Да, и поэтому Джиллиан так хорошо всегда с мужчинами смотрится

Да, похоже, они сроднились! Я так рада этому...
Да она и со всеми так, потому что очень открытый, приветливый и доброжелательный человек Я бы показала её "обнимашки", да фотки дома. Она, как Карлсон, "чемпион мира по обниманиям"

Я тебя понимаю прекрасно, только мне бы хотелось на месте Тоби оказаться. В смысле, не обниматься, а побыть рядом, увидеть, выразить восхищение (интересно, как бы я это сделала, я же языка не знаю )

Насчёт роста. Я думала, ниже Джиллиан никого нет, а недавно узнала, что у Джуди Денч рост 155.
Так что ты третья моя знакомая Дюймовочка, maJulie

Можно, чуть-чуть похвастаюсь? http://radikal.ru/F/s54.radikal.ru/i144/0905/66/abfc9b2e0d07.jpg.html

Откуда там подсолнухи?

Наверняка, оттуда. А исключили по той же причине, по которой и я запостила здесь лишь ту часть фоток, где есть Тоби. На самом деле моя утренняя "добыча " была намного богаче.
Например, фоток с Джилл, раздающей автографы, десятка два точно)

Toby’s new baby,

Two years ago, Toby Stephens opened at the Donmar Warehouse in Harold Pinter’s Betrayal just as his first child was born. So he celebrated the arrival of his second by opening there again last night in Ibsen’s A Doll’s House.

His wife Anna-Louise Plowman gave birth just three weeks ago but that didn’t stop her sitting in the stalls with her mother-in-law, Dame Maggie Smith, to see Toby roll around on the floor with Gillian Anderson in Zinnie Harris’s Edwardian update.

Anna-Louise is a striking six-foot New Zealand blonde with curly hair, lately seen to advantage in Holby City on the box. She looked absolutely stunning, and I couldn’t stop myself congratulating her on regaining her figure so soon after the baby arrived.

Dame Maggie shot me an odd look and said, “Where have you been?” “The toilet and the bar, ” I replied truthfully as this was now the interval. “No, don’t be stupid, why do you look so well?”

“Oh, it must be from jogging on the heath in the sunshine, when we have some,” I replied. This drew an even blanker stare and then a look of horror: “Jogging?” “Yes, well, I was jogging this morning actually, but I fell down a foxhole and twisted my ankle.”

Maggie’s face collapsed in giggles. She was rather too glad, I felt, that athletic virtue had been suitably rewarded with a nasty turn. “At least it was a foxhole, and not a manhole, which is what Jack Tinker fell down in Spain about twenty years ago,” I rallied.

“What? A manhole? You mean to say that poor little Jack fell down a manhole? Did he really? Completely?”

I started to explain that Jack and his partner Adrian had had a very good lunch and were talking animatedly as they walked back to their patio for a siesta. Suddenly, Adrian realised he was talking to himself. He turned round, and saw a group of Spaniards gathered round a manhole, looking into it, trying to identify the strange little squeaks …

At which point the lights went down and the second act started, which was just as well really. Dame Maggie had already had more than she’d bargained for in coming to an Ibsen play.

это маленький, но очень милый фрагментик. Написан тем же репортером, что и последующий отзыв. Но он не о пьесе. А о "закулисье". О том, что у Тоби три недели назад родился второй ребенок (имя так и не говорят ), и он как и в прошлый раз отметил это событие спектаклем в Донмаре. О том, что Анна-Луиза несмотря не недавние роды, выглядит очень хорошо, и присутствовала на спектакле вместе с Мэгги Смит. Мэгги, как всегда, иронична, и вроде бы, в добром здравии и хорошем расположении духа.

A DOLL'S HOUSE - THE INDEPENDENT REVIEW

Anderson brings an X-factor to Ibsen revival

By Michael Coveney

Wednesday, 20 May 2009

There's an odd credit in the back of the programme to this powerful revival by young film-maker Kfir Yefet of Ibsen's breakthrough play about a doomed and argumentative marriage starring the luminescent Gillian Anderson of X-Files fame: the historical adviser is none other than Ffion Hague, wife of the former Conservative Party leader and published chronicler of Downing Street marriages.

Does that explain why Zinnie Harris has translated her new version from late 19th century Norway to Edwardian London in 1909 and shifted the tale of intrigue, fraud and betrayal from the world of finance to that of politics?

It's only a partially successful transposition, and lines like: "I've got him by his testicles," sound distinctly odd, even when uttered by former Doctor Who Christopher Eccleston, full of ire and splutter as Neil Kelman, a Lancastrian politician hastily removed from office after certain "allegations" and a huge falling out with the PM.

In Ibsen, the catastrophe is impelled by a newly appointed bank manager's wife, Nora, being verbally abused by her own husband when the deal she struck to save him in the depths of a nervous breakdown is exposed as a fraud. She gets up and goes, leaving him and the children. That door bang echoes down the last century's drama, and still today.

At the Donmar, Anderson's beautiful butterfly Nora is a politician's wife – Toby Stephens' magnificently haughty and ambitious new cabinet minister Thomas Vaughan declaring (to huge laughs) that "our staple is trust; it's all we have to offer the public" – who has worked without him knowing and even bought second-hand clothes which he wears and she repairs to pay off the debt.
But she still owes the last payment, and it's that hinge of uncertainty that defines the drama. The house Nora and Thomas are moving into – Anthony Ward's design is a vast circular library of empty bookshelves, packing cases, an upper level glimpsed through an oval skylight – was once in the possession of the now-ruined Kelman, barrister Krogstad in Ibsen.

This gives the play an added twist of bitter displacement, though it's not one that serves it all that well. The play happens over Christmas, and that cheerless irony is beefed up with Anderson entering and leaving in a filmic cross-fade, Stephens hustling through the proprieties with an eye on his political future and expenses.

Stalking the scene is Anton Lesser's devoted Dr Rank, dying of cancer but maintaining one of those ambiguous domestic triangles Ibsen excelled at. Anderson is the equal of the most vulnerable Noras I've seen – Cheryl Campbell at the RSC, Kelly Hunter on tour – but she's easily the most touchingly innocent, and the most beautiful.

It's worth noting the superb playing of Eccleston and Tara Fitzgerald (once a fine Nora herself at the Birmingham Rep) as his true love, Mrs Lyle (Mrs Lynde in Ibsen), and Nora's best friend, in the sub-plot recipe for a slightly more ideal marriage. The play still bristles with hurt, relevance and anger, and didn't really need the political patina. Nice job, though

Gillian Anderson of The X-Files fame and former Doctor Who actor Christopher Eccleston have joined forces to appear in a London production of Henrik Ibsen's A Doll's House.

In this version the action has been moved from Norway to London
The result will no doubt appeal to sci-fi fans who may have secretly wondered what might happen if FBI agent Dana Scully ever crossed paths with a certain Time Lord.
More striking than its eye-catching casting, however, is the way this Donmar Warehouse revival brings a topical edge to this 19th-Century classic.
How? By making Norwegian banker Torvald Helmer - renamed Thomas Vaughan in Zinnie Harris's adaptation - a Westminster politician facing a career-wrecking scandal.
It is a bold move that cannot help but reflect the current uproar over MPs' expense claims and financial underhandedness.
One suspects, though, the play would strike chords of recognition even if its launch did not coincide with such a national cause celebre.
Since the X-Files TV series came to an end in 2002, Anderson has carved a new niche for herself as a star of British films and the West End stage.
Arrogance
Earlier this year she featured as an "honorary Brit" on a list of the UK's 20 most powerful women in theatre compiled by Harper's Bazaar magazine.
She was also seen as Dickens' Lady Dedlock in the BBC's Bleak House serial, a performance that landed her a Bafta nomination.

Eccleston (left) plays a disgraced politician desperate to save his career
The period gowns she wears in A Doll's House recall that series, but her character could hardly be more different.
Flighty and girlish, Nora Vaughan is a trophy wife who lives to please her minister husband - played with a preening, patrician arrogance by onetime Bond villain Toby Stephens.
In truth, however, Nora has been keeping a secret from Thomas that could bring their comfortable middle-class existence crashing about their ears.
Unbeknownst to him, Nora forged her late father's signature to secure a loan from Thomas's bitter rival Neil Kelman, played by Eccleston.
When he arrives at her home on Christmas Eve threatening to expose her, she finds herself in an impossible situation.
Traditionally, this marital intrigue has formed a preamble to Nora's climactic realisation that her life is an illusory sham.Hypocrisy
Armed with this discovery, she makes an empowering decision to leave her husband and two children that shocked audiences when the play was first staged in London in 1889.
This climax, strikingly staged by Israeli-born director Kfir Yefet, still exerts a dramatic force in the Donmar's intimate studio space.

Perhaps inevitably, though, it is Stephens' essay in rank hypocrisy and self-serving venality that leaves the strongest impression.Eccleston's role is a minor one by comparison, though he convincingly portrays a desperate man fighting for survival in his relatively brief appearances.
The strong cast is augmented by Tara Fitzgerald as Nora's impoverished friend Christine and Anton Lesser as a doctor stoically facing a terminal illness.
Leading from the front, though, is Gillian Anderson in a compelling performance that could well see her shortlisted for further accolades.
Intriguingly, the programme lists Ffion Hague - wife of shadow foreign secretary William - as the production's historical advisor.
Her husband's Westminster colleagues have until 18 July to catch a play they may see more of their world in than they would like to admit.

Skullduggery unbridled: Toby Stephens as Thomas and Gillian Anderson as Nora.
A Doll's House

When A Doll’s House opened in London in 1889, this paper pronounced that “it would be a misfortune were such a morbid and unwholesome play to gain the favour of the public”. How alluring those words now sound.

Ibsen’s drama is a powerful statement of his radical beliefs about gender, the folly of idealism and the nature of modern love. In essence, it is the story of woman who wakes up to reality. The married life of Nora Helmer — here Nora Vaughan — is based on a lie. She can lay claim to her humanity only by breaking sharply with convention.

This is hardly the stuff of parched antiquity, but Zinnie Harris’s new version of the play updates it — in a manner at once topical and trite. Instead of the severe landscape of Ibsen’s 1870s Norway, we are in London in 1909 in a drawing room cluttered with packing cases.

Ibsen’s upwardly mobile bank worker Helmer and junior lawyer Krogstad are now politicians called Thomas Vaughan and Neil Kelman; Toby Stephens’s Vaughan has recently supplanted the disgraced and bitter Kelman (Christopher Eccleston) as a Cabinet minister. It’s intriguing that the production’s “historical adviser” is Ffion Hague, for it has little to say about history, but plenty about political unpleasantness.

The attempt at relevance nevertheless feels gratuitous. If anything, it works against the play. And there are real problems of credibility. Anton Lesser’s Dr Rank has tuberculosis of the spine, yet seems peculiarly agile. Meanwhile, Thomas, who is supposed to be every inch the busy politico, appears to have a good deal of time for fatuous chat and to be weirdly unconcerned at the thought that his letterbox may contain a missive from the prime minister.

A quip that it’s much too late for Nora’s friend Christine (Tara Fitzgerald) to be worried about the excessive breadth of her hips feels comically misplaced. It seems absurd, too, that Christine should have considered Kelman the love of her life but had no idea of a way to find him. How hard can it have been to track down a Cabinet minister in 1909? None of this detracts from the performances, which are impressive.

As Nora, Gillian Anderson is poised and affecting. Fitzgerald is subtle. Eccleston, though miscast, exudes virile menace, while Stephens as Thomas is sympathetically unsympathetic, creating just the right impression of poorly armoured bluster.

Ultimately the production succeeds on the strength of the performances. But this fine group of actors, crisply marshalled by Kfir Yefet, would have been better served by a different version of the play.

Indeed there is a nagging sense that some of the cast have balked at the unnaturalness of this revision: they seem to chafe at the boundaries of the text, at times harking back tantalisingly to the true poetic and mysterious shades of Ibsen.
Until 18 July. Information 0871 297 5454.

Wednesday May 20,2009
By Paul Callan

MANY a husband reeled back in horror after the premiere of Ibsen’s marriage-shaking play in 1879.

The fellow was actually challenging the sacred values of family life by suggesting a woman could break free of the marital gilded cage. What next? They will want the vote.

In a new version of this early foray into feminism, the highly-talented playwright Zinnie Harris has moved the action from provincial Norway to political Britain at the turn of the last century.

It is a world where duty, power and hypocrisy rule (no change there then) and the heroine Nora, faces many questions about her suffocating marriage.

Gillian Anderson – aka Dana Scully of X Files fame delves deep into the tortured persona of Nora. In a frequently moving and highly sensitive performance, she presents a woman who is imprisoned by her circumstances in a world where reputation is the highest prize.

She brings out the tragic anguish of her character and the deep fears that she experiences throughout her tempestuous relationship with her politician husband.
She is petrified that he will discover she took out a fraudulent loan at a time when he was seriously ill – a loan organised for her by one of her husband’s political enemies.

She soon finds herself in a terrible blackmail situation – and one can see the mounting, white-faced desperation on Ms Anderson’s face.

This is a complex play, full of swirling emotions, and Ms Anderson quite brilliantly guides us through the whole gamut of her terror.

Toby Stephens brings a sharp-edged cruelty to his portrayal of her husband Thomas. His sudden transformation from lascivious spouse to snap-tempered bully is effective and even frightening.

Christopher Eccleston gives what must surely be one of the performances of his life as the villainous, blackmailing Kelman. He has the advantage of a roaring voice and his very height – well over six feet – only adds to the terror he instils in the hapless Nora.

Tara Fitzgerald, as Christine, is a cleverly-played counterpoint to the increasingly hysterical Nora.

And there is a delicate moment when she confronts a now near-broken Kelman, reminding him that they were once lovers.

The final scene, in which Nora finally asserts herself as a woman and as a strong individual has great strength[b].[b]Gillian Anderson projects great power in this scene – one in which she rejected her pathetic husband’s whining entreaties not to leave him.
As she had said earlier in the play: “I’m not the silly Nora everyone thinks I am.”

And off she strode, claiming victory for womankind.

NonAngel, в этой статье оченно много и хорошо про Джиллиан написано.

Спасибо, сейчас попробую перевести))

maJulie, где ты берёшь эти отзывы, если не секрет?

еще один
Telegraph review of Dolls House, May 20th 2009
Doll's House, at the Donmar Warehouse - review
The Westminster setting of Ibsen’s feminist classic strikes a chord but fails to satisfy . Rating: * * *

Charles Spencer
Last Updated: 11:43AM BST 20 May 2009
Toby Stephens and Gillian Anderson in A Doll's House Photo: ALASTAIR MUIR
By and large I don't approve of rewriting the classics. I'm happy with a modern-dress Hamlet, but to have the text of Hamlet rewritten by a modern author would strike me as an outrage.
I therefore have some qualms about this production of Ibsen's great feminist drama. In the programme, poor old Henrik has to share the authorship credit with Zinnie Harris, the playwright responsible for this new version, though hardly one in the same league as Ibsen. And she has certainly taken some liberties.
The action has moved from Norway to London, the period setting advanced thirty years to 1909. Nora's husband is no longer a provincial banker but a newly appointed secretary of state in the British Government. The blackmailing loan-shark Krogstad, in Ibsen's original a humble clerk, is now Thomas's predecessor in the Cabinet post, who has been sacked by the Prime Minister for fraud; though the victim claims to have been set up by spin doctors.
For all its ingenuity, Ms Harris's new version isn't much cop. She doesn't have much of an ear for Edwardian English dialogue; I doubt whether any respectable woman in 1909 would have publicly described her late husband as "the old sod" in polite society as one character does here.
As previous productions have shown, Ibsen's portrait of a dreadful marriage, in which the wife is constantly patronised and diminished by her husband, has no need of either updating or relocation. Performed even halfway decently it always creates a shattering theatrical impact, so strong is the characterisation, so skilful the construction.
There is no doubt however that the Westminster setting strikes a chord in our present political climate and when Nora's dreadful husband proclaims, "As politicians our staple is trust. That is, after all, all we have to give to the public," Ibsen's old play suddenly seems like an up-to-the-minute satire, drawing mocking laughter from the audience.
Blessed with an outstanding company, Kfir Yefet's production delivers where it matters, though he could ratchet up the tension even more forcefully.
Gillian Anderson has come a long way from her X-Files days, and she is a superb Nora, by turns sexy, neurotic, manipulative, terrified, and in the great last act absolutely merciless as she compares her position as a wife to that of a prostitute and slams the door behind her.
Toby Stephens bitingly captures the insufferable superiority, patronising cruelty and unearned grandeur of her complacent husband – he's the very model of a modern politician in fact – and there is strong support from Tara Fitzgerald as Nora's tough-minded friend, Christopher Eccleston as the bad egg she finally redeems and Anton Lesser as the sinister
Dr Rank. Nevertheless, I'd rather have seen this terrific cast in a faithful translation rather than Harris's hubristic adaptation.

Вот опять, "играют потрясающе, но лучше бы посмотреть на них в классической постановке"

Да, актёров хвалят, это очень приятно, но меня просто бесит, что Джиллиан постоянно представляют как "она же Дана Скалли из .... не буду называть....". Неужели кому-то до сих пор непонятно, что она уже далеко ушла от этого образа!
Да ладно критики! Многие поклонники после спектакля просили Джиллиан, чтобы она оставила им автограф на фотографии ... Скалли! Это просто возмутительно

Извините мне мой пыл, но наболело

Всё-таки какие ретрограды эти критики! Упорно не желают принять ни свежий взгляд на пьесу, ни попытки актёров уйти от назойливых амплуа!

Вот мы гораздо более прогрессивные! И верим в своих любимых актёров

Это я заметила

А где сама статья? Ты её запостишь, надеюсь?

Спасибо большое!