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South Wales Guardian
6 hours ago
- Entertainment
- South Wales Guardian
Sam Mendes, Adrian Lester and James Nesbitt honoured by Paul McCartney at LIPA
The ceremony, which took place on Tuesday at Liverpool Philharmonic Hall, saw The Beatles bass player award the trio a companionship for 'outstanding achievement and contribution to student learning', as he also honoured indie band The Wombats, who met while studying at the LIPA. The band, made up of Matthew Murphy, Tord Overland Knudsen and Dan Haggis, also saw their manager Simon Bobbett receive a companionship. Sir Sam, who is currently planning a set of four individual but interconnected films based on the lives of each of the members of The Beatles, received his companionship via video link as he could not make the ceremony. Lester starred in the 2021 Broadway production of The Lehman Trilogy, directed by Sir Sam, with his role seeing him nominated for a Tony Award, and the actor has also appeared in BBC series Hustle, 2004 film The Day After Tomorrow and US TV series The Rook. Others being honoured by Sir Paul were director Gay Linvill, who has directed episodes of The Big Bang Theory, and Go Live Theatre chief executive and arts accessibility campaigner Sita McIntosh. The LIPA's principal and chief executive Professor Sean McNamara said: 'Today is a celebration of creativity, collaboration and possibility. 'As artists, innovators, and leaders who will inspire others through their work, the graduating class of 2025 possesses the skills, the vision and the confidence to influence culture and the world around them. 'We are immensely proud of them and look forward to seeing the future they create.' The LIPA was founded by Sir Paul and Mark Featherstone-Witty in 1996, on the site of the old Liverpool Institute – the former school of both Sir Paul and Beatles bandmate George Harrison, and the adjacent Liverpool Art College once attended by John Lennon. This year's graduation ceremony celebrated the achievements of around 420 graduating students from more than 30 countries, including Colombia, Hong Kong and India.
Rakyat Post
a day ago
- Rakyat Post
The Forbes Five-Star Secret That's Closer Than You Think
Subscribe to our FREE In the rarified world of luxury hospitality, where Forbes Travel Guide's five-star rating remains as elusive as it is coveted, consistency is perhaps the ultimate luxury. This year marks the ninth consecutive time that Solaire Resort Entertainment City has earned this distinction—a feat that places the Manila property in select company among the world's truly exceptional destinations. The numbers tell only part of the story. Sprawling across 8.3 hectares mere kilometres from Manila's storied districts, Solaire occupies that sweet spot of accessibility without compromise—close enough to the city's pulse, yet removed enough to offer genuine escape. For the discerning traveller, particularly those from neighbouring Malaysia, it represents something increasingly rare: world-class luxury without the ordeal of transcontinental flight schedules. The Sky Tower's rooms and suites range from 65 to 395 square meters—dimensions that speak to a different philosophy of hospitality, one where space itself becomes a luxury amenity. Floor-to-ceiling windows frame Manila Bay's legendary sunsets, while the 72-meter outdoor pool stretches like a liquid horizon beneath the tropical sky. 'We are grateful for the opportunity to receive this The Sky Tower lobby at Solaire Resort features a luxurious and modern design, providing a welcoming atmosphere for guests. (Pix: Solaire) The Choreography of Choice Nineteen restaurants and bars might seem excessive until one considers the choreography required to maintain genuine variety without sacrificing quality. The triumvirate of signature establishments—Finestra Italian Steakhouse, Yakumi, and Red Lantern—anchors a culinary program that manages to feel both comprehensive and curated. Red Lantern at Solaire Resort offers a delightful array of traditional Chinese dishes that captivate with their rich flavours and textures. (Pix: Solaire) Its wine program, featuring 685 labels, alone suggests the kind of depth that separates serious hospitality from mere accommodation. The Theatre at Solaire, with its 1,740 seats and Broadway-calibre productions, represents something more ambitious than hotel entertainment—it's cultural infrastructure that has attracted Tony Award and Grammy Award-winning performances. For Malaysian visitors accustomed to Kuala Lumpur's vibrant arts scene, this represents the kind of authentic cultural programming that elevates a resort beyond mere luxury accommodation into genuine destination status. The Theatre at Solaire offers a contemporary setting for theatrical performances, making it a notable destination for entertainment in Manila. (Pix: Solaire) Luxury Retail and Recreation Behind the marble and mahogany lies a USD 1.2 billion investment—RM5.065 billion in Malaysian terms—that manifests in details both grand and granular. The pillar-less grand ballroom, Metro Manila's largest at 1,000 seats, speaks to the engineering ambition required for true luxury. The Shoppes at Solaire, with its roster of Rolex, Gucci, Louis Vuitton, Dior, and Polo Ralph Lauren, acknowledges that luxury travellers expect luxury retail. Even a shooting range finds its place in this carefully orchestrated ecosystem of indulgence. The Sky Range Shooting Club offers Malaysian visitors a unique recreational experience rarely found in regional luxury resorts—and for many, their first opportunity to handle real firearms in a controlled, professional environment. The club features a comprehensive selection, including handguns, rifles, and shotguns, with expert instruction available for those discovering this sport for the first time The Shoppes at Solaire Resort offers a luxurious shopping experience featuring prestigious international brands like Louis Vuitton, Gucci, and Dior. (Pix: Solaire) The Persistence of Standards 'We celebrate this recognition together with our 12th anniversary. We remain committed to setting new standards in luxury hospitality,' says David Batchelor, Senior Vice President for Resort Operations. It's the kind of statement that could easily ring hollow, were it not backed by nearly a decade of consistent recognition from Forbes. As the flagship property of publicly-listed Bloomberry Resorts Corporation and the inaugural resort in the government-sponsored Entertainment City development, Solaire carries the weight of expectation that comes with being first. Nine years later, it continues to justify that early confidence—a reminder that for Malaysian travellers seeking Forbes-calibre luxury without the traditional barriers of distance, cost, or complexity, sometimes the best-kept secrets hide in plain sight, just three hours flight away. South Korean singer PSY has been appointed as the brand ambassador for Solaire Resort. (Video: Solaire) Share your thoughts with us via TRP's . Get more stories like this to your inbox by signing up for our newsletter.
Express Tribune
4 days ago
- Entertainment
- Express Tribune
Cleo Laine, legendary British jazz singer and Tony-nominated actress, dies at 97
Dame Cleo Laine, one of Britain's most celebrated jazz vocalists and a prominent figure in theater, died on Thursday at the age of 97. Her death was confirmed by representatives from The Stables, the Buckinghamshire arts center she co-founded with her husband, composer and saxophonist John Dankworth. No cause of death was disclosed. Widely regarded as the U.K.'s foremost jazz singer, Laine earned international acclaim for her remarkable vocal range and distinctive style. The BBC called her 'the most recognizable British jazz singer in history,' while The Sunday Times once described her as 'quite simply the best singer in the world.' Though her roots were in the U.K., Laine made a significant impact in the U.S. as well. She received a Tony Award nomination in 1986 for her performance as Princess Puffer in Broadway's The Mystery of Edwin Drood and was recognized with multiple Grammy nominations across jazz, pop, and classical categories — a rare achievement. Her only Grammy win came in 1985 for Cleo at Carnegie – The 10th Anniversary Concert. Laine's discography includes collaborations with music legends like Ray Charles, Mel Tormé, James Galway, and the Duke Ellington Orchestra. She also performed alongside Frank Sinatra during a five-night residency at London's Royal Albert Hall in 1992. Beyond music, Laine had a distinguished stage career, performing in both Broadway and West End productions. Her portrayal of Julie in a 1971 London revival of Show Boat ran for hundreds of performances. In 1989, she earned critical praise for her role as the Witch in a touring production of Into the Woods. Born in Southall, Middlesex in 1927, Laine began her career after auditioning for a band led by Dankworth, whom she married in 1958. The couple remained together until his death in 2010. Laine continued performing into her 90s, often appearing onstage with her children Alec and Jacqui, both musicians. Laine was appointed an Officer of the Order of the British Empire in 1979 and remembered as a trailblazer whose influence on British jazz remains unmatched. She is survived by her two children.
Time of India
5 days ago
- Entertainment
- Time of India
Andrew Barth Feldman to replace Darren Criss in Tony-winning ‘Maybe Happy Ending' musical; shares stage with Helen J Shen
Andrew Barth Feldman is set to join the Tony Award-winning Broadway musical Maybe Happy Ending , taking over the lead role of Oliver from Darren Criss. Feldman, known for his performances in Dear Evan Hansen and the film No Hard Feelings , will begin his nine-week run on September 2, continuing through November 1 at the Belasco Theatre. The musical follows the story of Oliver, a retired robot living in South Korea, and Claire, a fellow robot, as they explore emotional connection and meaning in their later years. Criss, who originated the role on Broadway in October 2024, became the first Asian American actor to win a Tony Award for Best Leading Actor in a Musical for his portrayal of Oliver. Feldman joins longtime partner Helen J Shen onstage Feldman will appear opposite Helen J Shen, the show's original Claire, who also happens to be his partner offstage. The couple will be joined by original cast members Dez Duron and Marcus Choi. Understudies Steven Huynh, Hannah Kevitt, Daniel May, Christopher James Tamayo, and Claire Kwon will also remain part of the ensemble. Andrew Barth Feldman is set to join the Tony Award-winning Broadway musical Maybe Happy Ending | Credit: X The casting of Feldman marks a shift in the musical's history. Originally developed and premiered in South Korea, this will be the first time the character of Oliver is portrayed by a white actor in a Broadway production. Creators emphasize inclusive casting vision The creators of Maybe Happy Ending — Will Aronson and Hue Park — along with director Michael Arden, acknowledged the significance of Feldman's addition to the cast. In a statement, they shared, 'We fell in love with Andrew's take on the role of Oliver when he appeared as the reader in Helen J Shen's initial audition tape. To have him join her onstage at the Belasco is a special treat. Maybe Happy Ending is a story about longing for connection and the complexities of being human — and robot. These are universal themes that transcend backgrounds. We're proud to continue embracing exciting casting possibilities and to showcase this role as one open to different interpretations and lived experiences.' Andrew Barth Feldman will replace Tony-winner Darren Criss | Credit: X Tony award-winning musical continues its momentum Maybe Happy Ending received widespread acclaim this season, taking home the 2025 Tony Award for Best Musical. The show also won in several other major categories, including Best Score, Best Book, Best Director of a Musical, and Best Actor for Darren Criss. The production's story, centered around retired helperbots Oliver and Claire, has resonated with audiences for its emotional depth and themes of human connection in a futuristic setting.
Chicago Tribune
22-07-2025
- Entertainment
- Chicago Tribune
Review: ‘Girls & Boys' by Griffin Theatre is a devastating solo memory play
As I walked out of Griffin Theatre's extraordinary production of 'Girls & Boys,' in that dazed state that sets in after a show really messes with your head, two thoughts immediately ran through my mind. First: Cynthia Marker just gave a hell of a solo performance — one of the best I've seen in a long time. Second: how on earth am I going to convey the impact of this play without spoiling too much of the plot? I'll give the latter my best attempt. In this one-woman play, British writer Dennis Kelly (a Tony Award winner for the book of 'Matilda the Musical') manages a tricky balancing act, tackling an extremely dark subject in almost surgical detail while softening its harshest blows for the audience and maintaining some sense of hope in humanity. Oh, and the show is also hilarious. Griffin's Midwest premiere of this 2018 play is directed by Robin Witt, who excels at the helm of intimate dramas, as recently demonstrated by the moving two-handers 'A Case for the Existence of God' and 'A Slow Air' at Steep Theatre. Her knack for shaping exquisitely paced, quietly devastating emotional arcs works equally well in 'Girls & Boys.' With a skilled writer and a sensitive director in her corner, Marker holds the audience in rapt attention for 100 minutes straight in the role of the unnamed narrator, a quick-witted, irreverent Londoner from a working-class background. She launches her opening monologue with a bit worthy of a stand-up comedy set, recalling how she first met her future husband while waiting to board a JetBlue flight in Naples, Italy. As he sarcastically dashes the hopes of two gorgeous models trying to flirt their way ahead in the tense queue, this previously unremarkable man starts looking like a Greek god to our narrator. The attraction proves to be mutual, and Marker's character rhapsodizes about their passionate physicality and seemingly perfect compatibility in the early stages of their relationship. Suddenly, a sound cue and a shift from white to blue lighting indicate a leap in time, and this woman begins to relive a mundane interaction with her two young children, Leanne and Danny, while speaking to thin air and miming her motherly motions. Although we don't initially understand the purpose of this disorienting scene, in which the narrator no longer addresses the audience but instead seems wrapped up in her own memories, it does begin to make sense of the striking scenic design by Sotirios Livaditis. The set's ground level consists of a simple couch, throw rug, end tables and lamps in grays and off-whites — an ensemble that is mirrored by blue furniture suspended from the ceiling and strewn with children's toys and two stuffed animals. The overhead set pieces light up during the blue-tinged memory sequences, with lighting designer Brandon Wardell and sound designer Thomas Dixon working in tandem with Livaditis to toggle back and forth in time as the play inches toward revealing how the narrator's own life was turned upside down. When the action flips back to the brightly lit, right-side-up look, Marker's character recounts how her husband, a successful entrepreneur, cheered her on as she pursued a new career in documentary filmmaking. In another comedic moment, she tells the story of her first job interview in the industry, which pitted her against a horde of posh young people who could afford to pad their resumes with unpaid work experience. But with a combination of grit and humor, she gets her foot in the door and works her way up. A happy marriage, a fulfilling job and soon, a growing family — her adult life seems off to a promising start. Of course, that's not where the story ends. I won't reveal more here, but the script drops enough hints of the horrors to come that when the crisis finally arrives, the narrator acknowledges that the audience probably knows where it's going. Then, she gives the gentlest, most generous trigger warning imaginable. When the story gets difficult, she tells us, remember two things: this did not happen to you, and it is not happening now. But in this fictional world, the unspeakable did happen to her, and the narrator's reflections on violence, grief and memory are both poignant and profound. Marker never succumbs to a full breakdown in the telling, and her character has had years to process the trauma, but her pain is no less palpable for this restraint. It's a performance that will haunt me for some time, I suspect. Don't miss 'Girls & Boys' (4 stars) When: Through Aug. 16 Where: Griffin Theatre at the Bramble Arts Loft, 5545 N. Clark St. Running time: 1 hour, 40 minutes Tickets: $30-$43 at
