Captivating Tatiana Maslanythe original and most comprehensive fansite for tatiana maslany

Captivating Tatiana Maslany

the original and most comprehensive fansite for tatiana maslany

Souls of Totality, a short film directed by Richard Raymond happens during the Great American Eclipse, this is a love story about the sacrifices we make for love. Lady 18 (Tatiana Maslany) and Guy 3 (Tom Cullen) have a secret. They are members of a cult that believes if they die during a Solar Eclipse their souls will be taken to paradise. But that’s not their secret… They are also profoundly in love.

The video below is about Richard talking about Souls of Totality AND a look at the film. If you wish to skip over the interview jump to 1:45 to watch the clip of Tatiana and Tom.

Check out a press interview Tatiana did with Sebastian Stan at TIFF while promoting Destroyer.

Tatiana was out today promoting Destroyer which is set to hit theaters December 25th, at the Toronto International Film Festival (TIFF). She looked so beautiful! I’ve added some photos to the gallery. I will add more as they surface. Enjoy!

Orphan Black star Tatiana Maslany will make her Broadway debut this November opposite Bryan Cranston in Network, director Ivo Van Hove’s take on Paddy Chayefsky’s great Oscar-winning 1976 film.

Maslany will play Diana Christensen, the icy network executive so memorably performed by Faye Dunaway in the movie. (She won a Best Actress Oscar for the role). Downton Abbey’s Michelle Dockery played the character when the play premiered in London last year.

The casting was announced today by producers David Binder, the National Theatre, Patrick Myles, David Luff, Ros Povey and Lee Menzies. Network is presented in association with Dean Stolber. Additional casting will be announced shortly.

Network begins performances Saturday, Nov. 10, at the Belasco Theatre (not the Cort Theatre, as previously planned). Official opening date is Thursday, Dec. 6.

Maslany, who won a 2016 Emmy Award for her lead role in BBC America’s Orphan Black, is currently featured in Destroyer, the Nicole Kidman-starrer premiering at the Toronto Film Festival (theatrical release set for Dec. 25). She also appeared opposite Jake Gyllenhaal in Stronger, and made her New York stage debut earlier this summer in Second Stage Theater’s Off Broadway production of Mary Page Marlowe.

Network, which stars Cranston as the mad-as-hell newsman Howard Beale, world premiered at London’s National Theatre last November. Van Hove directs from Lee Hall’s adaptation of the Chayefsky film. Jan Versweyveld, Van Hove’s longtime collaborator, is the scenic and lighting designer.

Maslany is represented by ICM and The Characters Talent Agency.
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Tatiana was in attendance last night at the ‘Mary Page Marlowe’ Opening Night After Party. She looked so hip. hehe. Enjoy the photos!

Canadian actress Tatiana Maslany won an Emmy in 2016 for her role in BBC America’s “Orphan Black” as the rebellious Sarah Manning … and as the violent Helena … and as soccer mom Alison Hendrix, along with nine other characters, all clones.

On Thursday morning, she learned she’d again been nominated in the lead actress in a drama category for her work on “Orphan Black.” But her mind was on another role — her New York stage debut that very evening.

Big day for you: The New York premiere of “Mary Page Marlowe” tonight at the Second Stage Theater, in which you play the title role, along with four other actors. And now the Emmy nom. How are you feeling?
I’m very nervous. I’m so excited, but really nervous. And everything that goes along with opening night. I can’t believe I get to do it. And on top of it, to get this news this morning. It was a total shock. I didn’t think people remembered the [TV] show. It’s been off air for a while. And there’s just so much amazing television right now. “Atlanta.” “Handmaid’s Tale” — which I find really difficult to watch. A lot of my friends are watching it and saying, sadly, it resonates so much with what’s happening in our culture. But the Emmy nomination, I’m excited.

Speaking of “Handmaid’s Tale,” what do you think the role is these days for narrative television, and actors in general, to address issues of the #MeToo movement? Or do you prefer TV as pure entertainment and escapism?
I don’t think it’s mutually exclusive. But as an artist, I feel we have to talk about the work, dissect it and reveal it and shed light on it in different ways and through different perspectives. That’s so vital, and if we’re not doing that, then I don’t know what we’re doing. I’ve always been very drawn to characters who don’t fit into boxes, complicated characters.

Multiple complicated characters. You played 12 very different women in “Orphan Black.” And Tracy Letts’ “Mary Page Marlowe” is a splintered portrait of a woman from different, key moments in her life. Is fragmentation a theme for you?
Absolutely. I think it’s very relevant to myself, and a lot of people I talk to, and women in general. How do we get splintered off so that we are more palatable, more easily digested, more easily put into a certain box of behavior and defined from the outside. I think that complexity and gray area and all that in our human nature is often sort of pushed to the side.
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This morning the list for the 2018 Emmy nominations was announced. In this list Tatiana Maslany was nominated for a well deserved Emmy!

Outstanding Lead Actress In A Drama Series
The Americans • FX Networks • Keri Russell as Elizabeth Jennings
The Crown • Netflix • Claire Foy as Queen Elizabeth II
The Handmaid’s Tale • Hulu • Elisabeth Moss as Offred / June Osborne
Killing Eve • BBC America • Sandra Oh as Eve Polastri
Westworld • HBO • Evan Rachel Wood as Dolores
Orphan Black • BBC America • Tatiana Maslany as Sarah Manning, Helena, Alison Hendrix, Cosima Niehaus, Rachel Duncan, Krystal Goderitch, Elizabeth (Beth) Childs,
Jennifer Fitzsimmons, Katja Obinger, Tony Sawicki, Veera Suominen (M.K.), Camilla Torres and Unnamed Clone

I really hope she wins. She deserves it. Tune in Monday, September 17 for the 70th Emmy Awards on NBC.

The ‘Orphan Black’ actress, making her New York stage debut in ‘Mary Page Marlowe,’ on multiple roles, navigating career and the scary question she gets asked during every performance of the play

On the BBC America television series “Orphan Black,” Tatiana Maslany embodied nearly a dozen roles, winning an Emmy in the process. In the play “ Mary Page Marlowe, ” she plays just one: a woman exasperated with the expectations of domestic life.

“I’m just acting like a person who is a wife and a mother,” she tells her therapist in one scene. “I know what that means, I know the levers to pull to be that person. I’m a great actress.”

It is a moment that hits close to home for the 32-year-old Ms. Maslany, who can be seen in the off-Broadway production at Second Stage Theater through Aug. 12.

“The whole scene that I have in therapy is just like, who transcribed my thoughts?” she says with a laugh.

“Mary Page Marlowe,” written by Tracy Letts, uses six actresses, including Ms. Maslany, to tell the title character’s story at different milestones. Ms. Maslany plays Mary Page at 27, when she is
having an affair in a motel room, and 36, when she is trying to make sense of her life.

“There’s something about getting to show the life of one woman with a group of women, at this time when we’re forging a community of women who are fighting for all of us,” Ms. Maslany says, a nod to the #MeToo movement. “It just feels really important to get to tell this story as a group, as opposed to the individualistic nature sometimes of performing.”

She spoke with the Journal about “Mary Page Marlowe” and navigating her career and private life post-“Orphan Black.” Edited excerpts follow.

This is your New York stage debut. Why did you choose this play?
I’ve been a fan of Tracy’s writing for years, and actually, “August: Osage County” was the first play I ever saw on Broadway. It kind of blew my mind. His writing in “Mary Page Marlowe” just felt so revealing. Somehow he gets inside the mind of a woman in a way that felt very personal and private.

Is there a specific moment that really resonates with you?
In my scene, I say a lot of things about the roles that we play, women in our own lives, and how we can be strangers to ourselves. How the expectation of how we present in the world can actually alter our own internal understanding of ourselves, and that disconnect. I think it’s something we can all actually really understand and feel.

Does the idea of playing multiple roles speak to who you are?
From 9 years old, I was acting and performing on stage or in front of the camera, and I was being directed by adults—men, mostly. I think a lot of my understanding of myself came through that collaboration. So, it does create a bit of a fractured sense of who I actually am. I think that’s why the child actor to adult actor transition can be daunting and difficult for people, because you spent your whole life being told who you are, and now suddenly you have to own that.

With five other actresses playing Mary Page Marlowe, do you consider your role as separate, or of a piece with their roles?
I definitely feel like we’ve been working toward the sense of us all being a piece of each other. We’ve been doing a lot of vocal warm-ups together and breath work and physical work.

But also, what Tracy was seeking to explore most is how we can be different people at different points in our lives—how sometimes we don’t even recognize ourselves if we look back. I even say that at one point: “It feels like a different person was going through that.”

What’s it like when you look back on your own life, considering the fame you’ve achieved in the past few years?
It’s a strange new thing for me, certainly. I grew up doing this. I did it for almost 20 years before I got any sense of, I guess, fame. I’ve always been just an actor working, and that’s always been the focus. Then to suddenly be in this other realm, where people want an autograph or picture, it’s a really bizarre feeling to navigate. And the choices you make are really public.

Your scenes in particular show Mary Page’s disconnection to herself. She seems profoundly disappointed with her life. Does that take a toll?
All of us Mary Pages have talked about the lack of catharsis in the play. A lot of the scenes end before they resolve, before the breath out. We’re all kind of left in this tension.

At one point, the therapist asks your character: What would your life look like if you could make or remake all your choices in your life? Then there’s a 30-second pause. Tell me about that moment.

That question is terrifying, you know? If you did actually own every choice, if you were responsible, if it wasn’t just all happening to you, if you actually had volition in your life, what would you do differently?
What would it mean if you did do something differently? Who would you have lost? Who would no longer be in your life, if you chose something different? Even talking about it feels murky and scary to pin down. It’s such a great, awful question.
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