Latest news with #Broadway-caliber
Time Out
07-08-2025
- Entertainment
- Time Out
I found the best piano bar in Miami—and it's hidden behind a dumpster
It's a balmy Thursday evening in Miami's North Beach. My friend, Jose, picks me up for a midweek rendezvous. We're heading to La Poubelle, a speakeasy cabaret in Normandy Isles, though neither of us is sure where to go. This place is a well-kept secret. They never advertise, they barely promote, and you won't find it on Google Maps, either. The exact location is revealed when you purchase tickets, and even then, you may struggle—but there are clues: poubelle is French for 'trash can'. I find the directions and read them out loud like I'm following MapQuest in the year 2004. After a few missed turns, we seemingly arrive at our destination: a nondescript parking lot. 'Are you sure this is it?' Jose asks. 'I think so,' I respond. 'I see a bunch of dumpsters over there. We must be close.' There's a handsome blonde man lingering by the dumpsters. That's definitely it, I think to myself, and that is definitely David. With sharp cheekbones and a charming smile, David Sexton is the face of La Poubelle. He's also the producer, maître d' and tonight, he's playing the doorman. 'Bienvenue!' he says. 'Are you here for La Poubelle?' Bingo. The making of Miami's newest speakeasy cabaret Chatting with David feels warm and familiar, like catching up with an old friend. He tells us La Poubelle just opened a year ago, in August of 2024. What started as a once-monthly cabaret has evolved into a neighborhood staple with 50 seats and five-plus shows per month, each one starring a Broadway-caliber talent. There's piano bar night and original one-man shows, songwriter debuts and even a 'cabaret dragaret' with South Florida's live-singing drag queen, Miss Bouvèé. Jose and I are giddy with excitement. Finally, the door swings open. Our jaws hit the floor. Behold, La Poubelle! My eyes widen to take it all in. Draped in crimson red and flickering candlelight, it's a fabulous supper club scene. The servers are decked in leopard-print tops, the bartenders in bowties. I hear the shake of an ice-cold martini while a platter of steak frites passes me by. There are feathered chandeliers and vintage lamps, and mismatched mirrors hung on the walls. It feels like we stumbled into a New York City jazz club, right down to the stage with red velvet curtains. That's exactly the idea, says Sandy Sanchez. Adorned in a leopard-print ensemble, Sandy is the founder and principal designer of La Poubelle. She's also the co-owner of La Fresa Francesca in Hialeah and Normandy Isles' Silverlake Bistro, two beloved restaurants with kitschy-chic interiors courtesy of Sandy and her curatorial eye. Sandy first envisioned La Poubelle as a vintage bazaar, perhaps with wine tastings and occasional live music. Soon, the vision grew as Sandy and David let their imaginations run wild. If we're doing wine tastings, why not food? If we're hosting live music, why not cabaret? David drummed up talent from his Rolodex of performers, acquired through years of theater and promoting the arts in Miami. Sandy got to sourcing all over South Florida, even procuring church pews from a local chapel. They brought on Yecid Benavides Jr. to design a custom stage. Finally, La Poubelle was ready to lift the curtain. Dinner that's as good as the show In a city notorious for tardiness, La Poubelle is packed well before showtime. The reason? Gnocchi mac and cheese rendered in duck fat. Also, torchon foie gras, bacon-wrapped dates and classic meatballs in a San Marzano sauce. Everything is catered by Silverlake Bistro and masterfully prepared by the restaurant's executive chef (and Sandy's husband), Benoit Rablat. Simply put, it's a feast for the senses. Jose and I opt for the flaky tarte flambée with onions and shiitake mushrooms, but really, it's the burger we're after: an ooey-gooey mound of double-stacked patties topped with thick-sliced bacon. But how do we order it? Neither the burger nor the steak frites is on the menu. Our table neighbors let us in on the secret: VIP ticketholders get access to a VIP menu and early entry. Guests of La Poubelle have their pick of cocktails, too, as well as wine by the glass (and bottle) from prized regions such as Bordeaux, Côtes du Rhône, and Napa Valley. Sandy orders the Vintage Savoir-Vivre, a frothy pink cocktail in a dainty coupe glass. It looks delicious, and so I do the same. We toast to the night and note the diverse crowd. Beside us, a 40th birthday party and a couple in their 60s. Behind us is a table of young twenty-somethings. Everyone is chatting and moving about, running into friends and befriending those around them. I sit back and watch in awe. If only more places in Miami had this magic. In classic piano bar fashion, guests are encouraged to tip the artists in exchange for a song request. I'm astonished at Victor's and Rick's encyclopedic memory (they rarely glance at sheet music), and the stellar musicianship on display. Guest performers grant Victor a short break. Some of them are professional singers, others are simply regulars. All of them are incredibly moving. An older gentleman with grey-blue eyes bares his soul for 'La Vie En Rose'. Songwriter Janice Robinson leaves us speechless with her performance of 'Beautiful' by Christina Aguilera. Victor brings us back to earth with a 'slutty' Broadway tune. Naturally, Billy Joel is thrown into the mix. One last ballad and a well-placed butt joke, the evening concludes to roaring applause. Heading home, I find myself wholly enamored, not just with La Poubelle, but the spirit of it all. The friendliness, the bonding with strangers, the unbridled joy of Broadway…all of it a testament to the kind-hearted folks who bring La Poubelle to life. David and Sandy, Miss Bouvèé, Victor and Rick, and the audience, too. The wonderful servers, Silverlake's team, and the bartender in the back who whips up perfect martinis. Life in 2025 feels a bit like a dumpster fire, but I'd happily dance through flames if it led me to La Poubelle.
New Indian Express
22-06-2025
- New Indian Express
India on the high seas
India is witnessing a sea change—literally. Cruise tourism, once considered a niche or luxury segment, is rapidly gaining popularity among Indian travellers. Desi tourists are seeking more than just destinations; they crave experiences. Cruises, that used to be a niche entertainment for people with fat wallets have been democratised. They are offering the middle-class Indian travellers from the Tier-2 cities a seamless blend of leisure, luxury, and entertainment. Aboard the luxurious, 15-deck 'Independence of the Seas', there is little the members cannot have: gourmet dining, Broadway-caliber shows, art auctions, and starlit movie nights by the pool. Says Bengaluru-based writer Namita Gupta, who embarked on a Europe luxury cruise 'We wanted to experience something magical, something larger than life.' She chose Royal Caribbean's Icon of the Seas—the world's largest cruise ship. 'It was like floating in a five-star resort. Michelin-level dining, open to sky pool deck, champagne at every hour,' she says. To get wet, you don't have to take a dip in the cerulean waters: on board is the 40-foot-long FlowRider surf simulator to ride the 30,000 gallons of water rushing towards you as friends and family cheer you on from a mini stadium seating. Many Indian travellers like Gupta, who once viewed cruises with mild curiosity, are now hooked. 'We used to think a Europe tour or a Maldives villa was the pinnacle of indulgence,' she says, adding 'Now, cruising in a floating mansion with a private infinity pool feels like the real dream come true.'
Chicago Tribune
12-06-2025
- Entertainment
- Chicago Tribune
How ‘Take Me Out to the Ball Game' seeded a music nonprofit supporting the songwriters of tomorrow
NEW YORK — It's sung every summer in baseball stadiums around the United States. But the impact of 'Take Me Out to the Ball Game' goes much further than simply getting fans out of their seats for the 7th-inning stretch. More than a century after Jack Norworth penned the lyrics, a nonprofit founded with the song's royalties is celebrating 50 years of supporting young musicians — including the talent behind some of today's most popular musicals. The ASCAP Foundation, the charitable arm for the American Society of Composers, Authors and Publishers, was established in 1975 after Norworth's estate left a bequest of the licensing payments for baseball's unofficial anthem and his other hits. 'Just as all music begins with a song, the ASCAP Foundation began with a song,' said Paul Williams, the group's president and a composer-lyricist whose award-winning career includes 'Rainbow Connection.' The organization provides money, lessons and mentorship at all career stages in an industry where that support is badly needed by artists who often toil for years working other gigs while trying to get their music before the right ears. To reach its semicentennial, however, the foundation has had to identify new funding streams and reinvent programming. 'Take Me Out to the Ballgame,' written in 1908, has since entered the public domain and no longer generates revenue. The foundation nowadays relies on a mix of philanthropies, corporate sponsors and general public donations. The Louis Armstrong Educational Foundation is a longtime backer and storied New York law firm Paul Weiss is another sponsor. And, according to Williams, 'there's not a lot of stingy songwriters out there.' The late Jerry Leiber and Mike Stoller, as well as Herb Alpert, are among those with named scholarships and awards. Williams said other bequests, which are charitable gifts left through a will, have come from 'Hello, Dolly!' composer-lyricist Jerry Herman and 'Tea for Two' lyricist Irving Ceasar. 'It's really a way of making a mark on the world and extending their values forward,' fundraising coach Claire Axelrad said of bequests, which she added have consistently made up about one-tenth of charitable gifts. With dwindling arts funding and millions of children reportedly going without music education, the ASCAP Foundation is also trying to reach underserved communities. Leaders count nearly 60,000 K-12 students who participated in last year's programs. They help teach guitar to New York summer campers and bring students to free Broadway-caliber productions. Youth are learning to play the djembe, a drum originally from West Africa, through a collaboration with urban farming nonprofit Harlem Grown. Tax filings show the foundation gave away more than $325,000 in grants for scholarships, fellowships and cash awards in 2023. Award-winning songwriter Emily Bear, who co-wrote the soundtrack for Disney's 'Moana 2,' said the foundation took her 'very seriously' when she was a five-year-old prodigy receiving its young composer award. 'That kind of validation at that kind of age means so much when you're just a little girl with very big dreams and you're in a room full of people that you idolize,' she said. Composer Stephen Schwartz, who was honored this week with the ASCAP Foundation Champion Award during a June 10 fundraiser at Tony winner Adam Guettel's Manhattan home, said the nonprofit is filling gaps as the government 'supports the arts less and less.' This April also marked the third year that Schwartz has hosted the foundation's two-day Musical Theatre Fest in Los Angeles. The location allows participants to get feedback from prominent guests and connect with Hollywood studios — one way the foundation is trying to stay relevant by serving the renewed interest in musicals for television and film screens. It's emblematic of the mentorship younger composers say Schwartz — a Broadway icon whose hits include 'Godspell,' 'Pippin' and 'Wicked' — has offered to emerging artists over the years. Benj Pasek and Justin Paul, the songwriting duo behind 'Dear Evan Hansen,' credited the ASCAP Foundation for 'cementing' their connection with Schwartz. Pasek said such close proximity to a hero, who then became a 'living, breathing person who gives you advice,' made the profession 'more plausible.' 'Typically, you're working on projects on a wing and a prayer and hoping that someday it reaches the stage,' Paul said. 'So, an organization like the ASCAP Foundation breathing life into not just your work, but your pocketbooks, is a huge, huge support.' Schwartz said it was 'scary and bewildering' when he first started out without any connections. He sees an important role for himself as someone who can 'ease the way a bit' to help newcomers' 'talents flourish earlier and more completely.' There's also another motivation. 'It's slightly selfish because I get to see good work and enjoy it,' Schwartz added.
12-06-2025
- Entertainment
How 'Take Me Out to the Ball Game' seeded a music nonprofit supporting the songwriters of tomorrow
NEW YORK -- It's sung every summer in baseball stadiums around the United States. But the impact of 'Take Me Out to the Ball Game' goes much further than simply getting fans out of their seats for the 7th-inning stretch. More than a century after Jack Norworth penned the lyrics, a nonprofit founded with the song's royalties is celebrating 50 years of supporting young musicians — including the talent behind some of today's most popular musicals. The ASCAP Foundation, the charitable arm for the American Society of Composers, Authors and Publishers, was established in 1975 after Norworth's estate left a bequest of the licensing payments for baseball's unofficial anthem and his other hits. 'Just as all music begins with a song, the ASCAP Foundation began with a song,' said Paul Williams, the group's president and a composer-lyricist whose award-winning career includes 'Rainbow Connection.' The organization provides money, lessons and mentorship at all career stages in an industry where that support is badly needed by artists who often toil for years working other gigs while trying to get their music before the right ears. To reach its semicentennial, however, the foundation has had to identify new funding streams and reinvent programming. 'Take Me Out to the Ballgame,' written in 1908, has since entered the public domain and no longer generates revenue. The foundation nowadays relies on a mix of philanthropies, corporate sponsors and general public donations. The Louis Armstrong Educational Foundation is a longtime backer and storied New York law firm Paul Weiss is another sponsor. And, according to Williams, 'there's not a lot of stingy songwriters out there.' The late Jerry Leiber and Mike Stoller, as well as Herb Alpert, are among those with named scholarships and awards. Williams said other bequests, which are charitable gifts left through a will, have come from 'Hello, Dolly!' composer-lyricist Jerry Herman and 'Tea for Two' lyricist Irving Ceasar. 'It's really a way of making a mark on the world and extending their values forward,' fundraising coach Claire Axelrad said of bequests, which she added have consistently made up about one-tenth of charitable gifts. With dwindling arts funding and millions of children reportedly going without music education, the ASCAP Foundation is also trying to reach underserved communities. Leaders count nearly 60,000 K-12 students who participated in last year's programs. They help teach guitar to New York summer campers and bring students to free Broadway-caliber productions. Youth are learning to play the djembe, a drum originally from West Africa, through a collaboration with urban farming nonprofit Harlem Grown. Tax filings show the foundation gave away more than $325,000 in grants for scholarships, fellowships and cash awards in 2023. Award-winning songwriter Emily Bear, who co-wrote the soundtrack for Disney's 'Moana 2,' said the foundation took her 'very seriously" when she was a five-year-old prodigy receiving its young composer award. 'That kind of validation at that kind of age means so much when you're just a little girl with very big dreams and you're in a room full of people that you idolize," she said. Composer Stephen Schwartz, who was honored this week with the ASCAP Foundation Champion Award during a June 10 fundraiser at Tony winner Adam Guettel's Manhattan home, said the nonprofit is filling gaps as the government 'supports the arts less and less.' This April also marked the third year that Schwartz has hosted the foundation's two-day Musical Theatre Fest in Los Angeles. The location allows participants to get feedback from prominent guests and connect with Hollywood studios — one way the foundation is trying to stay relevant by serving the renewed interest in musicals for television and film screens. It's emblematic of the mentorship younger composers say Schwartz — a Broadway icon whose hits include 'Godspell,' 'Pippin' and 'Wicked' — has offered to emerging artists over the years. Benj Pasek and Justin Paul, the songwriting duo behind 'Dear Evan Hansen,' credited the ASCAP Foundation for 'cementing' their connection with Schwartz. Pasek said such close proximity to a hero, who then became a "living, breathing person who gives you advice,' made the profession 'more plausible.' 'Typically, you're working on projects on a wing and a prayer and hoping that someday it reaches the stage,' Paul said. "So, an organization like the ASCAP Foundation breathing life into not just your work, but your pocketbooks, is a huge, huge support.' Schwartz said it was 'scary and bewildering' when he first started out without any connections. He sees an important role for himself as someone who can 'ease the way a bit' to help newcomers' 'talents flourish earlier and more completely.' There's also another motivation. 'It's slightly selfish because I get to see good work and enjoy it,' Schwartz added. ___
The Hill
12-06-2025
- Entertainment
- The Hill
How ‘Take Me Out to the Ball Game' seeded a music nonprofit supporting the songwriters of tomorrow
NEW YORK (AP) — It's sung every summer in baseball stadiums around the United States. But the impact of 'Take Me Out to the Ball Game' goes much further than simply getting fans out of their seats for the 7th-inning stretch. More than a century after Jack Norworth penned the lyrics, a nonprofit founded with the song's royalties is celebrating 50 years of supporting young musicians — including the talent behind some of today's most popular musicals. The ASCAP Foundation, the charitable arm for the American Society of Composers, Authors and Publishers, was established in 1975 after Norworth's estate left a bequest of the licensing payments for baseball's unofficial anthem and his other hits. 'Just as all music begins with a song, the ASCAP Foundation began with a song,' said Paul Williams, the group's president and a composer-lyricist whose award-winning career includes 'Rainbow Connection.' The organization provides money, lessons and mentorship at all career stages in an industry where that support is badly needed by artists who often toil for years working other gigs while trying to get their music before the right ears. To reach its semicentennial, however, the foundation has had to identify new funding streams and reinvent programming. 'Take Me Out to the Ballgame,' written in 1908, has since entered the public domain and no longer generates revenue. The foundation nowadays relies on a mix of philanthropies, corporate sponsors and general public donations. The Louis Armstrong Educational Foundation is a longtime backer and storied New York law firm Paul Weiss is another sponsor. And, according to Williams, 'there's not a lot of stingy songwriters out there.' The late Jerry Leiber and Mike Stoller, as well as Herb Alpert, are among those with named scholarships and awards. Williams said other bequests, which are charitable gifts left through a will, have come from 'Hello, Dolly!' composer-lyricist Jerry Herman and 'Tea for Two' lyricist Irving Ceasar. 'It's really a way of making a mark on the world and extending their values forward,' fundraising coach Claire Axelrad said of bequests, which she added have consistently made up about one-tenth of charitable gifts. With dwindling arts funding and millions of children reportedly going without music education, the ASCAP Foundation is also trying to reach underserved communities. Leaders count nearly 60,000 K-12 students who participated in last year's programs. They help teach guitar to New York summer campers and bring students to free Broadway-caliber productions. Youth are learning to play the djembe, a drum originally from West Africa, through a collaboration with urban farming nonprofit Harlem Grown. Tax filings show the foundation gave away more than $325,000 in grants for scholarships, fellowships and cash awards in 2023. Award-winning songwriter Emily Bear, who co-wrote the soundtrack for Disney's 'Moana 2,' said the foundation took her 'very seriously' when she was a five-year-old prodigy receiving its young composer award. 'That kind of validation at that kind of age means so much when you're just a little girl with very big dreams and you're in a room full of people that you idolize,' she said. Composer Stephen Schwartz, who was honored this week with the ASCAP Foundation Champion Award during a June 10 fundraiser at Tony winner Adam Guettel's Manhattan home, said the nonprofit is filling gaps as the government 'supports the arts less and less.' This April also marked the third year that Schwartz has hosted the foundation's two-day Musical Theatre Fest in Los Angeles. The location allows participants to get feedback from prominent guests and connect with Hollywood studios — one way the foundation is trying to stay relevant by serving the renewed interest in musicals for television and film screens. It's emblematic of the mentorship younger composers say Schwartz — a Broadway icon whose hits include 'Godspell,' 'Pippin' and 'Wicked' — has offered to emerging artists over the years. Benj Pasek and Justin Paul, the songwriting duo behind 'Dear Evan Hansen,' credited the ASCAP Foundation for 'cementing' their connection with Schwartz. Pasek said such close proximity to a hero, who then became a 'living, breathing person who gives you advice,' made the profession 'more plausible.' 'Typically, you're working on projects on a wing and a prayer and hoping that someday it reaches the stage,' Paul said. 'So, an organization like the ASCAP Foundation breathing life into not just your work, but your pocketbooks, is a huge, huge support.' Schwartz said it was 'scary and bewildering' when he first started out without any connections. He sees an important role for himself as someone who can 'ease the way a bit' to help newcomers' 'talents flourish earlier and more completely.' There's also another motivation. 'It's slightly selfish because I get to see good work and enjoy it,' Schwartz added. ___ Associated Press coverage of philanthropy and non-profits receives support through the AP's collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. For all of AP's philanthropy coverage, visit
