My host’s partner, Hollywood.com, activated today the Hollywood Bar on all fan-sites.org sites without Gertie’s OK on the Bar design and in the process messed up the layouts of all the sites.
It’s been looked at now, and will be fixed ASAP but until then the Hollywood Bar messes up the layouts of the sites more or less, depending on the design.
I just added wonderful shoot by Jeff Vespa.
I added some pics that were lying on my hard drive for too long. I added some of them directly to the ‘Various’ album, because honestly, I have no idea where to put them after all this time. Also, added some early pics of Rachel.
The Small Steps Project’s annual charity auction is back.
Stars from Kate Moss to Vivienne Westwood have donated a pair of signed footwear to raise money for the charity, which provides support and aid to children and their families living on rubbish dumps around the world.
Don’t know yet if it’s a part of a bigger photo set or not – but I’m on it!
October 27, 2013: A new production of Harold Pinter’s Betrayal opens on Broadway, in a production directed by Mike Nichols and starring Daniel Craig, Rachel Weisz, and Rafe Spall. The 1978 reverse-chronology drama about interlocking marital infidelities, universally acknowledged a classic, is the Big Event of the fall season.
October 23, 2013: At a press performance a few days before the opening, all sorts of pairings and power games are observed. Glenn Close and Bette Midler sit together; Midler gets the aisle. Just as the lights dim, Gayle King rushes to join Oprah a few rows ahead. Neither gets the aisle! Javier Bardem does not seem to notice. He is on the aisle.
A few minutes later: A very tasteful, tranquil, and often beautiful performance of Betrayal begins. Its style is best exemplified by Ian MacNeil’s scenery — a series of translucent boxes that fit within one another like Matryoshka dolls and float into place as scene succeeds scene. Or do scenesprecede scenes? Both, really. Though the standard description of Pinter’s “reverse chronology” is inaccurate (people don’t speak backward, and several scenes in a row actually move forward) the overall trajectory is indeed toward the past. It begins in 1977, two years after the affair between Emma (Weisz) and Jerry (Spall) has ended, and ends in 1968, just as it’s beginning. In between, Emma’s husband, Robert (Craig), is at first nonchalant, then resigned, then furious, then oblivious. In this way, Pinter betrays a fundamental condition of drama, that actions cause consequences. Instead, he has consequences causing actions, at least until he betrays that betrayal. Either way, it’s a closed loop. And Pinter sets his traps so smartly that each one gets a laugh and a wince as it springs shut.
Daniel Craig watches in the wings as his wife Rachel Weisz commits adultery every night with Rafe Spall.
It certainly raises the temperature of an already scorching production of Betrayal, Harold Pinter’s masterpiece of deceit about a married couple (played by Craig and Weisz) who cheat on each other.
Weisz’s Emma has been having an affair for seven years with Spall’s Jerry … who just happens to be the best friend of her husband Robert (Craig).
The play, as directed by Mike Nichols, sizzles with a passion that’s rarely revealed in other versions I’ve seen.