Nicole Scherzinger is drenched in fake blood as she poses alongside former Sunset Boulevard star Glenn Close after another Broadway performance
Nicole Scherzinger looked in good spirits as she posed alongside Glenn Close after another successful Broadway performance of Sunset Boulevard on Tuesday.
The musical - based on the 1950 film of the same name - first opened on London's West End in 1993 starring Patti Lupone as Norma Desmond, with Glenn starring in the Broadway run in 1994.
Nicole is now inhabiting the character previously played by Glenn, with the Fatal Attraction star congratulating her backstage.
The Pussycat Dolls star beamed from ear to ear as she posed alongside Glenn while drenched in fake blood after the show.
The singer wore her stage outfit of a black slip dress while she ler her raven locks fall loose down her shoulders.
Glenn wrapped up in an animal print coat which she wore over a turtle neck black jumper.
Laverne Cox was also in attendance at the show where she sported a black sheer jumpsuit with a matching blazer.
Nicole took home the Laurence Olivier Award for Best Actress in a Musical, and following a successful preview run - taking in $1 million in the first week - the show opened at the St. James Theatre in October.
The blood covered actress has received numerous standing ovations throughout her Broadway debut so far, including one, according to People, that lasted a whopping six minutes.
While standing ovations are not necessarily out of the ordinary on Broadway, The Daily Beast insisted that this standing ovation was quite different.
'It is not the usual Broadway standing ovation: polite and dutiful. It is not even the appreciative and happy standing ovation: heartfelt and feelgood. This is something else. The whooping and applauding goes on and on, a wave upon wave of loud appreciation, no one in any rush to stop or leave,' the article says.
They added that the only thing that came close to that kind of, 'audience fervency in recent years was the reaction to Bette Midler in the 2017 revival of Hello, Dolly!'
'At Sunset Blvd. too, you think the roof could legitimately blow off, or the theater simply launch into outer space powered by an explosive burst of pure gay joy,' they added.
Nicole revealed in September that she had never even considered tackling this iconic role before she spoke with Andrew Lloyd Webber.
'I was like, "Are you crazy? Are you mad?" I didn't get it, because I only ever had Glenn Close in my mind — and Gloria Swanson in the old film,' she said.
'He was like, "Don't watch the movie, don't listen to anybody else, just read the lines and listen to the music." And when I did, I just fell in love with Norma.
'I didn't realize that this is the role that I've been waiting to play all my life. We're doing a completely different, new interpretation.'
'There are so many parallels between Sunset Boulevard and what you have to do to make it in Hollywood.
'Even when you're fully loaded with so much talent, you could still be overlooked because of stereotypes and ageism. It is a tragedy. " have so much ammunition for this — so much fuel.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Guardian
3 hours ago
- The Guardian
Sydney Theatre Company books $10m revenue boost after Dorian Gray production becomes global hit
Sydney Theatre Company has recorded a $10m boost to revenue after its Dorian Gray production became a West End hit, and is poised to reap millions more when it receives a cut from this year's even more lucrative Broadway run. The company's chief executive, Anne Dunn, cited commercial in confidence when asked whether that additional $10m was attributable to the heavy lifting done by Kip Williams' phenomenally successful production, which is now grossing more than $1.6m a week on Broadway and earlier this week earned Snook her first Tony. More than 77,000 people paid to see Australia's stage adaptation of Oscar Wilde's The Picture of Dorian Gray in London's West End last year. Sign up for Guardian Australia's breaking news email But the Sydney Theatre Company is remaining tight-lipped about the part the internationally lauded production, which collected Laurence Olivier awards for best costume design and best actress for Snook, played on the company's bottom line in its 2024 annual report, released on Thursday. That report showed the company was still not out of the red but its total deficit shrunk from $1.8m in 2023 to $566,000. Gross revenue from continuing operations, which includes local box office takings and income from touring, licensing and royalty payments, came to $37.7m in 2024, $10m more than the company earned the previous year. After multiple sold-out Australian seasons, heavyweight theatrical production house Michael Cassel Group licensed the rights to the production to transfer Dorian Gray to London and New York. The nature of the deal with STC remains confidential, with Dunn saying only that STC has received royalties and has retained a 'small investment stake' in the production's ongoing life. That investment stake – just under $500,000 paid in 2023 – was secured through the generosity of STC donors, Dunn said. There is no evidence in the 2024 report that the company has stumped up another $500,000 to retain its stake in the Broadway production but Dunn said a further agreement with Cassel was signed early this year. While the generosity of the company's benefactors in 2023 made the global success of Dorian Gray possible, the largesse of supporters in 2024 was comparatively lean, with its fundraising arm earning just $4.86m compared with the previous year's $5.9m. 'It was a challenging start to the year on a number of issues and I think it's a very competitive environment for philanthropic support,' Dunn said. In November 2023, the company saw the departure of two of its board members and threats of cancelled subscriptions after three actors used a curtain call to signal their support for Palestinians in Gaza during a season of Chekhov's The Seagull. The company issued three apologies over the incident and cancelled one performance. While the protest took place in late 2023, its financial impact would not have been felt until the following year. 'It's an impossible question to answer specifically,' Dunn said. 'You're asking me, how much did we not receive? And that's something just we don't know. Philanthropy is something that people gift to the company each year, and some people may have chosen not to. We can't know exactly what they may have given if they had made a different decision.' Contrary to unconfirmed reports that the STC had lost some loyal followers due to The Seagull protest, subscriptions and casual ticket sales were up by more than 10,000 – from 228,847 in 2023 to 239,951 in 2024. Dunn described Suzie Miller's Ruth Bader Ginsberg play, RBG, One of Many, Joanna Murray-Smith's Julia Gillard work, Julia, and the adaptation of Pip Williams' The Dictionary of Lost Words as standout successes. The resonance the STC-commissioned RBG would have with US audiences is obvious but Dunn said there were as yet no formal discussions with the Michael Cassel Group on a follow-up to Dorian Gray's success on Broadway with RBG. 'But we can certainly see there would be some market appeal,' she said. The Michael Cassel Group did not respond to the Guardian's request for comment. Reflecting on Dorian Gray's overseas triumph, Dunn insisted STC had no regrets about partnering with commercial producers instead of going it alone and reaping the lion's share of the handsome profits. As a government-funded arts organisation, it was not the company's role to embark on risky overseas commercial ventures, she said. 'And taking a show to Broadway and the West End is a very risky proposition. As a not-for-profit theatre company in Australia, what we specialise in is generating new shows … It's about doing the work on creative development and giving space [for] these incredible shows' In 2024 STC received $2.58m from the federal government through Creative Australia and a further $574,000 from Create NSW, which contributed just 6.7% of the company's annual revenue. 'That makes us the most highly leveraged of the not-for-profit arts companies in the country,' she said. The Sydney Theatre Company will announce its 2026 season on 15 September.
The Sun
11 hours ago
- The Sun
Harris Yulin dead aged 88: Emmy-nominated Scarface star and Ghostbusters actor dies after heart attack
THE celebrated actor Harris Yulin who starred in Scarface and Ghost Busters, and was a Braodway legend, has died at the age of 88. He died in New York on Tuesday, as announced by his family and manager Sue Leibman. 2 Yulin was an icon of Broadway, treading the boards in Hedda Gabler, The Price, The Visit and Watch on the Rhine, among many other productions. .
The Guardian
11 hours ago
- The Guardian
Harris Yulin, character actor and Broadway star, dies at 88
Harris Yulin, a character actor with more than 100 film and TV credits, has died at the age of 88. According to Deadline, his death was announced by family and his manager. He died on 10 June of a cardiac arrest in New York City. The Los Angeles-born actor appeared in films including Scarface, Ghostbusters II, Training Day, Rush Hour 2, Night Moves, Doc, Final Analysis, Multiplicity, The Hurricane, Bean and Clear and Present Danger. He was also known as a stage actor appearing on Broadway in productions of Hedda Gabler, The Price and The Diary of Anne Frank. He also directed a number of shows including The Glass Menagerie and won a Lucille Lortel award for his work behind the scenes on The Trip to Bountiful. On the small screen, Yulin's credits included Cagney and Lacey, Little House on the Prairie, an Emmy-nominated turn on Frasier, Entourage, Buffy the Vampire Slayer, Star Trek: Deep Space Nine, The X-Files, Billions, And Just Like That and 12 episodes of Ozark. Before his death, Yulin was preparing for a role in TV series American Classic with Kevin Kline and Laura Linney. The series is focused on a Broadway actor who suffers a public meltdown. 'Harris Yulin was very simply one of the greatest artists I have ever encountered,' said the show's director Michael Hoffman who had previously worked with Yulin on Michael Keaton comedy drama Game 6. 'His marriage of immense technique with an always fresh sense of discovery, gave his work an immediacy and vitality and purity I've experienced no where else. And what he was as an actor, he was as a man, the grace, the humility, the generosity. All of us at American Classic have been blessed by our experience with him. He will always remain the beating heart of our show.'
