全6集《百年乡情》是一部由BBC推出的电视剧。该剧在2013年3月31日于BBC播出，主要通过一个家庭的故事讲述了20世纪的德比郡的一个村庄。

亚特兰蒂斯城，这里是一块神秘的古老大陆，一个热衷于跳牛运动、蛇发女妖们居住的地方，而且还是传说中由巨人们建立的广袤之地。一名叫Jason的年轻人(Jack Donnelly 饰)来到这个陌生的君主国，开始了一段不可思议的冒险之旅，探寻历史传说中的亚特兰蒂斯之谜——它真的是巨人建造的宫殿吗？那里真的居住着女神吗？希腊神话究竟有多少真实度？

Mary Stuart is imprisoned in England - nominally for the murder of her husband Darnley, but actually due to her claim to the throne of England held by Queen Elizabeth I. While Mary's cousin, Elizabeth, hesitates over signing Mary's death sentence, Mary hopes for a reprieve.
After Mary finds out that Mortimer (created by Schiller), the nephew of her custodian, is on her side, she entrusts her life to him. Mortimer is supposed to give Robert Dudley, the Earl of Leicester a letter from Mary, in which she pleads for help. This is a delicate situation, for Leicester seems to support Queen Elizabeth.
After numerous requests, Mary finally gains the opportunity to meet Queen Elizabeth (something that, in reality, never happened). This meeting ends in an acrimonious argument, caused by Mary's unwillingness to submit entirely to Elizabeth's wish. The argument leads to the inevitable suspicion that the cause of reprieve will not succeed.
To complicate matters further, Mortimer plans to free Mary from the prison by force, a dramatized version of the unsuccessful Babington Plot, but when his attempt is found out he commits suicide.
Queen Elizabeth eventually persuades herself to sign Mary's death warrant. Elizabeth insists that her only reason for signing is the pressure from her own people to do so.
The signed warrant is handed to Queen Elizabeth's undersecretary Davison without any clear instructions on what to do with it. In the process, Elizabeth transfers the burden of responsibility to him, fully aware that he in turn will hand over the warrant to Lord Burleigh, and thus confirm Mary's death sentence.
Burleigh demands the signed document from Davison, who - despite his uncertainty - eventually hands it to him. As a result, Burleigh has Mary executed.
The play ends with Elizabeth blaming both Burleigh and Davison for Mary's death (banishing the former from court and having the latter imprisoned in the Tower), Lord Shrewsbury (who pleaded for mercy for Mary throughout the play) resigning his honors and Leicester leaving England for France. Elizabeth is left completely alone as the curtain falls.

Mary Stuart is imprisoned in England - nominally for the murder of her husband Darnley, but actually due to her claim to the throne of England held by Queen Elizabeth I. While Mary's cousin, Elizabeth, hesitates over signing Mary's death sentence, Mary hopes for a reprieve.
After Mary finds out that Mortimer (created by Schiller), the nephew of her custodian, is on her side, she entrusts her life to him. Mortimer is supposed to give Robert Dudley, the Earl of Leicester a letter from Mary, in which she pleads for help. This is a delicate situation, for Leicester seems to support Queen Elizabeth.
After numerous requests, Mary finally gains the opportunity to meet Queen Elizabeth (something that, in reality, never happened). This meeting ends in an acrimonious argument, caused by Mary's unwillingness to submit entirely to Elizabeth's wish. The argument leads to the inevitable suspicion that the cause of reprieve will not succeed.
To complicate matters further, Mortimer plans to free Mary from the prison by force, a dramatized version of the unsuccessful Babington Plot, but when his attempt is found out he commits suicide.
Queen Elizabeth eventually persuades herself to sign Mary's death warrant. Elizabeth insists that her only reason for signing is the pressure from her own people to do so.
The signed warrant is handed to Queen Elizabeth's undersecretary Davison without any clear instructions on what to do with it. In the process, Elizabeth transfers the burden of responsibility to him, fully aware that he in turn will hand over the warrant to Lord Burleigh, and thus confirm Mary's death sentence.
Burleigh demands the signed document from Davison, who - despite his uncertainty - eventually hands it to him. As a result, Burleigh has Mary executed.
The play ends with Elizabeth blaming both Burleigh and Davison for Mary's death (banishing the former from court and having the latter imprisoned in the Tower), Lord Shrewsbury (who pleaded for mercy for Mary throughout the play) resigning his honors and Leicester leaving England for France. Elizabeth is left completely alone as the curtain falls.

Act one
A Doll's House opens as Nora Helmer returns from Christmas shopping. Her husband Torvald comes out of his study to banter with her. They discuss how their finances will improve now that Torvald has a new job as the vice president of the bank. Torvald expresses his horror of debt. Nora behaves childishly, and he enjoys treating her like a child to be instructed and indulged.
Soon Christine Linde, an old friend of Nora's, arrives at their home. She is a childless widow who is moving back to the city. Her husband left her no money, so she has tried different kinds of work and now hopes to find some work that is not too strenuous. Nora confides to Christine that she once secretly borrowed money from a disgraced lawyer, Nils Krogstad, to save Torvald's life when he was very ill, but she has not told him in order to protect his pride. She told everyone that the money came from her father, who died at about the same time. She has been repaying the debt from her housekeeping budget and also from some work she got copying papers by hand, which she did secretly in her room, and took pride in her ability to earn money "as if she were a man." Torvald's new job promises to finally liberate her from this debt.
Nora asks Torvald to give Kristine a position as a secretary in the bank, and he agrees, as she has experience in bookkeeping. They leave the house together.
Krogstad arrives and tells Nora that he is worried he will be fired. He asks her to help him keep his job and says that he will fight desperately to keep it. Nora is reluctant to commit to helping him, so Krogstad reveals that he knows she committed forgery on the bond she signed for her loan from him. As a woman, she needed an adult male co-signer, so she said she would have her father do so. However the signature is dated three days after his death, which suggests that it is a forgery. Nora admits that she did forge the signature, so as to spare her dying father further worry about her (she was pregnant, poor, and had a seriously ill husband). Krogstad explains that the forgery betrayed his trust and is also a serious crime. If he told others about it, her reputation would be ruined, as was his after a similar "indiscretion," even though he was never prosecuted. He implies that what he did was in order to provide for his sick wife, who later died.
[edit]Act two
Christine arrives to help Nora repair a dress for a costume party she and Torvald plan to attend the next day. Torvald returns from the bank, and Nora pleads with him to reinstate Krogstad in his position, claiming she is worried Krogstad will publish libelous articles about Torvald and ruin his career. Torvald dismisses her fears and explains that, although Krogstad is a good worker and seems to have turned his life around, he must be fired because he is not deferential enough to Torvald in front of other bank personnel. Torvald then retires to his study to work.
Dr. Rank, a family friend, arrives. Nora asks him for a favor, to which Rank reveals that he has entered the terminal stage of tuberculosis of the spine (a contemporary euphemism for congenital syphilis)[8] and that he has always been secretly in love with her. Nora tries to deny the first revelation and make light of it but is more disturbed by his declaration of love. She tries clumsily to tell him that she is not in love with him but that she loves him dearly as a friend.
Desperate after being fired by Torvald, Krogstad arrives at the house. Nora convinces Dr. Rank to go in to Torvald's study so he will not see Krogstad. When Krogstad confronts Nora, he declares that he no longer cares about the remaining balance of Nora's loan but that he will preserve the associated bond in order to blackmail Torvald into not only keeping him employed but promoting him as well. Nora explains that she has done her best to persuade her husband but that he refuses to change his mind. Krogstad informs Nora that he has written a letter detailing her crime (forging her father's signature of surety on the bond) and puts it in Torvald's mailbox, which is locked.
Nora tells Christine of her predicament. Christine says that she and Krogstad were in love before she married and promises that she will try to convince him to relent.
Torvald enters and tries to retrieve his mail but Nora distracts him by begging him to help her with the dance she has been rehearsing for the costume party, feigning anxiety about performing. She dances so badly and acts so childishly that Torvald agrees to spend the whole evening coaching her. When the others go in to dinner, Nora stays behind for a few minutes and contemplates suicide to save her husband from the shame of the revelation of her crime and (more importantly) to pre-empt any gallant gesture on his part to save her reputation.
[edit]Act three
Christine tells Krogstad that she only married her husband because she had no other means to support her sick mother and young siblings and that she has returned to offer him her love again. She believes that he would not have stooped to unethical behavior if he had not been devastated by her abandonment and in dire financial straits. Krogstad is moved and offers to take back his letter to Torvald. However, Christine decides that Torvald should know the truth for the sake of his and Nora's marriage.
After literally dragging Nora home from the party, Torvald goes to check his mail but is interrupted by Dr. Rank, who has followed them. Dr. Rank chats for a while so as to convey obliquely to Nora that this is a final goodbye, as he has determined that his death is near. Dr. Rank leaves, and Torvald retrieves his letters. As he reads them, Nora steels herself to take her life. Torvald confronts her with Krogstad's letter. Enraged, he declares that he is now completely in Krogstad's power—he must yield to Krogstad's demands and keep quiet about the whole affair. He berates Nora, calling her a dishonest and immoral woman and telling her she is unfit to raise their children. He says that from now on their marriage will be only a matter of appearances.
A maid enters, delivering a letter to Nora. The letter is from Krogstad, yet Torvald demands to read the letter, taking it from Nora. Torvald exults that he is saved as Krogstad has burned the incriminating papers. He takes back his harsh words to his wife and tells her that he forgives her. Nora realizes that her husband is not the strong and gallant man she thought he was and that he truly loves himself more than he does her.
Torvald explains that, when a man has forgiven his wife, it makes him love her all the more since it reminds him that she is totally dependent on him, like a child. He dismisses Nora's agonized choice made against her conscience for the sake of his health and her years of secret efforts to free them from the ensuing obligations and danger of loss of reputation, while preserving his peace of mind, as a mere mistake that she made owing to her foolishness, one of her most endearing feminine traits.
Nora tells Torvald that she is leaving him to live alone so she can find out who she is and what she believes and decide what to do with her life. She says she has been treated like a doll to play with, first by her father and then by him. Concerned for the family reputation, Torvald insists that she fulfill her duty as a wife and mother, but Nora says that her first duties are to herself and that she cannot be a good mother or wife without learning to be more than a plaything. She reveals that she had expected that he would want to sacrifice his reputation for hers and that she had planned to kill herself to prevent him from doing so. She now realizes that Torvald is not at all the kind of person she had believed him to be and that their marriage has been based on mutual fantasies and misunderstanding.
Torvald is unable to comprehend Nora's point of view, since it contradicts all that he had been taught about the female mind throughout his life. Furthermore, he is so narcissistic that it would be impossible for him to bear to understand how he appears to her, as selfish, hypocritical and more concerned with public reputation than with actual morality. Nora leaves her keys and wedding ring and, as Torvald breaks down and begins to cry, baffled by what has happened, Nora leaves the house, slamming the door behind herself.
Alternative ending
It was felt by Ibsen's German agent that the original ending would not play well in German theatres; therefore, for the play's German debut, Ibsen was forced to write an alternative ending for it to be considered acceptable. In this ending, Nora is led to her children after having argued with Torvald. Seeing them, she collapses, and the curtain is brought down. Ibsen later called the ending a disgrace to the original play and referred to it as a 'barbaric outrage'.

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.　

★★★★★ Time Out, Observer, The Stage, Metro
★★★★ Evening Standard, The Independent, Sunday Times, Financial Times, Daily Mail, Mail on Sunday

ghost / devil
acting /madness
be / not be

Andrew Scott makes his Almeida debut in the title role and Juliet Stevenson plays Gertrude in a new production directed by Almeida Associate Director Robert Icke (1984; Mr Burns; Oresteia; Uncle Vanya)

Photographed by Miles Aldridge, Production by Lucy Watson Productions, Set Design by Vincent Olivieri @ The Magnet Agency, Photographed at Spring Studios London, Styling by Nicholas Royal, Hair by Kota Suiza @ Caren, Make up by Lucy Bridges @ Streeters. Special thanks to Sola Lighting and Spring Studios

Rehearsal photography by Miles Aldridge

Les liaisons dangereuses is a play by Christopher Hampton adapted from the 1782 novel of the same title by Pierre Choderlos de Laclos. The plot focuses on the Marquise de Merteuil and the Vicomte de Valmont, rivals who use sex as a weapon of humiliation and degradation, all the while enjoying their cruel games. Their targets are the virtuous (and married) Madame de Tourvel and Cécile de Volanges, a young girl who has fallen in love with her music tutor, the Chevalier Danceny. In order to gain their trust, Merteuil and Valmont pretend to help the secret lovers so they can use them later in their own treacherous schemes.

哈姆雷特快要疯了。父亲由于奇怪的病症暴毙，母亲改了嫁。在那么多人之中，她偏偏嫁给了亡夫的弟弟，还在父亲过世短短一个月之后。哈姆雷特总是能在夜间看见父亲的鬼魂，他呼喊着自己被弟弟毒害，并恳求哈姆雷特替他报仇，去杀死他的继父。哈姆雷特为了复仇大计装疯卖傻，却在实施的过程中迷失了现实。世界，对他来说成了污浊的泥淖。对性的渴望和唤醒成了恐怖的深渊。周围的朋友变成了继父的耳目，为了时刻监视他。甚至奥菲利亚，他的爱人，也变成了密谋中的一颗棋子。
哈姆雷特的偏执并非全无依据，一个告密者在幕帘后对他密切监视、窃听，终于，复仇者成了凶恶的捕食者。愚蠢的行为变成了彻底的疯狂，哈姆雷特错杀了波洛涅斯——奥菲利亚的父亲。哈姆雷特的母亲和继父为他掩盖了谋杀的罪行，并有意安排他远离公众的实现。哈姆雷特的大计似乎要化为泡影。他迷失了自我，失去了人生的方向。面对这一切，奥菲利亚再也无法承受，她自杀了。当哈姆雷特的继父决定让哈姆雷特永远不再发声的时候，哈姆雷特也抓住了这手边的机会，给了继父最后的沉痛一击，迫使他臣服。
莎士比亚再现了丹麦皇室堕落的政治网络，让哈姆雷特的人生变成了彻底迷幻的悲剧。谋杀、背叛、篡权和对性的渴望成了这场战争中捍卫皇权的武器。哈姆雷特因为无法采取行动，对抗这场在皇廷中充满冷嘲热讽的游戏规则，他变得沉郁、闭塞、甚至自我伤害。他生性犹疑，在好坏两方面难以抉择，这也成为他复仇之路上难以逾越的障碍。除他之外，再无他人对皇室存疑，他的人生注定是场悲剧。

Olivier Award-winner Juliet Stevenson stars as the doctor at the center of the drama where nothing is quite what—or who—it seems. A galvanizing piece of theater, the production serves as a stark health warning for an increasingly divided nation, where clashing views about the way we see ourselves and the world we live in today only magnify the complexities of life.

As the lights change at a major crossroads in a city in the heart of Europe a car grinds to a halt. Its driver can drive no more. Suddenly, without warning or cause, he has gone blind. Within hours it is clear that this is a blindness like no other. This blindness is infectious. Within days an epidemic of blindness has spread through the city. The government tries to quarantine the contagion by herding the newly blind people into an empty asylum. But their attempts are futile. The city is in panic.

Award-winning playwright Simon Stephens has adapted Nobel Prize-winner José Saramago’s dystopian novel Blindness as a sound installation for the Donmar Warehouse, directed by Walter Meierjohann with immersive binaural sound design by Ben and Max Ringham. Juliet Stevenson voices the Storyteller/Doctor’s wife in this gripping story of the rise and, ultimately, profoundly hopeful end of an unimaginable global pandemic.

This hour-long ticketed installation for a limited number of visitors will run four times a day, with seating arranged 2m apart in accordance with social distancing guidelines in a transformed Donmar Warehouse. Visitors will listen on headphones as the narrative unfolds around them.

Image description: A portrait image showing six abstract, blurred figures against a white background. The figures are positioned midway up the image and the two central figures appear closer, with the other four standing at different distances behind them. There is a grey gradient over the image which is infused with a pink wash over some areas

British television series

The centrepiece of the season is a gripping three-part documentary series for BBC Two and iPlayer, Shakespeare: Rise of a Genius, featuring an A-list cast of actors, including Dame Judi Dench, Dame Helen Mirren, Brian Cox, Adrian Lester, Lolita Chakrabarti, Martin Freeman and Jessie Buckley, alongside academics and writers James Shapiro, Jeanette Winterson, Lucy Jago , Jeremy O’Harris and Ewan Fernie - who provide fresh insights into the incredible story of our greatest writer, the place and time he inhabited and the work he produced.

It returns six months after the shocking finale of Season 3, and the team must overcome their grief to tackle a dangerous crime wave.
This time, the gloves are well and truly off for Professor T in his lectures and a new musical pursuit, romance is very much alive for his mother Adelaide Tempest (De la Tour), and the lines between professional and personal become blurred for therapist Helena Goldberg (Stevenson).
Meanwhile, DI Maiya Goswami (Sunetra Sarker) takes charge of the police force with series favorite DS Dan Winters (White) fiercely at her side.

The second season of Riviera sees Georgina (Julia Stiles) focused on trying to get away with murder as she fights to retain power within the Clios household and her position at the top of the elusive art world.
As Georgina Clios struggles for power and respect in the family, the Elthams arrive on the Cote d'Azur. The Elthams are a dynasty and are not too dissimilar from the Clios', harbouring secrets of their own. Georgina is reunited with her uncle Jeff, played by the ever charming Will Arnett, and the audience are exposed to more secrets about her life back home in America that she tried so hard to bury.

Follows the story of Ruth Ellis: her lifestyle as a young nightclub manageress, her violent relationship with the man she then killed in cold blood, her arrest, trial, and subsequent legal battle to get her release before she was hanged.

When Prince Pericles, visiting Antioch, discovers the dreaded answer to King Antiochus's riddle, he flees for his life straight into famine, shipwreck, love, fatherhood, and another shipwreck. He loses his wife and daughter, and doesn't find them again until the story moves us through resurrection, attempted murder, pirates, prostitution, and divine revelation.