Latest news with #JaggedLittlePill
Sky News AU
06-05-2025
- Entertainment
- Sky News AU
Aussie singer and actress Natalie Bassingthwaighte makes rare comments about ex-husband Cameron McGlinchey after moving on with 'incredible' partner Pip Loth
Natalie Bassingthwaighte has offered a rare glimpse into her personal life, opening up about her relationship with partner Pip Loth and how she co-parents with ex-husband Cameron McGlinchey. The singer, actress and television personality, 49, first confirmed her relationship with Loth (who uses they/them pronouns) in November 2023, by resharing an Instagram post that made things official. Since then, the couple's bond has gone from strength to strength, Bassingthwaite telling the Daily Telegraph on Monday: "My partner is incredible." The Neighbours alum shares two children, daughter Harper, 14, and son Hendrix, 11, with McGlinchey, her former bandmate from the Rogue Traders. The pair were married for 12 years before quietly separating in late 2022. Now starring in the one-woman play Shirley Valentine, Bassingthwaighte credited both Loth and McGlinchey for supporting her as she tours the country with the production, which has already played in Canberra, Adelaide and Melbourne and is set to hit Sydney in October. "Everyone's made sacrifices to help me be able to do the show," she said. "My kid's dad is amazing. He has been so great with me here, there and everywhere." For Bassingthwaighte, it's vital her children see her pursuing her passion. "It's really important for children to see what you do and to see you not just as their parent, but as someone who works hard for what they love," she said. The Voodoo Child singer first met Loth, a stage manager at Queensland Theatre Company, while working together on the 2021 musical Jagged Little Pill. In March, she told The Daily Telegraph that Loth is an "extraordinary human". "They've made me a better one and they get me more than I understand myself," she said. "It's been the wildest time in my life and it's beautiful." Bassingthwaite also reflected on how her feelings for Loth connect with her current role on stage. "There's a line in Shirley Valentine, and I think of Pip every night," she shared. "It says, 'When you meet someone and they like you, they sort of approve of you, you start to grow again, you start to move in the right ways and say the right things at the right time.' "That's exactly how they've made me feel- heard and loved." Bassingthwaighte has previously spoken about the strength of her relationship with McGlinchey, even after their separation. Following their split, Bassingthwaighte said it was McGlinchey who encouraged her to go public with her new relationship. "I rang Cam and I was hysterical," she told Stellar. "And he said, 'It's OK. This is your truth and you now have to sit in it and stand in it and own it'. So to have that support from him has been nothing short of beautiful, and I'm very grateful for it."
San Francisco Chronicle
02-05-2025
- Entertainment
- San Francisco Chronicle
Billie Joe Armstrong teases ‘American Idiot' film
Green Day 's debut comedy film is still in the works, but frontman Billie Joe Armstrong says that the band is already thinking about its next on-screen project. The East Bay punk singer hinted that a film adaptation of the trio's 'American Idiot' musical may be on the horizon. 'There was supposed to be (a film), but it never panned out,' Armstrong said in an interview with Variety published Thursday, May 1. 'I'm sure something is gonna happen. The musical did so well and they've done it in Australia, Italy, Germany, England ... It's traveled so well. Eventually it's going to happen, I would think.' Armstrong previously noted in 2016 that the adaptation had already been greenlit by HBO and a script was going through a rewrite process. The musical, with a book by Armstrong and Michael Mayer, music by Green Day and lyrics by Armstrong, had its world premiere at Berkeley Repertory Theatre in 2009, helping to establish that company as a powerhouse developer of new musicals. Reviewing it that year, Chronicle critic Robert Hurwitt praised the show's 'Broadway-quality pipes, stage-rattling, thrashing choreography, flying bodies and walls crammed with pulsating video and projected images.' 'American Idiot' also helped popularize rock as a subgenre within jukebox musicals, with shows such as 'Head Over Heels' and 'Jagged Little Pill' arguably following in its footsteps. The Broadway transfer received a Tony Award nomination for best musical, winning for best scenic design and best lighting design. Armstrong himself briefly appeared in the Broadway production in the role of St. Jimmy, who's both a charismatic alter ego to the show's protagonist and a demonic figure whispering in his ear. Though no timeline for a potential film adaptation of 'American Idiot' has been announced yet, the band is keeping busy working on their coming-of-age comedy ' New Year's Rev.' Co-produced by Armstrong and his Green Day bandmates bassist Mike Dirnt and drummer Tré Cool, the project is inspired by the trio's early touring experiences. It follows three friends who set off on a road trip to Los Angeles, under the impression that they'll be opening for Green Day.
New York Times
04-04-2025
- Entertainment
- New York Times
13 Off Broadway Shows to Tempt You in April
Theater in New York is nearing its seasonal crescendo, with stages Off Broadway and beyond teeming with activity. Of the many notable productions happening in April, here is a baker's dozen to tantalize you. The composer-lyricist Adam Gwon, best known for the chamber musical 'Ordinary Days' and more recently for the charming 'Macbeth' riff 'Scotland, PA,' sets his new musical in the 1990s in a conservative small town, where a gay high school teacher is helping a student to prepare for a statewide theater competition. With a cast of four that includes Elizabeth Stanley ('Jagged Little Pill'), Jonathan Silverstein directs for Keen Company — his swan-song production as artistic director of the theater, which commissioned this musical. (Through May 10, Theater Row) The Obie Award-winning director Jack Serio loves intimate, nontraditional venues — like the lofts where he staged his breakthrough production of 'Uncle Vanya' — and he has one for this new play by Ken Urban ('Nibbler'). With the audience at close range, arrayed around a living-room-like space, Ryan Spahn and Juan Castano play a married couple enduring a sexual dry spell, and Julia Chan plays the long-lost high school girlfriend whose reappearance rattles their relationship. (Through April 20, East Village Basement) A major production of any Caryl Churchill play becomes a reason for pilgrimage by the faithful. Now here is a program of four brief works by the 86-year-old playwright, a master of shape-shifting and the short form; three are from 2019, one from 2021. Her longtime interpreter James Macdonald, who staged Churchill's 'Top Girls' on Broadway, directs a large cast that includes the Tony Award winner Deirdre O'Connell and John Ellison Conlee. (Through May 11, Public Theater) The cleverly inventive, very funny playwrights Emma Horwitz ('Mary Gets Hers') and Bailey Williams ('Events,' 'Coach Coach') are also the performers of this comedy, which appeared in an earlier form at last year's Exponential Festival of experimental work. A co-production of New Georges, which incubated the show, and Rattlestick Theater, it is directed by Tara Elliott. (Through April 26, Here Arts Center) 'Derry Girls' fans, assemble. Saoirse-Monica Jackson, who starred as Erin on that hit TV series set in Northern Ireland, makes her New York theater debut with this backstage comedy by Ciara Elizabeth Smyth, directed in its world premiere by Nicola Murphy Dubey. In an ensemble cast that also includes Kate Burton, Jackson plays a member of the Dublin-based Irishtown Players, rehearsing a Broadway-bound show whose author has diluted an ingredient the actors are determined to strengthen: its Irishness. Part of the Origin 1st Irish Festival. (Through May 25, Irish Repertory Theater) The Broadway star Norm Lewis ('The Gershwins' Porgy and Bess') headlines this drama by Lonne Elder III, playing a widowed barber and former vaudevillian in 1950s Harlem, where he and his grown children live upstairs from the not exactly busy shop. The Negro Ensemble Company — which gave the show its first professional production in 1969, with Douglas Turner Ward in the lead — teams up with the Peccadillo Theater Company and Eric Falkenstein for this revival, directed by Clinton Turner Davis. (April 11-May 18, Theater at St. Clement's) The Obie-winning playwright-director Shayok Misha Chowdhury ('Public Obscenities') recruited his mother, Bulbul Chakraborty, a physicist and professor, to create and perform this new show with him. A co-production of the Bushwick Starr, Here and Ma-Yi Theater Company, it takes its title from what Merriam-Webster defines as 'a science dealing with the deformation and flow of matter.' Chakraborty studies sand. Her son studies her. This is a kind of memoir. (April 15-May 3, Bushwick Starr) There is a certain sort of effusively unhinged experimental theater that feels particular to downtown Manhattan. The collaborations between Robert Lyons (late of the scrappy, shuttered New Ohio Theater) and Daniel Irizarry are absolutely this brand of weird. Written by Lyons and directed by Irizarry, who also stars, their new show is set in academia, where a professor is losing his grip on reality and grad students are hallucinating a manifesto. Also, there will be rum. (April 18-May 4, La MaMa) Lincoln Center Theater's small, adventurous upstairs stage, LCT3, breaks its recent quiet with the world premiere of this dark comedy by Caitlin Saylor Stephens ('Modern Swimwear'), starring Elizabeth Marvel as a fashion photographer shooting a Vogue cover in Europe. Morgan Green directs. (April 19-June 1, Claire Tow Theater) Witchfinder General is a job title so absurdly dystopian that surely it must be made up, but there really was one in 17th-century England: Matthew Hopkins, who hunted down women he suspected of being witches. In Joanna Carrick's play, which she directs in the Brits Off Broadway festival, Hopkins's stepsister is a skeptic amid the religious panic he fans. Then the death of her babies tempts her toward the comfort of finding someone to blame. (April 24-May 11, 59E59 Theaters) Marisa Tomei and the dancer Ida Saki perform this new dance theater piece, which puts a contemporary female lens on the myth of Sisyphus. In this retelling — written, choreographed and directed by Celia Rowlson-Hall ('Smile 2') — Sisyphean labors come with being a woman in the world. (April 24-April 26, Baryshnikov Arts) James Joyce's mammoth 1922 novel, 'Ulysses,' had to battle its way to publication in the United States. Initially it was banned here as obscene — until a judge ruled, in 1933, that though its effect 'is somewhat emetic, nowhere does it tend to be an aphrodisiac.' Borrowing from period radio style, this 90-minute comic drama by Colin Murphy re-enacts and remixes that landmark free-speech fight. Conall Morrison directs this production, an import from Ireland. (April 30-June 1, Irish Arts Center) Anika Noni Rose (a Tony winner for 'Caroline, or Change') and Aisha Jackson ('Once Upon a One More Time') star as sisters from Ohio who follow their artistic ambitions to New York in this Encores! revival of the 1953 musical comedy classic. With music by Leonard Bernstein, lyrics by Betty Comden and Adolph Green, and a book by Joseph A. Fields and Jerome Chodorov, it's directed by Zhailon Levingston, who last year co-directed the much-acclaimed radical refresh 'Cats: The Jellicle Ball.' (April 30-May 11, New York City Center)
Buzz Feed
26-03-2025
- Entertainment
- Buzz Feed
Since EVERYTHING Is Outrageously Expensive Now, Let's See If You Can Guess What The Prices Of These Common Items Were In 1995
Aahhh, 1995: Toy Story had just hit theaters, everyone was singing along to Jagged Little Pill, and most importantly... everyday items were affordable. Unlike today, looking at a supermarket receipt was not a sob-inducing experience, as groceries, household supplies, and even homes and cars were far more affordable than they are now. But the real question is, do you remember exactly how much these common items cost back in the day? Below are 16 everyday items, and it's up to you to guess their average prices from 30 years ago. If you can get even 11 correct, your financial IQ is all that and a bag of chips! So, without further ado, grab a shopping cart and get ready to time travel:
Yahoo
10-03-2025
- Entertainment
- Yahoo
Backstage at All Nighter , the Off-Broadway Play That's a Crash Course in the Female College Experience
Photos taken by All Nighter cast for Teen Vogue When the cast of All Nighter gathers in the lobby of Midtown Manhattan's Newman Mills Theater, the home of their limited engagement off-Broadway play, their energy is bright-eyed and eager. In just a few hours, Kathryn Gallagher, Julia Lester, Alyah Chanelle Scott, Havana Rose Liu, and Kristine Frøseth will perform one of their last previews before their big opening night on Sunday, March 9. There's a sense of fresh excitement flowing through the group. Scott, who is a three-time Tony-winning producer and star of Max's Sex Lives of College Girls, was originally introduced to the play on the production side but ended up coming on board as an actor; Gallagher and Lester, two more Tony-nominated performers (for their work in the musicals Jagged Little Pill and Into the Woods, respectively), are making their stage play debuts with All Nighter, while the production marks Liu and Frøseth's professional theater debuts on the whole. '[This] was only the second reading I had ever done of a play in my life other than fourth grade drama,' Liu laughs, thinking back to the 2023 reading she did of All Nighter alongside Scott, Lester, and Gallagher. 'I had been curious about dipping a single toe into theater, and then I did this and thought it was the scariest thing I'd ever done. I then wanted to do another one because it's adrenaline-boosting.' Highly-concentrated adrenaline is very much the ethos of All Nighter. Written by Natalie Margolin and directed by Jaki Bradley, the 95-minute play — with no intermissions — follows five young women, all graduating seniors at a liberal arts college in rural Pennsylvania. The thicker-than-thieves friend group have reached the tail end of their college careers, and after one last night spent toiling over their finals together, begin to realize that forced proximity might just be what is truly keeping them close. The play is set in 2014, something former High School Musical: The Musical: The Series star Lester points out jokingly: while the show is a contemporary piece of art, it technically now qualifies as a period piece. With nods to that year's huge cultural moments, like the world's obsession with hummus and the omnipresence of 'Wrecking Ball' from Miley Cyrus's Bangerz era, the show depicts the unraveling of these young women under the pressure of their final all-nighter. Productivity, sobriety, and friendship are all tested in a way that feels strikingly familiar. 'The way [Natalie] writes young women is with such a level of complexity,' Gallagher, who is close friends with the playwright and has witnessed the show in all its stages of formulation, says. 'It lacks a fear of messiness that I think is true to a young woman's experience.' That relatability is necessary when putting on a play — a single set stage, with most of the cast never leaving it, can be intimidating even for the most seasoned of actors. 'We don't have an ensemble of dancers behind us doing flips,' Gallagher says. 'I used to have this joke with a buddy of mine. I was doing Spring Awakening at the time. He was doing Hamilton. I was like, 'Okay, what's the number in your show that even if everybody's having an off night, you can draw the audience back in?' He was like, 'My Shot.' You have that in a musical. Plays, you can't go away. You've got to be there. It's terrifying. It is so vulnerable.' With no catchy songs to keep the audience's energy in line, it comes down to the script and the players on stage, helping each other along the way. In All Nighter, those characters are Tessa, played by Scott, the 'rich b*tch' of the group; Lizzy, played by Liu, the very anxious theatre kid; Darcie, played by Frøseth, the seemingly well-adjusted and 'productive' lover-girl; Jacqueline, played by Gallagher, the queer and co-dependent friend forcefully holding them all together; and Wilma, played by Lester, the 'queen of Johnson' and an absolute stick of dynamite. Liu, who the whole cast says has an affinity for analogies, compares doing this show to being on a big league football team. Everyone is working together to score a touchdown, something they've collectively never done before — so when they reach their goal, they cheer as loudly as possible. That teamwork is why this group of young actresses feel so welcoming on and off stage. They finish each other's sentences, encourage one another to share their perspectives, and laugh constantly during our interview, in the same natural way their characters do on stage. Their closeness is a byproduct of the necessary constant reassurance of one other as live actors; while there are a lot of 'warm-ups and coffee' to get you zoned in to repeatedly put on a no-stops play, Lester admits that, ultimately, you have to 'lock the f*ck in.' 'I think we're all prepared to [lock in] because there's a vulnerability within yourself every time you step out on stage,' she says. 'You are in charge of what you're doing. But really, and especially in this show, but in theater in general, it's about taking care of the people around you. And if you're not present for others, you're not going to be present for yourself. We look each other in the eyes before every show, we tap in, we say, 'I got your back.' We have a little moment where we just look at each other and we're like, 'See you out there.'' All Nighter taps into every possible corner of what it means to be a young woman in her early twenties, exploring narratives of sexual assault, friendship betrayal, fear of the unknown, and sexual identity. Scott and Gallagher's characters are both figuring out what it means to be queer in 2014, and Rose's character is navigating the nuanced emotions attached to sexual assault and how it can shape a survivor. For the Bottoms actress, playing Lizzy is an honor she doesn't take lightly. 'It feels like a very soft exchange of the truth with my performance and the audience in a way that I've never experienced before around any kind of acting I've ever done,' Liu says. 'When I enter into those sections of the play, I feel like I am really sitting with everyone in the audience around that experience and my own, and it feels like a little part of me, every night, is a little bit healed by that.' While the play touches on very intimate, sticky, and intense topics, it's also filled with laughter. One moment, the show will have you crying alongside Lizzy as she unpacks her trauma and belly-laughing at Wilma's unabashed personality the next. That visceral pain and comedic relief are beautifully tethered together, and is exactly how Scott would describe 'what it's like to be a woman,' especially one on the brink of that world-rocking post-college transition. 'I would love to be as sure of anything as I was at 22,' Gallagher says. 'It's fun getting to revisit that time of life where… you're not worrying about the consequences because you don't know that life has that many yet. You don't know that there are friends that won't be there anymore. You haven't really left the nest. You haven't entered the real world. It's a powerful time to be a young woman because you haven't known the extent to which people will treat you like you don't know what the f*ck you're talking about.' Gallagher, Lester, Scott, and Liu all say that they immediately wanted to join the project after reading the script. With Broadway's current surge of young stars and young attendees, the cast of All Nighter hopes their show reminds Gen Z that the third spaces they're so desperately looking for rely on real-world connections. Recently, at the stage door, Lester met a few fans who said All Nighter was their first play. Some even made friends with other strangers attending the previews and came back to see it once more as a newly formed group. That commitment to the arts, and each other, is something these women can only hope will continue to bloom among audiences. 'I hope that we can in some way remind this generation that being connected comes from being in person with people," Liu says. 'I worry about our generation. I worry about the generations below me as well. I have younger brothers and I think they're so smart, they're so [digitally] savvy… But I also hope that they can find that magic of true connection because I think that loneliness is an epidemic in our culture… that's partially due to digital media as well." 'I do hope that [our play] allows young people to find a little bit more synergy with each other,' Liu continues as Scott begins to tear up, "And invest more into those group dynamics of going to the theater, going to a cinema, more [of that] in-person activity COVID robbed us of.' 'The reason people go to see Chappell Roan and buy Taylor Swift tickets is because they crave community and they crave experiences that they can share," Scott adds. "It's a gift to be able to be in the Newman Mills Theater for 95 minutes every night and offer that and welcome them into this space and to say, 'Hi, we want to host you, we care about your opinions, and we value you.' Me as a person, me as a producer, me as everything, that is what I want to do in the world.' All Nighter is a crash course into the complex college-educated female mind, filled with laughter, tears, and a heavy load of responsibility — for themselves and for each other. Over the next ten weeks, these actresses will create a unique bond with one another and their audiences… and will desperately struggle to avoid eating all of their all-nighter snack props or touching the 'apology wine,' a small but mighty instrument in the dissolution of Tessa, Jacqueline, Darcie, Lizzy, and Wilma's friendship. 'That last show I'm going to eat those donuts," Gallagher says. 'The last day, we are drinking the apology wine.' And they all nod in agreement, in sisterhood. Originally Appeared on Teen Vogue Want more great Culture stories from Teen Vogue? Check these out: Underneath Chappell Roan's Hannah Montana Wig? A Pop Star for the Ages Is Your New Favorite Song Real or AI? Bridgerton Showrunner Clarifies Benedict's Sexuality & Talks Francesca's Queer Plot Twist The Borders of Country Music Are Finally Crumbling
