Latest news with #Playbill
Time of India
3 days ago
- Entertainment
- Time of India
Here's what Shiloh is now called after she drops ‘Pitt'
Shiloh, the 19-year-old daughter of and , made a rare public appearance in Los Angeles on May 29. She attended a dinner event celebrating fashion designer Isabel Marant's new collaboration with Net-A-Porter. Tired of too many ads? go ad free now What caught everyone's attention was her new name, she was referred to as "Shi Joli" in the event materials, sparking fresh interest in her evolving identity. Shiloh was at the event working as the choreographer for singer Luella's live performance of her new song, Naïve. What got a lot of attention was the name used for her in the press — "Shi Joli." This is the latest change in how she wants to be known. Last year, it was confirmed that she legally dropped 'Pitt' from her last name and now goes by Shiloh Jolie. She made this change official on her 18th birthday in May 2024. Shiloh's Siblings Also Changing Their Names Shiloh isn't the only one in her family using a different name. Her 16-year-old sister, Vivienne, who helped their mother produce the Broadway musical The Outsiders, was listed in the Playbill as 'Vivienne Jolie.' It's not clear if Vivienne has legally changed her name yet, but the new name was clearly seen. Zahara Also Using New Name Their older sister, Zahara, 20, introduced herself as 'Zahara Marley Jolie' last November during a ceremony when she joined the Alpha Kappa Alpha sorority at Spelman College. Angelina Jolie (49) and Brad Pitt (61) have six children: Maddox (23), Pax (21), Zahara (20), Shiloh (19), and twins Knox and Vivienne (16). The family has been in the spotlight since Angelina filed for divorce in 2016 and sought full physical custody. Reports have hinted at ongoing tensions between Brad Pitt and the children over the years. Revealed on their marriage and divorce American actor Brad Pitt has been in the news for his long divorce battle with ex-wife Angelina Jolie. Tired of too many ads? go ad free now Recently, he opened up about their marriage and divorce in an interview with GQ. Brad said that finalizing the divorce in 2024 gave him a sense of relief and helped him move forward in his personal life, 'No, I don't think it was that major of a thing. Just something coming to fruition. Legally. It's been in the news for 30 years, bro. Or some version of my personal life, let's put it that way.' Family Brad Pitt and Angelina Jolie met in 2005 while filming Mr. & Mrs. Smith. They got married in 2014 at Château Miraval in France, but their marriage ended after two years. The couple has six children: Maddox, Pax, Zahara, Shiloh, Knox, and Vivienne. Angelina Jolie Reveals Plans to Move from LA, Discusses Desire for 'Privacy'
Yahoo
3 days ago
- Entertainment
- Yahoo
Angelina Jolie and Brad Pitt's Daughter Shiloh Debuts New Name
Originally appeared on E! Online would like to reintroduce herself. Angelina Jolie and Brad Pitt's daughter debuted her new nickname 'Shi' at Isabel Marant's collection launch in Los Angeles May 29. The 19-year-old used the new title as her choreography credit for the dance number Keoni Rose and Tako Suzuki performed during the event, alongside singer-songwriter Luella's new song 'Naïve,' Variety reported. Shi's new moniker comes a year after she made another subtle name change, officially petitioning to drop her dad's surname after her 18th birthday last May. And while Shi may be the latest to try out a new title, she isn't the only one of her siblings to go by a new name professionally. (Angelina and Brad are also parents to Maddox, 23, Zahara, 20, Pax, 21, and 16-year-old twins Knox and Vivienne.)Last May, Vivienne, who worked as a producer's assistant for The Outsiders, was listed as 'Vivienne Jolie' in the Playbill. More from E! Online Celebrity Hairstylist Jesus Guerrero's Cause of Death Revealed Vanessa Bryant Seemingly Addresses Pregnancy Speculation Katie Thurston Shares She's Losing Her Memory Amid Stage 4 Cancer Battle For the 16-year-old, the endeavor was a passion project. "My daughter Viv loves theater," Angelina told Deadline last June. "She appreciates all theater, but she certainly knows what she feels close to and what she responds to." Angelina noted that Vivienne found working on The Outsiders to be a 'very different experience of understanding." 'This is having a significant effect on her as a young person right now,' Angelina explained, 'and she's communicating something to me, and that is the power of this material. And then I had the privilege of watching everyone work over this last year to make it into what it is, and Vivienne has been there the whole way.' Despite her daughters' recent forays into the spotlight, Angelina has said they much prefer their privacy. 'None of my children want to be in front of the camera at this time,' she told Good Morning America in November. 'They're quite private.' And the Maleficent actress emphasized that Shi, specifically, was 'extremely' private among her siblings. 'They weren't born with privacy, right?' Angelina posited. 'I hope they can have that as they grow.' Keep reading for a look at the family's rare outings together… Eternally AdorableWorld War Z For the latest breaking news updates, click here to download the E! News App
Yahoo
5 days ago
- Entertainment
- Yahoo
Over 500 Broadway artists unite to call out Patti LuPone's 'racialized disrespect' toward Audra McDonald, Kecia Lewis
Patti LuPone was previously criticized for interview comments about Audra McDonald and Kecia Lewis. Playbill published an open letter signed by over 500 Broadway artists calling out LuPone. The letter called LuPone's remarks "inappropriate and unacceptable" and "racialized disrespect."More than 500 Broadway artists are calling for "accountability, justice, and respect" after theater legend Patti LuPone received widespread pushback over recent comments she made about fellow stage icons Audra McDonald and Kecia Lewis in a recent New Yorker profile. Theater publication Playbill reported on Friday news of the letter's circulation in the community. The document is addressed to the American Theatre Wing and the Broadway League, with signatories including Tony winners Maleah Joi Moon (Hell's Kitchen), James Monroe Iglehart (Aladdin), and Wendell Pierce (Radio Golf). The letter mentions LuPone's recent comments, which saw the 76-year-old refer to Lewis as a "bitch" when questioning her status as an industry veteran, and also shade McDonald by calling her "not a friend" despite the pair previously working together. "Recently, Patti LuPone made deeply inappropriate and unacceptable public comments about two of Broadway's most respected and beloved artists," the letter reads. "This language is not only degrading and misogynistic — it is a blatant act of racialized disrespect. It constitutes bullying. It constitutes harassment. It is emblematic of the microaggressions and abuse that people in this industry have endured for far too long, too often without consequence." The letter continues, "It is a public affront to the values of collaboration, equity, and mutual respect that our theater community claims to uphold. Let us be clear: this is about more than one person. It is about a culture. A pattern. A persistent failure to hold people accountable for violent, disrespectful, or harmful behavior — especially when they are powerful or well-known. This is not about differing opinions. It is about public actions that demean, intimidate, or perpetuate violence against fellow artists. It is about the normalization of harm in an industry that too often protects prestige over people." It adds that the community can't "continue to welcome back those who harm others simply because of their fame or perceived value," and calls for an end to this kind of behavior. "We will no longer tolerate violence — verbal, emotional, or physical — against artists within our own community," the letter adds. "No more free passes. If our industry is truly committed to equity, justice, and respect, then those values must be applied consistently, even when it's uncomfortable. Especially when it's uncomfortable. No artist, producer, director, or leader—regardless of legacy or celebrity—should be allowed to weaponize their platform to belittle, threaten, or devalue others without consequence. Period." The letter further asks the American Theatre Wing and the Broadway League to take immediate action, including ensuring that people who make disparaging remarks against other artists in the community to be barred from the Tonys, and to ensure that "participation, recognition, and attendance at high-profile events must be contingent on conduct that reflects community values." It ends with a note that the intent behind the letter is "not to punish, but to protect" people like McDonald and Lewis. Entertainment Weekly has reached out to representatives for LuPone, the American Theatre Wing, the Broadway League, Moon, Iglehart, Pierce, and to several individuals listed as signatories on the letter for comment. After LuPone's comments courted controversy, McDonald addressed the incident in an interview Thursday with CBS Mornings' Gayle King. King asked McDonald if she was "surprised" by LuPone's words, with McDonald responding to say that she was unclear on why LuPone said what she did. "I mean, if there's a rift between us, I don't know what it is. That's something you'd have to ask Patti about," McDonald said, adding that she hasn't been around LuPone in more than a decade. "I haven't seen her in about 11 years because I've been busy with life and stuff," McDonald continued. "So, I don't know what rift she's talking about. You'd have to ask her." The New Yorker piece additionally probed into a 2024 incident that saw Lewis post a video publicly calling for LuPone to apologize for alleged "racial microaggressions" after the latter, who was working on a show inside a neighboring theater in Manhattan, reportedly inquired "about changing a couple of our sound cues because you found them to be too loud," according to Lewis. (A representative for LuPone did not immediately respond to EW's request for comment at the time.) When the writer interviewing LuPone noted that McDonald reacted to Lewis' video with "supportive emojis," LuPone replied, 'Exactly."She continued, 'And I thought, You should know better. That's typical of Audra. She's not a friend.' LuPone additionally drew criticism for her comments about Lewis, saying 'Oh, my God" in response to a question about the 2024 incident, as part of the profile. 'Here's the problem. She calls herself a veteran? Let's find out how many Broadway shows Kecia Lewis has done, because she doesn't know what the f--- she's talking about.' (A representative for Lewis did not respond to EW's request for comment.) Watch McDonald react to LuPone's comments about her in the clip above. Read the original article on Entertainment Weekly
Chicago Tribune
29-05-2025
- Entertainment
- Chicago Tribune
Vintage Chicago Tribune: Roxie Hart's evolution — from Beulah Annan to Broadway and the big screen
'Chicago The Musical' debuted on Broadway 50 years ago. Directed by Chicago native Bob Fosse and starring Gwen Verdon, Chita Rivera and Jerry Orbach, the tale of an unfaithful wife who murders her lover then works the judicial system to secure her freedom was set against the backdrop of Prohibition and the Jazz Age. Though critics — including the Tribune's Don Kirk — largely panned the production, its story has staying power. A 1996 revival has more than 11,000 performances on The White Way, according to Playbill. That makes 'Chicago' the second-longest running show on Broadway after 'The Phantom of the Opera' (13,981 performances) and the longest active show. Vintage Chicago Tribune: Murder, mayhem and 'all that jazz' — the real women who inspired Oscar winner 'Chicago'The musical's story was based on actual events that happened in — you guessed it — Chicago in the early 1920s. Its plot, written by short-time Tribune reporter Maurine Dallas Watkins, was ripped from the headlines, many of her own for the paper. And Roxie Hart, the name of its lead character, was probably inspired by a 'dashing beauty' of the same name from Centralia, Illinois. Hart appeared before a packed courtroom in Watkins' hometown of Crawfordsville, Indiana, to testify during a 1914 murder trial. Here's a look back at the woman who inspired 'Chicago' and those who have portrayed the scandalous seductress on stage and screen. To learn more about how 'Chicago' went from Murderess Row to Broadway and then on to movies, order: 'He Had It Coming: Four Murderous Women and the Reporter Who Immortalized Their Stories.' The life of Beulah Annan has been the basis for every portrayal of Hart. Already twice wed and a mother by the age of 24, Annan was satisfied by neither. Through her job at a Chicago laundry, Annan met Harry Kalstedt. Walks together quickly progressed to day-drinking in her apartment while her mechanic husband, Albert, was at work. A drunken disagreement on April 3, 1924, led Annan to shoot Kalstedt with her husband's revolver. She sat with the body for hours as her phonograph wailed the jazzy tune 'Hula Lou' on repeat. Ironically, the first phone call Annan made was to her husband: 'I've shot a man, Albert. He tried to make love to me.' When her husband arrived home, he found Annan covered in blood and called the police. Watkins picked up the investigation of Annan for Kalstedt's murder and it remained front-page news. 'They say she's the prettiest woman ever accused of murder in Chicago — young, slender, with bobbed auburn hair; wide set, appealing blue eyes; tip-tilted nose; translucent skin, faintly very faintly, rouged, an ingenuous smile; refined features, intelligent expression — an 'awfully nice girl' and more than usually pretty,' Watkins wrote. During the inquest, Annan's lawyer W.W. O'Brien claimed, 'Both went for the gun!' Annan said if she didn't shoot Kalstedt, then he would have shot her. After her trial was continued several times, Annan made an announcement — she was pregnant. The claim moved her case to the front of the line. But many wondered — could a beautiful woman expecting a baby get a fair trial? 'The verdict is in your hands and you must decide whether you will permit a woman to commit a crime and let her go because she is good-looking,' prosecutor William McLaughlin told the jury. 'You must decide whether you want to let another pretty woman go out and say, 'I got away with it!'' 'And they did,' Watkins wrote. Less than two hours into deliberations, the all-male jury came to a not-guilty consensus on the third ballot. Husband Albert Annan, who stood by his wife during the trial, was overcome with joy and gratitude. 'I knew my wife would come through all right!' he said proudly. Beulah Annan then thanked each member of the jury individually and posed for a photo with them. Watkins used the trial's twists to write a three-act play, 'A Brave Little Woman,' the first she would write while attending the new Yale School of Drama in 1926. When it debuted on Broadway later that year it was called 'Chicago.' Larrimore was not supposed to be the first actress to portray Hart on stage. She replaced Jeanne Eagels who, according to the Tribune, made rehearsals difficult. That didn't stopped Eagels from sitting in the front row during a performance, where she supposedly 'made faces' at her successor. When the show arrived in Chicago in September 1927, Larrimore was still the lead actress in the production. The Tribune described her as 'vivid and immensely funny.' The story was praised as 'a hearty and favorious romp that makes rich sport of the yellow newspapers. the criminal lawyers, the judges and the juries, and all the bunk and blah that go with the killing of a man by a pretty woman.' Chicago audiences also loved it — the show played for nine weeks. An advertisement for the first screen version of 'Chicago' — produced by Cecil B. DeMille — described the 1928 silent film as 'more melodramatic and much funnier than the stage play.' The Tribune reviewer (who filed under the pseudonym Mae Tinee), however, said 'they have slaughtered Maurine Watkins' play. 'The clever, satiric, diabolically human, uproariously funny play that could so well have been made into just such a picture has had all its fine parts ironed out. It has been fluted and tucked and dyed (including Hart's hair which became blonde for the first time) a la DeMille and the result is just a fussy, ordinary melodrama that is rather funny in spots.' Depite the disdain, Haver's work in the film was praised as 'believable.' Yet again, Watkins' tale was rewritten for the screen — in 1942's 'Roxie Hart,' it was told as a retrospective. 'The public always expects a newspaperman to do a lot of drinking,' reporter Homer Howard (played by George Montgomery) said before toasting to Hart (played by Ginger Rogers) at a tavern (with William Frawley of 'I Love Lucy' fame serving as bartender). He then told the story of the beautiful murderess — who's become a showgirl in this iteration. Though the movie is just 75 minutes long (and available on YouTube), the Tribune reviewer said it 'would have been nice if the director had known just when to end his epic.' Still, Rogers' portrayal of Hart — 'who had yearned for her picture in the paper more than anything else in life' — was called 'deft.' The first musical version of Watkins' play opened on Broadway on June 3, 1975, with Gwen Verdon as Hart and Chita Rivera as Velma Kelly. Verdon, who had to bow out of the production because of illness and was replaced by Liza Minnelli, claimed it had been her idea to adapt the play into a musical. The vaudeville-esque show ran for 936 performances over almost two years. Tribune critic Don Kirk didn't like it. 'Oddly enough, the combined efforts of some of Broadway's brightest talents somehow fail to get it all together. … They call the show, 'Chicago,' but one gets the clear impression they never thought of visiting the place to savor its peculiar ambience and seriously attempt to recapture it in music and words.' The show's lukewarm reception could have also been in part to a blockbuster show which opened the same year — 'A Chorus Line,' which captured many awards. But in short measure, Tribune critic Chris Jones wrote, ''Chicago The Musical' — with a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Ebb — greatly exceeded the fame and influence of the play that was its source. 'Over time it came to be known as the quintessential Fosse musical, the most famous work of the Chicago-born choreographer known for his hyperspecific movement vocabulary of turned-in knees, angled, attitudinal body parts, muscular twitches, sideways shuffling and jazzy, animated hands.' The 'more cynical, darker show,' as Tribune critic Merrill Goozner described it, was given a 'black box setting' with actors and dancers wearing basic — but barely there — black costumes. Slinky dances accompanied fast-paced music from the orchestra, which was seated on a raked bandstand in the background. 'All That Jazz,' 'Razzle Dazzle' and the 'Cell Block Tango' were pumped out with vigor, Tribune critic Richard Christiansen wrote. Column: How Ann Reinking choreographed not just 'Chicago,' but captured the essence of the city itselfReinking, Fosse's muse and confidant, played Hart in the revival. It debuted Nov. 13, 1996, at the Richard Rodgers Theatre in New York. Among the show's numerous Tony Awards, Reinking won one for her choreography. Turns out, the star of 'Bridget Jones's Diary' could sing and dance — perhaps not as naturally as her more experienced co-star Catherine Zeta-Jones (who won an Academy Award for Best Supporting Actress for her portrayal of Velma Kelly) — but better than anyone might have expected. 'This is a honorable, and largely successful, film version of a deliberately dishonorable Broadway show, based in turn on Maurine Dallas Watkins' disreputable and popular 1926 play about a cheap tart who gets away with murder,' Tribune critic Michael Phillips wrote in 2002. Thanks for reading! Subscribe to the free Vintage Chicago Tribune newsletter, join our Chicagoland history Facebook group, stay current with Today in Chicago History and follow us on Instagram for more from Chicago's past.
Yahoo
01-05-2025
- Business
- Yahoo
Mission Unveils Cloud Operate for Intelligent CloudOps
Expert-driven, AI-enhanced operations designed to streamline incident response and reduce downtime LOS ANGELES, May 1, 2025 /PRNewswire/ -- Mission, a CDW company and US-based Amazon Web Services (AWS) Premier Tier Services and ISV Accelerate Partner, today announced the launch of Mission Cloud Operate, a fully managed service designed to maximize uptime, performance, and reliability of AWS environments. Cloud Operate helps teams avoid issues and keeps businesses running smoothly by combining deep observability via New Relic One, AI-powered incident correlation, and around-the-clock alert response. As cloud environments grow more complex, engineering teams are often stretched thin, balancing innovation with day-to-day operational demands. Mission's Cloud Operate addresses this challenge with a service model that blends intelligent tooling with hands-on operational assistance from CloudOps engineers who handle routine environmental tasks and configurations on your behalf. The result: reduced operational overhead and more time for teams to focus on strategic initiatives. "I need coverage 24/7 365, and Mission's cloud operations keep me functional so that I'm not getting calls at 2:00 AM, and my team isn't panicking when something goes wrong right after close of business," said Jon Goldman, CTO at Playbill. "Mission has been such a good partner to us at Playbill. Having an AWS partner as strong as Mission is so important to your business." "Managing cloud environments efficiently requires a blend of advanced tools and expert operational assistance, especially as businesses scale," said Ted Stuart, President and COO at Mission. "With Cloud Operate, we're offering a comprehensive solution that combines best-in-class observability with hands-on AWS expertise to ensure teams can focus on innovation, not just maintenance. And since it's a SaaS product available exclusively through the AWS Marketplace, customers can use Cloud Operate to burn down their Private Pricing Agreement commitments." Cloud Operate customers gain tailored alerting and end-to-end visibility into their AWS environments, enabled by Mission's expert configuration of New Relic One. Dashboards and metrics are aligned to each environment's architecture and business needs, ensuring alerts are actionable and relevant, not just noise. Mission's CloudOps team, which includes Technical Account Managers, CloudOps Architects, and Service Desk Engineers, plays an active role in incident management and response. By combining AI-powered incident correlation with human expertise, Mission helps customers identify root causes quickly and prevent recurring issues. Cloud Operate offers: Holistic monitoring across environments Proactive issue identification Routine AWS operational task execution Expert New Relic integration 24/7 incident response Strategic AWS guidance Cloud Operate is a SaaS product exclusively available through the AWS Marketplace, where eligible customers can also apply purchases toward their AWS Private Pricing Agreements (PPAs). For more information about Mission's Cloud Operate, visit About Mission Mission, a CDW company, is a leading born-in-the-cloud managed services and consulting provider, offering end-to-end cloud services, innovative AI solutions, and software for AWS customers. As an AWS Premier Tier Partner, we help manage technology investments, improve performance and governance, scale to meet demand, safeguard data, and innovate fearlessly. Our team of AWS experts empowers businesses to accelerate the adoption of new technology like generative AI and migrate, manage, and modernize their cloud environments -- ensuring a successful future in the cloud. Mission consistently earns Best Places to Work awards and is recognized across the technology industry for its commitment to closing the cloud skills gap. For more information, visit: Media Contact: Shelby PezoldPANBlast for Missionmission@ View original content to download multimedia: SOURCE Mission Sign in to access your portfolio
