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New York Post
03-06-2025
- Entertainment
- New York Post
'Sunset Blvd.' on Broadway Mandy Gonzales Norma Desmond interview
Vivid Seats is the New York Post's official ticketing partner. We may receive revenue from this partnership for sharing this content and/or when you make a purchase. Featured pricing is subject to change. A desperate young screenwriter stumbles into the mansion of a nearly forgotten actress. Fate unfolds, and the two rustle up a plan to rewrite her script — his chance at catching a break, and hers at reclaiming the spotlight (though, we're not sure if she noticed it was gone). You might think you know how that story ends, but Jamie Lloyd Wright's electric, theatrical revival of 'Sunset Blvd.' at the St. James Theatre stretches the imagination in ways we'd never expect. And, yes, there's still a love triangle — that ends in a pool of blood. If you haven't been yet, 'Sunset Blvd.,' which netted seven Tony nominations, runs Tuesday through Sundays at Broadway's St. James Theatre until July 13. As of now, tickets are available for all remaining performances. At the show we attended, Mandy Gonzales guest starred in Nicole Scherzinger's role as silent-film star Norma Desmond. She led the ensemble alongside Tom Francis who plays down-on-his-luck writer, Joe Gillis. Their performances are a blur between Broadway and film noir; thrilling, dark, foggy, sparingly staged, yet so fleet of foot you'll barely have time to blink. We spoke with Gonzales on manifesting her role in 'Sunset Blvd.,' how she resonated with Norma's fight to endure in a demanding industry, and the art of balancing acting and motherhood. 'As a woman in this industry, once we hit a certain age, (we're told) it's done. I think as women…we just get more and more interesting. I think that's the truth,' Gonzales teased while describing her character. Before unpacking 'Sunset Blvd.' with Gonzales, we had to find out exactly what the Tony-nominated show that's stopping traffic on 47th Street was all about, so we grabbed some seats at her May 20 performance. What we thought of 'Sunset Blvd.' on Broadway A slow burn has its place, but not here. Wright's characters leap into their roles sooner than the lights drop. Hannah Yun Chamberlain (young Norma) opens the show with an ethereal ballet — graceful, haunting, and a bit beguiling — her scenes float like memories in motion. Joe rises from a body bag in a flash of foreshadowing and Norma sweeps in with her first musical number, 'With One Look.' It's 1950s Hollywood. Joe's chasing a break, Norma's in need of a comeback, and the price is yet to be determined. An 18-piece orchestra hums under all of this, but for almost two hours and 35 minutes, it's mostly Gonzales and the rest of the cast who grip the audience, sprawling the stage with spinning, psychological choreography and spoken-sung-style vibrato that divulge Norma's delusions. There are no bad seats in the St. James. Line cameras track the actors for cinematic close-ups, mere inches from their faces, plastered across a slanted, larger-than-life screen behind. These intimate, raw projections magnify them under a lens, granting watchers access to every twitch of emotion — grief and desire, fear and isolation, Norma's spiraling obsession with Joe, and her fading career. It's a glimpse into her split reality. In Act II, the story doesn't pick up, but spills over and outside. Cameras chase Joe as he weaves down from the top of the dressing rooms, catching flickers of backstage banter, through chaotic corridors and dimly lit dressing rooms. By the time he reaches the ground, it's like you've brushed shoulders with the entire company. You begin to wonder, are you watching the play, or are you in it? The live sequence follows Joe and the cast as they transcend the theatre and take the streets of Times Square, where they belt 'Sunset Blvd.' to a crowd of unsuspecting tourists who just found free, front-row seats. It's loud, grand, and more than a bit voyeuristic. This is envelope-pushing art that can only be expected by an accomplished contemporary visionary, such as Jamie Lloyd. Without spoiling the story, we'll say that Norma and Joe do find a final moment under the lights, though the nature of this departing act wasn't what either had in mind when the curtains first drew back. And, with that, we couldn't wait to chat with the magnetic Gonzales about her work in the show, career and love of all things Broadway. What attracted you to the role of Norma Desmond in Sunset Blvd.? I grew up in California, and, for some reason, my public middle school was really awesome. For a field trip, they took us to see 'Sunset Blvd.' with Glenn Close… I think the following year we saw 'Phantom of the Opera' and I absolutely fell in love with Andrew Lloyd Webber's music. I loved Sunset Blvd. so much. We bought the cast album and I listened to it all the time. When you're a kid, and then your twenties and thirties — you're like 'oh, well, that kind of part seems too far away.' [So] when this came up, it was like 'yes, absolutely, I want to sing that!' and then when I met with Jamie Lloyd and saw how he was challenging me as an actress and a person, I just thought this is going to stretch me in my artistry… I would say I manifested it. I don't know, but maybe I did. Does Norma's story resonate with you on a personal level? Norma is definitely a fighter and a survivor. In my own life, I went through breast cancer in 2019 while acting in 'Hamilton' and wanted to show people I could still do it — like this was just a part of me, and wanting to fight and still be a part of things. Even though inside, it was a very dark place. I think that really helped me understand Norma. If you're in this business long enough, you go through so many ups and downs and so many people. I've been lucky that I've been in shows that have been hits, and shows that have been the biggest misses. One of those shows was my first original Broadway show, 'Dance of the Vampires,' which I starred in opposite Michael Crawford. I was about 23 years old, and the show was panned all around. At 23, I had somebody come up to me and say, 'well, you're probably going to leave the business now because this is it,' and it was just like, 'why would I do that— I've only just begun.' René Auberjonois, who was also in that show, said, 'the only place to go is up.' What did you learn from being told your career would be over at 23 years old? Back at that time, I was like 'why me,' but I look back and think that really taught me a sense of how strong I was. To read things about yourself, or about people you care about in a show, that are really horrible — it allows you to go, 'oh, I can either believe that or I can just keep going and keep fighting.' I think Norma is exactly like that. I think she is the ultimate warrior. Norma's a complicated character. How did you capture her emotions? She's not just a caricature. As I've gotten older, I see that more. Her vulnerability is real. She's always being watched by somebody in her mind. Whether the show is in her imagination or whether the show is really happening, I think that's a really beautiful thing, and nobody really knows. As women in this industry, once we hit a certain age (we're told), it's done. I think as women… we just get more and more interesting. I think that's the truth. When you're so isolated, and that's all Norma has — her career and her past — that can be a very dangerous thing. Norma never learned the balance of things, or how we try to balance different parts of our lives. She always put her career first. How did you practice for the close-ups on the screen? I come from a theatre background and worked in television and film. But theatre is what I love. During the rehearsal process, they had a small screen and they were rehearsing with the cameras, and there was one moment when I turned and was like, 'Oh, that's really close. That's very triggering.' As women, we look at ourselves and say, 'oh, there's that wrinkle, and there's that,' and Jamie just said, 'We never look into the screen. We never look at it,' and I have not looked at it. It's all coming from my heart. It's not coming from how I think I should pose, so I'll look better in front of the camera this way or that way. It's very freeing as a woman not to think about the screen. It's like not thinking about the mirror, and being like 'I am the most beautiful woman in the world.' Was there anyone in the cast you grew close to over the course of the production? Tom Francis. I was able to rehearse with the company for the first few weeks of rehearsal here in the States, so I was able to be Norma for everybody. Tom came in early, so we could work together and develop our show together, which I really loved and appreciated. He's so fantastic. It's really the entire company. That's what I love. I love community, I love putting it together. Eating lunch together. Hearing what everyone's talking about. I feel like it's a family and nothing happens on that stage without the other person. What about that pivotal scene where Joe leaves the theatre — how do they do that? Is it recorded? That's all live! I'm lucky. I just get to sit there on stage and watch it all happen, and I've watched through all of it. Through winter in New York, through snow, sleet, and rain… But, Tom… it amazes me every night that I get to see it. He's seamless. He makes it, he tells the story, and he gets those lyrics out. That's all live, the orchestra is playing live, and all the camera operators are out there. They have a great security team and he has people around him, so people won't come up to him and interfere with filming. It's just this thing that has never been done before, and it's thrilling. The way that Jamie Lloyd has used space, he's expanded beyond the theatre to create this story. That's what I love, pushing beyond the bounds of what we think is possible. I'm so impressed by actors who can flip between roles. How do you do that? We're women, and we multi-task very well, and I think it's just that. It's about survival, and when you're an actor, it's like, 'Oh, okay, like this is where the job is, and you've got to do it.' You've got to figure out a way to do it, to make it happen… You don't get home from the show until 11, and then you stay up until 2 in the morning, and then you've got to get up for your kid at 6. That's just part of it. When did you first get the Broadway itch? It started early for me because I had a grandmother who lived in the Valley, who loved musical theatre. She especially loved big Torch Singers, so I grew up listening to Judy Garland, Eydie Gorme, and Liza Minelli. I fell in love with any musical they were in because my grandma would play them for us, and I was really the only grandchild who sang back. My grandma was the one who said, 'Mandy has talent. She's really loud, and she's going to hurt herself, so we have to get her into lessons,' and little did she know that that loud voice would someday help me. What's next for you? I am going to be making my Carnegie Hall solo debut in the Fall. As well as with the Boston Pops, I will be with the New York Pops at Carnegie Hall. I am going to be doing a show that I created and have been working on with my dear friend Lin-Manuel Miranda's music catalog. Any other Broadway shows you've enjoyed recently? Any Tony's predictions? I just saw 'Buena Vista Social Club,' which I absolutely loved, and I think so many things about that show are just so incredible — from Saheem Ali's direction to Justin Peck and Patty Delgado's choreography. I also just saw 'Stranger Things,' which I thought was fantastic. The entire ensemble completely blew me away, as did the show's set design. Last question. Give us one word to describe Norma and one for Mandy. For Norma, I would say, limitless. For me, I would say fearless. This interview was lightly edited for length and clarity. Huge Broadway musicals Already seen 'Sunset Blvd?' Here are five more hit shows on the Great White Way you won't want to miss live these next few months. • 'Death Becomes Her' • 'Just In Time' • 'Maybe Happy Ending' • 'Buena Vista Social Club' • 'Dead Outlaw' What else is running in Midtown? Take a look at our list of all the biggest Tony-nominated shows going down on Broadway to find the one for you.
New York Post
12-05-2025
- Entertainment
- New York Post
Andrew Lloyd Webber cut this big song from ‘Sunset Boulevard': 'Quite radical'
Much is unrecognizable about the Broadway revival of Andrew Lloyd Webber's 'Sunset Boulevard' at the St. James Theatre. The Norma Desmond is a former pop star, Nicole Scherzinger, the scenery has been swapped for a crisp giant screen and the costumes are a glossy black. But 'Sunset' aficionados will also hear a difference: An entire song has been scrapped: 'The Lady's Paying.' 5 The makeover song 'The Lady's Paying' (here seen performed by Alan Campbell in the Los Angeles production) has been cut from the Broadway revival of 'Sunset Boulevard.' Craig Schwartz Photography 5 Emmy Park for NY Post 'I get on really well with Jamie [Lloyd, the director], and he wanted to make some quite radical changes to the score,' Lloyd Webber told The Post during a sit-down. 'And the main thing he wanted was to cut 'The Lady's Paying,' which is the song, and the beautician scene.' The number that's been in the show for more than 30 years is a fast-moving, upbeat ditty in which fading Hollywood actress Norma buys struggling young screenwriter Joe Gillis (Tom Francis in the revival) fancy new suits for his birthday. It has bouncy and not-so-subtle lyrics by Don Black and Christopher Hampton such as 'Happy birthday, welcome to your shop-a-thon!' and 'You're a very lucky writer, come along now, get undressed / Unless I'm much mistaken, that's a 42-inch chest!' 5 Glenn Close played Norma Desmond in the very different Los Angeles staging in 1993 before coming to Broadway. Joan Marcus A chipper makeover didn't jive with Lloyd's especially dark take on the material, which premiered in 2023 at the Savoy Theatre in London. At times, his jolting revival borders on horror. A culling was in order. 'He was less sure about the beautician scene,' added Lloyd Webber, 77. 'But I said, 'If you want to get rid of 'The Lady's Paying,' you've got to get rid of both, because they're basically the same melody, and one is a reworking of the other, so it wouldn't work, you know? And so both went.' 'His grounds were — which are really interesting — is that they don't further the story; that we don't need to know that they're going clothes shopping.' 5 Nicole Scherzinger of 'Sunset Boulevard' is in a tight race for Best Actress with Audra McDonald of 'Gypsy.' Marc Brrenner Lloyd Webber also came to the conclusion that it's difficult to include such a diversionary detour in 2025. 'I think in a musical, particularly today, with people's attention span being what it is, I think you've got to do the things that are essential to have, but consider carefully about the things which are nice to have,' he said. Far from agonizing over one of his compositions being cut, Lloyd Webber enjoyed tinkering with his 32-year-old show. 'Once we decided on that, we said, 'Right, there are various areas of the show, particularly in the second act, or the transition of 'The Lady's Paying,' where I wrote a completely new section of music, where we've got to make it darker,' he said. 'And I started playing around with harmonies and things that I don't normally get the opportunity to do.' 5 Tom Francis plays Joe Gillis in the Broadway revival of 'Sunset Boulevard.' Marc Brenner The result is a revival that, its creator said is 'darker and, I think, it's also deeper.' And it confirms Lloyd Webber's belief as to the secret sauce of a thrilling production: a talented group of artists that really click. 'I find [Jamie] a fascinating collaborator,' he said. 'When musicals really work, you've got to have a real collaboration with the director and the creative team.'
Indian Express
01-05-2025
- Entertainment
- Indian Express
Tony Awards 2025 full nomination list: George Clooney, Stranger Things, Nicole Scherzinger bag noms; Denzel Washington snubbed
The 78th annual Tony Awards ceremony is scheduled to take place on June 9. Ahead of the biggest night for Broadway theatre, the full list of 2025 nominations is out—and leading the charge are American satirical black comedy Death Becomes Her, Maybe Happy Ending, a love story of two robots, and Buena Vista Social Club, a story about a Cuban musician—all with 10 nods each. This year, the annual award show has also honoured several Broadway debutants, with George Clooney, Sarah Snook, and Nicole Scherzinger earning Tony nods. But just like every year, this one too has its share of big snubs, and topping the list is Denzel Washington, followed by Jake Gyllenhaal and Kieran Culkin. Dead Outlaw, John Proctor Is the Villain, Sunset Blvd. and The Hills of California with seven nods each are the second most nominated with 7 nods each. Here's the full list of nominations. Sarah Paulson and Wendell Pierce will host the event. Hollywood dominates tony nominations: George Clooney, Sarah Snook and more Hollywood veteran George Clooney is nominated for Best Actor, marking his first Broadway nomination for his role as Edward R. Murrow in Good Night and Good Luck. The show is adapted from the 2005 movie of the same name, which was directed by Clooney himself. Back then, he gave himself a supporting role, while the film ended up landing six Academy Award nominations, with its lead, David Strathairn, also getting a nod for best actor. He will be competing against Cole Escola, Jon Michael Hill, Daniel Dae Kim, Harry Lennix, and Louis McCartney. ARTICLE CONTINUES BELOW VIDEO The former Pussycat Dolls star Nicole Scherzinger made her Broadway debut with her highly anticipated Sunset Blvd. Stepping into the shoes of Norma Desmond, a fictional character desperate to make a comeback after her once-bright career faded, earned Scherzinger global critical praise. The show is revived by Jamie Lloyd from the classic Andrew Lloyd Webber musical. It also received a 6-minute standing ovation from the crowd after its debut at the St. James Theatre in New York City. 'I have worked many, many years to build up to this moment, and it's changed my life,' Scherzinger said at the time (via PEOPLE). 'I've never been more happy, I think, because I always had so much inside of me that I felt like people didn't see or understand. It just feels good now to be able to share that with the world.' Sarah Snook grabbed a nom for her part in Oscar Wilde's novel adaptation The Picture of Dorian Gray. The show earned 6 nominations. Netflix's superhit franchise Stranger Things also made its Broadway debut with its prequel titled Stranger Things: The First Shadow and bagged five nominations. Meanwhile, adapted for the third time, the legendary Glengarry Glen Ross saw Bill Burr, Kieran Culkin, Michael McKean, and Bob Odenkirk also receive nods. Other than that, Stranger Things' Sadie Sink and screen veteran Mia Farrow have also debuted in the nomination section. 2025 Tony Awards complete nomination list (via Variety) Best Musical Buena Vista Social Club Dead Outlaw Death Becomes Her Maybe Happy Ending Operation Mincemeat: A New Musical Best Play English The Hills of California John Proctor is the Villain Oh, Mary! Purpose Best Revival of a Musical Floyd Collins Gypsy Pirates! The Penzance Musical Sunset Blvd. Best Revival of a Play Eureka Day Romeo + Juliet Thornton Wilder's Our Town Yellow Face Best Performance by an Actress in a Leading Role in a Musical Megan Hilty, Death Becomes Her Audra McDonald, Gypsy Jasmine Amy Rogers, Boop! The Musical Nicole Scherzinger, Sunset Blvd. Jennifer Simard, Death Becomes Her Best Performance by an Actor in a Leading Role in a Musical Darren Criss, Maybe Happy Ending Andrew Durand, Dead Outlaw Tom Francis, Sunset Blvd. Jonathan Groff, Just in Time James Monroe Iglehart, A Wonderful World: The Louis Armstrong Musical Jeremy Jordan, Floyd Collins Best Performance by an Actress in a Leading Role in a Play Laura Donnelly, The Hills of California Mia Farrow, The Roommate LaTanya Richardson Jackson, Purpose Sadie Sink, John Proctor is the Villain Sarah Snook, The Picture of Dorian Gray Best Performance by an Actor in a Leading Role in a Play George Clooney, Good Night, and Good Luck Cole Escola, Oh, Mary! Jon Michael Hill, Purpose Daniel Dae Kim, Yellow Face Harry Lennix, Purpose Louis McCartney, Stranger Things: The First Shadow Best Performance by an Actor in a Featured Role in a Musical Brooks Ashmanskas, Smash Jeb Brown, Dead Outlaw Danny Burstein, Gypsy Jak Malone, Operation Mincemeat: A New Musical Taylor Trensch, Floyd Collins Best Performance by an Actress in a Featured Role in a Musical Natalie Venetia Belcon, Buena Vista Social Club Julia Knitel, Dead Outlaw Gracie Lawrence, Just in Time Justina Machado, Real Women Have Curves: The Musical Joy Woods, Gypsy Best Performance by an Actor in a Featured Role in a Play Glenn Davis, Purpose Gabriel Ebert, John Proctor is the Villain Francis Jue, Yellow Face Bob Odenkirk, Glengarry Glen Ross Conrad Ricamora, Oh, Mary! Best Performance by an Actress in a Featured Role in a Play Tala Ashe, English Jessica Hecht, Eureka Day Marjan Neshat, English Fina Strazza, John Proctor is the Villain Kara Young, Purpose Best Book of a Musical Buena Vista Social Club, Marco Ramirez Dead Outlaw, Itamar Moses Death Becomes Her, Marco Pennette Maybe Happy Ending, Will Aronson and Hue Park Operation Mincemeat: A New Musical, David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts Best Original Score (Music and/or Lyrics) Written for the Theatre Dead Outlaw, Music & Lyrics: David Yazbek and Erik Della Penna Death Becomes Her, Music & Lyrics: Julia Mattison and Noel Carey Maybe Happy Ending, Music: Will Aronson; Lyrics: Will Aronson and Hue Park Operation Mincemeat: A New Musical, Music & Lyrics: David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts Real Women Have Curves: The Musical, Music & Lyrics: Joy Huerta and Benjamin Velez Best Scenic Design of a Play Marsha Ginsberg, English Rob Howell, The Hills of California Marg Horwell and David Bergman, The Picture of Dorian Gray Miriam Buether and 59, Stranger Things: The First Shadow Scott Pask, Good Night, and Good Luck Best Scenic Design of a Musical Rachel Hauck, Swept Away Dane Laffrey and George Reeve, Maybe Happy Ending Arnulfo Maldonado, Buena Vista Social Club Derek McLane, Death Becomes Her Derek McLane, Just in Time Best Costume Design of a Play Brenda Abbandandolo, Good Night, and Good Luck Marg Horwell, The Picture of Dorian Gray Rob Howell, The Hills of California Holly Pierson, Oh, Mary! Brigitte Reiffenstuel, Stranger Things: The First Shadow Best Costume Design of a Musical Dede Ayite, Buena Vista Social Club Gregg Barnes, Boop! The Musical Clint Ramos, Maybe Happy Ending Paul Tazewell, Death Becomes Her Catherine Zuber, Just in Time Best Lighting Design of a Play Story continues below this ad Natasha Chivers, The Hills of California Jon Clark, Stranger Things: The First Shadow Heather Gilbert and David Bengali, Good Night, and Good Luck Natasha Katz and Hannah Wasileski, John Proctor is the Villain Nick Schlieper, The Picture of Dorian Gray Best Lighting Design of a Musical Jack Knowles, Sunset Blvd. Tyler Micoleau, Buena Vista Social Club Scott Zielinski and Ruey Horng Sun, Floyd Collins Ben Stanton, Maybe Happy Ending Justin Townsend, Death Becomes Her Best Sound Design of a Play Paul Arditti, Stranger Things: The First Shadow Palmer Hefferan, John Proctor is the Villain Daniel Kluger, Good Night, and Good Luck Nick Powell, The Hills of California Clemence Williams, The Picture of Dorian Gray Best Sound Design of a Musical Jonathan Deans, Buena Vista Social Club Adam Fisher, Sunset Blvd. Peter Hylenski, Just in Time Peter Hylenski, Maybe Happy Ending Dan Moses Schreier, Floyd Collins Best Direction of a Play Knud Adams, English Sam Mendes, The Hills of California Sam Pinkleton, Oh, Mary! Danya Taymor, John Proctor is the Villain Kip Williams, The Picture of Dorian Gray Best Direction of a Musical Saheem Ali, Buena Vista Social Club Michael Arden, Maybe Happy Ending David Cromer, Dead Outlaw Christopher Gattelli, Death Becomes Her Jamie Lloyd, Sunset Blvd. Best Choreography Joshua Bergasse, Smash Camille A. Brown, Gypsy Christopher Gattelli, Death Becomes Her Jerry Mitchell, Boop! The Musical Patricia Delgado and Justin Peck, Buena Vista Social Club Best Orchestrations Andrew Resnick and Michael Thurber, Just in Time Will Aronson, Maybe Happy Ending Bruce Coughlin, Floyd Collins Marco Paguia, Buena Vista Social Club David Cullen and Andrew Lloyd Webber, Sunset Blvd.
Daily Mail
30-04-2025
- Entertainment
- Daily Mail
Nicole Scherzinger is drenched in fake blood as she poses alongside former Sunset Boulevard star Glenn Close after another Broadway performance
Nicole Scherzinger looked in good spirits as she posed alongside Glenn Close after another successful Broadway performance of Sunset Boulevard on Tuesday. The musical - based on the 1950 film of the same name - first opened on London's West End in 1993 starring Patti Lupone as Norma Desmond, with Glenn starring in the Broadway run in 1994. Nicole is now inhabiting the character previously played by Glenn, with the Fatal Attraction star congratulating her backstage. The Pussycat Dolls star beamed from ear to ear as she posed alongside Glenn while drenched in fake blood after the show. The singer wore her stage outfit of a black slip dress while she ler her raven locks fall loose down her shoulders. Glenn wrapped up in an animal print coat which she wore over a turtle neck black jumper. Laverne Cox was also in attendance at the show where she sported a black sheer jumpsuit with a matching blazer. Nicole took home the Laurence Olivier Award for Best Actress in a Musical, and following a successful preview run - taking in $1 million in the first week - the show opened at the St. James Theatre in October. The blood covered actress has received numerous standing ovations throughout her Broadway debut so far, including one, according to People, that lasted a whopping six minutes. While standing ovations are not necessarily out of the ordinary on Broadway, The Daily Beast insisted that this standing ovation was quite different. 'It is not the usual Broadway standing ovation: polite and dutiful. It is not even the appreciative and happy standing ovation: heartfelt and feelgood. This is something else. The whooping and applauding goes on and on, a wave upon wave of loud appreciation, no one in any rush to stop or leave,' the article says. They added that the only thing that came close to that kind of, 'audience fervency in recent years was the reaction to Bette Midler in the 2017 revival of Hello, Dolly!' 'At Sunset Blvd. too, you think the roof could legitimately blow off, or the theater simply launch into outer space powered by an explosive burst of pure gay joy,' they added. Nicole revealed in September that she had never even considered tackling this iconic role before she spoke with Andrew Lloyd Webber. 'I was like, "Are you crazy? Are you mad?" I didn't get it, because I only ever had Glenn Close in my mind — and Gloria Swanson in the old film,' she said. 'He was like, "Don't watch the movie, don't listen to anybody else, just read the lines and listen to the music." And when I did, I just fell in love with Norma. 'I didn't realize that this is the role that I've been waiting to play all my life. We're doing a completely different, new interpretation.' 'There are so many parallels between Sunset Boulevard and what you have to do to make it in Hollywood. 'Even when you're fully loaded with so much talent, you could still be overlooked because of stereotypes and ageism. It is a tragedy. " have so much ammunition for this — so much fuel.'
Yahoo
06-03-2025
- Entertainment
- Yahoo
Trisha Paytas Is Pregnant! Influencer Expecting Baby No. 3 with Husband Moses Hacmon
Trisha Paytas' family is growing by one more! The social media influencer, 36, is pregnant and expecting her third baby with husband Moses Hacmon this summer, revealing the exciting news on an episode of her podcast Just Trish. In the caption of her video on YouTube, Paytas wrote, "Oops, she did it again! Trisha is PREGNANT with baby number three! Trish and Moses finally spill all the details after keeping their pregnancy a secret for months." This is the third baby for Paytas and Hacmon, who are also parents to daughters Malibu Barbie, 2, and Elvis, whom the couple welcomed in June. Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. Related: Trisha Paytas Welcomes Her Second Baby, Daughter Elvis, with Husband Moses Hacmon: 'Precious' It's been a big year already for Paytas, who recently appeared on Saturday Night Live and made her Broadway debut with a one-night-only performance at the St. James Theatre in New York City on Feb. 3, billed as Trisha Paytas' Big Broadway Dream. Paytas told PEOPLE at the time that she was excited for her two daughters to see her perform, noting that her older daughter Malibu already loves to sing. "Maybe one day she'll think what I'm doing is cool, and if anything, I just want to show her — and everybody, like, anyone can do anything they want, whether you have talent connections or none at all," said Paytas. "You can make it happen somehow." This past June, Paytas welcomed her second baby with Hacmon, sharing the happy news on her Instagram. The proud mom of two posted a few photos of her newborn daughter, Elvis, cuddling with her baby girl Malibu, who wore a pink and white polka dot blanket that matched her own robe. Other photos showed Paytas next to Hacmon, as well as shots of the couple's daughter Malibu meeting her baby sister for the first time. "💕proud to announce the safe and happy arrival of our precious daughter, Elvis Paytas-Hacmon 05.24.24💕" Paytas wrote in her caption. In November 2023, Paytas shared that she was expecting her second baby, posting the news on her Instagram. In the photos, Hacmon held the couple's older daughter Malibu while Paytas held up a series of sonogram photos. "🍂Thankful🍂 Baby #2 coming May 2024," Paytas captioned her post. Read the original article on People
