Latest news with #MissJulie
Sunday World
2 days ago
- Entertainment
- Sunday World
Jessica Chastain risks the ire of Donald Trump by filming new movie in Ireland
President Trump earlier this year announced a 100% tariff on movies produced outside the US HOLLYWOOD star Jessica Chastain is set to irk Donald Trump by filming her new movie outside the US in Ireland. The Oscar-nominated actress is not only appearing in a film set in America but the cars used in her upcoming horror flick Grandma's House also have American number plates. Our picture shows the 48-year-old Californian on location on her Irish shoot in Dunboyne Co Meath, sporting dyed dark brown hair rather than her natural redhead. She's seen cradling a teenage actress playing the role of Bela in the flick, surrounded by dozens of coloured balls. The star has been filming here for a couple of weeks, primarily around Dublin, especially indoors at Violet Hill in Killiney, and is due to wrap up on June 9. Jessica Chamberlain filming in Ireland News in 90 Seconds - May 31st The Rob Savage directed film also features Jay Duplass and is based on a script Nathan Elston adapted from Josh Malerman's eponymous novel 'Incidents Around the House.' The tale follows eight-year-old Bela, who loves her family, including mum and dad and Grandma Ruth, with all her heart. However, there is also 'Other Mommy', an otherworldly entity who always asks Bela if she can go inside her heart, with horrifying events starting to occur within the house. President Trump earlier this year announced a 100% tariff on movies produced outside the US, saying the American movie industry was dying a "very fast death" due to the incentives that other countries were offering to lure filmmakers. "This is a concerted effort by other nations and, therefore, a National Security threat. It is, in addition to everything else, messaging and propaganda," Trump said on Truth Social. He added: "WE WANT MOVIES MADE IN AMERICA, AGAIN!" Chastain has starred in numerous hit films, including Zero Dark Thirsty, The Help and The Martian. She won an Oscar in 2022 for Best Actress in the Eyes of Tammy Faye, a true story about the controversial American's televangelism career. The vegan is married to Gian Luca Passi de Preposulo, an Italian count of the Passi de Preposulo noble family, who is an executive for the fashion brand Moncler. The couple have a young son and daughter and live in New York. The actress has worked in Ireland on multiple occasions, including filming the movie Memory and the film Miss Julie. She previously spoke of her love for Guinness and her habit of stocking up on a specific snack when traveling, while in Ireland. Partly of Irish descent, Chastain heard that she would find many more redheads in Ireland but was disappointed when she finally made the trip. "When I went there first, I was expecting to see like, a sea of redheads, and there weren't half as many as I'd hoped," she recalled. While filming Miss Julie in Co Fermanagh she was also taken aback by the weather. 'I love the people there,' she exclaimed. 'And I bought so much incredible crystal. But the weather? In winter? Holy smokes, it's cold.'
New York Times
19-05-2025
- Entertainment
- New York Times
‘Creditors' Review: Who Pays the Price for a Bankrupt Marriage?
If a man hates women but also everyone else, is he still a misogynist? I ask for an acquaintance: August Strindberg, the Swedish playwright whose three tempestuous marriages were not enough to exhaust his fury at wives, muses, temptresses and others. Also, it would seem, at himself. His excess of rage found its way into plays — 'Miss Julie' (1888) and 'The Dance of Death' (1900) are today the most famous — that feature male characters only slightly less awful than the women in their lives. That ought to be unbearable, and not just as an affront to feminism; his pox-on-both-your-genders cussedness can sometimes feel self-canceling as drama. Still, Strindberg sticks to the canon of European classics like a tick: ugly, bloodthirsty, alive. The contradiction is at its most vexing in 'Creditors,' a follow-up to 'Miss Julie' that flips the earlier play's love-triangle geometry so that one woman and two men stand at its vertexes instead of one man and two women. Believe me, two men are worse: The lone woman, in this case a writer named Tekla, is literally outmanned. When Adolph, her second husband — having fallen under the influence of Gustav, his new friend — prosecutes Tekla for the theft of his happiness, Strindberg barely allows a defense. That 'Creditors' is nevertheless wretchedly compelling has previously been sufficient to keep it onstage. Perhaps in a post-#MeToo age no longer. At any rate, the production that opened Sunday at the Minetta Lane Theater — starring Liev Schreiber as Gustav, Maggie Siff as Tekla and Justice Smith as Adolph, now called Adi — sets out to shift the play's balance of power and mostly succeeds. In Jen Silverman's thoroughgoing adaptation, Tekla is given full voice, and the men are finally held to account. The new version, set in a vague present, opens like the original in the parlor of an out-of-season seaside hotel. There, Adi, a young painter, and Gustav, a teacher of 'dead languages,' are discovered in the depths of a whiskey-enhanced discussion of women and art. At first idly, then with what appears to be solicitude, and finally with the glee of a cat cornering a mouse before killing it, Gustav pokes into Adi's professional failures, connecting them to Tekla's galling success. Having dumped her first husband after humiliating him in a popular roman à clef, what's to stop her from doing the same to her second? The author of dramedies that foreground women — among them 'The Roommate,' 'The Moors' and 'Collective Rage: A Play in 5 Betties' — Silverman is not about to let that wife-as-witch framing stand. Still, Strindberg's three-part structure, with its bear-trap teeth, is too ingenious to mess with. In the second part, Adi, empowered or perhaps just empoisoned by Gustav, confronts Tekla with his newfound and possibly bogus insights into what he had thought was a happy marriage. Because Smith is so sincere and appealing, his vulnerability reading as openness instead of petulance, we are at first willing to allow his line of thought. But this is where the adaptation begins a slow turn. As written, and as played quite winningly by Siff, Silverman's Tekla is neither a kitten nor a harridan. She is confident and positive and, quite obviously, in love with her husband, at least as she has known him until now. Still, alert to his newfound possessiveness and jealousy, which eventually expresses itself in an act of violence, she draws a line in the sand of their marriage. The act of violence, so viscerally damning, is not in the Strindberg. But the fragility of traditional marriage certainly is, and Silverman underlines it. Every feeling and its opposite are readily available to either partner, so that even a slight disruption of their equilibrium can result in wild swings toward loathing. Adi sputters; Tekla snarls. What he once loved in her, and vice versa, quickly becomes what neither can abide. Still, in this version, Tekla remains the more sensible spouse, far abler in dealing with disputes. Her strength is further tested when she is forced, in the third part, into a final face-off with Gustav, the expert underminer. In the Strindberg, Gustav is coolly victorious; he destroys Tekla emotionally and her husband physically. That's almost the reverse of what happens now, both in plot and tone. Not cool at all, Schreiber's fascinatingly peculiar Gustav is incandescent with wrath, but also deeply depressed. How Silverman uses this to argue for the antithesis of Strindbergian revenge makes for a weird if wonderfully surprising kicker. Some will complain that this 'Creditors' is therefore not Strindberg at all, that Silverman's alterations run directly counter to his intentions. Both statements are true, but I'm not sure why they have to be criticisms. Yes, something of the brisk inevitability of the original is lost in the revision's strengthening of Tekla and softening of the others, and yes, the dialogue leans occasionally into feminist sloganeering. There is even a nod toward a form of marriage that the original, even if it imagined it, could not have dramatized. But the play is, as Silverman pointedly puts it on the title page of the script, 'after Strindberg' — more than 135 years after. If it detracts from 'Creditors' or its bleak realism about men and women, no harm done; the original still exists. And if it instead enhances 'Creditors' for contemporary audiences and refutes a false idea about men and women, it may do some good. Certainly Ian Rickson's direction does. His 'Creditors' staging is as trenchant, smooth and unburdened by overproduction as is his concurrent staging of 'Sexual Misconduct of the Middle Classes' with Hugh Jackman and Ella Beatty. (The two shows alternate at the Minetta Lane through June 18.) The same design team — sets by Brett J. Banakis and Christine Jones, costumes by Ásta Bennie Hostetter, lighting by Isabella Byrd, sound by Mikaal Sulaiman — achieves a similar less-is-more effect, supporting the story without becoming the story. The understated visuals do for the eyes what the sonic hush (there are no microphones) does for the ears, forcing the audience to concentrate on the words and to find the spectacle within them. The specific merits of 'Creditors,' numerous though they are, are similarly in service to something larger. Like 'Sexual Misconduct,' it is part of an experiment called Audible x Together, which aims to reinvigorate the Off Broadway ideal of engaging theater with excellent actors for diverse audiences at reasonable prices. Though half of the 400 seats for any single performance are sold at market rates — and it must be said that the market is not, in fact, very reasonable — a quarter are given free to community groups through the Theater Development Fund and a quarter cost $35 if you can find them. Quibble with the model; pick at the play. But in imagining a way forward instead of whimpering in despair, Audible x Together is doing something akin to what Silverman does with 'Creditors.' You might say they both look for the value in the past but don't get stuck in it. They play it forward.
CBS News
18-04-2025
- Entertainment
- CBS News
Egg drops, vintage goods, and spring flowers
It's Easter weekend, and there is plenty of fun to be had on this holiday weekend, so let's give you a hand in planning a fun one! Keystone Safari Easter Egg Drop You can head to Keystone Safari in Grove City for the annual egg drop. There, more than 3,000 eggs will be dropped from the sky on both Friday and Saturday. After the drop, kids can hunt for the eggs after they're on the ground. It's happening at 11 a.m. and 2 p.m. both days, and best of all, it's free! Get more information at this link . Vintage Makers Market Head to Bakery Square on Saturday for a throwback - a vintage makers' market. If you're looking for a last-minute Easter present, you can shop for handcrafted goods as well as timeless treasures from tons of local artists and vintage vendors. It's happening from noon until 6 p.m., and it's free to attend. Check out the details on the Bakery Square website . Phipps Conservatory Spring Flower Show This weekend is your last chance to check out the Phipps Conservatory's Spring Flower Show. Tens of thousands of blooms, in every color, and displays celebrating the season are there for the viewing. Ticket information can be found on their website right here , and Sunday will be the last day. "Miss Julie" at Pittsburgh International Classic Theater Pittsburgh International Classic Theater's new play "Miss Julie" opens this weekend. It's a new take on the classic play, which is set on a hot night in 1940s Hong Kong, and the conflict between a wealthy woman and her servant. It's playing at the Carnegie Stage through May 4, and you can purchase tickets as well as see their other shows at this link .
Chicago Tribune
04-03-2025
- Entertainment
- Chicago Tribune
Court Theatre's 2025-26 season: ‘Miss Julie,' an inside-out ‘Shrew' and a world-premiere musical
Court Theatre in Hyde Park has announced its next season, including a Shakespeare play, August Strindberg's 'Miss Julie,' more direction by Ron OJ Parson and a world premiere musical. The theater's 2025-26 subscription season, its 71st, features four titles in all and will be led by executive director Angel Ysaguirre and artistic producer Gabrielle Randle-Bent, who has been serving as interim artistic director since the departure of Charles Newell last summer and is the director of the theater's current hit production of 'A Raisin in the Sun.' In Tuesday's announcement, Ysaguirre said the Equity theater on the campus of the University of Chicago would be deepening its collaboration with the university as well as 'reaffirming our commitment to reimagining classics.' 'Big White Fog' (Sept. 12 to Oct. 12): The season opens with a play directed by Parson, who directed 'East Texas Hot Links' as this current season's opener. Theodore Ward's 1938 play is set on Chicago's South Side on the cusp of the Great Depression, telling the story of the Mason family at a time of racial and economic upheaval. 'The Taming of the Shrew' (Nov. 14 to Dec. 14): Marti Lyons of Remy Bumppo Theatre Company comes to Court to direct a feminine-focused production of what some consider Shakespeare's most problematic comedy. 'This is not your standard 'Shrew,'' promises the theater's announcement. 'Miss Julie' (Feb. 6 to March 8, 2026): Randle-Bent will direct Strindberg's naturalistic classic about a Swedish aristocrat and a servant, 'a confrontation of class, gender and desire at the turn of the 20th century.' 'Out Here' (April 10 to May 10, 2026): A world-premiere musical made in collaboration with the University of Chicago, with music and lyrics by Erin McKeown, book and lyrics by Leslie Buxbaum, and concept by Buxbaum, David J. Levin and McKeown. It tells the story of Dawn, caught between a stable life with a husband and family and her desire for a former girlfriend. The director is not yet announced. Originally Published: March 4, 2025 at 2:08 PM CST
