Latest news with #TellIttoMyHeart
Yahoo
12 hours ago
- Entertainment
- Yahoo
'80s Star, 63, Still Looks 'Insanely Hot' at Rare Concert Appearance After Cancer Battle
'80s Star, 63, Still Looks 'Insanely Hot' at Rare Concert Appearance After Cancer Battle originally appeared on Parade. Taylor Dayne, 63, is back like no time has passed since the 1980s. The Tell It to My Heart songstress, who recently overcame colon cancer, showed off her killer pipes at a recent concert alongside '80s and '90s legends like Sheena Easton and Wilson Phillips. Fans couldn't help but note that Dayne's voice wasn't the only thing serving '80s perfection. The singer has never looked better, according to fans thrilled to see one of the '80s and '90s most recognizable voices back on a video shared to her own social media, Dayne can be heard belting out one hit after the next—her big, booming voice showing no signs of wear and tear. The singer wore a sparkly green leotard, revealing her toned body and super-fit legs. Her signature long blonde tresses framed her ageless face while she danced and grooved with the audience. Fans took note, with one writing, 'PLEASE MARRY ME,' while another shared, 'She's still insanely hot.' Others weighed in, writing, 'her voice is amazing,' and, 'Yes yes yes!'Dayne's impeccable voice delighted fans as much as seeing one of their favorite '80s icons healthy on stage. In 2022, the singer was diagnosed with colon cancer and underwent surgery to have 10 inches of her colon removed. She is now cancer-free and has spoken publicly about the importance of colon cancer screenings. We love seeing her shine—and love hearing her voice. What a talent! 🎬SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox🎬 '80s Star, 63, Still Looks 'Insanely Hot' at Rare Concert Appearance After Cancer Battle first appeared on Parade on Jun 4, 2025 This story was originally reported by Parade on Jun 4, 2025, where it first appeared.
Yahoo
7 days ago
- Entertainment
- Yahoo
‘80s music icon says she went to Hawaii ‘to die' while battling colon cancer
Taylor Dayne shared some personal details regarding her past bout with cancer. The 'Prove Your Love' singer exclusively told Parade that she previously traveled to Hawaii 'to die' after being diagnosed with colon cancer in July 2022. 'I was at the Blue Note in Hawaii because I said I'm going to go there to die,' Dayne, 63, told the outlet. The 'Don't Rush Me' singer also expressed an interest in playing at the renowned jazz club. 'I'll walk on stage. I'll sit at night [on] my little stool, and I promise you, I'll go back and forth [to the hospital there],' Dayne said. The singer, who has remained cancer-free, added that she met the 'most loving, helping, caring' people in the Aloha State. 'I could receive this incredible blanket and a hug and understanding [from them], and that's when I understood what being an artist really is,' Dayne told Parade. Dayne rose to stardom through the success of her first two albums: 1987's 'Tell It to My Heart' and 1989's 'Can't Fight Fate.' Both albums were certified two-times platinum by the RIAA. Dayne has achieved three gold singles and seven top 10 singles, including 'I'll Always Love You,' 'Tell It to My Heart,' and the chart-topping 'Love Will Lead You Back.' Among Dayne's accolades are an American Music Award, multiple New York Music Awards and nominations for two Grammy Awards. The 'Heart of Stone' singer also told Parade she started working on 'new music about a month ago.' 'The new music we're working on. I think an album's actually in the works,' Dayne said. 'I spoke to my management about it, and we're getting such interesting feedback that we might put [out] a lot more.' Shakira, Jason Aldean's Fenway shows canceled due to 'unforeseen circumstances' Popular 2000s hip-hop duo to release first new album in 15 years No jail time for rock guitarist previously charged with vehicular manslaughter 'Let's not twist the message': Country music star clears up viral AMAs moment Legendary rock guitarist, Grammy-winning producer dies at 77 Read the original article on MassLive.
The Guardian
20-02-2025
- Entertainment
- The Guardian
Much Ado About Nothing review – Tom Hiddleston and Hayley Atwell crackle in a party of pink
It is usually a jukebox musical audience that are encouraged to 'dance in the aisles'. In Jamie Lloyd's 1990s clubland twist on Shakespeare, the ushers are doing it before the curtain has even gone up. It is a sign of things to come, along with the throwback soundtrack and the giddy swirl of disco lights. Taylor Dayne's Tell It to My Heart kicks off proceedings and a shower of pink confetti rains down. This is a thoroughly weird and absolutely wonderful re-conceptualisation, turning Shakespeare's comedy, which narrowly swerves tragedy, into an old school house party cum modern romcom. More musical than play, the interludes of song and dance are sometimes abrupt – from Beastie Boys to Deee-Lite and Backstreet Boys. The dated sound might be a nod to the play's older couple, Beatrice and Benedick, played by Hayley Atwell and Tom Hiddleston, who are veteran singletons before being tricked into admitting their love for each other. Hiddleston and Atwell have a sparring chemistry that is as bright as the modern-day costumes (all pink spangles, gold shimmer and sequins). You can virtually see the sparks coming off them in their 'merry war', which is fuelled by antagonistic duelling but dips suddenly to earnestness and intensity. Every other element works alongside them, with the drink (and drug?) addled hedonism on stage not compromising Shakespeare's verse. Most of the cast here worked on Lloyd's previous West End show, The Tempest, including Mara Huf and James Phoon, who again play a couple in love as Hero and Claudio, along with a fey Tim Steed as Don John, and several others. That show met with mostly negative reviews. This seems like The Tempest's revenge in its determined infectiousness – genuinely funny, romantic and trimmed of the laboured subplot involving tiresome Dogberry. It has the same creative team too in set designer, Soutra Gilmour (bringing similarly dark depths around the stage), lighting by Jon Clark (disco lights galore) and sound by Ben and Max Ringham. Movement director, Fabian Aloise, creates lovably cheesy dance routines and the overall effect combines into hallucinatory revelry. Mason Alexander Park, who stole the show as a lugubrious Ariel in The Tempest, plays Hero's attendant, Margaret, but they are key to the soundtrack of the play with their gorgeous intermittent singing. The masquerade ball features plushy headdresses (from Tweety Pie to a mini-octopus); they are silly and humorous but return through the production to look more disturbingly psychedelic – like an acid trip gone wrong. The switch from light to dark, when Hero is falsely accused of unfaithfulness on her wedding day by Claudio, is orchestrated with a masterful precision of tone. It brings dangerous anger, and where the scene ordinarily shows up the play's dated gender politics – a man questioning the virtue of a woman and condemning her to metaphoric death – Hero never loses her power and the couple's reunion seems genuine and joyful. The visible mechanics of the stage – from lights to bare back wall and a row of chairs for actors to sit when they are not performing – are customary features in Lloyd's shows, but there is something magical in it here: they come downstage to perform not at us but to us, making eye contact, pointing at us individually as they speak of love and attraction. There is a meta moment too, in Beatrice and Benedick's romance when they meet cardboard cut-outs of each other's Marvel superheroes (both have starred in the Hollywood franchise). Benedick worships at the cardboard altar of Atwell's Captain Carter while Beatrice dances suggestively with Hiddleston's Loki. The latter is certainly god of mischief here, pulling off difficult physical comedy involving confetti in the eavesdropping scene when he is tricked into his romance, and pulling out some nifty dance moves (Atwell pulls out her own, too). Both wink and flirt with the audience without deviating from Shakespeare's text 'I am loved of all ladies,' says Hiddleston and the auditorium roars in confirmation. Lloyd himself seems like the god of mischief in constructing this party of pink silliness. You would have to be a god of stone to not be seduced by its wacky winter joy. A wonderfully giddy thing indeed, and that is my conclusion. At Theatre Royal Drury Lane, London, until 5 April
