Comic actor George Wendt, 'Cheers' barfly named Norm, dead at 76
By Steve Gorman
(Reuters) - Comic actor George Wendt, best known for his Emmy-nominated supporting role as the beer-bellied barfly Norm on the long-running hit NBC television sitcom "Cheers," died on Tuesday in Los Angeles. He was 76.
The passing of the Chicago-born performer was announced in a statement from his publicist, Melissa Nathan, who said his family confirmed that he died peacefully in his sleep in the early morning at home.
No other details about the circumstances or cause of his death were given.
"George was a doting family man, a well-loved friend and confidant to all of those lucky enough to have known him," the statement said. "He will be missed forever."
Wendt got his showbiz start in the Second City improvisational comedy troupe of his native Chicago in the 1970s and went on to appear in small roles in various prime-time TV series during the 1980s, including "M*A*S*H," "Taxi," and "Soap."
He landed his first gig as a TV series regular in 1982 on the short-lived CBS comedy "Making the Grade," which lasted just six episodes before it was canceled.
But he was most famous for his signature role as the beer-quaffing accountant Norm Peterson - as amiable as he was portly - during the entire run of "Cheers," which aired in U.S. prime time from 1982 to 1993.
Set in a fictional Boston neighborhood bar "where everybody knows your name," the series launched the careers of such stars as Ted Danson and Woody Harrelson, and spun off another long-running NBC sitcom, "Frasier," starring Kelsey Grammer.
Norm was often the good-natured comic foil of his bar-stool companion and drinking buddy, the know-it-all mailman Cliff, played by John Ratzenberger. The Norm character earned Wendt six consecutive Emmy Award nominations.
Just months before the show ended its run, Wendt and Ratzenberger sued the show's producer, Paramount Pictures, challenging a licensing deal that sought to market their likenesses as a pair of chatty life-size robots in a chain of "Cheers"-like airport bars.
The case, pitting intellectual property rights claimed by the studio against the actors' rights to exclusive control over use of their own likenesses for profit, bounced through the federal court system for years before being denied a hearing by the U.S. Supreme Court in 2000. The case ultimately was settled for undisclosed terms.
The popularity of the Norm character helped fuel Wendt's career for decades to come, as he appeared in dozens of supporting roles or guest spots in film and TV shows, mostly comedies, sometimes as himself or reprising his Norm character.
Among the most memorable of his off-"Cheers" body of work were eight appearances as a Chicago sports superfan in a recurring sketch on "Saturday Night Live," employing a spot-on South Side accent to humorous effect.
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USA Today
32 minutes ago
- USA Today
A caregiver dad, Bradley Cooper and how a national crisis inspired an unexpected film
A caregiver dad, Bradley Cooper and how a national crisis inspired an unexpected film Matthew Cauli had no one to turn to when his wife, Kanlaya Cauli, had a stroke and was diagnosed with cancer during the height of the COVID-19 pandemic. He left his graphic design career to care for her and their young son, Ty. Cauli said he quickly discovered there were few resources for caregivers. He took to social media to share his story and found a community of caregivers on TikTok, where he continues to post vulnerable videos about his family's daily struggles. "I had to quit my job to go into poverty in order to get on Medicaid so that my wife could get some treatment," Cauli said in a recent social media post. "I've been in poverty for five years, credit card debt for five years. And I am stuck, I'm stuck, I'm stuck." He shares the hardest moments of his caregiving journey, he said, so people understand how difficult it is. 'I just felt like I had nothing to lose," Cauli told USA TODAY. 'I wanted to show everybody, kind of, what it's really like.' More: The caregiving crisis is real. USA TODAY wants to hear from you about how to solve it. Soon, Cauli's story will be shared in a documentary on PBS. "Caregiving," which premieres June 24 at 9 p.m. EST, was created with executive producer and Academy Award-nominated actor Bradley Cooper and features caregivers from across the country alongside advocates and experts in the field. The documentary is available to stream on and the PBS App. Cooper said his own experience caring for his father, who had lung cancer, inspired the documentary. Caregivers, he said, "are heroic people." 'Their ability to focus and give all of themselves is something that I stand in awe of,' Cooper says in the film. Jocelyn Frye, president of the National Partnership for Women & Families, is featured in the documentary. Caregiving issues, she said, "are not niche concerns." "The vast majority of families navigate these problems every day and it is important for people to see that they are part of a large community of people struggling to figure things out," Frye said. She said she hopes the documentary leaves people "optimistic about the change that is possible, and determined to push for policies that we know can and do work." Zulma Torres, also featured in the film, is a paid home health aide and a family caregiver for her granddaughter. She said she sees so many people who need care who can't afford it and can't access the resources to get the help they need. Torres has grown to love her job as a caregiver, but said it's hard work that doesn't get the attention or support it deserves. Home care workers are the ones keeping patients at peace, washing them, feeding them and keeping them company when they feel alone. "We care," Torres said. "We care for these patients." 'Punished for doing the right thing:' Documentary highlights common caregiver struggles The documentary and the nation's renewed focus on caregiving is crucial, said Ai-jen Poo, executive director and board secretary for Caring Across Generations, because people are living longer than ever before. Meanwhile, she said, America "just isn't built to support care." 'The care crisis that everyone experienced during COVID really brought it home for people, in such a stark way, how little infrastructure we have in place to support us on such a fundamental and universal need," she said. "That has sparked a tremendous, exponential growth and awakening in our movement that can't be undone.' A lot of people who care for their family members don't even know they are caregivers, she said. They often feel alone and don't know that solutions are possible. Chronic illness can be hard on marriage. Studies show it's worse when the wife is sick. 'We each have a care story," Poo said. "And sometimes it takes seeing or hearing someone else's to realize that we're caregivers and that we actually share this really profound experience.' Cauli lives in New York and doesn't qualify for the state's paid caregiver program because he is married to his wife. The state's Medicaid members can hire a personal caregiver that is a friend or family member, as long as they aren't the patient's spouse or parent. If he divorced his wife he could apply to be her paid caregiver, he said. But that "sounds silly" to him. 'I feel like I'm being punished for doing the right thing,' Cauli said. He's considered moving states to access better resources, but said that's "near impossible, financially." He had to make major updates to their home to accommodate his wife's needs, including widening the doorframes and getting a new bed. He can't afford to hire in-home care. "Five years in, I'm still doing everything," he said. But Cauli has hope. 'I hope people start sharing their personal stories,' he said. 'I'm very hopeful that this documentary will start a movement to just help caregivers out.' Madeline Mitchell's role covering women and the caregiving economy at USA TODAY is supported by a partnership with Pivotal Ventures and Journalism Funding Partners. Funders do not provide editorial input. Reach Madeline at memitchell@ and @maddiemitch_ on X.


New York Post
an hour ago
- New York Post
'Sunset Blvd.' on Broadway Mandy Gonzales Norma Desmond interview
Vivid Seats is the New York Post's official ticketing partner. We may receive revenue from this partnership for sharing this content and/or when you make a purchase. Featured pricing is subject to change. A desperate young screenwriter stumbles into the mansion of a nearly forgotten actress. Fate unfolds, and the two rustle up a plan to rewrite her script — his chance at catching a break, and hers at reclaiming the spotlight (though, we're not sure if she noticed it was gone). You might think you know how that story ends, but Jamie Lloyd Wright's electric, theatrical revival of 'Sunset Blvd.' at the St. James Theatre stretches the imagination in ways we'd never expect. And, yes, there's still a love triangle — that ends in a pool of blood. If you haven't been yet, 'Sunset Blvd.,' which netted seven Tony nominations, runs Tuesday through Sundays at Broadway's St. James Theatre until July 13. As of now, tickets are available for all remaining performances. At the show we attended, Mandy Gonzales guest starred in Nicole Scherzinger's role as silent-film star Norma Desmond. She led the ensemble alongside Tom Francis who plays down-on-his-luck writer, Joe Gillis. Their performances are a blur between Broadway and film noir; thrilling, dark, foggy, sparingly staged, yet so fleet of foot you'll barely have time to blink. We spoke with Gonzales on manifesting her role in 'Sunset Blvd.,' how she resonated with Norma's fight to endure in a demanding industry, and the art of balancing acting and motherhood. 'As a woman in this industry, once we hit a certain age, (we're told) it's done. I think as women…we just get more and more interesting. I think that's the truth,' Gonzales teased while describing her character. Before unpacking 'Sunset Blvd.' with Gonzales, we had to find out exactly what the Tony-nominated show that's stopping traffic on 47th Street was all about, so we grabbed some seats at her May 20 performance. What we thought of 'Sunset Blvd.' on Broadway A slow burn has its place, but not here. Wright's characters leap into their roles sooner than the lights drop. Hannah Yun Chamberlain (young Norma) opens the show with an ethereal ballet — graceful, haunting, and a bit beguiling — her scenes float like memories in motion. Joe rises from a body bag in a flash of foreshadowing and Norma sweeps in with her first musical number, 'With One Look.' It's 1950s Hollywood. Joe's chasing a break, Norma's in need of a comeback, and the price is yet to be determined. An 18-piece orchestra hums under all of this, but for almost two hours and 35 minutes, it's mostly Gonzales and the rest of the cast who grip the audience, sprawling the stage with spinning, psychological choreography and spoken-sung-style vibrato that divulge Norma's delusions. There are no bad seats in the St. James. Line cameras track the actors for cinematic close-ups, mere inches from their faces, plastered across a slanted, larger-than-life screen behind. These intimate, raw projections magnify them under a lens, granting watchers access to every twitch of emotion — grief and desire, fear and isolation, Norma's spiraling obsession with Joe, and her fading career. It's a glimpse into her split reality. In Act II, the story doesn't pick up, but spills over and outside. Cameras chase Joe as he weaves down from the top of the dressing rooms, catching flickers of backstage banter, through chaotic corridors and dimly lit dressing rooms. By the time he reaches the ground, it's like you've brushed shoulders with the entire company. You begin to wonder, are you watching the play, or are you in it? The live sequence follows Joe and the cast as they transcend the theatre and take the streets of Times Square, where they belt 'Sunset Blvd.' to a crowd of unsuspecting tourists who just found free, front-row seats. It's loud, grand, and more than a bit voyeuristic. This is envelope-pushing art that can only be expected by an accomplished contemporary visionary, such as Jamie Lloyd. Without spoiling the story, we'll say that Norma and Joe do find a final moment under the lights, though the nature of this departing act wasn't what either had in mind when the curtains first drew back. And, with that, we couldn't wait to chat with the magnetic Gonzales about her work in the show, career and love of all things Broadway. What attracted you to the role of Norma Desmond in Sunset Blvd.? I grew up in California, and, for some reason, my public middle school was really awesome. For a field trip, they took us to see 'Sunset Blvd.' with Glenn Close… I think the following year we saw 'Phantom of the Opera' and I absolutely fell in love with Andrew Lloyd Webber's music. I loved Sunset Blvd. so much. We bought the cast album and I listened to it all the time. When you're a kid, and then your twenties and thirties — you're like 'oh, well, that kind of part seems too far away.' [So] when this came up, it was like 'yes, absolutely, I want to sing that!' and then when I met with Jamie Lloyd and saw how he was challenging me as an actress and a person, I just thought this is going to stretch me in my artistry… I would say I manifested it. I don't know, but maybe I did. Does Norma's story resonate with you on a personal level? Norma is definitely a fighter and a survivor. In my own life, I went through breast cancer in 2019 while acting in 'Hamilton' and wanted to show people I could still do it — like this was just a part of me, and wanting to fight and still be a part of things. Even though inside, it was a very dark place. I think that really helped me understand Norma. If you're in this business long enough, you go through so many ups and downs and so many people. I've been lucky that I've been in shows that have been hits, and shows that have been the biggest misses. One of those shows was my first original Broadway show, 'Dance of the Vampires,' which I starred in opposite Michael Crawford. I was about 23 years old, and the show was panned all around. At 23, I had somebody come up to me and say, 'well, you're probably going to leave the business now because this is it,' and it was just like, 'why would I do that— I've only just begun.' René Auberjonois, who was also in that show, said, 'the only place to go is up.' What did you learn from being told your career would be over at 23 years old? Back at that time, I was like 'why me,' but I look back and think that really taught me a sense of how strong I was. To read things about yourself, or about people you care about in a show, that are really horrible — it allows you to go, 'oh, I can either believe that or I can just keep going and keep fighting.' I think Norma is exactly like that. I think she is the ultimate warrior. Norma's a complicated character. How did you capture her emotions? She's not just a caricature. As I've gotten older, I see that more. Her vulnerability is real. She's always being watched by somebody in her mind. Whether the show is in her imagination or whether the show is really happening, I think that's a really beautiful thing, and nobody really knows. As women in this industry, once we hit a certain age (we're told), it's done. I think as women… we just get more and more interesting. I think that's the truth. When you're so isolated, and that's all Norma has — her career and her past — that can be a very dangerous thing. Norma never learned the balance of things, or how we try to balance different parts of our lives. She always put her career first. How did you practice for the close-ups on the screen? I come from a theatre background and worked in television and film. But theatre is what I love. During the rehearsal process, they had a small screen and they were rehearsing with the cameras, and there was one moment when I turned and was like, 'Oh, that's really close. That's very triggering.' As women, we look at ourselves and say, 'oh, there's that wrinkle, and there's that,' and Jamie just said, 'We never look into the screen. We never look at it,' and I have not looked at it. It's all coming from my heart. It's not coming from how I think I should pose, so I'll look better in front of the camera this way or that way. It's very freeing as a woman not to think about the screen. It's like not thinking about the mirror, and being like 'I am the most beautiful woman in the world.' Was there anyone in the cast you grew close to over the course of the production? Tom Francis. I was able to rehearse with the company for the first few weeks of rehearsal here in the States, so I was able to be Norma for everybody. Tom came in early, so we could work together and develop our show together, which I really loved and appreciated. He's so fantastic. It's really the entire company. That's what I love. I love community, I love putting it together. Eating lunch together. Hearing what everyone's talking about. I feel like it's a family and nothing happens on that stage without the other person. What about that pivotal scene where Joe leaves the theatre — how do they do that? Is it recorded? That's all live! I'm lucky. I just get to sit there on stage and watch it all happen, and I've watched through all of it. Through winter in New York, through snow, sleet, and rain… But, Tom… it amazes me every night that I get to see it. He's seamless. He makes it, he tells the story, and he gets those lyrics out. That's all live, the orchestra is playing live, and all the camera operators are out there. They have a great security team and he has people around him, so people won't come up to him and interfere with filming. It's just this thing that has never been done before, and it's thrilling. The way that Jamie Lloyd has used space, he's expanded beyond the theatre to create this story. That's what I love, pushing beyond the bounds of what we think is possible. I'm so impressed by actors who can flip between roles. How do you do that? We're women, and we multi-task very well, and I think it's just that. It's about survival, and when you're an actor, it's like, 'Oh, okay, like this is where the job is, and you've got to do it.' You've got to figure out a way to do it, to make it happen… You don't get home from the show until 11, and then you stay up until 2 in the morning, and then you've got to get up for your kid at 6. That's just part of it. When did you first get the Broadway itch? It started early for me because I had a grandmother who lived in the Valley, who loved musical theatre. She especially loved big Torch Singers, so I grew up listening to Judy Garland, Eydie Gorme, and Liza Minelli. I fell in love with any musical they were in because my grandma would play them for us, and I was really the only grandchild who sang back. My grandma was the one who said, 'Mandy has talent. She's really loud, and she's going to hurt herself, so we have to get her into lessons,' and little did she know that that loud voice would someday help me. What's next for you? I am going to be making my Carnegie Hall solo debut in the Fall. As well as with the Boston Pops, I will be with the New York Pops at Carnegie Hall. I am going to be doing a show that I created and have been working on with my dear friend Lin-Manuel Miranda's music catalog. Any other Broadway shows you've enjoyed recently? Any Tony's predictions? I just saw 'Buena Vista Social Club,' which I absolutely loved, and I think so many things about that show are just so incredible — from Saheem Ali's direction to Justin Peck and Patty Delgado's choreography. I also just saw 'Stranger Things,' which I thought was fantastic. The entire ensemble completely blew me away, as did the show's set design. Last question. Give us one word to describe Norma and one for Mandy. For Norma, I would say, limitless. For me, I would say fearless. This interview was lightly edited for length and clarity. Huge Broadway musicals Already seen 'Sunset Blvd?' Here are five more hit shows on the Great White Way you won't want to miss live these next few months. • 'Death Becomes Her' • 'Just In Time' • 'Maybe Happy Ending' • 'Buena Vista Social Club' • 'Dead Outlaw' What else is running in Midtown? Take a look at our list of all the biggest Tony-nominated shows going down on Broadway to find the one for you.

Associated Press
an hour ago
- Associated Press
Kara Young, already on a Broadway streak, could make Tony history with her role in 'Purpose'
NEW YORK (AP) — Don't bother asking Kara Young which one of her roles is her favorite. They're all her favorite. 'Every single time I'm doing a show, I feel like it is the most important thing on the planet,' she says. 'I don't have a favorite. It's like this: Every, every single project has held its own weight.' Right now, the weighty project on her mind is Broadway's celebrated 'Purpose,' Branden Jacobs-Jenkins' drawing-room drama at the Helen Hayes Theater about an accomplished Black family revealing its hypocrisy and fault lines during a snowed-in gathering. 'There's so much in this play,' says Young, who plays an outsider who witnesses the implosion. 'Like a lot of the great writers, he creates these universes in a line or the space between the words.' A tense family gathering 'Purpose' is set in the Jasper family's living room in an upper-middle-class neighborhood in Chicago. The patriarch is Pastor Solomon Jasper, a Civil Rights legend, and his steely wife, Claudine. They are reuniting with their two sons — Junior, a disgraced former state senator, recently released after serving a prison sentence for embezzling funds, and Naz, who fled divinity school and is now a nature photographer. Young plays Aziza, a Harlem-bred social worker who has been close friends with Naz but didn't know anything about his family. 'This kind of thing never happens to me! I never meet famous people and you've been famous this whole time?' she screams. Her awe quickly fades as sibling jealousies, parental frustrations, past sins and the pressures of legacy come tumbling out over a fraught dinner. There is some slapping. 'We are so susceptible to get angry with the people we love the most,' says Young. 'What we're seeing in the less than 12 hours of them being together for the first time in two years, they're sitting down and having dinner, and all of these things come up, as they often do.' Young poised to make history Young's work has earned her a Tony Award nomination and a chance to make history. Already the first Black person to be nominated four times consecutively, if she wins, she'll be the first Black performer to win two Tonys in a row. Young made her Broadway debut in 2021 in 'Clyde's,' was in 'Cost of Living' the next year and co-starred opposite Leslie Odom Jr. in 2024's 'Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch,' winning a Tony. Jacobs-Jenkins calls Aziz in his script a 'deeply perceptive person and empathetic' and that could also apply to Young, She says she closely identifies with her character in 'Purpose,' — they're both Harlem-bred advocates for others, hoping to make the planet better. 'I feel connected to that core of her,' says Young. 'Every single play I've done since my 10-minute play festivals, I'm always like, 'Wow, this feels like this can change the world,' you know? And I feel like at the core of Aziza, that's how she feels. She wants to change the world.' 'Purpose,' directed by Phylicia Rashad, also stars LaTanya Richardson Jackson, Harry Lennix, Jon Michael Hill, Alana Arenas and Glenn Davis. 'Joy and curiosity and enthusiasm' Hill, who as Naz also earned a Tony nomination for best lead male actor in a play, calls Young 'the heart and joy of our little family over there at the Helen Hayes.' 'She enters the building and she just makes time for everyone and is genuinely excited to see people and hear about how they're doing,' he says. 'I've really never seen anyone have as much room in their consciousness and their being for everyone she encounters. She approaches every day with joy and curiosity and enthusiasm.' If there's one story that shows who Young is, it would be from the day of the Met Gala, which she and cast members of 'Purpose' were invited, along with its playwright. That same day, Jacobs-Jenkins won the Pulitzer Prize for drama. Young found out while getting her makeup done and began screaming. When she got to the gala — a look-at-me moment, if there ever was one — she was a walking advertisement for the play. 'I told everybody, 'You have to come and see this play. He just won a Pulitzer!'' Hill was right behind her and smiling as Young made connections and introductions. 'She was just going up to everyone and introducing us and talking about our show and trying to get folks in the door.' Young made her 2016 stage debut in Patricia Ione Lloyd's play 'Pretty Hunger' at the Public Theater, a play about a 7-year-old Black girl who didn't know she was Black. The playwright told her she wrote it with Young in mind. 'Ione Lloyd is one of the people who really made me see myself as an artist,' she says. 'She's the one that kind of set a path for me in a really beautiful way.' Next up for Young is the movie 'Is God Is,' which playwright Aleshea Harris is directing from her own 2018 stage play. Sterling K. Brown, Vivica A. Fox and Janelle Monáe are in the cast. Young calls it 'a spaghetti Western-meets-Tarantino-meets-the Greeks.' Next summer on Broadway, she'll star in a revival of 'The Whoopi Monologues' opposite Kerry Washington. After that, who knows? 'I don't know what's next, but I can't wait, whatever that is,' she says. 'If something comes along, it's about jumping into the next thing. If there's life in me, I got to live it.' ___ For more coverage of the 2025 Tony Awards, visit: