Latest news with #SunsetBoulevard
Daily Mail
a day ago
- Entertainment
- Daily Mail
Nicole Scherzinger wows in a plunging satin blazer and skirt as she wins Favorite Leading Actress in a Musical at Broadway.com Audience Choice Awards
ensured to turn heads in a chic white satin co-ord as she graced the red carpet of the 25th Annual Audience Choice Awards in New on Thursday. The theatre sensation, 46, looked ravishing in a silky double-breasted blazer teamed with a matching maxi skirt which featured a sexy racy thigh-high split. The former Pussycat Doll beamed from ear to ear as she stopped for striking snaps, thrilled to celebrate not one but two wins earlier that night. Nicole, who stars as Norma Desmond in the play Sunset Boulevard, scooped prizes for Favorite Leading Actress in a Musical as well as Favorite Diva Performance. Showing off a glam full-face make-up, Nicole looked nothing less than sensational as she finished up her look with white stilettos. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. The Hawaiian-born star added maxi silver hoop earrings and posed up a storm alongside fellow actress Zoey Dutch - who also proudly lifted her Favorite Featured Actress in a Play gong for the play Our Town. Just earlier this month, Nicole praised her Broadway milestone as her 'greatest achievement' as she candidly discussed her Tony Award nomination during an appearance on CBS Morning Show. During her appearance, Nicole said it took her years for people to take her seriously after she was 'put in a box' for years for being in the Pussycat Dolls. She said: 'This is my debut on Broadway which is what I've always dreamed of and it's 30 years in the making of working, preparing and performing. 'I feel so fulfilled to share all my gifts and abilities with the world and connect with people through performing on a deeper and soulful level 'The dolls only saw me, people pigeon hole you and they put you in a box, so for a long time I wasn't able to audition for films and musicals that I loved. 'I got fed up and six years ago I created my own show where I invited people from the industry and brought it to Broadway and London and LA. It is my passion.' Nicole joked that she almost didn't take the role because it wasn't glamorous enough for her until she properly read the script and 'fell madly in love' with the role. She said: 'I didn't not almost take it, just when I got asked to take it I was like this is your big idea an old faded film star, honey I'm a Pussycat Doll and I have big lights. 'But he said read the script and I felt like I completely understand Norma, we all have layers. The role is so deep and the music made me fall madly in love with it.' Nicole admitted she has 'grown' and 'evolved' as a performer since playing Norma and she is 'proud' of how far she has come. She added: 'I've always had big balls and they are the biggest they have ever been now and I've grown so much because you are completely vulnerable out there. 'You have no sets and costumes to hide behind and you can really connect on a soulful level and I've evolved so much as an actor and I'm very proud and courage.' This year marks Nicole's first Tony Award nod for her role as Norma Desmond in Sunset Blvd. Other nominees include Audra McDonald for Gypsy, Megan Hilty for Death Becomes Her, Jasmine Amy Rogers for Boop! The Musica , and Jennifer Simard for Death Becomes Her, in the category of Best Performance by an Actress in a Leading Role in a Musical. Sunset Boulevard has won rave reviews - particularly for Scherzinger's performance. Hawaii-born Nicole shot to fame in pop band the Pussycat Dolls during the 2000s. She later enjoyed a successful career as a talent show judge, including on The X Factor and The Masked Singer. Nicole has lent her voice to the Disney smash hit Moana and has been lauded as one of the most versatile performers of her generation.
New York Post
4 days ago
- Entertainment
- New York Post
Patti LuPone admits she wanted to call Glenn Close a ‘bitch' for replacing her on Broadway
Glenn Close is just the latest actress to get caught in Patti LuPone's crosshairs. LuPone, 76, targeted Close, 78, in a scathing interview with The New Yorker published on Monday, May 26. The pair's feud dates back to an incident in 1994 when composer Andrew Lloyd Webber chose the 'Fatal Attraction' star to replace LuPone as Norma in the Broadway debut of 'Sunset Boulevard.' LuPone had already been starring in the West End production of the popular musical, but Lloyd Webber cast Close in a concurrent production in Los Angeles. 8 Patti LuPone targeted Glenn Close in a scathing interview with The New Yorker published on Monday. Chelsea Lauren/Shutterstock 8 Glenn Close is just the latest actress to get caught in Patti LuPone's crosshairs. FilmMagic Although the 'Agatha All Along' actress was contracted to follow the role to Broadway, she learned via a newspaper column that she was passed over for her new rival. 'I'd felt rejection,' LuPone told The New Yorker, 'but not that kind of rejection.' The pair's squabble only escalated when, years later, Close sat next to LuPone during a tribute to Broadway star Barbara Cook at the Kennedy Center in 2011. 8 Andrew Lloyd Webber chose Close to replace LuPone as Norma in the Broadway debut of 'Sunset Boulevard' in 1994. Getty Images 8 Andrew Lloyd Webber and Close at the opening of 'Sunset Boulevard' on Broadway in 1994. Ron Galella Collection via Getty Images 'She said, 'I had nothing to do with it,'' LuPone claimed Close told her. 'I wanted to go, 'Bulls–t, bitch!'' The Post reached out to Close's rep for comment. However, the Oscar nominee wasn't the only star that LuPone took aim at in her blistering interview this week. 8 The pair's feud escalated when Close sat next to LuPone during a tribute to Broadway star Barbara Cook at the Kennedy Center in 2011. REUTERS Audra McDonald also met the 'Don't Cry For Me, Argentina' singer's wrath when Lupone insisted that the 'Gilded Age' star, 54, is 'not a friend.' While LuPone did not provide any more details about that feud, both she and McDonald have starred as Rose in the popular play 'Gypsy.' LuPone won a Tony for the role in 2008, and McDonald, who is starring in the role currently, recently received her 11th Tony nomination for the character. McDonald also currently has six Tony wins versus LuPone's three. 8 LuPone also targeted her 'not a friend' Audra McDonald. FilmMagic 'What a beautiful day,' LuPone told The New Yorker when asked about her Broadway colleague's performance in 'Gypsy.' Elsewhere in her fiery interview, the 'Company' actress and singer targeted Kecia Lewis in the wake of a nasty back-and-forth they had last year over the musical 'Hell's Kitchen.' Lewis, 59, said LuPone's remarks were 'offensive,' 'racially microaggressive,' and 'rude' after LuPone said the play was 'too loud.' 8 'She doesn't know what the f–k she's talking about,' LuPone said of Kecia Lewis. Getty Images At the time, LuPone and Mia Farrow were starring in 'The Roommate' while Lewis was starring in 'Hell's Kitchen' next door. 'Oh, my God,' LuPone said of the incident. '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–k she's talking about.' 'She's done seven,' the 'American Horror Story' star added. 'I've done thirty-one. Don't call yourself a vet, bitch.' 8 Patti LuPone in New York City in May 2022. Getty Images LuPone, who is set to star in Season 3 of 'And Just Like That…,' also dished about her 'terrible' seven-year relationship with Kevin Kline, 77. 'I took an instant dislike to him,' she said of first meeting the 'A Fish Called Wanda' star at Juilliard in 1968. 'He looked like Pinocchio to me. He had skinny legs and he was tall, and I didn't really see the handsomeness.' 'It was a painful relationship,' she added. 'I was his girlfriend when he wanted me to be his girlfriend. And I, for some reason, stuck it out until I couldn't stick it out anymore.' Kline went on to tie the knot with Phoebe Cates in 1989. LuPone married Matthew Johnston in 1988.
Yahoo
4 days ago
- Entertainment
- Yahoo
TV sound editors roundtable: ‘Adolescence' and ‘Secret Level'
As Adolescence supervising sound editor James Drake and Secret Level supervising sound editor Matt Yocum tell it during our Meet the Experts: TV Sound panel, their work might be intrinsic to what we experience on screen, but they have a confession. 'It's not a very glamorous job,' says Drake. (Watch the full panel above. Click each person's name to see their individual discussion.) The BAFTA nominee for Boiling Point elaborates, 'A lot of people don't realize that so much of what they hear is done by people alone in little studios, hidden away in the dark.' Even if the everyday realities of a sound editor's career are not as ritzy as other Hollywood roles, he shares, 'There are a lot of people who do the job who care intrinsically about the sound' and 'use sound to engage the audience and help tell the story.' More from GoldDerby 'The Last of Us' director Kate Herron on bringing the Ellie and Dina relationship to the show: 'It was a privilege' 'Sunset Boulevard': Will Andrew Lloyd Webber break a 30-year Tony drought? How Zoe Saldaña helped shape Pixar's upcoming film 'Elio' Yocum emphasizes that many viewers don't realize that sound editors do more than incorporate production sounds from principal photography into the final edit. Rather, they often must 'come up with sounds for sometimes these fantastical things and other times things that are more based in reality.' The Emmy winner for The Last of Us provides an example of the popular club scenes in TV shows and film to reveal, 'There was no sound during any of that, just the two main characters talking,' meaning the music, ambient noise from the bar, and beyond were all created and added after the fact. Both sound editors have worked on dozens of film and television projects and say that they tremendously enjoy getting to revisit series after some time away. 'You spend a lot of time over the course of a project getting intimately familiar with the workings of whatever the universe is that you're currently in, and you're a part of shaping the logic and the approach and the sonic character and the emotion,' and 'when you get to come back to something in a repeat sense,' you get to 'expand on those ideas,' describes Yocum. Drake concurs and stresses that sound editors bring their own life experiences and entertainment consumption to these projects, especially shows that unfold over years. He says that when you get to return to a series for a second installment of episodes, 'Your life has changed, and there's new plug-ins around, and you've heard new shows or films and they've given you a little spark of excitement. … You're experiencing new things as you go along.' Watch the full panel above to hear Drake and Yocum discuss the moment in their lives in which they both knew they wanted to become sound editors and their favorite part of the sound editing prep process. This article and video are presented by Netflix and Prime Video. Best of GoldDerby 'The Pitt' star Supriya Ganesh on Mohan 'reworking' her trauma and when she'll realize Abbot is flirting with her Dream Team: 'Étoile' creators Amy Sherman-Palladino and Daniel Palladino on the secrets of their partnership: 'You want to be jealous of something someone has done' 'Secret Level' sound editor Matt Yocum on using the 'punchy aesthetic' of video game audio for new animated series Click here to read the full article.
Yahoo
4 days ago
- Business
- Yahoo
‘Sunset Boulevard': Will Andrew Lloyd Webber break a 30-year Tony drought?
In 1995, the original Broadway staging of Sunset Boulevard won seven Tony Awards, including Best Musical. That marked the last time an Andrew Lloyd Webber show won a Best Production accolade from the American Theatre Wing. Exactly 30 years later, the current remounting is the frontrunner to win Best Musical Revival. If it prevails, it'd be quite a full-circle moment for the legendary composer. In the years since Sunset Boulevard originally contended, four more Lloyd Webber titles were nominated for a Best Show award, but didn't prevail: More from GoldDerby 'The Last of Us' director Kate Herron on bringing the Ellie and Dina relationship to the show: 'It was a privilege' How Zoe Saldaña helped shape Pixar's upcoming film 'Elio' 'The Pitt' star Supriya Ganesh on Mohan 'reworking' her trauma and when she'll realize Abbot is flirting with her Jesus Christ Superstar for Best Musical Revival in 2000; lost to Kiss Me, Kate Evita and Jesus Christ Superstar for Best Musical Revival in 2012; both lost to Porgy & Bess School of Rock for Best Musical in 2016; lost to Hamilton The Broadway legend also had three other shows eligible for Best Musical noms, but each of them were nearly shut out: By Jeeves in 2002, The Woman in White in 2006 (even though it showed up for Best Score), and Bad Cinderella in 2023. In 2017, two of his shows were eligible for Best Musical Revival, but both of them were completely ignored: Cats and the previous remounting of Sunset Boulevard. This year, the current Sunset Boulevard has seven nominations overall. Many are expecting it to do well on Tony night in terms of wins. In addition to Best Musical Revival, it's also expected to take home Best Direction of a Musical (Jamie Lloyd) and Best Lighting Design of a Musical (Jack Knowles). See Gold Derby's Tony odds. Nicole Scherzinger, who's in second place for Best Actress in a Musical, is competitive for the win up against current frontrunner, Audra McDonald in Gypsy. The former has already won an Olivier (for the production's West End run) and Drama League Awards for her performance as Norma Desmond. This is a role that previously won Glenn Close a Tony for the original production. The rest of this year's Best Musical Revival lineup includes Gypsy (second place), Floyd Collins (third place), and Pirates! The Penzance Musical (fourth place). SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Who Needs a Tony to Reach EGOT? Sadie Sink on her character's 'emotional rage' in 'John Proctor Is the Villain' and her reaction to 'Stranger Things: The First Shadow' 'It should be illegal how much fun I'm having': Lea Salonga on playing Mrs. Lovett and more in 'Stephen Sondheim's Old Friends' Click here to read the full article.
Yahoo
4 days ago
- Entertainment
- Yahoo
How designer Marg Horwell transforms Sarah Snook in ‘The Picture of Dorian Gray' through quick costume changes (exclusive images)
"She had a lot of physical offers, which is so great as a designer to be able to respond to," Marg Horwell tells Gold Derby about working with Sarah Snook on The Picture of Dorian Gray. Horwell is the costume designer and scenic designer of the hit play, and impressively, received two Tony nominations for her work — one for each discipline. Snook portrays all 26 characters in this iteration of Oscar Wilde's classic tale of obsession and vanity. As cameras swirl around the actress, she flits between personas before the audience's eyes. Horwell's visuals become an essential tool, not only in delineating each figure in the story, but detailing Dorian's descent. In our recent interview, the designer discusses allowing the audiences to witness the magic of Snook's many quick changes. "I think it's about making the best version of seeing something you're not meant to see," says Horwell. More from GoldDerby 'The Last of Us' director Kate Herron on bringing the Ellie and Dina relationship to the show: 'It was a privilege' 'Sunset Boulevard': Will Andrew Lloyd Webber break a 30-year Tony drought? How Zoe Saldaña helped shape Pixar's upcoming film 'Elio' Photo by Marg Horwell Sarah Snook is playing 26 different roles in this play. She constantly switches back and forth in a scene, and sometimes acts opposite filmed versions of herself. With such a vast array of characters, where was your starting point for the costumes? Marg Horwell: We built it like building blocks a bit, so it felt less enormous when we first started out. Kip [Williams] was writing the adaptation while we were designing, it was kind of moving at the same time. So when we would hit points where there were many, many characters, we would be handpicking who the most prominent characters would be. So he was crafting that as we were going along. It feels like a gradual thing now, but I guess we started with who she would be on stage and how that would move, and then furnished around her with everybody else. I think the biggest scene, she's opposite six versions of herself. So yeah, they're big. Only doing one character at a time, they do feel quite intimate and small, but actually when you see them all together, it does feel like a very big scene. Photo by Marg Horwell The costuming is essential for delineating characters. Especially since Snook completes most costume changes in front of the audience. How did you craft outfits that can do a rapid quick change on stage? I think the key to how it works in the production is that it starts very simple. Sarah changes her voice and looks at a different camera and then adds small props. She's smoking when she's Lord Henry, she's holding a paintbrush when she's Basil. It's a conversation between two people and it's just that subtle shift of her posture and her voice. And it's a tiny bit of design where actually you do start to hear them before you see them, and then we build them gradually. We do meet Lord Henry on camera first and see him fully dressed and imagined as a filmed character, and then we build him live on stage. So it's to me, the most thrilling thing because it's exposing the theatrical devices that you don't ever really get to see. It's the things we usually hide. So you have cameras circling Sarah, so she can always be speaking, nothing goes over her head. Things have to attach at the back. Facial hair goes on in between words. Wigs, you get one shot at because the microphone has to still work without getting bumped by anybody. So it works like more choreography. It ends up being a team of people learning a dance, learning how to communicate really well with each other, and it lands with music, so it feels very satisfying when you watch it. Photo by Marg Horwell The production takes visual cues from different time periods. How did the elements of past and present come together for you? It's something that I'm really interested in a lot of my work. If we're making work now, and we're not trying to make a museum piece or a true historically accurate piece, then it is something that should draw on all aspects, including things that are relevant now. This piece especially, because it is about someone who doesn't age and someone who in our production starts in the late 1800s, and we never really say where we end. I think as more contemporary influences enter the production, that means that I have license to draw from anything from the last hundred years of fashion or any kind of prominent, especially androgynous or queer figures from history. I love historical fashion, but I love looking at all kinds of influences. There are lots of great new romantics influences, a lot of androgynous fashion and musicians from late '80s and early '90s who were really pushing the envelope and starting to experiment with who they were publicly. It's a pretty subversive, exciting, experimental time. So that's all packed into that story for me in a great way. I think that really speaks to the journey of someone who has no consequences and can try anything and then falls in love with excess. Photo by Marg Horwell Dorian's white, Ziggy Stardust-esque jacket feels like a prime example of that androgyny. Flowers bloom from the sleeves, and those flowers become a major motif in your scenic design. What inspired that choice? I think it's the second chapter in the book, where Oscar Wilde describes a garden. He has written these whole chapters where he will describe fabric for paragraphs and paragraphs, or jewels and how they might glint in the sun. And this garden is so beautifully described. I love artificial things on stage. We know it's theater, we know it's something pretending to be real, and in a story like this that lends itself to artifice and manufactured identity very well. So I like that there's fake flowers all the way through, and I like that they are almost improbable in the way that they present themselves. So we start very simply with one flower and then that motif starts to take over. It starts to grow out of the set, starts to grow out of the furniture, and eventually is growing out of Dorian's costume and up around his neck. I think there's also something about when flowers start to turn, and there's something so cloying and overwhelming about that when they're so perfumed and heady that it's almost about to tip over into being horrible. Dorian gets to a point where he is absolutely suffocated by his own excess and his own greed. In that country house scene, there's a lot of floral things, that from a distance look like big floral arrangements, but there's lots of junk in there as well. There's stuff from a party shop, there's lots of silly plastic fruit and fake burgers. A zombie hand is my favorite thing. It's at the top of one and it's a zombie hand that lights up. It's this full, cheap capitalist explosion that you just get glimpses of on camera. That's when it's at its peak. It travels the whole way through the show, through the set and the costume. And I think it's something that is a great thing that can evolve with character and then go from being very beautiful to being actually quite disconcerting and gross. That traveling motif really aids in the concept of Dorian Gray being this myth or fable. Yeah, I think that's right. It really is a fable at some point or a kind of mythology. Even within the story of someone with a reputation that is incredibly positive and then can become quite sordid and notorious. Just the way that can turn. You're now a two-time Tony nominee. It's rare to receive two nominations for the same show. What are you most looking forward to at the Tony Awards? It's a huge honor. It's kind of otherworldly. Like something you wish for or imagine could happen, and never actually really believed that it would happen. I'm in Australia at the moment and we're flying over for the ceremony. There's something about the Broadway community over there that is just something that I've never experienced before. I have felt really welcomed and just so thrilled to be part of it. The way that this city celebrates this industry is a very rare and incredibly special thing. So I feel like being in Radio City ... being there with everyone who's made work this year is the most exciting thing. All of those people who, you've seen them in shows, they have seen your show, and there is actually a really genuine dialogue happening with that community. It's remarkable to experience for the first time. That's what I'm most excited about … and probably really great snacks! This interview has been edited for length and clarity. SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Who Needs a Tony to Reach EGOT? Sadie Sink on her character's 'emotional rage' in 'John Proctor Is the Villain' and her reaction to 'Stranger Things: The First Shadow' 'It should be illegal how much fun I'm having': Lea Salonga on playing Mrs. Lovett and more in 'Stephen Sondheim's Old Friends' Click here to read the full article.
