Paul Mescal to star as Shakespeare opposite fellow Irish actress as film gets release date
Hamnet, based on Maggie O'Farrell's 2020 novel, will feature the 29-year-old
Co Kildare
actor as
a young William Shakespeare,
and fellow Irish actress Jessie Buckley as his wife Agnes. The Irish-led project will feature
two Irish stars as the leading roles,
and is based on a novel by a Derry author. Mescal previously spoke about the role to Vogue, saying, "I can't wait. If I told a younger version of myself that this would be [shooting] this year, I wouldn't believe it."
The
historical film,
which has been sparking excitement among fans of both Mescal and Shakespeare, is set to be released in select cinemas this November 27, before expanding nationwide on December 12.
Read More
Related Articles
Melania Trump shows true colors with 3-word command to Donald at Pope's funeral
Read More
Related Articles
Putin's chilling 14-word demand to Zelensky after announcing three-day ceasefire
'Hamnet' is a fictionalized account of Shakespeare's young son, who died prematurely, and explores the profound love story that ultimately inspired Hamlet. It will also star Joe Alwyn and Emily Watson.
Last August, pictures from the set emerged, showing Mescal and Buckley in a passionate embrace, surrounded by two young girls. Both were dressed in costumes suitable for the period-drama, Paul donning a grey shirt and waistcoat which he tucked into a pair of navy trousers and knee high leather boots.
The movie has been adapted for the big-screen by Oscar-winning director Chloe Zhao, who previously directed Eternals starring
Barry Keoghan
. Stephen Spielberg is also named on the list of producers for Hamnet.
Hamnet won't be the first time Mescal and Jessie Buckley have worked together - the pair crossed paths while filming
The Lost Daughter in 2021.
Mescal said of Buckley at that time: "I think she's one of our present-day greats."
The 35-year-old from Killarney has starred in films like Wicked Little Letters and TV shoes like Fargo.
Earlier this month, Mescal completed his time playing Stanley Kowalski in an off-Broadway revival of
A Streetcar Named Desire.
He has a number of exciting projects in the works right now, including the film adaptation of the musical, Merrily We Roll Along, directed by Richard Linklater.
Shakespeare isn't the only iconic figure Mescal will play this year. The Kildare actor was also recently cast as
Paul McCartney in the highly-anticipated Beatles biopic.
He will star alongside fellow Irish actor Barry Keoghan, who will play Ringo Starr, as well as Joseph Quinn as George Harrison, and Harris Dickinson as John Lennon.
Paul Mescal will play Sir Paul McCartney
(Image: @SonyPictures/Instagram)
For the latest local news and features on Irish America, visit our homepage
here
.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Irish Independent
15 minutes ago
- Irish Independent
Beloved Baileys Irish Cream cows from Wicklow to star in new film
The latest offering by the Carlow director is his love letter to Irish produce, featuring surprising discoveries, connections and Irish influences across the globe, from Prince Albert of Monaco's ties to the Guinness family to our underappreciated contributions to wine making. Surprising viewers who think of Ireland as just the home of Guinness and Irish stew, the cast of A Sip of Irish includes a range of artisans and public figures, including Midleton whiskey blender Deirdre O'Carroll, Donegal-based Muff Liquor Co in which Russell Crowe is a proud investor and chefs Anna Haugh and JR Ryall of Ballymaloe, along with Una Healy, Ryan Tubridy, Laura Whitmore, winemaker Michael Flatley (founder of Flatley Whiskey) and Pat Shortt. Easily among the most colourful and captivating characters in the stellar cast, Tinahely farmer Joe Hayden and his herd of Holstein Friesian cows take centre stage in the first segment of the film, which premieres in the Tinahely Courthouse Arts Centre on August 1. Although he has worked with the likes of Ian McKellen and Judi Dench on Quintessentially British, and with Stephen Fry in Sparkling: The Story of Champagne, Frank said that the day spent filming on the unique Baileys Farm, where Joe's cows receive a full spa treatment, will live long in his memory. 'The film celebrates Ireland's contribution to the drinks and culinary world, and I wanted to find surprising stories for familiar products,' Frank began. 'It looks at whiskey, stout, artisan brands like Scraggy Bay and Muff Liquor, and also Bailey's Irish Cream. Ultimately, the film is an entertaining origin story for all those products. 'With Baileys, I thought, we know it's really popular. We know it's 50pc cream. We know it has sold two billion bottles around the world. But what don't we know? Where is it actually made? 'I discovered that the quintessential Baileys dairy farm is called the Baileys Farm in Tinahely, County Wicklow, and there's an amazing, dynamic farmer there called Joe Hayden who has won many awards for his Holstein Friesian cows. 'He has 230 cows that produce the cream for Baileys Irish Cream. He doesn't call them 'his herd' or 'his cows', but rather his 'Bailey's ladies', and he treats them as such. 'You often hear of racehorses being treated better than humans. And in a way, Joe has almost like a spa treatment set up for his cows because his philosophy is that a happy cow is more productive, which is a fact. A happy cow will produce better quality milk. ADVERTISEMENT Learn more 'He plays music to his cows. So, when they're in the milking parlour, the cows have to listen to his taste in music, which is The Killers, Bruce Springsteen, and Coldplay. He had a saxophonist there last week, and they seemed to like it. He thinks it makes them more productive, and he's probably right. 'When I went to the farm, I thought, this is amazing, Joe is a very forward-looking farmer with lots of interesting methods – I must be the first to have come here to put him and the Baileys Ladies on camera. But no, last month he had the Real Housewives of Orange County pay him a visit. So, the secret is out!' Delighted to have contributed to the production, Joe said that it was a privilege to collaborate with 'gentleman' Frank on a project that will place a global spotlight on Wicklow and its long-standing ties to products that have put Irish food and drinks on the map. 'This film is going to be huge for the Baileys Farm, and it's going to be a huge thing for Wicklow and Tinahely,' he said. 'To be featured in such a way, and to get the whole first segment of the film dedicated to us, it's fantastic for the county. 'Frank spent the day down here. He is a very interesting individual, and I really enjoyed working with him. An absolute professional, and a gentleman to boot. 'I wasn't sure how he was going to knit everything together, but the film is very cleverly done. The way Frank has woven the story of the Irish influences into everything from Hennessy to Californian white wine development – he's a very clever guy. I suppose, like in a lot of things, Ireland punches well above its weight. 'I've seen the film a few times, and every time I look at it, I enjoy it more. It's going to be very good for giving Wicklow exposure across the globe and for the business here, and I'm thoroughly looking forward to the premiere.' Just down the road from Joe's farm, Frank and his crew visited St Patrick's Well, which was supposedly visited by St Patrick in the fifth century, and is the most southerly point in Ireland he is known to have travelled to. As Frank explained, the reason he wanted to film there was to establish a connection with Prince Albert of Monaco, who has a paternal connection to the Guinness family on the Grimaldi side of the family. 'We came to shoot in Wicklow because there are two great locations right next to each other that tell very interesting stories that very little is known about,' he said. 'We spoke to Prince Albert in the film, as one of his ancestors married into the Guinness family, so he joked with us that he considers Guinness the family drink! 'Before coming to Ireland, St Patrick was educated at the Lérins Islands, which are just off the coast of Cannes, off the coast of Monaco. 'So in the film, we segue from Saint Patrick's Well in Wicklow to Monaco and Prince Albert talking about how two of his ancestors were the principal abbots of Lérins Monastery, where the monks make really nice red wine to this day. 'Another little-known story is the wine geese, these dynamic Irishmen from Galway, Tipperary and Kildare who left Ireland in predominantly the eighteenth and nineteenth centuries for France and set up vineyards that are still world famous to this day, including Lynch-Bages, Phélan Ségur, and Léoville Barton. 'So, again, of course, we're known for Guinness, stout, and whiskey, but in the film, we say, well, we should be known for wine as well. 'And Hennessy Cognac, as Richard Hennessy was from Cork, and we tell that story of how he ended up in Cognac having fought for the French King Louis XV against the English at the Battle of Fontenoy.' A Sip of Irish will premiere at the Tinahely Courthouse Arts Centre on Friday, August 1, at 8pm. Tickets are €8/€6 and available to the public via An additional public screening will take place on the same day at Carlow County Library at 3pm. There will be a reception sponsored by Baileys at both screenings. The film will be released on digital platforms, including Amazon Prime and iTunes, on August 2.
RTÉ News
4 hours ago
- RTÉ News
Irish-produced drama Mix Tape and the musical love letter
BBC drama Mix Tape, a tale of star-crossed lovers who bond over music, is coming to RTÉ soon but can it reinvigorate the lost art of the mix tape as musical love letter? It was a teenage rite of passage and also what the kids now call a major flex. Making a mixtape was a labour of love, a musical way into the heart of the one you fancied and also a proud artefact of just how very good your taste in music really was. Carefully pressing the right buttons on your twin tape deck, choosing the tracks of your hopes and dreams and lovingly inscribing the song titles and artists on the inlay card became something of a minor artform back in what some people probably correctly call simpler times. Van Morrison called it the inarticulate speech of the heart and for millions of seventies, eighties and nineties kids, the mixtape was the musical equivalent of the love letter - the spark for countless nervous conversations and maybe even debates. God knows, I still have a box of them in my spare room. And no, they weren't all retuned, un-played and unloved. These days, of course, you will see wizened old Boomers and Gen Xers posting tiresome memes on wizened old Facebook (it's where the adults hang out, OK?) of cassette tapes accompanied by a pencil. If you know, you know. This, apparently, is the modern age's equivalent of uncovering ancient runes and explaining arcane rituals to digital nativists. In our era of instant gratification, even the noughties phenomenon of the CD burn has given way to soulless Spotify playlists and causal YouTube shares on mobile phones. As ever, something has been lost but with a new generation turning to vinyl and even the cassette format making its own comeback, can the actual physical mixtape become a tribune of love once again? Perhaps recent BBC drama Mix Tape (ta-dah!), which is due to air on RTÉ soon, will inspire a fresh flood of spooling polyester plastic film coated with magnetic material as musical missives. Perhaps not. In any case, the fabled mixtape is the jumping off point for the four-part series. It is the overwrought story of two music mad Sheffield kids, with the very Irish names of Daniel O'Toole and Alison Connor, who meet as teens at a house party in 1989. The young Daniel (who looks like a cross between Grian Chatten of Fontaines D.C. and a young Neil Morrissey) is a music obsessive and he wins bookish Alison's heart with his impressive knowledge of Cabaret Voltaire. Then again, we later learn that his favourite Bowie song is Modern Love. Their first dance is to Joy Division's immortal Love Will Tear Us Apart, their first kiss is to The Jesus & Mary Chain, and when their bedroom fumbling goes much further, they DO IT to the strains of In-Between Days by The Cure. Oh, the drama! Oh, the great basslines! There isn't enough of The Fall featured in Mix Tape for my liking but music is the spine of young Dan and Ali's romance and it plays out the beats and missed heart beats of puppy love (thankfully, no songs by Donny Osmond were used in the making of this programme). Daniel slips his mixtapes into Alison's school bag and she hands him lovingly curated TDKs on the bus to school. We hear The Jesus & Mary Chain, The Velvet Underground and The Stone Roses. All very good, indeed. But just as their teen crush turns to full-blown romance, Alison vanishes from Sheffield, leaving Daniel feeling like a Morrissey song. It's an intriguing premise and the drama plays out in a dual timelines and dual time zones, making it a lot like Sliding Doors meets Sleepless in Seattle - a Proustian rush of 'what ifs' and 'if onlys' played out longingly in verboten mobile phone texts and mutual cyber stalking and the songs of their lost youth. Normal People it is not. However, it is fraught stuff. We follow Daniel and Alison, who is now a successful novelist living in Syndey and married to a total eejit, and move between their teenage romance in 1989 Sheffield and the modern-day reality of their adult relationships living on opposite sides of the world. Daniel and his wife aren't exactly singing from the same hymn sheet back in Sheffield. He now works as a music journalist but never seems to do any actual work (so, that makes sense) and he is toying with writing a book about some great lost music figurehead, like Daniel Johnson or Nick Drake. Mix Tape is a very Irish affair. The four-part drama was originated and developed by Dublin-based production company Subotica, who have previously produced North Sea Connection and The Boy That Never Was, with help from Ireland's generous Section 481 Film and Television tax incentive and the support of Fís Éireann/Screen Ireland and Screen Australia among others. It was also filmed entirely on location in Dublin and Sydney. And so, the former steel town of Sheffield is played by Dublin's Liberties (I was tickled to see that some of it was shot on the very street where I live), while location filming was also completed in Australia. However, things get seriously meta when the young Alison actually moves to actual Dublin and young Daniel nearly has a whitey on the actual Ha'penny Bridge when he sees her with another bloke. Strangely, no U2 was used in the making of this programme. Based on the novel by Jane Sanderson and adapted for television by Irish writer Jo Spain, the show stars Teresa Palmer as the adult Alison and Jim Sturgess as the adult Daniel and Rory Walton-Smith as young Daniel and Florence Hunt as young Alison. And here's the thing, the actors who play the younger versions of our protagonists are so much better than the anguished grown-up versions, who spend most of the time moping about like extras in a Cure video. Of course, the whole thing reminded me of that minor noughties indie hit about an estranged couple haggling over their shared record collection in the same way rich people haggle over their condo in Bel Air or their D4 pied-à-terre. If you're looking for a good music-based romance, Stephen Frears' film of Nick Hornby's High Fidelity is still your best. Mix Tape is a mite too tortured and joyless but it does have two major flexes - those Dublin locations and the actual music. It also asks an eternal question posed by music obsessives in every time line and time zone - can the songs that sound-tracked our young lives and loves ever really sound the same again?
Irish Examiner
6 hours ago
- Irish Examiner
Joe McNamee: Is it time to subsidise Irish hospitality?
Our shared and serious passion for music and film led my daughter and I to The Bear, a truly magnificent TV series (TV being the new 'film') set in a Chicago restaurant with Michelin star aspirations. As a recovering chef, I can confirm its authenticity, at times almost as stressful as actually being back in a slammed kitchen, slaving under a sociopathic bully — it is why some chefs I know can't watch it. Flush with marvellously written characters, we struggle to pick our favourite. We adore transcendently serene pastry chef Marcus and the sweetly naive Fak brothers; we flat out venerate jittery, driven head chef Sydney. Jamie Lee Curtis's monstrous matriarch is nitro-glycerine plonked next to an open furnace; her children, Michael, Natalie and Carmen Berzatto, three differing studies of the impact of her dysfunctional parenting. Every single character, even minor, is fully realised. And then there is 'Cousin' Richie Jerimovich (Ebon Moss-Bachrach), who runs front of house. A loud, boorish and deeply obnoxious character, we spent the first few episodes wishing him serious harm until, gradually, tiny slivers of his humanity and vulnerability began to slip through. But he utterly transformed in our eyes when sent on a training internship to the fictional Ever, 'the world's best restaurant', site of his Damascene culinary conversion. Breaking through his innate cynicism, he comes to understand why high-end restaurants operate as they do and, most of all, learns to appreciate the complexities of service and its fundamental importance in a good restaurant. After that, he could do little wrong in our eyes, even when he does — regularly — do wrong. Over a decade ago, after a major food awards in Dublin, two of Ireland's finest restaurant managers and I wound up in deep conversation about service, the lack of awards for service, wondering whether it related to the marked decline in service standards, from what was always a wildly varying benchmark. Irish restaurant service has only worsened since; good service — the exception rather than rule — is an unexpected pleasure rather than automatic entitlement when dining out. When Patrick Guilbaud first opened his now Michelin two-starred Dublin restaurant, it took him a while to realise most of his non-French waiters, many of them students, viewed their role as a mere staging post en route to a 'real' career. Indeed, working as a waiter/server has rarely been viewed as a profession in this country even though innate Irish sociability makes for a natural-born host. Service is about so much more than ferrying plates to and from the table and it takes time and effort to train even the good ones. Imagine the frustration when they then leave for a 'real job'! For all the advance 'engagement' — online, reviews and so on — a diner's first human interaction with a restaurant is through service. A good first impression is vital; sustaining it throughout the course of an entire meal, equally so. (Take note, all servers who seem to ghost a table once desserts are served.) More worryingly, I see the decline in standards of Irish restaurant service as a canary in the coalmine for the Irish hospitality sector overall. Many businesses operate on a fiscal model that wouldn't last kissing time in other industries, while a dining public, ignorant of the harsh realities of hospitality, only ever registers the rising prices of eating out. When the minimum wage was raised to €13.50 an hour last January, the best restaurateurs acknowledged the additional financial stress on their business models, yet never begrudged their employees the extra 80c an hour. In Dublin, for example, many of the lowest-paid hospitality workers have to commute from far outside the city to afford accommodation — if they can find it. There is one question that gauges the real viability of Irish hospitality like no other: as a waiter/server, will I qualify for a mortgage? (It applies equally to lower-paid kitchen jobs.) The answer is almost inevitably, no. Which begs another question — is it time we start a conversation about subsidising the Irish restaurant sector, as we do with the farming sector? TABLE TALK A recent soiree at The Metropole Hotel to launch its newly designed reception/lobby area and a casual all-day menu sees a venerable old aristocrat of Cork hospitality substantially sharpening its offering in tune with the overall energy sense of energy that has imbued its home, MacCurtain St, in recent times, reminding that it is about so much more than just an annual venue for 'The Jazz'. In further reference to today's main theme, belated congrats to the Market Lane group for their ongoing achievements at the Fáilte Ireland Employer Excellence Awards, voted on anonymously by employees, and, yes, the ML group does number more than a few well-supported professional waiters/servers in their ranks. Vada café in Dublin's Stoneybatter, may cleave to a very familiar formula for what is currently cool in casual dining but more than gets away with it on the back of some tasty food and a genuine commitment to sustainability and zero waste so, additional opening hours to serve dinner on Friday and Saturday evenings could be well worth checking out. TODAY'S SPECIAL Make Hummus, Not War print from Bia Blasta This week's choice is more about food for the mind and soul than the belly, a handsome print from Blasta Books inspired by their latest authors, Izzeddeen Alkarajeh and Eman Aburabi, and the original version of the Free Palestine mural painted next to their Izz Café in Cork City. Available in A4 (€25) and A3 (€38) sizes and shipped anywhere in the world, all profits will be donated to World Central Kitchen. Read More Ireland's best food trucks and street food stalls to try this summer
