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Melodrama / Casting: 8m, 3f / Scenery: Simple ints./exts. In this
version of the old melodrama, Todd has some grounds for his
nefarious activities: his wife was abducted and raped by the Judge
and his daughter abandoned, while he himself was deported on a
false charge. He returns to avenge his family, accompanied by a sea
captain, Anthony, whose life he has saved. Anthony falls in love
with a young girl, the Judge's ward, who turns out to be Todd's
daughter. Todd, meanwhile, sets up with Mrs. Lovett, the pie maker,
and provides her with fillings for her pies. He proceeds with his
vengeful plans but the outcome is bitterly ironic.
This book studies the interplay of theology and poetics in the
three great epics of early-modern England: the Faerie
Queene, Paradise Lost, and Paradise Regained. Bond
examines the relationship between the poems’ primary heroes,
Arthur and the Son, who are godlike, virtuous, and powerful, and
the secondary heroes, Redcrosse and Adam, who are human, fallible,
and weak. He looks back at the development of this pattern of dual
heroism in classical, Medieval, and Italian Renaissance literature,
investigates the ways in which Spenser and Milton adapted the
model, and demonstrates how the Jesus of Paradise
Regained can be seen as the culmination of this tradition.
Challenging the opposition between “Calvinist,”
“allegorical” Spenser and “Arminian,” “dramatic”
Milton, this book offers a new account of their doctrinal and
literary affinities within the European epic tradition. Arguing
that Spenser influenced Milton in fundamental ways, Bond
establishes a firmer structural and thematic link between the two
authors, and shows how they transformed a strongly antifeminist
genre by the addition of a crucial, although at times ambivalent,
heroine. He also proposes solutions to some of the most difficult
and controversial theological cruxes posed by these poems, in
particular Spenser’s attitude to free will and Milton’s to the
Trinity. By providing a deeper understanding of the religious
agendas of these epics, this book encourages a rapprochement
between scholarly approaches that are too narrowly concerned with
either theology or poetics.
Collection of four films starring Johnny Depp. In 'The Astronaut's
Wife' (1999), on a seemingly routine mission to repair a space
satellite, astronaut Spencer Armacost (Depp) loses contact with
Mission Control for a period of time. Once Spencer has returned to
Earth his wife Jillian (Charlize Theron) falls pregnant with twin
boys, but her joy is tempered by the suspicion that something
terrible happened to her husband in space - something which could
threaten the entire human race. In 'Dark Shadows' (2012), when
playboy Barnabas Collins (Depp) breaks the heart of the beautiful
Angelique Brouchard (Eva Green), an old family curse is released as
Angelique, a witch, turns Barnabas into a vampire before burying
him alive. Two centuries later, Barnabas is inadvertently freed and
emerges into the very changed world of 1972. Returning to his
former home at Collinwood Manor, he finds his estate in ruins and
the dysfunctional dregs of his family in tatters. Matriarch
Elizabeth Collins Stoddard (Michelle Pfeiffer) has enlisted the
services of live-in psychiatrist Dr Julia Hoffman (Helena Bonham
Carter) to help with her numerous family problems - but between
Elizabeth's loser brother, Roger Collins (Jonny Lee Miller), her
rebellious teenage daughter, Carolyn Stoddard (Chloë Moretz), and
Roger's precocious 10-year-old son, David Collins (Gulliver
McGrath), Dr Hoffman has certainly got her work cut out. 'Sweeney
Todd - The Demon Barber of Fleet Street' (2007), Tim Burton's film
version of the Stephen Sondheim musical, is based on a 'penny
dreadful' tale (which later became an urban myth) from the mid-19th
Century. The story centres around Benjamin Barker (Depp), a barber
who returns to London after spending years in exile for a crime he
didn't commit. He soon discovers from pie-maker Mrs Lovett (Bonham
Carter) that, in his absence, his wife has taken her own life and
his daughter is now in the care of the man who had him sent away -
the dastardly Judge Turpin (Alan Rickman). Seeking revenge and
filled with a murderous rage, Barker sets up a barber's shop above
Mrs Lovett's premises. Now calling himself Sweeney Todd, Barker
kills off all his customers with a razor to the throat and sends
their cadavers to the shop below to be used as a tasty new filling
for Mrs Lovett's meat pies. What was once the worst pie shop in
London quickly becomes one of the city's most popular eateries, but
Barker won't be satisfied until he can lure Judge Turpin into the
barber's chair... In 'Don Juan DeMarco' (1994) Marlon Brando plays
a psychiatrist whose last case, that of Don Juan (Depp), is his
most difficult. Don Juan is the world's greatest lover, having
seduced over 1000 women, and his amorous tales totally captivate
the analyst, re-awakening passions which he thought had been lost
forever.
Six strangers, a lonely farmhouse, surrounded by brain-eating
zombies - what could go wrong? Night of the Living Dead(TM) Live is
a fun and hilarious re-imagining of George A. Romero's legendary
classic. Set in 1968 and presented in all black and white, it
literally feels like the film has been brought to life and placed
onstage. The play lovingly examines the movie itself, the period in
which it was made, and the film's undying influence on the horror
genre. More than just a re-creation of the s
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