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。

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.

★★★★★ 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

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.　

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'.

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.

British fantasy-adventure television series

2013 BBC TV series

维达和亚瑟来自于两个完全不懂的生活背景，感性动人， 有时候古怪忧伤，却始终真诚如一。
全新演绎一段夹在两个矛盾冲突的家庭之间的现代茱莉亚和罗密欧故事。

It’s Christmas time on Saint Marie and Neville is preparing to head to Manchester to spend the holiday with his family. But his plans are abruptly changed when a billionaire shipping magnate dies in mysterious circumstances.
Things only get stranger when a minicab driver in London receives a Christmas card with an ominous message inside that turns the entire case on its head. For Neville and the team, will this be a case they can crack together?
Following the series ten cliff-hanger that left everybody swinging in suspense, Florence is jetting off for Christmas, leaving the team a member down. So, the Commissioner decides to enlist the help of retired officer, Dwayne Myers (Danny John-Jules). Alongside Marlon, Dwayne employs his unique style of policing to help investigate the case. Left to their own devices, the pair struggle on the best plan of action for apprehending a suspect. As rain falls, tensions rise - but as Christmas Day approaches, will they realise they’re more like one another than they originally thought?

At a reunion at all female college Lady Matilda's,Poppy Toynton,bossy housemate of principal Diana Ellerby,is murdered.Years earlier Lewis had visited the same college when fifteen-year old Chloe Brooks,visiting her student sister Ruth,had been attacked,supposably by Ruth's American boyfriend Jud Havelock,who disappeared. Chloe went into a coma from which she has only recently recovered but has little recall of that night's events. Lewis visits Ali McLennan,a retired colleague who worked on the Havelock case but she has no leads for him. Then she too is murdered and Lewis discovers that she was blackmailing Poppy for killing Jud. Poppy was also responsible for a hate campaign against several of her former student contemporaries,whose lives suffered as a result.

Women (many of them lesbian) artists, writers, photographers, designers, and adventurers settled in Paris between the wars. They embraced France, some developed an ex-pat culture, and most cherished a way of life quite different than the one left behind.

The film follows the story of young teen April whose troubled life began in a dustbin - a new born baby, abandoned and alone, not celebrated, not wanted but discarded and left like so much rubbish in an industrial bin behind a pizza parlour. On the morning of her fourteenth birthday April has a devastating row with her foster mother, Marion and leaves the house determined to find out where she really comes from, who she really is and maybe, just maybe, find her real mother. Telling no-one what she's up to or where she's going, April skips school and begins the search she's dreamed about all her life. It's a blur of social workers, children's homes and special schools as April revisits and recalls the key scenes of her fragmented past. It's a painful journey, sometimes frightening but there's also friendship and love and laughter. And now she's started, there's no going back - April must find her mother.

London, 1939. War is looming as the director of the National Gallery faces an unbearable task. The entire collection must be hidden in a filthy slate mine near a small Welsh village. A young man's obsession with one particularly raunchy Rembrandt and a torrential rainstorm bring the villagers together to rescue the pictures, hanging them around town -- the pub, washing lines and homes. In the process, their lives (and love) are tickled by a new appreciation of spectacular works.

Life Story (known as The Race for the Double Helix or Double Helix in the U.S.) is a 1987 TV film dramatisation of the discovery of the structure of DNA in 1953. The film was directed by Mick Jackson for the BBC's Horizon science series and won several prizes including the 1988 BAFTA TV Award as the Best Single Drama.

Nora Helmer has years earlier committed a forgery in order to save the life of her authoritarian husband Torvald. Now she is being blackmailed lives in fear of her husband's finding out and of the shame such a revelation would bring to his career. But when the truth comes out, Nora is shocked to learn where she really stands in her husband's esteem.

英伦影后《黛安娜》（2013）茱丽叶史蒂芬森、《特别响，非常近》麦斯冯西度领衔主演。
「假如有一天获封圣人，我将肯定是代表晦暗的一个。我会长期缺席于天堂，为地球上活于黑暗的人们去点灯。」 ──德蕾莎修女。
全球最知名的海外宣教士──德蕾莎修女深入印度行善的50年间，她无私的爱帮助 无数困顿灵魂走过生命最后一段路。她放下一切，入世行善，世人称她为「加尔各答的天使」。1979年，她荣获诺贝尔和平奖、2016年，梵蒂冈教宗将为她封圣，她的爱无远弗届。
德蕾莎修女27岁时便到加尔各一所修女会中学担任老师，耸立的高牆将这所学校与外围的贫民窟区隔，她不顾自己隐修女不能随意外出的身分，向梵蒂冈教会申请成为自由修女，只为了直接服务贫困的人。然而，在印度每日所见人世间的贫困、苦难、种种灾厄却深深折磨著德蕾莎修女的心灵，这段期间，德蕾莎修女不断写信给她的心灵导师──冯西度神父寻求精神上的救赎，本片从这些尘封的信件出发，诉说德蕾莎修女用爱接纳一切、拯救世人的背后，内心经历的一切挣扎、苦痛，最后臻至解脱，昇华为最坚定的信仰与爱

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