User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Touched by an Angel — Rate This. Fear Not! Season 1 Episode 9. All Episodes Monica must help Joey, who has a mental condition, deal with the fact that his friend Serena is dying from a heart condition.
Serena was to be the angel at the town's Christmas pageant. Added to Watchlist Add to Watchlist. Christmas TV. How Soon is Now.
Share this Rating Title: Fear Not! Use the HTML below. You must be a registered user to use the IMDb rating plugin. Photos Add Image Add an image Do you have any images for this title? Edit Cast Episode cast overview: Roma Downey Monica Della Reese Serena as Rae'ven Kelly Paul Wittenburg Joey Monique Ridge-Williams Edna as Monique Ridge Randy Travis Wayne Charles Rocket Adam Charles Metten Deacon Jamison Toni Lynn Byrd Serena's Mother Johnny Biscuit Harry Gloriana Choir Alan Gregory Shepherd Wayne Brennen Edit Storyline Monica and Tess travel to a small town and meet Joey, a mentally-challenged boy who is afraid of the dark.
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National Trust. Premium Articles. Subscription offers. Subscription sign in. Read latest edition. UK Edition. US Edition. Log in using your social network account. Please enter a valid password. Keep me logged in. Try Independent Premium free for 1 month See the options. You can form your own view. Subscribe now. Shape Created with Sketch. Calderon's play is one of the masterpieces of the Spanish Golden Age. The predicament of the young prince, Segismundo, calls to mind the Chinese sage's story of the man who dreams he is a butterfly and wakes to wonder whether he is actually a butterfly dreaming he is a man.
This youth is at the mercy of political fluctuation: he's been imprisoned in a dark tower from birth because of a horoscope that predicted he would usurp the throne. Then, when there are anxieties about the succession, his father has him drugged, brought to the Palace, and bafflingly treated like a prince. A poetic piece that tackles deep metaphysical, political matters in a dazzlingly theatrical way. A play of astonishing breakthroughs. There had been plenty of soliloquies in Elizabethan drama beforehand. But no-one had ever talked to an audience like Hamlet. He doesn't just let you into his confidence, he lets you into his consciousness; the best portrayals make you feel that you are soul-to-soul with this figure.
It's his capacity for searching introspection that gets in the way and disqualifies Hamlet as a revenge hero: he's rather wonderfully miscast. Hamlet is brilliantly self-reflexive, constantly probing its own theatricality. Feminism and expressionism collide in US playwright Sophie Treadwell's extraordinary vision of a mechanised, dehumanising metropolis. She's a stenographer, a sensitive cog in the machine who is blackmailed by her mother into marriage with a boss who revolts her, and ends up condemned to the electric chair for murdering him. Treadwell's nagging dialogue, with its jangly staccato and syncopated telegraphese, uncannily anticipates Harold Pinter and David Mamet.
In Gogol's great phantasmagoric farce, an impecunious clerk newly arrived from St Petersburg is mistakenly assumed to be the eponymous inspector by the corrupt mayor and officials of this provincial town. Panic drives these paranoid locals to project a false identity onto this stranger.
Touched by an Angel (season 1) - Wikipedia
That would have been a good enough joke. Gogol, though, gives it an inspired, twist. His penniless nonenity turns out to be driven by an equivalent dread of being recognised as one of life's losers. So when he twigs to their exploitable mistake, he treats their absurd respect not to mention their bribes as long-overdue recognition of his true worth and becomes airborne with grandiosity. It's the interlocking lunacies that generate the comic delirium in this Russian masterpiece.
One of Pinter's most haunting and unnerving pieces. A married couple, Kate and Deeley, play games of power and possessiveness with the wife's former flatmate, Anna, who comes to visit for the first time in 20 years. The piece is horribly preoccupied with the use people make of selective — and conceivably invented — memories as weapon or way of gaining the upper hand.
The best Jacobean tragedy outside Shakespeare, The Changeling also seems to anticipate film noir. The heroine hires a shady type to bump off her fiance. This villain has a facial disfigurement, but the piece is alert to how perversely attracted we are to what repels us. The assassin demands her virginity as his blood-money and the slide into shadowy corruption becomes inexorable. There is a subplot in a madhouse that is designed as a distorted mirror of the main action in its obsession with disguise, lunacy, and sex.
This Pulitzer-winning American playwright explores the history of her great-grandmother in early 20th century New York. Esther is a black seamstress — unmarried and illiterate — who sews ravishingly beautiful garments for other women to wear on their wedding nights.
She gets what could be a last chance of happiness but it's destroyed in circumstances that are never sentimentalised. The sensual feel of fine fabric her means of supporting and expressing herself is conveyed with gorgeous descriptive power. Intimate Apparel manages to be uplifting without ever losing its irreverent humour. Sophocles's play is still the most powerful ever written about the conflict between our obligations to the state and our duty to the ties of kinship.
Antigone defies her uncle Kreon, the new ruler of Thebes, by burying her brother Polyneikes. He had brought an army against his native city and Kreon, in these politically volatile times, wants his corpse left for the dogs as an exemplary desecration. The philosopher Hegel saw this as the quintessence of true tragedy: not a conflict between good and evil, but between right and right.
In fact, productions nowadays tend to come down in favour of Antigone and her self-sacrificing intransigence. Richard Bean had the inspired idea of transposing Goldoni's 18th century commedia dell'arte romp from Venice to Brighton in Our jack-the-lad hero — frantically trying to hold down a pair of jobs, unbeknownst to either boss — is a failed skiffle player.
The complications are deliciously warped. One character does a bunk to Brighton disguised as her psychotic twin brother who has been bumped off by her posh twit of a boyfriend in a gangland brawl.
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Still with me? The dialogue is naughty and knowing, but there's a terrific innocent joy to the physical clowning which peaks in the delirious sequence where our hero has to dish up lunch to the two masters at the same time. A supreme example of how a writer can make a play by putting together a triptych of miniatures. Holman was brought up in the pacifist tradition and Making Noise Quietly looks at the long-range effects of war in three chance encounters. In the first, set in a Kent field in , a northern Quaker and an uninhibited London aesthete discuss their reasons for not fighting.
The third is set in the Black Forest in An English private, gone AWOL with his disturbed eight-year-old stepson, come into testing collision with a rich German businesswoman who survived the Holocaust. Writing of rare sensitivity and cumulative power. He wrote it as a vehicle for himself and Gertrude Lawrence, with indecent speed.
The play centres on two divorcees who, five years after their split, bump into each other on adjacent hotel balconies while on the first night of honeymoons with their new spouses. An elegantly contrived coincidence followed by a pattern of cheekily reversed expectations: most comedies end in marriage; this one begins with nobbled nuptials as the couple unceremoniously ditch their second partners and abscond to Paris together. Elyot and Amanda are the kind of flighty egotistical couple that can neither live together nor apart. The word AIDS was never mentioned by the President, and the struggle to find a cure was hampered by a lack of government recognition.
Kushner retaliated by putting gay men centre stage in an epic that shows them fighting to forge their private and public destinies. The piece rages from Antarctica and the damaged ozone layer to a baroque heaven that god has abandoned. Prophetic angels crash through ceilings. The presiding demon of the piece is one of drama's greatest monsters: the incorrigible and shameless Roy Cohn was a real-life Republican fixer and mentor to the young Donald Trump.
A middle-aged woman is buried in a mound of earth first up to the waist then, after the interval, up to the neck.
It is a sight that has never lost its capacity to startle. Except that his texts are great and this one is superb beyond belief. This enormous autobiographical drama is so raw and unremitting in its revelations about his dysfunctional Irish-Catholic family that the author left instructions — mercifully disobeyed by his widow — that the play was not to be performed until 25 years after his death. You can understand the trepidation. Long Day's Journey plunges deep into the tortured heart of the Tyrones — James, the acclaimed actor who sold out to commercial success, his wife Mary who has recently relapsed into morphine addiction, and their two sons.
When the play is under the baton of the right director, it's the like listening to the recapitulations in a great piece of music. You emerge drained but in a state of elating catharsis. Hector wants to teach boys knowledge that will last them a lifetime. But the headmaster has become obsessed with government league tables and has hired Irwin to teach them glib, exam-passing techniques. That's the clash at the heart of Alan Bennett's hugely popular hit.
It's set at a Yorkshire grammar amongst a group of clever sixth-formers. As with a lot of Bennett's work you can discern a revue-like structure in the play's glorious string of skits, gags, songs and sheer elating silliness. But it's also a brilliant portrait of a maverick teacher.
I'm small. I'm homosexual. And I live in Sheffield.
I'm fucked. Frank Hardy, an itinerant Irish faith healer, his wife, and his manager tell four monologues that contradict each other, leaving the audience to question truth and memory, lies and storytelling. Although Friel throughout maintains a — crucial — ambivalence, the play attains a sort of transcendent grace of its own.
Plays by this American writer tend to be long, slow — and strangely riveting. It is set in a kitschy, tat-filled Gettysburg guesthouse, where a fighting young couple interact with the dotty landlady and her blind but visionary friend. The house seems haunted: creepy dolls and pianos start playing themselves. All of this is a little spooky, but also rather emotionally stirring.
Fear and lust rub up against each other, sweatily; few other writers have captured the heat of the South like Williams, and this is the playwright at his most atmospheric. Blanche DuBois — the deluded southern belle who shacks up with her sister and her macho, abusive husband — is a summit part for an actress, and everyone from Vivien Leigh to Tallulah Bankhead, Cate Blanchett to Gillian Anderson have had a go.
The only surviving full trilogy of Greek tragedies, through Agamemnon, The Libation Bearers, and The Eumenides Aeschylus traces the impact of violence and revenge down a Royal family, throwing questions of justice and duty into sharp relief. The cycle is broken in Eumenides, where the gods form a court in which to try Orestes.