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orbemnews · a month ago
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'Hillbilly Elegy' author gets $10 million boost for potential Senate bid Bryan Lanza, the communications adviser for the Protect Ohio Values super PAC, confirmed the Thiel donation and said members of the Mercer family also had made a “significant contribution” but declined to disclose the amount. The Thiel donation, first reported by The Cincinnati Enquirer, was made Friday, Lanza said. Robert Mercer, who made billions running a hedge fund, and his daughter Rebekah Mercer both backed President Donald Trump’s 2016 campaign. During that campaign, Thiel was the most prominent Silicon Valley figure to support Trump. Vance, who gained fame as the author of “Hillbilly Elegy,” a memoir about his impoverished childhood and Appalachian roots, has not declared his candidacy for the Ohio seat being vacated by Republican Sen. Rob Portman, who has announced he won’t run for reelection in 2022. Former Ohio GOP Chair Jane Timken — a major Trump donor along with her husband, former steel company executive Tim Timken — and former Ohio Treasurer Josh Mandel are already running for the seat. The potential Democratic candidates include Rep. Tim Ryan, former Ohio Department of Health Director Amy Acton and state House Minority Leader Emilia Sykes. Under federal law, super PACs can raise and spend unlimited amounts, but they are not allowed to coordinate their spending decisions with the candidates they support. “We thought it was important to get our voices out early so he knows he has support,” Lanza said of the super PAC’s early activity. Source link Orbem News #'HillbillyElegy'authorJ.D.Vancegets$10millionboostforpotentialSenatebid-CNNPolitics #author #bid #boost #Elegy #Hillbilly #million #Politics #Potential #Senate
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jakabiie · 3 months ago
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Published in Pour-Vous No. 246, August 3rd, 1933
VISITING MISS BERNBURG FROM GIRLS IN UNIFORM ... 
Berlin (from our special correspondent)
I announced myself to Miss Bernburg. I felt quite intimidated as I was about to meet her. 
I was waiting in a bright and sunny room, furnished with sobriety and refinement. French books were carefully stored: it was the studious and intellectual atmosphere that I had imagined. What would she be like? Will a miraculous yet impersonal character be revealed to me just like in the movie? Or was I about to find myself in front of an irremediable stranger? Or ... My thoughts were interrupted by the arrival of Miss von Bernburg. She had taken off her uniform that day; she was no longer Miss von Bernburg. It was Dorothea Wieck who appeared. 
The Potsdam boarding school was forgotten, but the serious and gentle charm of the young teacher remained: the appearance was similar but her voice a bit different- a voice more melodic and a little higher in register.
I laughed and she laughed too. I told her: “I have come on behalf of the Parisian public to express my congratulations to you. 
I was overjoyed to read the complimentary and comprehensive articles about you in the newspapers! We were all very pleasantly surprised. We hardly expected this film’s tremendous success abroad.” 
>
She spoke with a certain hesitation, but her French was not at all disagreeable. When I complimented her French she shyly admitted to me that she liked French literature; her predilections led her to Flaubert and Anatole France. 
"How I would like to play Madame Bovary and how very odd it is that we have not yet made a film of this masterpiece! It would also give me the opportunity to go to France, to Paris ... How I love Paris! I spent three days there a few years ago, and that's enough to keep me nostalgic for it.” 
-“And how we would love to get to know you in Paris! I will be asked a lot of questions when I get back- when people find out that I had the good fortune of meeting you."
“How did you receive your part in Mädchen in Uniform? Was this your debut in cinema and theater?"
 -"Oh no! From a young age I've always wanted to do theater. I started out in Vienna with Max Reinhart and I have shot other silent films. At the time when Léontine Sagan and Karl Frohlich decided to shoot this famous film, I had an engagement in Frankfurt-on-Mein. 
Karl Frohlich and Ms Sagan were becoming increasingly discouraged during their search for someone who possessed the necessary qualities to play Miss Bernburg; after 24 unsuccessful tries, they seemed quite disheartened. By chance they saw my photograph and from that moment their choice was set. Alas! Hope was not completely lost for them."
"I can't tell you how much I hated the microphone; the mere sight of this barbaric device exasperated my nerves and robbed me of all my means. Léontine Sagan was miraculously patient with me but it was all in vain. During one of the final rehearsals I was seized with such weariness, such discouragement, that I sobbed for an hour. 
That was when Léontine Sagan came to get me. She put so much kindness and persuasion into her words that I consented to give it one last try, even though I had no more hope. That's when the miracle happened: we repeated the dorm scene and the electricians running the lights applauded.
Ah! Electricians. You have no idea what a difficult audience they are, but they're an excellent critic. When the electricians are happy- the game is won. From that day on I was passionate about my role. After the final shots the electricians cried, and at that moment I understood that this film was going to be a great success.”
“Is your curiosity satisfied?" 
- No, because she's insatiable. "I still would like to know more about your personal life; I would also like to know your impression of the colleagues who shot the film with you."
- "As for my personal life, I will tell you that I am the great-granddaughter of the famous pianist Clara Wieck (1). I was born in Davos to German parents, but one of my grandmothers was Swedish, and in the 18th century I had a French ancestor. I have just married the young writer Ernst von der Decken who is particularly interested in the literature of your country.
That's enough about me. Also, if you want to meet my other comrades you will hardly find them in Berlin except for Emilia Unda and Hedwige Schlichter. Léontine Sagan is in England and Hertha Thiele has just married and is in Paris; but call Unda. She would be very happy to meet you."
>
I immediately obeyed and telephoned Emilia Unda (the Headmistress). My name meant nothing to her and for good reason, but Paris told her everything. "Don't call Schlichter tonight." She said to me "because she got married this afternoon, but let's all meet up at Kempinsky's next week. "
Fortunately we had set a specific place to meet, otherwise I would have never recognized these two severe and evil characters in the guise of Emilia Unda and Hedwig Schlichter: smiling faces expressing both kindness and irony. 
“How you have been slandered!" I cried. "You don't say!" they replied with mock indignation ... 
- "How I suffered", resumed Emilia Unda, "having to perform with such conviction throughout the film- the role of this shrew who expresses feelings which are fortunately the most contrary to me! ... Nothing to make up for it and impossible to sketch even a sympathetic gesture. The woman is abominable from beginning to end. And the worst part is at the end- I don't know if you recognized it, but I gave a little sob which largely went unnoticed. Léontine forbade any hint of good feeling. How odious this role is, but how nice it was to shoot with someone as intelligent as Léontine Sagan! She is gifted with such conviction and makes everything very clear about what she wants from each character. However, as a result of this film, I am doomed in perpetuity to the roles of harsh, majestic directors, with virtuously pulled-back hair. "
Emilia Unda is gifted with pretty blonde, slightly wavy hair; playing this role involved sacrifices, which we understand and makes us sympathize all the more.
>
When it comes to Hedwig Schlichter- she's a miracle. She is very young, very pretty, with big, very mischievous green eyes, and dressed with charming taste.
Emilia Unda is originally from Moscow, and Hedwig Schlichter is Viennese.
 “Finally, Miss,” continued Hedwig Schlitchter (Miss von Kesten), “Take a good look at me. Without taking into account whether or not I have beauty, I am not a monster. Not physically or morally. However, following the tremendous success of this film, Emilia Unda and I, who played the most unsympathetic roles, had entered into the skin of the characters so much that we were taken in by the whole world. We did not have a single engagement for 18 months, while Dorothea Wieck and Hertha Thiele, who are very charming comrades, did not know how to respond to all the offers that were made to them, which is moreover quite to their merit. After 18 months I finally received a proposal from a firm. Alas! It was to play another Miss von Kesten. Another harsh, cantankerous, insufferable old maid - and I'm afraid I'll be riveted to that role for the rest of my life."
-"Forgive me for this direct comment, but how is it that you- who has such youth and natural beauty, are able to identify with these characters who are infernal bitches?"
-"Oh! It’s very simple. I wrinkle my forehead like that, crinkle my nose, lower the corners of my mouth like that, pull my hair back like that, and put my shoulders up." 
No sooner had she said these words and it was as if, by a wave of a magic wand, Miss von Kesten resuscitated.
Emilia Unda and I were writhing. 
“We are doomed throughout our lives to embody monsters, and during the best years of our lives, at that.” 
“Ah! Will there ever be a director who understands that we bring so much soul, vitality and experience to our work?"
I encouraged them to believe in the immanent justice on this earth as it is in heaven, that surely, that day would come ... Very little consolation! 
But you, gullible public, who admired the talent of my two sympathetic interlocutors, now understand that they are the absolute antithesis of the old Prussian harpy and her infernal henchman. 
Suzanne Bertillon
1)  She was the wife of the composer Schumann
Photocaptions:
Top left: Emilia Unda, the Headmistress in Girls in uniform is far from resembling this surly person in real life. 
Bottom left: Dorothea Wieck as seen by Hollywood photographers. 
Top center: The admirable visage of Dorothea Wieck (Miss Bernburg). 
Top right: Anna and Elisabeth is Dorothea Wieck's latest European film. She is seen here in this work alongside Mathias Wieman. 
Bottom right: The beautiful German star dedicated this photograph to our collaborator which represents her in a new light.
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doactivity · 3 months ago
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chrisgoesrock · 3 months ago
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03.  Apache - Craig Smith (Maitreya Kali)  - Color Fantasy - 3.50
Craig Vincent Smith (April 25, 1945 – March 16, 2012) was an American musician, songwriter and actor. He began his career in the 1960s playing pop and Folk music, and appearing on The Andy Williams Show. Smith wrote several songs that were recorded by successful artists of the time including Glen Campbell, The Monkees, and Andy Williams. After experimenting with drugs while travelling on the hippie trail, he suffered mental health problems which worsened over time. He released two solo albums, Apache and Inca, in the early 1970s under the names Maitreya Kali and Satya Sai Maitreya Kali. After spending nearly three years in prison for assaulting his mother, he spent the majority of the next 35 years homeless.
Early and personal life. Smith was born in Los Angeles, the son of Charles "Chuck" Smith and Marguerite "Carole" Smith (née Lundquist). His father was a descendant of gospel songwriter Charles H. Gabriel. His mother was of Swedish and German descent. Smith had two older brothers and one younger sister. Chuck Smith had worked as a manager at the Jade Room, a nightclub owned by Larry Potter, and was known by the stage name Chuck Barclay. After World War Two he worked as a welder and a salesman. Chuck died in 1978, aged 64, from a stroke, and Carole died in 1998, aged 82, from pulmonary disease.
Smith attended Grant High School, becoming class president and being on the school gymnastics team. He graduated in June 1963, and turned down a number of offers from colleges in order to pursue a career in the entertainment industry.
Career 1963–1966: the Good Time Singers. In August 1963 Smith was recruited by Michael Storm and Tom Drake (who had performed together as the Other Singers) to join the Good Time Singers, a band formed to replace the New Christy Minstrels on The Andy Williams Show. From December 1963 to January 1964 Smith and Storm also performed shows with Gordon and Sheila MacRae, supported by their daughters Heather and Meredith. The Good Time Singers released their debut self-titled album in January 1964, and their second album One Step More in October 1964. In between the albums they had embarked on a 17-city tour. Around this time Smith began songwriting, and he wrote a song called "Christmas Holiday", which was recorded by Andy Williams for his 1965 album Merry Christmas. As the Good Times Singers' was ending, Smith and fellow bandmember Lee Montgomery intended to form a new duo called Craig & Lee, but Smith had to pull out after successfully auditioning for a new ABC television show, called The Happeners. Smith had previously unsuccessfully auditioned for The Monkees. The pilot for The Happeners was filmed in November 1965. The Good Times Singers' contract for The Andy Williams Show was not renewed past 1966.
1966–1967: The Happeners and Chris & Craig. After a successful audition process, Smith won the role of Alan Howard on The Happeners. The show was to be directed by David Greene, and was a mix of acting and singing, set in New York and based on the fictional eponymous folk trio. However, ABC declined to pick up the show following the pilot episode. Smith and his The Happeners co-star Chris Ducey decided to form a musical duo called Chris & Craig. They moved into an apartment together and began writing songs. They signed to Capitol Records, recording a number of demos throughout the summer of 1966. Their first single, "Isha", was written by Ducey b/w "I Need You" written by Smith, and was produced by Steve Douglas utilizing session musicians Hal Blaine and Carol Kaye of The Wrecking Crew. It was released in July 1966. Another single, "I Cant't Go On" (written by Ducey), was produced with the same line up. Originally an acoustic duo  utitilizing session musicians, during their later 1966 sessions they began experimenting with a full band, and in November 1966 they played a show supporting the Mothers of Invention with such a full band, with Smith and Ducey playing electric guitars. Throughout late 1966 and early 1967 the duo continued to write and record more songs, but they were never released by the label. In 1967 Smith befriended Gábor Szabó and the Beach Boys, unsuccessfully offering to write songs for the latter. In early 1967 Chris & Craig began playing with a permanent backing band. Through their friendship with Michael Nesmith of the Monkees, they hired Jerry Perenchio as their manager. They changed their name to the Penny Arcade, shortly becoming the Penny Arkade for trademark reasons.
1967–1968: the Penny Arkade. Nesmith began producing Smith and Ducey, initially pairing them with John London (bass) and Johnny Raines (drums). They were eventually replaced by Donald F. Glut on bass (who had appeared in an earlier incarnation of the band) and Bobby Donaho on drums. While the band worked on their own material, Smith continued to write songs, including "Salesman" for the Monkees, and "Hands of the Clock" and "Lazy Sunny Day" for Heather MacRae. Smith was also credited as co-producer for the songs, alongside Bob Thiele. He also wrote "Holly" for Williams. Nesmith took the band into a studio to record their album. One of the songs written at this time by Smith was "Country Girl", which was later recorded and released by Glen Campbell for his Try a Little Kindness album. The album never materialised, but some of the songs were collected and released as Not the Freeze in 2004. After a bad review of one of their live shows, the band decided to concentrate on writing and recording songs. In early 1968 they unsuccessfully auditioned for the role of house band on the TV show Peyton Place. In February 1968 Smith and his father went into business together, running a bar called the Buckeye Inn. In late 1968 Smith was associating with the Manson Family, and exploring an interest in Eastern philosophy, particularly Transcendental Meditation. Smith eventually left the Penny Arkade and decided to go travelling. The band continued without Smith until 1969, renamed as the Armadillo and with Bob Arthur as a replacement guitarist.
1968: travelling to Asia. After previously smoking small amounts of marijuana with friends, Smith began experimenting with LSD in 1968. During his travels Smith took LSD on a "regular" basis, and he smoked "copious amounts of hashish" while in Afghanistan. Smith decided to travel to India alone, with just a guitar and a backpack. He set off to join the hippie trail, arriving in Turkey in October 1968, possibly via Austria and Greece. Smith met fellow Western travellers (an Irishman and two American women) in Istanbul, and they set off together in a VW van, intending to drive to Delhi. After the van broke down, they hitched a ride in a lorry transporting olive oil, before taking a bus to Iran. They passed through Afghanistan, with Smith deciding to leave his companions for a few days in Kandahar while they travelled on to Kabul. Smith never joined them in Kabul; when his companions returned to Kandahar a few months later, they heard rumours that he had "gone crazy", running through the market with a knife threatening people, and then disappeared. It later became apparent that after threatening a market vendor, Smith had been beaten close to death and robbed, and possibly kidnapped and raped. Smith possibly spent some time in an Afghan insane asylum, where he is thought to have developed acute schizophrenia. It is not known if Smith ever reached India, although he and his travelogue claims he did visit India and reconnected with the Maharishi and went to Nepal.
1969–1970: return to United States and travelling to South America. Smith returned to the United States in late 1968 or early 1969, initially living back with his parents. He was possibly institutionalized and medicated for a short period. By this stage he was using the name "Maitreya Kali", which he intended to become his legal name, although this didn't happen until 1971. He continued to receive royalty checks from his historical songwriting for Williams and Campbell, amongst others. After his girlfriend left him, Smith decided to travel to South America, spending time in Peru, Ecuador, Bolivia, Argentina, and the Galapagos Islands of Chile. Returning from South America, Smith reunited with his girlfriend, and they became engaged. When the engagement ended, Smith ripped up the wedding dress his fiancée had chosen. Following another brief re-connection, the relationship ended for good when Smith violently threatened one of her male friends.
1970–1971: deterioration in mental health. Smith claimed to have mystical powers, and thought he was a messiah. He prophesied that he would be "King of the World" by 2000. He claimed to be a reincarnation of Jesus, Buddha, and Hitler. As his erratic and bizarre behavior became more pronounced, such as claiming voices were telling him to kill people, his friends started to ignore him. One friend eventually had to obtain a restraining order against Smith. His appearance became more and more unkempt, with long hair and a wild beard. At one point, he shaved his head and beard off, and dressed in robes, his appearance comparable to a Buddhist monk, although his hair and beard would later grow back. He visited Heather and Sheila MacRae in Miami, and was asked to leave by Sheila's new husband after he woke up to find Smith standing over their bed with a knife. Heather saw him again in Los Angeles in 1972, when he "looked really scary [...] just totally looked insane, and would say weird things."
1971–1972: Apache and Inca. Smith wrote two solo albums Apache and Inca in 1971, which were self-released in 1972. In the liner notes to both albums, Smith claims to have played every instrument. The liner notes as a whole have been described as "bizarre [and] rambling", and display his belief system. Apache was released on his own 'Akashic Records', and features three songs from the Penny Arkade recording sessions. Inca was released a few months after Apache, in the summer of 1972, not as a standalone album but as a double gatefold with Apache on his new 'United Kingdom of America Records' label. Like Apache, Inca also features songs from the Penny Arkade recording sessions. The albums were mainly distributed to Smith's friends or sold on the street.
1973–1976: prison. After the albums were released, Smith sold his car with the intention of going to Ethiopia. His mental health problems continued, such as suggesting to a friend that they fight to the death using samurai swords. He also had a small black spider tattooed in the middle of his forehead in 1972 or 1973. On April 22, 1973, Smith attacked his mother at the family home. An attempted murder charge was not established, and following a psychiatric examination, he pleaded 'no contest' to a charge of assault. He was sentenced in November 1973 to six months to life, the maximum sentence for the offence, and the Judge suggested intense medical and psychiatric treatment. He began his sentence at the California Institution for Men, before transferring to the Deuel Vocational Institution in December 1973. He transferred again, to the California Men's Colony, in February 1974. He was granted parole at the fourth attempt, and was released from prison in June 1976.
1977–2012: later years and death. Suzannah Jordan, the third member of The Happeners trio, ran into Smith in LA in 1977; he was homeless but did not display any mental health issues. He drifted in and out of mental hospitals until the mid-1980s when funding was cut, and would then spend the next years homeless. He also had various run-ins with the law. In 1981 or 1982 he saw another old friend and told her he had been recording music. He has been indeed recording music, according to Mike Stax, as late as the late 1990s, which includes the 1994 song "Waves", which was released on the 2018 CD version of the album Love is Our Existence. By the early 2000s his "ramblings" had moved from Eastern philosophy/his Maitreya Kali persona to aliens. Smith died on March 16, 2012. His family declined to collect his ashes, and they were eventually collected by journalist Mike Stax.
★ Apache (Released under the name Satya Sai Maitreya Kali) (Akashic Records, 1971)
01. Ice and Snow 03:25 02. Black Swan 02:50 03. Color Fantasy 03:51 04. Voodoo Spell 02:01 05. Salesman 02:55 06. Music Box 02:55 07. Love Is Our Existence 02:30 08. One Last Farewell 02:35 09. I'm Walkin' Solo 02:28 10. Silk and Ivory 03:05 11. Swim 02:43 12. Revelation 03:12
★ Inca (Released under the name Satya Sai Maitreya Kali) (United Kingdom of America Records, 1972)
01. Lights of Dawn 02:56 02. Thesis 02:46 03. Knot the Freize 12:31 04. Jesus Owns 01:32 05. Sam Pan Boat 03:18 06. Fearless Men 03:38 07. Cheryl 03:05 08. Country Girl 02:51 09. Old Man 03:47 10. King 00:08
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cracklung3 · 7 months ago
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wild-icarus · 8 months ago
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Judas Costume Masterpost, in-progress...
Find all the version I covered here. Divided by country/region, each section is ordered from oldest to newest (productions done yearly will be placed at the end of the section). Some productions were in multiple countries, so if at least two were in another country, rather than splitting it I decided to create a separate section dedicated to the production, for example Timothy Sheader was both in the US and the UK so it has it’s own section. 
Format: Last Name, First Name (Year Location/theatre): Post links
Symbols: I find people have interest in Judas being played by women so I’ll add a * for those versions. Productions with the same Jesus actor, I’ll add (#) before them, I’ll add a key at the end for those curious which number means which actor who played Jesus.
Timothy Sheader Production:
Huntley, Tyrone (2016-17 Regent’s Park): 1, 2, 3, 4
Shaw, Ryan (2018 Lyric Opera of Chicago): 1, 2
Afonso, Ricardo (2019 Barbican Centre): 1, 2     
(1)Beeks, James Delisco (2019-? 50th US Tour): 1, 2 
Films (NOT Minchin or Volendam): 
(6)Pradon, Jérôme (2000 Film): 1, 2, 3, 4, 5
North American Productions:
Non Broadway/Tour:
Williams, Aaron (2015 HartHouse Theatre, University of Toronto): 1
Douglas, Napoleon M. +  LaFontaine, Matt (2017 Arvada Center): 1 
(1)Faison, Chris (2017 Seven Angels Theatre): 1, 2   
Kemmerer, Adam (2017 Bristol Riverside Theatre): 1 
Kilgore, Mykal (2017 Paramount Theatre, Aurora, Illinois): 1, 2 
Smith, Shawn W. (2017 Arizona Broadway Theatre): 1
*Watson, Ali (2017 North Vancouver’s Centennial Theatre): 1
Wilford, Ari McKay (2017 Signature Theatre): 1, 2
*Pickett, Jocelyn (2018 Ray of Light Theatre): 1  
Vona, Ryan (2018 Connecticut Repertory Theatre): 1
Ryan, Rob (2019 Algonquin Arts Theatre): 1
Sanders, Adam (2019 Quad City Music Guild): 1
Helsman, Jamey Helsman+ Gibilisco,Gigi + ? (Yearly, Keswick Theatre): 1
Broadway/Tour:
(6)Jason Pebworth, Manoel Feliciano, Tony Vincent (2000 Revival): 1, 2
Australian Production:
Frangos, Zoy (2017 Arts Centre Melbourne’s State Theatre): 1, 2, 3
Irish/British Productions:
Non-West End:
Minchin, Tim (2012 Arena Tour):1,  2 ,  3 , 4 , 5 , 6, 7, 8, 9 
(6)Rogers, Tim (2015 UK Tour): 1, 2
West End:
Polish Production:
Sebastian Machalski, Łukasz Mazurek, Jerzy Gmurzyński,  Łukasz Zagrobelny (2016-2020 Teatr Rampa): 1, 2, 3, 4
German Production:
Gaines Hall (2008 Emslaendische Freilichtbuehne, Meppen): 1 (4) 
Jakobs, David(2013 Theatre Bonn +Theatre Dortmund): 1, 2     
(5)Melcher, Alex (2014 Circus Krone): 1, 2    
Bernsdorff, Yannick (2016+2020 Waggonhalle Marburg): 1
Di Capri, Sasha (2016 Theatre Trier): 1
Mang, Mischa (2016 Freilichtspiele Schwäbisch Hall): 1 
del Soldar, Francisco (2017 Mainfranken Theatre): 1, 2  
Dengler, Manuel (2017 Hessisches Staatstheater): 1
(5)Di Capri, Sasha (2017 First Stage Theatre): 1 
Jakobs, David + Vooijs, John (2017-18 Staatstheater am Gärtnerplatz): 1, 2
(2)Roller, Timothy(2018 Theatre Magdenburg): 1 
Di Capri, Sasha (2019 Open Air Theatre Vorpommern): 1  
(2)Lamberty, Marc (2019 Thüringer Schlossfestspiele Sondershausen): 1, 2
Johnson, David-Michael (2019 Staatstheater Augsburg): 1    
Rupert Markthaler (2019, Oldenburgisches Staatstheater): 1, 2, 3, 4  
Austrian Productions:
Kellner, Michael (2015 Stadttheater Bad Hal): 1 
Bech, Johan + Ackermann, Martin (2017 Linz, ARTworkers): 1, 2    
Swiss Productions:
(4)Stanke, Patrick (2016 Theatre Basel): 1, 2
Thiel, Kevin (2019 Le Théâtre Emmen): 1, 2
Ronny Danielson + Ola Salo Production:
(3)Martinsson, Patrik (2008 Malmö Opera): 1, 2
(3)Martinsson, Patrik (2012-13 Göta Lejon): 1, 2
(3)Johansson, Peter (2014 Swedish Arena Tour): 1, 2  
Just Ronny Danielson Production:  
Bones, Mads (2020 Theatre Trøndelag): 1, 2
Danish Production:
Kaastrup-Mathew, Mikkel (2017 Aarhus Theatre): 1, 2
Dutch Production:
van der Starr, Martin (2005-2006 Dutch Tour): 1, 2
Dulles, Jan (2005+2007 Volendam): 1, 2
Italian Productions:
Russian Productions:
Japanese/Gekidan Shiki Productions:
(7)Iino, Asami (1973 GekidanShiki, Rock Opera JCS ver.): 1
(7)Terada, Minoru + Takita, Sakae (1976-80′s Gekidanshiki, Early Jerusalem ver.): 1
(8)Jun, Sawaki + Shiba, Kiyomichi + Kanamori, Masaru (1987-2013 Gekidanshiki, Japonica ver.):1(1991), 2(1998), 3(2007), 4(2013), 5(Superstar)
(8)Kanamori, Masaru + Shiba, Kiyomichi + Sakuma, Jin (2009-19 Gekidanshiki, New Jerusalem ver.): 1 (2009), 2 (2013/14+18), 3 (2019), 4 (Superstar) 
Korean Productions:
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1=Aaron LaVigne, 2=Tobias Bieri, 3=Ola Salo, 4=Alexander Klaws, 5=Drew Sarich, 6=Glenn Carter, 7=Kaga, Takeshi, 8=Kaminaga, Tougo
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Actors who played both Judas and Jesus:
Patrick Stanke played Judas once in the Swiss Theatre Basel production, and has played Jesus in Freilichtspiele Schwäbisch Hall, (he has played Jesus more times but I have yet to cover those production)
David-Michael Johnson played Judas in the Staatstheater Augsburg production, and has played Jesus in Theatre Trier. 
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salvi77 · a year ago
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It’s been one week since the Grammy Awards, and for many people it’s taken a week even to begin to process all the things that happened in the deranged ten days leading up to the show, let alone try to figure out where things currently stand.
And while the Academy is certainly behaving as if the scandal that engulfed it in the days leading up to the Awards is over, it isn’t. In fact, the Academy seems to be in worse shape than it was before it expended untold thousands of dollars and work hours trying to reform from the “step up” controversy of 2018. And less than three weeks after it placed its new president/CEO, Deborah Dugan, on administrative leave, ostensibly for “misconduct” toward an employee (but more likely because her agenda for change was too sweeping for the slow-moving organization), many unanswered questions remain.
Dugan’s bombshell complaint to the Equal Employment Opportunity Commissionalleges “egregious conflicts of interest, improper self-dealing by Board members and voting irregularities with respect to nominations for Grammy Awards”; millions in “exorbitant and unnecessary” fees paid to outside law firms; that her emails were being monitored and shared with Academy executives by her assistant; and not least, two serious allegations of sexual misconduct against senior Academy executives. In response, the Academy has made statements promising to finally act on the recommendations of its Task Force for Diversity, denied accusations of corruption its nominations process, and has made unspecific blanket denials of other allegations.
But many unanswered questions remain. Variety has heard several instances of members of nominating committees acting in their self-interest or being involved in decisions from which they should have been recused. The Academy has yet to explain why it outsources virtually all of its legal work — paying $15 million over the course of four years to just two firms, which happen to be connected to top Academy officers — and why such a practice is appropriate for a not-for-profit organization; or why it also allegedly pays those same two attorneys, Joel Katz and Chuck Ortner, six-figure salaries and expenses. And according to several legal sources, the Academy’s self-regulation, self-policing and concentration of power is uncharacteristic of most not-for-profits.
To recap this twisted saga for those not following its byzantine details, on Jan. 16 — ten days before the Grammy Awards — the Recording Academy placed Dugan on administrative leave, accusing her of vaguely defined “misconduct” against a senior female employee, which seemingly amounted to some possible verbal abuse. Four days later, Dugan’s attorneys hit back with her bombshell complaint to the EEOC.
The complaint knocked the Academy — which clearly was not expecting such an incendiary response — back on its heels. That night, a small but definitely noticeable 3.6-magnitude earthquake was felt across Los Angeles. To some, it conjured visions of Academy execs thinking, “Yes! Please, give us an earthquake! Any distraction from this!”
Then came more punches, this time from the Academy’s Task Force for Diversity, which in its report last month said the Academy’s governance and nomination-review committees “had historically not been comprised of diverse members” and listed 18 recommendations for reform, 17 of which were immediately implemented by Dugan in one of her last moves as president/CEO.
On Thursday, the Task Force issued a statement expressing “shock and dismay” at Dugan’s allegations and issued a statement demanding that the organization “implement all of the changes in the report that we delivered — without any delay.” It said it will reconvene in 90 days and “expects to hear progress from the Academy by that time.” One member, John Legend manager Ty Stiklorius, tweeted about the Academy’s “inner workings and lack of transparency,” and that “They have not implemented our recommendations but used us as a pawn,” an account that was elaborated upon to Variety by two members.
After three days of flailing for a response, on the Friday before the awards, Recording Academy Awards chief Bill Freimuth categorically denied the allegations of nominee “rigging,” saying in a statement to Variety: “Spurious allegations claiming members or committees use our process to push forward nominations for artists they have relationships with are categorically false, misleading and wrong. This process is strictly enforced with everyone involved and has no exceptions.” Then on Saturday night, toward the end of a crushingly long 50-minute speech at the Clive Davis Pre-Grammy Gala, Diddy called out the Recording Academy. “Black music has never been respected by the Grammys,” he said. “I’m officially starting the clock: you’ve got 365 days to get this sh— together.”
But on Grammy morning the Academy launched a counter-offensive of their own. At 6 a.m. Pacific time, they led with a letter to members from Board chair and acting CEO Harvey Mason Jr. promising to implement the Task Force for Diversity’s recommendations — the same recommendations Dugan had begun to implement a month earlier — and then at noon the Task Force said it will cooperate with the Academy.
And then, news broke of Kobe Bryant’s death, and it all seemed small by comparison.
Still, during the show, host Alicia Keys started by acknowledging the elephant in the room — “Let me be honest with y’all, it’s been a hell of a week, damn” — without really saying anything about it. There were faint (and perhaps coincidental) echoes of Mason’s letter in her comments — diversity, realness, inclusivity — and her jokey take on Lewis Capaldi’s “Someone You Loved,” which included the line “It’s when people do nothing that the bad guys win.”
That statement, from one perspective, could be viewed as hypocrisy after Dugan’s multiple allegations against the “Boys’ club” running the Academy. From another, it could be viewed as an outspoken, world-famous artist, who happened to be holding the mic before an estimated 18.7 million viewers on Music’s Biggest Night, putting its organizers on notice and subtly hinting at what she could have said.
But since then? Not much, really. On Wednesday, after the requisite Don’t-Rob-the-Artists-Of-Their-Moment pause, Dugan’s attorneys tried to rally with a call for her reinstatement and for her to be released from the provisions of her contract that requires her to arbitrate her disputes privately — “The Academy intentionally brought this dispute to the public’s attention … The public and the music industry have the right to know what is going on behind closed doors at the Academy” — but the Academy fired back with a statement of its own (“We remain extremely disappointed in how she is choosing to handle the situation and strongly disagree with many of her claims”) and both sides retreated.
Realistically, the best Dugan can hope for is a better settlement than the insulting one sources say she was offered just before the dispute broke into the open. (Her complaint alleges the settlement was originally in line with the $8 million sources say her contract guaranteed, but was abruptly withdrawn and replaced with a much lower one.) Despite the withering allegations she has leveled against the Academy, it was always an outsized fight and few individuals below a Peter Thiel-level tax bracket could afford to engage in a drawn-out legal battle on this scale. Likewise, the Task Force, which has no power to actually enact or enforce the recommendations for diversity its report made, has chosen to take the Academy at its word and use the moment to further that agenda. And unless a deliberate effort by the Academy to cover-up the allegations of sexual misconduct — odious as they are — can be proven, those allegations are against individuals, not the organization itself.
The show is over, both sides seem to have spent all of their ammunition, and despite the gravity of Dugan’s claims, no angry mobs have rushed the glass doors at the Recording Academy’s Santa Monica offices. The Academy has slipped back into its default, decades-old crisis mode: Make some blandly forceful statements and wait for the storm to pass.
Will it? “It feels like we were just saying things like this two years ago,” one insider says, “but if half of what [Dugan alleges] is true, there’s got to be a big change. The way the Academy has handled this, and the way it’s behaving, are an embarrassment to the music industry. And that’s saying something.”
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