
Broadway legend Charles Strouse who worked on musicals Annie and Applause dies
Broadway superstar Charles Strouse - who composed music for Annie and Applause - has died at 96.
The composer's career spanned more than five decades and he became a leading player in classic musical theatre. He won three Tony Awards, including the 1970 gong for Best Musical for Applause.
His publicist announced the musician died at his home in New York City on Thursday. He was born in the city in 1928 and had a huge influence on the theatre since there, writing more than a dozen Broadway musicals, including Bye Bye Birdie and its sequel Bring Back Birdie 21 years later.
His scores, including pieces for films and TV shows, were catchy and popular. The optimistic anthem for Annie won the 1977 Tony Award for Best Original Score. Mr Strouse's upbeat numbers helped drive his zest to forge a long career in the industry, writing scores until 2011 at the age of 83.
During an interview on the eve of his 80th birthday in 2008, Mr Strouse said: "When you enjoy doing what you're doing, which I do very much, I have something to get up for. I work every day. Activity — it's a life force."
The composer, who is survived by his four children, visited tours of his shows and met casts in the 1990s. Jenn Thompson, who appeared in the first Annie as Pepper and directed a touring version in 2024, recalls Mr Strouse coming to auditions and shedding a tear when a young girl sang Tomorrow.
She recalled: "He was tearing up and he put his hand on mine. And he leaned in to me and very quietly said, 'That was you. That used to be you.' And I thought I would die. I thought my heart would drop out of my shoes... He's so gorgeously generous and kind. He has always been that way."
Some of the composer's later pieces were praised too. The music for Nick & Nora was nominated for a Tony in 1992 after impressing audiences in Broadway. The play told the story about a high society couple attempting to solve the murder of a bookkeeper on a film production in Hollywood.
It was a steel reflected in Mr Strouse, who throughout his career remained determined and optimistic. He saw Annie become of the most popular musicals Broadway has seen. There has been more than 2,300 performances of the musical, based on the book by Thomas Meehan. It has toured frequently in the UK, including in 2023. Jay-Z was even a fan, and he used shards of the work for his 1998 Grammy-winning album Vol. 2... Hard Knock Life.
Even Ms Strouse's flops contained impressive music, particularly Rags in 1986, with lyrics by Stephen Schwartz, and I and Albert in 1972, a musical about Queen Victoria which had a three-month run in London and was one of Mr Strouse's personal favorites. All-American also had a memorable ballad Once Upon a Time.
Among Mr Strouse's film scores were the music for Bonnie and Clyde in 1967 and 1968's The Night They Raided Minsky's. One of his last musicals was Minsky's. A love story set against the backdrop of the fabled burlesque empire, it was the brainchild of English director Mike Ockrent, who died of leukemia in 1999 before the project was completed. By then, Strouse and lyricist Susan Birkenhead had written some dozen songs.
The composer's wife, Barbara, died in 2023. They had been married for more than 60 years and had four children; Ben, Nick, Victoria and William, together.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Daily Mail
15 hours ago
- Daily Mail
Anne Hathaway makes shock revelation about her name
Ever since she was skyrocketed into the spotlight as a teenager thanks to her role in The Princess Diaries, the world has known her as Anne Hathaway. Fans and media alike have called her Anne for more than two decades, but it turns out, she would prefer that you call her something else. During an appearance on Jimmy Fallon 's The Tonight Show in 2021 - which recently resurfaced - the actress, 42, admitted that she wants to go by 'Annie' rather than 'Anne.' 'Call me Annie, everybody. Everybody, call me Annie, please!' she begged during the virtual interview. 'Can we talk about my name for a second?' she asked the host after he introduced her as Anne. The Academy Award winner explained that the issue with her name stemmed from when she joined the Screen Actors Guild as a teenager. 'When I was 14 years old, I did a commercial, and I had to get my SAG card and they asked me, "What do you want your name to be?"' she recalled. 'And I was like, "Well, it should be my name. My name's Anne Hathaway." But during an appearance on The Tonight Show in 2021 - which recently resurfaced - the actress, 42, admitted that she wants people to call her 'Annie' rather than 'Anne' 'So that seemed like the right choice, but it never occurred to me that for the rest of my life, people [would] call me Anne.' She added that this upset her because the name 'Anne' actually reminded her of her when she would get in trouble as a child. 'The only person who calls me Anne is my mother and she only does it when she's really mad at me, like really mad,' continued the star. 'So, every time I step out in public and someone calls my name, I think they're going to yell at me.' The actress joked: 'People are like, "Anne!" And I'm like, "What? What did I do?"' Hathaway shared that even on movie sets, her co-stars and the crew aren't sure what to call her so they have started to use nicknames. 'On sets, nobody is comfortable calling me Anne ever. It doesn't fit. I'm an Annie,' she detailed. 'And so people call me, like, "Miss H." People call me "Hath." So feel free, call me anything but Anne.' Getting the memo, Fallon referred to the Princess Diaries actress as Annie for the remainder of the virtual interview Getting the memo, Fallon then referred to the Princess Diaries actress as Annie for the remainder of their chat. Hathaway and Fallon went on to talk about her home life as she is the mother of her two sons - now eight-year-old Jonathan and a four-year-old Jack - whom she shares with her husband of 12 years, Adam Shulman. The resurfaced admission about her name comes weeks after Hathaway sparked plastic surgery speculation. While attending the 2025 Met Gala in May, the star she displayed her smooth skin and youthful complexion. People took note of her ageless appearance in the comment section of an interview that Hathaway did with Vogue on the carpet - and many wondered if she had work done to her face. 'Whoa she really got some obvious work done on her upper face. Maybe brow lift. She's trying to distract/cover up with pulled back hair,' one user posted.


Time Out
17 hours ago
- Time Out
Sadie Sink on the vulnerability of her star turn on Broadway
At the tender age of 23, Sadie Sink is already a Broadway veteran. She made her Main Stem debut as a standby ragamuffin in the 2012 revival of Annie and later assumed the title role. A few years later, in 2015, she was a young version of Elizabeth II in The Audience. (The older version? Helen Mirren.) Since then, she has achieved nationwide fame for playing troubled teens on Netflix's Stranger Things and the Brendan Fraser drama The Whale. But none of those teens was quite as tormented as the one she currently plays at the Booth Theatre in John Proctor Is the Villain. Kimberly Belflower's suspenseful drama, directed by Danya Taymor, centers on a group of high school girls in rural Georgia who draw connections between Arthur Miller's The Crucible and sexual situations in their own lives; Sink is Shelby, a classmate who returns after a lengthy and mysterious absence. 'Shelby is one of the most meaningful characters I've ever played,' Sink says. 'It's been the thrill of my career so far.' Her star turn has earned her a Tony nomination for Best Lead Actress in a Play. We spoke with her about the excitement of Tony season, the demands of her role and the songs that help her get into character every night. In advance of the Tony Awards on June 8, Time Out has conducted in-depth interviews with select nominees. We'll be rolling out those interviews every day this week; the full collection to date is here. Interviews have been edited for length and clarity. How have you been processing the madness of Tony season? It's the biggest thing that's ever happened to me! One thing that keeps me focused is that I still have to do my job; we're still doing the show eight times a week. That's been a challenge, but also something I've been super appreciative of. And the part is challenging enough already! What do you think are Shelby's strongest qualities? Shelby is incredibly smart—that's not so obvious to other people—in a way that's beyond her years. What drew me to her was her honesty, which I think is something a lot of people struggle with. Personally, I could never be as honest and blunt as Shelby is. I was really drawn to how she can maintain that quality throughout the trauma she's suffered, and the way she carries that trauma in such a complex, beautiful, messy way. Digging into that and peeling back her layers was such a long process—and one that I feel like I didn't actually have a full grasp on until right before opening, to be honest. How has the role evolved for you over time? In rehearsal, we got into some of her wackier and nerdier sides, where she's a little bit more energetic and awkward. In previews, we stripped that back and brought back some of my initial instincts; we grounded her a bit and found places for her to relax so that the audience could see the many dimensions of who she is. I learned so much from exploring and pushing the boundaries of a character and then reeling it back in. That's all thanks to Danya; I saw her do that with every actor in this ensemble piece. What do you remember about her directing you for your big scene with Amalia Yoo's character? I think it's the most beautiful scene in the play, but I'm biased. You get to see a vulnerable side of Shelby. This scene went through many phases. It felt awkward at first; there's a wall for her in letting her vulnerability peek through, because until that point she doesn't let you see that anything is wrong. Letting that go, in a really honest way, took some time to unlock— especially when you add an audience, because we're sitting on the edge of the stage for that scene. There might be people in the audience that are just seeing Max from Stranger Things, so there's automatically a wall that I, as Sadie, am putting up. But Danya made me feel I had permission to let that down. She told me something that shifted how I approached the scene: That any choice I make, anything I say, has nothing to do with me. It's only Shelby. And if I can just be a vessel for her, then the vulnerability can open up and it can feel honest. That was so important to hear from a director—for her to call out the anxieties that I have in that area, and allow me to feel safe and protected. The play gets intense at some points. How do you get into character? There are 30 minutes in the play before I go on stage. So while everybody else is warming up, I'm not; I wait until everyone else is on stage, and that's my warm-up time. I have the space to get into character, because it's so quiet backstage. I have a few songs that are triggers, or that help me associate with Shelby. If I listen to one of those songs, then I'm good. I've been listening to 'Limp,' by Fiona Apple. I think Shelby would love Fiona Apple. Also, 'Liability (Reprise)' from Melodrama by Lorde. That's a huge one. It's weird how much muscle memory comes into play. We've done the show so many times at this point; each show feels different, but your body knows what to do and knows what you need to access at different points. That's been a huge learning curve. It doesn't get worse or less true the more you do it. It becomes second nature, and you find different things in the performance that stick out. Is there a line in the script that particularly speaks to you? This week's line was in the gas station scene. It's when Shelby says, 'I think I'm going to be super messed up for a really long time, but I don't know if I'm fully equipped to start that journey right now.' That was always my favorite in rehearsals, but it really came back around this week; it's such a mature thing for her to say but also so heartbreaking. I was emotional thinking about what the rest of Shelby's life looks like, carrying what happened to her. How do you wind down after a performance? At the end of the show, I'm so winded from that last dance. I've given all the energy I have left. I have 45 minutes in the car where I can listen to music. When I get home, I pretty much go to bed. I would be remiss to not ask you about Charles Strouse, the composer who wrote Annie and passed away recently. What do you remember of him? It was really heartbreaking to hear and made me appreciate my time in that show. I met him at the opening night party for Annie. What he did for Annie —that kind of raised me in a way. That's the legacy he created and I'm so appreciative of him. What do you remember about going on in the role of Annie for the first time, after Lilla Crawford had left the production? I'm still friends with Lilla—she's a good friend of mine. Once she left, me and another girl shared the role. I remember the first time I went on for Duffy, the first orphan I played, but I can't remember the first time I went on as Annie. I do remember a put-in that we did: I thought it was so bizarre that the casting directors showed up, and maybe [director] James Lapine and [choreographer] Andy Blankenbuehler. I later realized that that was my audition to step in as Annie. It felt very adult and very serious. I cannot believe someone trusted me to go on stage and do that. Mia Farrow, who is also nominated in your category, recently came to see your performance. How did that go? It was amazing. She did The Roommate at the Booth, so she knew a lot of the crew that worked there. She really loved the show. And I love her so much. She is so kind. I got to meet her at the Tony nominees luncheon. She was like, 'Who do you want to meet?' I said, 'Jonathan Groff.' So she introduced me—which was huge. I will never forget that. What did you say to him? I just said I was such a big fan. I think that's all I said. I hope I can meet him again soon, because I'm obsessed with him. Have you been able to see him yet in Just in Time? No, because we're on the same schedule. The weird thing is, even if you aren't on the same schedule as another show—if you have a night or an afternoon off—it's hard to get yourself to midtown to sit through another show. But I did get to see Oh, Mary!, which was awesome. Maybe you'll get to see him again at the Tonys. Who are you bringing as your date? My brother!


Daily Mail
2 days ago
- Daily Mail
George Clooney's ex-girlfriend Stacy Keibler, 45, rocks a bikini... just before he hits the Tony Awards
Former WWE star Stacy Keibler shared a bikini photo to Instagram this week as she posed with her young son on his seventh birthday. The 45-year-old looked very toned with impressive abs that can only be hard won at the gym. This image comes just before her ex boyfriend George Clooney is set to attend the Tony Awards in New York City. He will likely take as his date his attorney wife Amal Clooney. The 64-year-old Oscar- winning actor has been in the play Good Night, And Good Luck. Keibler was one of the final names on Clooney's legendary roster of girlfriends before the actor found lasting love with his now-wife Amal. This image comes just before her ex boyfriend George Clooney is set to attend the Tony Awards in New York City (pictured in 2012) Their two-year romance was hot and heavy, but they called it quits in June 2013. By October, Clooney had already moved on to brilliant British lawyer Amal, and within six months, they were engaged. The sudden turn of events 'irked' Keibler at the time, as she had believed wedding bells might soon be in her future, per US Weekly. Keibler left Hollywood behind after the split and settled into a quieter life as a loving wife and mom. She went on to marry her longtime friend, Future Ads CEO Jared Pobre, in 2014. Keibler and the tech engineer live in Wyoming after leaving the fast life of Los Angeles behind. She's embraced motherhood three times over, sharing three beautiful children with her husband, Jared: 5-year-old son Bodhi Brooks, 4-year-old daughter Isabella Faith, and 9-year-old daughter Ava Grace. Keibler also rocked this black-and-white suit in Mexico this spring 'We live in Jackson Hole, and it's so nice to just have a little tribe there,' she previously told People magazine. 'I really wanted to take a break from the spotlight for a little while and focus on family,' she continued. 'Jared and I both took a few years away from our careers and even took a four-year digital detox. 'I was off all social media for four years and it was great. Jackson Hole is a complete opposite lifestyle of Los Angeles. So we were able to really focus on all the things that are really important to us.' After leaving WWE in July 2006, Stacy showed off her versatility by competing on Dancing with the Stars, where she finished third in the show's second season. She also popped up in guest roles on How I Met Your Mother and Psych, adding some acting credits to her name. Then, in April 2023, Keibler was inducted into WWE's Hall of Fame, cementing her legacy in the industry. But these days, much of her focus is on her family. 'I've entered into another chapter of being a mom, and anyone with three kids knows that that's a juggling act, and it's my full-time job,' she told People in 2023. 'So I have taken a step back to focus on putting my heart and soul into that,' she added. 'Now, because I've been a performer since the age of 7, of course, it's also in my heart, but it's just something that I've kind of taken a backseat to, focusing on something else.'