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thewickedharlot · 2 years

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LEAK: “Woke” Charlie and the Chocolate Factory Reboot coming 2023

The news keep coming in today and while we’re sure there’s people that care about Sebastian Jones wondering about missing people in the United Kingdom, this is an actual big one: The cast list and concept art for a star-studded 2023 reboot of Roald Dahl’s iconic Charlie and the Chocolate Factory has been leaked by a trusted source.

It seems the new movie is going the typically “woke” route, changing the genders of Violet Beauregarde and Augustus Gloop, as well as featuring a nonbinary incarnation of Willy Wonka.

“They wanted to go a more mature, maybe even a little sexy way with this film. They aged up the cast and made sure to fit each of the main characters into the contemporary zeitgeist of the time we live in.”

The source continues: “Veruca Salt will be played by Essence Woods. Their incarnation of Veruca is a shallow influencer who only "does it for the gram”. Her “death” is going to be pretty gory as far as my knowledge goes, they want to play with the horror movie trope of the hand in the garbage disposal. I heard that Essence was very pleasant on set, but seemed very insistent on not showing the finished product to her daughter.“

"Violet Beauregarde is a guy named Beau Beauregarde played by Hiroki Hamada. They wanted someone who knows how to skate, because there’s going to be an Oompa Loompa chase scene on a skateboard. As far as I know they really wanted to lean into this subgroup of people online who have a fetish for the blueberry transformation scene so that one’s like ten minutes long. Hiro donated his paycheck to charity and just did this whole project for fun.”

“A really interesting casting choice was Preston Barlowe as Charlie Bucket. He’s a young drug dealer trying to make enough money to keep his grandpa, who’s in a coma, alive, so when he gets the golden ticket off a dead body in an alleyway, he sees it as this crazy jackpot moment. He’s in a love triangle with Veruca and Beau. I heard Preston only did it because Vincent thought it was too dark.”

“Cole Addams plays Mike Teevee, who, in this incarnation, is one of Charlie’s clients, which is why he’s so resentful of him. They also took that TV addiction from the original and turned it into a porn addiction. I don’t know what they’re gonna do to him once he’s shrunk down but I heard that it’s the reason the film’s getting an R rating. Cole was high off his ass all through filming, people thought he was just going method.”

“They made Augustus Gloop into a woman named Augustine Goosh, apparently a reference to Andrea Jensen’s twin sister or something? I don’t know. She doesn’t even really eat that much chocolate in the movie, her gluttony is mostly related to validation. She’s really annoying and constantly needs to be validated by everyone around her, which is why they throw her in the chocolate river, which is where she’s eaten by licorice piranhas. Candie Rose acted the shit out of her death scene, it really sounded like she was getting mauled to death.”

“And in a very interesting turn of events they decided to cast SAINT as Willy Wonka? They do a pretty good job in the role but I just know a lot of people are gonna drag the performance just because of the choice to make Wonka nonbinary. I do think they went too hard on the sexuality here and there, but it’s a solid performance and there’s a scene where they monologue for like 5 minutes washing their hair with chocolate - test audiences cried because it was so touching.”

Other roles have reportedly gone to Elsa Bergström as Augustine’s mother, Dominic Torres and Axel Parrish as Chris and Chros, two gay oompa loompas, Indie Hall as drug addict and Goosh Jensen as Scrungus, Wonka’s ex wife.

#breaking news #submission

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guginosource · 4 years

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Carla Gugino as Elsa Barlow in Athol Fugard’s The Road to Mecca

“ELSA: I think I lost control of myself. I screamed louder and longer than I have ever done in my life. I can’t describe it, Helen. I hated her, I hated the baby, I hated you for dragging me all the way up here... and most of all I hated myself. That baby is mine, Helen. Patience is my sister, you are our mother... and I still feel fucking lonely.”

#carla gugino #Rosemary Harris #Athol Fugard #broadwayedit #theatreedit #theatre. the road to mecca #character. elsa barlow #year. 2012 #image. still #image. theatre #post. original #made by. daisykowalski

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nevinslibrary · 3 years

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Mystery/Thriller Monday

Sir Barnaby is a collector of interesting things in 1703 London. Cecily is a plant collector. And, she and her friend and illustrator Meacan are guests of Barnaby when he is killed (stabbed). Then, something that doesn’t happen super often in the mysteries I read, the killer confesses. But, Cecily doesn’t believe the confessions, and so, she is on the case, trying to find the real killer. (Where could that go wrong?)

This was a great read. I liked the plot and the mystery of course, nicely twisty, but, my favorite part was the characters. Lady Cecily Kay was awesome, yes, but my favorite character was her ‘sidekick’ in the book, Meacan Barlow.

You may like this book If you Liked: The Poison Bed by Elizabeth Fremantle, A Trace of Deceit by Karen Odden, or A Study in Scarlet Women by Sherry Thomas

The Cabinets of Barnaby Mayne by Elsa Hart

#mysterythrillermonday #nmlRA #nevins memorial library #the cabinets of barnaby mayne #elsa hart

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mccarricks · 3 years

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( brittany o’grady / demi woman ) WESLEY McCARRICK is 23 years old and is a SENIOR at thales university. SHE is majoring in FILM and is known for being THE MAVERICK as THEY can be HUMOROUS and OPEN-MINDED as well as DITZY and IMPULSIVE. every time i see HER/THEM, THEY remind me of PURPLE SKY IN THE DESERT, SKATING AS FAST AS YOU CAN TO FEEL THE WIND ON YOU, A JOKE TOLD WITH A TOOTHY GRIN.

hero’s back w character no. 2 and yet......

full name: wesley ‘wes’ elaine mccarrick

birthdate: february 2, 1997

age: 23

gender: demi woman

pronouns: she/her/they/them

zodiac: aquarius

nationality: american

ethnicity: black (louisiana creole) and white (irish)

hometown: santa fe, nm

languages: english, intermediate spanish

family:

theodore mccarrick, father

elaine barlow, mother

ruby mccarrick, older brother

delphine mccarrick, older sister

sherri barlow, maternal grandmother

many cousins

orientation: bisexual biromantic, pref. towards women/nb people but will date men

religion: agnostic

height: 5 ft 4 in

distinguishing features: eyebrows, hair, lips

character inspo: ilana wexler (broad city), harley quinn (dc comics), phoebe buffay (friends), prob more

𝐁𝐀𝐂𝐊𝐆𝐑𝐎𝐔𝐍𝐃

TRIGGERS: divorce, mentions of crime, drug and alcohol use

the youngest child of ted and elaine mccarrick, wes was a kid who is full of life. she’s the kind of kid who did things to make you smile, and it usually worked. she was warm and inviting, a little naive, but she had a strong support system.

her parents divorce when she’s six, she doesn’t quite understand it but her dad moves out, and her grandma and multiple cousins move in. it’s a lively household, between her mom, who works as a nurse, and her siblings, and her cousins, it was never really quiet and there was never a lot of room.

despite the split, her parents maintain that their children have a relationship with both of them, and truthfully, wes is a daddy’s girl. she and her dad were cut from the same cloth, happy go lucky, fun loving, a bit silly, he’s the one who introduces her to movies. it’s their thing, watching and critiquing them together, and it’s not whatever is in theatres either. they went for all times of filmmaking, new wave, surrealist, and more.

it really stuck with wes, who herself had begun making movies, mostly horror/fantasy/scifi stuff with her friends-- she writes and directs and occasionally, she’ll don a costume and star in them. they’re silly little things, but her family always sat down for her “premieres.”

her formative years are marked with plenty of things, sports, deaths of distant family members, a cousin or two who gets caught in the wrong crowd and ends up in jail, and throughout this, wes remains a rock for her family.

she’s in high school, and she gets into the eclectic crowd, the outcasts, the weirdos, the ones who smoked under the bridge, and partied out in an abandoned trailer near the desert. these freaks were her freaks. they accepted her with open arms, as she them.

she chooses thales because she always wants to see the east coast, and frankly, as much as she loves her family, she wants to be free of them. and they have a fantastic film program. so!

she meets steven in their first film class together, and they’re fast friends, despite her usual weariness of YET another film bro, steven proves to be a good egg. so she thinks. she finds out through him talking that he might not be the most faithful to his girlfriend, and as much as she doesn’t like meddling, she thinks it’s only right to let clarissa, who she doesn’t really know well, know. however, before there’s a chance, everything happens-- now she’s stuck wondering if she should reveal the truth, or let sleeping dogs lie.

nana is different, nana and her dated her sophomore year, nana’s freshman year. it wasn’t serious. but they were fond of each other. they eventually break up, but they stay friendly, waving to each other in the halls, chatting at parties.

both the disappearance and the murder is weird for wes, who by all accounts, isn’t great at dealing with bad shit. she prefers to laugh about things. laugh about everything. because if she doesn’t laugh, she’ll cry.

𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋𝐈𝐓𝐘

wes is a mess, a free-spirit, a walking contradiction. she’s very independent minded, the kind of person who does things without thinking so much about the consequences, this leads her into trouble sometimes. like nicking something from a convenience store, or stealing a stop sign as a prank. she’s definitely the kind to goof off and not exactly dedicate her full attention to something. and while she’s in genuinely good spirits on most occasions, she has a staunch ‘no asshole’ policy. the type to defend the underdogs, and go after bullies. she’ll punch you with a smile on her face, and yet it ends up being more unnerving than you realize. she’s a bit of a ditz, as well, never the best at school, but can talk your ear off about the going ons of the world. she’s a lovable dumbass, for sure, and loyal to a tee once you get her as a friend.

𝐓𝐈𝐃𝐁𝐈𝐓𝐒

horror movie fan! her favorites are some of the oldies, like dracula and the bride of frankenstein! and some new ones! big fan of jordan peele’s work, as well as ari aster’s! but mostly really advocates for women directors and directors of color!

also does roller derby! she picked this up her first year at thales and fell in love with it, i can’t think of a name for her yet, but she’s a blocker, won’t hesitate to elbow some dick at the bar

kinda a tomboy? she’s always been! she’s rough and tumble and not afraid to get down and dirty with someone, i.e. will join those football games on the quad or crawl through the mud for a scene to shoot

doesn’t know if she wants to be a director/writer or a cinematographer honestly.... she loves the technical aspects of film as much as the making the stories

definition of a bruh girl, says it a whole lot, but also just if you tell her you love her, she’ll just roll her eyes and be like you’re an idiot (which means she loves you too) she’ll be affectionate if she’s close to you

kinda a wh*re oops....... texts multiple girls at a time and doesn’t want to hurt any of their feelings she doesn’t know how she keeps ending up in these situations... also a bisexual disaster

a stoner as well..... always has a massive jar of weed

unclear whether she lives on campus or off campus but if she does live off campus she has a pet turtle named elsa lanchester after the bride of frankenstein actress

a drummer! she’s in a band (name tbd) she started drumming at a young age and found it was a good way to manage her aggression

doesn’t really do well with emotions, so she’ll either be like there, there, or try to make jokes.... she really said kids can you lighten up

walking meme... such a walking meme... doesn’t know so many things she’s like a cute puppy with no thoughts head empty but she’s so fun to be around

life of the party.... nana she came fr ur spot and she took it and she’s not sorry but she does miss u a lot

doesn’t rly feel like she’s allowed to be upset anyways bc some people have it...... way worse.... can u say Imposter syndrome

kind of an enabler...... will be that person to push u to try things but not in a peer pressurey way, more like if u are unsure abt sending a text she says do it

wears fun earrings and socks! think lollipops or gummy bears or found objects like she collects that shit it’s her lifeline

boxes! she’s been boxing since she was abt 12, courtesy of her older brother (who is now a doctor thx ruby) and it’s a good way to exercise and release stress

𝐖𝐀𝐍𝐓𝐄𝐃 𝐂𝐎𝐍𝐍𝐄𝐂𝐓𝐈𝐎𝐍𝐒

best friend -- two of a feather, cut from the same cloth, or complete opposites it doesnt matter to her (the abbi to her ilana)

roller derby friends -- she’s p close to the team, margs on her

makeup artist pal -- i think it would be neat fr someone to try and teach her makeup whether its normal or sfx bc she wants to look like a monster or smthn

she’s gullible, u take advantage of that -- u just tell her lies p much and she’s like yeah ok that sounds right

party friends

classmates

fwbs (f/m/nb) -- tbh she might have one or two of these but they literally are the def of pals who bone sometimes... like v good abt being like you good? u dont want more? cool me too

exes (f/m/nb) -- mostly dated women or nb people but def cld have had a guy

she smokes you out -- p much the only reason u hang out w her is bc she has good weed

someone she’s fought -- like fully decked in the face, prob said something that rubbed her the wrong way and it just devolved from there

people who dislike her -- she could definitely be seen as annoying bc shes loud and dorky and funny so ??

breaks someone out of their shell -- p self explanatory, pushes them to have fun, w everything happening shes rly like lifes too short to not take the opportunities around u

cousins! probably on her dad’s side! i figure she has some east coast fam

anything? truly?

#pyrrhic.intro #intro.#divorce tw #crime mention #drug use tw #alcohol use tw #i pulled this out of my ass

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larryland · 6 years

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by Jenny Hansell

The Road to Mecca, South African playwright Athol Fugard’s 1984 play about an elderly artist in a remote desert town, is being given a rich, thoughtful production at the Silverthorne Theater in Greenfield.

Elsa Barlow, a young school-teacher in Cape Town, has driven 12 hours to the desert region of Karoo, to visit her elderly friend Miss Helen, who has sent her an alarming letter. The apparently somewhat dotty Miss Helen, disheveled and flustered, bustles about with the tea kettle, begging Elsa to stay more than just a night, as the somewhat prickly Elsa unspools tales about her troubles: she has encouraged her students at the “colored” school to write essays protesting apartheid, and is in danger of getting fired.

Helen, it turns out, is in some trouble herself. She is an artist who has populated her yard with owls and mermaids, camels and wise men, all looking to the east, towards Mecca. This profusion of imagination has discomfited the villagers–children throw rocks at her sculptures, and few people visit her anymore. Most concerned is her old friend Marius, the church pastor. Convinced that she is no longer able to care for herself, he is pressuring her to leave her home for confines of the Sunshine Home for Our Aged and, lonely and depressed, Helen is almost ready to sign the papers.

The play unspools as a series of lengthy, sometimes stagy monologues laying out Fugard’s themes and preoccupations: the political–the horrors of apartheid and its toll on the bodies and souls of South Africans, both black and white; and the personal– the intense pressures to conform in a small town, the overarching drive of an artist to create, no matter the cost. Fugard is not a subtle playwright and the metaphors — lighting candles to beat back the darkness, for example — can be heavy-handed. But in the hands of an actress like Jeannine Haas, who plays Helen with luminous passion, Fugard’s graceful language and deep empathy for his characters are both absorbing and immensely affecting.

The first act sometimes drags, as Elsa and Helen explain their relationship to each other. The younger woman’s insistence that Helen must beat back Marius’s plot to put her away in a home is gradually undermined by creeping doubts about Helen’s ability to care for herself — Helen has burns on her hands and there are mysterious smoke stains on the wallpaper.

Marius’s arrival at the end of Act 1 give the play a welcome jolt. The second act is structured as a battle between Elsa and Marius, each trying in turn to convince Helen that they have her best interests at heart. Marius initially seems like a moralistic scold, horrified that Helen has stopped going to church, practically nauseated by the heretical imagery of her art, seemingly unaware that if children were throwing rocks, they were probably encouraged to do so by the adults around them. Elsa is even more doctrinaire, even harsh, haranguing Helen to hold up Elsa’s own vision of a woman’s independence. Helen, for long stretches, listens silently, unable to get a word in about what she wants for herself.

Miss Helen Martins (Jeannine Haas) and Elsa Barlow (Mo Mosley) chat.

Miss Helen Martins (Jeannine Haas) and Pastor Marius Bylveld (Chris Devine) chat.

There is no simple good guy/bad guy here: Marius, especially in Chris Devine’s nuanced and sensitive portrayal, believes to his core that he is acting out of love and concern for his old friend. As Elsa, Mo Mosley (a South African actress who also coached the other two in their mostly very convincing accents) comes off as abrasive and self-absorbed even though she adores Helen. It is Haas, as she finally reveals Helen’s vision of the glittering lights of Mecca, who cuts through the verbiage to movingly reveal how she is driven to create a landscape of glittering light.

Rebecca Hall’s staging is effective without being showy, with the characters allowed to simply sit or stand still, putting the emphasis on the words. Occasionally the actors are caught for long stretches standing awkwardly behind the ornate blue velvet sofa that takes up much of the downstage area – I found myself mentally trying to reorganize the furniture to make it less obtrusive and give the actors more room to roam. The house itself, by set designer Molly Hall, feels like a creative person lives there: the walls are aqua and purple, with worn rugs layered on top of each other, objets d’art and candelabras on every surface. The ground-up glass Miss Helen embeds in the walls as part of her drive to bring light into the darkness is here, disturbingly, shards of broken mirrors attached to the walls, as if to indicate the broken state of Helen’s psyche. We never see the garden – it lives in Helen’s imagination, from whence it sprang.

The Road to Mecca by Athol Fugard, directed by Rebecca Daniels, presented by the Silverthorne Theater Company, is playing at the Hawks & Reed Performing Arts Center, 289 Main Street in Greenfield, through June 30. Tickets are $18 and $20, and are available at www.silverthornettheater.org or by calling 413-768-7514. Run time including intermission approximately 2 hours 30 minutes.

Cast: Jeannine Haas (Helen Martins); Mo Mosley (Elsa Barlow); Chris Devine (Pastor Marius Bylveld). Technical director: John Iverson; Stage Manager: Sharon Weyers; Scenic & Lighting Design: Molly Hall; Costume Design: Reba-Jean Shaw-Pichette.

REVIEW: “The Road to Mecca” at Silverthorne Theater by Jenny Hansell The Road to Mecca, South African playwright Athol Fugard’s 1984 play about an elderly artist in a remote desert town, is being given a rich, thoughtful production at the…

#Athol Fugard #Chris Devine #Greenfield MA #Hawks & Reed Performing Arts Center #Jeannine Haas #John Iverson #Mo Mosley #Molly Hall #Reba-Jean Shaw-Pichette #Rebecca Daniels #Sharon Weyers #Silverthorne Theater #Silverthorne Theater Company #The Road to Mecca

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artsvark · 6 years

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Bookings open for star-studded The Road to Mecca

Bookings are now open at Computicket for the Fugard Theatre’s star-studded production of Athol Fugard’s acclaimed play The Road to Mecca.

Emily Child, Sandra Prinsloo and Marius Weyers will perform in THE ROAD TO MECCA. Photo credit: Daniel Rutland Manners.

Eric Abraham presents this Fugard Theatre production in honour of this iconic playwright’s 85th year. The play will open at the Fugard Theatre on 27 March 2018, on World Theatre Day, and run for a limited season.

Sandra Prinsloo is Miss Helen (Moedertaal, Die Naaimasjien, So Ry Miss Daisy, Oskar en die Pienk Tannie, The Gods Must Be Crazy, Miss Julie), Marius Weyers is Rev. Marius Byleveld (The Fugard’s The Father, Oom Wanja / Uncle Vanya, Hamlet, Twee Grade van Moord, The Gods Must Be Crazy) and Emily Child is Elsa Barlow (The Fugard’s The Eulogists, The Pervert Laura, The Father).

Direction will be by the Fugard Theatre’s Resident Director Greg Karvellas (The Fugard’s Shakespeare in Love, The Eulogists, Clybourne Park, The Father, Bad Jews). The production will be designed by Saul Radomsky (The Fugard’s Bad Jews, Clybourne Park, District Six, Kanala, The Painted Rocks At Revolver Creek) with lighting by Mannie Manim (The Fugard’s The Mother, The Painted Rocks At Revolver Creek, The Blue Iris) and costumes by Birrie Le Roux (The Fugard’s West Side Story, Kanala, The Father, The Mother, Clybourne Park, King Kong). Sound design will be by the Fugard’s resident Musical Director Charl-Johan Lingenfelder (The Fugard’s King Kong, West Side Story, The Rocky Horror Show, Cabaret, Funny Girl).

Inspired by Helen Martins, who lived in Nieu-Bethesda and created the now-famous The Owl House – which is designated a provincial heritage site – The Road to Mecca is the story of a woman’s desire for personal and artistic freedom within the narrow confines of a conservative and highly religious community in the Karoo in early seventies apartheid South Africa.

Athol Fugard wrote this play in 1984, creating the lead role of Miss Helen for the late South African theatre star Yvonne Bryceland.

Legendary theatre critic Frank Rich writing in The New York Times about The Road to Mecca, commented “Road to Mecca examines the core of artistry… Artists are driven to forge their version of the truth even when they have no hope of an audience, even when they must work with the humblest of materials in the middle of nowhere. Artists are dangerous because they won’t deviate from that truth, no matter what pressure to conform is applied by the society around them, reminding us that the artistic conscience is inseparable from the moral conscience.”

Weyers and Prinsloo were last seen on the Fugard Theatre stage together in Wie’s bang vir Virginia Woolf?

“We could think of no better way to mark Athol’s 85th birthday year in South Africa than with the Fugard Theatre’s first production of The Road to Mecca with an extraordinary South African cast – theatre icons Sandra Prinsloo, Marius Weyers and the brilliant young Emily Child,” says Eric Abraham – Founding Producer of the Fugard Theatre.

“Athol Fugard has committed his career and life to restoring our sense of a common humanity. To masterfully pricking our consciences to the injustices of apartheid, inequality and the inadequacies of the new dispensation. His deeply rooted South African narratives resonate universally. A unique figure who was the first to create roles for all South Africans – especially for black actors. His narratives and indelible black characters profoundly changed the way millions of people world over viewed apartheid. Our theatre is proud to bear his name and strive to continue his legacy as a crucible of creativity and common humanity for all South Africans.”

Time Magazine regards Fugard as “the greatest active playwright in the English-speaking world”.

Athol Fugard was born in 1932 in Middelburg in the Karoo. An internationally acclaimed playwright director and occasional actor, for over half a century he has written almost forty soul-searing plays with roles for all South Africans which have moved audiences in South Africa and around the world to laughter and tears as they reflected the inhumanity of apartheid. His plays champion truth and a fundamental universal humanity. In 2011 he received the ultimate recognition from the world’s most prestigious theatre community – a Tony Award for Lifetime Achievement in Theatre. He is also the author of four books and several screenplays. His plays include Blood Knot, Boesman and Lena, Master Harold and the Boys, The Train Driver, The Blue Iris and The Shadow of the Hummingbird. Many of his works have been turned into films with director Gavin Hood’s Tsotsi, based on his 1980 short story of the same name won the 2005 Academy Award for Best Foreign Language Film – South Africa’s first Academy award in this category.

Athol’s work spans the period of apartheid in South Africa, through the first democratic elections, to Nelson Mandela’s presidency and into present-day, post-apartheid South Africa.

The recipient of numerous honorary doctorates and awards, Athol was awarded the prestigious Praemium Imperiale global arts prize for Theatre/Film by the Japan Art Association in 2014. One of the most performed playwrights in the world, he continues to direct and write plays. He shares his life with his wife the writer and academic Paula Fourie and their dog Jakkals.

The Road to Mecca will run at the Fugard Theatre from 27 March 2018 Tuesday to Saturdays at 8pm with a 4pm matinee on Saturdays. The Fugard Theatre is situated in the heart of District Six, on the corner of Harrington and Caledon Streets, Cape Town.

Tickets cost from R130 to R230. Bookings can be made through Computicket on 0861 915 8000, online at www.computicket.com or at any Shoprite Checkers outlet. Bookings can also be made at the Fugard Theatre box office on 021 461 4554. There is a generous 15% discount available for the Friends of the Fugard members.

Harrington Street car park is located at the corner of Caledon and Harrington streets and is available for the use of theatre patrons. Visit the cosy ground-floor bar, which opens two hours before all scheduled show times and stays open until last rounds are called… often as late as 1am. And if the weather is fine the bar on the fantastic rooftop terrace is opened, with its panoramic views of the city. Both bars offer a range of wines from some of the Cape’s top estates.

Bookings open for star-studded The Road to Mecca was originally published on Artsvark

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