(Stills & screencaps courtesy of RANet and Cinemaring)
With apologies to John Donne. I have been catching up on my sleep today–it was inevitable I would need to after several near-sleepless nights.
I see you ladies have carried on brilliantly (as I knew you would). One thing I noticed in several of the comments made–a common thread that kept popping up–was that sense that many of us feel as if we are, at times, isolated in our affection and adoration for Richard Armitage.
He is not exactly a household name yet–although I think that will change somewhat when Thorin commands the big screen in a few months–and there are many who don’t know what a treasure they are missing out on in this remarkable man.
A treasure, that is, if you appreciate a breathtakingly beautiful human being who is also enormously gifted and willing to put in the hard work to make the most of his gifts; a man who has a great deal about which he could be vain and egotistical, yet remains refreshingly modest and down-to-earth in nature. A gentleman and a genuinely nice man who possesses both consummate technical proficiency at his craft, and the spark of the divine that lights up his performances.
Ah, but you who have known me for any length of time at all know I can endlessly wax rhapsodic about the bloke. That’s the effect Armitage has on me.
When you discover something really wonderful, something that excites and intrigues your mind and fires your imagination (and yes, let’s admit it, your libido) in the way Richard does, you want to explore it. You want to talk about it. You want to have someone who understands why you feel the way you do, who won’t be patronizing or condescending or just plain think your elevator does not reach the top floor anymore.
And so we have our RA websites, forums and blogs. These give us the opportunity to reach out across the planet and say, “Hey, I know just where you are coming from. I feel the same way.”
We can discuss, we can drool, we can agree to disagree on certain aspects of his career; we can swoon and squee and speculate on where his career may take him next. Thud over newly discovered photos and videos and interviews and relish recalling the familiar ones. We can learn about Richard Armitage and in the process, learn new things about each other and about ourselves.
And a wonderful by-product of all this? We make friends. Friends who remind us that we are not alone. No RA fan has to exist in a vacuum.
Well, there you go . . .
(screencaps courtesy of RANet)
I’ve mentioned the iconic role of Atticus Finch as one I would love to see Richard interpret. Now here is a place where I would dearly love to see him perform. He’s spoken of wanting to do more stage work–and I can attest to the quality of the stages and the actors who trod the boards here. And it is less than an hour from my home. It is the Alabama Shakespeare Festival. But don’t just take my potentially prejudiced word for it. Here is an excerpt from Southern Living Magazine.
Lend me your ears. Broadway hath nothing on the Bard in Alabama and neither does jolly olde England. I should know. I’ve enjoyed some of London’s and New York’s best stage shebangs and marveled at the large-scale productions where headliners float on massive hydraulic sets amid fireworks and fancy costumes. I can honestly tell you that I’ve never had a better theater experience than at the Alabama Shakespeare Festival (ASF).
Alas, I can’t deny that Montgomery, the state’s sleepy capital, seems an unlikely place for the world’s sixth largest Shakespeare festival. There’s even a running joke among visiting actors and designers seeing the Carolyn Blount Theatre for the first time. “They often make a loud exclamation,” says ASF artistic director Kent Thompson. “They never expect the splendor and elegance of this building, especially in Alabama.” It’s true. When rounding that slow curve in Wynton M. Blount Cultural Park and taking on a full view of the sprawling 100,000-square-foot complex, it’s hard not to gasp. The redbrick structure, based on the designs of a 16th-century Italian architect, stands regal before a small lake, complete with black swans.
Hours Upon the Stage If you think the approach is great, just wait until the curtain rises. July is actually the finale of ASF’s repertory season, which means six shows continually run in either the 750-seat Festival Stage or The Octagon, a 225-seat black box theater. Naturally, the Bard’s timeless works take the lead, but the theater is as well-known for its contemporary productions as for its classics. Plays by modern greats, such as Tom Stoppard and Neil Simon, share billing with shows by up-and-coming playwrights.
Of course, a play is only as good as its acting, and this season’s company is made up of players from all over the country. “We recruit the finest actors from New York, Chicago, and Los Angeles, among other places,” says Kent.
The diverse composition of talent, the phenomenal facilities, and the high-quality plays provide a complete theater experience. I stand behind my claim that pound of flesh for pound of flesh, ASF holds its own with any theater around.
As you can see, ASF is a pretty special place. And Montgomery would be a great place to work on a southern accent. Plus, the Blount Cultural Park with its plentiful verdant spaces is a wonderful area to go for fresh air and exercise. The locals are friendly (we don’t call it southern hospitality for nothing) and the food is fantastic. I’m just sayin’, Richard . . .