CNN to air George Clooney's ‘Good Night, and Good Luck' Broadway play live on June 7
CNN will exclusively televise actor George Clooney's record-breaking Broadway show 'Good Night, and Good Luck,' on Saturday, June 7, the network announced Thursday.
The limited-run play's penultimate performance from the Winter Garden Theatre in New York will air live on CNN and CNN International and stream on CNN.com at 7 p.m. ET.
'This announcement marks a historic Broadway first: never before has a live play ever been televised,' the network said in a news release.
The show is an adaptation of the 2005 movie Clooney directed of the same name and is based on veteran journalist Edward R. Murrow's work and tension with Republican Sen. Joseph McCarthy during the Red Scare of the 1950s.
Discussing the play in a previous interview with CNN's Jake Tapper, Clooney stressed the importance of journalism in preserving democracy, citing the veteran journalist's words.
'It doesn't matter what political bend you are on – when you hear things like, you know, 'We must not confuse dissent with disloyalty. We must remember always that accusation is not proof and a conviction depends on evidence and due process of law, and we will not walk in fear of one another. We won't be driven by fear into an age of unreason,' I think those are extraordinarily powerful words for who we are at our best,' Clooney said.
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Black America Web
7 minutes ago
- Black America Web
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. Meanwhile, Nathan Lane once introduced Audra McDonald as 'the woman who wins a Tony every time she leaves her house.' — Jeremy Fassler (@J_fassler) May 27, 2025 i hate patti lupone and have for years. she plays the victim in every scenario, when in actuality, she is the one who is choosing to make enemies with kind, talented people. she's not a diva or an icon, she's just a rude old lady who thinks she's gods gift to theatre. — Maddie (@MaddieTillem) May 26, 2025 Finally caught up on the Patti Lupone drama and let me just say.. you'd never see Bernadette Peters saying some fuckass bullshit. Bernadette is MY bway diva — S🤍 (@HeavyMtlHookr) May 28, 2025 not to turn this into a joke but Patti LuPone apologizing for something is actually an apocalypse indicator — Rod (@bitchfromkalos) May 31, 2025 Black America Web Featured Video CLOSE
Buzz Feed
32 minutes ago
- Buzz Feed
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.
Associated Press
42 minutes ago
- Associated Press
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