Even if you have religiously watched every episode of The Bold and the Beautiful ever released, there is so much about the soap opera that you probably don’t know.
28.04.2024 - 19:47 / variety.com
Meena Harris For more than half a century, “Cabaret” — the iconic American musical set in Nazi Germany — has been produced, revived and revived again. This story, which touches on sex work, abortion and a complex female protagonist in Sally Bowles, has spoken to audiences generation after generation. But another element of the production stayed true for nearly the same amount of time: on Broadway, “Cabaret” has exclusively been directed by men.
Until now. The latest revival — “Cabaret at the Kit Kat Club” — just opened at the August Wilson Theatre. For the first time in Broadway’s history, it’s directed by a woman: 38-year-old Rebecca Frecknall.
And it’s being staged amidst a historic siege on women’s rights. As someone who was lucky enough to see the show on opening night, I can attest that, in this production—more than in any other I’ve seen—the parallels between Sally’s experience and that of today’s young women are uncanny. But based on the reviews from some mainstream critics, you’d think the most political part of the show is the cherry schnapps handed out when you arrive.
I’ve seen and loved other productions of “Cabaret”; Sally in particular has long been rightly upheld as a high watermark for nuanced, authentic women on stage. The role has been called the “female Hamlet of musical theater” for good reason. But at Frecknall’s direction, Gayle Rankin powerfully embodies what is undeniably a Sally of 2024.
When she sings the show’s title number (which takes place in this production after the character’s offstage abortion) we see a modern Sally: raw and real; more than likely in emotional and physical pain. She doesn’t sing, dance or exist to please others—including, it should be said, us in the audience. Instead,
.Even if you have religiously watched every episode of The Bold and the Beautiful ever released, there is so much about the soap opera that you probably don’t know.
Dame Judi Dench was asked about her opinion on trigger warnings in theater productions, to which she responded that audience members with sensitive natures might avoid the theater altogether. She expressed skepticism toward the necessity of content advisories, asking what the point of going to the theater actually is.
Radio Times, Dench was taken aback by the suggestion, asking, “Do they do that? My god, it must be a pretty long trigger warning before King Lear or Titus Andronicus.”“I can see why they exist, but if you’re that sensitive, don’t go to the theatre, because you could be very shocked,” she added. “Where is the surprise of seeing and understanding it in your own way?”Other artists have shared similar sentiments on the subject, including Quentin Tarantino, who said that he does not see the need to accommodate viewers that may be offended by films.“I reject the word ‘offended’. Anyone can be offended by anything.
Paula Newsome is speaking out.
Zack Sharf Digital News Director Joel Edgerton revealed on The Playlist’s “Bingeworthy” podcast that he failed his audition for Star Lord in “Guardians of the Galaxy” because he just couldn’t nail down the tone writer-director James Gunn was looking for. Chris Pratt ended up getting the career-defining role, which he’d reprise in two “Guardians of the Galaxy” sequels and various other Marvel movies, including “Avengers: Infinity War.” “Star-Lord’s a good one, actually, because I, unlike Chris [Pratt], didn’t quite sort of understand the tone of it the way he did and the way that those guys did,” Edgerton said on the podcast. “And I wasn’t really sure how I could be a part of that tone.
SPOILER ALERT! This story contains plot points from the May 11 episode of Young Sheldon on CBS.
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Janet Maslin Ron Howard has been part of our collective consciousness for as long as I can remember. Or at least he looms large in mine. Born in 1954, he was on many of the TV series I grew up watching and had his own starring role on “The Andy Griffith Show” by 1960.
Cabaret is back on Broadway with unbridled decadence and immersive glory. Certain musicals are constructed so well that, even if they are cast with mediocre performances or if the production value is low, they still hold.Cabaret stands as one of the indestructible.This might explain why the original sixties production has been revived and reinvented so many times on both sides of the Atlantic.
Founded by Gordon Rigg himself, the Garden Centre began as just a greenhouse, a shed, and a small selection of garden tools. However, fuelled by his passion for gardening and a vision for growth, Gordon Rigg's Centres have flourished over the decades, expanding exponentially to become one of the largest garden centres in the North West.
Tony Awards nominations. The two shows, one focused on a pre-celebrity pop titan coming into her talent and the other examining a darker, druggier side of the music industry, picked up a leading 13 nods. They were followed closely by “The Outsiders,” a musical adaptation of S.E.
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Trish Deitch Director Lila Neugebauer sets Lincoln Center Theater’s starry, breathtaking new Broadway production of Anton Chekhov’s “Uncle Vanya” in current-day America rather than Russia around 1898, the year the play was written. There’s a baseball cap and a backpack with dayglow tape; pills are in plastic bottles with childproof caps; when someone runs out of ink while paying bills, they look for a new pen.
Steven Olikara When millions of Americans came together to marvel at the stunning solar eclipse, we saw a rare moment of unity amid the darkness of a country torn apart by polarization. Bookending the same week? The release of action-thriller “Civil War,” now the number one film in America and A24 Films’ most successful release yet. Set against the backdrop of an imagined second American Civil War, the film follows photojournalists led by Lee Smith (Kirsten Dunst), as they capture the horrors of a failed country.
Naveen Kumar When Eddie Redmayne’s slithering Emcee assures the audience at “Cabaret” that “here, life is beautiful,” he’s telling a half-truth. The August Wilson Theater, done up like the Kit Kat Club for a bracing, high-style, Broadway revival that opened there Sunday, has indeed been transformed into a house of pleasure.
except for me).And, thanks to the intoxicating atmosphere created by designer Tom Scutt and Redmayne’s meticulous and freakish performance, the show does not make for an unsatisfying night out in New York. There’s plenty to admire.Yet the pricey bells and whistles distract from what is a so-so, overly dreary staging that is often undermined by its own overwrought machinations.
Lise Pedersen In an exclusive interview with Variety after picking up the top industry prize at Swiss documentary festival Visions du Réel, Franco-Iranian director Mehran Tamadon outlined the intention of his upcoming feature documentary “The Last Days of the Hospital.” Set against the backdrop of France’s public health crisis and shortage of personnel, the film will show patients from a psychiatric hospital on the outskirts of Paris taking charge of their own ward. Tamadon has been running film workshops with the patients at the hospital for the past eight years, and decided it was time to make a film to denounce what he describes as “the ultra-liberal policy which plans the death of the public hospital.” “French public hospitals are not doing well, nurses and caregivers are leaving because they are mistreated and poorly paid.
Tori Spelling recently sent waves of nostalgia crashing over fans when she took to Instagram to share a snapshot of herself sandwiched between her Beverly Hills, 90210 co-stars Brian Austin Green and Jason Priestley. Captioning the photo of the trio, she quipped: "It's a Donna sandwich.
“The Outsiders” at Broadway’s Bernard B. Jacobs Theatre.Described as “breathtakingly visceral” by the New York Post’s critic Johnny Oleksinksi, other reviewers have singled the scene out as “one of the most impactful moments of this, or any, Broadway season” and (the Washington Post), “a spectacular ballet of violence” (New York Magazine).And if you want to see the stunning sequence in the buzzy new coming-of-age musical about rival gangs from different socioeconomic backgrounds in Tulsa — adapted from S.E.