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Time Out
6 days ago
- Entertainment
- Time Out
Orville Peck drops the mask in Cabaret
As the orchestra plays the opening vamps of 'Wilkommen,' Orville Peck ascends to the stage from below, as though rising from some underworld to spread malice. In his regular life as a country-music singer-songwriter with fans around the world, Peck cultivates an air of mystery; he is never seen in public without some kind of elaborate mask. But as the creepy Emcee in Broadway 's Cabaret at the Kit Kat Club, he bares his soul—and his full face—every night. Peck has always had a hankering for the stage. He grew up in South Africa, where he performed in musicals before pursuing acting professionally in Canada and the U.K., including a stint in the West End. That chapter came to an end when he adopted his current persona and released his 2019 debut album, Pony, which earned him a Grammy nomination for Best New Artist. But his Broadway debut in Cabaret represents a return to a longtime dream. 'I'm trying to take every moment in and savor it,' he says. Peck is the third person to play the Emcee in the current revival of the classic 1966 musical, after Eddie Redmayne and Adam Lambert. It's a highly demanding role. The story takes place in 1930s Berlin, where the second-rate singer Sally Bowles (Eva Noblezada) chases fame at the seedy Kit Kat Club as the Nazis rise to power. The Emcee presides over the nightclub scenes and weaves through the rest of the show like a snake; his gradual transformation from naughty ringmaster to conformist taskmaster mirrors Germany's harrowing descent into fascism. But at curtain call, Peck is back to being himself—which for him means back in his mask. In honor of Pride, we chatted with the openly gay singer about his life in Cabaret so far. How did the role of the Emcee come to you? They asked if I would be interested. Like anyone else, I filmed a self-tape of me singing a couple songs from the show. I was on tour at the time, so I filmed my self-tape in the basement of Wrigley Field in Chicago. When I was in New York for my shows, a few months or two later, I went in and did a callback, essentially, for the creative team. And a few months after that, I got the offer. Getting to make my Broadway debut doing my dream role is kind of amazing. What drew you to take on the role of the Emcee in the first place? It was always a dream of mine to do Broadway, but it was more specifically a dream for me to do this role. I was 14 the first time I can remember thinking about it; I saw the film with Joel Grey and Liza [Minnelli]. I've always been drawn to musicals that have a thought-provoking script with a good, meaty story, so Cabaret really appealed to me with that. And then seeing Alan Cumming in the revival—seeing how differently it could be portrayed, but also the freedom it allows an actor. I'm having the time of my life. But it's a lot of hard work. Why? It's a very grueling schedule, eight shows a week, especially for a role like this where I'm on stage most of the time. And when I'm not on stage, I'm changing into something different. It's a pretty crazy marathon of a track. The way that I interpret the character and the energy that I give to it—it's a lot, physically, and of course the subject matter of the show is a lot emotionally. By the end of the show, all of us are pretty exhausted. What themes from the show really speak to you? The most obvious is how fragile freedom can be. It feels very reflective of the current political climate in 2025, where groups of people's rights are being challenged and taken away in front of us. This show is a period piece about a specific place at a specific time, but the themes resonate a lot today. You often sit on stage during the show, which is staged in the round, so you can see the spectators. What have you noticed about how the audience reacts? It's a vast array of reactions every night. Our shows, for better or worse, are known for involuntary outbursts from people. We get people sobbing in the show, but we also get people laughing uncomfortably in moments that they don't know how to respond to otherwise, like when a swastika is revealed. I don't think it's because they think the swastika is funny, or that nazism is something to laugh at—I think it takes people off-guard, and they have uncomfortable reactions that they can't control. But that is the point of this show. The show is meant to make people uncomfortable. It leaves people thinking. How do you walk the line between menacing and jovial every night? I don't know how to play sinister or menacing. I have to play it as somebody who has a belief system that is really different to mine, but they believe that it is just as important and moral. The Emcee makes menacing, sinister, hateful—and some might even say evil—decisions and choices. But I have to play those as if they're the most virtuous thing that I can do as a person. If you approach it with that mindset, it crafts a real, three-dimensional person. Does being part of the LGBTQ+ community shape your performance? Being part of a group that's often been marginalized—that has been on the receiving end of bigotry, homophobia or aggression—helps me understand how delicate this material is, and how I have to approach it with a lot of thought. I can't be vague about intentions and choices. I've spent a lot of time, especially in the rehearsal process, thinking about what makes somebody align themselves with something so hateful. There's a lot to unpack there with people who are marginalized. My Emcee is someone who is very repressed, and who has a lot of shame and anger at the world. Going to that place every night makes me feel lucky to be the opposite in my personal life. I feel very happy and proud of who I am, and grateful that I get to be myself and live authentically, and not have that kind of anger. How might this Pride be different in your eyes thanks to having this experience on Broadway? Pride always meant a lot to me, but now more than ever. We have an incredibly diverse cast in every single sense of the word. Everybody is just such a unique, beautiful person—and by the end of the show, we see all of that individuality stripped away. So this Pride, I definitely have a more conscious sense of celebrating everyone's individuality and everyone's unique spirit. It's such a beautiful part of being queer. You have the permission to be whoever you are, and that's due to the community that has been built over the last few decades. This is a community and we did have to work to build it. And that requires maintenance and encouragement of each other. On your Instagram feed, you posted a screenshot of a notification that Audra McDonald had followed you. Why was that important to you? Audra McDonald's a legend. My 14-year-old self would have fucking died if he knew that Audra McDonald even knew who I was. So it was a cute little nod to that. What are your plans going forward? Would you do more Broadway? Absolutely. It's not going to be a full-time priority; I'm very much a country music artist. But I've opened the door again into something that I really love doing. It's definitely not the last time. What's your next dream role? I went to see Hadestown. It was never on my radar, because it's a newer show, but Eva Noblezada is in Cabaret with us and she originated the role of Eurydice in role of Hades is sort of Orville Peck–coded. He's wearing some pretty cool cowboy boots and singing in a low register. So maybe in 10 or 15 years I could do a stint as Hades. In the first revival of Hadestown? Exactly.
Yahoo
08-05-2025
- Politics
- Yahoo
Melania has ‘spent less than 14 days' at the White House since Trump's inauguration
Sources say First Lady Melania Trump has spent fewer than two weeks at the White House since her husband's inauguration in January. While Melania is expected to make a rare return to Washington, D.C., on Thursday to unveil a postage stamp honoring former First Lady Barbara Bush and attend a ceremony for military mothers, she has been noticeably absent from the limelight during her husband's second term. The first lady has made a handful of appearances in recent months beside her husband, including attending Pope Francis's funeral the day before her 55th birthday and the annual White House Easter Egg Roll on the South Lawn. Two sources told The New York Times that since Donald Trump returned to office on January 20, the former model is estimated to have spent less than 14 days at the White House. That estimate might be 'generous,' the report added, citing other sources. Paolo Zampolli, the former modeling agent who first spotted Melania in Milan in 1995 and introduced her to Trump at New York's Kit Kat Club in 1998, said that claims about the first lady's absence from the White House were misleading. 'She loves the White House,' said Zampolli, the incumbent U.S. special representative for global partnerships. 'And she loves the role of serving as our first lady.' Unlike her predecessors, Melania is not believed to live at the White House full-time. Instead, she is reported to have slipped out of the spotlight and made Trump Tower in New York, where her son Barron goes to university, her primary residence. Regulars at Mar-a-Lago, where the president spends many weekends, say they don't often see Melania around the resort, according to The Times. Ahead of President Trump's return to the Oval Office in January, Melania outlined her future plans during an interview on Fox & Friends. 'I will be in the White House,' she began. 'And, you know, when I need to be in New York, I will be in New York. When I need to be in Palm Beach, I will be in Palm Beach.' Her priority, she said, was 'to be a mom, to be a first lady, to be a wife.' At the 2016 and 2020 GOP conventions, Melania gave prime-time speeches in support of her husband's nomination. Her brief appearance at last year's Republican National Convention marked one in a handful of times she has stood by her husband's side during the campaign trail. She was absent during the president's numerous court appearances – including Trump's five-week-long criminal hush money trial – until she re-emerged in several Fox News interviews while also posting a spate of cryptic social media posts to promote her self-titled memoir, Melania.
Time Out
05-05-2025
- Entertainment
- Time Out
Adam Lambert to star opposite Cynthia Erivo in 'Jesus Christ Superstar' at the Hollywood Bowl this summer
Powerhouse singer and former American Idol star Adam Lambert recently made his Broadway debut as the Emcee in the Tony Award-winning Cabaret at the Kit Kat Club in New York last year and, now, the 43-year-old star is set to dust off his stage chops again as Judas in Jesus Christ Superstar at our very own Hollywood Bowl on August 1 to 3. What's more, Lambert will star opposite fellow vocal powerhouse Cynthia Erivo, who will take on the role of Judas. Show tickets will be available online starting to at 10am tomorrow right here. The production is something of a homecoming: the show—featuring lyrics by Tim Rice and music by Andrew Lloyd Webber—was originally performed at the Hollywood Bowl in 1971. The current revival is directed and choreographed by Sergio Trujillo, with Stephen Oremus serving as conductor and musical director. Originally performed at the Hollywood Bowl in 1971, this production is a bit of a homecoming. Lyrics are by Tim Rice and music is by Andrew Lloyd Webber. The current production is directed and choreographed by Sergio Trujillo, a Tony Award winner. Stephen Oremus, a Tony and Grammy winner, is responsible for conducting and musically directing the production. "For many Angelenos and concertgoers, the Hollywood Bowl is the premier summer destination for live music," LA Phil President and CEO Kim Noltemy said in an official statement. "Each season, the LA Phil presents world-class artists in a truly one-of-a-kind setting, and this year is no exception. We're especially thrilled to welcome Adam Lambert to the cast of Jesus Christ Superstar and look forward to sharing this bold, fresh interpretation of a legendary musical, returning to its rock roots, with our audiences."
Express Tribune
05-05-2025
- Entertainment
- Express Tribune
Adam Lambert joins Jesus Christ Superstar as Judas at Hollywood Bowl
Adam Lambert is set to star as Judas in a three-night production of Jesus Christ Superstar at the Hollywood Bowl this summer, the Los Angeles Philharmonic announced. He joins previously announced cast member Cynthia Erivo, who will play Jesus in a gender-blind casting. The role of Mary Magdalene has yet to be revealed. This limited-run staging continues the Bowl's tradition of mounting fully produced musicals with high-profile leads. The production will be directed and choreographed by Tony Award winner Sergio Trujillo, with music direction and conducting by Tony and Grammy winner Stephen Oremus. The show is being produced in association with Neil Meron and Robert Greenblatt. Lambert's return to Los Angeles comes shortly after a critically acclaimed six-month stint as the Emcee in Cabaret at the Kit Kat Club on Broadway. His casting as Judas—often viewed as the emotional and vocal centerpiece of Superstar—is expected to generate significant interest. The 2025 staging also promises to 'return to its rock roots,' referencing the musical's original incarnation as a 1970 concept album before its 1971 Broadway debut and 1973 film adaptation. Unlike concert-style revivals, this will be a fully staged production. Single tickets for the LA Phil's 2025 season, including Jesus Christ Superstar, go on sale Tuesday at 10 a.m. PT. Given the star power of Lambert and Erivo, this brief run is expected to be one of the fastest sellouts of the season.
Chicago Tribune
28-04-2025
- Entertainment
- Chicago Tribune
Review: Epic ‘Berlin' at Court Theatre pictures the end of a cultural paradise
Anyone who has seen the musical 'Cabaret' knows of the free liberality of pre-war Berlin, a nirvana equal parts sexual, artistic and intellectual. The kind of place that would attract a Sally Bowles, looking to sing and to live, or a Christopher Isherwood, seeking characters about whom to write. But Isherwood's novel 'Goodbye to Berlin' was written as the Nazis were already taking up space at the Kit Kat Club and alarms bells were ringing. The new show at Court Theatre, a world premiere simply titled 'Berlin,' ranges further back into the heart of the Weimar Republic, and centers not just the denizens of a nightclub but a whole variety of characters, all inhabiting what at the time was perhaps the most exciting city in the world. As adapted by the Chicago writer Mickle Maher and directed by former Court Theatre artistic director Charles Newell, 'Berlin' is the rare theater piece based on a graphic novel (there have been a few others, including the musical 'Fun Home'). The source here is a widely admired and epic work by the American artist Jason Lutes that tells the story of Berlin from 1928 to 1933, through a variety of characters who occupy its streets and bedrooms. Those include Marthe Müller (Raven Whitley), a young woman who is mourning a dead brother and has set out on a voyage of Berlin self-discovery. Martha becomes entangled with Kurt Severing (Tim Decker), a journalist growing ever more cynical with age, and also with Anna Lenke (Mo Shipley), an artist-sensualist caught between personal desire and political awakening. Then there's Kid Hogan (Terry Bell), a curious Black guy compelled and concerned by the music of the city, and Otto and Silvia Braun (Christopher Meister at my performance and Ellie Duffey), an impoverished little family (the Weimar Republic did not eradicate poverty) who stare critically at the cavorting of the liberal German elite as they find their souls and lives progressively destroyed by fascism. Oh, and in the end there is Hitler, rising, as essayed by Elizabeth Laidlaw. Lutes began work on the 'Berlin' project as far back as 1996, and it ended up with 22 chapters released across several years, all richly detailed and carefully researched. If you're into graphic novels, you'll know 'Berlin,' very much seen as a high point of the genre and a kaleidoscopic exploration of the fall of a free and liberal city. For many people at Court this weekend, judging by the murmurs of recognition, Berlin surely revealed itself as a cautionary tale for the moment as much as a temporal and geographical portrait of a very specific set of circumstances. Certainly, Mahler's shrewd adaptation encourages that perception, although Newell's typically humanist production also mostly replicates the empathy with which Lutes drew all his characters. Bar one. Does 'Berlin' work as a theater piece? Let's first stipulate that this is a major new work from Court of a size and scope that has been all too rare in post-pandemic Chicago theater; it's especially good to see Newell, a highly skilled Chicago director, return to his old stomping grounds with a homegrown premiere. If you follow significant theatrical events here, you'll want to see this piece. As is his wont, Newell goes with a minimalist and highly styled approach, using a mostly empty stage and tables with microphones whereat the characters can introduce themselves. There are no actual images of the city, which is an understandable choice, given the visually rich source. 'Berlin' is something of a slow burn, perhaps inevitably so for a work with this many characters and at times it runs afeared from the intense sensuality found in Lutes' work, especially his clear-eyed exploration of how people seem more compelled to make love and art when their world is falling apart. I miss the lack of caution found in Newell's early work, now more tempered. Ergo, there were times when you watch one or another character rushing around the stage in a cool way and wish the show would slow to get deeper inside their heads and hearts. Not everybody is as intricately connected as the lines they are speaking imply. Better with time, I suspect. But that said, this is still an immersive and very worthwhile work of theater and you'll be in the hands of a deftly cast ensemble of performers. Whitley, whose young artist emerges as the central figure here, is a talented, and very live performer who reminds me of a youthful Carrie Coon, to tell the truth. She gives the show its core vulnerability, although Duffey, who plays a character with much less confidence, is also moving. As you might imagine, being Jewish ends up becoming an issue for the Berliners in this portrait and Jack Doherty, who plays a young man navigating that growing stress, also is strikingly empathetic. When it comes to the caustic, Isherwood-like Berliner vibe, Bell fits that bill. And as Hitlers go, Laidlaw has her own especially clever take. Striking prescient lines abound in this piece, including the Sisyphean moment when the journalist wonders aloud why we cannot hold inquests before the events into which they are established to enquire, happen. Would life not then be better? Asking too much, though, of humans condemned to repeat their mistakes, caught as they usually are in the swing of the pendulum of history, knocking over the unwary whenever brutality ascends. Chris Jones is a Tribune critic. cjones5@ Review: 'Berlin' (3.5 stars) When: Through May 18 Where: Court Theatre, 5535 S. Ellis Ave. Running time: 2 hours, 30 minutes Tickets: $60-$110 at 773-753-4472 and
