
Harvey Fierstein, on eve of Tony honor, looks back on his career
'Following him is not an easy task. In fact, I spoke to him and he said, 'I just want to put my name in there as someone who would love to give you the award.' And I said, 'Well, I'd rather you didn't.' I said, 'I'd rather you wrote my speech,'' Fierstein says.
Fierstein, the four-time Tony winner behind 'Torch Song Trilogy' and 'Kinky Boots,' will get the award Sunday at Radio City Music Hall.
He connected by Zoom from his home in 'a small fictional town in Connecticut' to talk about his career and a Broadway season dominated by George Clooney in 'Good Night, and Good Luck' and Denzel Washington in 'Othello.'
The conversation has been edited for clarity and brevity.
AP: Do you know what you're going to say on Tony night?
FIERSTEIN: I never know what I'm going to say. But I have been trying to gather thoughts, which I guess is a good idea. And I watched at least five or six lifetime achievements speeches by others.
AP: Has the honor triggered any personal thoughts?
FIERSTEIN: I did write a line that may or may not end up in my speech, saying that the most humbling thing is to think that my life meant something to the community. It's one thing to be enjoyed, but to have the kind of meaning that they turn around and say, 'We want to give you a lifetime achievement'? That's a very heady idea.
AP: Was a lifetime in the theater inevitable?
FIERSTEIN: No, no, no. I guess there are theatrical types, but art was always inevitable. I was sort of artistic, but I thought I'd maybe be a Disney animator. I don't think I ever believed I was good enough to create the Disney characters, but there were people that took the creation and then did the other drawings. I thought I could do that. Something in the arts. I had my BA in painting from Pratt. That's what I thought was going to do.
AP: You arrived on Broadway just as AIDS was consuming the arts. What was Broadway like then?
FIERSTEIN: There was no time to think about it. We had to go to war immediately. If you remember, Ronald Reagan never said the word 'AIDS' in eight years. There was no attack against the disease; there was only an attack against people. People wouldn't go to restaurants because there were gay waiters. There were people that wouldn't go to Broadway because there were gay people. They might be in the audience with gay people.
AP: You work has always been about compassion. Why didn't you want to burn it all down?
FIERSTEIN: My writing is telling stories that mean something to me. And certainly there's hatred and there's anger in my stories — and truth — as far as I can tell them. But the horrible truth is that no matter how badly we act as human beings, there's still a humanity under it all.
AP: What are your thoughts about the current Broadway season?
FIERSTEIN: Who would have guessed that we'd have a season where the plays were the big thing and the musicals are sort of ignored? Thanks to George and Denzel and these stars that return to Broadway — thankfully return to Broadway — and they've done these plays and it's wonderful. They're bringing an audience that maybe wouldn't go see a musical or a play.
AP: Just get them to experience it, right?
FIERSTEIN: Once you go to the theater, once you get in there and if you have a good time, if it does something, you're going to come back. I don't care why you came in the first place. Come back and see what else we have and open your mind and heart — and wallets.
AP: What about the pipeline of playwrights — are you happy with it?
Weekly
A weekly look at what's happening in Winnipeg's arts and entertainment scene.
FIERSTEIN: There are people that are in love with theater, certainly, but there are people that want to make a living. And those people seem to drift to television and movies. I have a nephew married to a wonderful woman who wants to be a writer, but what she wants to write is movies and TV. It wouldn't even interest her to write a play. I don't know why. It seems easier to write television. It seems easier to write a half-hour where you already are given the characters.
AP: Congratulations again. You are beloved in this community and a lifetime achievement award seems appropriate.
FIERSTEIN: I thought it was because they just wanted to give me something else to dust, because I ain't got enough stuff to dust here.
___
For more coverage of the 2025 Tony Awards, visit https://apnews.com/hub/tony-awards.
Hashtags

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


Toronto Sun
2 hours ago
- Toronto Sun
Must-see TV: 'The Twisted Tale of Amanda Knox' tops this week's watch list
Get the latest from Mark Daniell straight to your inbox Grace Van Patten as Amanda Knox. Photo by Disney+ The Twisted Tale of Amanda Knox Debut Centres on Amanda Knox's (Grace Van Patten) harrowing journey after being wrongfully imprisoned for her roommate's murder in Perugia, Italy, in 2007. When: Wednesday on Disney+ This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account Peacemaker Season 2 In the sophomore season of the Suicide Squad spinoff, Peacemaker (John Cena) discovers an alternate world where everything about his antihero life in the DC Universe is exactly what he wishes it could be. When: Thursday on Crave John Cena returns as DC villain Peacemaker in a new series airing on Crave. Photo by HBO Max Eenie Meanie Film A reformed criminal (Samara Weaving) is dragged back into her former line of work when a previous employer offers her the chance to save the life of her chronically unreliable ex. When: Friday on Disney+ Gracie Darling Debut Centres on the mysterious disappearance of a teenage girl during a seance 27 years ago. When: Now streaming on Paramount+ America's Team: The Gambler and His Cowboys Docuseries Tells the definitive story of the Dallas Cowboys and Jerry Jones' impact on NFL history. When: Tuesday on Netflix Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. The Truth About Jussie Smollett? Documentary Revisits the case of Jussie Smollett, the Empire star who claimed to have been a victim of a hate crime in 2019 that stunned Hollywood but was later accused of staging the attack. When: Friday on Netflix Invasion Season 3 Premiere Follows different characters from around the world dealing with the aftermath of an alien invasion. When: Friday on Apple TV+ Mystery Island: Play for Keeps Film Hallmark's latest Mystery Island movie finds tensions running high when Emilia's ex-fiancé shows up at a Mystery Island corporate retreat that becomes the site of a murder. Stars Elizabeth Henstridge and Charlie Weber. When: Friday on W Network Double Scoop Film Sparks fly when two rival ad execs taste the best ice cream and hope to land the brand as a client. Stars Taylor Cole and Ryan McPartlin. When: Saturday on W Network This advertisement has not loaded yet, but your article continues below. The Amazing Race New Episode The Race heads to the picturesque villages of Quebec, where teams tackle Detours en Français, participate in Gladiator-style challenges and try to defy the laws of physics. When: Tuesday on CTV Gordon Ramsay's Secret Service New Episode Gordon Ramsay tries to help the absent owners and exhausted staff at Boston's Savin Bar & Grill develop a cohesive restaurant identity. When: Wednesday on Fox, CTV Survival Mode New Episode Follows what happened when unprecedented floods ripped through eastern Kentucky in 2022, forcing families to cling to rooftops and trees in a frantic effort to escape the raging waters. When: Monday on NBC, Global Dead Man's Hand Film A gunslinger (Jack Kilmer) must fight for his life after killing the brother of a corrupt mayor (Stephen Dorff). When: Friday on Paramount+ This advertisement has not loaded yet, but your article continues below. Eyes of Wakanda New Episode The animated Black Panther spinoff follows the adventures of brave Wakandan warriors throughout history. When: Now streaming on Disney+ One Hit Wonder Film The newest original Filipino rom-com from Netflix follows two singers as they risk everything for a chance at stardom — and love. When: Thursday on Netflix Freaky Tales Film If you need more Pedro Pascal in your life, his latest effort is an anthology action comedy that finds an NBA star, a corrupt cop, a female rap duo, teenage punks, neo-Nazis and a debt collector on a collision course in 1987 Oakland. When: Now streaming on Crave Demascus Debut A man (Okieriete Onaodowan) begins using an experimental technology that allows him to experience different timelines of his life. When: Now streaming on Tubi mdaniell@ Columnists Sunshine Girls Sunshine Girls CFL Toronto & GTA


CBC
8 hours ago
- CBC
Remake, reboot, recycle: Why Hollywood will never stop giving you the same stories
Social Sharing The Naked Gun. 28 Days Later. I Know What You Did Last Summer. Jurassic Park. Thought these are all titles from 2025, you could be forgiven for thinking they came from Moviefone. This year's summer blockbuster season has been dominated by nostalgic fare: reboots, remakes and sequels. And while the retold story has been an element of the movie business going back to its earliest days, studios seem to be cashing in more than ever before — and audiences are buying in. From Lilo & Stitch becoming the year's first billion-dollar box office earner, to Happy Gilmore smashing Netflix audience records (47 million watched it on the streaming service in the first three days it was available), to King of the Hill clocking in as Disney's biggest adult animated premiere in five years, the desire for old stories made new seems to have never been higher. "We all look back with, you know, rose-coloured glasses on the times we grew up in as better," Freakier Friday director Nisha Ganatra explained to CBC News in a recent interview. "Right now especially, the world is a little bit of an unsure place. And I think that the comfort of these movies and that collective feeling of togetherness we got when we watch these movies … it's why people are going back to theatres." WATCH | The comfort of remakes: Freakier Friday director explains why sequels and remakes hit so hard today 10 days ago A return to the well Hollywood's affection for recycled and rehashed stories started right alongside Hollywood itself: going as far back as Georges Méliès' L'Arroseur from 1896, a remake of the previous year's L'Arroseur arrosé. And 1903's The Great Train Robbery was infamously recreated in an essentially a shot-for-shot remake the year after, then numerous times after that. And the trend of journalists pointing out remakes is nearly as old as the remakes themselves. "Remaking old films is really old hat for the cinema people," read a 1937 article from the New York Times. "Although the screen has only recently emerged from its swaddling clothes and managed to crawl just about halfway into its metaphorical knee-pants, it already belies its years and even casts fond, reminiscent glances backward." "More often than not these yearnings for the past have been prompted by pecuniary rather than esthetic motives. Depending upon one's point of view, the studios may be regarded either as taking critical stock of themselves or as cashing in on their old preferred. The latter view seems more consistent with the facts." Other than the flowery language, the complaint that a given year was overloaded with remakes sounds like it could have come from today. Why director Dean DeBlois is 'not a fan' of live-action remakes 2 months ago 'They often miss the soul' "I am not a fan. I continue to not be a fan of live-action remakes because they often miss the soul," explained director Dean DeBlois, despite releasing a live-action remake of How To Train Your Dragon earlier this year. "Too often they feel like they are lesser versions of the animated movie to me." So why have remakes and reboots become the dominant fare of 2025's movie slate? According to ComScore senior media analyst Paul Dergarabedian, it comes down to dollars and cents. The summer blockbuster has been a tentpole for Hollywood going back decades; Dergarabedian notes that it generates roughly forty per cent of North America's total box office. So success often depends on studios launching their surest bets during this "play it safe" period where they have the best chance of satisfying the widest-possible audience. That, Dergarabedian says, is not a recipe for originality. WATCH | Remakes are a form of insurance during summer blockbuster season: Summer movie remakes, sequels considered box office 'insurance' 3 days ago "As much as so many people decry the lack of originality in movies, when you look at the top 10 movies of the year, generally speaking, there might be one or two out of the top ten that are true original films," he said. "That right there tells you why studios, marketers, PR folks, advertisers — they love the tried and true and those known brands." Instead, it was a recipe that led to films built around spectacle and excitement, with studios relying on huge franchises and superhero fanaticism to draw in ever-higher box office receipts. But as recently as 2023, a string of blockbuster bombs suggested audiences were no longer as interested in that fare. Chasing those audiences, Dergaradedian says, meant studios started making movies that might appeal to even wider demographics. And over the last two and a half years, he says that's led to PG movies out-grossing PG-13 movies for the first time. That spurred a return to films and shows that people remembered from their own childhoods, he said. Film titles that were already thought of as wholesome and accessible, or were remade to be as inoffensive as possible, as with Lilo & Stitch, a live-action remake with a sanitized ending that drew wide criticism. It was a move foreshadowed by Disney Entertainment co-chairman Alan Bergman, who told the LA Times ahead of the film's premiere that changes were made to the original story because "to do the kind of box office that I think we're going to do, you need to get everybody." WATCH | What caused a summer of box office flops? Summer blockbusters are supposed to be back, but so far it's a season of flops 2 years ago The nostalgia impulse Robert Thompson, Syracuse University's professor of television and popular culture, says the desire to return to familiar stories far predates movies; as evidenced by The Odyssey being viewed as a sequel to The Iliad, and both being retellings of ancient Greek myth. Even genre itself is a larger extension of the remake, according to Thompson. Likening it to the auto industry, he says stories — like cars — historically couldn't be made for each individual audience member's tastes. Making narratives similar enough to fit a genre was the solution. "You're not going to make each driver an individual automobile. You've got to churn those things off of an assembly line," he said. "And that's what genre is all about … getting something that works and keep doing it. Over and over again." The problem is what Thompson believes is potentially driving this current cycle of remakes and reboots: A reactionary shift to the digital age's fracturing of pop culture. As the internet and streaming democratized entertainment, we went from consuming media from a few dominant viewpoints to a landscape full of competing productions giving voices to demographics that never had them before. That complicated what sorts of stories and stances were viewed as right or acceptable, Thompson says. The ensuing fear and discomfort some felt fed a desire to return to a simpler time; to recreate a media landscape they viewed as preserving traditional social norms, "because we celebrate this traditional, fictionally perfect past." He suggests our current glut of rose-coloured stories celebrating that past has reverberated through media. "In the sense of, 'Let's just go back to when things were simple. Let's go back to when things were good. Let's make art great again.' "


Winnipeg Free Press
9 hours ago
- Winnipeg Free Press
With the Bayeux Tapestry that tells of their long rivalry, France and Britain are making nice
BAYEUX, France (AP) — For centuries, the storytelling masterpiece has been a source of wonder and fascination. In vivid and gruesome detail, the 70-meter (230-foot) embroidered cloth recounts how a fierce duke from France conquered England in 1066, reshaping British and European history. The Bayeux Tapestry, with its scenes of sword-wielding knights in ferocious combat and King Harold of England's famous death, pierced by an arrow to an eye, has since the 11th century served as a sobering parable of military might, vengeance, betrayal and the complexity of Anglo-French relations, long seeped with blood and rivalry but also affection and cooperation. Now, the medieval forerunner of today's comic strips, commissioned as propaganda for the Normandy duke William known as 'the Conqueror' after he took the English throne from Harold, is being readied for a new narrative mission. A homecoming for the tapestry Next year, the fragile artistic and historic treasure will be gingerly transported from its museum in Bayeux, Normandy, to star in a blockbuster exhibition in London's British Museum, from September 2026 to July 2027. Its first U.K. outing in almost 1,000 years will testify to the warming latest chapter in ties across the English Channel that chilled with the U.K.'s acrimonous departure from the European Union in 2020. The loan was announced in July when French President Emmanuel Macron became the first EU head of state to pay a state visit to the U.K. since Brexit. Bayeux Museum curator Antoine Verney says the cross-Channel trip will be a home-coming of sorts for the tapestry, because historians widely believe that it was embroidered in England, using woolen threads on linen canvas, and because William's victory at the Battle of Hastings was such a major juncture in English history, seared into the U.K.'s collective consciousness. 'For the British, the date — the only date — that all of them know is 1066,' Verney said in an interview with The Associated Press. A trip not without risks Moving an artwork so unwieldy — made from nine pieces of linen fabric stitched together and showing 626 characters, 37 buildings, 41 ships and 202 horses and mules in a total of 58 scenes — is further complicated by its great age and the wear-and-tear of time. 'There is always a risk. The goal is for those risks to be as carefully calculated as possible,' said Verney, the curator. Believed to have been commissioned by Bishop Odo, William the Conqueror's half-brother, to decorate a new cathedral in Bayeux in 1077, the treasure is thought to have remained there, mostly stored in a wooden chest and almost unknown, for seven centuries, surviving the French Revolution, fires and other perils. Since then, only twice is the embroidery known to have been exhibited outside of the Normandy city: Napoleon Bonaparte had it shown off in Paris' Louvre Museum from late 1803 to early 1804. During World War II, it was displayed again in the Louvre in late 1944, after Allied forces that had landed in Normandy on D-Day, June 6th, of that year had fought onward to Paris and liberated it. The work, seen by more than 15 million visitors in its Bayeux museum since 1983, 'has the unique characteristic of being both monumental and very fragile,' Verney said. 'The textile fibers are 900 years old. So they have naturally degraded simply due to age. But at the same time, this is a work that has already traveled extensively and been handled a great deal.' A renovated museum During the treasure's stay in the U.K., its museum in Bayeux will be getting a major facelift costing tens of millions of euros (dollars). The doors will close to visitors from Sept. 1 this year, with reopening planned for October 2027, when the embroidery will be re-housed in a new building, encased on an inclined 70-meter long table that Verney said will totally transform the viewing experience. How, exactly, the treasure will be transported to the U.K. isn't yet clear. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. 'The studies required to allow its transfer to London and its exhibition at the British Museum are not finished, are under discussion, and are being carried out between the two governments,' Verney said. But he expressed confidence that it will be in safe hands. 'How can one imagine, in my view, that the British Museum would risk damaging, through the exhibition, this work that is a major element of a shared heritage?' he asked. 'I don't believe that the British could take risks that would endanger this major element of art history and of world heritage.' ___ Leicester reported from Paris.