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kamehamehamlet · 2 months

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The Tumblr reblog sensation is returning. But like the Sayians or Shakespeare’s folios, it has the potential to develop in many forms.

Visit kamehamehamlet.com to be notified when we have more details.

Follow this blog for a peak behind the curtain.

And read on to learn more about the show, how we got here, and where we’re going.

Thank you for waiting just a little bit longer.

Revival Project Q&A

Who are you?

Hi! I’m Daniel Cole Mauleón (@writepictures), the writer of Kamehamehamlet. In 2015 I co-founded the theatre company Play-Dot Productions with KHH’s director Shalee Mae Cole Mauleón.

What is Kamehamehamlet?

Kamehamehamlet: Good Night Saiyan Prince, was an hour-long one act play, performed during the 2015 Minnesota Fringe Festival. It’s a staged retelling of Vegeta and Freeza’s battle on the planet Namek. Marketed as a Dragon Ball Z and Hamlet mash-up, the parody quickly shuffled off its weighted gi, revealing it was actually a Waiting for Godot spoof. After five performances, Vegeta hung up his helmet of spiky hair. Seven years later, K (@amokslime) wrote this incredibly gracious post on Tumblr, which inspired two people to reach out to me via Reddit to ask if I had a script or a recording of the performance.

I want to pause the semi-marketing voice and say a heartfelt thanks to K. Kamehamehamlet was brought to life by an incredible team of artists during a summer I’ll never forget. We got laughs at jokes, gasps at fight choreography, and we broke even on the budget (a Fringe miracle TBH). K’s post gave me the chance to revisit that show through someone else’s eyes. The mix of pride and humility it stirs up is truly indescribable.

If there is art which has changed you, and especially if the artist is still alive I encourage you to non-intrusively share that with the artist.

Is there a copy of the script?

Yes, I’ll speak more about that at below.

Is there a recording of the performance?

There was, but I genuinely lost the files. And that’s for the best, honestly. It was a last-second attempt, filmed from two cheap cameras (with different qualities and resolutions!), both at bad angles and with truly awful audio. Trust me. It’s better this way.

That said, I do have other archival footage from rehearsal's, tech, etc. that I look forward to sharing for those curious.

What’s next?

This is the question I’ve been asking myself over the past year and the reason it took so long to post anything. Especially since one thing I want to do differently this time is make sure that any artists involved are meaningfully compensated for their time and skill. However, I can’t plan without a better estimate of what kind of support we would have, and I didn’t want to share our intentions without concrete details.

Right now, the best way you can support this project is by signing up for the announcement on kamehamehamlet.com.

The second best thing you can do is to share with others about this project, if I’ve learned anything reading through the comments on K’s post, it is that there’s a much bigger audience for KHH than I could have ever imagined, and you likely know at least one more person who would be interested.

And while I don’t want to promise anything I can’t deliver on, I will share that I’m planning on making the script available this year and I’ll be writing a separate post about that in near future.

If you’ve read this far thank you so much.

Photography by Ann B. Erickson. Vegeta is played by McKenzie Shappell. Freeza is played by Cayla Marie Wolpers. Costumes by Sarah Noel Simon.

#kamehamehamlet #theater #dbz #dragon ball #shakespeare #hamlet #waiting for godot #vegeta #freeza #goku #this is about as good a place as any to share that...#I only just realized after spending a day in Adobe Illustrator that I've just made the IKEA logo...

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llovelymoonn · 1 year

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poems about feeling stuck… like a perpetual loop, limbo, purgatory… I have a deep need to relate to another…

anne carson (via @cor-ardens) \\ may sarton journal of a solitude (via @flowerytale) \\ don delillo the body artist \\ ocean vuong on earth we're briefly gorgeous \\ mahmoud darwish memory for forgetfulness: august, beirut, 1982 (tr. ibrahim muhawi) \\ margaret atwood the door: "europe on $5 a day" \\ simone de beauvoir the woman destroyed: "the monologue" \\ rainer marie rilke the notebooks of malte laurids brigge (tr. michael hulse)

support this blog

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neil-gaiman · 11 months

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Neil, you’ve had the great good fortune of working with a dream list of artists, including Mark Buckingham, Dave McKean, Kelley Jones, Sam Kieth, Charles Vess, Colleen Doran, P. Craig Russell, Simon Bisley, Andy Kubert, John Totleben, Stephen Bissette, Mike Mignola, Jeffrey Catherine Jones, Yoshitaka Amano, Bill Sienkiewicz, Frank Quitely, on and on.

Which Golden and Silver Age artists would you have loved to work with? Gene Colan comes to mind as someone who would have done wonders with your words.

Thanks for your time!

Tom

Lou Fine, Jack Cole, Graham Ingels, classic era Bernie Wrightson, Ramona Fradon, Barry Windsor Smith, Bernie Krigstein, Mort Drucker, Jack Davis, classic Marvel period Jack Kirby, classic New Gods era DC Jack Kirby, Frank Frazetta, Steve Ditko, late 60s early 70s Jim Aparo (technically Jim drew one page of my Green Flame story), Will Eisner, Joe Kubert, Marie Severin... so many...

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diioonysus · 7 months

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baroque art + women

#a lady by unknown artist #fuger by heinrich friedrich #portrait of ortensia macini by jacob ferdinand voet #mary magdalene by nicolas regnier #nell gwyn by simon verselst #jane needham by sir peter lely #allegory of charity by francisco de zurbaran #portrait of a noblewoman by cesare augusto detti #louise de kereouaille by john michael wright #young woman leaning on book by anne vallayer-coster #portrait of gertrude sadleir by unknown artist #17th century portrait of a girl by unknown artist #portrait of marie mancini by pierre mignard #santa apolonia by artemisia gentileschi #judith and her maidservant by artemisia gentileschi #saint cecilia by guido reni #raising of the cross by peter paul rubens #portrait of an unknown girl by unknown artist #girl reading a letter at a open window by johannes vermeer #public felicity triumphant over dangers by orazio gentileschi #girl peeling turnips by jean simeon chardin #saskia with a flower by rembrandt #penitent magdalene by georges de la tour #sainte apolline by francisco de zurbaran #santa rufina by bartoleme esteban murillo #anna maria de medici by niccolo cassanda #allegory of painting sirani by elisabeth sirani #maria kazimiera sobieska by unknown artist #no title by frans hals #Selbstmord der Lucretia by gudio reni

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femmefatalevibe · 2 years

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Femme Fatale Booklist:

Books to become your dream girl. This list is curated to unleash the empowered woman inside, tap into your dark feminine energy, and help you succeed in every area of life. Sections are listed below:

Self-Development/Mindset

Seductive Psychology

Femme Fatale/Dark Feminine/Feminist Reads

Business/Finance/Entrepreneurship

Productivity

Mental Health

Physical Health

Fashion & Beauty

Get educated. Expand your mind. Enjoy xx

Self-Development/Mindset:

Mindset: The New Psychology of Success by Carol Dweck

The Magic of Thinking Big by David Schwartz

Atomic Habits by James Clear

You Can Heal Your Life by Louise Hay

Don’t Believe Everything You Think by Joseph Nguyen

The Mountain Is You: Transforming Self-Sabotage Into Self-Mastery by Brianna Wiest

Boundary Boss: The Essential Guide to Talk True, Be Seen, and (Finally) Live Free by Terri Cole

The Confidence Formula: May Cause: Lower Self-Doubt, Higher Self-Esteem, and Comfort In Your Own Skin by Patrick King

The Slight Edge by Jeff Olson

Choose Your Story, Change Your Life: Silence Your Inner Critic and Rewrite Your Life from the Inside Out by Kindra Hall

When You’re Ready, This Is How To Heal by Brianna Wiest

Hunting Discomfort: How to Get Breakthrough Results in Life and Business No Matter What by Sterling Hawkins

The Four Pivots: Reimagining Justice, Reimagining Ourselves by Shawn Ginwright

The Artist’s Way by Julia Cameron

A New Earth: Awakening to Your Life's Purpose by Eckhart Tolle

The Power of Now by Eckhart Tolle

Seductive Psychology:

48 Laws of Power by Robert Greene

Mastery by Robert Greene

The Art of Seduction by Robert Greene

How To Win Friends & Influence People by Dale Carnegie

Power vs. Force by David Hawkins

Femme Fatale/Dark Feminine/Feminist Reads:

Unbound: A Woman’s Guide To Power by Kasia Urbaniak

Pussy: A Reclamation by Regena Thomashauer

Why Men Love Bitches: From Doormat to Dreamgirl―A Woman's Guide to Holding Her Own in a Relationship by Sherry Argov

A Single Revolution by Shani Silver

This Is Your Brain On Birth Control by Sarah Hill

Taking Charge of Your Fertility by Toni Weschler

Regretting Motherhood: A Study by Orna Donath

Invisible Women: Data Bias in a World Designed for Me by Caroline Criado Perez

Women Who Run With The Wolves: Myths and Stories of the Wild Woman Archetype by Clarissa Pinkola Estes

The Second Sex by Simone De Beauvoir

The Ethics of Ambiguity by Simone De Beauvoir

A Room of One’s Own by Virginia Woolf

Women & Power: A Manifesto by Mary Beard

Spinster by Kate Bolick

What French Women Know: About Love, Sex, and Other Matters of the Heart and Mind by Debra Ollivier

Living Forever Chic: Frenchwomen's Timeless Secrets for Everyday Elegance, Gracious Entertaining, and Enduring Allure by Tish Jett

Business/Finance/Entrepreneurship:

Never Split The Difference by Chris Voss

Influence: The Psychology of Persuasion by Robert Cialdini

The 2-Hour Cocktail Party by Nick Gray

The 7 Habits of Highly Effective People by Stephen Covey

Girl On Fire by Cara Alwill Leyba

Women, Work & the Art of Savoir Faire: Business Sense & Sensibility by Mireille Guiliano

Crucial Conversations Tools for Talking When Stakes Are High by Joseph Grenny

Living On Purpose: Five Deliberate Choices to Realize Fulfillment by Amy Eliza Wong

The Earned Life: Lose Regret, Choose Fulfillment by Marshall Goldsmith

The High 5 Habit: Take Control of Your Life with One Simple Habit by Mel Robbins

Building a Second Brain: A Proven Method to Organize Your Digital Life and Unlock Your Creative Potential by Tiago Forte

The Culture Code: The Secrets of Highly Successful Groups by Daniel Coyle

Rich As F*ck: More Money Than You Know What to Do With by Amanda Frances

Rich Bitch by Nicole Lapin

Like She Owns the Place by Cara Alwill Leyba

So Good They Can’t Ignore You by Cal Newport

The First Minute: How To Start Conversations That Get Results by Chris Fenning

Thinking, Fast and Slow by Daniel Kahneman

Build: An Unorthodox Guide to Making Things Worth Making by Tony Fadell

The Hard About Hard Things by Ben Horowitz

The Psychology of Money: Timeless Lessons on Wealth, Greed, and Happiness by Morgan Housel

Productivity:

The Science of Self-Discipline: The Willpower, Mental Toughness, and Self-Control to Resist Temptation and Achieve Your Goals by Peter Hollins

Free Time: Lose The Busy Work, Love Your Business by Jenny Blake

Vision to Reality: Stop Working, Start Living by Curtis Jenkins

Deep Work: Rules For Focused Success in A Distracted World by Cal Newport

Finish What You Start by Peter Hollins

Mental Health:

Becoming The One by Sheleana Aiyana

Attached by Amir Levine

Feeling Good: The New Mood Therapy by David D. Burns

Whole Again by Jackson MacKenzie

Take Your Lunch Break by Massoma Alam Chohan

Stop Overthinking by Nick Trenton

Codependent No More by Melody Beattie

Designing the Mind: The Principles of Psychitecture by Ryan A. Bush

Radical Acceptance: Awakening The Love That Heals Fear and Shame by Tara Brach

Recovery from Gaslighting & Narcissistic Abuse, Codependency & Complex PTSD by Don Barlow

Adult Children of Emotionally Immature Parents: How to Heal from Distant, Rejecting, or Self-Involved Parents by Lindsay C. Gibson

Inner Child Recovery Work with Radical Self-Compassion by Don Barlow

What Happened To You?: Conversations on Trauma, Resilience, and Healing by Bruce D. Perry & Oprah Winfrey

Atlas of the Heart by Brené Brown

Physical Health:

The China Study by T. Collin Campbell

The Blue Zones by Dan Buettner

How Not To Die by Dr. Michael Greger

Befriending Your Body by Ann Saffi Biasetti

Brain Over Binge by Kathryn Hansen

The Power of Self-Discipline by Peter Hollins

Fit at Any Age: It's Never Too Late by Susan Niebergall

French Women Don't Get Fat by Mireille Guiliano

The Archetype Diet by Dana James

Fashion & Beauty:

The Lucky Shopping Manual: Building and Improving Your Wardrobe Piece by Piece by Andrea Linett & Kim France

Dress Like A Parisian by Alois Guinut

Parisian Chic by Ines de la Fressange & Sophie Gachet

Why French Women Wear Vintage: And other secrets of sustainable style by Alois Guinut

Ageless Beauty the French Way: Secrets from Three Generations of French Beauty Editors by Clemence von Mueffling

Skincare: The Ultimate No-Nonsense Guide by Caroline Hirons

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bestmusicalworldcup · 4 months

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I have found an all-female cast recording of Jesus Christ Superstar.

Morgan James - Jesus

Shoshana Bean - Judas

Cynthia Erivo - Mary Magdalene

Ledisi - Simon

Bridget Everett - King Herod

Orfeh - Pilate

Debbie Gravite - Caiaphas

Bryonha Marie Parham - Annas

Eden Espinosa - Peter

#jesus christ superstar #musicals #not a poll #Spotify

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dearorpheus · 1 year

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hello, your blog's vibes are absolutely impeccable! I was wondering if you could recommend me some nonfiction reading on eroticism, religion or fear? I'd love to read about any of these topics, but I never really know where to start looking for good theory books or essays, so I usually end up reading fiction instead. any nonfiction recs would be deeply appreciated (and on other topics too if you have particular favorites). have a nice day!

hello! thank you for the kind words♡

hm! some reading might be: - Erotism: Death and Sensuality + Visions of Excess, Bataille - Masochism: Coldness and Cruelty & Venus in Furs, Deleuze - The Sadeian Woman: And the Ideology of Pornography, Angela Carter - Hurts So Good: The Science and Culture of Pain on Purpose, Leigh Cowart - Eros the Bittersweet, Anne Carson - A Lover's Discourse, Roland Barthes - Uses of the Erotic, Audre Lorde - A Literate Passion: Letters of Anaïs Nin and Henry Miller, 1932-1953 - Foucault's Histor[ies] of Sexuality - Being and Nothingness, Sartre - The Argonauts, Maggie Nelson - Aesthetic Sexuality: A Literary History of Sadomasochism, Romana Byrne - Pleasure Principles: An Interview with Carmen Maria Machado - "The Aesthetics of Fear", Joyce Carol Oates - Recreational Terror: Women and the Pleasures of Horror Film Viewing, Isabel Cristina Pinedo - "On Fear", Mary Ruefle - "In Search of Fear", Philippe Petit - Female Masochism in Film: Sexuality, Ethics and Aesthetics, Ruth Mcphee - Powers of Horror, Julia Kristeva - Hélène Cixous' Stigmata (i am thinking esp of "Love of the Wolf") - Mere Christianity, C.S. Lewis - anything from Caroline Walker Bynum.... Wonderful Blood, Fragmentation and Redemption, Holy Feast and Holy Fast - excerpts of Letter From a Region in my Mind, James Baldwin - Thus Spoke Zarathustra, Nietzsche (re: Christian morality, death of God) - Waiting for God, Simone Weil - The Myth of Sisyphus, Albert Camus - Modern Man in Search of a Soul, Carl Jung - "The Genesis of Blame", Anne Enright

do know as well that Lapham's Quarterly has issues dedicated entirely to these subjects you've mentioned: eros, religion, fear ! there's also this wonderful ask from @rotgospels on biblical horror theory

other non-fic i will always rec: - "On Self-Respect", Joan Didion - Illness as Metaphor + Regarding the Pain of Others, Susan Sontag - The Art of Cruelty: A Reckoning, Maggie Nelson - "The Laugh of the Medusa", Hélène Cixous - Ways of Seeing, John Berger - The Faraway Nearby, Rebecca Solnit - The Body in Pain, Elaine Scarry some non-fic things i've read lately: - "Mary Shelley's Obsession with the Cemetery", Bess Lovejoy - "Horror Lives in the Body", Megan Pillow - "The Cruel Myth of the Suffering Artist", Patrick Nathan - "The Rub of Rough Sex", Chelsea G. Summers - "The Lost Art of Memorizing Poetry", Nina Kang - "The problem with English", Mario Saraceni

#i hope you have a wonderful day too!#asks

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justforbooks · 7 months

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The word “great” is somewhat promiscuously applied to actors. But it was undoubtedly deserved by Sir Michael Gambon, who has died aged 82 after suffering from pneumonia.

He had weight, presence, authority, vocal power and a chameleon-like ability to reinvent himself from one role to another. He was a natural for heavyweight classic roles such as Lear and Othello. But what was truly remarkable was Gambon’s interpretative skill in the work of the best contemporary dramatists, including Harold Pinter, Alan Ayckbourn, David Hare, Caryl Churchill and Simon Gray.

Although he was a fine TV and film actor – and forever identified in the popular imagination with Professor Albus Dumbledore in the Harry Potter franchise – the stage was his natural territory. It is also no accident that, in his private life, Gambon was an expert on, and assiduous collector of, machine tools and firearms for, as Peter Hall once said: “Fate gave him genius but he uses it as a craftsman.”

Off-stage, he was also a larger-than-life figure and a superb raconteur: a kind of green-room Falstaff. I have fond memories of an evening in a Turin restaurant in March 2006 on the eve of Pinter’s acceptance of the European Theatre prize. Gambon kept the table in a constant roar, not least with his oft-told tale of auditioning for Laurence Olivier as a young actor in 1963 and cheekily choosing to do a speech from Richard III; but the next night Gambon gave an explosive rendering of Pinter’s poem American Football that threatened to blow the roof off the Turin theatre.

However, Gambon’s bravura was also mixed with a certain modesty. In the summer of 2008 I met him for tea in London and found him eagerly studying the script of Pinter’s No Man’s Land, in which he was scheduled, several months later, to play Hirst. He told me that he had started work on it so soon because he found it difficult to learn lines at his age.

“Sometimes,” he said, “I sleep with a script under my pillow, or just carry it around in my raincoat pocket, in the hope the lines will rub off on me.” I think he was genuine; but with Gambon, one of life’s great leg-pullers, you were never entirely sure.

Gambon achieved greatness without either the formal training or genetic inheritance that are often considered indispensable.

He was born into a working-class Dublin family that had no artistic background; his mother, Mary (nee Hoare), was a seamstress, and his father, Edward, an engineer. When the family settled in Britain after the second world war, the young Gambon went to St Aloysius school for boys, in Somers Town, central London. On leaving at the age of 15 he signed a five-year apprenticeship with Vickers-Armstrongs, leading to a job as a tool-and-die maker. With his mechanical aptitude, he loved the work. But he also discovered a passion for amateur theatre and, having started by building sets, eventually moved into performing. “I want varoom!” he once said. “I thought, Jesus, this is for me.”

With typical chutzpah, he wrote to the Gate theatre in Dublin, creating a fantasy list of roles that he had played in London, including Marchbanks in Shaw’s Candida; in the end, he made his professional debut there in 1962 as the Second Gentleman in Othello. His best decision, however, on returning to London, was to sign up for an improvisational acting class run by William Gaskill at the Royal Court.

Gaskill was about to join the newly formed National Theatre company at the Old Vic and recommended Gambon for an audition: hence the celebrated story of Gambon’s first encounter with Olivier, which ended with the young actor, in his excess of zeal, banging his hand on a nail in an upstage column and bleeding profusely. Far from being the nail in Gambon’s coffin, this led to a productive four years with the National in which he progressed from walk-ons to substantial roles such as that of Swiss Cheese in Gaskill’s revival of Mother Courage.

On Olivier’s advice, however, Gambon left the National in 1967 to hone and pursue his craft at Birmingham rep – a shrewd move that saw him, at the astonishingly early age of 27, playing his first Othello. He moved on later to the Royal Shakespeare Company, and in 1968 made his first foray into television with the leading role in a BBC adventure series called The Borderers.

However, it was through working on another TV series, The Challengers, that he made a contact that was to transform his career. His fellow actor Eric Thompson was moving into directing, and in 1975 was set to do an Ayckbourn trilogy, The Norman Conquests, at the Greenwich theatre. He cast Gambon, against type, as a dithering vet.

He revealed, for the first time, his shape-shifting gifts; and the sight of him, seated at a dinner table on a preposterously low stool with his head barely visible above the table’s edge, remains one of the great comic images of modern theatre.

This led to a highly productive working relationship with Ayckbourn including key roles in Just Between Ourselves (Queen’s theatre, London, 1977) and Sisterly Feelings (National, 1980).

At the same time, Gambon began an association with Gray by taking over, from Alan Bates, the role of the emotionally detached hero in Otherwise Engaged (Queen’s theatre, 1976).

That was directed by Pinter, for whom in 1978 Gambon created the part of Jerry in Betrayal at the National. It was a production beset by problems, including a strike that threatened to kibosh the first night, but Gambon’s mixture of physical power and emotional delicacy marked him out as a natural Pinter actor. That power, however, manifested itself in the 1980s in a series of performances that staked out Gambon’s claim to greatness.

First, in 1980, came Brecht’s Galileo at the National: a superbly triumphant performance that brought out the toughness, obduracy and ravening intellectual curiosity of Brecht’s hero. It was a measure of his breakthrough that, as Gambon returned to his dressing room after the first night, he found the other actors in the National’s internal courtyard were shouting and roaring their approval. Two years later, Gambon returned to the RSC to play both a monumental King Lear and a ravaged Antony opposite Helen Mirren’s Cleopatra.

But arguably the finest of all of Gambon’s 80s performances was his Eddie Carbone in Arthur Miller’s A View from the Bridge, directed by Ayckbourn at the National (1987). It helped that Gambon actually looked like Miller’s longshoreman-hero: big and barrel-chested with muscular forearms, he was plausibly a man who could work the Brooklyn docks.

Gambon also charted Eddie’s complex inner life through precise physical actions. He stabbed a table angrily with a fork on learning that his niece had got a job, let his eyes roam restlessly over a paper as the niece and the immigrant Rodolpho quietly spooned, and buckled visibly at the knees on realising that a fatal phone-call to the authorities had ensnared two other immigrants. In its power and melancholy, this towering performance justified the sobriquet once applied by Ralph Richardson of “the great Gambon”.

When you consider that the decade also saw Gambon playing the psoriasis-ravaged hero of Dennis Potter’s TV series The Singing Detective (1986), you realise his virtuosity and range.

And that became even clearer in 1990 when he played the mild-mannered hero of Ayckbourn’s Man of the Moment (Globe theatre, now Gielgud, London), had another crack at Othello for Ayckbourn in Scarborough and appeared, in 1989, as a romantically fixated espionage agent in Pinter’s TV adaptation of Elizabeth Bowen’s The Heat of the Day: that last performance, alternately sinister and shy, was one of Gambon’s finest for television and deserved a far wider showing.

In later years Gambon successfully balanced his stage career with an amazingly prolific one in film and television. In Hare’s Skylight at the National in 1995 he combined the bulk and weight of a prosperous restaurateur with a feathery lightness – a skipping post-coital dance across the stage with the balletic grace often possessed by heavily built men.

Gambon was equally brilliant as a disgusting, Dickensian, accent-shifting Davies in a revival of Pinter’s The Caretaker (Comedy theatre, 2000), as a perplexed bull of a father in Churchill’s A Number (Royal Court, 2002), as a Lear-like Hamm in Beckett’s Endgame (Albery, 2004) and as a brooding, alcoholic Hirst in Pinter’s No Man’s Land (Duke of York’s, 2008). Even if Gambon’s Falstaff in a 2005 National Theatre production of Henry IV Parts One and Two did not quite match expectations, his work for the theatre revealed an ability to combine volcanic power with psychological depth and physical delicacy.

Ill health and increasing memory problems forced him to retire from stage acting in 2015, but not before he had given memorable performances in two Beckett plays: Krapp’s Last Tape (Duchess, 2010) and All That Fall (Jermyn Street theatre, 2012), where he played, opposite Eileen Atkins, the sightless but stentorian Mr Rooney.

He also continued to work in television and film for as long as possible. He belied the whole notion of the small screen by giving large-scale performances as the black sheep of a big family in Stephen Poliakoff’s Perfect Strangers (2001) and as a reclusive plutocrat in the same writer’s Joe’s Palace (2007).

He was nominated for awards for his performances as Lyndon Johnson in an American TV movie, Path to War (2002), and as Mr Woodhouse in a BBC version of Jane Austen’s Emma (2009). Later TV series included The Casual Vacancy (2015), Fearless (2017) and Little Women (2017).

In film, he had a rich and varied career that ranged from the violent hero of Peter Greenaway’s The Cook, the Thief, His Wife and Her Lover (1989), to a heavyweight mafia boss in Mobsters (1991), the aged Lord Marchmain in Brideshead Revisited (2008), a cantankerous old director in Dustin Hoffman’s Quartet (2012) and the bearded Hogwarts headteacher (whom he privately referred to as “Dumblebore”) in six of the eight Harry Potter films, taking over the role for Harry Potter and the Prisoner of Azkaban (2004) following the death of Richard Harris.

He also provided the narration for the Coen brothers’ Hail, Caesar! (2016) and voiceovers for the two Paddington films (2014 and 2017).

But Gambon brought to everything he did, in life as well as art, enormous gusto, a sense of mischief and a concern with precision: he was almost as happy restoring old firearms as he was working on a new role.

In 1992 he was appointed CBE, and six years later was knighted.

He married Anne Miller in 1962, and they had a son, Fergus. From a subsequent relationship with Philippa Hart, whom he met on the set of Gosford Park, he had two sons, Michael and William.

He is survived by Anne and his three sons.

🔔 Michael Gambon, actor, born 19 October 1940; died 27 September 2023

Daily inspiration. Discover more photos at Just for Books…?

#just for books #Michael Gambon #in memoriam

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