#2019 Tony Nominees | Explore Tumblr Posts and Blogs

d-criss-news · 4 days

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Darren Criss and Helen J Shen To Star In MAYBE HAPPY ENDING On Broadway This Fall

From Skid Row to 44th Street! This morning it was announced that Darren Criss and Helen J Shen will star in the Broadway premiere of the new romantic musical comedy Maybe Happy Ending, with music by Will Aronson, lyrics by Hue Park and a book by both Aronson and Park. Michael Arden is set to direct the new musical which will begin previews Wednesday September 18, 2024 ahead of an opening night on Thursday, October 17, 2024 at the Belasco Theatre.

Dez Duron will make his Broadway debut along with Shen with the production. Additional casting will be announced at a later date.

Inside a one-room apartment in the heart of Seoul, Oliver (Criss) lives a happily quiet life listening to jazz records and caring for his favorite plant. But what else is there to do when you’re a Helper-Bot 3, a robot that has long been retired and considered obsolete? When his fellow Helperbot neighbor Claire (Shen) asks to borrow his charger, what starts as an awkward encounter leads to a unique friendship, a surprising adventure, and maybe even...love? Winner of the Richard Rodgers Award, Maybe Happy Ending is the offbeat and captivating story of two outcasts near the end of their warranty who discover that even robots can be swept off their feet. Maybe Happy Ending is a fresh, original musical about the small things that make any life worth living.

Maybe Happy Ending was written in both Korean and English-language versions. The Korean-language version opened in December of 2016 at DaeMyung Culture Factory in Seoul and subsequently won six Korean Musical Awards including Best Musical. The English-language version was awarded the 2017 Richard Rodgers Production Award and had its U.S. premiere at the Alliance Theatre in Atlanta in the 2019-2020 season.

“I am so very happy to be joining the enchanting world of Maybe Happy Ending,” said Darren Criss. “It’s already such a special piece, but all the more exciting for me to get to build it for Broadway with people I admire - namely my ol’ pal Michael Arden, a visionary I’ve been wanting to work with for longer than I care to admit, as well as the very talented Will Aronson and Hue Park. Their inventive book and music, combined with Michael’s direction, is exactly the kind of alchemy that gets me most excited about what musical theater can be. I can’t wait for audiences to take part in this wonderfully original theatrical experience, and behold a story from a future that explores one of the most ancient questions of humanity- why love?”

Dane Laffrey will design the Set and Additional Video, while Costume Design is by Clint Ramos, Lighting Design is by Tony Award-nominee Ben Stanton, Sound Design is by Peter Hylenski, Video Design by George Reeve, Deborah Abramson is the Music Supervisor and John Yun will be the Music Director. Casting is by Telsey & Co, Craig Burns, CSA and Justin Scribner is the Production Stage Manager.

For more information please visit: www.maybehappyending.com

#darren criss #helen j shen #michael arden #dez duron #maybe happy ending bway #maybe happy ending #theatrely.com #press #may 2024

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broadwaydivastournament · 18 days

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And the Tony Award Goes to...

Six-Time Tony Winner Audra McDonald, reigning Queen of Broadway

In honor of the Tony nomination announcement today, it's about time I published this post I've had waiting for almost two months now. With 64 Divas in our tournament, they're practically drowning in Tonys. Collectively, 53 Divas have received one or more nominations across four eligible acting categories, and 31 have taken home the prize. And you'll never believe what tumblr's image limit is. 30.

As luck would have it, two Divas won Tonys in the same year and despite what might be the most dramatic height difference possible, Bebe Neuwirth and Janet McTeer were photographed together specifically so I could make this post work 27 years later. (Bebe in heels and Janet in flats, and still...)

Pictured (L to R): Andrea Martin (2013), Anika Noni Rose (2004), Bebe Neuwirth and Janet McTeer (1997)

Pictured (L to R): Bernadette Peters (2012), Beth Leavel (2006), Betty Buckley (1983)

Nominations: (excluding wins)

Nominations Overall: 125 Best Leading Actress in a Musical: 56 Best Featured Actress in a Musical: 36 Best Leading Actress in a Play: 13 Best Featured Actress in a Musical: 19 Producer: 1

Pictured (L to R): Cherry Jones (2004), Christine Baranski (1989), Debra Monk (1993)

Pictured (L to R): Donna Murphy (1996), Harriet Sansom Harris (2002), Heather Headley (2000)

Nominations: (including wins)

Nominations Overall: 175 Best Leading Actress in a Musical: 75 Best Featured Actress in a Musical: 50 Best Leading Actress in a Play: 18 Best Featured Actress in a Musical: 29 Producer: 3

Pictured (L to R): Jayne Houdyshell (2016), Joanna Gleason (1988), Judith Light (2012)

Pictured (L to R): Julie White (2007), Karen Ziemba (2000), Katie Finneran (2002)

Wins: (2024 pending)

Wins Overall: 50 Best Leading Actress in a Musical: 19 Best Featured Actress in a Musical: 14 Best Leading Actress in a Play: 5 Best Featured Actress in a Musical: 10 Producer: 2

Pictured (L to R): Katrina Lenk (2018), Kelli O'Hara (2015), LaChanze (2023)

Pictured (L to R): Laurie Metcalf (2018), Lea Salonga (1991), Lillias White (1997)

Special Tony Awards (non-competitive):

Special Tony Award (posthumous): Marin Mazzie (my beloved) Isabelle Stevenson Award: Bernadette Peters, Judith Light

Pictured (L to R): Patti LuPone (2008), Stephanie J. Block (2019), Tonya Pinkins (1992)

Pictured (L to R): Tyne Daly (1990), Victoria Clark (2023)

Most Frequent Nominee: (including wins)

Leading Actress in a Musical: Kelli O'Hara (7) Featured Actress in a Musical: Andrea Martin (5) Leading Actress in a Play: Cherry Jones/Laura Linney (5) Featured Actress in a Play: Jayne Houdyshell/Judith Light/Julie White (3)

No Diva has won more than twice in any performance category. This will not change with the current nominees this year.

Oldest Winners:

Leading Actress in a Musical: Victoria Clark (63) Featured Actress in a Musical: Patti LuPone (72) Leading Actress in a Play: Laurie Metcalf (62) Featured Actress in a Play: Judith Light (64)

Oldest Nominee: Mary Beth Peil (76)

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brian-in-finance · 1 month

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I know this is a long shot but has Cait ever been on an EMMY prediction list? Usually she was on the GG. Amazed that she is here even if not in the top 6.

https://variety.com/lists/2024-emmys-lead-actress-drama-predictions/also-in-contention-2/

Thanks for the message, Anon. 😃

Your link includes Variety’s predictions of nominees in the Outstanding Lead Actress in a Drama Series category for the 76th Primetime Emmy Awards. Nominations will be announced on 17 July and the Emmys awarded on 15 September.

Variety included this photo in its story published yesterday, 11 April 2024:

Photo : Robert Wilson for Starz

It’s not a long shot, as you suggest. To date, she’s never been nominated, but predictions lists have included Caitríona’s name every Outlander season. Here are some examples:

The Wrap 2015 / Season 1

E! News 2016 / Season 2

Awards Watch 2018 / Season 3

Spoiler TV 2019 / Season 4

Gold Derby 2020 / Season 5

We Are Actors (Variety) 2022 / Season 6

Variety 2024 / Season 7

Outlander has been nominated four times.

Screenshot: IMDb

Regarding 2024 Emmys for Drama, Variety has published its predictions lists for Drama Series, Lead Actor, and Lead Actress. The lists for Supporting Actor, Supporting Actress, Directing, Writing, and Casting are pending. Maybe we’ll see more Outlander representation in those five categories? 🍿

Remember… I'm thinking about naming my first son Emmy so I can say I've got one. I want Emmy, Oscar, and Tony - and my daughter Grammy. — Noah Wyle

😂 According to IMDb, Noah Wyle has two children, sons, and neither is named Emmy. He received five Emmy nominations for playing Dr John Carter on ER.

#Tait rhymes with hat #Good times #Inbox #Anonymous #Variety #11 April 2024 #Outlander #76th #Primetime Emmy Awards #Predictions #Outstanding Lead Actress in a Drama Series #Asked 11 April 2024 / Answered 12 April 2024

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two-hands-toward-the-sun · 2 months

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for the fandom ask meme, something a little different: hadestown, 5, 10, 12, 19?

Hi Swan, thank youuu <3

from this great ask game

5. ...the scene from it that lives in my head rent free.

With certain casts, possibly due to the height difference between the actors playing Persephone and Hades, Hades kneels down and wraps his arms around Persephone’s waist after Epic III. Also the moment when Will Mann’s Hermes calls Orpheus “baby.” Also the dance break in “Livin’ It Up On Top” and Eurydice tearing up the dance floor. Also NYTW Come Home with Me II. Also the way some cast members bump each others’ shoulders with such affection during “We Raise Our Cups”

10. ...how many fics I've read that are set in it (approximately and making exaggerated guesstimates).

Hmm, I only have two or three Hadestown bookmarks on AO3, but at the time when I first got into Hadestown (2018-2019), I wasn’t utilizing the bookmark function very much. But I think I’ve read at least fifteen or twenty. The second and third fics that I ever posted were Hadestown fics, actually! These days I don’t read or write much Hadestown fanfic—not for any negative reason, it’s just not a media I have that kind of relationship with.

12. ...what attracted me into checking it out.

It was 2018. I had a really big crush on Amber Gray. That’s the whole story, I’m afraid.

19. ...one behind-the-scenes trivia fact I've learned somewhere and my thoughts on it.

Amber Gray can’t read music! https://www.billboard.com/music/awards/amber-gray-interview-hadestown-tony-nominee-8514521/#

“I was never specifically trained in musical theater and told I had to sound a certain way, so I missed that kind of abuse in a certain way. I also can’t read music, which is a pain sometimes but helpful in other moments when I’m learning because I don’t get scared of a note on the page. I’m not intimidated by a high or low note, I just try to figure out how to sing it.”

This is very encouraging to me, personally, since I love to sing and I love musical theatre and I can’t read music either 😅 Clearly it hasn’t stopped Amber one bit.

#amber gray #stellerssong #hadestown #asks #fandom asks

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droughtofapathy · 5 months

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The Gilded Age's Broadway Divas: Aurora Fane (Kelli O'Hara)

Beloved by all, Aurora Fane enjoys a powerful position in Mrs. Astor's New York. Having suitably recovered from impending financial ruin last season, this season, Aurora has done some ill-fated matchmaking, worn some fantastic hats, and provided beautiful window dressing to scenes where she just sits there and looks pretty.

One of Broadway's (few) leading sopranos, Kelli O'Hara is a dying breed. As trends shift towards a more pop/rock sound, and classical musical theatre becomes a thing of the past, Kelli nevertheless finds her niche. A seven-time Tony nominee, Kelli has won Best Leading Actress in a Musical for the 2015 revival of The King and I. You'll recall another Gilded Age Diva who won for that same role some years prior. A proshot of the NT Live production can be found online. It is a gorgeous shoot, even if I take issue with that show as a whole.

She has also been nominated for Kiss Me, Kate (2019), The Bridges of Madison County (2014), and The Light in the Piazza (2005). Ironically, though Aurora Fane supports The Academy, Kelli is a classically trained opera singer who has appeared on the Met Opera stage three times, and will play Laura Brown in an encore run of The Hours this spring. (See my breakdown post over costumes here.)

However, prior to her opera appearance, Kelli will be starring in the new Broadway musical Days of Wine and Roses for a limited 16-week run, opening on January 28th. Kelli has been nominated for every role she has played since 2005, and this will almost certainly be no different. Booked and busy.

#1: "Shall We Dance?" The King and I (2015)

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Kelli's voice is otherworldly angelic. That much we already know very well. The King and I opened in 2015 at the Vivian Beaumont Theatre at Lincoln Center, the third musical Kelli has starred in at that venue. The Beaumont is, of course, right next to The Met Opera, and the only Broadway theater outside the theatre district in Midtown.

As Anna Leonowens, Kelli travels to Siam to teach the children and wives of the king how to speak English. Orientalism aside, the show is a classic Rodgers and Hammerstein, and the score is divine in Kelli's mouth. Fun fact: Kelli's replacement was Marin Mazzie in one of her last onstage roles. Marin was the Passion co-star and dear friend to Donna Murphy, our Mrs. Astor.

This video is from the 2015 Tony performance and showcases the incredible quick change Kelli makes between singing "Getting to Know You" and "Shall We Dance?" aided by a team of unbelievable dressers. It is a marvel to witness. As is Ruthie Ann Miles, Kelli's co-star who recently performed in the Encores! production of Light in the Piazza.

#2: "What More Do I Need?" Take Me to the World: A Sondheim 90th Birthday Celebration (2020)

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In 2020, despite a global pandemic, the theatre community still found a way to honor Stephen Sondheim's milestone 90th birthday with an online concert. Kelli performed a song from Saturday Night, Sondheim's first professional musical that was slated for Broadway in 1955, but was scrapped. It only got its New York premiere in 2000. This particular number is a cabaret favorite, and Kelli is an absolute delight with just a camera and digital accompaniment.

Fun fact: it wasn't until this particular performance that I truly started to appreciate the wonder that is Kelli O'Hara. I had previously seen her in concert just that March, and loved her, of course, but I have a complex relationships with sopranos. I now recognize that I love mature sopranos, but it's the ingenues I can't listen to without wincing.

#3: "They Don't Let You In the Opera" (2016)

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Lest we think Kelli is limited in her range and style, this song was written especially for her to showcase her vast talent and comedic timing. Kelli, an Oklahoma farmgirl, isn't the sort of person you'd expect to be both classically trained and country literate.

Kelli, who has been typecast as refined and often repressed characters who go through harrowing emotional experiences, much like Aurora Fane, is more than capable of bringing a rollicking comedy to the mix.

This number is a favorite in Kelli's concert repertoire. There isn't much more to say, except that you need to witness its hilarity for yourself.

#4: “Heaven? Somebody else’s heaven?” The Hours (2023)

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Speaking of opera, here is an excerpt from a scene in Act II where Laura Brown has fled to a hotel room to contemplate some very serious courses of action. Kelli, alongside soprano Renee Fleming and mezzo-soprano Joyce DiDonato, makes up a trio of phenomenal women in Kevin Putts' adaptation of the book and movie.

The Met Opera theatre seats nearly 4,000 people across six levels. The performers do not use body mics or amplification of any kind, but rather rely on intense vocal training to be heard across the theater. For this reason, alongside the vastly different vocal techniques and styles, musical theatre actors rarely cross over into opera, and vice versa. Notable exceptions include Renee Fleming, Kelli's Light in the Piazza co-star Victoria Clark, and Mary Beth Peil, who made her musical theatre debut in The King and I as yet another Miss Anna, hers in 1985.

#5: "So in Love," Kiss Me, Kate (2019)

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Starring in yet another Golden Age musical revival, Kelli brings a different take on Lilli Vanessi, a glamorous movie star in a turbulent relationship. Kelli's vocal talent, of course, speaks for itself. For Kelli, this role was a tribute to her dear friend, the late Marin Mazzie, who had passed away some months before the show opened. Marin, who replaced Kelli in The King and I, had played this same role in the 1999 Broadway revival to great acclaim. In her first entrance of the show, Kelli wore a costume that featured the very same hat Marin wore in her show.

Though this video is beloved, my personal favorite rendition can be heard below. It was taken at a concert Kelli put on at the 92Y in New York last February. In it, Kelli sings for and to Marin, and the entire theatre wept.

Bonus: "Back to Before," Ragtime Reunion Concert (2023)

The role of Mother was originally workshopped by Donna Murphy in Toronto in the early 90s, but she left to do King and I, which worked out well for her. In came dear friend Marin Mazzie, who originated the role on Broadway, and established a precedent no other has been able to top. Also in that cast? Audra McDonald as Sarah, for which she won a Tony, of course.

In 2023, after years of pandemic-related delays, they staged a one-night reunion concert of this special show. And who better to take on Marin's iconic role than Kelli O'Hara? Listen to her "Back to Before" here, and then do yourself a favor and run, don't walk, to listen to Marin's.

#the gilded age #aurora fane #kelli o'hara #met opera #sondheim #ragtime #marin mazzie #kiss me kate #the hours #the king and i

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jgroffdaily · 7 months

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Jonathan Groff Feels ‘Like the Luckiest Person Alive’ After Opening Broadway’s ‘Merrily We Roll Along’ (Exclusive)

Groff stars in the Broadway revival of the Stephen Sondheim classic alongside Daniel Radcliffe and Lindsay Mendez

"Merry" seems to be the perfect adjective to describe how Jonathan Groff feels about his lead role in the acclaimed Broadway revival of Stephen Sondheim and George Furth's Merrily We Roll Along.

"It's completely surreal that we get to do this amazing Sondheim show on Broadway. I'm still in awe and feeling like the luckiest person alive," Groff told The Messenger at Sunday's 1,000th performance celebration for the Off-Broadway revival of Little Shop of Horrors.

"I have this line: 'We got to be the luckiest people who ever lived,' which is one of the last things that [my character] Frank says in the show. I really feel it every time we do it," Groff added.

The two-time Tony Award nominee was the first actor to play the leading role of Seymour when the production returned to New York in 2019. He now stars as Franklin Shepard in the latest Main Stem revival of Merrily We Roll Along — which officially opened last week to rave reviews — alongside fellow stage veterans Daniel Radcliffe and Lindsay Mendez.

Ahead of the show's preview performances, Mendez shared an Instagram post reflecting on her early days as an aspiring actress. The video captures her reaction, alongside co-star Groff, to seeing themselves on the marquee of Broadway's Hudson Theatre.

"For theater nerds that moved to NYC at the same time, circa early 2000s, pounding the pavement at open calls and dreaming of being part of this community….sharing this moment was and is absolutely out of this world," Mendez captioned the post. "I'll never forget it. I'm so glad we have it forever…may we never forget how lucky we are, or lose this fire inside for what we do and for the folks we get to do it with."

#jonathan groff #lindsay mendez #daniel radcliffe #merrily we roll along #little shop of horrors

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fromdatopa5678 · 1 year

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The 76th Tony Awards draw nearer, so here’s a compilation of the Best Lighting Design of a Play nominees!🕯️💡✨

Neil Austin – Leopoldstadt

Natasha Chivers – Prima Facie

Jon Clark - A Doll’s House

Bradley King - Fat Ham

Tim Lutkin – Life of Pi

Jen Schriever – Death of a Salesman

Ben Stanton – A Christmas Carol

Wait… SEVEN nominees?? That’s the most ever in the Lighting Design categories!

Neil Austin – Leopoldstadt

Neil’s previous Broadway designs include…

Company (2021) - Tony nomination

Ink (2019) - Tony win

Harry Potter and the Cursed Child (2018) - Tony win

Red (2010) - Tony win

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Natasha Chivers – Prima Facie

Natasha also designed the lighting for the Broadway adaptation of 1984.

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Jon Clark - A Doll’s House

Jon has also designed lighting for…

The Lehman Trilogy (2021) - Tony win

The Inheritance (2019) - Tony nom

King Charles III (2015)

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Bradley King - Fat Ham

Bradley is also known for his lighting in…

Flying Over Sunset (2021) - Tony nom

Hadestown (2019) - Tony win

Natasha, Pierre & The Great Comet of 1812 (2016) - Tony win

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Tim Lutkin – Life of Pi

Tim was the associate lighting designer for Matilda The Musical (2013), and his work will be seen in the upcoming Back to the Future: The Musical.

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Jen Schriever – Death of a Salesman

On Broadway, Jen has also designed…

A Strange Loop (2022) - Tony nom

What the Constitution Means to Me (2019)

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Ben Stanton – A Christmas Carol

Ben’s work could also be seen in…

Junk (2017) - Tony nom

Spring Awakening (2015) - Tony nom

Fun Home (2015) - Tony nom

This year, Stanton also designed lighting for the play Good Night, Oscar.

More Tony Awards compilations to come!🎭

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kickmag · 2 years

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A Strange Loop Is Leaving Broadway Early Next Year

Michael R. Jackson's Tony-Award-winning Best Musical A STRANGE LOOP has 14 more weeks on Broadway. The musical opened at the Lyceum Theatre on April 26th to critical acclaim. Tony Award nominee Stephen Brackett is the director of A STRANGE LOOP, Raja Feather Kelly is the choreographer, and Barbara Whitman Page 73 Productions, Wolly Mammoth Theatre Company and Playwrights Horizons are the producers.

A STRANGE LOOP won the Pulitzer Prize for Drama and was named Best Musical by the Tony Awards the New York Drama Critics’ Circle, Drama Desk, Outer Critics Circle, Drama League, and Off-Broadway Alliance. Michael R. Jackson also won the Tony Award for Best Book of a Musical for A STRANGE LOOP. Jaquel Spivey was awarded the Drama Desk Award for Best Actor in a Musical, the Outer Critics Circle Award for Best Actor in a Musical, and a Theatre World Award.

Jaquel Spivey stars as Usher who is a Black queer writer writing a musical about a Black queer writer writing a musical hence the uncanny identity loop. Usher uses humor and truth to transcend his self perceptions while finding his artistic voice. Creator Michael R. Jackson says, "Though A STRANGE LOOP is not autobiographical, it is my life's work. As such, I feel so blessed to have had the opportunity to share this raw, vulnerable, and personal story with the world and to have connected with so many enthusiastic, loving audiences. I am also indebted to the many extraordinary collaborators and institutions past and present that made the telling of this unique story possible. You each will have a piece of my heart, soul, and my loop forever.”

The show made its world premiere at Playwrights Horizons, in May 2019, in association with Page 73 Productions. In December 2021, the show had a critically acclaimed run at Washington, D.C.’s Woolly Mammoth Theatre Company prior to coming to Broadway. When the musical closes on January 15th it will have played 301 regular and 13 preview performances for audiences that have included Queen Latifah, Michelle Obama, Whoopi Goldberg and Billy Porter.

Ghostlight Records and Yellow Sound Label released the original Broadway cast recording of A STRANGE LOOP on June 10, 2022.

A STRANGE LOOP's performance schedule is Tuesday and Thursday at 7pm; Wednesday, Friday, and Saturday at 8pm, with matinees Wednesday and Saturday at 2pm; and Sunday at 3pm. Tickets are available at Telecharge.com (212-239-6200). Digital rush tickets are available at strangeloopmusical.com/lotteryandrush for $55 the day of the performance.This is a first-of-its-kind digital rush on Broadway and will augment the existing lottery ($43) and in-person rush ($47) ticket availability.

Check out the official site for more information and follow A STRANGE LOOP on Facebook, Instagram, Twitter and YouTube at @strangeloopbway.

#a strange loop #michael r. jackson

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bill-millions-movies · 3 months

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ANATOMY OF A FALL

"Somebody said, of course money doesn't make you happy, but it's still better to cry in a car than in a subway."

MURDER MYSTERIES ARC movie 2

ANATOMY OF A FALL (2023)

MARCH 3, 2024

I became aware of the brilliant German actress Sandra Hüller only last year, when I finally watched her star in the delightful Toni Erdmann, which I had put off watching for years because I wasn’t sure I was ready for a two hour and 42 minute German comedy (apparently I really was!). And now she is seemingly everywhere, starring in two of this year's Best Picture nominees, including this Palme d'or winning legal drama (in addition to Zone of Interest). French director Justine Triet, with whose previous work I am completely unfamiliar, also snagged a best director nom for this film, in a slot that many expected would go to Greta Gerwig for Barbie.

Palme d'or winners have been back in vogue as Oscar nominees lately, after Parasite's surprise best picture win in 2019, and Ruben Östland's Triangle of Sadness making the cut last year. The only other Palme d'or winners getting best picture nominations this century were 2002's The Pianist and 2011's Tree of Life. It's a whole new world, apparently, with the Oscars happily getting even less populist as the Academy's diversity broadens. So, one week before the Oscars, come and check this one off your list!

"As it calls the institution of marriage to the stand, Triet’s piercing film holds the ambient tensions and illogical loose ends of domestic life against the harsh and rational light of a legal system that searches for order in chaos." -IndieWire

"Though some may come for the murder mystery, it’s Triet’s way of using that genre to get at deeper notions of love turning to hate, and tiny marital fissures that turn into chasms, that really makes this something close to an anti-romantic masterpiece.' -Rolling Stone

7:25 trailers 7:30 - 10:00 Anatomy of a Fall

[Want to watch at home instead of joining us? Rent online at Amazon or iTunes for $5.99. ]

#Murder Mysteries arc #Palme d'or #murder mystery #Murdery mystery arc #2020s #2020s films

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yessadirichards · 3 months

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How French film is quietly becoming more diverse

PARIS

"Vermin", a horror film about killer spiders invading a run-down apartment block, has become the first hit of the year in France.

The eight-legged critters are not the only surprise in the low-budget film, however, which for once depicts France's ghetto-like suburbs as more than just a den of drug dealers and terrorists.

Instead the block is shown as a place of hard-scrabble solidarity whose problems stem from abandonment by police, media and society in general.

"We want to challenge stereotypes," said Olivier Saby of co-producers Impact Films. The company was set up in 2018 with a mission to bring more diversity to French cinemas.

"The goal is not to make sure there is a black, Arabic or white person in every scene," he told AFP. "We just want films and TV to reflect real life. If you walk into, for example, a lawyer's office today, you will find a lot more diversity than when you see one on TV."

French cinema has made steady progress in some areas.

French women won two of the last three Palmes d'Or, the top prize at the Cannes Film Festival. Three of the five nominees for best director at next month's Cesars (France's Oscars) are women. (The prize has only once gone to a woman, Tonie Marshall, 24 years ago.)

Race is trickier.

Some black actors have become superstars in France, especially "Lupin" star Omar Sy, and comedian Jean-Pascal Zadi, whose sharp satires about racial politics, "Simply Black" and "Represent", have earned awards and been big international hits on Netflix.

But progress is hindered because it remains illegal to gather data on race in France on the grounds that it would perpetuate artificial divisions, said Wale Gbadamosi Oyekanmi, a PR consultant who invests in Impact Film.

"France doesn't really talk about race. You can't monitor the depth of the challenge because you can't measure it" with statistics, he told AFP. "There are new voices that could be heard, that reflect the country as it is now. It's something that can and must be improved."

Analysts work around the issue by measuring how people are "perceived" rather than directly asking their race.

A study of 115 French films released in 2019 by 50/50 Collectif, a campaign group, found 81 percent of lead characters were "perceived as white".

That is not a commercial decision, it said, since the figure dropped to 68 percent for the 15 most popular films of the year.

But France's cultural gatekeepers still bristle at the idea of mixing social issues with creativity, said Marie-Lou Dulac, founder of diversity consultancy DIRE et Dire.

Many in France see encouraging diversity as a way of "perverting creativity," she said. "Actually it's a way to renew creativity, to encounter new stories and characters.

"We can't keep making the same old caricature of a French film -- a white professional couple in Paris who are cheating on each other," she added with a laugh.

Impact Films supports films with LGBTQ, disabled or ethnic minority leads, said Saby. It finances documentaries about environmental and social issues, and hires people from under-represented groups to work behind the camera.

It also works with scriptwriters to avoid cliches. "Why are minority actors always playing a drug dealer?" he added. "Does every action hero need to drive a 4x4?"

As in other countries, pushing for change triggers a backlash.

Powerful right-wing businessmen are also moving into film productions, such as last year's "Vaincre ou Mourir" ("Victory or Death") about the peasant counter-revolution of the 1790s, a favorite topic of pro-Catholic, pro-monarchy ultra-conservatives.

It was produced by the company behind the Puy du Fou theme park, owned by far-right former presidential candidate Philippe de Villiers.

The risk of a backlash is no reason to give up, said Saby, with "Vermin" up for two Cesar awards and well on its way to being the most successful French horror flick in nearly 25 years.

"There was always this battle. It's just that only one side was winning up to now," he said. "There's plenty of room on screen for everyone."

#yessadirichards

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nyt-crossword · 4 months

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NYT Crossword 13 January 2024

Across Hints

They have lots of drawings NYT Crossword Clue

Half of a Godfather cocktail, along with whisky NYT Crossword Clue

Something unlocked with Face ID NYT Crossword Clue

Trip before a delivery NYT Crossword Clue

Big do NYT Crossword Clue

Again NYT Crossword Clue

Something you might kick NYT Crossword Clue

Sit ___ (mourn) NYT Crossword Clue

Comedian Wanda NYT Crossword Clue

Fam member NYT Crossword Clue

Must give NYT Crossword Clue

Who might mistakenly respond to a statement beginning “Seriously …” NYT Crossword Clue

”I’ll be right with you” NYT Crossword Clue

Point en pointe? NYT Crossword Clue

Ascribe, as blame NYT Crossword Clue

Emphatic agreement NYT Crossword Clue

How synchronized swimmers move NYT Crossword Clue

Mini-albums, for short NYT Crossword Clue

Tendencies NYT Crossword Clue

Reptile popular as a pet NYT Crossword Clue

Nissan model NYT Crossword Clue

One of a noted septet NYT Crossword Clue

Work to overcome a late start NYT Crossword Clue

Memo header NYT Crossword Clue

Coming-out phrase NYT Crossword Clue

When repeated, a giggle NYT Crossword Clue

First daughter of the 2010s NYT Crossword Clue

Take a round trip NYT Crossword Clue

Guardians, in the box score NYT Crossword Clue

Surplus NYT Crossword Clue

Surprising absentee NYT Crossword Clue

Tuned in NYT Crossword Clue

Stream, e.g. NYT Crossword Clue

Friendly video game setting NYT Crossword Clue

Dopehead NYT Crossword Clue

Down Hints

___ Leslie, Los Angeles Sparks star in the Basketball Hall of Fame NYT Crossword Clue

Their notable behavior is actually involuntary, like fainting NYT Crossword Clue

”Aargh, why bother?!” NYT Crossword Clue

Crag NYT Crossword Clue

Till portion NYT Crossword Clue

Escort, in a way NYT Crossword Clue

”That’s why you get the big bucks and not me” NYT Crossword Clue

Images on some Florida license plates NYT Crossword Clue

”Abbott Elementary” airer NYT Crossword Clue

Some bottles of Wild Turkey NYT Crossword Clue

Annual event since 1949 NYT Crossword Clue

Stoically endured misfortune NYT Crossword Clue

Caped crusader? NYT Crossword Clue

First garment, perhaps NYT Crossword Clue

___ Jima NYT Crossword Clue

Wounded NYT Crossword Clue

Word after clip or walk NYT Crossword Clue

Culture writer Tolentino NYT Crossword Clue

Couldn’t get enough of NYT Crossword Clue

Where the Brahmaputra flows NYT Crossword Clue

Oscar nominee for “Iris” and “Philomena” NYT Crossword Clue

Smitten NYT Crossword Clue

Romantic’s quest NYT Crossword Clue

Weaken NYT Crossword Clue

___ Stroker, Tony-winning actress for 2019’s “Oklahoma!” NYT Crossword Clue

Proverbs, for example NYT Crossword Clue

Part of a test NYT Crossword Clue

Paese di Napoli NYT Crossword Clue

One called to go places NYT Crossword Clue

___-gritty NYT Crossword Clue

Sound in a clearing? NYT Crossword Clue

Palindromic example of onomatopoeia NYT Crossword Clue

Centerpiece of many a still life NYT Crossword Clue

Half of the iconic 1/22/81 Rolling Stone cover NYT Crossword Clue

___-mo NYT Crossword Clue

#nyt crossword

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craseusseriche · 5 months

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KADENCE JENNER

Kadence Jenner: gracing the big screen for 20 years

When Keeping up with the Kardashians first aired, Kadence Jenner was no stranger to the camera's like many of her sisters were. Making her big screen debut in Madeline (1998), portraying the titular character. She starred in several other small roles as a child such as Molly in Annie (1999) but most notably played Cindy Lou Who in How the Grinch Stole Christmas (2000).

By 2007 when KUWTK's first season broadcast, Kadence was one of the most sought out child actresses, with an already long discography.

Much of Jenner's success has been attributed to the O.J Simpson trial: as a witness being in the care of Nicole Brown at the time of her murder. As a toddler she was asked to testify but her accounts were dismissed due to her young age at the time.

Media coverage of the trial led to Kris being able to capitalise off the tabloids interest in her daughter and led to Kadence's career taking off.

Kadence has won multiple accolades for her performances in various film and series, notably being one of the youngest Oscar nominee's and winners in academy history. Jenner was nominated for an Oscar in 2009 for her performance in "The Orphan", and would go on to take home the award. She won her second Oscar in 2013 for her role as Ryan Stone in Gravity. Her portrayal of Jackie Kennedy in The Kennedy's (2016-20) won her an Emmy.

Due to her busy schedule, Kadence was not featured on KUWTK as much as her sisters. Camera's rarely got a glimpse into her professional life, aside from accompanying her to several award shows, such as the Oscars in 2009.

Kadence is low-key about her romantic relationships, stating that she "was entirely focused on her career". Despite this she has been linked to several famous faces over the years.

Her controversial relationship with pop-star Justin Bieber is the only romance she has ever personally confirmed. The couple began dating shortly after his split from Selena Gomez which lead to the media spinning stories up about her feuding with Selena and bring cheated on by Bieber.

It was later confirmed that Bieber was not faithful during the three years they were linked. Several rumors have sparked about Kadence's own infidelity however they were pushed underneath the popular conspiracy theory that Reign Disick, son of her elder sister Kourtney, was actually the son of Kadence and Justin.

The rumors have not been addressed since they sparked in 2014.

Since her formal separation from Justin Bieber in 2015, Kadence has not debuted a new boyfriend. She is notoriously close with model/influencer Toni Mahfud whom is regularly spotted accompanying her, but she has stated that she is not serious with Mahfud.

Sources close to Jenner have reported her to have been courted by Google co-founder Sergey Brin, which is supported by the pairs seemingly close friendship. She has also been linked to rapper Drake and fellow A-list actor Leonardo DiCaprio. She reportedly split with DiCaprio in 2019 due to scheduling issues, but there is no timeframe on her other two rumored beau's.

Most recently Kadence has been spotted with Jack Schlossberg, the grandson of John F. Kennedy and Jackie O. The pair met during the filming process for 'The Kennedys' and Schlossberg and his fsmily were consults.

(justin bieber, toni mahfud and jack schlossberg)

Kadence Milou Jenner (February 13 1993), professionally known as Kadence Milou attended Sierra Canyon School until she was 12 and switched to homeschooling to accommodate her acting schedule. She graduated in 2011 and began attending UCLA the next year, majoring in Chemistry and Quantam Physics. She graduated with a masters degree in chemistry and bachelors degree in quantam physics. Jenner also minored in Biochemistry and Computer Science.

Kadence founded the company Milou in 2010 which holds stakes in many of her siblings and other celebrity brands. She released her makeup and skincare line Adamiêc that same year which was originally intended to be a private brand she used for herself, but was launched to the public a year later after high demand from fans.

The brand is credited for it's high quality products which have since expanded into medical supplements and necessities such as face masks, latex gloves, inhalers and even laser hair removal and filler kits.

Adamiêc has also dipped into technology and sells powerful computers, albeit for a hefty price, that have become popular among the upper class.

Since joining instagram, Kadence has amassed a following of 300 Million followers on her account @.kadencemilou

As of 2023, Kadence's networth is estimated to be around 36 Billion USD.

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broadwaydivastournament · 30 days

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Broadway Divas Tournament: Round 3

Seven-time Tony nominee, two-time winner Bernadette Peters (1948) has a sixty-plus year stage career of monumental proportions. Considered the foremost Sondheim interpreter, their collaborative works include Sunday in the Park with George (1984), Into the Woods (1987), Gypsy (2003), and Follies (2011). She has a thriving concert career, and was a co-founder of the beloved Broadway Barks event each year in Shubert Alley. She has an honorary third Tony (Isabelle Stevenson Award) for her outstanding advocacy and philanthropy.

Beloved character actress Andrea Martin (1947) is a two-time Tony winner for My Favorite Year (1993) and Pippin (2013), both for Best Featured Actress in a Musical, a nomination she has received five times, more than any other actress. Other stage work includes Exit the King (2009), Noises Off (2016), and A Christmas Carol (2019). You may know her from SCTV if you're old enough, where her impersonations and portrayals will make you cry laughing.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

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"Do I need to say anything after the video above? She's been the sexpot of Broadway for like half a century. And this time next year, she'll be back on Broadway in a Sondheim where she belongs and I will be there screaming and sobbing."

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"Yes, yes, the tournament still has a few character actresses left, but Andrea Martin is THE character actress. The only one left of the true slapstick comedy masters. This woman has never once failed to deliver the laugh. She has more nominations in her category than anyone else. Icon, legend, Diva.

#broadwaydivastournament #broadway #tournament poll #broadway divas #musical theatre #bernadette peters #andrea martin #round 3

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writemarcus · 9 months

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Victoria Detres and Helen Park with Marcus Scott

R.I.S.E.’s launch event. Photo: Heather Gershonowitz.

During the 2018-2019 Broadway season, 100 percent of general managers and 94 percent of producers identified as white, according to a 2021 report from the Asian American Performers Action Coalition. These numbers were reflected in onstage representation as well, with actors who identified as white being cast in 80 percent of the lead roles in musicals and 90 percent of the lead roles in plays.

Since then, there’s been a reckoning with “We See You, White American Theater” disrupting the status quo, promoting over one hundred theater organizations nationwide to respond with action to demands for better BIPOC representation, visibility, and leadership. Several collectives popped up, most notably Black Theatre United, which negotiated “A New Deal for Broadway” between Broadway shows and their touring productions in 2021. However, one might argue that these institutions, while transformative, are primarily concerned with the optics onstage, whilst larger issues loom behind the scenes. In order to incite incremental change, it will have to take those with clout, capital, and connections that operate sub rosa and in the spotlight. Enter Lin-Manuel Miranda.

On June 8, numerous theater artists and industry insiders gathered on the rooftop of the Civilian, a 27-story luxury boutique hotel in Hell’s Kitchen on the edge of the Theater District, for a special announcement: Maestra Music and the Miranda Family Fund partnered to establish RISE (Representation, Inclusion, & Support for Employment) Theatre, with the aspiration of generating more equitable hiring exercises within the theater community by centralizing Diversity, Equity, Inclusion, and Access (DEIA) tactics and resources through a network of partners. This came to be when the Hamilton creator approached Georgia Stitt, the illustrious composer and music director who developed Maestra, to discuss launching the RISE Theatre Directory, a free national digital almanac created to promote visibility and hiring of underrepresented artists, backstage crews, and other vital theater employees.

The Brooklyn Rail spoke over Zoom with Victoria Detres (the project coordinator at RISE) and Helen Park (a member of its community of advocates and a Tony Award nominee for her KPOP score) to discuss its service, mosaic of diverse supporters, and subsequent sea change they hope to witness in the years to come.

Marcus Scott (Rail): What was the spark for RISE and how did you get involved?

Victoria Detres: I’ll start with the logistics of it all. So, Maestra Music is a not-for-profit that supports female and non-binary musicians working in musical theater. They had a program formerly called Get To Work. It was designed to share the statistics about where our industry is with hiring practices, and it was formed as a reaction to the pandemic, where everyone recognized where we were failing, and we had a larger movement.

So, we started sharing the resources. It was cultivated with community partners who were also working in various lanes of equitable progress, wanting to move the needle forward. That was happening in 2020, and they were moving the needle forward with the small programming they were doing for Get To Work; it was 2021 when Georgia and Lin-Manuel, oddly enough, ran into each other at a pumpkin patch in upstate New York. Lin had previous conversations with Ava DuVernay because he had given some funding for the ARRAY Crew, which is designated for BIPOC representation in film and television. He was working with Ava to create the same ideal database directory for theater. They recognized that film and television are very different from theater, so they wanted to part ways amicably recognizing that they didn’t have the insight or the knowledge about the theatrical industry that would serve creating the directory.

At the same time, that’s when Lin had run into Georgia. He knew about Georgia’s work at Maestra, and she mentioned the Get to Work program, and the partnership felt like a natural next step. The partnership began officially in 2022. I came on in 2023. There was some formulating about what the program would be. They recognized that Maestra didn’t have the infrastructure to do the entire push of the RISE Theatre Directory on their own, and they needed to hire additional help. That’s where I came in, along with my colleague Adam Hyndman. I came on in January to start the program when they mentioned, “Oh, yeah, we’re launching in June of this year.” I said, “OK, great. Happy to do that!” Adam came on in February, and it was all systems go, ready for the launch, figuring out what RISE Theatre would be.

It wasn’t RISE at that time. It was Get to Work. We had a hot five months of just working to make it happen. And then that’s where Helen comes in with our launch aiming for June. We really wanted to be intentional about the partnerships that we were building and how we actually got the community involved. We wanted to reach out to industry changemakers; cultural leaders who are doing the work in the industry to really get the name out there, but also cultivate partnerships so that we can highlight the good work that’s being done and amplify artists who are doing everything they can to move the needle forward.

Rail: The acronym of RISE stands for Representation, Inclusion, and Support for Employment. What does RISE mean to you in this moment?

Detres: We have this adage of “a rising tide lifts all boats,” and I think in our industry specifically, we are stuck in a scarcity mindset. When you’re seated at the table, you can’t open the door for someone else, and we kind of wanna challenge that. Or, at least, I wanna challenge that with the work that I do. Doing this work, elevating and cultivating community in more intentional ways is only gonna benefit the greater community. But I think we are stuck in a place where we are so at odds and we worry. I feel like the word “equity” doesn’t actually have a good rep because people don’t understand it. Equity means to create an equal playing field for everyone involved, and that’s not the current state of our world, in our industry. And by creating an equitable platform, everyone’s gonna benefit in the long term. For me, it’s really about moving from a place of abundance. RISE is abundance; it’s the abundance mindset. It’s cultivating community for long-term standards. That means everyone is represented at the table.

Rail: Between 2021 and 2023, Broadway saw a major boost in diversity. However, virtually all of those shows shuttered within months or closed early. What are some of the problems or issues that need addressing? Because we’re going into very uncertain times, as indicated by the various layoffs, cutbacks and cancellations by national and regional theaters across the country. How can RISE and organizations like it answer the call?

Helen Park: What I love about RISE in particular is the feeling of action, the emphasis on the action. I think right now it’s hard to see the culmination of this movement that started during the pandemic, like with Black Lives Matter… this reckoning of Broadway. Broadway is actually like “the Great White Way,” you know? I think it’s a problem to just look at it as “Oh, it’s such an easy fix! Let’s just do a play written for the Black community! Let’s do K-pop, let’s do a Korean show!” But then in order to actually execute it and pull out the best capabilities to really make meaningful actual change that does represent the culture accurately, I think there’s a lot of different reasons why these shows in the past season didn’t succeed or run for as long as they maybe deserved. One of those reasons I think is that the people who have always been in this field, who have always done things the way things are done, are doing the same thing over and over again. Then when they’re met with something that’s not familiar territory (in terms of the story or the source material or the cultural background of said project), there is difficulty and they need help. It’s not also just about replacing who’s always been there. It’s not just like giving up space to have someone else to take over, you know?

Rail: You mentioned a reckoning.… In the midst of a global quarantine, there was a cultural and societal reckoning, particularly in the arts and media landscapes where advocates, activists and artivists came out of the wilderness to shine a light on many of the problems facing those who were not cisgender heteronormative white men. Right? In that time, we saw various movements take place, such as #MeToo and We See You White American Theatre and during that time various organizations either generated a listserv or directory. One that comes to mind is “Underrepresented Theater Critics.” How is this one different?

Detres: We have to, first of all, acknowledge the platform that we are on. That I can’t go about saying we are on an elevated platform because of the associations we have. There are so many Excel spreadsheets that I have used in my lifetime that are about BIPOC designers, Black directors, but only because I was in the community did I know those existed. And when I would speak to people I worked with in spheres—when I spoke to white people in spheres—they didn’t know about these. But I think that’s the disconnect with the communities that exist in the industry and I’m really excited about the potential of actually being the connective tissue for our industry. So much of the time we talk about “our voice is power.” Communication is power. How can RISE be the connective tissue for all of these systems to exist? We want to be clear that we don’t wanna override any work that has been created before. We’re not trying to steamroll. But we’re actually trying to recognize what has come before us and understand that this is a natural evolution, that we can ride on this wave of amplification and visibility to become a centralized source, so that we can fight that narrative. Like, we don’t exist. Okay, well then, here’s an easy digestible way to find us. It really is capitalizing on this situation now and understanding that this is a natural evolution of years of work in our community and how we can continue moving the needle forward by understanding that our history cannot be erased, but we can actually evolve from the history that we’ve had.

Park: Right now, we are at a critical time where people acknowledge the need for better representation and more authentic storytelling. It can only enrich our community and this medium of theater. I think everybody’s sort of onboard with the theoretical, you know? Like, “Of course, inclusivity!” But I’m really hopeful that through this very specific directory we will see gradual change.

Detres: I think what’s lacking overall is support. All of these shows that closed early because producers broadcast to this audience once and then never invited them back for a different show. The audiences at KPOP showed up because they were excited about this; because they were actually welcomed for the first time. What happens when we start doing that with every show? We gotta stop that model that’s, like, “You’re only welcome to go see a show that fits your personality and your identity.” How many white shows have I seen in my lifetime that I don’t resonate with but I was excited because it was on Broadway and I wanted to go see it and be part of that?! How do we create systems to support people of color when they aren’t given leadership roles, when they’re set up to fail? That’s what I’m really excited about. I think we just don’t talk about what support looks like and how to create structures of support for new things that we’re bringing in.

Contributor

Marcus Scott

Marcus Scott is a New York City-based playwright, musical writer, opera librettist, and journalist. He has contributed to Time Out New York, American Theatre Magazine, Architectural Digest, The Brooklyn Rail, Elle, Essence, Out, Uptown, Trace, Hello Beautiful, Madame Noire and Playbill, among other publications. Follow Marcus on Instagram.

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vickiabelson · 1 year

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Today Live! They may sing the blues but they sure make me happy. Teresa James and Terry Wilson were 2019 Grammy nominees with a just dropped new album of reimagined Beatle songs, which debuted at #9 on the Billboard Blues chart, and are currently celebrating Teresa’s nomination by the Blues Foundation for Contemporary Female Blues Artist of the Year.

From Houston Texas, Teresa and Terry are in perfect harmony on and off the charts. With the voice of a knowing angel, aided by brilliant songs and instrumentation, these two deserve every award and accolade. Great to sit down and listen to, and even more fun to witness live, with their band, Teresa James and the Rhythm Tramps, they’re always kick-ass on fire.

Teresa’s recorded with Eric Burdon, Spencer Davis, Tommy Castro, Stephen Bruton, Randy Newman, Neil Diamond, and many others. She’s performed live with lots of other artists, including Marcia Ball, Levon Helm, Lloyd Jones, Delbert McClinton, and Eric Burdon & the Animals to mention just a few.

The Rhythm Tramps is made up of world-class players that have toured or recorded with Eric Burdon & the Animals, Bonnie Raitt, Delbert McClinton, Jimmy Reed, Lightin’ Hopkins, Jimmy Vaughan, Johnny Nash, Smokey Robinson, Tom Jones, Tower Of Power, just to name a few, and their songs have been recorded by many other artists.

Thrilled to sit down again with these two, it’s like going home. They go back decades with my beau, have all performed together in my living room and I’ve seen them live innumerable times. A special treat this day, they’re gonna play us some cuts from, With a Little Help from Her Friends. Having listened and sung along (badly), I’m so excited to share them and this FAB new music with you.

Teresa James & Terry Wilson Live on Game Changers with Vicki Abelson

Wed, February 15th, 5 pm PT, 8 pm ET

Streaming Live on The Facebook

Daily by Toni Vincent & @peter_and_paul_ Cartoons

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droughtofapathy · 5 months

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The Gilded Age's Broadway Divas: Amber Gray (Bea)

While her Hadestown co-star Patrick Page is terrorizing workers' unions (as per usual), and her Comet co-star Denée Benton is the star of this show, Amber Gray gets one scene where she's terrorized by white men. As a restaurant proprietress, Amber enjoys an elevated place in society, all things considered. For plot reasons, Amber cannot enjoy this victory. Instead she gets manhandled and probably assaulted. Justice for her.

Amber Gray has enjoyed an eclectic career in the off-Broadway and fringe theatre spaces before making her Broadway debut in Great Comet alongside Denée Benton. She also originated Laurie in the pre-Broadway run of that reimagined Oklahoma revival of 2018, and has been Persephone in every iteration of Hadestown. She left Hadestown in 2022 after several years to join the Daniel Craig Macbeth happing just across the street. This last year, she has performed in the benefit concert of Jacques Brel is Alive and Well and Living in Paris in Tangier, and now delights audiences as the vapid and tech-obsessed Claudia Bursik-Zimmer in Sondheim's final musical, Here We Are playing at The Shed through mid-January.

Her character is only ever referred to as "Bea" by the white man who gets physical with her, and IMDb incorrectly attributes her character as the one she played in The Underground Railroad so I don't really know what we're doing here. God forbid HBO put end credits that list everyone and their characters.

#1: "Charming," Natasha, Pierre & the Great Comet of 1812 (2016)

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Released as a series of music videos on the show's youtube channel, this staging of Amber Gray's solo number is not what happens in the show, but it's fun, and fabulous, and I was obsessed. Amber's signature growl can be heard across her discography.

Playing Countess Hélène Bezukova, a "Queen of Society," she attempts to woo Natasha (played by Denée Benton) on behalf of her brother in this homoerotic little number.

#2: "Our Lady of the Underground," Hadestown (2019)

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In a jazzy, capitalist critique adaptation of the classic Hades/Persephone & Orpheus/Eurydice myths, Hadestown is quite possibly Tumblr's most recognizable musical based on all the best musical polls that completely disregard-- You know, I won't get into it here.

Hadestown is a great musical. I've seen it twelve times (which was probably seven times too many, but 2019 was a weird time for me). Amber Gray is a marvel as Persephone, the disillusioned lush of a wife to Patrick Page's Hades. She was nominated for a Tony for Best Featured Actress in a Musical. And I'm not mad about who won, necessarily, but I would have cast my vote in Amber's box.

#3: Here We Are (2023)

Naysayers turn away because I loved Here We Are in all it's messy, unhinged, utterly deranged glory. With the death of Stephen Sondheim, it will never be fully finished, and the second act is almost entirely bereft of music, but I still consider the euphoria of sitting in that first preview audience and hearing the first notes of that music one of the best experiences I've ever had in a theatre.

As Claudia, Amber Gray is serving cunt and there is no other way to describe it. Now, I don't have the time nor the room to explain the plot of this show. Because of its style and lack of traditionally formatted songs, it's unlikely Here We Are will get a cast album, or that the score will become cabaret hits. Thus, we'll just have to work with the bootlegs I've clipped.

Also featured in the show is Tony-nominee Michaela Diamond, who played a non-speaking shopgirl in one scene during Gilded Age's first season.

LINK TO MASTERPOST

#the gilded age #amber gray #natasha pierre and the great comet of 1812 #hadestown #here we are #sondheim #broadway #musical theatre

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