Casting News: Hamilton at the Tonys, She's All That Reunion and More
You do not want to throw away your shot… to the see the original Broadway cast of Hamilton perform at the 2025 Tony Awards.
CBS on Thursday announced that the ensemble will reunite as part of Broadway's biggest night to celebrate the show's 10th anniversary. In addition to Lin-Manuel Miranda, the performance will feature Carleigh Bettiol, Andrew Chappelle, Ariana DeBose, Alysha Deslorieux, Daveed Diggs, Renée Elise Goldsberry, Jonathan Groff, Sydney James Harcourt, Neil Haskell, Sasha Hutchings, Christopher Jackson, Thayne Jasperson, Jasmine Cephas Jones, Stephanie Klemons, Morgan Marcell, Javier Muñoz, Leslie Odom, Jr., Okieriete Onaodowan, Emmy Raver-Lampman, Jon Rua, Austin Smith, Phillipa Soo, Seth Stewart, Betsy Struxness, Ephraim Sykes and Voltaire Wade-Greene.
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The 78th Annual Tony Awards, hosted by Cynthia Erivo, are set to air Sunday, June 8 at 8/7c. For a full list of nominees, go here.
In other recent casting news…
* She's All That co-stars Rachael Leigh Cook and Freddie Prinze Jr. will reunite in the upcoming holiday TV-movie The Christmas Affair, Deadline reports. The Fox Entertainment Studios production does not yet have a network attached.
* Anthony Boyle (Masters of the Air) will star opposite Julia Garner (Ozark) in the Netflix's The Altruists. Per Variety, the eight-episode limited series tells the story of Sam Bankman-Fried (Boyle) and Caroline Ellison (Garner), 'two hyper-smart, ambitious young idealists who tried to remake the global financial system in the blink of an eye – and then seduced, coaxed and teased each other into stealing $8 billion.'
* Netflix's live-action Avatar: The Last Airbender has cast Adam Beach (Government Cheese) in Season 3, Deadline reports. He'll play Hakoda, father of Sokka (Ian Ousley) and Katara (Kiawentiio).
* Andrew Rannells (Girls) will succeed Zach Cherry as co-host of Roku's The Great American Baking Show when it returns for Season 4 (premiere date TBA).
Hit the comments with your thoughts on the above castings!
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Black America Web
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Broadway's Patti LuPone Apologizes For Shading Black Actresses & Calling Kecia Lewis A 'B-tch' As Social Media Roasts Her
Broadway beef is not something you generally hear about outside of New York City theater circles, but this week it went viral after comments made by theater icon Patti LuPone. In a interview with The New Yorker, just before her guest appearance on the third season of HBO Max' And Just LIke That, LuPone shared her opinion about Audra McDonald, a four-time Tony Award winner currently onstage in the Broadway revival of Gypsy. LuPone, a three-time Tony winner best known for her role as Eva Perón in Evita, also commented on actress Kecia Lewis, a Tony winner for Hell's Kitchen, leading observers to wonder just what her problem was with the actresses. Turns out there's some backstory with Lewis. When the 76-year-old actress was starring in a play called The Roommate with Mia Farrow, she complained that the sound cues from Hell's Kitchen, showing in the neighboring theater, were bleeding through their shared wall. After the production adjusted the sound, LuPone sent flowers to the show and cast. That prompted Lewis to share in an IG post that she considered LuPone's request to be a 'microaggression' and accused her of bullying. When asked about it in The New Yorker piece, LuPone said, 'Here's the problem. She calls herself a veteran? Let's find out how many Broadway shows Kecia Lewis has done, because she doesn't know what the f-ck she's talking about,' she said. 'She's done seven. I've done thirty-one. Don't call yourself a vet, bitch.' (Per the article, Lewis has ten credits, LuPone has 30). McDonald caught a stray apparently for liking Lewis' post and adding emojis in agreement. That prompted LuPone to say, 'And I thought, 'You should know better.' That's typical of Audra. She's not a friend.' In a CBS This Morning interview with Gayle King, McDonald seemed confused since it doesn't appear she ever thought they were friends. When she was asked about any 'beef' with LuPone, McDonald said that she hadn't seen or spoken to her in over a decade. View this post on Instagram A post shared by CBS Mornings (@cbsmornings) But it didn't end there – when asked how LuPone felt about McDonald's performance as Momma Rose, the lead character in Gypsy, which LuPone also won a Tony for, The New Yorker article reports she sat in silence, then looked out the window and said, 'What a wonderful day.' McDonald is the first Black actress to play the role on Broadway. View this post on Instagram A post shared by Patti LuPone (@pattilupone) But now, after the backlash, LuPone has had a change of heart. She apologized for her remarks on social media, saying, 'I regret my flippant and emotional responses during this interview, which were inappropriate, and I am devastated that my behavior has offended others and has run counter to what we hold dear in this community,' she said in her post. 'I hope to have the chance to speak to Audra and Kecia personally to offer my sincere apologies.' The apology came after an open letter signed by 600 Broadway stars and insiders asking that LuPone be disinvited from the upcoming Tony Awards, saying her comments were a 'blatant act of racialized disrespect.' They also characterized her comments about McDonald as the opposite of the values of the theater community. 'To publicly attack a woman who has contributed to this art form with such excellence, leadership, and grace — and to discredit the legacy of Audra McDonald, the most nominated and awarded performer in Tony Award history — is not simply a personal offense,' the letter said. 'It is a public affront to the values of collaboration, equity, and mutual respect that our theater community claims to uphold.' LuPone agreed, saying, 'From middle school drama clubs to professional stages, theatre has always been about lifting each other up and welcoming those who feel they don't belong anywhere else. I made a mistake, I take full responsibility for it, and I am committed to making this right. Our entire theatre community deserves better.' Apology or not, social media is roasting her. See the reactions below. Broadway's Patti LuPone Apologizes For Shading Black Actresses & Calling Kecia Lewis A 'B-tch' As Social Media Roasts Her was originally published on Patti LuPone had to wait 28 years for her second Tony. 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Yahoo
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Euro Networks Talk Streamer Levies & 'Talk Of The Town' Scripted Co-Productions
Seriencamp kicked off here in Germany today with familiar themes dominating chatter – money, streaming levies and co-productions. The first morning of the German TV industry event in Cologne saw 14 European networks such as ZDF, France Télévisions and NRK outlining their international co-production strategies. More from Deadline Screenwriter Discusses Rush To Bring Prime Video's The Elevator Boys Movie to Life - Seriencamp Indie Boss & 'How to Sell Drugs Online (Fast)' Co-Creator Philipp Käßbohrer To Receive The Deadline German TV Disruptor Award At Seriencamp Medical Drama 'Doc' Set For Mexican Adaptation With Juan Pablo Medina: Sony Unveiling Series At LA Screenings Unsurprisingly, given the challenged state of the market, talk around financing took up as much time as content strategies, wish lists and why most networks have pivoted to streaming-first commissioning. Smart collaborations, making money stretch and partnering with both European partners and global streamers were keys for most of those on stage. During one section of the talk, commissioning execs from Belgium's VRT and Switzerland's SRF addressed how global streamer levies in their territories had been received. Elly Vervloet, Commissioning Editor and International Drama Expert of VRT, outlined how a levy in the French-speaking Wallonia area of Belgium, which orders broadcasters and streamers with sales over €150M ($170M) up to 9.5% of their local revenues on local production, had highlighted that local networks needed to supercharge development. 'We have to produce in a smart way – we don't have a lot of money, as we are a small broadcaster,' she said. 'Luckily, we have a funding system in Belgium that really helps with funds the tax shelter. With the investment obligations for telcos and streamers, it's really important to get the ball rolling.' Netflix made a legal challenge against the levy in August and was joined by Disney, which declared itself an interested party. Given Donald Trump's tallying cries against international streaming levies and his well-publicized spats with the European Union over trade, the case is being categorized by some commentators as the test case for similar cases elsewhere. For now, however, it remains in place, sitting alongside Belgium's favorable funding systems. Similarly in Switzerland, the implementation of the streaming tax, dubbed locally as the 'Lex Netflix' is being keenly felt. With local streaming services become increasingly popular with audiences and searching for ambitious projects, the idea of collaboration between them and the likes of Netflix is being studied as a business model. Bettina Albert from SFR said: 'The difference to Belgium is we don't have a funding system and it is a problem. Now we have the 'Lex Netflix,' and we can see the number of projects that are coming to us as interesting co-productions are increasing.' However, after the session we spoke with a well-connected source in the Swiss scripted market, who told us that while there had been in boom in development following the levy's introduction, primarily for Netflix, this had not yet resulted in a significant number of commissions. 'We all want them to get started,' they added. Elsewhere in the Seriencamp kickoff session, Mourad Koufane from France Télévisions' international co-production team summed up what international co-productions needed to achieve for the French pubcaster. At present, France Télévisions only makes three international co-productions a year, through European commissioning club The Alliance. 'When we choose these three projects, it is important they are super-impactful and organically internationally,' he said. 'Even though we are doing very few, we hope they will be the talk of the town in France.' Seriencamp, which brings together German's local scripted community with international players, began today at the Cinenova in Cologne. It runs until Thursday (June 6). Best of Deadline Everything We Know About 'Nobody Wants This' Season 2 So Far List Of Hollywood & Media Layoffs From Paramount To Warner Bros Discovery To CNN & More Everything We Know About 'Happy Gilmore 2' So Far
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Fina Strazza On 'John Proctor' Broadway Success
John Proctor Is The Villain is one of Broadway's most buzzed-about plays. In the coming-of-age story, a group of students begin studying The Crucible at the start of the #MeToo movement. As a series of events come to light, the students question their perspective on The Crucible and their own lives. Nominated for Best Featured Actress in a Play, Fina Strazza portrays Beth, the serious but sweet leader of the newly formed Feminist club. With the Tony Awards right around the corner, I hopped on Zoom with Fina to learn more about her experience in John Proctor Is The Villain, and the new Netflix film Fear Street: Prom is a spoiler-free This interview has been edited for length and clarity. Did you read The Crucible before auditioning for John Proctor Is The Villain? Fina: I never read The Crucible in high school, but I read it once I found out I would be doing John Proctor. I didn't actually ever audition. I did a workshop of it two years ago with Danya [Taymor, the director], Kimberly [Belflower, the playwright], and Sadie [Sink, who plays Shelby]. During our first week of rehearsal, Danya assigned each of us a character from The Crucible that aligned with our character in John Proctor Is the Villain, and we read it aloud. I also watched the movie with Winona Ryder and Daniel Day-Lewis, and there's something very particular about seeing a production like that. The movie is kind of able to skew your perspective just in the way it's edited, and in the way that they portray the story. It kind of lights a very harsh light on Abigail, and she does seem like this sort of 'villain' character, where John Proctor comes out looking like the hero. Reading the play out loud with my castmates is what really skewed my perspective into seeing John Proctor under a different light. Something really awesome about this show is that even though it has this very direct and very assertive title, it's not necessarily aiming to be this declaration that there is one perspective on The Crucible, and that John Proctor is this bad guy. It's more about being open to opposing perspectives and reevaluating these historical texts, allowing the possibility that some heroes may not be as heroic as we think they are. Through this whole process, I've been able to have multiple perspectives on The Crucible. I've learned that it's a really rich story, and there are a lot of different discussions to be had about it. I loved the use of music in John Proctor, like Lorde's "Green Light." What is your connection to the music used in the play? Do you sing and write music yourself? Fina: I'm not as much of a songwriter, but I do love to sing. I'm kind of a walking radio. I grew up doing musical theater. I started on Broadway in Matilda, way back when, so my heart has always been with the music. I didn't grow up listening to Taylor Swift and Lorde as much as these girls did. But I think there's something so wonderful about how deeply these teenage girls connect over music. Even though those weren't the songs that I grew up with, I also have songs I have a visceral connection to. My best friends in high school, our dance, our "Green Light," would have been "Shut Up and Dance" [by Walk The Moon]. That song was everything to us, and it forever reminds me of these girls who shaped my entire childhood. I just had dinner with them last night and talked about the song again, because it's this integral part of our upbringing. I think it's really awesome how much the show highlights the importance of music, the connection it causes, and how it becomes this core memory. You mentioned that you workshopped the play with Danya and Sadie. Were you always considered for the role of Beth, or did you ever consider other parts? Fina: I recently found this out — I believe Danya and Kimberly had seen a tape of me auditioning for another play, and then invited me to work on this workshop with them.I knew only about Beth because that was my introduction to the show. I wasn't familiar with other characters before being cast as Beth, but I don't see myself connecting with any other role in the same way. I think I feel a very deep connection to Beth. I've also had a lot of conversations with our playwright, Kimberly Belflower, about how she sees herself in Beth, and how Beth is kind of inspired by her younger self. I feel very close to Kimberly through that, and I feel very close to the show. There's this pride that I take in bringing this role to life, and I couldn't see it any other way. Everybody is where they're meant to be, and it is like this beautiful symphony that we play every night. That's what Danya always says, we are like this nine-piece orchestra, all tuned perfectly. Beth's character evolves quite a bit, especially in Act 2. How do you feel your performance has evolved over time? Fina: You'll be doing the show one night and feel like you've really gotten it, and you'll feel like, "Wow, I can't imagine learning more about this character — I'm so a part of her already!" Then the next week, you're like, "Oh my gosh, my world is opening even more!" It's a really awesome thing that happens when you're doing a show. I can only imagine that the more I do it, the more I'll feel you continue, there's just so much more to learn. There's something about Beth where she can come off as a little naive at times and have a few slip-ups throughout her arc, where she might not, in my opinion, have the right perspective on an actor, it can be hard to let your character have those mishaps and let her be seen in this negative way by the audience for a moment. The more I've done the show, the more I realize the benefit of leaning into those uglier moments. That can be really hard to do, because I'm on stage, and our audience has been super vocal. When they don't like someone, they tell us. There have been people in the front row who say, "Girl, what are you doing?" audibly, which is hilarious, but it can be hard to lean into those more difficult moments. I think I'm learning to let her have her mistakes, and then it'll have a better outcome in the end. I've always wondered what it's like to be on a Broadway stage. What is that feeling for you when you step on stage? Fina: I was on Broadway when I was younger. It was 11 years ago now, and the last time I did theater was 7 years ago. After Matilda, I did off-Broadway and some out-of-town opens. I did theater a lot as a child, and as a kid, I always thought of it as the world's best playground. To me, the audience was never really there, and I was just always having a lot of fun. I was 8 years old when I was last on Broadway; I don't think it was possible for me to realize the weight of what I was doing. In these past years, I've often wished I just understood it a little bit more, so I could have appreciated those moments on stage a little more. Now I'm making sure I'm soaking everything up in our rehearsals and through our previews and during tech. Every time I'm on stage, I want to savor every moment. I think there's a real gratitude to being on stage.I've done film and TV, and obviously, the audience isn't right there, so it's hard to see who is taking the time to watch you and absorb your work. So there's this gratitude when you're on stage, because the people who have paid to be there are sat right in front of you. They're there for the 2 hours, and they're locked in, and they're in their seats, and there's just something really special about that. I think there's this constant wheel of gratitude being an actor on who plays Lee, said there's something awesome about having the audience right there — they feel like they can change what happens, and like they have this agency where they can change the story. They kind of do. Depending on how much they're reacting, if they're an audience who laughs more, or if they're crying more, it does alter the way we play into them, and the way that we hit certain beats. It is this ebb and flow, and it becomes this cool, symbiotic relationship. Do you have any favorite memories with the cast? Fina: Danya is such a great physical director. We did a lot of work with the script to start off the process, but she did it in a very fun way, so it didn't feel like we're just sat at a table doing table one of our first days of rehearsal, she had us all come in, and she said we're gonna work on the script today — except she pointed at Sadie, and she was like, "You're gonna play Mr. Smith." Gabe, who plays Mr. Smith, was gonna play Shelby, and I ended up playing Lee. Maggie Kuntz, who plays Ivy, ended up playing Raelynn, and we were all just jumbled. It was a really awesome way to receive your character and be an audience for the words that you were going to be speaking. You had a chance to see someone else's acting choices on your role, surrendering to those choices, and maybe taking inspiration from them. You also gain respect for other people's roles, being like, "Oh, this is a hard scene to do — you're gonna have to do this every night!" I've never had a director do that before, and afterwards, it was this very jovial experience where we kind of had this understanding of one another's paths and tracks. It was a really fun day. It also led to a lot of laughter, because Sadie was playing a grown man, and I think Hagan, who plays Lee, was playing Miss Gallagher, and it was just these miscast funny times. I really enjoyed that. Huge congratulations to you, the cast, and the crew! You're the youngest Tony nominee this year; what was your reaction to hearing your nomination for Best Featured Actress in a Play? Fina: When you're waiting for news like that, there's this roller coaster you send yourself on the whole week leading up to it, feeling guilty that you even think it's a consideration. Because you're like, "Who am I to think that? I shouldn't even be worried about this!" Then you're at a high point in the day, and you're thinking, "Oh, maybe it could happen!" Then you plummet back down to, "Who do I think I am?"I'd already been on this wild ride of emotions for the week leading up to it, so on the day of, I was like, "Maybe I should just get some sleep. I won't watch the broadcast, I won't set an alarm." But I ended up naturally waking up at the time that it started. My feed was delayed, so I didn't even see my category come up on screen, and before anything was announced on my end, my phone just started blowing up. I picked up a phone call from my mom, and she was the one who told me, she was like, "You're nominated, you're nominated!" and immediately, I kinda blacked out, you know, I don't remember so much after that. I grew up in New York, and Broadway, and the Tonys have always been the biggest thing for me. I know every single word to Neil Patrick Harris's 2013 Tony opening — that is peak theater. I think I'm still not really able to comprehend what this moment means. Every event that I've gotten to go to so far for the nominees, I kind of feel like I've been given this all-access fan pass. I'm just looking at everybody around me, and I'm like, these are the people that I grew up with. These are the people that my mom would show me doing their cabaret shows on YouTube, and just none of it feels real. It's all been very surreal. I watched Fear Street: Prom Queen on Netflix last night, and it was terrifying. Tiffany is a much different character from Beth. Was it a fun experience getting to do a horror film? Fina: Yeah, it was very, very, very different. I had never played a mean girl before, so this was a very exciting challenge. I was able to just have a lot of fun on this shoot. I ended up becoming very close friends with the entire cast. We had around 15 principal cast members on set every day, and we became this really tightly knit pack. We started basically filming this movie in between our conversations with each other. I don't think that Tiffany and Beth would get along so well, but they're both fun to play in their different rights. Did you get to meet R.L. Stine? Fina: You know, he was supposed to make a cameo in the film, but he was sick, and it was on the day that we were filming in the diner. He couldn't make it, and so someone from his estate came instead, on his behalf, to say hi. John Proctor Is the Villain is an incredible play. What do you hope audiences take away from your performance? Fina: I feel like the phrase that I keep repeating throughout this whole process is just, "Whose life am I living?" That's what this whole process has felt like. There's been something very spiritual and witchy about all of it that feels like I've been granted a magical luck spell. I hope that audiences are moved by the show and by my performance.I received a letter from someone at the stage door the other day that was really meaningful and made me feel like Beth was doing something right. It said a similar instance that happens in the show happened to her in high school, and she reacted to the situation similarly to how Beth does. Through the show, and through Beth, she was able to grant her younger self some forgiveness for the way she acted, because she didn't know any better, and she was just acting on what she'd been taught. Just to know that someone was moved by the show enough to connect it back to their own selves was really awesome. It's always important to grant your younger self some forgiveness — to feel connected to your personal self and allow your younger self to take up some space and be granted some forgiveness and healing. Thank you, Fina, for sharing great insight! See John Proctor Is The Villain at the Booth Theatre until July 13th, and keep up with Fina on Instagram. If you like horror, don't miss Fear Street: Prom Queen on Netflix.
