Lou, the director who is gorgeous too and a really nice guy. His parents had been in the audience the night before and had made friends with my seat neighbour who became my new bff after last night, we are going to go and do the town today. It's too bad it was her last night and my first though, she is flying out back to Australia tonight. She had become quite friendly with everyone on set and clowned and whispered with Gale, he was hugging and kissing her. She had got his signature on programs a couple of times and he told her he was going to sign something else and she's telling him "I don't want anymore - go away". The gorgeousness on stage, we got treated to some shirtless scenes, some wifebeater scenes and during a lot of the scenes, he was standing about 3 feet from me for a long time while action was on a another part of the set and it was hard not to stare at him. So tall and thin and his hair looks so healthy and shiny. The song he sings several times during the play shows he has a talent for playing and his voice is very calming and melodic. It's his own guitar as he packs it up and carries it home with him every night. A couple of his friends asked him about going out for a few drinks when he was done and he was enthusiastic and they all went off to a little bar down the street after. Sorry to ramble on but I was so wired, I couldn't get to sleep last night. And I get to do this 3 more days. I see on the website that all the rest of the performances are sold out.

Orpheus Descending - Day 2
20 фев, 2010

I love seeing a play more than once, because it can be a little different and you get to catch things you may have missed before. I can see why Orpheus Descending has been getting good reviews, it is very well done. The two Gale parts I really like are where Val tells his story about the little bird with no feet and when he was talking about growing up on the bayou.

Last night, Carlo Rota (Gardner Vance) was in the audience and I spoke to him briefly. He says he is enjoying living in Los Angeles now. Gale was a little more subdued last night than the night before, he must have been having an off day (not acting-wise, that was still really good). Maybe he was tired or because he was rubbing at his ear, it was still bothering him from his cold. When he came out the first person asked him for a photo and he said no, they pleaded with him and he relented and then when the next person asked if he was allowing photos he said "I guess I am now". It seemed he would rather have skipped the fan thing last night. I asked him to sign the program for my friend positive_pat and the ulta-fine sharpie I handed him would not write on the shiny program, he shook it down a few times and then said "no it won't work, you need a thicker tip one" when I suggested he try the other side of the program he said "no it's the kind of paper, believe me I know". He's done this a few times I think. NOTE: If you are taking a Sharpie, don't take the ulta-fine, get the fine ones!. Then he only wanted one picture taken at a time, no two cameras on the same shot. Maybe because two flashes would cancel each other out. Anyway I didn't hang around any more. I will be going again tonight.

Gale with actress who plays Dolly.

@темы: Интересная информация, Театр, Гейл Харольд

Источник

Отчет интересен тем, что девушка, которая его написала не является фанаткой Гейла. Поэтому как бы взгляд со стороны.

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Final report - Suddenly Last Summer
Report from SLS

Here are my final comments on the Roundabout production of Suddenly Last Summer, briefly, which I saw today for the final time. And some digressions into fangirls who inspire my eyerolls; and finally, a big "guh" for Gale.

I love Blythe Danner, but I'm not a huge fan of her in this role, if only because I have a different interpretation of the character (I haven’t read the text, I’ve only seen this production from preview, once mid-way, and now in the final week[s]). I thought the Mrs. Venable needs to convey absolute steel under that charming surface, and I don’t think that strength came across enough, although the charm certainly did. There is one point where Mrs. Venable goes after Catherine, and this steely spine really comes out; but her final cry is more pained than strong – which is an interpretation, of course, and makes sense; Violet is ill, after all. I just think the fact that Violet is more concerned about her dead son’s legacy instead of the living people left in his wake (her husband’s relations, not hers, she is quick to point out), says something about her character, and her grief is not the focus of the play’s critique, in my opinion. Ending so that the emotional charge of her final line seems to focus on that human grief, instead of something less human, seems inappropriate to me. I would end this with Violet's cry sounding like a huge, devouring bird. If you know this play, you know what I mean.

Of course, the play doesn’t end with Violet’s pain, it ends with Gale Harold’s last line. I was so pleased to watch this. The first two times I saw the play, Gale delivered the line, “Perhaps we should consider that the girl is telling the truth…” [Someone correct this if I haven’t quoted correctly! It’s from memory, not text.] In the earlier stagings, he delivered the line as if it were a question, and I found it ambiguous in addressing the question of his position in the conflict between Catherine and Violet, although I believe Gale’s body language was definitely on Catherine's side.

This time, Gale’s delivery of the final line makes clear the doctor has become involved with the honesty and emotional devastation of Catherine’s testimony. He is responding to that raw truth, not responding to Violet's well-funded manipulations to suppress that truth's ugliness (this is why I think Violet’s final cry, that the doctor cut that memory out of Catherine’s brain, should focus on Violet’s hardness, not her grief – Violet's response is from a place that will not allow her pain to emerge fully because then she couldn't focus on her denial of the situation and her own role in it; measured against Catherine’s hysteria, Violet's hardness needs to be qualitatively different). The director has changed the staging of the final scene as well; the harsh white light fades on Catherine’s white figure, the final image left with the audience is Catherine's joyful face as she realizes the doctor believes her (in earlier stagings she did not react). I really like this interpretation, and Gale’s delivery of that last line makes it possible. It’s spot on.

I said before his performance was “hit or miss.” Specifically, I had commented:

There was one point where I felt his pitch was too staccato, as if he were so focused on delivering the correct lines that he hadn’t gotten to the tone yet (again, the reason I noted in the beginning of this commentary that this play is still in previews).

I’m happy to say that there are more hits now; he is much more comfortable in the role. Still, the delivery remains too studied in many places. This time I did notice, however, that part of the problem is the dialog as it’s written. At one point the doctor retrieves a lighter for Violet’s cigarette; she points to the lighter on a side table across the room and he responds with something along the lines of, “Yes, I see it,” or “Yes, there it is” (again, someone remind me; I should have taken notes). That’s not natural dialog. The doctor is set up to be staccato, out of sync with the lushness of the garden, the heat of the family dynamic. He’s been summoned by the promise of funding for his work; that’s how Violet wields her power over everyone in the play, the power Catherine’s honesty negates. Again, when the doctor flicks the lighter and the flame shoots up, his response is, “Lord, what a torch!” Notice all those long “o’s” – the phrasing is deliberately elongated so it seems an unnaturally studied reaction to what should be a panicked response to a flame shooting up in one’s face. “Shit!” or “Woah!” or something equally succinct would be more in keeping (although, the doctor might say, "My!"). So the doctor is supposed to be studied, and I think that the writing is in part responsible for how this comes across in Gale's delivery.

But, IMO, a stronger actor could overcome that. I think that there are places where Gale’s interpretation could allow the emotional man we see in that last line to peer through more to hint at the later contrast to the studied doctor who is hoping for Violet’s funding. There’s a point where Dr. Sugar opens up and tells Violet he needs the money in part because he really cares for his research and subjects, and he wants to marry his fiancé… and the lines come off stilted. I don’t think the doctor is lying; it’s that Gale seems too much into the early controlled doctor mode. At a point where he should make a fast shift into vulnerability and back, he either can’t, doesn’t think to, or isn’t directed to. The lines are delivered too staccato, his intonation is too forceful.

However, as I said, more hits than in previews. Dr. Sugar has an exchange deep in his interview with Catherine, where she’s imitating some sounds of the street musicians on the day her cousin died; she’s imitating “oom-pah, oom-pah, like a, like a…” And the doctor picks up, “Like a tuba…” So we see him getting in sync with her, and that lovely onomatopoeia in the lines there brings the audience into the weird-sounding horror as Catherine’s past is pulled into the present and acted out in the sounds of those “ooh, ah, oom-pah, tuba…” The first time hearing this exchange, I squirmed, because the timing was off and it was out of sync, and sounded kind of silly. This time, the tone and timing between the actors was perfect, and it worked.

So, my summing up is: This is a really, really difficult play to pull off, and it was pretty good, but not great (the set itself was the best thing on the stage, it was just gorgeous, but it didn't have to act). Gale was okay. His work into the role over time was really fun to watch, and I got a lot out of the play from having this experience, and analyzing it for you!

Okay, for the fangirl observations and desiderata:

1) There was a fangirl sitting behind me who kept pushing her knees up against the back of my chair, pushing me forward slightly, over and over, just enough so I couldn’t say anything without looking unjustifiably bitchy, but the movement of my seat was enough to be really annoying. But that wasn’t why I wanted to kill her. When Gale came out on the stage, I swear she was ready to orgasm right there, judging by the hot breath hitting the back of my neck the panting. Every so often, when Gale did something or turned our way, presenting that face in a certain light, she squeed just under her breath. And, of course, she let out a wild and very loud cheer when he took his bow. I checked her out when I got up, and I realized that I've seen her at every production I've gone to with either Gale or Randy. That kind of creeped me out. Plus, right before the houselights dimmed, I heard her say, distinctly, "six." So, I guess, if she goes to the play again (apparently the run has been extended), that will be "seven." She doesn't live in New York. Creepy.

2) Gale placed his hand on Blythe’s back and escorted her off stage after the bows. Last time I saw the play, he waltzed her off. What I’m saying is, he was very attentive to her.

3) I watched the post-show autograph signing. There were about fifteen people waiting for him, and he came out, signed, and then took off (followed by two fangirls hot on his heels). I stood back and watched an extremely charming Gale sign playbills. And I was completely blown away by how young he looks. What the fuck did S5 do to that man? It makes me wonder; you’d have to seriously work to make the man I saw post-show look as bad as he looked in S5. “Completely stunned” sums up my reaction to seeing him; he looks better in person even than on stage (is it the makeup and/or lighting?). And whatever his handling of his fans toward the beginning of the run, now he is charming. He very much impressed the women I was when they met him over their playbills. Apparently, he is most gracious and charming, very attractive. “His skin just glows,” as one of my friends said. He had on the reported black fedora with the feather – a great look for him (plus it hides the blond, thank goodness!). I was very amused by the security guard hovering in the background, although I suppose it is no laughing matter.

In all, it’s been a wonderful experience having Gale with us in New York! Are there any reports on where he’s off to next?

@темы: Интересная информация, Театр, Гейл Харольд

Спасибо Begoña Fuentes Baílez

Источник

Спасибо Sunny Raj N

фоточка

@темы: Театр, Фотографии, QAF

Всем известна эта чудесная фоточка и наконец-то, с большой вероятностью, удалось выяснить ее происхождение.

Я предполагаю, что она была напечатана в журнале TIME 27 ноября 2000 года в статье "It's Here, It's Queer. Get Used To It" автор James Poniewozik
Есть сведения, что в фэндом эта фоточка попала с официального сайта Теа Гилл.

Источник статьи

Статья

It's Here, It's Queer. Get Used To It

By James Poniewozik Monday, Nov. 20, 2000

Halloween may be a gay high holy day in Greenwich Village, but it was business as usual on the Toronto set of "Queer as Folk." OK, almost as usual. Amid various cross-dressers and naughty priests, there was a crew guy outfitted in a spangly cowboy outfit, an assistant director dressed like Cher and actresses Thea Gill and Michelle Clunie — fresh from filming a lesbian love scene — tricked out as "Texas hookers" with red feather boas. Then there was the pumpkin-carving contest, including one jolly squash accessorized with a... well, put it this way: it's not a banana, and the pumpkin is happy to see you.
"It's all about sex," says gay-boy-next-door Michael (Hal Sparks) in QAF's two-hour pilot (Showtime, Sundays, 10 p.m., starting Dec. 3). That is an exaggeration, but just barely. This adaptation of the controversial 1999 British cult hit series about a group of young gay friends is also about challenging gay and straight shibboleths, about relationships and responsibility.

But mostly it's about sex. The adrenaline-charged opening begins in a pheromone-drenched disco on Pittsburgh's gay mecca, Liberty Avenue, then hurtles at 200 beats a minute into an outré lust scene between 29-year-old rake Brian (Gale Harold) and Justin (Randy Harrison), a kid of 17 — count 'em, 17 — years. No conveniently arranged sheets, no angst, no kisses shot from the back: In 10 hot minutes, QAF opens the closet of gay TV sexuality and chucks in a neon stick of dynamite.

"There are more gay characters on TV now, but they're mostly clowns or eunuchs," says Ron Cowen, who executive produces the show and cowrote the pilot with his life partner, Daniel Lipman. The two have battled the networks to get gay characters on the air since they wrote the Emmy-winning "An Early Frost," the first TV movie about AIDS, back in 1985. When they created NBC's "Sisters" in 1991, says Lipman, they tried unsuccessfully to make one of the leads gay. So they were attracted by the British QAF's "unapologetic" attitude — about things like drug use in the gay community and the fact that gay teens, like straight ones, get horny, sometimes for older men. "I don't look at Justin as a child," Lipman says. "He's the predator, not Brian."

The British series was the brainchild of Russell T. Davies, who based it on the lives of his friends in gritty Manchester. (The title comes from the saying "There's naught so queer as folk" — there's nothing as strange as people.) Davies took heat from conservatives and from gays, who called it defamatory and unrealistic. "It's realistic for men who live like that," he argues. "It's not realistic for everyone." Cowen calls such criticism "internalized homophobia."

QAF's controversial pedigree intrigued Showtime, which is gunning for pay-cable giant HBO (which, like TIME, is owned by Time Warner). Showtime sees QAF as its "Sopranos," or at least part of a suite of niche-targeted shows — including "Resurrection Blvd." (Hispanics) and "Soul Food" (African Americans) — that will add up to a "Sopranos." The network set up a new subscription number — 1-800-COMING-OUT — and distributed "premiere party kits" to gay and lesbian college groups. (Though one hopes any self-respecting homosexual would take a pass on party tips from a TV company.)

But Showtime had a hard time recruiting actors from big agencies, fearful of their clients' being typecast as gay. ("Yeah, I can see how that hurt Billy Crystal's career," sneers Showtime president of programming Jerry Offsay, referring to Crystal's groundbreaking role in "Soap" in 1977.) Several fashion designers (of all industries!) even refused to have their products placed in the series. The producers eventually cast almost all unknowns, with the exception of Sparks, a former "Talk Soup" host on E! who concedes he had "some long talks" with his agent, and "Cagney & Lacey"'s Sharon Gless, who pleaded for the part of Debbie, Michael's earthy, almost smotheringly accepting mother.

The unavoidable focus on QAF's sex shouldn't obscure its nuanced picture of gay life. The central characters — Brian, Michael, Emmett (Peter Paige) and Ted (Scott Lowell) — are, like the women of "Sex and the City," a cross section of urban types. Most of them were born after the 1969 Stonewall protests launched the modern gay-rights movement, giving them the choice to stand out or assimilate, flame or simmer. All of them, pushing or just past 30, face the tyranny of age in the "Logan's Run"-like club scene. And Brian, an irresistible, bed-hopping Peter Pan, is suddenly beset with unwanted responsibility: for his new son (he donated sperm to the lesbians); for Justin, his lovestruck, naive pursuer; and for a friend who names Brian his living-will executor, entrusting him to pull the plug because "you're a heartless s___."

The first several episodes, solid and often impressive, borrow heavily from the British QAF, though this version is more of an ensemble. Its style is pleasingly candy-colored and frenetic, even if after a few too many whooshing camera moves, you will think you're watching The Gaytrix. QAF is too funny and fresh to get maudlin, thanks especially to the surprisingly versatile Sparks, whose Michael, a romantic with an unrequited crush on Brian, is the de facto liaison to the straight world: "He's so accessible," says Sparks, "he almost forgets he's gay." Harold's preening-sexpot performance can be stiff (not just in that way) and is hampered by scripts that try too hard to psychologize Brian and make him "relatable." But half his job is to smolder, and he does in scenes like the one with Justin. Says Clunie: "Housewives in Peoria are going to see that and say, 'That's not bad!'"

That may be too optimistic, though there's one sop to mass mores here: the guys use a condom. Still, make no mistake. The sex on QAF is anything but safe.

@темы: Интересная информация, Пресса, Фотографии, QAF

Старые фоточки времен съемок "Тайного Круга",
их все видели, но вот комментарий автора - это интересно. А так же комментарии под авторским текстом)

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Some pics of the Secret Circle cast roaming the streets of Vancouver - Gale Harold, Brittany Robertson and Shelley Hennig
09/04/2011

от CANADAGRAPHS

много фотографий

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Some pics of the Secret Circle cast roaming the streets of Vancouver - Gale Harold, Brittany Robertson and Shelley Hennig
09/04/201

I havent done a blog on the new CW show The Secret Circle in a bit, because mostly...I just didnt have a lot of new pics of them, then there was a lot happening from a couple other local shows that cornered the market on my time.

But dont fear you witch lovers. I havent forgot about you. Below is some pics from a few different days that are now weeks in the past that I didnt think were enough for single blogs at that time, so I was saving them up for a larger blog like this.

There is first off a set of Gale Harold trying to go in the back door of his hotel....only to find out his key didnt work. Just prior to this frustration he seemed to be having bad luck with his parking meter as well...so it was a rough 10 mins for Mr. Harold, who is usually at best "tolerant" of fans or pros, so this probably didnt put him in the best mood for the upcoming moments. I didnt get any pics of him from the front coming away from the hotel, because frankly, hes a little testy at times when he sees a camera pointed at him, and I opted instead to get an autograph...which he signed, after a less than enthused interaction with me over it. After signing it, I asked him how filming has been, he said good, seemed to cheer up for a few seconds.... until another autograph hound approached him, which he replied with a swift & pre-emptive "dont" and kept walking. Generally I wouldnt even bother posting this set, but I have seen how rabid Gale fans are for pics... a

The 2nd set was from a day when a large chunk of TSC cast went to a movie together. Its been so long I forgot what movie it was. This was actually from before the back of the hotel set....just the order they were saved made them come up next. Aaanyways, this particular day was the 1st I had seen of Mr. Harold in quite a long time.... infact, with the exception of a couple quick sneak ins from the other side of the hotel, I had not yet had the chance to actually get within 40 feet of him.

He left to go to the movie with co-star Brittany Robertson, who is always a charmer and probably made Gale feel he had to be a little less dissatisfied with us than usual. He begrudgingly signed 2 autographs...while walking, before getting to the theatre with Britt, only to walk away from her. We only have assumptions on why he did it...basically, he didnt want it to come across as them out on a date together since they left & went there together....despite the fact several other cast went there that evening too.

The next set is of Britt arriving at the hotel shortly before that same movie theatre walk. She chatted with us a few mins about a variety of topics, including hopw much she was digging the new promo shots we were getting her to sign, the frozen yogurt she was eating and her love of the NY Mets.

@темы: Интересная информация, Фотографии, Гейл Харольд

Queer as Folk Autographed Pilot sсript Entire Cast, Prop and Photo signed Authen

Продавец из США выставил на продажу аутентичный скрипт первого эпизода с разными дополнительными бонусами. Скрипт и фотография подписаны кастом. Начальная цена космическая - 200 долларов, но хочет продавец за это богатство US $800,00 (Приблизительно 26 101,14 руб). В Россию не отправляет. Так что только на полюбоваться картинками:

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@темы: EBAY

@темы: Поздравления, Роберт Гант

ИСТОЧНИК

Friday, July 12, 2013
Former QUEER AS FOLK Star Randy Harrison Previews "Harbor" On WE LOVE SOAPS TV

Former QUEER AS FOLK star Randy Harrison plays 'Kevin' in Primary Stages' upcoming production of "Harbor" alongside Erin Cummings, GUIDING LIGHT's Paul Anthony Stewart and Alexis Molnar. In "Harbor," when fifteen-year-old Lottie (Molnar) and her ne'er-do-well mother Donna (Cummings) drop in unannounced on the beautiful Sag Harbor home of Donna's brother (Stewart) and his new husband, Kevin (Harrison), all hell breaks loose. The bonds between kith and kin are tested in this alternately biting and touching comedy about the constantly shifting nature of the meaning of family.

Harrison previews the play on the latest episode of our web series, WE LOVE SOAPS TV. We also talk about the fun "Our Hit Parade" shows and other projects he has in the works. Check it out below:

@темы: Театр, QAF, Интервью