Latest news with #Hamlet
New York Post
a day ago
- Entertainment
- New York Post
‘Trumpified' Kennedy Center is for ALL Americans — and the elites are raging
The elitist artsy set is up in arms about President Donald Trump's brash takeover of the John F. Kennedy Center for the Performing Arts. The 'Trumpified' Washington, DC institution 'should get blown up,' Broadway legend Patti LuPone declared this week. Performers claim to fear 'Trump's politics and his meddling with the arts,' The Washington Post reported — but what they really hate is that the new attitude at the capital's premiere performance center opens it up to regular Americans. Advertisement It's about time the Kennedy Center was politically neutralized, welcoming audiences across the ideological spectrum. Certainly, the insiders should know that the arts have been failing to capture the imagination of the American public — and shows have been failing to recoup their costs — in part because their leftist partisanship has been a turn-off to at least half their potential audience. But the artists who've monopolized the Kennedy Center's stages for years are howling. Advertisement Robert DeNiro, at the Cannes Film Festival, complained about the center's 'philistine' coup in progress. Lin-Manuel Miranda yanked his musical 'Hamilton' from a scheduled run on its stages. Eleven of the 12 principal cast members in 'Les Misérables' say they'll go on strike rather than perform for Trump during their June 11 performance. LuPone, DeNiro, Miranda and the boycotting 'Les Mis' actors are clearly not up on their Hamlet. Advertisement 'The play's the thing / Wherein I'll catch the conscience of the king,' the prince of Denmark famously said — and these luminaries should know their Shakespeare. Refusing to engage now that the Kennedy Center's leadership opposes their leftist politics only exposes their own ignorance, elitism and superiority complexes. If they really wanted to effect change in the man they so despise, the best thing they could do is perform for him — as Hamlet wisely advised. Advertisement No, the truth is they simply think their hearts and their arts are too pure for the likes of Trump and his supporters. They're mad that the Kennedy Center's hallowed halls aren't just for them and their ethos anymore — that Americans who like a bit of circus with their bread no longer have to feel excluded. Trump's leadership change, while heavy-handed, shunts liberal activism back into the wings where it belongs. Sure, anyone could walk up and buy a ticket, but when it came to the arts in America, we all know full well who has been on the VIP list and who was meant to crouch among the groundlings. Despite the hand-wringing, Trump's first Kennedy Center season will see the same number of Broadway touring shows as in years past — including big New York hits like 'Spamalot,' 'Chicago,' 'Back to the Future,' 'Mrs. Doubtfire,' 'The Outsiders,' and 'Moulin Rouge!'. But two of them are non-union shows — a cost-cutting move that also opens the door for actors and stage techs who haven't had the chance to gain a coveted spot in the Actors Equity Union (it's not easy to get one). 'We want more options, not fewer,' said Kennedy Center president Ric Grenell, who notes the change in leadership also means no more drag story hours for kids. The Kennedy Center will play a major role next year in the celebration of America's 250th birthday, too, and the NEA granting requirements for that momentous occasion have already changed: They now ask artists to submit projects celebrating America, not tearing her down. Advertisement Anti-Trump artists liked having all of American theater for themselves. They enjoyed shutting out colleagues who didn't agree with them politically, and reveled in making traditionalist audience members feel uncomfortable. Get opinions and commentary from our columnists Subscribe to our daily Post Opinion newsletter! Thanks for signing up! Enter your email address Please provide a valid email address. By clicking above you agree to the Terms of Use and Privacy Policy. Never miss a story. Check out more newsletters Those performers, writers and producers thought it was their job to 'educate' audiences with leftist politics — but it isn't, and it never was. Advertisement It's their job to entertain and tell honest stories in beautiful forms. When regional theater began in the 1950s with funding from the Ford Foundation, the goal was to take professional shows out to the rest of the country, to bring them the Broadway experience — not to force-feed them political diatribes. That's what Trump intends to do: Bring a return to fun to the American stage, with transportive, transformative works that allow audiences to let go of day-to-day troubles and experience the wonder of theater. Advertisement And what none of these complainers seem to realize is this: If their stages hadn't been occupied by leftist activism that shut out regular Americans, there'd be no cause for the correction they're seeing now. Libby Emmons is the editor-in-chief at the Post Millennial.
Scottish Sun
a day ago
- Entertainment
- Scottish Sun
Music icon uses final lifeline on tough 90s pop question on Who Wants To Be A Millionaire – but would you have got it?
Keep scrolling to find out what happened when they faced the tough question STOP RIGHT NOW Music icon uses final lifeline on tough 90s pop question on Who Wants To Be A Millionaire – but would you have got it? A MUSIC icon was forced to use his final lifeline on a tough 90s pop question on Who Wants To Be A Millionaire - but would you have got it? Jeremy Clarkson welcomed Jools Holland to the ITV quiz's famous hotseat. 7 Jools Holland took on the challenge of Who Wants To Be A Millionaire Credit: ITV 7 But the musician was stumped on this question Credit: ITV 7 Jools had to use his last lifeline on the question which was 'ask host Jeremy Clarkson' Credit: ITV Jools was in the hotseat for a special celebrity edition of the show, which also featured, Nina Wadia, and Ugo Monye, all aiming to win money for charity. When it was the piano man's time to face Jeremy, he struggled early on. He used both his "ask the audience" and "phone a friend" lifelines by the time he reached the £1,000 question. Jools then used his "50/50" on a question about Joe Wicks. So when he got to the big £16,000 question, he only had one lifeline left. Which was lucky because he was totally stumped when he was asked a question about the Spice Girls - a band he has a close relationship with. Host Jeremy asked: "The maiden name of which Spice Girl was also the name of two US presidents?" The answers to choose from were: A) Emma B) Geri C) Victoria or D) Melanie C. However the music legend, who appeared in the famous girl group's 1997 film SpiceWorld The Movie - was left scratching his head, and had to use his "ask the host" lifeline. Between him and Jeremy, they managed to answer the question correctly, which was, "C) Victoria." Celeb Millionaire contestant forced to use lifeline on tricky Shakespeare question - but could you get it right- After it was revealed he had got the question right, the pianist pretended to wipe his brow and fall off his chair in exasperation. Jools went onto bow out of Who Wants To Be A Millionaire? with £16,000, which he donated to The Prince's Trust and Caring Hands charities. ACTRESS STUMPED In the same episode, fellow contestant, actress Nina Wadia, also found herself stumped - this time over a tricky Shakespeare question. The former EastEnders star has already exhausted three lifelines before facing the big £64,000 question. It posed: "The origin of the modern phrase 'there's a method in my madness' can be traced back to which Shakespeare tragedy?" 7 Jules got the question right in the end, after using his last lifeline Credit: ITV 7 Actress and comedian Nina Wadia also took on Who Wants To Be a Millionaire? Credit: ITV Nina's available options were A) King Lear, B) Macbeth, C) Othello or D) Hamlet. Having been asked by Jeremy, the star admitted she "loves Shakespeare" but was struggling to work out the correct answer. She believed either B) Macbeth or D) Hamlet was right, although wasn't fully certain on either. 7 The actress was stuck on a difficult Shakespeare question for £64,000 Credit: ITV Nina therefore opted to use her last lifeline - Ask the Audience - to help out. The results showed 43% believed the answer was Macbeth while Hamlet placed second with 32%. Nina selected Macbeth, but the correct answer turned out to be Hamlet. She still walked away with £32,000 for her charity - having set her safety net at that amount - in the episode first aired last year. Who has won the jackpot on Who Wants to Be a Millionaire? Who Wants to Be a Millionaire has offered hundreds of hopeful contestants the chance to become millionaires, but there has only been a handful of lucky winners. There have only been five real winners so far on the show as Charles Ingram, who was the third winner of Who Wants To Be A Millionaire? in 2001, had his claim to the prize thrown out because of cheating allegations. The official winners are... Judith Keppel In 2000, garden designer Judith Keppel made quiz show history as she became the first ever winner of Who Wants To Be A Millionaire. Judith is also the only woman ever to have won the million-pound prize. David Edwards Former physics teacher David became the second contestant to win the top prize in April 2001. Following his success, Edwards went on to compete in both series of Are You an Egghead? in 2008 and 2009. Robert Brydges Oxford-educated banker Robert became the third Who Wants to Be a Millionaire? champion when he won the quiz show several moths after David in 2001. Robert has stayed out of the limelight since his win. Pat Gibson World champion Irish quiz player Pat won the show in 2004. Amazingly Pat had TWO of his lifelines still available for his final question, something no other winner has managed. Ingram Wilcox Ingram came close to losing on Who Wants to Be a Millionaire? in 2006 as he had used all his lifelines up at the £32,000 mark, but in a shocking twist he went on to scoop the jackpot. In the end, the right answer ultimately turned out to be B) Serendipity. Nicholas didn't let much disappointment show, as he optimistically said: "Still get £125,000." Speaking afterwards, Jeremy estimated: "We've just seen a contestant lose what we think is the biggest amount of money in Millionaire history." Who Wants To Be A Millionaire airs on ITV1 and ITVX.
The Irish Sun
a day ago
- Entertainment
- The Irish Sun
Music icon uses final lifeline on tough 90s pop question on Who Wants To Be A Millionaire – but would you have got it?
A MUSIC icon was forced to use his final lifeline on a tough 90s pop question on Who Wants To Be A Millionaire - but would you have got it? Jeremy Clarkson welcomed 7 Jools Holland took on the challenge of Who Wants To Be A Millionaire Credit: ITV 7 But the musician was stumped on this question Credit: ITV 7 Jools had to use his last lifeline on the question which was 'ask host Jeremy Clarkson' Credit: ITV Jools was in the hotseat for a special celebrity edition of the show, which also featured, money for charity . When it was the piano man's time to face Jeremy, he struggled early on. He used both his Jools then used his "50/50" on a question about Read more on Millionaire So when he got to the big £16,000 question, he only had one lifeline left. Which was lucky because he was totally stumped when he was asked a question about the Spice Girls - a band he has a close relationship with. Host Jeremy asked: "The maiden name of which Spice Girl was also the name of two US presidents?" The answers to choose from were: A) Emma B) Geri C) Victoria or D) Melanie C. Most read in News TV However the music legend, who appeared in the famous girl group's 1997 film SpiceWorld The Movie - was left scratching his head, and had to use his "ask the host" lifeline. Between him and Jeremy, they managed to answer the question correctly, which was, "C) Victoria." Celeb Millionaire contestant forced to use lifeline on tricky Shakespeare question - but could you get it right- After it was revealed he had got the question right, the pianist pretended to wipe his brow and fall off his chair in exasperation. Jools went onto bow out of Who Wants To Be A Millionaire ? with £16,000, which he donated to The Prince 's Trust and Caring Hands charities. ACTRESS STUMPED In the same episode, fellow contestant, actress The former EastEnders star has already exhausted three lifelines before facing the big £64,000 question. It posed: "The origin of the modern phrase 'there's a method in my madness' can be traced back to which Shakespeare tragedy?" 7 Jules got the question right in the end, after using his last lifeline Credit: ITV 7 Actress and comedian Nina Wadia also took on Who Wants To Be a Millionaire? Credit: ITV Nina's available options were A) King Lear, B) Macbeth, C) Othello or D) Hamlet. Having been asked by Jeremy, the star admitted she "loves Shakespeare" but was struggling to work out the correct answer. She believed either B) Macbeth or D) Hamlet was right, although wasn't fully certain on either. 7 The actress was stuck on a difficult Shakespeare question for £64,000 Credit: ITV Nina therefore opted to use her last lifeline - Ask the Audience - to help out. The results showed 43% believed the answer was Macbeth while Hamlet placed second with 32%. Nina selected Macbeth, but the correct answer turned out to be Hamlet. She still walked away with £32,000 for her charity - having set her safety net at that amount - in the episode first aired last year. Who has won the jackpot on Who Wants to Be a Millionaire? Who Wants to Be a Millionaire has offered hundreds of hopeful contestants the chance to become millionaires, but there has only been a handful of lucky winners. There have only been The official winners are... Judith Keppel In 2000, garden designer Judith Keppel made quiz show history as she became the first ever winner of Who Wants To Be A Millionaire. Judith is also the only woman ever to have won the million-pound prize. David Edwards Former physics teacher David became the second contestant to win the top prize in April 2001. Following his success, Edwards went on to compete in both series of Are You an Egghead? in 2008 and 2009. Robert Brydges Oxford-educated banker Robert became the third Who Wants to Be a Millionaire? champion when he won the quiz show several moths after David in 2001. Robert has stayed out of the limelight since his win. Pat Gibson World champion Ingram Wilcox Ingram came close to losing on Who Wants to Be a Millionaire? in 2006 as he had used all his lifelines up at the £32,000 mark, but in a shocking twist he went on to scoop the jackpot. In the end, the right answer ultimately turned out to be B) Serendipity. Nicholas didn't let much disappointment show, as he optimistically said: "Still get £125,000." Speaking afterwards, Jeremy estimated: "We've just seen a contestant lose what we think is the biggest amount of money in Millionaire history ." Who Wants To Be A Millionaire airs on ITV1 and ITVX. 7 Nina unfortunately chose the wrong answer Credit: ITV
Sydney Morning Herald
2 days ago
- Entertainment
- Sydney Morning Herald
Audiences stayed away from this Hamlet. But then word got out ...
It all began with a staff meeting. For years, Teatro La Plaza director Chela De Ferrari had been mulling a production of Hamlet but had no luck finding an actor to anchor it. Then, during a meeting, theatre usher Jaime Cruz announced his desire to act, and something sparked for De Ferrari. She invited him for coffee. 'During that conversation, I suddenly saw him wearing the prince's crown,' she says. 'I imagined those iconic words, 'To be or not to be', spoken by someone whose very right to be in public, artistic, and professional spaces is so often questioned. It changed everything. 'What if this role wasn't meant to be held by one iconic actor, but rather to be shared — to become a collective voice?' Cruz, like almost every actor in Peruvian theatre company Teatro La Plaza's Hamlet, has Down syndrome. He is Hamlet, but so are all the other seven actors at various stages of the play. Through a year-long workshop and performances around the globe, the production, which comes to Melbourne's Rising festival next month, has become much more than a Shakespearian adaption. Performed in Spanish with English subtitles, it showcases the talents and dreams of its cast, using their experiences to shape the content of the play. 'Unlike a traditional casting process, we weren't searching for polished performances or technical precision,' De Ferrari says. 'Quite the opposite. We deliberately embraced traits that would usually be seen as obstacles in conventional theatre: difficulty vocalising, stuttering, extended silences, blank moments or shifts in rhythm.' She explains that the production wasn't looking to 'fix' these traits, but rather incorporate them into the script and the action. De Ferrari was careful to ensure that the company understood the 'nature and intention' of the play on which they were all collaborating. 'If participants were unable to grasp the creative and conceptual framework of the production, the process could have veered into representation without agency,' she says. 'Our goal was not simply to include neurodiverse actors, but to co-create a piece of theatre in which their perspectives, experiences and choices held real authorship.' At one point, three Ophelias share the stage, and their dreams. One wants to live independently, work, and buy her parents dinner with her very own credit card. Another wants to meet a boy online and then go to Mars with him, and the third wants to have eight children with her boyfriend and watch them grow up to become Hamlet. 'For a moment, they weren't just interpreting a character — they were reshaping her, infusing her with their own voices,' De Ferrari says. Hamlet himself also has many forms, and the production twists and turns and moves and entertains in endlessly surprising ways. Audiences are told that the production is 'inclusive' and there's no mandate to be quiet, or stay seated, or not look at your phone. At New York's Lincoln Centre, there was even a chill-out zone in case the Bard became too much. De Ferrari says while some audience members used to more traditional theatre might baulk initially, they usually come around. '[The inclusive performance] creates a kind of mirror. The freedom that exists on stage is reflected in the audience, and vice versa. We're not just performing a play – we're sharing a space where different ways of being are fully welcomed. That mutual recognition is one of the most powerful aspects of the experience.' Towards the end of the play, there is a beautiful moment of audience participation that powerfully illustrates the way this cast has worked to subvert expectations and ideas about Down syndrome. It is one of those special experiences that good theatre is all about, creating connection, empathy and understanding of lives and emotions the audience might not otherwise be able to access. 'The result is often hilarious — but also moving,' De Ferrari says. 'The audience laughs, relaxes, learns. They're being gently invited to let go of control and see the world through someone else's eyes. What began as a comic interaction ends up offering a reflection on who usually gets to be in the spotlight — and who is asked to stand still and stay quiet.' Video, live music, pre-recorded sound, projection, choreography and audience interaction are all seamlessly incorporated by the cast, who work together and on their own to command the stage with true authority and talent. Throughout, Shakespeare's words and plot are merged with the words, hopes and dreams of the cast. This Hamlet is less a tragedy and more a tale of rebirth. To assemble this cast and tell this story is a masterful feat, one that De Ferrari says took a full year of 'improvisation, writing and reflecting'. Loading 'Each actor specialised in one character, studying and embodying them through drawings, songs and personal memories. From there, we shaped the script. I would write drafts at home and bring them into rehearsal, where we'd test them and refine them together,' she says. That process allowed for every voice to be heard. De Ferrari says early audiences weren't sure what to make of the show when it debuted in Lima, Peru, in 2019. 'Some people told us they celebrated the fact that we were doing this play ... but didn't feel comfortable attending. Ticket sales were slow. But by the third week, the theatre was full thanks in part to the community of families, parents and organisations who truly understood the significance of the project but also because of word of mouth. Every person who saw the play left the theatre recommending it with energy and enthusiasm.' Since then, Hamlet has toured Europe, Asia, North and South America and the United Kingdom. Melbourne is next. 'Bringing Hamlet to Melbourne as part of Rising is a profound honour for us,' De Ferrari says. 'We are also thrilled to explore Melbourne itself – a city celebrated for its rich arts scene, and diverse culinary offerings ... as Peruvians, we are always interested in discovering new culinary experiences.' In the meantime, De Ferrari and her cast are also adapting Twelfth Night, using the same process. 'We want to explore love in all its forms, as well as the complexity of sibling relationships – especially when one sibling has a disability and the other does not. In our story, one of the twins has Down syndrome, and the other is neurotypical.' Loading De Ferrari says the goal with both productions is to reimagine Shakespeare and use those well-known narratives as a springboard for new ones.
The Age
2 days ago
- Entertainment
- The Age
Audiences stayed away from this Hamlet. But then word got out ...
It all began with a staff meeting. For years, Teatro La Plaza director Chela De Ferrari had been mulling a production of Hamlet but had no luck finding an actor to anchor it. Then, during a meeting, theatre usher Jaime Cruz announced his desire to act, and something sparked for De Ferrari. She invited him for coffee. 'During that conversation, I suddenly saw him wearing the prince's crown,' she says. 'I imagined those iconic words, 'To be or not to be', spoken by someone whose very right to be in public, artistic, and professional spaces is so often questioned. It changed everything. 'What if this role wasn't meant to be held by one iconic actor, but rather to be shared — to become a collective voice?' Cruz, like almost every actor in Peruvian theatre company Teatro La Plaza's Hamlet, has Down syndrome. He is Hamlet, but so are all the other seven actors at various stages of the play. Through a year-long workshop and performances around the globe, the production, which comes to Melbourne's Rising festival next month, has become much more than a Shakespearian adaption. Performed in Spanish with English subtitles, it showcases the talents and dreams of its cast, using their experiences to shape the content of the play. 'Unlike a traditional casting process, we weren't searching for polished performances or technical precision,' De Ferrari says. 'Quite the opposite. We deliberately embraced traits that would usually be seen as obstacles in conventional theatre: difficulty vocalising, stuttering, extended silences, blank moments or shifts in rhythm.' She explains that the production wasn't looking to 'fix' these traits, but rather incorporate them into the script and the action. De Ferrari was careful to ensure that the company understood the 'nature and intention' of the play on which they were all collaborating. 'If participants were unable to grasp the creative and conceptual framework of the production, the process could have veered into representation without agency,' she says. 'Our goal was not simply to include neurodiverse actors, but to co-create a piece of theatre in which their perspectives, experiences and choices held real authorship.' At one point, three Ophelias share the stage, and their dreams. One wants to live independently, work, and buy her parents dinner with her very own credit card. Another wants to meet a boy online and then go to Mars with him, and the third wants to have eight children with her boyfriend and watch them grow up to become Hamlet. 'For a moment, they weren't just interpreting a character — they were reshaping her, infusing her with their own voices,' De Ferrari says. Hamlet himself also has many forms, and the production twists and turns and moves and entertains in endlessly surprising ways. Audiences are told that the production is 'inclusive' and there's no mandate to be quiet, or stay seated, or not look at your phone. At New York's Lincoln Centre, there was even a chill-out zone in case the Bard became too much. De Ferrari says while some audience members used to more traditional theatre might baulk initially, they usually come around. '[The inclusive performance] creates a kind of mirror. The freedom that exists on stage is reflected in the audience, and vice versa. We're not just performing a play – we're sharing a space where different ways of being are fully welcomed. That mutual recognition is one of the most powerful aspects of the experience.' Towards the end of the play, there is a beautiful moment of audience participation that powerfully illustrates the way this cast has worked to subvert expectations and ideas about Down syndrome. It is one of those special experiences that good theatre is all about, creating connection, empathy and understanding of lives and emotions the audience might not otherwise be able to access. 'The result is often hilarious — but also moving,' De Ferrari says. 'The audience laughs, relaxes, learns. They're being gently invited to let go of control and see the world through someone else's eyes. What began as a comic interaction ends up offering a reflection on who usually gets to be in the spotlight — and who is asked to stand still and stay quiet.' Video, live music, pre-recorded sound, projection, choreography and audience interaction are all seamlessly incorporated by the cast, who work together and on their own to command the stage with true authority and talent. Throughout, Shakespeare's words and plot are merged with the words, hopes and dreams of the cast. This Hamlet is less a tragedy and more a tale of rebirth. To assemble this cast and tell this story is a masterful feat, one that De Ferrari says took a full year of 'improvisation, writing and reflecting'. Loading 'Each actor specialised in one character, studying and embodying them through drawings, songs and personal memories. From there, we shaped the script. I would write drafts at home and bring them into rehearsal, where we'd test them and refine them together,' she says. That process allowed for every voice to be heard. De Ferrari says early audiences weren't sure what to make of the show when it debuted in Lima, Peru, in 2019. 'Some people told us they celebrated the fact that we were doing this play ... but didn't feel comfortable attending. Ticket sales were slow. But by the third week, the theatre was full thanks in part to the community of families, parents and organisations who truly understood the significance of the project but also because of word of mouth. Every person who saw the play left the theatre recommending it with energy and enthusiasm.' Since then, Hamlet has toured Europe, Asia, North and South America and the United Kingdom. Melbourne is next. 'Bringing Hamlet to Melbourne as part of Rising is a profound honour for us,' De Ferrari says. 'We are also thrilled to explore Melbourne itself – a city celebrated for its rich arts scene, and diverse culinary offerings ... as Peruvians, we are always interested in discovering new culinary experiences.' In the meantime, De Ferrari and her cast are also adapting Twelfth Night, using the same process. 'We want to explore love in all its forms, as well as the complexity of sibling relationships – especially when one sibling has a disability and the other does not. In our story, one of the twins has Down syndrome, and the other is neurotypical.' Loading De Ferrari says the goal with both productions is to reimagine Shakespeare and use those well-known narratives as a springboard for new ones.
