To celebrate the release of Transport Fever 3 I am giving away a PC key for the Deluxe Edition of the game on any of the main platforms - Steam, Epic, or GOG! Terms and Conditions General The Ajaxpost Plays Transport Fever 3 Giveaway ( the Giveaway ) is a lottery run exclusively by the Ajaxpost Plays YouTube Channel ( Ajaxpost Plays ) All the terms described here are in addition to the standard terms and conditions applied by Gleam.io and YouTube for all giveaways run on their platform. YouTube, Bluesky, Instagram, Twitter, X, and any other platforms used to advertise or promote the Giveaway do not sponsor the Giveaway and are in no way responsible or liable for any aspect of the operation of the Giveaway There will ONE winner who shall be gifted ONE key for Transport Fever 3 Deluxe Edition on the PC platform of their choice: The winning Entrant must have an eligible account on their preferred platform, Steam, Epic, or GOG with which to rece...
On this day Before The Lockdown, we have a clutch of fresh faces:
I had seen the film version many years previously but this was the first time I would see Equus on stage (currently at three and counting 😎). The Gielgud theatre in London achieved quite a coup, by getting Daniel Radcliffe to star in his first significant stage role during a break in filming the Harry Potter series. He had already done some other TV work but live in a theatre is quite a different skill. Without the magic of cameras and post-production could he convince as a live actor?
In the company of well respected and well-versed stage veterans like the excellent Richard Griffiths and Jenny Agutter this was a very daring move by the young actor.
The problem I have now is that this was thirteen years ago and in 2019 I saw a wholly new version of the play was was simply outstanding and will etched in my memory for years to come. But I cannot recall any specific emotions I felt for this first production. I recall thinking Radcliffe did a good job with a difficult role, though not that I remember any particular moments, and I loved Richard Griffiths, but then he was among my favourites actors anyway so it was a joy to see him again.
A solid piece of work that, unfortunately, in retrospect seems rather pedestrian in execution in comparison to the most recent revival.
We Want You To Watch at the Wardrobe Theatre in Bristol forced us to question pornography, especially violent pornography. Is it just harmless fantasy, is it a safe way of expressing sexual desires, with consent and safety for everyone concerned, both in consumption and production.
What happens after the first time, does it inevitably become an addiction, does it change the behaviour of those who watch or create it?
The detail of the core story being told (a violent sexually aggravated murder) was uncomfortable enough but what made it all the more powerful was that it asked important, difficult, questions, questions most of us might flippantly dismiss, perhaps we really should not.
in 2007
In the company of well respected and well-versed stage veterans like the excellent Richard Griffiths and Jenny Agutter this was a very daring move by the young actor.
The problem I have now is that this was thirteen years ago and in 2019 I saw a wholly new version of the play was was simply outstanding and will etched in my memory for years to come. But I cannot recall any specific emotions I felt for this first production. I recall thinking Radcliffe did a good job with a difficult role, though not that I remember any particular moments, and I loved Richard Griffiths, but then he was among my favourites actors anyway so it was a joy to see him again.
A solid piece of work that, unfortunately, in retrospect seems rather pedestrian in execution in comparison to the most recent revival.
in 2019
The Bristol Old Vic Theatre School Directors Cuts is a season of four plays put on by graduating student directors and actors to showcase their skills and the 2019 set got off to a blistering, and shocking, start!
What happens after the first time, does it inevitably become an addiction, does it change the behaviour of those who watch or create it?
The detail of the core story being told (a violent sexually aggravated murder) was uncomfortable enough but what made it all the more powerful was that it asked important, difficult, questions, questions most of us might flippantly dismiss, perhaps we really should not.
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