Latest news with #DefyingGravity
Scottish Sun
4 days ago
- Entertainment
- Scottish Sun
Top stand-up comic slams Edinburgh Council over anti-Oasis snobbery after fans dubbed ‘fat' & ‘drunk
Scroll down to read what the comic made of the row POLITICAL mimic Matt Forde has blasted Edinburgh councillors for making a rotten impression with Oasis fans. The stand-up comic was left spitting mad when city chiefs branded the supergroup's followers 'fat', 'old', 'drunk' and 'lairy' ahead of their three sell-out gigs at Murrayfield in August, as exclusively revealed by The Scottish Sun. 5 Matt Forde provides the voice of Boris Johnson for Spitting Image. 5 Matt brings his new stand-up show Defying Gravity to the Fringe. 5 Matt in full stand-up mode. 5 Matt doing his hosting duties. And Matt - who does pitch perfect impressions of both Noel and Liam Gallagher - blasted back at 'snobby' officials for their attacks on Oasis fans like himself. He says: 'I just think a lot of people don't get Oasis. They basically think it's just a load of yobs. 'But do you know what? They wouldn't say that about any other group of people. They would only say that about white working class people. The snobbery of it is unreal. 'I went to the first Oasis gig in Cardiff the other week and it was joyous. It was phenomenal. And yes people were drinking but it was all happy stuff. 'There was no aggro, no edge, it was just a really good celebration.' He adds: 'So it's heartbreaking to think that all these excited people are going to come to Edinburgh, after spending a fortune on their Airbnbs, only for the authorities to basically say, 'you're a load of losers' and 'brace yourself for these Neanderthals marauding through the city.' 'Is that really how you talk about tourists coming to your place?' Matt will return to the Edinburgh Festival next month with his new show Defying Gravity. It comes after he was diagnosed with a rare form of cancer called chordoma at the end of his 2023 Fringe run which led to him having the bottom of his spine removed before learning to walk again. He has since had to have a stoma bag fitted for his bowel movements and has to 'self-catheterise' several times a day just to wee. Oasis kick off first Manchester homecoming gig after 16 years away But in the last year Norwich-born Matt has seen his party sweep to power with Sir Keir Starmer entering Downing Street while Scots Labour leader Anas Sarwar was heading for Bute House, until a run of disastrous policies, including axing the winter fuel allowance, saw their poll ratings tumble. Matt, 42, says: 'The show title is a pun on defying calamity which I guess in my own way I did by catching my cancer early. But as a result my body has changed, although I'm still mining that for material. 'But also politically, we are living in really perilous times where you've got a Labour government that is trying to sort things out but with Nigel Farage breathing down their necks with the reality of a Reform government. 'There are some people out there that believe that the Reform bubble will just sort of magically burst. I don't think that's how it works. 'I think there are certain things about Reform that may well prevent them becoming a government, but if all other options are exhausted - with the Tories basically dead at the moment along with Labour's self-inflicted calamities - you are sort of pushing the public towards an option that they may be uncomfortable with.' And Matt doesn't buy into the narrative churned out by SNP and Labour chiefs that the Reform party is full of right wing bigots. He maintains: 'Every party contains racists. I mean, the Labour Party went through a period where it was getting investigated by the Equalities and Human Rights Commission. Luckily those days are over. 'But the idea that one party has a monopoly on bigotry, is nonsense. I don't believe that most Reform voters are far right. A lot of them are ex-Labour and ex-SNP voters. 'It really makes me laugh when you get like the SNP saying, 'We'll have no nationalism in Scotland'. You're like, 'Have you read your own f***ing leaflets?' They have a cheek to attack Reform.' He adds: 'So I don't think all of a sudden Britain is full of fascists. 'There's a whole load of things that have led to their rise including, since the financial crash, life has been rubbish and people are skint and livid and they have every right to be.' During this year's run, Matt will also have a succession of big political hitters as special guests including former SNP MP Joanna Cherry - who claims she was sidelined by her party for her gender critical views - Scottish Secretary Ian Murray and controversial London mayor iSadiq Khan. He says: 'Joanna is still such a big deal in nationalist politics, and with everything that's happened with the Supreme Court ruling (that the word 'woman' means biological woman), she was just an irresistible figure to approach. 'Where the SNP went wrong was they tried to put things like self-ID through the constitutional debate, by saying 'if you are pro-independence then you must believe in self-ID at the age of 16.' 'But people were like, 'Hang on. That's mad - these are two completely different issues.' He adds: 'And I've known Ian Murray for years from when he used to be the lone Labour MP in Scotland, which shows you how quickly things can change in politics.' With that in mind, by the time Matt returns for next year's run, the Scottish elections will have been held next May. So does this political thinker believe we'll have a new First Minister in place of John Swinney? He says: 'I believe Anas Sarwar will be First Minister with a narrow Labour victory. He is a really charismatic individual. 'You can never write the SNP off as they are a formidable election winning machine in Scotland and given how the first year of Labour has been in Westminster, that obviously has helped the SNP to some extent. 'But I do think that having a Labour government still helps Scottish Labour because you can actually do stuff. And if Labour has a good year, I think Scottish Labour will win.' And Matt, who lives with his Glasgow-born wife Laura, will also be bringing with him some of his favourite impressions to Edinburgh including Boris Johnson, who he voices for TV's Spitting Image. But he also plans to have 'Noel and Liam' make a surprise appearance too. He says: 'I impersonated them for years but it started to feel slightly crowbarred in. But now they're back and everyone's talking about Oasis again, it means I can dust off the old stuff. 'Unfortunately it means hundreds of thousands of fans have been forced to choose between seeing Oasis at Murrayfield or coming to see me do them at the Edinburgh Festival.' *Matt Forde new stand-up show Defying Gravity is on at the Pleasance Beyond from July 30 - August 24. While his four Edinburgh Fringe Political Party Specials take place at the Gilded Balloon. For more info visit:
Sydney Morning Herald
11-07-2025
- Entertainment
- Sydney Morning Herald
Sheridan Adams scored the gig of a lifetime. Then, she vanished
Hundreds of kilometres above where the Atlantic and Indian oceans meet, science teacher-turned-astronaut Dorothy Metcalf-Lindenburger woke to the sounds of Defying Gravity. It was April 9, 2010, and NASA's STS-131 crew, which had successfully docked Space Shuttle Discovery with the International Space Station two days prior, would be conducting the first of three spacewalks on the two-week mission. That flight controllers down in Houston, Texas had pressed play on the Stephen Schwartz tune for those in orbit would not be surprising to fans of Wicked. Pun aside, what better way to capture a 'thrillifying' venture into the vacuum of space, sans spacecraft, than with a power ballad including lyrics 'everyone deserves the chance to fly' and 'they'll never bring us down'? Like a spacewalk is the apex of an astronaut's career, performing the role of Elphaba Thropp is a thespian's pinnacle. Securing the gig is not easy; expertly navigating the soaring belts and contrasting growls of what's commonly considered one of the most challenging songs to sing, while literally flying across the stage strapped to a hydraulic lift system, is only part of what's required to credibly portray the captivating, complicated and universally beloved character night after night. From the moment a casting director decides an actress has the chops to pull it off, her life has been irrevocably changed. A role of such magnitude is not something one simply walks away from. Unless you have no choice. Something bad was happening to Sheridan Adams. After 16 months touring as Elphaba across Sydney, Melbourne and Brisbane with rave reviews, Perth audiences finally got the chance to see Adams, and Courtney Monsma 's Galinda 'Glinda' Upland, up close in December. But Adams' first performance in the West Australian capital would ultimately be her last, despite the season booked until February plus a planned encore in Singapore. Loading It started, weeks earlier, in Brisbane; Adams would rush on-stage in green paint, knitted cap atop her head and suitcase in-hand, and proceed to perform a show where her voice was 'the best it had ever been'. But sometimes, the opposite would be true. 'I knew something was awry, but I had no idea that it was an injury,' Adams tells me in between sips from a water bottle seemingly bigger than her head. By the time the 27-year-old Melburnian whisked out of the wings at Crown Theatre Perth's opening night, it was with the definitive knowledge that something was terribly wrong. Nonetheless, the show would go on. Adams completed the almost three-hour-long performance. Then, she vanished. What was wrong with Adams is something that's 'not the end of the world', as she takes great pains to tell me, when it comes to the wider context of, well, current events. But for someone whose lifeline relies on the use of their instrument, an extensive vocal injury can feel world-ending. 'Because it had never happened to me before, and it's not spoken about, it was really hard. I went to a very dark place.' Sheridan Adams What happened to Sheridan Adams? 'It's quite traumatic. It's quite difficult because [your voice is] a part of you, it's often a part of your identity,' Adams says. 'When that's taken away, you really have to rediscover who you are and rediscover what your relationship is with your voice.' It's estimated that more than 25 per cent of Broadway performers have been diagnosed with a vocal injury during a show's run. It's rare, however, for a performer to take extended time off, and rarer for a vocal injury to be cited as the reason. Adams says Megan Hilty, who recently disclosed she would be taking a leave of absence from Broadway's Death Becomes Her due to vocal injury, inspired her to speak out. With the support of production company Crossroads Live Australia, Adams' team and her loved ones, Adams spent months away from the stage, recovering from what she describes as a muscle bleed in her larynx. Symptoms can include hoarseness, pain while swallowing, frequent coughing, voice breaks, and more. Loading 'It was really daunting and really scary ... I've never been in a show like this before. I'd never had a lead role like this,' says Adams, whose experience before her casting was mainly college productions, fringe shows and professional ensemble or cover roles. 'Because it had never happened to me before, and it's not spoken about, it was really hard. I went to a very dark place.' I'm not good enough, I'm letting people down, I'm not going to be able to do this ever again constantly rang in Adams' head. Fellow performers reassured Adams a return to work is possible, privately disclosing their own previous vocal injuries. Laser surgery, steroid injections, yoga and 'a lot of silence and not talking' were essential for Adams' rehabilitation. As was deleting social media. It's all about popular It's safe to say the role of Elphaba comes with baggage; Wicked has been a consistent box office smash since the stage show opened at Gershwin Theatre in 2003. But before Jon M. Chu's film, its fandom was mainly kept to those who had the means to get themselves to New York, London or a touring production, or crafty theatre nerds who knew the secret two-word code that unlocks a bounty of YouTube bootlegs. Once Cynthia Erivo and Ariana Grande 's casting was announced, that changed. Suddenly, the intense passion, and ownership, over the story, songs and characters were no longer limited to the fringe. From LEGO sets, hairbrushes and pyjamas in store windows to social media, Adams couldn't walk down the street or open her phone without seeing Wicked. Algorithms were suddenly flooded with footage and fan-art of Erivo and Grande – and, as anticipation amped during the film's globe-trotting press tour, of past and present cast from stage productions beyond Broadway and the West End, including Australia's Adams and Monsma. 'It was like my workplace was following me everywhere I went,' says Adams, who found it 'exciting' as someone who had realised she wanted to pursue acting through song mid- Over the Rainbow while auditioning for the role of Dorothy Gale in a high-school production of The Wizard of Oz. But it also meant that four weeks after Erivo and Grande walked the Yellow Brick Road in Sydney, anyone with an internet connection noticed when, 14 years after she last played the part, Wicked alumna Patrice Tipoki flew into Perth for an emergency cover of Elphaba. Comments from fans asking where Adams was, no matter how well meaning, were particularly hard for her to read. Loading 'I didn't talk to anyone about it,' Adams says. 'I really secluded and isolated myself from the world and from everyone.' Trusting her instincts, closing her eyes, and taking a leap In what made for an awkward conundrum in London on the night of Queen Elizabeth II's death, Wicked opens with the jubilant exclamation: 'Good news, she's dead!' This weekend, however, audiences in Seoul will instead see Monsma's Glinda and the cast of Wicked 'rejoicifying' the return of their Elphaba, with Adams taking the stage in the role for the first time in eight months. Similar to her first turn as the 'Wicked Witch of the West', Adams will be halfway through the show's South Korea tour when Wicked: For Good is released in cinemas this November. What's different is that now, in addition to her regular hydration and steaming routine, Adams is equipped with a series of semi-occluded vocal tract exercises, and a new perspective on vocal rest – helped, in part, by the fact she will perform six shows a week, with Zoe Coppinger performing the remaining two in South Korea. 'Coming back from this, it's probably been the hardest and most rewarding thing I've ever done in my entire life,' says Adams, fresh off her first week of rehearsals. 'If you're going through this, you're not alone ... it doesn't mean that you're not a good singer … or that there's something wrong with you. It happens, and you can come back, and you can step back into a role like Elphaba.'
The Age
11-07-2025
- Entertainment
- The Age
Sheridan Adams scored the gig of a lifetime. Then, she vanished
Hundreds of kilometres above where the Atlantic and Indian oceans meet, science teacher-turned-astronaut Dorothy Metcalf-Lindenburger woke to the sounds of Defying Gravity. It was April 9, 2010, and NASA's STS-131 crew, which had successfully docked Space Shuttle Discovery with the International Space Station two days prior, would be conducting the first of three spacewalks on the two-week mission. That flight controllers down in Houston, Texas had pressed play on the Stephen Schwartz tune for those in orbit would not be surprising to fans of Wicked. Pun aside, what better way to capture a 'thrillifying' venture into the vacuum of space, sans spacecraft, than with a power ballad including lyrics 'everyone deserves the chance to fly' and 'they'll never bring us down'? Like a spacewalk is the apex of an astronaut's career, performing the role of Elphaba Thropp is a thespian's pinnacle. Securing the gig is not easy; expertly navigating the soaring belts and contrasting growls of what's commonly considered one of the most challenging songs to sing, while literally flying across the stage strapped to a hydraulic lift system, is only part of what's required to credibly portray the captivating, complicated and universally beloved character night after night. From the moment a casting director decides an actress has the chops to pull it off, her life has been irrevocably changed. A role of such magnitude is not something one simply walks away from. Unless you have no choice. Something bad was happening to Sheridan Adams. After 16 months touring as Elphaba across Sydney, Melbourne and Brisbane with rave reviews, Perth audiences finally got the chance to see Adams, and Courtney Monsma 's Galinda 'Glinda' Upland, up close in December. But Adams' first performance in the West Australian capital would ultimately be her last, despite the season booked until February plus a planned encore in Singapore. Loading It started, weeks earlier, in Brisbane; Adams would rush on-stage in green paint, knitted cap atop her head and suitcase in-hand, and proceed to perform a show where her voice was 'the best it had ever been'. But sometimes, the opposite would be true. 'I knew something was awry, but I had no idea that it was an injury,' Adams tells me in between sips from a water bottle seemingly bigger than her head. By the time the 27-year-old Melburnian whisked out of the wings at Crown Theatre Perth's opening night, it was with the definitive knowledge that something was terribly wrong. Nonetheless, the show would go on. Adams completed the almost three-hour-long performance. Then, she vanished. What was wrong with Adams is something that's 'not the end of the world', as she takes great pains to tell me, when it comes to the wider context of, well, current events. But for someone whose lifeline relies on the use of their instrument, an extensive vocal injury can feel world-ending. 'Because it had never happened to me before, and it's not spoken about, it was really hard. I went to a very dark place.' Sheridan Adams What happened to Sheridan Adams? 'It's quite traumatic. It's quite difficult because [your voice is] a part of you, it's often a part of your identity,' Adams says. 'When that's taken away, you really have to rediscover who you are and rediscover what your relationship is with your voice.' It's estimated that more than 25 per cent of Broadway performers have been diagnosed with a vocal injury during a show's run. It's rare, however, for a performer to take extended time off, and rarer for a vocal injury to be cited as the reason. Adams says Megan Hilty, who recently disclosed she would be taking a leave of absence from Broadway's Death Becomes Her due to vocal injury, inspired her to speak out. With the support of production company Crossroads Live Australia, Adams' team and her loved ones, Adams spent months away from the stage, recovering from what she describes as a muscle bleed in her larynx. Symptoms can include hoarseness, pain while swallowing, frequent coughing, voice breaks, and more. Loading 'It was really daunting and really scary ... I've never been in a show like this before. I'd never had a lead role like this,' says Adams, whose experience before her casting was mainly college productions, fringe shows and professional ensemble or cover roles. 'Because it had never happened to me before, and it's not spoken about, it was really hard. I went to a very dark place.' I'm not good enough, I'm letting people down, I'm not going to be able to do this ever again constantly rang in Adams' head. Fellow performers reassured Adams a return to work is possible, privately disclosing their own previous vocal injuries. Laser surgery, steroid injections, yoga and 'a lot of silence and not talking' were essential for Adams' rehabilitation. As was deleting social media. It's all about popular It's safe to say the role of Elphaba comes with baggage; Wicked has been a consistent box office smash since the stage show opened at Gershwin Theatre in 2003. But before Jon M. Chu's film, its fandom was mainly kept to those who had the means to get themselves to New York, London or a touring production, or crafty theatre nerds who knew the secret two-word code that unlocks a bounty of YouTube bootlegs. Once Cynthia Erivo and Ariana Grande 's casting was announced, that changed. Suddenly, the intense passion, and ownership, over the story, songs and characters were no longer limited to the fringe. From LEGO sets, hairbrushes and pyjamas in store windows to social media, Adams couldn't walk down the street or open her phone without seeing Wicked. Algorithms were suddenly flooded with footage and fan-art of Erivo and Grande – and, as anticipation amped during the film's globe-trotting press tour, of past and present cast from stage productions beyond Broadway and the West End, including Australia's Adams and Monsma. 'It was like my workplace was following me everywhere I went,' says Adams, who found it 'exciting' as someone who had realised she wanted to pursue acting through song mid- Over the Rainbow while auditioning for the role of Dorothy Gale in a high-school production of The Wizard of Oz. But it also meant that four weeks after Erivo and Grande walked the Yellow Brick Road in Sydney, anyone with an internet connection noticed when, 14 years after she last played the part, Wicked alumna Patrice Tipoki flew into Perth for an emergency cover of Elphaba. Comments from fans asking where Adams was, no matter how well meaning, were particularly hard for her to read. Loading 'I didn't talk to anyone about it,' Adams says. 'I really secluded and isolated myself from the world and from everyone.' Trusting her instincts, closing her eyes, and taking a leap In what made for an awkward conundrum in London on the night of Queen Elizabeth II's death, Wicked opens with the jubilant exclamation: 'Good news, she's dead!' This weekend, however, audiences in Seoul will instead see Monsma's Glinda and the cast of Wicked 'rejoicifying' the return of their Elphaba, with Adams taking the stage in the role for the first time in eight months. Similar to her first turn as the 'Wicked Witch of the West', Adams will be halfway through the show's South Korea tour when Wicked: For Good is released in cinemas this November. What's different is that now, in addition to her regular hydration and steaming routine, Adams is equipped with a series of semi-occluded vocal tract exercises, and a new perspective on vocal rest – helped, in part, by the fact she will perform six shows a week, with Zoe Coppinger performing the remaining two in South Korea. 'Coming back from this, it's probably been the hardest and most rewarding thing I've ever done in my entire life,' says Adams, fresh off her first week of rehearsals. 'If you're going through this, you're not alone ... it doesn't mean that you're not a good singer … or that there's something wrong with you. It happens, and you can come back, and you can step back into a role like Elphaba.'
Buzz Feed
27-06-2025
- Entertainment
- Buzz Feed
22 Best And Worst Movie Musical Adaptations
As a movie musical lover (and a once theatre kid), I love seeing how passionate people get when debating movie adaptations of beloved stage shows. Over on Reddit, theatre fans are sharing the absolute BEST of the best stage-to-movie-musicals, to the ones that massively flopped and ultimately embarrassed themselves. Here's what they had to say — and fair warning, theatre folks don't hold back (it's the trauma from getting brutal post-show notes from drama teachers.) "Chicago works because it's one of the only ones that didn't think of a movie as an improvement on the limitations of the stage, but rather imported the idiosyncrasies of theatre into the movie. Other movie musicals are often ashamed of their origin, but Chicago embraced it." "The fact that they pulled off Wicked after all these years, all the production delays, and so many stage play iterations to compare it to if it went blows my mind how good it was! I know we still have Part 2 but considering it was all filmed as one movie, I think we're gonna be just fine!" "I saw the Wicked stage production for the first time a few weeks after seeing the movie, and I actually prefer the movie. When watching the stage, I got whiplash from the pacing on the first act, and the writing of the second act felt messy. I understand why the stage production is the way it is, but the movie had the chance to correct one of my biggest gripes. That being said — "Defying Gravity" is the only thing I enjoyed more on stage. Seeing someone lifted into the air in person hits harder than on screen." "I know how some people feel about jukebox musicals on here, but the movie version of Mamma Mia is legitimately so much better than the stage version imo." "The Fiddler on the Roof is not only one of the best movie versions of a musical I've seen, but might be one of the best movies I've ever seen in general. (Granted, the list of movies I would consider "one of the best I've seen" is pretty extensive!) "Can't believe how little The Sound of Music is being mentioned in this thread. Kind of THE definitive Broadway-to-movie adaptation, both in terms of cultural impact and in terms of how it improved on the stage version. Julie Andrews gives an all-time iconic performance as Maria, and the filming location in Austria with all the helicopter shots of the Alps is just magic." "I'm always in awe of how amazing Matilda is throughout all mediums. The book, the movie, the musical, and the musical movie are all incredible and I think there's something really special about that." "Probably The Rocky Horror Picture Show. Capturing the spirit and vibe of such a musical is amazing, and they did it." "I haven't seen every single movie adaptation of the musical, but of the ones I have seen, I usually refer to 1962's The Music Man as a perfect way to transfer a Broadway show to a film..." "I will also say that Oliver! is the rare example of a film version of a musical that is actually better than the stage version." "Best: Hairspray. I honestly think that the few changes that were made improved the story/flow." "Please do yourself a favour and watch The Producers with Matthew Broderick and Nathan Lane. It is an almost 1-to-1 adaptation of the stage show, minus a song or two. It is a clever and hilarious thrill ride, with loveably unloveable characters." And now, the worst: "As someone who treasures and adores Rent (it meant SO much to me at a certain time), the movie was horrid and made me angry!" "In terms of worst, there's a lot of options, but 13's movie adaptation will never fail to bewilder me. It's like they went out of their way to make every wrong choice they could..." "I've got a bone to pick with the In the Heights movie. Lots of good, fun choreo, but John Chu cut it from a love story between a neighbourhood and its people into one between Usnavi and Vanessa. Lots of very weird changes, including the "X days until the blackout timer," which ruins the surprise of the act I finale. I could go on and on...I lived near the set, though, so that was a really fun summer." "Honestly, if The Phantom of the Opera had better male leads, it would've been perfect. But putting 17 year-old Emmy Rossum with two 30+ year-old men, and having her kiss them gives me the heebie jeebies. (On top of the male actors' terrible singing)." "A Chorus Line takes the cake as the worst. Some great performances (Terry Mann can do no wrong) but the transfer to film doesn't work." "They didn't use Michael Bennett's original choreography, they completely sidelined certain characters, and they CUT 'THE MUSIC AND THE MIRROR'." "Rock of Ages. Why Tom Cruise? Why Alec Baldwin? Why goddamn Russell Brand? Terrible show gives you a lot to work with and that adaptation just turned it to crap. I was so excited, ROA is genuinely a good show. It's campy as fu**, but it's SUPPOSED TO BE! The '80s were cheesy and campy and ridiculous. The stage show was great. The movie sucked balls." "Dear Evan Hansen was pretty high up there with not good adaptations. As much as I love the score and the show, I know it's problematic — but that show and its music got me through one of the harder times in my life. I love my Benny boy fiercely but he definitely looked extremely out of place and it felt like the whole thing was trying too hard. I loved the addition of 'The Anonymous Ones' — that is a beautiful song. But cutting out 'Good For You' was not a great call. "Meh: They faceplanted on The Last 5 Years by having them both in every scene together, imo. Completely effs up the emotional impact." "Sweeney Todd (unpopular opinion). It's hard to capture Sondheim properly, and they failed at almost every stop. This story needs to be Shakespearean, incredibly complex, and highly absurd in order for it to work. They reached for it all, but landed at none. Also, they started the dreadful trend of having tenors singing Sweeney's part, and I can't forgive that." "The Into The Woods movie SUCKS ASS I hate it so much. They cut out 'No More' (literally a pivotal moment in the baker's character development) and cut the narrator and the mysterious old man entirely?? And kept Rapunzel alive?????? Not to mention JAMES CORDEN. UGHHHH I hate this movie." And because these two were such popular answers, we had to give a special shoutout (or side-eye?) to what might just be the most universally hated movie musical adaptations... "Cats is genuinely one of the worst films I've ever seen. I thought it would be funny as a hate-watch, but it wasn't even 'so bad it's good.' It was just awful and made me sick to my stomach at several different moments lol." "I mean Cats is so obviously the worst so it shouldn't count to say Cats hahaha." "Cats was horrific and I wonder how anybody got roped into it. The cast was stacked." "The Mean Girls musical movie adaptation was awful. It felt like they were embarrassed they were making a musical." "The Mean Girls musical movie was one of the worst things i've ever seen." Let us know your all-time favourite and most hated movie musicals in the comments — I'll go first: I LOVE Mamma Mia (yes, even with Pierce Brosnan' singing, it's campy!), and I HATED the Mean Girls movie musical. Not super original answers, I me.😅😅 If you like what you see, be sure to follow BuzzFeed Canada on TikTok and Instagram for even more hot takes and theatre kid energy.🎭✨
Time of India
26-06-2025
- Entertainment
- Time of India
Amanda Seyfried revealed she auditioned six times for 'Wicked'
Actress Amanda Seyfried has candidly shared details about her demanding audition journey for the highly anticipated 'Wicked' movie adaptation, revealing she auditioned six times for the role of Glinda. Tired of too many ads? go ad free now According to People magazine, the Oscar-nominated actress recently discussed her experience competing for the part that eventually went to pop star Ariana Grande. "I auditioned like six times for Wicked," Seyfried said during an interview, adding, "That had to be really just right. And I loved it. I was busy, I barely had time to do it, but I made it work," as quoted by People magazine. Known for her roles in 'Les Miserables' and 'Mamma Mia!', Seyfried noted that despite being in a position where she no longer needs to audition for most roles, the passion she felt for 'Wicked' pushed her to give it everything she had. "I worked my ass off for years and years and years on that music," she said, adding, "I'm just competitive... with myself in a really healthy way." This is not the first time Seyfried has spoken publicly about her pursuit of the role. In an earlier interview, she revealed she sang alongside Cynthia Erivo, who plays Elphaba in the film, during one of her auditions. "I've never felt that solid in my voice than I did at the auditions," she said, adding, "And that's kind of what I got out of it," as quoted by People magazine. Although she didn't land the role, Seyfried maintains a positive outlook. "I do, again, think everything happens for a reason," she said, adding that her family still sings "Defying Gravity" at home. Seyfried's audition process overlapped with her work on 'The Dropout', the limited series for which she later won an Emmy for her portrayal of Theranos founder Elizabeth Holmes. She recounted how she juggled both projects, sacrificing weekends to attend 'Wicked' auditions. Tired of too many ads? go ad free now "I literally bent over backwards while playing the hardest role of my life," she said, reflecting on the physical and emotional toll of balancing both roles, adding, "But I think it also taught me how far I've come as a singer, which I really wanted to prove." (ANI)
