September Woman The Soul Of A Mermaid The Fire Of A Lioness The Heart Of A Hippie Flowers Tshirts Black
With Secure Checkout (100% Secure payment with SSL Encryption), Return & Warranty (If you’re not 100% satisfied, let us know and we’ll make it right.), Worldwide shipping available, Buy 2 or more to save shipping. Last Day To – BUY IT or LOSE IT FOREVER. Only available for a LIMITED TIME – NOT FOUND IN STORES! Click here to buy this shirt: The Worst Day Ever Was On A Friday In Wrigleyville T-Shirt Throughout her journey to motherhood, Jodie Turner-Smith has done things on her own terms. While pregnant, the British actor pushed maternity style into new territory, notoriously celebrating her growing belly in a silky crop top and slip skirt on The Graham Norton Show. “#HereIsThatBumpYou’veBeenAskingFor,” she hashtagged alongside a snap of the look on Instagram. She also opened up about the struggles she faced navigating pregnancy and bracing to welcome her first child with husband Joshua Jackson—during a pandemic no less. “Every stage of my pregnancy brought its own challenges and lessons,” she wrote in an essay for British Vogue’s September 2020 issue, recounting her nearly four-day labor. “Nobody really teaches you about what your body goes through to bring a child into the world until you’re actually doing it.” In chronicling the ups and downs, Turner-Smith has been leading a new era of women celebrating the beauty of their pregnant bodies. The physical manifestation of this spirit? The sculptural belly cast that Turner-Smith had made while she was just over eight months pregnant.You’d be forgiven if you weren’t already familiar with the term. Designed to immortalize the life-changing physical and emotional transformation of pregnancy, belly casts are 3D plaster molds of a mother-to-be’s growing bump or full torso, usually done a couple of weeks to a month before giving birth. The idea to do one was first floated to Turner-Smith by her friend Zeyna Sy, a creative and content producer that has worked with Marley Natural and Outdoor Voices, who was inspired as she witnessed Turner-Smith’s transition into motherhood. “As Jodie’s baby grew, I knew it must have been a very foreign feeling to have someone else govern her physical, emotional, mental, and spiritual evolution and expansion,” explains Sy. “Experiences during pregnancy vary, but one thing I heard a lot of women mention is how much they missed ‘the belly’ once they gave birth. I love the proportions of Jodie’s body and wanted to literally cast this trippy, transformative moment ‘in stone’—to pause it! I asked Jodie if she would be open to me testing the process and casting her belly and she said, ‘Yes, babe.’”Once Sy got the green light, she asked friend, production designer, and visual artist Briana Gonzales to help guide her through the body-casting process. “I wanted the piece we created to look like a fragmented classical sculpture,” explains Sy of her vision, “delicate, but sturdy. Ultimately, I wanted Jodie to marvel at herself in this particular form. I knew it would be a cool, physical memory to have once she gave birth. It was my gift to Jodie, her husband, and her daughter in years to come.”Belly-casting offerings are becoming more widely available by way of artists; specialized small businesses, such as British belly-casting studio Rock the Bump; and people giving birth support services, such as New York holistic birth doula Joyce Havinga-Droop of Birth Ambassador. A mother of three, Havinga-Droop first became acquainted with belly casting when her stepdaughter, who is an artist, proposed helping her make one while she was pregnant 12 years ago. “I loved the idea of eternalizing the magic of the moment,” explains Havinga-Droop. “Plus, it’s a beautiful, intimate ritual that you can do with other loved ones from your inner circle.” At Birth Ambassador, Havinga-Droop offers support for mothers, couples, or bigger groups in creating a belly cast together. The mold can be left in its natural, raw state or sanded down, painted, and embellished. “During the third trimester of pregnancy, it’s important to slow down and get more into a nesting mode,” she says. “Decorating and going all out on the belly is definitely one way of doing that.”An evocative keepsake of pregnancy, belly casts quite literally cement and commemorate a woman’s growing bump as an objet d’art. “A mother will have a memory of the moment that her belly was big and full of life,” says Havinga-Droop. “It slows her down [and allows her] to take a moment and be present for the miracle that’s growing.” Moreover, the act of bringing a belly cast to life is a sacred tribute to motherhood and the power of female community, one that feels especially poignant for all parties after the challenges of the past year and the current emphasis on starting anew. This week, Frieze makes its return to New York. Scuttled last year due to the coronavirus pandemic, the five-day event will be the city’s first in-person, single-venue art fair since the Armory Show last spring (and Frieze’s first showing since Frieze L.A. in February 2020).Much about Frieze New York will be familiar to regulars, from the wide-ranging group of participating galleries to the engaging program of discussions, screenings, and other activations planned; but perhaps more still will be slightly modified to suit our current moment. (For one thing, this year’s visitors will not commute to Randall’s Island.)So, what does a major art fair look like in 2021? Below, find everything you need to know about Frieze New York. This year, Frieze New York will take place at The Shed in Manhattan’s Hudson Yards, running from May 5 through 9. As ever, the fair will bring together galleries from all over the world, if on a somewhat smaller scale: There will be approximately 60 exhibitors onsite at The Shed, compared to the 190 that typically turn up to Randall’s Island. (“The Shed was designed for flexibility, both in its architecture and its programming, which made it the best partner for this year,” Rebecca Ann Siegel, Frieze’s director of Americas and content has said.) Its popular “Frame” section, overseen this year by gallerists Olivia Barrett (of Chatêau Shatto in Los Angeles) and Sophie Mörner (of Company Gallery in New York), will also return; spotlighting emerging galleries established fewer than 10 years ago.Frieze Viewing Room, a rich program of virtual “collaborations, special projects and talks,” will run alongside the physical fair for those unable to attend in person.Representational justice will be a focus, with more than 50 galleries and institutions paying tribute to the Vision & Justice Project, an initiative established by Harvard professor Sarah Lewis “to expand visual literacy and explore the connection between race, citizenship, and image making.” Throughout the fair, gallerists will respond to the Vision & Justice Project’s mission—and to the prompt “How are the arts responsible for disrupting, complicating, or shifting narratives of visual representation in the public realm?”—through artworks, digital events, and more.For the Vision & Justice Project tribute, Massimo De Carlo will show Sanford Biggers’s Cipher. It belongs to Biggers’s ongoing Chimeras series, combining “various African and European masks, busts and figures that explore historical depictions of the body and their subsequent myths, narratives, perceptions and power.”Sanford Biggers, Cipher, 2019. Marmo di Kilkenny / Kilkenny marble, 74 × 23 × 20 cm.For those lucky enough to claim their tickets before they all sold out (one can join a waitlist here), COVID-19 safety will be a top priority at The Shed. Entry times are staggered by 15-minutes increments; visitors must submit either a recent negative COVID test or proof that they have been fully vaccinated for at least 14 days; and temperature checks and masks are required, including for children. As the Wall Street Journal reported, the total occupancy of the The Shed will be limited to about 850 through Frieze, including staff. Among the highlights of this year’s presentations: new paintings and sculptures by Dana Schutz, courtesy of David Zwirner; three works by the French artist Daniel Buren, courtesy of Lisson Gallery; important assemblages by Thornton Dial, courtesy of David Lewis; and new commissions from Carrie Mae Weems and Hank Willis Thomas for the Vision & Justice Project tribute. Additionally, “The Looking Glass”—a group show curated by Daniel Birnbaum, artistic director of Acute Art, and Emma Enderby, curator of The Shed—will foreground “augmented reality works” by Precious Okoyomon, Cao Fei, and Kaws. Both onsite and off, Frieze has inspired all kinds of intriguing programming. MatchesFashion.com, for instance, has created a video tour of the fair with curator and writer Antwaun Sargent, a podcast with photographer Catherine Opie, and a Frieze audio guide, among other media; and to coincide with The week’s events, Maison Margiela will debut an 11-monitor video installation of Marco Brambilla’s Nude Descending a Staircase No. 3 at its Crosby Street store. (Happily for anyone who misses Frieze proper, Brambilla’s installation will be on view to the public from May 5 through July 6.) The play’s the thing—but it may not be the only thing.The National Theatre’s Romeo & Juliet, originally scheduled to run last summer in London, joined the many stage productions canceled by the coronavirus pandemic. It seemed like there never was a story of more woe—but the show must go on. Producers endeavored to salvage what they could and reconfigured the project for the small screen.Shot at the playhouse over 17 days in December, the resulting production—premiering on PBS this Friday, April 23, in honor of William Shakespeare’s birthday (his 457th, for those counting)—mirrors the conditions under which it was made. Amid the backdrop of not only palpable death and soul-grinding sorrow but also the long-simmering tensions of a riven society where violence could break out at any moment, every grazing touch feels charged and every embrace precarious. Stepping into the well-worn shoes of the star-crossed lovers are two of the most buzzed-about actors of late: Jessie Buckley, who turned in impressive performances in 2018’s Wild Rose and the 2019 HBO series Chernobyl before garnering acclaim in Fargo season four and last year’s Charlie Kaufman thriller I’m Thinking of Ending Things; and Josh O’Connor, who in February won a Golden Globe for his portrayal of a sniveling young Prince Charles in The Crown and also appeared last year in Autumn de Wilde’s Emma.What drew both actors to these misadventured piteous overthrows was their yearning to get back on the boards—where both got their start—after years of critical-darling movies and prestige dramas. They had also wanted to collaborate after meeting almost a decade ago through theater circles and “knocking around each other for ages,” as O’Connor puts it via phone from Dublin, where he’s shooting the refugee drama Provision with Black Panther’s Letitia Wright.They found kindred spirits in one another—both were raised in artistic, pastoral families—and even once hatched a fanciful plan to live and work together with a like-minded group. “Sort of like collective-slash-cult,” O’Connor explains, before Buckley, also on the line, laughingly protests, “It wasn’t a cult, Josh, it was a commune!” “Would have turned into a cult,” he mutters.Their easy rapport translates into compelling chemistry onscreen. “Josh is one of my best friends, and I knew that I could fall off the cliff with it,” affirms Buckley, who called in from the English countryside, where she has been working on Alex Garland’s latest film. Love also played a role, as perhaps it must when it comes to one of the all-time great love stories. “Love in my own life had changed massively when this came my way,” Buckley says cryptically. “I just thought, I really want to figure out what love might be like in this play.”O’Connor, on the other hand, initially approached the role as toward school—with heavy looks. “I had this irrational idea of what Romeo and Juliet was,” he admits. “My limited experience of it was like: Here are two people who are just really naive, and all the adults are like, ‘You have no idea what love is, and you have no idea what you’re doing.’ I was on the adult side. I always felt that it is quite easy for particularly Romeo to be a little bit whiny. He goes from lovesick to being completely mad in love with someone else, and it all happens quite quickly.” Just think of all the (iconic) times Leonardo DiCaprio weeps in Baz Luhrmann’s 1996 adaptation.But he was quickly won over by the prospect of taking the storied National Theatre stage alongside Buckley. “I remember feeling terrified but also so thrilled and with fires in our bellies to go and tell this unbelievably epic love story on that stage.”Their enthusiasm for the production made it all the more devastating when it was shut down last spring. They approached the idea of a filmed version with some trepidation; both have said they had little interest in a Romeo and Juliet film project. “The prospect of doing it for film was a whole different story,” Buckley says candidly, not least because director Simon Godwin, artistic director of the Shakespeare Theatre Company in Washington, D.C., had never made anything for the screen before. “You’re creating it for an audience that will be seeing it through a screen, not one that will live it with you live every single night. That liveness with an audience is the great joy of being in a theater. This new thing is a bit scary because we don’t know what it is yet, and we have to create it basically from the ground up.”“Jessie and I had just spent three or four years making films,” O’Connor adds. The change in course “suddenly felt a little bit underwhelming.” In hindsight, he chuckles, “there’s nothing underwhelming about it at all. It’s as terrifying, if not more terrifying, making a film like that.” (He says both will continue searching for something to “scratch that itch” to perform together onstage.)Buckley recalls a quote O’Connor shared from the pioneering filmmaker Derek Jarman: “Oh how Shakespeare would have loved cinema!” (The two also exchanged music in preparation.) “What’s so incredible about Shakespeare is that the emotions are enormous,” she says. “It has the ability to reach to the back of a huge theater space but also the kind of electricity that you can contain when making a film, and have it still as vibrating as it is in a huge theater.”This production’s extraordinary conditions inevitably put a fresh cast on the most continuously popular of all Shakespeare’s plays since its first bow in the mid-1590s. “We are telling a very different story now because of the reality of what our circumstance was like,” Buckley says. “Our world of Romeo and Juliet was being told because of the pandemic. Creating it within the belly of a theater meant that we had to find a way to incorporate the reality, to make a building that had been asleep for the first time come to life again through story.”That reality included COVID testing twice a week and the most intimate scenes filmed in the first few hours after negative results. (At times a pillow stood in for the fair maiden.) “Something that was so present when we were filming was the fact that we couldn’t touch each other,” Buckley says, “and yet we were dealing with love and hate, where people’s relationships with each other are built through touch or lack of it. Actually, what was happening outside was helpful for the inside of our world.” The stifled feeling of lockdown pervades the film: steel walls clank down, heavy doors slide shut—there’s no natural light and no way out.It’s an onscreen world that captures this singular, remarkable period. “Jessie always says this is like a locked piece and moment in time that won’t repeat,” O’Connor says. “In a time when we can’t make work, in a space where we can’t allow people in, that concoction brewed something totally unique, which will never happen again.”Anon, here’s an exclusive clip of the famous balcony scene from Great Performances: Romeo & Juliet:Great Performances: Romeo & Juliet premieres Friday, April 23, at 9 p.m. on PBS, PBS.org, and the PBS Video app. Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary Thanosshirt This product belong to hung2 September Woman The Soul Of A Mermaid The Fire Of A Lioness The Heart Of A Hippie Flowers Tshirts Black With Secure Checkout (100% Secure payment with SSL Encryption), Return & Warranty (If you’re not 100% satisfied, let us know and we’ll make it right.), Worldwide shipping available, Buy 2 or more to save shipping. Last Day To – BUY IT or LOSE IT FOREVER. Only available for a LIMITED TIME – NOT FOUND IN STORES! Click here to buy this shirt: The Worst Day Ever Was On A Friday In Wrigleyville T-Shirt Throughout her journey to motherhood, Jodie Turner-Smith has done things on her own terms. While pregnant, the British actor pushed maternity style into new territory, notoriously celebrating her growing belly in a silky crop top and slip skirt on The Graham Norton Show. “#HereIsThatBumpYou’veBeenAskingFor,” she hashtagged alongside a snap of the look on Instagram. She also opened up about the struggles she faced navigating pregnancy and bracing to welcome her first child with husband Joshua Jackson—during a pandemic no less. “Every stage of my pregnancy brought its own challenges and lessons,” she wrote in an essay for British Vogue’s September 2020 issue, recounting her nearly four-day labor. “Nobody really teaches you about what your body goes through to bring a child into the world until you’re actually doing it.” In chronicling the ups and downs, Turner-Smith has been leading a new era of women celebrating the beauty of their pregnant bodies. The physical manifestation of this spirit? The sculptural belly cast that Turner-Smith had made while she was just over eight months pregnant.You’d be forgiven if you weren’t already familiar with the term. Designed to immortalize the life-changing physical and emotional transformation of pregnancy, belly casts are 3D plaster molds of a mother-to-be’s growing bump or full torso, usually done a couple of weeks to a month before giving birth. The idea to do one was first floated to Turner-Smith by her friend Zeyna Sy, a creative and content producer that has worked with Marley Natural and Outdoor Voices, who was inspired as she witnessed Turner-Smith’s transition into motherhood. “As Jodie’s baby grew, I knew it must have been a very foreign feeling to have someone else govern her physical, emotional, mental, and spiritual evolution and expansion,” explains Sy. “Experiences during pregnancy vary, but one thing I heard a lot of women mention is how much they missed ‘the belly’ once they gave birth. I love the proportions of Jodie’s body and wanted to literally cast this trippy, transformative moment ‘in stone’—to pause it! I asked Jodie if she would be open to me testing the process and casting her belly and she said, ‘Yes, babe.’”Once Sy got the green light, she asked friend, production designer, and visual artist Briana Gonzales to help guide her through the body-casting process. “I wanted the piece we created to look like a fragmented classical sculpture,” explains Sy of her vision, “delicate, but sturdy. Ultimately, I wanted Jodie to marvel at herself in this particular form. I knew it would be a cool, physical memory to have once she gave birth. It was my gift to Jodie, her husband, and her daughter in years to come.”Belly-casting offerings are becoming more widely available by way of artists; specialized small businesses, such as British belly-casting studio Rock the Bump; and people giving birth support services, such as New York holistic birth doula Joyce Havinga-Droop of Birth Ambassador. A mother of three, Havinga-Droop first became acquainted with belly casting when her stepdaughter, who is an artist, proposed helping her make one while she was pregnant 12 years ago. “I loved the idea of eternalizing the magic of the moment,” explains Havinga-Droop. “Plus, it’s a beautiful, intimate ritual that you can do with other loved ones from your inner circle.” At Birth Ambassador, Havinga-Droop offers support for mothers, couples, or bigger groups in creating a belly cast together. The mold can be left in its natural, raw state or sanded down, painted, and embellished. “During the third trimester of pregnancy, it’s important to slow down and get more into a nesting mode,” she says. “Decorating and going all out on the belly is definitely one way of doing that.”An evocative keepsake of pregnancy, belly casts quite literally cement and commemorate a woman’s growing bump as an objet d’art. “A mother will have a memory of the moment that her belly was big and full of life,” says Havinga-Droop. “It slows her down [and allows her] to take a moment and be present for the miracle that’s growing.” Moreover, the act of bringing a belly cast to life is a sacred tribute to motherhood and the power of female community, one that feels especially poignant for all parties after the challenges of the past year and the current emphasis on starting anew. This week, Frieze makes its return to New York. Scuttled last year due to the coronavirus pandemic, the five-day event will be the city’s first in-person, single-venue art fair since the Armory Show last spring (and Frieze’s first showing since Frieze L.A. in February 2020).Much about Frieze New York will be familiar to regulars, from the wide-ranging group of participating galleries to the engaging program of discussions, screenings, and other activations planned; but perhaps more still will be slightly modified to suit our current moment. (For one thing, this year’s visitors will not commute to Randall’s Island.)So, what does a major art fair look like in 2021? Below, find everything you need to know about Frieze New York. This year, Frieze New York will take place at The Shed in Manhattan’s Hudson Yards, running from May 5 through 9. As ever, the fair will bring together galleries from all over the world, if on a somewhat smaller scale: There will be approximately 60 exhibitors onsite at The Shed, compared to the 190 that typically turn up to Randall’s Island. (“The Shed was designed for flexibility, both in its architecture and its programming, which made it the best partner for this year,” Rebecca Ann Siegel, Frieze’s director of Americas and content has said.) Its popular “Frame” section, overseen this year by gallerists Olivia Barrett (of Chatêau Shatto in Los Angeles) and Sophie Mörner (of Company Gallery in New York), will also return; spotlighting emerging galleries established fewer than 10 years ago.Frieze Viewing Room, a rich program of virtual “collaborations, special projects and talks,” will run alongside the physical fair for those unable to attend in person.Representational justice will be a focus, with more than 50 galleries and institutions paying tribute to the Vision & Justice Project, an initiative established by Harvard professor Sarah Lewis “to expand visual literacy and explore the connection between race, citizenship, and image making.” Throughout the fair, gallerists will respond to the Vision & Justice Project’s mission—and to the prompt “How are the arts responsible for disrupting, complicating, or shifting narratives of visual representation in the public realm?”—through artworks, digital events, and more.For the Vision & Justice Project tribute, Massimo De Carlo will show Sanford Biggers’s Cipher. It belongs to Biggers’s ongoing Chimeras series, combining “various African and European masks, busts and figures that explore historical depictions of the body and their subsequent myths, narratives, perceptions and power.”Sanford Biggers, Cipher, 2019. Marmo di Kilkenny / Kilkenny marble, 74 × 23 × 20 cm.For those lucky enough to claim their tickets before they all sold out (one can join a waitlist here), COVID-19 safety will be a top priority at The Shed. Entry times are staggered by 15-minutes increments; visitors must submit either a recent negative COVID test or proof that they have been fully vaccinated for at least 14 days; and temperature checks and masks are required, including for children. As the Wall Street Journal reported, the total occupancy of the The Shed will be limited to about 850 through Frieze, including staff. Among the highlights of this year’s presentations: new paintings and sculptures by Dana Schutz, courtesy of David Zwirner; three works by the French artist Daniel Buren, courtesy of Lisson Gallery; important assemblages by Thornton Dial, courtesy of David Lewis; and new commissions from Carrie Mae Weems and Hank Willis Thomas for the Vision & Justice Project tribute. Additionally, “The Looking Glass”—a group show curated by Daniel Birnbaum, artistic director of Acute Art, and Emma Enderby, curator of The Shed—will foreground “augmented reality works” by Precious Okoyomon, Cao Fei, and Kaws. Both onsite and off, Frieze has inspired all kinds of intriguing programming. MatchesFashion.com, for instance, has created a video tour of the fair with curator and writer Antwaun Sargent, a podcast with photographer Catherine Opie, and a Frieze audio guide, among other media; and to coincide with The week’s events, Maison Margiela will debut an 11-monitor video installation of Marco Brambilla’s Nude Descending a Staircase No. 3 at its Crosby Street store. (Happily for anyone who misses Frieze proper, Brambilla’s installation will be on view to the public from May 5 through July 6.) The play’s the thing—but it may not be the only thing.The National Theatre’s Romeo & Juliet, originally scheduled to run last summer in London, joined the many stage productions canceled by the coronavirus pandemic. It seemed like there never was a story of more woe—but the show must go on. Producers endeavored to salvage what they could and reconfigured the project for the small screen.Shot at the playhouse over 17 days in December, the resulting production—premiering on PBS this Friday, April 23, in honor of William Shakespeare’s birthday (his 457th, for those counting)—mirrors the conditions under which it was made. Amid the backdrop of not only palpable death and soul-grinding sorrow but also the long-simmering tensions of a riven society where violence could break out at any moment, every grazing touch feels charged and every embrace precarious. Stepping into the well-worn shoes of the star-crossed lovers are two of the most buzzed-about actors of late: Jessie Buckley, who turned in impressive performances in 2018’s Wild Rose and the 2019 HBO series Chernobyl before garnering acclaim in Fargo season four and last year’s Charlie Kaufman thriller I’m Thinking of Ending Things; and Josh O’Connor, who in February won a Golden Globe for his portrayal of a sniveling young Prince Charles in The Crown and also appeared last year in Autumn de Wilde’s Emma.What drew both actors to these misadventured piteous overthrows was their yearning to get back on the boards—where both got their start—after years of critical-darling movies and prestige dramas. They had also wanted to collaborate after meeting almost a decade ago through theater circles and “knocking around each other for ages,” as O’Connor puts it via phone from Dublin, where he’s shooting the refugee drama Provision with Black Panther’s Letitia Wright.They found kindred spirits in one another—both were raised in artistic, pastoral families—and even once hatched a fanciful plan to live and work together with a like-minded group. “Sort of like collective-slash-cult,” O’Connor explains, before Buckley, also on the line, laughingly protests, “It wasn’t a cult, Josh, it was a commune!” “Would have turned into a cult,” he mutters.Their easy rapport translates into compelling chemistry onscreen. “Josh is one of my best friends, and I knew that I could fall off the cliff with it,” affirms Buckley, who called in from the English countryside, where she has been working on Alex Garland’s latest film. Love also played a role, as perhaps it must when it comes to one of the all-time great love stories. “Love in my own life had changed massively when this came my way,” Buckley says cryptically. “I just thought, I really want to figure out what love might be like in this play.”O’Connor, on the other hand, initially approached the role as toward school—with heavy looks. “I had this irrational idea of what Romeo and Juliet was,” he admits. “My limited experience of it was like: Here are two people who are just really naive, and all the adults are like, ‘You have no idea what love is, and you have no idea what you’re doing.’ I was on the adult side. I always felt that it is quite easy for particularly Romeo to be a little bit whiny. He goes from lovesick to being completely mad in love with someone else, and it all happens quite quickly.” Just think of all the (iconic) times Leonardo DiCaprio weeps in Baz Luhrmann’s 1996 adaptation.But he was quickly won over by the prospect of taking the storied National Theatre stage alongside Buckley. “I remember feeling terrified but also so thrilled and with fires in our bellies to go and tell this unbelievably epic love story on that stage.”Their enthusiasm for the production made it all the more devastating when it was shut down last spring. They approached the idea of a filmed version with some trepidation; both have said they had little interest in a Romeo and Juliet film project. “The prospect of doing it for film was a whole different story,” Buckley says candidly, not least because director Simon Godwin, artistic director of the Shakespeare Theatre Company in Washington, D.C., had never made anything for the screen before. “You’re creating it for an audience that will be seeing it through a screen, not one that will live it with you live every single night. That liveness with an audience is the great joy of being in a theater. This new thing is a bit scary because we don’t know what it is yet, and we have to create it basically from the ground up.”“Jessie and I had just spent three or four years making films,” O’Connor adds. The change in course “suddenly felt a little bit underwhelming.” In hindsight, he chuckles, “there’s nothing underwhelming about it at all. It’s as terrifying, if not more terrifying, making a film like that.” (He says both will continue searching for something to “scratch that itch” to perform together onstage.)Buckley recalls a quote O’Connor shared from the pioneering filmmaker Derek Jarman: “Oh how Shakespeare would have loved cinema!” (The two also exchanged music in preparation.) “What’s so incredible about Shakespeare is that the emotions are enormous,” she says. “It has the ability to reach to the back of a huge theater space but also the kind of electricity that you can contain when making a film, and have it still as vibrating as it is in a huge theater.”This production’s extraordinary conditions inevitably put a fresh cast on the most continuously popular of all Shakespeare’s plays since its first bow in the mid-1590s. “We are telling a very different story now because of the reality of what our circumstance was like,” Buckley says. “Our world of Romeo and Juliet was being told because of the pandemic. Creating it within the belly of a theater meant that we had to find a way to incorporate the reality, to make a building that had been asleep for the first time come to life again through story.”That reality included COVID testing twice a week and the most intimate scenes filmed in the first few hours after negative results. (At times a pillow stood in for the fair maiden.) “Something that was so present when we were filming was the fact that we couldn’t touch each other,” Buckley says, “and yet we were dealing with love and hate, where people’s relationships with each other are built through touch or lack of it. Actually, what was happening outside was helpful for the inside of our world.” The stifled feeling of lockdown pervades the film: steel walls clank down, heavy doors slide shut—there’s no natural light and no way out.It’s an onscreen world that captures this singular, remarkable period. “Jessie always says this is like a locked piece and moment in time that won’t repeat,” O’Connor says. “In a time when we can’t make work, in a space where we can’t allow people in, that concoction brewed something totally unique, which will never happen again.”Anon, here’s an exclusive clip of the famous balcony scene from Great Performances: Romeo & Juliet:Great Performances: Romeo & Juliet premieres Friday, April 23, at 9 p.m. on PBS, PBS.org, and the PBS Video app. Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary Thanosshirt This product belong to hung2
With Secure Checkout (100% Secure payment with SSL Encryption), Return & Warranty (If you’re not 100% satisfied, let us know and we’ll make it right.), Worldwide shipping available, Buy 2 or more to save shipping. Last Day To – BUY IT or LOSE IT FOREVER. Only available for a LIMITED TIME – NOT FOUND IN STORES! Click here to buy this shirt: The Worst Day Ever Was On A Friday In Wrigleyville T-Shirt Throughout her journey to motherhood, Jodie Turner-Smith has done things on her own terms. While pregnant, the British actor pushed maternity style into new territory, notoriously celebrating her growing belly in a silky crop top and slip skirt on The Graham Norton Show. “#HereIsThatBumpYou’veBeenAskingFor,” she hashtagged alongside a snap of the look on Instagram. She also opened up about the struggles she faced navigating pregnancy and bracing to welcome her first child with husband Joshua Jackson—during a pandemic no less. “Every stage of my pregnancy brought its own challenges and lessons,” she wrote in an essay for British Vogue’s September 2020 issue, recounting her nearly four-day labor. “Nobody really teaches you about what your body goes through to bring a child into the world until you’re actually doing it.” In chronicling the ups and downs, Turner-Smith has been leading a new era of women celebrating the beauty of their pregnant bodies. The physical manifestation of this spirit? The sculptural belly cast that Turner-Smith had made while she was just over eight months pregnant.You’d be forgiven if you weren’t already familiar with the term. Designed to immortalize the life-changing physical and emotional transformation of pregnancy, belly casts are 3D plaster molds of a mother-to-be’s growing bump or full torso, usually done a couple of weeks to a month before giving birth. The idea to do one was first floated to Turner-Smith by her friend Zeyna Sy, a creative and content producer that has worked with Marley Natural and Outdoor Voices, who was inspired as she witnessed Turner-Smith’s transition into motherhood. “As Jodie’s baby grew, I knew it must have been a very foreign feeling to have someone else govern her physical, emotional, mental, and spiritual evolution and expansion,” explains Sy. “Experiences during pregnancy vary, but one thing I heard a lot of women mention is how much they missed ‘the belly’ once they gave birth. I love the proportions of Jodie’s body and wanted to literally cast this trippy, transformative moment ‘in stone’—to pause it! I asked Jodie if she would be open to me testing the process and casting her belly and she said, ‘Yes, babe.’”Once Sy got the green light, she asked friend, production designer, and visual artist Briana Gonzales to help guide her through the body-casting process. “I wanted the piece we created to look like a fragmented classical sculpture,” explains Sy of her vision, “delicate, but sturdy. Ultimately, I wanted Jodie to marvel at herself in this particular form. I knew it would be a cool, physical memory to have once she gave birth. It was my gift to Jodie, her husband, and her daughter in years to come.”Belly-casting offerings are becoming more widely available by way of artists; specialized small businesses, such as British belly-casting studio Rock the Bump; and people giving birth support services, such as New York holistic birth doula Joyce Havinga-Droop of Birth Ambassador. A mother of three, Havinga-Droop first became acquainted with belly casting when her stepdaughter, who is an artist, proposed helping her make one while she was pregnant 12 years ago. “I loved the idea of eternalizing the magic of the moment,” explains Havinga-Droop. “Plus, it’s a beautiful, intimate ritual that you can do with other loved ones from your inner circle.” At Birth Ambassador, Havinga-Droop offers support for mothers, couples, or bigger groups in creating a belly cast together. The mold can be left in its natural, raw state or sanded down, painted, and embellished. “During the third trimester of pregnancy, it’s important to slow down and get more into a nesting mode,” she says. “Decorating and going all out on the belly is definitely one way of doing that.”An evocative keepsake of pregnancy, belly casts quite literally cement and commemorate a woman’s growing bump as an objet d’art. “A mother will have a memory of the moment that her belly was big and full of life,” says Havinga-Droop. “It slows her down [and allows her] to take a moment and be present for the miracle that’s growing.” Moreover, the act of bringing a belly cast to life is a sacred tribute to motherhood and the power of female community, one that feels especially poignant for all parties after the challenges of the past year and the current emphasis on starting anew. This week, Frieze makes its return to New York. Scuttled last year due to the coronavirus pandemic, the five-day event will be the city’s first in-person, single-venue art fair since the Armory Show last spring (and Frieze’s first showing since Frieze L.A. in February 2020).Much about Frieze New York will be familiar to regulars, from the wide-ranging group of participating galleries to the engaging program of discussions, screenings, and other activations planned; but perhaps more still will be slightly modified to suit our current moment. (For one thing, this year’s visitors will not commute to Randall’s Island.)So, what does a major art fair look like in 2021? Below, find everything you need to know about Frieze New York. This year, Frieze New York will take place at The Shed in Manhattan’s Hudson Yards, running from May 5 through 9. As ever, the fair will bring together galleries from all over the world, if on a somewhat smaller scale: There will be approximately 60 exhibitors onsite at The Shed, compared to the 190 that typically turn up to Randall’s Island. (“The Shed was designed for flexibility, both in its architecture and its programming, which made it the best partner for this year,” Rebecca Ann Siegel, Frieze’s director of Americas and content has said.) Its popular “Frame” section, overseen this year by gallerists Olivia Barrett (of Chatêau Shatto in Los Angeles) and Sophie Mörner (of Company Gallery in New York), will also return; spotlighting emerging galleries established fewer than 10 years ago.Frieze Viewing Room, a rich program of virtual “collaborations, special projects and talks,” will run alongside the physical fair for those unable to attend in person.Representational justice will be a focus, with more than 50 galleries and institutions paying tribute to the Vision & Justice Project, an initiative established by Harvard professor Sarah Lewis “to expand visual literacy and explore the connection between race, citizenship, and image making.” Throughout the fair, gallerists will respond to the Vision & Justice Project’s mission—and to the prompt “How are the arts responsible for disrupting, complicating, or shifting narratives of visual representation in the public realm?”—through artworks, digital events, and more.For the Vision & Justice Project tribute, Massimo De Carlo will show Sanford Biggers’s Cipher. It belongs to Biggers’s ongoing Chimeras series, combining “various African and European masks, busts and figures that explore historical depictions of the body and their subsequent myths, narratives, perceptions and power.”Sanford Biggers, Cipher, 2019. Marmo di Kilkenny / Kilkenny marble, 74 × 23 × 20 cm.For those lucky enough to claim their tickets before they all sold out (one can join a waitlist here), COVID-19 safety will be a top priority at The Shed. Entry times are staggered by 15-minutes increments; visitors must submit either a recent negative COVID test or proof that they have been fully vaccinated for at least 14 days; and temperature checks and masks are required, including for children. As the Wall Street Journal reported, the total occupancy of the The Shed will be limited to about 850 through Frieze, including staff. Among the highlights of this year’s presentations: new paintings and sculptures by Dana Schutz, courtesy of David Zwirner; three works by the French artist Daniel Buren, courtesy of Lisson Gallery; important assemblages by Thornton Dial, courtesy of David Lewis; and new commissions from Carrie Mae Weems and Hank Willis Thomas for the Vision & Justice Project tribute. Additionally, “The Looking Glass”—a group show curated by Daniel Birnbaum, artistic director of Acute Art, and Emma Enderby, curator of The Shed—will foreground “augmented reality works” by Precious Okoyomon, Cao Fei, and Kaws. Both onsite and off, Frieze has inspired all kinds of intriguing programming. MatchesFashion.com, for instance, has created a video tour of the fair with curator and writer Antwaun Sargent, a podcast with photographer Catherine Opie, and a Frieze audio guide, among other media; and to coincide with The week’s events, Maison Margiela will debut an 11-monitor video installation of Marco Brambilla’s Nude Descending a Staircase No. 3 at its Crosby Street store. (Happily for anyone who misses Frieze proper, Brambilla’s installation will be on view to the public from May 5 through July 6.) The play’s the thing—but it may not be the only thing.The National Theatre’s Romeo & Juliet, originally scheduled to run last summer in London, joined the many stage productions canceled by the coronavirus pandemic. It seemed like there never was a story of more woe—but the show must go on. Producers endeavored to salvage what they could and reconfigured the project for the small screen.Shot at the playhouse over 17 days in December, the resulting production—premiering on PBS this Friday, April 23, in honor of William Shakespeare’s birthday (his 457th, for those counting)—mirrors the conditions under which it was made. Amid the backdrop of not only palpable death and soul-grinding sorrow but also the long-simmering tensions of a riven society where violence could break out at any moment, every grazing touch feels charged and every embrace precarious. Stepping into the well-worn shoes of the star-crossed lovers are two of the most buzzed-about actors of late: Jessie Buckley, who turned in impressive performances in 2018’s Wild Rose and the 2019 HBO series Chernobyl before garnering acclaim in Fargo season four and last year’s Charlie Kaufman thriller I’m Thinking of Ending Things; and Josh O’Connor, who in February won a Golden Globe for his portrayal of a sniveling young Prince Charles in The Crown and also appeared last year in Autumn de Wilde’s Emma.What drew both actors to these misadventured piteous overthrows was their yearning to get back on the boards—where both got their start—after years of critical-darling movies and prestige dramas. They had also wanted to collaborate after meeting almost a decade ago through theater circles and “knocking around each other for ages,” as O’Connor puts it via phone from Dublin, where he’s shooting the refugee drama Provision with Black Panther’s Letitia Wright.They found kindred spirits in one another—both were raised in artistic, pastoral families—and even once hatched a fanciful plan to live and work together with a like-minded group. “Sort of like collective-slash-cult,” O’Connor explains, before Buckley, also on the line, laughingly protests, “It wasn’t a cult, Josh, it was a commune!” “Would have turned into a cult,” he mutters.Their easy rapport translates into compelling chemistry onscreen. “Josh is one of my best friends, and I knew that I could fall off the cliff with it,” affirms Buckley, who called in from the English countryside, where she has been working on Alex Garland’s latest film. Love also played a role, as perhaps it must when it comes to one of the all-time great love stories. “Love in my own life had changed massively when this came my way,” Buckley says cryptically. “I just thought, I really want to figure out what love might be like in this play.”O’Connor, on the other hand, initially approached the role as toward school—with heavy looks. “I had this irrational idea of what Romeo and Juliet was,” he admits. “My limited experience of it was like: Here are two people who are just really naive, and all the adults are like, ‘You have no idea what love is, and you have no idea what you’re doing.’ I was on the adult side. I always felt that it is quite easy for particularly Romeo to be a little bit whiny. He goes from lovesick to being completely mad in love with someone else, and it all happens quite quickly.” Just think of all the (iconic) times Leonardo DiCaprio weeps in Baz Luhrmann’s 1996 adaptation.But he was quickly won over by the prospect of taking the storied National Theatre stage alongside Buckley. “I remember feeling terrified but also so thrilled and with fires in our bellies to go and tell this unbelievably epic love story on that stage.”Their enthusiasm for the production made it all the more devastating when it was shut down last spring. They approached the idea of a filmed version with some trepidation; both have said they had little interest in a Romeo and Juliet film project. “The prospect of doing it for film was a whole different story,” Buckley says candidly, not least because director Simon Godwin, artistic director of the Shakespeare Theatre Company in Washington, D.C., had never made anything for the screen before. “You’re creating it for an audience that will be seeing it through a screen, not one that will live it with you live every single night. That liveness with an audience is the great joy of being in a theater. This new thing is a bit scary because we don’t know what it is yet, and we have to create it basically from the ground up.”“Jessie and I had just spent three or four years making films,” O’Connor adds. The change in course “suddenly felt a little bit underwhelming.” In hindsight, he chuckles, “there’s nothing underwhelming about it at all. It’s as terrifying, if not more terrifying, making a film like that.” (He says both will continue searching for something to “scratch that itch” to perform together onstage.)Buckley recalls a quote O’Connor shared from the pioneering filmmaker Derek Jarman: “Oh how Shakespeare would have loved cinema!” (The two also exchanged music in preparation.) “What’s so incredible about Shakespeare is that the emotions are enormous,” she says. “It has the ability to reach to the back of a huge theater space but also the kind of electricity that you can contain when making a film, and have it still as vibrating as it is in a huge theater.”This production’s extraordinary conditions inevitably put a fresh cast on the most continuously popular of all Shakespeare’s plays since its first bow in the mid-1590s. “We are telling a very different story now because of the reality of what our circumstance was like,” Buckley says. “Our world of Romeo and Juliet was being told because of the pandemic. Creating it within the belly of a theater meant that we had to find a way to incorporate the reality, to make a building that had been asleep for the first time come to life again through story.”That reality included COVID testing twice a week and the most intimate scenes filmed in the first few hours after negative results. (At times a pillow stood in for the fair maiden.) “Something that was so present when we were filming was the fact that we couldn’t touch each other,” Buckley says, “and yet we were dealing with love and hate, where people’s relationships with each other are built through touch or lack of it. Actually, what was happening outside was helpful for the inside of our world.” The stifled feeling of lockdown pervades the film: steel walls clank down, heavy doors slide shut—there’s no natural light and no way out.It’s an onscreen world that captures this singular, remarkable period. “Jessie always says this is like a locked piece and moment in time that won’t repeat,” O’Connor says. “In a time when we can’t make work, in a space where we can’t allow people in, that concoction brewed something totally unique, which will never happen again.”Anon, here’s an exclusive clip of the famous balcony scene from Great Performances: Romeo & Juliet:Great Performances: Romeo & Juliet premieres Friday, April 23, at 9 p.m. on PBS, PBS.org, and the PBS Video app. Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary Thanosshirt This product belong to hung2 September Woman The Soul Of A Mermaid The Fire Of A Lioness The Heart Of A Hippie Flowers Tshirts Black With Secure Checkout (100% Secure payment with SSL Encryption), Return & Warranty (If you’re not 100% satisfied, let us know and we’ll make it right.), Worldwide shipping available, Buy 2 or more to save shipping. Last Day To – BUY IT or LOSE IT FOREVER. Only available for a LIMITED TIME – NOT FOUND IN STORES! Click here to buy this shirt: The Worst Day Ever Was On A Friday In Wrigleyville T-Shirt Throughout her journey to motherhood, Jodie Turner-Smith has done things on her own terms. While pregnant, the British actor pushed maternity style into new territory, notoriously celebrating her growing belly in a silky crop top and slip skirt on The Graham Norton Show. “#HereIsThatBumpYou’veBeenAskingFor,” she hashtagged alongside a snap of the look on Instagram. She also opened up about the struggles she faced navigating pregnancy and bracing to welcome her first child with husband Joshua Jackson—during a pandemic no less. “Every stage of my pregnancy brought its own challenges and lessons,” she wrote in an essay for British Vogue’s September 2020 issue, recounting her nearly four-day labor. “Nobody really teaches you about what your body goes through to bring a child into the world until you’re actually doing it.” In chronicling the ups and downs, Turner-Smith has been leading a new era of women celebrating the beauty of their pregnant bodies. The physical manifestation of this spirit? The sculptural belly cast that Turner-Smith had made while she was just over eight months pregnant.You’d be forgiven if you weren’t already familiar with the term. Designed to immortalize the life-changing physical and emotional transformation of pregnancy, belly casts are 3D plaster molds of a mother-to-be’s growing bump or full torso, usually done a couple of weeks to a month before giving birth. The idea to do one was first floated to Turner-Smith by her friend Zeyna Sy, a creative and content producer that has worked with Marley Natural and Outdoor Voices, who was inspired as she witnessed Turner-Smith’s transition into motherhood. “As Jodie’s baby grew, I knew it must have been a very foreign feeling to have someone else govern her physical, emotional, mental, and spiritual evolution and expansion,” explains Sy. “Experiences during pregnancy vary, but one thing I heard a lot of women mention is how much they missed ‘the belly’ once they gave birth. I love the proportions of Jodie’s body and wanted to literally cast this trippy, transformative moment ‘in stone’—to pause it! I asked Jodie if she would be open to me testing the process and casting her belly and she said, ‘Yes, babe.’”Once Sy got the green light, she asked friend, production designer, and visual artist Briana Gonzales to help guide her through the body-casting process. “I wanted the piece we created to look like a fragmented classical sculpture,” explains Sy of her vision, “delicate, but sturdy. Ultimately, I wanted Jodie to marvel at herself in this particular form. I knew it would be a cool, physical memory to have once she gave birth. It was my gift to Jodie, her husband, and her daughter in years to come.”Belly-casting offerings are becoming more widely available by way of artists; specialized small businesses, such as British belly-casting studio Rock the Bump; and people giving birth support services, such as New York holistic birth doula Joyce Havinga-Droop of Birth Ambassador. A mother of three, Havinga-Droop first became acquainted with belly casting when her stepdaughter, who is an artist, proposed helping her make one while she was pregnant 12 years ago. “I loved the idea of eternalizing the magic of the moment,” explains Havinga-Droop. “Plus, it’s a beautiful, intimate ritual that you can do with other loved ones from your inner circle.” At Birth Ambassador, Havinga-Droop offers support for mothers, couples, or bigger groups in creating a belly cast together. The mold can be left in its natural, raw state or sanded down, painted, and embellished. “During the third trimester of pregnancy, it’s important to slow down and get more into a nesting mode,” she says. “Decorating and going all out on the belly is definitely one way of doing that.”An evocative keepsake of pregnancy, belly casts quite literally cement and commemorate a woman’s growing bump as an objet d’art. “A mother will have a memory of the moment that her belly was big and full of life,” says Havinga-Droop. “It slows her down [and allows her] to take a moment and be present for the miracle that’s growing.” Moreover, the act of bringing a belly cast to life is a sacred tribute to motherhood and the power of female community, one that feels especially poignant for all parties after the challenges of the past year and the current emphasis on starting anew. This week, Frieze makes its return to New York. Scuttled last year due to the coronavirus pandemic, the five-day event will be the city’s first in-person, single-venue art fair since the Armory Show last spring (and Frieze’s first showing since Frieze L.A. in February 2020).Much about Frieze New York will be familiar to regulars, from the wide-ranging group of participating galleries to the engaging program of discussions, screenings, and other activations planned; but perhaps more still will be slightly modified to suit our current moment. (For one thing, this year’s visitors will not commute to Randall’s Island.)So, what does a major art fair look like in 2021? Below, find everything you need to know about Frieze New York. This year, Frieze New York will take place at The Shed in Manhattan’s Hudson Yards, running from May 5 through 9. As ever, the fair will bring together galleries from all over the world, if on a somewhat smaller scale: There will be approximately 60 exhibitors onsite at The Shed, compared to the 190 that typically turn up to Randall’s Island. (“The Shed was designed for flexibility, both in its architecture and its programming, which made it the best partner for this year,” Rebecca Ann Siegel, Frieze’s director of Americas and content has said.) Its popular “Frame” section, overseen this year by gallerists Olivia Barrett (of Chatêau Shatto in Los Angeles) and Sophie Mörner (of Company Gallery in New York), will also return; spotlighting emerging galleries established fewer than 10 years ago.Frieze Viewing Room, a rich program of virtual “collaborations, special projects and talks,” will run alongside the physical fair for those unable to attend in person.Representational justice will be a focus, with more than 50 galleries and institutions paying tribute to the Vision & Justice Project, an initiative established by Harvard professor Sarah Lewis “to expand visual literacy and explore the connection between race, citizenship, and image making.” Throughout the fair, gallerists will respond to the Vision & Justice Project’s mission—and to the prompt “How are the arts responsible for disrupting, complicating, or shifting narratives of visual representation in the public realm?”—through artworks, digital events, and more.For the Vision & Justice Project tribute, Massimo De Carlo will show Sanford Biggers’s Cipher. It belongs to Biggers’s ongoing Chimeras series, combining “various African and European masks, busts and figures that explore historical depictions of the body and their subsequent myths, narratives, perceptions and power.”Sanford Biggers, Cipher, 2019. Marmo di Kilkenny / Kilkenny marble, 74 × 23 × 20 cm.For those lucky enough to claim their tickets before they all sold out (one can join a waitlist here), COVID-19 safety will be a top priority at The Shed. Entry times are staggered by 15-minutes increments; visitors must submit either a recent negative COVID test or proof that they have been fully vaccinated for at least 14 days; and temperature checks and masks are required, including for children. As the Wall Street Journal reported, the total occupancy of the The Shed will be limited to about 850 through Frieze, including staff. Among the highlights of this year’s presentations: new paintings and sculptures by Dana Schutz, courtesy of David Zwirner; three works by the French artist Daniel Buren, courtesy of Lisson Gallery; important assemblages by Thornton Dial, courtesy of David Lewis; and new commissions from Carrie Mae Weems and Hank Willis Thomas for the Vision & Justice Project tribute. Additionally, “The Looking Glass”—a group show curated by Daniel Birnbaum, artistic director of Acute Art, and Emma Enderby, curator of The Shed—will foreground “augmented reality works” by Precious Okoyomon, Cao Fei, and Kaws. Both onsite and off, Frieze has inspired all kinds of intriguing programming. MatchesFashion.com, for instance, has created a video tour of the fair with curator and writer Antwaun Sargent, a podcast with photographer Catherine Opie, and a Frieze audio guide, among other media; and to coincide with The week’s events, Maison Margiela will debut an 11-monitor video installation of Marco Brambilla’s Nude Descending a Staircase No. 3 at its Crosby Street store. (Happily for anyone who misses Frieze proper, Brambilla’s installation will be on view to the public from May 5 through July 6.) The play’s the thing—but it may not be the only thing.The National Theatre’s Romeo & Juliet, originally scheduled to run last summer in London, joined the many stage productions canceled by the coronavirus pandemic. It seemed like there never was a story of more woe—but the show must go on. Producers endeavored to salvage what they could and reconfigured the project for the small screen.Shot at the playhouse over 17 days in December, the resulting production—premiering on PBS this Friday, April 23, in honor of William Shakespeare’s birthday (his 457th, for those counting)—mirrors the conditions under which it was made. Amid the backdrop of not only palpable death and soul-grinding sorrow but also the long-simmering tensions of a riven society where violence could break out at any moment, every grazing touch feels charged and every embrace precarious. Stepping into the well-worn shoes of the star-crossed lovers are two of the most buzzed-about actors of late: Jessie Buckley, who turned in impressive performances in 2018’s Wild Rose and the 2019 HBO series Chernobyl before garnering acclaim in Fargo season four and last year’s Charlie Kaufman thriller I’m Thinking of Ending Things; and Josh O’Connor, who in February won a Golden Globe for his portrayal of a sniveling young Prince Charles in The Crown and also appeared last year in Autumn de Wilde’s Emma.What drew both actors to these misadventured piteous overthrows was their yearning to get back on the boards—where both got their start—after years of critical-darling movies and prestige dramas. They had also wanted to collaborate after meeting almost a decade ago through theater circles and “knocking around each other for ages,” as O’Connor puts it via phone from Dublin, where he’s shooting the refugee drama Provision with Black Panther’s Letitia Wright.They found kindred spirits in one another—both were raised in artistic, pastoral families—and even once hatched a fanciful plan to live and work together with a like-minded group. “Sort of like collective-slash-cult,” O’Connor explains, before Buckley, also on the line, laughingly protests, “It wasn’t a cult, Josh, it was a commune!” “Would have turned into a cult,” he mutters.Their easy rapport translates into compelling chemistry onscreen. “Josh is one of my best friends, and I knew that I could fall off the cliff with it,” affirms Buckley, who called in from the English countryside, where she has been working on Alex Garland’s latest film. Love also played a role, as perhaps it must when it comes to one of the all-time great love stories. “Love in my own life had changed massively when this came my way,” Buckley says cryptically. “I just thought, I really want to figure out what love might be like in this play.”O’Connor, on the other hand, initially approached the role as toward school—with heavy looks. “I had this irrational idea of what Romeo and Juliet was,” he admits. “My limited experience of it was like: Here are two people who are just really naive, and all the adults are like, ‘You have no idea what love is, and you have no idea what you’re doing.’ I was on the adult side. I always felt that it is quite easy for particularly Romeo to be a little bit whiny. He goes from lovesick to being completely mad in love with someone else, and it all happens quite quickly.” Just think of all the (iconic) times Leonardo DiCaprio weeps in Baz Luhrmann’s 1996 adaptation.But he was quickly won over by the prospect of taking the storied National Theatre stage alongside Buckley. “I remember feeling terrified but also so thrilled and with fires in our bellies to go and tell this unbelievably epic love story on that stage.”Their enthusiasm for the production made it all the more devastating when it was shut down last spring. They approached the idea of a filmed version with some trepidation; both have said they had little interest in a Romeo and Juliet film project. “The prospect of doing it for film was a whole different story,” Buckley says candidly, not least because director Simon Godwin, artistic director of the Shakespeare Theatre Company in Washington, D.C., had never made anything for the screen before. “You’re creating it for an audience that will be seeing it through a screen, not one that will live it with you live every single night. That liveness with an audience is the great joy of being in a theater. This new thing is a bit scary because we don’t know what it is yet, and we have to create it basically from the ground up.”“Jessie and I had just spent three or four years making films,” O’Connor adds. The change in course “suddenly felt a little bit underwhelming.” In hindsight, he chuckles, “there’s nothing underwhelming about it at all. It’s as terrifying, if not more terrifying, making a film like that.” (He says both will continue searching for something to “scratch that itch” to perform together onstage.)Buckley recalls a quote O’Connor shared from the pioneering filmmaker Derek Jarman: “Oh how Shakespeare would have loved cinema!” (The two also exchanged music in preparation.) “What’s so incredible about Shakespeare is that the emotions are enormous,” she says. “It has the ability to reach to the back of a huge theater space but also the kind of electricity that you can contain when making a film, and have it still as vibrating as it is in a huge theater.”This production’s extraordinary conditions inevitably put a fresh cast on the most continuously popular of all Shakespeare’s plays since its first bow in the mid-1590s. “We are telling a very different story now because of the reality of what our circumstance was like,” Buckley says. “Our world of Romeo and Juliet was being told because of the pandemic. Creating it within the belly of a theater meant that we had to find a way to incorporate the reality, to make a building that had been asleep for the first time come to life again through story.”That reality included COVID testing twice a week and the most intimate scenes filmed in the first few hours after negative results. (At times a pillow stood in for the fair maiden.) “Something that was so present when we were filming was the fact that we couldn’t touch each other,” Buckley says, “and yet we were dealing with love and hate, where people’s relationships with each other are built through touch or lack of it. Actually, what was happening outside was helpful for the inside of our world.” The stifled feeling of lockdown pervades the film: steel walls clank down, heavy doors slide shut—there’s no natural light and no way out.It’s an onscreen world that captures this singular, remarkable period. “Jessie always says this is like a locked piece and moment in time that won’t repeat,” O’Connor says. “In a time when we can’t make work, in a space where we can’t allow people in, that concoction brewed something totally unique, which will never happen again.”Anon, here’s an exclusive clip of the famous balcony scene from Great Performances: Romeo & Juliet:Great Performances: Romeo & Juliet premieres Friday, April 23, at 9 p.m. on PBS, PBS.org, and the PBS Video app. Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary Thanosshirt This product belong to hung2
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