杰克·吉伦哈尔将把托尼奖最佳音乐剧《开心窝》搬上大银幕！吉伦哈尔将身兼主演和制片人于一身，原版音乐剧导演萨姆·戈尔德也将担任电影版导演。原版音乐剧改编自艾莉森·贝希德尔的同名回忆录，以艾莉森的三个年龄阶段展开，揭开了她与她那近乎畸形的家庭：母亲、兄弟、阴晴不定·机敏诡谲·阴阳怪气的父亲，之间惊人的新联络方式。吉伦哈尔即出演父亲布鲁斯·贝希德尔一角。 (@看电影）

In a run-down movie theater in central Massachusetts, three underpaid employees mop the floors and attend to one of the last 35 millimeter film projectors in the state. Their tiny battles and not-so-tiny heartbreaks play out in the empty aisles, becoming more gripping than the lackluster, second-run movies on screen. With keen insight and a finely-tuned comic eye, The Flick is a hilarious and heart-rending cry for authenticity in a fast-changing world.

In a run-down movie theater in central Massachusetts, three underpaid employees mop the floors and attend to one of the last 35 millimeter film projectors in the state. Their tiny battles and not-so-tiny heartbreaks play out in the empty aisles, becoming more gripping than the lackluster, second-run movies on screen. With keen insight and a finely-tuned comic eye, The Flick is a hilarious and heart-rending cry for authenticity in a fast-changing world.

In a run-down movie theater in central Massachusetts, three underpaid employees mop the floors and attend to one of the last 35 millimeter film projectors in the state. Their tiny battles and not-so-tiny heartbreaks play out in the empty aisles, becoming more gripping than the lackluster, second-run movies on screen. With keen insight and a finely-tuned comic eye, The Flick is a hilarious and heart-rending cry for authenticity in a fast-changing world.

In the final scene of Ibsen's 1879 ground-breaking masterwork, Nora Helmer makes the shocking decision to leave her husband and children, and begin a life on her own. This climactic event — when Nora slams the door on everything in her life — instantly propelled world drama into the modern age. In A Doll’s House, Part 2, many years have passed since Nora’s exit. Now, there’s a knock on that same door. Nora has returned. But why? And what will it mean for those she left behind?

In the final scene of Ibsen's 1879 ground-breaking masterwork, Nora Helmer makes the shocking decision to leave her husband and children, and begin a life on her own. This climactic event — when Nora slams the door on everything in her life — instantly propelled world drama into the modern age. In A Doll’s House, Part 2, many years have passed since Nora’s exit. Now, there’s a knock on that same door. Nora has returned. But why? And what will it mean for those she left behind?

They came for a class in writing. They got a lesson in survival.
SEMINAR is the provocative comedy from Pulitzer Prize nominee THERESA REBECK (Mauritius), directed by Obie Award winner SAM GOLD (Circle Mirror Transformation). JEFF GOLDBLUM starred as Leonard, an indiscriminately relentless teacher who believes he wrote the book on what makes an author great—and his four writing students, JUSTIN LONG, ZOE LISTER-JONES, JERRY O'CONNELL and HETTIENNE PARK get the schooling of their lives.
In SEMINAR, four aspiring young novelists sign up for private writing classes with Leonard (JEFF GOLDBLUM), an international literary figure. Under his recklessly brilliant and unorthodox instruction, some thrive and others flounder, alliances are made and broken, sex is used as a weapon and hearts are unmoored. The wordplay is not the only thing that turns vicious as innocence collides with experience in this biting comedy.

They came for a class in writing. They got a lesson in survival.
SEMINAR is the provocative comedy from Pulitzer Prize nominee THERESA REBECK (Mauritius), directed by Obie Award winner SAM GOLD (Circle Mirror Transformation). JEFF GOLDBLUM starred as Leonard, an indiscriminately relentless teacher who believes he wrote the book on what makes an author great—and his four writing students, JUSTIN LONG, ZOE LISTER-JONES, JERRY O'CONNELL and HETTIENNE PARK get the schooling of their lives.
In SEMINAR, four aspiring young novelists sign up for private writing classes with Leonard (JEFF GOLDBLUM), an international literary figure. Under his recklessly brilliant and unorthodox instruction, some thrive and others flounder, alliances are made and broken, sex is used as a weapon and hearts are unmoored. The wordplay is not the only thing that turns vicious as innocence collides with experience in this biting comedy.

一个古老的传说。莎士比亚悲剧的巅峰之作。
　　王被浮夸的辞藻蒙蔽了心灵，邪恶的女儿们得到了王国与财富，唯独诚实的小女儿郁郁远嫁。当她们曾经的信誓旦旦转眼之间化为不屑与厌恶时，王不得不流落荒野，在风雨交加中明白了何谓真情。只是，他已然疯了。善良的小女儿乔装回到父亲身边，以爱与宽恕唤回了父亲缥缈的理智。一场关乎手足、计谋、背叛的战争爆发了。女儿们一个个死去。黑暗中，王抱着小女儿的尸体，仰天大恸……
　　此剧由多位英美职业话剧演员加盟。他们在莎剧演出方面具有极为丰富的经验，代表了英美话剧表演的较高水平。其中格雷夫斯、麦可当纳德和迈克菲勒密已在英美话剧界活跃三十多年，熟悉并演出过每一部莎翁剧作，饰演过一百多个莎剧角色。奥考奈尔则为美国青年话剧演员中的佼佼者。四人的鼎力加盟不仅大大提升了此次制作的艺术水准，并为国内外莎剧表导演的交流提供一个良好契机。
　　美国纽约的雪城大学戏剧系六位毕业班学生也受邀参加此次演出，与北京大学外国戏剧与电影研究所的六位学生在剧中共同饰演角色，届时将分别登台亮相，为此剧注入不同的中西表演特色与理解。

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。

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。

When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family's Bechdel Funeral Home, her growing understanding of her own sexuality and the looming, unanswerable questions about her father's hidden desires.

When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family's Bechdel Funeral Home, her growing understanding of her own sexuality and the looming, unanswerable questions about her father's hidden desires.

When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family's Bechdel Funeral Home, her growing understanding of her own sexuality and the looming, unanswerable questions about her father's hidden desires.

When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family's Bechdel Funeral Home, her growing understanding of her own sexuality and the looming, unanswerable questions about her father's hidden desires.

The Glass Menagerie is Tennessee Williams’ poetic masterpiece, anchored by the ageing southern belle Amanda Wingfield, who hopes for her son Tom to fulfill her dreams of finding the perfect “gentleman caller” for her shy and damaged daughter Laura.

The Glass Menagerie is Tennessee Williams’ poetic masterpiece, anchored by the ageing southern belle Amanda Wingfield, who hopes for her son Tom to fulfill her dreams of finding the perfect “gentleman caller” for her shy and damaged daughter Laura.

It is Labor Day, and everyone is preparing for a neighborhood picnic. Since shy Millie does not have a date, neighbor Mrs. Potts suggests that Hal accompany her, much to the chagrin of Flo. Hal agrees, but he is much more interested in Madge. There is an undeniable attraction between the two, as much as they try to fight it. While getting ready for the picnic, the family and friends dance in Flo’s backyard to music playing nearby. Hal grows on each of the women, and they all vie for his attention. Several unfortunate things happen simultaneously: Millie gets sick from drinking too much whiskey while no one is paying attention. Hal accidentally offends Rosemary, the schoolteacher, who then screams at him, and Flo joins in criticizing him.
Hal sits in the shadows by himself while everyone leaves for the picnic. Rosemary and her boyfriend Howard decide to skip the picnic and go for a drive. Madge stays behind to change her dress. When she comes back outside and tries to console Hal, they kiss after a deep and revealing conversation. They run off together and spend the night in the car.
Howard brings Rosemary back to the house. As he leaves, Rosemary begs him to marry her. When Madge and Hal return, Madge is ashamed of what they did. Hal asks for one more kiss, and their “passion is revived”.[1] Madge breaks away and says that she never wants to see Hal again.
In the morning, Flo is frantic because she sees Madge crying hysterically. Rosemary leaves with Howard to get married, and everyone goes to the street to see her off. When Madge is left alone in the backyard, Hal shows up to talk to her. The others come back into the yard, and Hal is forced to leave. Madge finally admits that she loves him after he’s gone, and she enters the house crying. Alan leaves, and it is obviously over between him and Madge. A little while later, Madge comes out of the house with a suitcase and tells her mother that she’s going after Hal. The play ends with Flo watching her daughter leave.

It is Labor Day, and everyone is preparing for a neighborhood picnic. Since shy Millie does not have a date, neighbor Mrs. Potts suggests that Hal accompany her, much to the chagrin of Flo. Hal agrees, but he is much more interested in Madge. There is an undeniable attraction between the two, as much as they try to fight it. While getting ready for the picnic, the family and friends dance in Flo’s backyard to music playing nearby. Hal grows on each of the women, and they all vie for his attention. Several unfortunate things happen simultaneously: Millie gets sick from drinking too much whiskey while no one is paying attention. Hal accidentally offends Rosemary, the schoolteacher, who then screams at him, and Flo joins in criticizing him.
Hal sits in the shadows by himself while everyone leaves for the picnic. Rosemary and her boyfriend Howard decide to skip the picnic and go for a drive. Madge stays behind to change her dress. When she comes back outside and tries to console Hal, they kiss after a deep and revealing conversation. They run off together and spend the night in the car.
Howard brings Rosemary back to the house. As he leaves, Rosemary begs him to marry her. When Madge and Hal return, Madge is ashamed of what they did. Hal asks for one more kiss, and their “passion is revived”.[1] Madge breaks away and says that she never wants to see Hal again.
In the morning, Flo is frantic because she sees Madge crying hysterically. Rosemary leaves with Howard to get married, and everyone goes to the street to see her off. When Madge is left alone in the backyard, Hal shows up to talk to her. The others come back into the yard, and Hal is forced to leave. Madge finally admits that she loves him after he’s gone, and she enters the house crying. Alan leaves, and it is obviously over between him and Madge. A little while later, Madge comes out of the house with a suitcase and tells her mother that she’s going after Hal. The play ends with Flo watching her daughter leave.

Setting: London in 1982

Act I



In the first scene the coldly witty Max correctly accuses his distant and travelling wife, Charlotte, of infidelity. She leaves embarrassed and angry.



The second scene appears to follow directly after the first, but Charlotte's personality has changed completely, and she is now married to a playwright named Henry. Gradually the audience realises that Charlotte is an actress, and the first scene was her performance in a play that Henry, her husband, wrote. She is unhappy with the play, believing that Henry gives short shrift to the female character in order to show off his own wit through the mouth of Max.



Max and his wife Annie drop by for a visit to Charlotte and Henry. Without the benefit of Henry's dialogue, Max turns out to be a likeable but negligible fellow, and Annie is, according to the script, "very much like the woman Charlotte has ceased to be." Annie is a devoted activist on behalf of an imprisoned vandal, Brodie, and Henry mocks her as a sentimental do-gooder, giving offence to Max. But when Annie and Henry are left alone, it's revealed that their fight was also a performance: they are having an affair, and she agrees to meet him later on the pretext of visiting Brodie in prison.



Max discovers the affair, and Annie leaves him to be with Henry. Soon, Henry is reduced to writing television scripts in order to pay alimony to Charlotte. He struggles to write a play about his love for Annie, but finds it difficult to find the right language to express sincere emotion: he is more comfortable with comedy.

Act II



Two years later, Henry's play about Annie remains unwritten. Annie asks him to ghost-write a play by the prisoner Brodie, whom she continues to visit. Brodie's incoherent anarchist politics, anti-intellectualism , and lack of ability for writing are the antithesis of everything Henry values. Annie discounts this in favour of the intention behind the writing. Henry defends the importance of beauty in language and skill in writing using an analogy with a cricket bat: good writing is like hitting a ball with a cricket bat (ie something that has been carefully designed to hit balls in the best manner possible); bad writing is like hitting it with a plank of wood (ie, something that has the same composition as a cricket bat, and bears it some resemblance, but is ultimately random and inferior).



When Annie is cast in a production of 'Tis Pity She's a Whore in Glasgow, she must be away from Henry for some time, and Henry visits Charlotte and their daughter Debbie. The teenage Debbie declares that monogamy is a thing of the past, a form of colonisation. Henry gently cautions the girl against his own vice of making clever phrases for their own sake, but he is shaken by her cynicism nevertheless. For her part, Charlotte breezily admits to multiple affairs during their marriage, and tells him that his affair with Annie only caused trouble because he treated it romantically instead of as a source of fun.



Henry returns home in a frenzy of jealousy and ransacks his and Annie's apartment searching for evidence of infidelity. His confrontation with Annie echoes the scene from the play he wrote that was performed in the first act of The Real Thing , but Annie has more to say than his imaginary wife did. She admits that she is having an affair with her young co-star Billy, but refuses to either give Billy up or leave Henry: both romances have a moral claim on her, and Henry will just have to accept it. With pain, he does.



As if their relationship were not under enough strain, Brodie is released from prison and stops by for a visit. He turns out to be a prize oaf, with all of Henry's arrogance and elitism, but none of the genuine skill or eloquence to back it up. At last, Annie pushes a bowl of dip in his face and throws him out of the house, and peace between her and Henry is restored. The play ends with a phone call from Max, who tells Henry that he has become engaged.