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Home Actor Regé-Jean Page HD Photos and Wallpapers November 2020 Regé-Jean Page Instagram - (3/3) Joshua Nash is an extraordinarily sensitive performer, and his unique blend of abrasive power and overwhelming vulnerability guides the piece through a physical embodiment of his own personal journey through a universal grief. The battle for control and suppression, the desire to tidy away a past too painful to confront, and the ultimate realisation that the only escape from the trappings of an eternal fight - is to allow oneself to feel it. To accept the pain of past battles, honour it, and through that knowledge, gain the peace necessary to thrive and progress beyond it. To a world seemingly divided into two camps, both struggling to address a painful history, a cancerous personal and public legacy, I hope the piece’s foreword (unpublished in the end, written late one night between rehearsals, trying to pin down our direction) offers a guiding light toward its redemptive resolution: “Those who fell before you fought, For you Not to be bound in mourning But to free your life’s celebration” In the end, like them all, Don’t Wait is simply a love song. It is about finding the path through life’s necessary, good trouble, to life’s intrinsic celebration. More love, always R x (You can watch the film online @batterseaartscentre website : BAC.org.uk/dont-wait Nov 1st - 3rd 2020) Link in bio. 📸 @helenmurraypix

Regé-Jean Page Instagram – (3/3) Joshua Nash is an extraordinarily sensitive performer, and his unique blend of abrasive power and overwhelming vulnerability guides the piece through a physical embodiment of his own personal journey through a universal grief. The battle for control and suppression, the desire to tidy away a past too painful to confront, and the ultimate realisation that the only escape from the trappings of an eternal fight – is to allow oneself to feel it. To accept the pain of past battles, honour it, and through that knowledge, gain the peace necessary to thrive and progress beyond it. To a world seemingly divided into two camps, both struggling to address a painful history, a cancerous personal and public legacy, I hope the piece’s foreword (unpublished in the end, written late one night between rehearsals, trying to pin down our direction) offers a guiding light toward its redemptive resolution: “Those who fell before you fought, For you Not to be bound in mourning But to free your life’s celebration” In the end, like them all, Don’t Wait is simply a love song. It is about finding the path through life’s necessary, good trouble, to life’s intrinsic celebration. More love, always R x (You can watch the film online @batterseaartscentre website : BAC.org.uk/dont-wait Nov 1st – 3rd 2020) Link in bio. 📸 @helenmurraypix

Regé-Jean Page Instagram - (3/3) Joshua Nash is an extraordinarily sensitive performer, and his unique blend of abrasive power and overwhelming vulnerability guides the piece through a physical embodiment of his own personal journey through a universal grief. The battle for control and suppression, the desire to tidy away a past too painful to confront, and the ultimate realisation that the only escape from the trappings of an eternal fight - is to allow oneself to feel it. To accept the pain of past battles, honour it, and through that knowledge, gain the peace necessary to thrive and progress beyond it. To a world seemingly divided into two camps, both struggling to address a painful history, a cancerous personal and public legacy, I hope the piece’s foreword (unpublished in the end, written late one night between rehearsals, trying to pin down our direction) offers a guiding light toward its redemptive resolution: “Those who fell before you fought, For you Not to be bound in mourning But to free your life’s celebration” In the end, like them all, Don’t Wait is simply a love song. It is about finding the path through life’s necessary, good trouble, to life’s intrinsic celebration. More love, always R x (You can watch the film online @batterseaartscentre website : BAC.org.uk/dont-wait Nov 1st - 3rd 2020) Link in bio. 📸 @helenmurraypix

Regé-Jean Page Instagram – (3/3)
Joshua Nash is an extraordinarily sensitive performer, and his unique blend of abrasive power and overwhelming vulnerability guides the piece through a physical embodiment of his own personal journey through a universal grief. The battle for control and suppression, the desire to tidy away a past too painful to confront, and the ultimate realisation that the only escape from the trappings of an eternal fight – is to allow oneself to feel it. To accept the pain of past battles, honour it, and through that knowledge, gain the peace necessary to thrive and progress beyond it.

To a world seemingly divided into two camps, both struggling to address a painful history, a cancerous personal and public legacy, I hope the piece’s foreword (unpublished in the end, written late one night between rehearsals, trying to pin down our direction) offers a guiding light toward its redemptive resolution:

“Those who fell before you fought,
For you
Not to be bound in mourning
But to free your life’s celebration”

In the end, like them all, Don’t Wait is simply a love song. It is about finding the path through life’s necessary, good trouble, to life’s intrinsic celebration.

More love, always
R
x

(You can watch the film online @batterseaartscentre website : BAC.org.uk/dont-wait
Nov 1st – 3rd 2020)

Link in bio.

📸 @helenmurraypix | Posted on 02/Nov/2020 00:56:29

Regé-Jean Page Instagram – “Yes, you.” @bridgertonnetflix #bridgertonnetflix #shondaland #netflix
Regé-Jean Page Instagram – (2/3) A month before the death of George Floyd, I was in London and I reached out to an old colleague, Lanre Malaolu suggesting we finally got round to connecting in the way we’d put off for years and collaborate while I was grounded on a rare trip back in the UK. I had just finished this complicated sort of anthemic lullaby about love, legacy, loss – and how men particularly, deal with such vulnerabilities – with my brother (together we go by the musical pseudonym ‘TUNYA’). Lanre’s recent work exploring tenderness within Black masculinity seemed a perfect, unexpected, and exciting match to explore the themes of the music visually. By the time of filming in August, the world had been brought to a screaming halt by the rawest, largest, and most powerful display of Black community, pain and activism since the Civil Rights movement of the 60s. A palpable sense of communal grief had dominated every conversation, on a global scale, magnified and brought to boil by the losses and fear of a world brought to its knees by COVID-19. John Lewis had died. Colston was dumped in the sea, and confederate monuments were armed battle grounds – defended by white militias and conquered by Black ballerinas. Chadwick Boseman died. I missed my dad. A world full of uncertainty lacked leadership and compassion, and each new week brought new, unresolvable heartbreak. The core team involved in the film had been privately trying to learn how to be grieving, vulnerable, Black and publicly on display for months, and the piece grew to reflect that. The responsibility as artists to share what light and answers we’d found and contribute that back into a community fractured and isolated by social distance, thrust not only a sense of purpose on the project, but a guiding momentum. It could now only be this. 📸 @helenmurraypix

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