Latest news with #Chess'
New York Post
a day ago
- Entertainment
- New York Post
Here's who's buying Andy Cohen's NYC penthouse
The year looks bright for Emmy-winning playwright Danny Strong, whose 'Chess' — the cult-favorite Cold War-era musical, with music from two members of ABBA — launches on Broadway this fall. But in the lead-up to the curtains opening, he'll also have a new home to call his own. Strong — also a screenwriter and actor recognizable for his roles in hit shows, like 'Buffy the Vampire Slayer' and 'Mad Men' — and his partner, the actor/producer Caitlin Mehner, are buying Andy Cohen's West Village penthouse duplex, Gimme Shelter can reveal. The power couple have inked a contract for the Bravo honcho's beautifully decorated 2 Horatio St. aerie and are planning to close later this month. The final price is not yet known. Advertisement 12 Danny Strong and Caitlin Mehner are in contract to buy Andy Cohen's grand residence. Getty Images for Prime Video 12 Andy Cohen has another penthouse nearby, on West 12th Street. Charles Sykes/Bravo via Getty Images 12 Cohen's colorful residence took more than 20 years to assemble. Eytan Stern Weber, Evan Joseph Images 12 A sculptural staircase connects the levels, the upper of which is capped with a fabulous disco ball. Eytan Stern Weber, Evan Joseph Images Advertisement 12 The penthouse's snazzy bar. Eytan Stern Weber, Evan Joseph Images 12 A well-lit sitting area. Eytan Stern Weber, Evan Joseph Images 'Andy's apartment is my dream home. We are so excited to be moving there,' said Strong, when contacted by Gimme Shelter, adding that the couple — new parents to their now 7-month-old daughter Maisie — need more space for their growing family. It's also an ideal spot for Strong to find inspiration for new projects. Past work also includes the writing of two 'Hunger Games' movies, 'The Butler,' 'Recount,' and the series 'Empire' and 'Dopesick.' Advertisement The 3,500-square-foot nest — last asking $12 million — is in a classic prewar building developed by Bing & Bing. The listing brokers were Ryan Serhant and Donna Strugatz, of Serhant. Strong was represented by Douglas Elliman's Jonathan Stein. It took father-of-two Cohen an astonishing 21 years to acquire and assemble the penthouse, which has graced shelter magazines like Elle Decor. Cohen has since bought another penthouse for $18.21 million, according to property records, at the Emery Roth-designed 299 W. 12th St., where Jennifer Aniston once lived. In a small-city scenario, Strong is in contract to sell his apartment at 299 W. 12th St., which was listed by Stein, of Elliman, and Marcy J. Bloomstein, of Sotheby's International Realty. That two-bedroom, three-bath residence — overlooking Abingdon Square Park — was last asking $6.49 million. Its final sale price is also not yet known. Advertisement 12 The corner chef's kitchen is both spacious and vibrant. Eytan Stern Weber, Evan Joseph Images 12 The kitchen spills into another large area for seating. Eytan Stern Weber, Evan Joseph Images 12 The main bedroom also features a fireplace. Eytan Stern Weber, Evan Joseph Images The soon-to-be-purchased 2 Horatio St. penthouse — overlooking Jackson Square Park — comes with four bedrooms, 4.5 baths, two woodburning fireplaces, wide-plank oak floors and 25 windows. It was gut-renovated by architect Gordon Kahn, with interior designs by Eric Hughes. The colorful co-op is currently set up as a three-bedroom — with a nanny's room, an ensuite windowed office and den, and lots of closet space, including a wall of lacquered storage on both floors. Other details include an open living/dining room with a marble fireplace, a window wall, beamed ceilings, built-in cabinetry and a gold-tiled windowed bar — as well as a corner windowed chef's kitchen. 12 In order to move into Cohen's penthouse, Strong and Mehner are parting ways with this chic residence close by. Yale Wagner 12 The dining area in their soon-to-be former home. Yale Wagner 12 Their in-contract West 12th Street nest has lovely bath retreats. Yale Wagner Advertisement The two floors are connected by a glass, walnut and steel staircase that leads to a home office with an ensuite marble bath and a wall of custom bookshelves. The main bedroom suite, for its part, also features a fireplace, a window wall with views of the Empire State and Chrysler buildings, and a walk-in closet/dressing room with custom millwork and three windows. It's completed with a corner spa-like bath with a teak tub and a walk-in marble steam shower.
Yahoo
5 days ago
- Business
- Yahoo
Broadway Sees Highest Grossing Season on Record
Broadway's 2024-2025 season grossed $1.89 billion across all productions, marking the highest season on record and a recovery from the pandemic. The gross totals are up 23 percent from last season, and, significantly, the numbers also come in above Broadway's 2018-2019 season, which had held the record for $1.83 billion in gross revenue and had been the benchmark against which Broadway was measuring its post-pandemic recovery. Broadway first overtook the 2018-2019 season grosses in early May. More from The Hollywood Reporter Lea Michele, Aaron Tveit, Nicholas Christopher to Lead Broadway Revival of 'Chess' James Corden, Neil Patrick Harris and Bobby Cannavale to Star on Broadway This Fall Broadway Box Office: 'Redwood' Ends Run With Momentum, Clooney Stays on Top In the prior two seasons, Broadway grossed $1.54 billion and $1.58 billion respectively. The 2019-2020 and 2021-2022 seasons were both shortened due to the pandemic. The 2024-2025 season began May 20, 2024 and ended May 25, 2025. Attendance for the 2024-2025 season came in at 14.66 million, below the 14.77 million from the 2018-2019 season, suggesting that increased ticket prices played a part in the higher grosses this past season. Average ticket prices were up 3 percent from last season and up 4 percent from the 2018-2019 season. While Broadway League president Jason Laks celebrated the grosses achievement, he also underlined the trend. 'As we look to next season, we have to be sober about the challenges Broadway faces. We can't be satisfied with 2019's definition of success anymore. With rising costs hitting every facet of production, it is becoming harder and harder to bring live theatre to the stage. Shows today have an ever-shorter window to get on their feet. The investment that fuels Broadway is something we can't ever take for granted,' Laks said in a statement. Among the high earners this season, Good Night, and Good Luck yet again broke its own record for highest weekly gross for a play on Broadway, bringing in $4.2 million last week and playing to more than 100 percent capacity at the Winter Garden Theater. The average ticket price for the play was $337.59. The play is currently scheduled to end its run June 8. The next highest earners last week were Othello, starring Denzel Washington and Jake Gyllenhaal, with $3.3 million and the highest average ticket price of $398, and Glengarry Glen Ross, starring Kieran Culkin, Bob Odenkirk and Bill Burr, which earned $2.7 million across a nine-performance week. Wicked and The Lion King rounded out the top five, with $2.3 million and $2 million respectively. Overall, Broadway grosses were up 7 percent over the prior week, as the industry races toward the June 9 Tony Awards ceremony and as many shows, including several best musical nominees Death Becomes Her (up $229,324) Maybe Happy Ending (up $87,044), Dead Outlaw (up $62,530) and more saw boosts in their grosses over the prior week. Call Me Izzy, a one-woman show starring Jean Smart, also joined the boards last week, playing two previews at Studio 54 and playing to 94 percent capacity. Best of The Hollywood Reporter How the Warner Brothers Got Their Film Business Started Meet the World Builders: Hollywood's Top Physical Production Executives of 2023 Men in Blazers, Hollywood's Favorite Soccer Podcast, Aims for a Global Empire
Yahoo
5 days ago
- Entertainment
- Yahoo
Original ‘Hamilton' Cast To Reunite At Tony Awards
The original Broadway cast of Hamilton will reunite at this year's Tony Awards to mark the 10th anniversary of Lin-Manuel Miranda's groundbreaking musical. Participating in the reunion performance will be Miranda, 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. More from Deadline Broadway 2024-2025 Season And George Clooney's 'Good Night, And Good Luck' Break All-Time Box Office Records Darren Criss And Renée Elise Goldsberry To Host Tony Awards Pre-Show On Pluto TV 'Chess' Broadway Revival With Lea Michele, Aaron Tveit & Nicholas Christopher Set For Fall Season The reunion was announced today by Tony Award Productions and CBS. The 78th Annual Tony Awards, hosted by Cynthia Erivo, airs on CBS Sunday, June 8. Hamilton debuted Off Broadway at the Public Theater in 2015, transferring to Broadway's Richard Rodgers Theatre that year. At the 70th Annual Tony Awards, Hamilton made history with a record-breaking 16 nominations and 11 wins, including Best Musical. The show went on to receive the Grammy Award, Olivier Award, Pulitzer Prize for Drama, and a special citation from the Kennedy Center Honors. Most recently, its Original Broadway Cast Recording became the first in history to be certified Diamond by the Recording Industry Association of America (RIAA). Best of Deadline 'The Morning Show' Season 4: Everything We Know So Far 2025 TV Series Renewals: Photo Gallery 2025 TV Cancellations: Photo Gallery
Boston Globe
27-01-2025
- Entertainment
- Boston Globe
Lynne Taylor-Corbett, ‘Footloose' choreographer, dies at 78
'I was never really suited to be a ballet dancer,' she said in a 1977 interview with The New York Times. 'But I had a gift for theatricality and movement.' Advertisement She also had a gift for connecting with audiences, as demonstrated by her work on such exuberant Broadway musicals as 'Chess' (1988) and 'Titanic' (1997), Hollywood movies 'Vanilla Sky' (2001) and 'Bewitched' (2005), and entertainment-minded ballets 'Seven Deadly Sins' (2011), a New York City Ballet production of a 1933 work by Bertolt Brecht and Kurt Weill, originally choreographed by George Balanchine, which she directed and choreographed. Get Starting Point A guide through the most important stories of the morning, delivered Monday, Wednesday, and Friday. Enter Email Sign Up 'My goal as a dancer and choreographer is to be understood,' she told the Times. 'Dance should not be a cerebral experience that the dancers have and the audiences watch. I want dancers to communicate something and have the audience receive the same thing.' A pioneering female ballet choreographer in a largely male domain, she prioritized emotion as much as technical precision in such crowd-pleasing works as 'Chiaroscuro' (1994), for City Ballet. 'Lynne's ballets are inhabited by people — people with emotions of love and loss, joy and sorrow, regret and redemption,' Melissa Podcasy, a principal dancer who often worked with Ms. Taylor-Corbett, said in an email. Her breakout ballet, 'Great Galloping Gottschalk' (1982), based on the work of 19th-century New Orleans composer Louis Moreau Gottschalk, underscored this principle. Her production, for American Ballet Theater in New York, received a decidedly mixed review from Anna Kisselgoff in The New York Times, but Kisselgoff acknowledged that it was 'cheerful and uplifting' and a 'whopping success with the public.' Advertisement 'The full house, in fact, gave Miss Taylor-Corbett and the ballet the kind of delirious reception reserved for occasional masterpieces, and this 'Great Galloping Gottschalk' certainly is not,' Kisselgoff wrote. 'It is primarily a surface crowd-pleaser.' But that was the point. 'I want to take dance out to a much larger audience,' Ms. Taylor-Corbett said in 1977. 'It's not an elite art.' Her desire to enchant reached its apotheosis with the hit 1999 Broadway musical revue 'Swing!,' which she both choreographed and directed. Simply taking the reins of a major production was an accomplishment for a woman in those days. 'Swing!,' a survey of the many forms of swing dancing that flourished during the big band era, was 'a celebration of our American folk dance.' she said in a 2013 video interview. The show contained no dialogue; its narratives were expressed exclusively through music and dance — including a particularly acrobatic bungee number. 'It's crafted not as a revue in a linear way,' she said, 'but as a giant party.' In a less-than-charitable review for the Times, Ben Brantley called 'Swing!' 'a musical revue that takes its exclamation point seriously,' arguing that it 'seems to take place in some squeaky-clean, confectionary limbo.' Even so, the show earned Ms. Taylor-Corbett nominations for multiple awards, including Tonys as both choreographer and director. Lynne Aileen Taylor was born Dec. 2, 1946, in Denver, the second of six daughters of Travis Henry Taylor, a high school vice principal, and Dorothy (Johnson) Taylor, a music teacher and Juilliard-educated concert pianist who gave Lynne her early introduction to music and dance. After graduating from Littleton High School in Colorado, Lynne headed for New York, where she made ends meet as a hatcheck girl for a Mafia club and an usher at the New York State Theater (now the David H. Koch Theater) at Lincoln Center, the home of New York City Ballet. Patrolling the aisles gave her an opportunity to study the work of master choreographers Jerome Robbins and Balanchine. Advertisement Although she fell short of her dreams of becoming a prima ballerina, Ms. Taylor-Corbett made a mark as a dancer. She toured Africa and the Middle East in the late 1960s as the only white member in Alvin Ailey's celebrated dance company. After leaving the company, she danced on Broadway in shows including 'Promises, Promises,' the 1968 musical by Neil Simon and Burt Bacharach, and Cy Coleman and Carolyn Leigh's 'Seesaw' (1973). She was later an understudy for the Cassie role in 'A Chorus Line.' Slowly, however, she began to see her future in choreography, although she also continued to dance for several years. 'Five years ago my career meant my legs and arms and body,' she told the Times in 1977, 'and today my intellect and mind count, too.' Her career took a turn in 1972 when she helped found the Theater Dance Collection, a company that used narrative, poetry, and songs with the goal of 'changing the image of dance, to making it entertaining as well as art,' the Times said. Its founders jokingly referred to themselves as the 'derrière‐garde.' She later carved out a place in Hollywood — not to mention 1980s lore — by laying down the steps for Kevin Bacon's famously acrobatic solo dance in 'Footloose' (1984), Herbert Ross's feel-good film about a Midwestern teenager hoofing his way past small-town repression. Advertisement In addition to her son, Ms. Taylor-Corbett leaves five sisters, Sharon Taylor Talbot, Kelly Taylor, Janny Murphy, Leslie Taylor, and Kathleen Taylor. Her marriage to Michael Corbett, a music executive, ended in divorce in 1983. In recent years she had become consumed with 'Distant Thunder,' a Native American-themed musical that she created with her son, a Broadway performer himself, who starred in an off-Broadway production that had a limited run last fall. 'Distant Thunder,' featuring actors of Native descent, focused on a member of the Blackfeet Nation who was removed from tribal lands as a boy, only to return years later as a successful lawyer with ambitious plans. The subject matter lay beyond her immediate life experience, but Shaun Taylor-Corbett said, his mother always sought to push past her comfort zone to tell new stories. 'Every life requires a certain amount of invention,' Lynne Taylor-Corbett said in the 2024 video interview, 'but the life of a freelance artist requires constant invention. I mean, how do any of us become who we are? I believe it's important to tell our stories, and leave behind what wisdom we can.' This article originally appeared in
