Tearful Buble brings son on stage during comeback

Michael Buble brought his son on stage as he made an emotional return to touring at the British Summer Time festival in London’s Hyde Park.
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EXCLUSIVE: Longchamp to Stage First Fashion Show in New York

PARIS — In one of the latest twists in the trans-Atlantic fashion show shuffle, Longchamp is planning to stage its first official runway show at New York Fashion Week this fall. Known for its best-selling Le Pliage bag, the French leather goods firm has expanded its ready-to-wear offering over recent years as part of its repositioning as a lifestyle brand.
The New York show is scheduled for Sept. 8, with the venue yet to be confirmed. The family-owned brand also plans to stage an event on its home turf at the Opéra Garnier in Paris on Sept. 11.
The NYFW show will cap Longchamp’s 70th anniversary celebrations and a U.S.-centric year for the brand. Building on its ambition to be seen as a fashion brand, Longchamp in May opened its Fifth Avenue flagship with a dedicated space for rtw and shoes in the center of the main floor, and launched a clothing and accessories capsule with Shayne Oliver. Meanwhile, Kendall Jenner, the new brand ambassador, is on board for four seasons, beginning with the fall 2018 campaign.
When asked if the New York show will be a one-off, Sophie Delafontaine, Longchamp’s artistic director, said: “We felt that this was the right time to take things to the next level and

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Poldark’s Aidan Turner ‘a revelation’ in stage role

The Poldark star gets a warm welcome from critics in his leading role in The Lieutenant of Inishmore.
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Stage actors rage at audience members watching World Cup on phones

Two women cheer from the front row of a play as they watch England’s penalty win on their phones.
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Maisie Williams to make stage debut

The Game of Thrones star will play a sick teenager in US two-hander I And You.
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Follow live: Colombia, Senegal have eyes set on knockout stage

A win guarantees Colombia a spot in the round of 16, while Senegal needs just a draw to advance.
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Follow live: England looks to secure spot in knockout stage

Harry Kane recorded a hat trick and John Stones scored twice as England cruised to an easy victory in Group G.
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Trump fan waves flag to disrupt De Niro stage show

A Donald Trump supporter has waved a “Keep America Great” flag in front of a Robert De Niro-directed play in New York.
Entertainment News – Latest Celebrity & Showbiz News | Sky News

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Behind the crucial calls NBA refs make on the biggest stage

Think the refs blew the call on LeBron in Game 1? The refs sure don’t. Here’s an inside look at the call that changed the course of the Finals.
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Eurovision: SuRie left ‘bruised’ after stage invasion

But the singer says there was “no time to feel fear” when her performance was interrupted.
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Revealed: How Eurovision invader made it on stage

The anti-media campaigner who interrupted SuRie’s performance in the Eurovision final managed to invade the stage after climbing into the venue’s camera run while being pursued by security.
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SuRie’s Eurovision stage invader revealed

The stage invader who interrupted SuRie’s performance in the Eurovision final is thought to be the anti-media campaigner known as Dr ACactivism.
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Comedian Ken Jeong Jumps From Stage To Rescue ‘Heckler’ Suffering From A Seizure

Jeong also happens to be a doctor.
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Xbox Head Working to Get Japanese Publishers on Microsoft’s E3 Stage

Xbox head, Phil Spencer, says Microsoft plans to get some Japanese publishers on board for their E3 2018 presentation.

When asked whether we could expect to see any JRPGs in Xbox’s E3 lineup this year, Spencer tweeted, “As of now, yes. Things can change but like last year I wanted to make sure we supported our Japanese publishers on our stage and this year we are working to do the same. It’s important to us.”

Spencer added that he’d like to see some SEGA franchises come to the console, like Yakuza, and said that “support from the Japanese publishers has been a focus.”

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Queen Helena, Liam & Cyrus Stage a Coup Against the King

King Robert wants to rule the kingdom by himself and the Queen, Prince Liam and Cyrus are planning his downfall. Watch the dramatic "Royals" moment!
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Saint Laurent to Stage Show in New York on June 6

BE A PART OF IT: Having harnessed the power of the Eiffel Tower in his last two women’s ready-to-wear shows, Anthony Vaccarello now has his eye on the Big Apple.
The designer will stage his next show for Saint Laurent in New York City on June 6, according to sources familiar with the label’s plans. Such a move would be a powerful endorsement for New York Fashion Week, which has seen a clutch of designers defect to other locations in recent seasons.
Officials at Saint Laurent declined to comment on the house’s plans.
The New York calendar is in flux, following Alexander Wang’s decision to move his show to June from September. In tandem with Wang’s move, the Council of Fashion Designers of America has put into motion plans for official summer and winter fashion seasons taking place as soon as June and December 2018.
The CFDA’s web site lists June 2 to 6 as the dates for the next New York Fashion Week, to be followed by New York Fashion Week: Men’s from July 8 to 10. It is sticking to its main women’s season from Sept. 5 to 11.
To add to the confusion, May and June is also resort season, with Prada,

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Courtroom Drama: Producer Offers to Stage Disputed ‘Mockingbird’ for Judge

The disagreement over the characterization of Atticus Finch expands to a second lawsuit between the producers and the Lee estate.
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Podcasting’s New World: Groupies, Stage Fright and Sold-Out Shows

A niche industry only a few years ago, podcasts are the new rock stars of the touring circuit.
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Peter Kay stage appearance delights Car Share fans

It was the comedian’s first stage appearance since he cancelled all future work last December.
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Peter Kay makes surprise return to stage

Peter Kay delighted fans by making a surprise return to the stage at a charity screening for his award-winning Car Share series.
Entertainment News – Latest Celebrity & Showbiz News | Sky News

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Dior to Stage Cruise 2019 Show in Chantilly Stables

SADDLE UP: Dior is staging its cruise 2019 show closer to home than the last edition, which took place in the Santa Monica Mountains. Scheduled for May 25, the event will take place at the Grandes Écuries of the Domaine de Chantilly, near Paris.
A symbol of French prestige and art de vivre, the historic stables — which are the largest in Europe — were constructed in the 18th century for the seventh Prince de Condé, Louis-Henri de Bourbon.
The city of Chantilly has long-standing ties with Dior, from the founding couturier’s first creations to those of his successors, Yves Saint Laurent and Marc Bohan. Various designs for the house over the years have carried or evoked its name and prestige, starting with Christian Dior’s second collection, for fall 1947, which featured an evening dress baptized at Chantilly.
While Dior journeyed to the sweeping Upper Las Virgenes Canyon Open Space Preserve in Calabasas, Calif., for the staging of its Cruise 2018 show — marking the first big destination event for artistic director Maria Grazia Chiuri — the setting of the house’s next display promises to be more about time travel. And possibly an equestrian theme.

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Country star collapses on stage in Ireland

Country music star Tim McGraw has collapsed on stage during a show at the Country to Country festival in Ireland.
Entertainment News – Latest Celebrity & Showbiz News | Sky News

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Sharon Wauchob to Launch Men’s Wear, Stage Coed Shows From June

ONE FOR THE BOYS: The Irish designer Sharon Wauchob plans to launch men’s wear — and join the coed gang — starting with London Fashion Week Men’s in June, and in concert with the Savile Row tailor Norton & Sons.
“The idea of change started with my move from Paris to London, which opened up the possibility and benefit of new avenues and new methods of showing. There was also the timing issue with deliveries and the fact that since moving to London I’ve been fascinated with bespoke men’s tailoring,” Wauchob said.
She plans to host a women’s presentation to show her fall 2018 range during London Fashion Week on Feb. 18 and will show a new collections of women’s wear and menswear in June.
As for her collaboration with Norton & Sons, she said,“I like exploring the masculinity in men’s wear. As a designer it genuinely interests me. Norton & Sons offers a modern look and a willingness to have that dialogue with me. I like the classic look with a moment of surprise.”
The designer, who moved her show to London from Paris three seasons ago, said that designing for men requires a different approach. She said there are technical differences to

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photo essay: Watch the Met Opera Stage a Sea of Blood

A production of Wagner’s metaphysical “Parsifal,” which returns on Feb. 5, floods the stage with 1,250 gallons.
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SAG Awards 2018: ‘Three Billboards’ Triumphs; #MeToo Gets Stage Time

James Franco, who did attend, and Aziz Ansari, who didn’t, lost in their categories on a night when women’s empowerment was a theme.
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Why Fast & Furious is going from screen to stage

The car theatre show, based on the film franchise, premieres in London on Friday night.
BBC News – Entertainment & Arts

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CES 2018: LG robot Cloi repeatedly fails on stage at unveil

A robot designed to help households control smart devices repeatedly fails on stage as it is unveiled.
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At Golden Globes, Women’s Rights Take Center Stage

Preshow hosts tried to keep the red-carpet banter light, but the stars repeatedly brought the focus back to women’s rights.
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Roy Orbison back on stage – as a hologram

He was the singer with a hauntingly beautiful voice who penned some of the most poignant songs of the 60s and 70s. There are plenty of people that would kill to have seen Roy Orbison perform when he was alive but how about paying to watch him now as hologram? 
Entertainment News – Latest Celebrity & Showbiz News | Sky News

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Andrea Crews to Stage Fashion Show Process As Performance

PERFORMANCE: Andrea Crews founder Maroussia Rebecq is taking the concept of backstage access to new heights. The Paris-based designer, who launched her label in 2002 as an art project geared around upcycling vintage garments, plans to stage the preparations for her fall 2018 co-ed show as a performance, titled “How to Make a Great Fashion Show.”
From today through Jan. 17, Rebecq, along with the members of her collective, will hold castings and fittings, shoot the brand’s look book and hold the final hair and makeup tests in the Le Cœur gallery in Paris’ Marais district. The actual show will be held on Jan. 20 during Paris Men’s Collections, with the location yet to be confirmed.
“This period, from now through to the show, is a very intense period where we’re building the story of our collection. This year we wanted to make an event out of it,” said Rebecq. “It will also allow for some distance from what I do. Preparing for a show can be both a highly stressful and beautiful experience, and for me gathering everyone together in a performance will make it more of a joyful, playful event.”
The designer, who is 40 but sees herself “very much as a Millennial,”

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Rihanna Takes Center Stage at Bloomingdale’s

Rihanna kept her fans waiting for nearly two hours on Friday at Bloomingdale’s. But no matter. The hard-core Rihanna crowd was happy to sway to her music and mouth every word of every one of her songs played by DJ Pedro. “I’m still in love with you, boy… ” “Time to get schooled,” said the invitation to the launch of the Fenty x Puma by Rihanna fall 2017 collection, which was billed as a pep rally for Fenty U.
Bloomingdale’s second floor — akak Fenty country — was outfitted with a podium that said Fenty U. Props such as bullhorns and pom-poms were strewn about, and about a dozen fans were chosen to sit on benches, like the cheering squad. Given Fenty x Puma items to wear over their clothes by Bloomingdale’s staffers, nobody donned the merchandise, except for the caps.
Asked if this was his scene, Tony Spring, Bloomingdale’s chairman and chief executive officer, said, “This is Rihanna, Fenty and Bloomingdale’s scene. It’s been a good business for us. She has a nice feel for product and style. She’s an icon in the entertainment world and has a true passion for the fashion business. Our culture is influenced by people with

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Sarah Stage Is Trying to ‘Stay Patient’ Now That She’s 9 Months Pregnant

Sarah Stage is trying to “enjoy the journey” as she waits for her second child to arrive.

The lingerie model shared a photo of her bikini body at 9 months pregnant.

“Stay patient and enjoy your journey! (one of my fav quotes at the moment) #9monthspregnant,” Stage, 33, wrote on Instagram.

The soon-to-be mom-of-two is focusing on staying in the moment and using each day to the fullest, which she emphasized in a video of her workout that she shared on Tuesday.

“As you know today is among the greatest gifts we have ever been given. Let’s use it wisely and refuse to waste a single one,” Stage posted. “#37weekspregnant and enjoying the last couple weeks of this pregnancy. It’s been quite the journey!”

Stage has kept up her workouts throughout her pregnancy — to the dismay of some critics — but she thinks they’re going to end soon.

“I’ve been asked how much longer I intend to workout and I think next week will be my last week (although I’ve already decreased my exercising to 2x a week & lowered intensity),” she explained.

RELATED VIDEO: Model Sarah Stage Keeps Up Her Workouts as She Hits Her 9th Month of Pregnancy

 

And now she has just a little over two weeks to wait until baby #2 is due on Oct. 22.


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Marilyn Manson Hospitalized After Massive Stage Prop Collapses During New York City Concert

Marilyn Manson‘s New York City concert ended abruptly Saturday night after a stage prop collapsed on top of him, causing him to be brought to a hospital for his injuries.

The 48-year-old rocker was performing a cover of the Eurythmics’ “Sweet Dreams (Are Made of This)” about 45 minutes into his Hammerstein Ballroom show when he began to climb a structure displaying two giant gun props, Variety reports. The podium began to wobble, then Manson fell backwards with the prop coming down on top of him.

The house and stage lights went off for several minutes. They then came back on with an announcer saying the show was over “due to injury.”

The singer’s representative told Variety, “Manson suffered an injury towards the end of an incredible NYC show. He is being treated at a local hospital.” The extent of the injuries is unknown.

A representative for Manson did not immediately respond to PEOPLE’s request for further comment.

Eyewitness Anthony Biscardi told the BBC that Manson was covered by a black sheet before he could be taken off stage on a stretcher, adding that the performer was “pretty limp, almost as though he was unconscious.”

At his Friday night show in Pittsburgh, Manson reportedly tumbled off the stage during his concert. He told the crowd he broke his ankle before calling his tour manager a “fascist,” according to Loudwire.

Manson was three dates into his The Heaven Upside Down Tour in support of his 10th studio album, which is due to be released this Friday. He was scheduled to perform in Boston on Monday night.

It was not immediately clear if any of Manson’s concert dates will be postponed due to the incident.


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Fergie Makes a Sexy Return to the Stage in Rio Following News of Split from Josh Duhamel

Fergie has returned to the music scene with a bang.

After the 42-year-old singer and Josh Duhamel, 44, revealed they have separated following eight years of marriage on Thursday, Fergie took the stage Saturday night to perform at the Rock in Rio Festival in Rio de Janeiro, Brazil.

The former Black Eyed Peas singer sported a risqué black and white ensemble for the concert, featuring a body suit with lace-up details on the sides. Her mismatched over-the-knees boots read Double Dutchess, the name of her visual album due to drop Sept. 22.

Although it’s been 11 years since the release of her solo album The Dutchess, Fergie proved she hasn’t missed a step in her time away from the music scene. She combined her sexy dance moves with her hit songs like “Fergalicious.”

The singer met with a small group of lucky fans on Friday, during which she thanked them for their support following news of her split.

“I want to thank all of you in your different ways. Whether it be helping online with all the naysayers or just helping me with the fashion or just sometimes being there for me when I need to read something that’s filled with love,” Fergie told the fans as seen in footage shared on her Instagram Story.

“Thank you so much from the bottom of my heart. I’m so glad this whole race has been to get here … I thank you so much, everybody, I appreciate you so much. I’m so blessed,” she said in a second video.

RELATED GALLERY: A History of Fergie & Josh’s Relationship — and the Sweetest Things They’ve Ever Said About Each Other

On Thursday, Duhamel was spotted out for the first time following the announcement of their separation and was noticeably not wearing his wedding ring.

The actor took a walk through a hiking trail in Brentwood, California, wearing a blue hat, black shirt and jeans.

RELATED VIDEO: Fergie and Josh Duhamel Separate After 8 Years of Marriage: ‘We Are and Will Always be United’

“With absolute love and respect we decided to separate as a couple earlier this year,” the couple — who share a 4-year-old son, Axl — said in a joint statement. “To give our family the best opportunity to adjust, we wanted to keep this a private matter before sharing it with the public. We are and will always be united in our support of each other and our family.”


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Sarah Stage Gets Ready for Her Last Month of Pregnancy: ‘Looking Forward to Meeting Baby Boy’

On month left to go!

Sarah Stage is ready to meet her new baby boy in October. The model, 33, thanked her followers for supporting her through her pregnancy on Thursday.

“Looking forward to meeting baby boy NEXT MONTH!!!” she writes. “Baby flipped and is now head down and weighs a little over 4.5 lbs.”

“It’s been quite an experience sharing my pregnancy journey so far but I really appreciate all of the positive support from many of you!! I try to always message you back and it’s been great hearing your stories as well!”

Stage also shared a video of her workout that day, which included weighted lunges and squats, and side planks alongside her first son, James, 2.

RELATED VIDEO: Sarah Stage Reveals She’s Gained Just 18 Lbs. in Almost 8 Months of Pregnancy

 

In a workout video from Aug. 31, Stage said that despite constantly sharing the benefits of exercise during pregnancy, there are still people who accuse her of harming her baby.

“#8monthspregnant and I’m just doing the best that I can and what I believe is the healthiest for baby and myself,” she wrote. “There STILL seems to be some confusion and harsh ignorant opinions about exercising while pregnant and some of you believe it’s putting baby in danger. Do your research and you will see that working out while pregnant (with your doctors consent) has many benefits for mom and baby!”

Stage added words of encouragement for other women.

“Soooooo for all of the women out there who are doing the best they can, I’m proud of you!!! Creating life inside of us is a huge responsibility and we need to support each other instead of judging!!”


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IMG Reveals Lineup for NYFW: First Stage

THE LINEUP: IMG has revealed its preliminary schedule for New York Fashion Week: First Stage, that takes place Sept. 7 to 10 at The Gallery at the Dream Downtown, whose entrance is at 346 West 17th Street.
NYFW: First Stage will feature a collection of established and emerging international designers, many of whom are showing for the first time. The designers will be presenting women’s, men’s, children’s and accessories collections. They hail from such countries as Portugal, India, the U.S. and Singapore.
The women’s designers are:
Bella Ivory (U.S.)
Cindy Monteiro (Cape Verde)
David Ferreira (Portugal)
Irina Vitjaz (Austria)
KUR (Sri Lanka)
Nina Tiari (U.S.)
Runa Ray (Sinagpore)
Vaishali S (India)
Multicategory Designers
Just in Case (Taiwan), women’s and men’s collection
Galtiscopio (France), women’s and accessories
Talisha White (U.S.) women’s and children’s
Sechs Element (China), which features eight women’s and men’s designers with eco-friendly collections hailing from China, London, Russia and the U.S.
Indonesian Diversity (Indonesia), which will showcase five luxury ready-to-wear women’s designers and one accessory designer.

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Man arrested after Britney stage invasion

A man has been arrested after rushing onto the stage during a Britney Spears performance in Las Vegas.
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ADP Takes Swipe at Ackman, Setting Stage for a Fight

ADP launched a broadside against William Ackman in what is shaping up to be a nasty fight over the human-resource software giant’s leadership.
WSJ.com: US Business

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Plum Organics Stage 2 Eat Your Colors Orange, Organic Baby Food, Peach, Pumpkin, Carrot and Cinnamon, 3.5 ounce pouch (Pack of 6)

‘Game Of Thrones’ Star Brings Ridiculously Cute Dog On Stage At Comic-Con

And fans just couldn’t cope.
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‘Julius Caesar’ Play Halted As Protester Storms Stage, Another Screams At ‘Nazis’

The play came to a temporary stop as security removed the two demonstrators.
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Was Ed Sheeran worthy of The Pyramid Stage?

Glastonbury’s finale saw Ed Sheeran and his guitar climb the most iconic stage in the world – and it was always going to divide people.
Entertainment News – Latest Celebrity & Showbiz News | Sky News

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IMG Courts International Designers With NYFW: First Stage

SHOWCASING THE INTERNATIONAL SET: IMG is launching New York Fashion Week: First Stage, an international designer showcase that will run Sept. 7 to 11.
NYFW: First Stage will feature more than 30 international designers at The Dream Hotel, a new IMG show venue. The entrance will be at 346 West 17th Street.
“As New York Fashion Week: The Shows and our ongoing designer development programs gain more recognition on the global stage, we have seen a surge in interest from international designers looking to showcase their collections in our venues,” said Catherine Bennett, senior vice president and managing director, IMG Fashion.
She said she’s had “overwhelming interest” from international designers who would like to participate. As far as criteria, Bennett said, “We are looking for designers whose current business plans include either breaking into or expanding in the U.S. market and whose production infrastructure is capable of supporting such growth.”
The venue will have a big runway space that can accommodate more than 400 people, as well as a  presentation space, she said.
IMG plans to release the schedule of designers participating later this summer. Bennett anticipates that the new venue will primarily feature women’s wear designers, but some of the designers may show women’s

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Courtney Love Takes Center Stage in Haunting Menendez: Blood Brothers Trailer

Menendez: Blood Brothers, Courtney LoveCourtney Love is traveling back in time. Love will star in Lifetime’s Menendez brothers movie, Menendez: Blood Brothers. E! News has your exclusive first look at a brand-new trailer with Love…

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Courtney Love Takes Center Stage in Haunting Menendez: Blood Brothers Trailer

Menendez: Blood Brothers, Courtney LoveCourtney Love is traveling back in time. Love will star in Lifetime’s Menendez brothers movie, Menendez: Blood Brothers. E! News has your exclusive first look at a brand-new trailer with Love…

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Nurses to stage ‘summer of protest activity’ over pay cap

The RCN says its members will be balloted on taking industrial action unless pay cap is lifted.
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Venice Is a Stage for Damien Hirst’s ‘Treasures’ (and a Biennale, Too)

The artist’s blockbuster show aims to open the wallets of collectors, curators and museum directors. Less obviously, so does much of the Biennale.
NYT > Arts

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Nonfiction: Their Hours Upon the Stage: Performing ‘Hamlet’ Around the World

To celebrate Shakespeare’s 450th birthday, London’s Globe Theater performed “Hamlet” in 190 countries. Dominic Dromgoole looks back on the run in “Hamlet Globe to Globe.”
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Louis Vuitton to Stage Cruise at I.M. Pei’s Miho Museum

TUNNEL VISION: Maintaining its recent tradition of spectacular show locations with a powerful architectural bent, Louis Vuitton will set its cruise 2018 presentation on May 14 at the Miho Museum, set amid lush vegetation in the Shiga mountains near the Japanese city of Kyoto.
The museum was designed by I.M. Pei and features a huge tunnel leading to a structure with a steel-and-glass roof and a floor and walls made of a warm beige-colored limestone from France – the same materials the architect used to create the pyramid and reception hall at the Louvre museum in Paris, which was the setting for creative director Nicolas Ghesquière’s fall collection for the brand.
The designer tweeted a teaser photo of the site on Thursday afternoon showing the tunnel and a glimpse of the museum.

“We’ve always made architecture a very integral part of our story,” said Michael Burke, chairman and chief executive officer of Louis Vuitton. “When I launched cruise when I came here, it had to be exotic, it had to be places that you knew of but that you never went to,” he added. “Japan is a destination that everybody thinks they know, but they all know Tokyo.”
Louis Vuitton said that it has maintained strong

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Radiohead quit Coachella stage twice after technical problems

Audio malfunctions force Radiohead to quit the stage twice during their headline performance at the California festival.
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The One With The Musical: Friends set for stage

Hit US show Friends is the latest to be turn to a musical parody, 13 years after the series came to an end.
Entertainment News – Latest Celebrity & Showbiz News | Sky News

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DJ Duo Claim They Were Handcuffed and ‘Dragged Off Stage’ for Telling Frat Party ‘Put Yo Hands Up’

A DJ duo claim that they were handcuffed and dragged off stage at a University of Alabama frat party after telling revelers to “put yo’ hands up” during their performance.

Vicetone, real names Ruben Den Boer and Victor Pool, tweeted, “So I just got handcuffed and dragged off stage at this college party for ‘inciting a riot’ by yelling something like ‘put yo hands up.’ ”

The Dutch duo followed up the tweet at 1:15 a.m. Saturday by saying, “Obviously got released cause I did nothing wrong – also huge shoutout to University of Alabama for throwing down tonight.”

A video of the Tuscaloosa party posted on Twitter shows one of the duo on stage in a hospital gown drinking 4 Loko, which is a combination of malt liquor and caffeine.

A University of Alabama police officer told PEOPLE that neither Den Boer nor Pool were arrested, but said officers were called to the party for “crowd control.” She referred further questions to the university’s media relations department, which did not immediately respond to a request for comment.

From Coinage: The Real Cost of Going to Coachella

One student tweeted an apology that police intervened at the show, “Sorry you guys had to go through that crap here. You guys were lit.”

It’s not clear whether anyone was arrested at the party.


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The Voice final crashed by stage invader

The final episode of The Voice descended into chaos as an audience member crashed the stage and Sir Tom Jones said the F-word.
Entertainment News – Latest Celebrity & Showbiz News | Sky News

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How WWE’s Natalya Preps for Wrestlemania, ‘The Grandest Stage of Them All’

WWE wrestlers travel the globe year-round for bouts, but none are as big as Wrestlemania, what fighter Natalya “Nattie” Neidhart calls, “the grandest stage of them all.”

To prep for the sport’s biggest day of the year, Neidhart, 34, focuses on cutting down her diet and kicking up her workouts in the days right before she hits the ring.

“The days leading up to Wrestlemania we really watch what we eat, and I hit the gym no matter what,” she tells PEOPLE. “When you’re walking out in front of 70,000 people you want to look your absolute best, because it’s not just those people that are watching you live, it’s 170-plus countries around the globe that are tuning in.”

But her diet — what Neidhart says is the key to staying in tip-top shape — doesn’t change too much.

“The thing about WWE is we’re on year-round, there’s no off-season. So bodybuilders can diet down for a show, and then eat normally, but we have to maintain our physiques 365 days a year,” she says. “And 90 percent of the struggle is in the diet. I love to exercise, but you can’t out work a bad diet. If you’re not eating properly, than you’re definitely not going to look your best.”

The constant traveling for WWE can make it tough to stick to a diet and get to a gym, but Neidhart and her fellow wrestlers have it figured out.

“Thank goodness we have Yelp and we have Google to find these places,” she says. “The second that we land, the first thing I do is find food, and a gym. Our bodies are part of our job, so we have to look good and we have to maintain.”

From Coinage: 4 Ways to Work Out Without Killing Your Wallet

 

At the gym, she focuses on Olympic lifting, and says her favorite move is the clean and jerk.

“You’re lifting weight off the ground and you’re throwing it up, so you’re giving your body a whole-body workout,” Neidhart says. “And it definitely imitates us throwing people down in the ring!”

And though she’s slamming the other WWE Divas to the ground on stage, the truth is they’re all good friends.

“While we’re in the ring we’re all fierce competitors, everyone wants to win, but behind the curtain we’re all friends,” Neidhart says. “There’s a little dance that we do — myself, Alexia Bliss, and Carmela — any time that Nikki James’ music comes on, and it really gets us going before the match. I call us the Three Disgruntled Blondes. It just loosens you up and makes you laugh.”

WrestleMania airs live on Sunday, April 2 at 7 p.m. ET on WWE Network. Fans can also see Nattie compete every Tuesday night on SmackDown Live on USA Network at 8 p.m. ET.


PEOPLE.com

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Chaumet to Stage Major Exhibit in Beijing’s Forbidden City

FORBIDDEN PLANET: Chaumet is bringing its 237 years’ worth of history to Beijing’s Forbidden City.
The Place Vendôme jeweler, which is closely associated with Napoléon I and Empress Joséphine, will exhibit some 300 works, jewels, paintings, drawings and objets d’art dating from the end of the 18th century to today at the National Palace Museum as part of the “Imperial Splendors” retrospective, scheduled to run from April 11 to July 2.
“Through a selection of works belonging to the Palace Museum, the exhibition offers an exchange between the Chinese and French jewelry arts, imagined around a mutual culture of excellence, to unveil shared inspirations and reciprocal influences,” Chaumet said in a statement.
Under the scientific direction of Henri Loyrette, former director of the Louvre museum in Paris, the exhibition will end with the presentation of the tiara of the 21st century, the product of a creative competition at Central Saint Martins in London.
The show will feature items on loan from prestigious collections and prominent museums including the Louvre, the Château de Fontainebleau and the Victoria and Albert Museum in London.
They include the Bourbon-Parma tiara, made by Joseph Chaumet. It was worn by Hedwige de La Rochefoucauld for her marriage to Prince Sixtus of

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Party Coverage: Scene City: Opening Ceremony Swaps the Runway for the Ballet Stage

The fashion world turned out at the New York City Ballet on Saturday to see costumes designed by Humberto Leon for Justin Peck’s “The Times Are Racing.”
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Encounters: Even the Teen Vogue Writer Who Took On Trump Gets Stage Fright

Lauren Duca was a little-known writer before last month. Her essay accusing the newly elected president of “gaslighting” changed all that.
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Nicole Kidman Says Keith Urban Rushed to Her Side After Father’s Death: ‘He Walked Off Stage and He Got on a Plane’

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Nicole Kidman says she was “shattered beyond belief” after the 2014 death of her father, but credits her husband and children with helping her through the difficult time.

In an interview on CBS Sunday Morning, the actress recalled the moments she learned of her father’s death, and how Keith Urban rushed to her side.

“I had a husband that came right back. I called him screaming and crying. And he was about to go on stage. And he walked off stage and he got on a plane — he had just gotten there,” the Lion star, 49, told CBS.

“He flew six hours and he was right back there. And he literally picked me up and pretty much carried me through the next two weeks.”

Dr. Antony Kidman died suddenly in September 2014 while in Singapore visiting his other daughter, Antonia, and her family. He was 75.

“When my father passed away, I literally was down saying, ‘Please, give me the strength just to be able to wake up tomorrow’ … I didn’t even know how to get up from this,” the actress said.

Why Nicole Kidman Loves Living in Nashville: ‘I Was Meant to Go There’

However, along with her husband, Kidman said the couple’s young daughters, Faith Margaret, 5, and 8-year-old Sunday Rose, helped her to “get up.”

“I had my children going, ‘It’s gonna be all right, Momma,’ ” she explained. “It’s interesting the way children view things, ’cause they’re like, ‘You still got your mommy.’ ”

Johns PKI/Splash News Online

And when it comes to her little “Southern” girls, Kidman said she hopes they can say the same for a long, long time.

“I would just like to be here long enough to have my children grow up and for me to see them thriving. Right? So that’s all I ask. And that my husband and I are with each other,” she said.

“Just wanting to be here. I’m an older mother, so, you know … It’s that prayer of, ‘Gosh, let me be here.’ “


PEOPLE.com

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Plum Organics Baby Quick Meals Stage 3 hello, Dinner Broccoli & Cheese Baby Pasta, .6 oz

Plum Organics Baby Quick Meals Stage 3 hello, Dinner Broccoli & Cheese Baby Pasta, .6 oz


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Luke Bryan slaps heckler from stage with microphone in hand

FILE - In this Nov. 2, 2016, file photo, Luke Bryan performs "Move" at the 50th annual CMA Awards at the Bridgestone Arena in Nashville, Tenn. Video shows Bryan slapping a heckler with his fingers while still holding the microphone during a show in Nashville on Nov. 30, 2016. Bryan then continued with the song seeming unfazed by the incident.(Photo by Charles Sykes/Invision/AP, File)NASHVILLE, Tenn. (AP) — Country star Luke Bryan took care of a heckler without skipping a beat during a concert this week by taking a swing at the man from the stage with his microphone still in hand.



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With Star Quality Intact, Ben Rimalower Returns To The NYC Stage

New York writer-performer Ben Rimalower returns to the Off-Broadway stage this weekend with an encore presentation of his solo shows, “Patti Issues” and “Bad With Money.”

Rimalower, 40, has been steadily making a name for himself in Manhattan theater circles and on the road since 2012, when he premiered “Patti Issues” to enthusiastic reviews at the Duplex in New York. That show, which The New York Times praised for its “sharp, observational comedy,” saw Rimalower using his obsession with Broadway diva Patti LuPone as the foil to a deeper narrative about his fractured relationship with his father. 

In “Bad With Money,” which debuted at the Duplex two years later, Rimalower dramatized his struggles with another personal (and, in some respects, more imposing) demon: finances. He wasn’t just talking about a few bounced checks or missed rent payments, either, as the show chronicled his brief stint as a sex worker as well as his brush with credit card fraud. (Watch a clip from that show above.) 

Of “Patti Issues,” Rimalower told The Huffington Post in 2012 that he “wanted to write a show about my experiences with Patti because she’s been so important to me, and I love to talk about that and think about that. But I realized that while I could go on and on about Patti in a way that would only be interesting to people who care, that’s not the project I ultimately wanted to write here.”

Meanwhile, “Bad With Money” gave him the chance to tackle a subject that felt even more universal, particularly among other gay men. “I think gay men have the worst of both worlds when it comes to money. We’re raised, as men, to be earners, to achieve and to amass wealth,” he said in 2014. “But as gay men, we also want to attract men, so we aspire to a lot of what women are taught, too. We want to be beautiful and we want to be glamorous ― and that costs money.” 

Directed by Aaron Mark, “Patti Issues” and “Bad With Money” will play New York’s Duplex on Nov. 19 and Dec. 19.  Head here for more details.  

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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Carters Baby Boys Every Step Stage 3 Shoes

Carters Baby Boys Every Step Stage 3 Shoes


Carter’s Every Step shoes offer a stage for each stage of walking! Thethird of the Every Step series, these Stage 3 boots provide molded soles for better traction for walking those longer distances. Shoes feature a self-adhesive strap. Polyurethane.

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RapcoHorizon Horizon Multi-Channel Stage Snake (8 x 4, 25 ft)

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Carters Kids’ Bobby Stage 2 Crib Shoe Baby/Toddler Shoes (Navy) – 3.0 M

Carters Kids’ Bobby Stage 2 Crib Shoe Baby/Toddler Shoes (Navy) – 3.0 M


He’ll have a whale of a time in the Bobby Stage 2 Crib Shoe from Carter’s. Faux leather upper in a crib sneaker style with a round toe Velcro closure Stitching and printed detail Heel pull loop Roomy self-adjusting fit allows feet to develop naturally Seamless linings for everyday comfort cushioning insole Sensory pods at heel and forefoot for better ground feel Thin soles help protect sensitive feet

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Twin Pack Baby Bottle with Stage A Nipples Orange 5 Ounces

Twin Pack Baby Bottle with Stage A Nipples Orange 5 Ounces


Comes with the New Stage A nipples – recommended 0 to 6 months. Free of Bisphenol-A (BPA), PVC, nitrosamines, Lead, melamine, PET, Tritan and biologically harmful chemicals Features a unique, one piece venting system to reduce vacuum pressure creating during feeding No Spill, cross cut nipple design to mimic natural breastfeeding behavior Purchase of The Conversion Kit transforms baby bottle into award winning sippy cup Made from recyclable materials – No.5 plastic Soft, medical grade silicone nipple to ease transition Easy to clean – Dishwasher safe (Top Rack recommended) Travel caps to reduce chance of spillage during travel
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Stage Fright Gets the Best of Mikey

As Mikey prepares to open the biggest show of his life, his nerves start to get the best of him. Listen to him vent to his sister Dani.
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Tom Ford to Stage Show During London Collections: Men

FORD FORGES AHEAD: Tom Ford will unveil his fall 2016 men’s collection at London Collections: Men in January for the first time in a show format.
Ford, who usually holds appointments in his studio for press and buyers to view his men’s collections, has a provisional slot on the calendar for Jan. 11 at 6:30 p.m., and the British Fashion Council is set to confirm the final schedule on Dec. 7.
According to a Ford spokeswoman, a decision on how the collection will be presented has not been made at this time.
Ford, who did not stage a runway show or presentation for his women’s spring 2016 collection, took it to the small screen last month with a  video shot by Nick Knight that featured Lady Gaga.
Ford is working on his second film, “Nocturnal Animals,” an adaptation of the 1993 novel “Tony and Susan” by Austin Wright starring Amy Adams and Jake Gyllenhaal. The movie is due for release next year.

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Twin Pack Baby Bottle with Stage A Nipples- Orange 9 Ounces

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Free of – Bisphenol-A (BPA), phthalates, nitrosamines, lead, PVC, PET, and biologically harmful chemicals.No Spill nipple features our cross cut design. The design also mimics natural breastfeeding as it requires your little one to nurse to receive fluid.Anti-colic nipple helps reduce incidence of gas and spit up. Unique one-piece design eliminates cleaning headaches and tricky assembly. No extra parts to lose.Extra soft, medical grade silicone – provides easier transition from breastfeeding to bottle feeding. Comes with Stage A nipple (for 0-6 months and marked with a number 2 on the nipple). Also available: Stage B nipple (for 6+ month and marked with a number 3 on the nipple).The transformational line – The thinkbaby system allows parents to transform baby bottles to our award winning Sippy Cup through purchase of the Conversion Kit. The system saves parents money and the environment from discarding baby bottles when it’s time for the next stage in feeding.Comes with Travel Top reduces chance of spillage during travel and protects the nipple from coming into contact with foreign substances.Dishwasher safe (Top rack recommended).Eco-friendly Baby bottles are made from materials that can be recycled after use. Does not leach chemicals to adversely affect the environment.
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Carter’s Boys Stage 2 Shoes

Carter’s Boys Stage 2 Shoes


Carter’s every step is the new baby and toddler shoe line that is all about the natual stages of kids’ development – from crawling to running. Doctors say, Barefoot is best because it allows your child to naturally feel the ground and allows the foot to develop as nature intended. Our thinner, scientifically designed lightweight shoe protects little feet while enabling a like-barefoot sensation. Our unique technology stimulates your child’s natural senses without interfering with the ground surface or directing their natural development. Carter’s every step stages allow your child to grow and move the way nature intended. Start with Stage 1 Crawl is for babies who are crawling and exploring on their hands and knees. Wonderfully easy to get on and off even the squirmiest child, Stage 1 shoes provide protection for tiny toes – plus a roomy fit that allows children’s feet to develop naturally as they start to move and contact the ground independently. Stage 2 Stand is for toddlers who are pulling up and standing on their 2 feet. The Self Adjusting Fit (SAF) allows easy on and off for the busiest of toddlers and gives you the confidence of a perfect fit. Stage 2 is a lightweight and flexible shoe, allowing natural ground contact for your little one’s feet. Stage 3 Walk is for independent stride of bigger kids as they begin to work on their own. Stage 3 shoes feature the SAF system for this active stage, so you can rest assured that your child’s shoes are the perfect fit. Our thinner lightweight sole protects and is designed for growing kids-on-the-go. Made with PU and leather. Imported.

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Palais Galliera to Stage Countess Greffulhe Exhibit

FALL LADIES: While the Met preps for its “Jacqueline de Ribes: The Art of Style” exhibit, which will go on view at the Costume Institute’s Anna Wintour Costume Center on Nov. 19, the Palais Galliera is readying the first exhibit dedicated to the wardrobe of Élisabeth, Countess Greffulhe, from Nov. 7 to March 20, 2016.
Countess Greffulhe, who was Marcel Proust’s inspiration for the Duchess of Guermantes in his novel “In Search of Lost Time,” lived through the Belle Époque and the Roaring Twenties and was the acknowledged leader of the Paris social swirl for half a century. She became particularly influential after her marriage to the extremely wealthy Count Henry Greffulhe, raising funds, producing and promoting operas, sponsoring science, and dipping into politics.
Palais Galliera, a City of Paris museum, will display some 50 dresses from its collection bearing the labels of such couturiers as Worth, Fortuny, Babani, and Lanvin. There’s a tea gown with blue velvet on green silk designed by Charles Frederick Worth dating back to the turn of the century, a silver Babani coat from 1920, as well as other day dresses, evening dresses, indoor clothes, accessories, portraits, photographs and films.
The exhibition, curated by Olivier Saillard, the museum director, is to also shed light on

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Palais Galliera to Stage Countess Greffulhe Exhibit

FALL LADIES: While the Met preps for its “Jacqueline de Ribes: The Art of Style” exhibit, which will go on view at the Costume Institute’s Anna Wintour Costume Center on Nov. 19, the Palais Galliera is readying the first exhibit dedicated to the wardrobe of Élisabeth, Countess Greffulhe, from Nov. 7 to March 20, 2016.
Countess Greffulhe, who was Marcel Proust’s inspiration for the Duchess of Guermantes in his novel “In Search of Lost Time,” lived through the Belle Époque and the Roaring Twenties and was the acknowledged leader of the Paris social swirl for half a century. She became particularly influential after her marriage to the extremely wealthy Count Henry Greffulhe, raising funds, producing and promoting operas, sponsoring science, and dipping into politics.
Palais Galliera, a City of Paris museum, will display some 50 dresses from its collection bearing the labels of such couturiers as Worth, Fortuny, Babani, and Lanvin. There’s a tea gown with blue velvet on green silk designed by Charles Frederick Worth dating back to the turn of the century, a silver Babani coat from 1920, as well as other day dresses, evening dresses, indoor clothes, accessories, portraits, photographs and films.
The exhibition, curated by Olivier Saillard, the museum director, is to also shed light on

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Lemmy leaves stage with breathing issue

Motorhead should be riding high on the charts next week with their new album, Bad Magic, if their sales on Amazon are any indication
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Lemmy leaves stage with breathing issue

Motorhead should be riding high on the charts next week with their new album, Bad Magic, if their sales on Amazon are any indication
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The Best Concert Tickets in the Nation! $ 8 off any Event Ticket, Use Code: FALL8OFF at checkout with $ 40 minimum purchase. Find Tickets Now!

This Is Not a Drill: Taylor Swift and Lisa Kudrow Sang “Smelly Cat” Together On Stage

The list of celebs who have not appeared on Taylor Swift's 1989 tour stage is now officially shorter than the list of those that have, and the additions she made during her final Staples Center…


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Hamlet on Stage

Hamlet on Stage


John Mills spotlights the various ways in which the role of Hamlet has been performed over almost four centuries. He launches this work with the first Hamlet portrayal, that of Richard Burbage, and then, in chronological order, describes and analyzes the Hamlets of the other actors who make up the great tradition of English-language Shakespeare acting. Mills devotes an entire chapter to each actor, focusing on acting style, text interpretation, theatrical and critical influences, popular and critical responses, and more. He offers a scene-by-scene account of the central figure’s performance, with special emphasis on business and line-readings.

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Stage Door: Three Days to See

2015-08-01-1438438921-9030130-ThreeDaystoSeecCarolRosegge1438313901364981x1024.jpgThe Miracle Worker, a young blind and deaf girl, awakened by her remarkable teacher Annie Sullivan. But Three Days To See, a new theater piece presented by Transport Group off-Broadway at Theater 79, introduces us to the adult Keller.

And she is extraordinary.

Seven actors speak her words — and Keller opines on everything from politics to literature. She wrote 14 books and met every president from Coolidge to Kennedy. A Radcliffe graduate, she fought tirelessly for equal treatment for the disabled and counted Mark Twain and Charlie Chaplin as friends.

Her story is hugely dramatic, yet Three Days is sometimes devoid of drama. That may be because director Jack Cummings III has chosen a presentational style — actors speaking to an audience — in fragmented moments.

The play is a mosaic, rather than a narrative, skipping back and forth in time. Born a healthy child in Alabama in 1880, a high fever at 18 months robbed Keller of her sight and hearing. Left in isolation, she was nearly feral until Sullivan rescued her from darkness.

The most recognizable moment in Three Days is Sullivan (Barbara Walsh) trying to feed Keller as a child. It’s a scene anyone familiar with “The Miracle Worker will recognize. This incarnation is choreographed to the Benny Goodman classic “Sing, Sing, Sing.” The music is wonderful, but its usage here is distracting.

Similarly, other scenes feature actors Ito Aghayere, Patrick Boll, Marc De La Cruz Theresa McCarthy, Chinaza Uche, Barbara Walsh and Zoe Wilson jumping on chairs, running around the stage or grabbing flowerpots. The text is powerful — it doesn’t always need physical distraction.

At the same time, Keller’s life is fascinating, and we’re moved and enlightened by her story. There are genuinely poignant moments here; one of the most memorable is when her beloved teacher Annie Sullivan dies.

The title Three Days is taken from a piece Keller wrote explaining what she would do if given three days of sight and sound.

While the musical choices either overwhelm or complement the action, featuring overtures from To Kill a Mockingbird to Gone With the Wind, there is power in Keller’s words. Three Days is a reminder of Keller’s amazing life. For those who did not know Keller’s full story, it’s an awakening.

Photo: Carol Rosegg

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.




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The Vaccines join Mumford and Sons on stage

The Vaccines retuned to the stage after their earlier set to join forces with Mumford and Sons during their headline set at Poland’s Open’er Festival.
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Thinkbaby Baby Bottle With Stage A Nipple (0-6 Months) – Twin Pack – 9Oz

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When we introduced the thinkbaby over 4 years ago 95 of the baby bottles on the market were made of polycarbonate which contains BPA Initially we attempted to convince the major companies to move off of polycarbonate but after being unsuccessful we launched thinkbaby and thinksport to address the concern of chemicals leaching from consumer products We started with the baby bottle because polycarbonate was ubiquitous across the industry As little ones systems are still in a state of development they have very little defense against foreign chemicals While many companies have emerged to offer BPA Free baby bottles many bottles not only still contain BPA despite saying BPA Free but many companies have also landed on untested materials just because the material claims to be free of BPA thinkbaby utilizes the precautionary principle in the creation of all of our products We dont jump to new materials without doing the requisite testing to ensure that we havent landed on another BPAlike material When we target a product segment that concerns us we ask the question How can we make the product line Safe Functional Sustainable thinkbaby and thinksports focus has led us to be the first company to span safe consumer products ranging from baby to adultsProduct Features Free of BisphenolA BPA phthalates nitrosamines lead PVC PET and biologically harmful chemicals No Spill nipple Anticolic nipple helps reduce incidence of gas and spit up Extra soft medical grade silicone Stage A nipple for 06 months The thinkbaby system allows parents to transform baby bottles to our award winning Sippy Cup through purchase of the Conversion Kit The system saves parents money and the environment from discarding baby bottles when its time for the next stage in feeding Comes with Travel Top Dishwasher safe Top rack recommended Twin Pack 9 ozCountry of origin TaiwanSize 2PK9OZPack of 1Product Selling Unit Each

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Stage 2 Greek Yogurt Zucchini, Pear and Kale 3.50 Ounces (Case of 16)

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Baby Bottle with Stage A Nipple Orange 9 Ounces (0-6 Months)

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Stage Door: Nice Girl

2015-05-29-1432931806-6780920-ApH9cJWT4rHXiPPyreEABMtUCuGfsGGy5kKzK44qs.jpg

There’s a tiny hint of A Glass Menagerie in Nice Girl, the Labyrinth Theater’s latest production, now at the Bank Street Theater. Jo, 38, lives at home with her demanding yet clingy mother. Twenty years ago, she had a scholarship to Radcliffe and a bright future. But all that changed in the blink of an eye.

Neither the spiritually dead, but well-intentioned Jo (Diane Davis), nor her undercutting mother Francine (Kathryn Kates), are capable of separating from their symbiotic, soul-crushing union.

Nice Girl is set in suburban Boston in 1984, doesn’t rise to the poetry of Williams, but it possesses a poignancy and moving tribute to working-class blues that’s touching in its simplicity.

And its examination of internecine warfare is quietly heartbreaking.

Poor Jo. She’s so defeated by life and loneliness that when her coworker, a feisty relationship-plagued Sherry (Liv Rooth) asks her what she dreams about, she registers a blank look.

Playwright Melissa Ross is adept at home truths and finding the dark humor in characters wrapped in the stench of failure. She’s aided by director Mimi O’Donnell, who allows her cast to discover the emotional landmines present in simple flirtations or the possibility of joy.

The 70-seat theater seems the ideal forum for a production that explores the destructive impact of a dream deferred.

It’s only when Jo clicks with Donny, a former high school classmate (Nick Cordero), a local butcher, that she even entertains the possibility of change. Or is hope just another illusion?

The cast is letter-perfect. Davis’ shy smile and stoic demeanor speaks volumes, while Kate’s undercutting widowed mother has a strange chemistry with her daughter. They are trapped by more than mere circumstance. Similarly, Cordero and Rooth, both seasoned, eclectic performers, acquit themselves well.

Nice girls don’t finish first, but in Ross’ hands, they leave a lasting impression.

Photo: Monique Carboni

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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自然香调 Bare Escentuals 双色眼影2.0 – The Big Debut (# Future # Center Stage) 3g/0.1oz

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The Edge takes a tumble off stage

U2 kicked off their Innocence + Experience world tour in Vancouver, Canada and he wasn’t without problems. The Edge fell off the stage during
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Stage Door: One Hand Clapping, Clinton the Musical

2015-05-16-1431805344-3138059-OneHand.jpgOne Hand Clapping, at 59E59 Theaters, is a thoughtful and engaging dark comedy.

Adapted and seamlessly directed by Lucia Cox from the novel by Anthony Burgess, of A Clockwork Orange fame, it kicks off the Brits Off-Broadway fest. Howard (Oliver Devoti) and Janet (Eve Burley) Shirley live a provincial existence. She works at a local supermarket and waxes rhapsodic over baked beans and toast; Howard, a used car salesman, is as negative as his wife is positive: “What are we, really? We don’t have much to give the world.”

Howard thinks it’s a wicked world, plagued by rampant consumerism and the threat of nuclear war. His one desire — to live like a millionaire for a month, then “to snuff it” — is admittedly novel. So is his tactic to secure a victory over circumstances. He decides to go on a quiz show, armed with a photographic mind and a relentless determination to win.

The fun is taking the journey with these two quirky people, the disciplined, exacting Howard, who, in Oliver Devoti’s hands is beautifully modulated and recognizable as a man painfully aware of his limitations. Similarly, Eve Burley is excellent as Janet, a simple, friendly woman who takes comfort in the ordinary, but yearns, however quietly, for something more. Plus, Meriel Pym’s set and costumes are spot-on.

A searing look at the changing mores of the ’60s, juxtaposed with the peppy black-and-white ads that run during the show. Advertising’s vapidness mirrors a post-war Britain aping American consumption. What happened, Howard muses, to the gravitas of earlier times?

At 80 minutes without an intermission, One Hand Clapping is an intimate, riveting ride. In this tiny theater, big things happen.

Crosstown, a larger off-Broadway venue takes on politics, always fertile ground for satire — and the Clinton years, with sex, scandal and Republican skullduggery, offered it up in buckets. So it’s probably no surprise that Clinton the Musical, now off-Broadway at New World Stages, has landed at the same time Hillary is running for president. 2015-05-16-1431805125-2264057-HuffPoClinton.jpg

It begins in 1993, when President Bill Clinton (Tom Galantich) takes office. He’s young, charismatic and Democratic, to the horror of GOP leaders, the food-obsessed Newt Gingrich (John Treacy Egan) and a gay, leather-loving Kenneth Starr (a joyously over-the-top Kevin Zak). They plot to unseat the new president by whatever means necessary — even if it means digging deeply into his Arkansas past and disrupting much need health-care reform.

What’s good public policy next to the obsession with power?

While the Republicans come in for their just slams, in a script that follows the roller-coaster ride that was Clinton’s impeachment, it also posits two Bills: WJ, the caring, responsible one, and Billy, the wild, womanizing playboy (Duke Lafoon). Only one person, an uber-ambitious Hillary (Kerry Butler) sees them both — at the same time!

And there in lies the conundrum of the Clinton years. Throw in a crazed Linda Tripp (Judy Gold) and a saucy Monica Lewinsky (a terrific Veronica J. Kuehn), and the fast-paced, over-the-top parody is complete. Paul Hodge’s score zings everyone, from the scandal-loving, fact-ignoring press to the right-wing conspiracy determined to take the president down at any cost.

One quibble: It’s too heavy-handed when driving home Hillary’s presidential ambitions. Men strive for the presidency with ferocity — and if you’re last name is Bush, blatant entitlement. Why not women?

Dan Knechtges’s direction is zippy and fun and his cast delivers. For political junkies, Clinton the Musical delivers all the wacky elements of power politics in red, white and blue.

One Hand Clapping photo: Emma Phillipson
Clinton the Musical photo: Russ Rowland

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Taylor Made RBZ Stage 2 Umbrella (White, 60 Single Canopy) Golf NEW

Taylor Made RBZ Stage 2 Umbrella (White, 60 Single Canopy) Golf NEW


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’80s Singer Tiffany Reveals What Could Have Been Her Stage Name And Why She Posed For ‘Playboy’ (VIDEO)

Only a handful of stars are well known by simply one name. Madonna. Prince. Cher. And, as fans of 1980s teen pop music would be quick to point out, Tiffany.

Three decades ago, Tiffany rose to fame with such hits as “Could’ve Been” and her famous cover of “I Think We’re Alone Now.” But long before the single-named celeb sold four million copies of her debut album, she was just 10-year-old Tiffany Darwish singing in bars in Nashville.

“I wasn’t really allowed to be there, so it was a quick little get-up-and-do-a-little-jam,” Tiffany tells “Oprah: Where Are They Now?” in the above video. “Nobody really wanted to give me a record deal. They were kind of like, ‘Come back when you’re older.'”

A few years later, Tiffany met George Tobin, who would become her producer, and her career as an artist was starting to take shape. The first order of business? Choosing her name.

“They were going to call me Tiffany Williams at first. My last name, Darwish… that’s just not acceptable!” she says with a laugh. “I kind of just said, ‘What about just Tiffany?'”

Then 15, Tiffany embarked on tour of shopping malls across America, where her sudden popularity soon created total chaos. “When it got to be bigger than life and people were actually being shoved against barricades and it wasn’t safe and we were actually being shut down, I actually started crying,” she says.

After her debut album hit No. 1 on the Billboard charts, Tiffany felt pressure to continue that momentum. “The next album, you’re rushed in the studio to re-record something and get it out there as soon as possible,” she explains. “It kind of lost some of its charm.”

She continued putting out albums, but never quite had the same commercial success as her initial release. Tiffany’s music career went through a few more ups and downs over the next several years. As she matured and evolved as an artist, Tiffany later became determined to shed the “teen queen” image that came with fame.

“I think I’ve always been put in a box, that I’m Tiffany, the girl from the mall tour,” she says. “Then I did Playboy.”

In 2002, Tiffany posed nude for the magazine, to the shock of many. But, as the 43-year-old wife and mother now explains, she had several clear reasons for doing it.

“I was actually going through a divorce — it rocks your world. It takes your confidence away,” she says. “[Posing for Playboy] was a quick confidence-booster. And, it was shock value.

“Everybody wants to talk to me,” Tiffany continues. “If I can turn that into music and go, ‘Yeah, remember that little thing I do…?’, it works.”

“Oprah: Where Are They Now?” airs Sundays at 9 p.m. ET, and returns with all-new episodes in February. Find OWN on your TV.

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TaylorMade RocketBallz Stage 2 Fairway (3HL-17deg)

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Stage Door: Not the Messiah (He’s a Very Naughty Boy)

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For Monty Python fans, Eric Idle is a wacky kind of genius.

A co-creator of Monty Python on TV and film, he also wrote the book and lyrics for the Tony-winning Spamalot, which ran nearly five years on Broadway. Inspired by his success, Idle turned to another Python favorite, The Life of Brian. Teamed with composer John Du Prez, the duo transformed it into a comic oratorio, aptly dubbed Not The Messiah (He’s a Very Naughty Boy).

Operating on all cylinders, it recently blew Carnegie Hall audiences away.

It was performed by Idle, alongside several Broadway vets: Tony-winner Victoria Clark, Marc Kudish, Lauren Worsham and artist William Ferguson, who recently joined the Metropolitan Opera. Accompanied by the wonderful Collegiate Chorale, and a team of bagpipers, they made comic magic. The Chorale, which is noted for its eclectic repertoire — traditional to obscure works — is a key addition to any musical work. So is the Orchestra of St. Luke’s, which regularly collaborates with Carnegie Hall.

First performed in 2007 in Caramoor Center for Music and Arts in Westchester, New York, a time Idle refers to as “the halcyon days of the Bush Administration,” Not The Messiah boasts irreverent humor and an amazing score. The musical numbers rely on a range of genres — pop to gospel, country to classical.

The oratorio is based on “The Book of Brian,” the story of a young Judean during Roman rule. He is the wrong man, in the wrong place, at the wrong time. Inexplicably, despite Brian Cohen’s protestations, he is mistaken for the Messiah. As history has made clear, that’s never a happy ending.

When Brian admonishes followers not to look to him, but have faith in themselves, he exclaims: “You’re all individuals!” They chorus: “We’re all individuals!” One of the best examples of mob-think ever. Throw in Python references to the dead parrot sketch, lumberjacks and hysterical songs like “We Love Sheep,” “What Have The Romans Ever Done For Us,” “Mrs. Betty Parkinson” and “The People’s Front of Judea” and the irreverence reaches its zenith.

Idle calls Not the Messiah “baroque-n-roll.” Audiences just call it terrific. If you missed the live show, take heart. It’s available on iTunes, Flixster and Netflix.
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Stage Door: The River, It’s Only A Play

2014-11-23-HuffPoriver.jpg

Hugh Jackman is a big Broadway draw. Even though his current drama The River at Circle in the Square drowns in insignificance. Ticket prices exceed the most expensive musical; it’s a lot to pay to watch Wolverine gut a fish, though no one can dispute the man does it with finesse.

Despite the considerable talents of the song-and-dance performer, what you get is 85 minutes of a rambling, nonlinear story of a fisherman (an understated Jackman) who brings various girlfriends (Cush Jumbo and Laura Donnelly) to his rustic cabin. The women, like his dialogue, are interchangeable. There, he feigns romance — or does he? — while waxing poetic about fly-fishing.

There’s no hint of menace, though the various women suggest the hunky fisherman regularly casts his reel — but can’t haul in an emotional commitment. He’s got a trick to catching fish; and he uses similar wiles to lure lovers.

Given his celebrity status, Jackman can choose from any number of scripts to showcase his considerable range. The mystery is why he tapped this one. Jez Butterworth brought his convoluted, over-the-top rant Jerusalem to Broadway a few years ago. The River, his latest UK import, is less energetic, but equally confusing and unsatisfying.

At one point, Jackman likens the sensation of catching sea trout to “a million sunsets rolled into a ball and shot straight into your veins.” If only The River had that much splash.

Happily, It’s Only A Play does. It is an acerbic love letter to the theater — and no one can outdo Terrence McNally when it comes to delicious digs. In a snappy comedy now at the Gerald Schoenfeld, he sends up Broadway producers, directors and actors, zinging their narcissism and self-obsession with targeted glee.

McNally has updated his 1986 comedy — savaging everything from celebrity-larded shows — “theater is the new Statue of Liberty for movie actors” — to Matilda to New York Times reviews. The vicissitudes of the theater and its habitués are rendered with a series of sassy one-liners, delivered at super-sonic speed. Nothing escapes McNally’s wrath.

The play opens in the elegant Upper East Side bedroom of a silly blonde producer (Megan Mullally) awaiting reviews of her first production, The Golden Egg. Nathan Lane plays a TV actor who turned down the lead; he secretly hopes his playwright/friend’s (Matthew Broderick) work is a flop. A pitch-perfect Stockard Channing is Virginia Noyes, a one-time star hoping Egg secures her much-needed comeback. She drips with venom, sashaying across the set with righteous indignation. Like the irrepressible Lane, she is one of the show’s high points.

Throw in Rupert Grint, of Harry Potter fame, making a solid Broadway debut as a kleptomaniac wunderkind director, F. Murray Abraham as a vitriolic critic and a wonderful Micah Stock as the naive coat-check boy, and It’s Only A Play promises a hugely entertaining romp.

The only crack in this Egg is Broderick, whose monotone whines are grating. Whatever the line, it’s rendered in a wimpy, nasal drone.

Fortunately, the terrifically funny cast, led by the always-cheeky Lane and tightly directed by Jack O’Brien, more than compensates. For anyone who loves theater and all its crazy trappings, this Play is for you.

Photo: Richard Termine
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‘Duck Dynasty’ Musical Headed For Las Vegas Stage

Duck Dynasty” is making the leap from the small screen to the stage, with reports that a musical based on the controversial family is headed to Las Vegas.

The musical, from the production company behind “Jersey Boys,” will be a semi-biographical show based on Willie and Korie Robertson’s book, “The Duck Commander Family: How Faith, Family, and Ducks Built a Dynasty,” The Hollywood Reporter said.

The show will not star the Robertson family, but instead feature actors playing members of the family, the website reported.

The New York Times says the 90-minute, 14-song show will likely open in February at The Rio, which is currently home to Penn & Teller’s live show as well as a Chippendales performance.

I think the expectation is that it’ll be all chicken-pickin’ stuff and banjos, but what we’re trying to do is pull out as much heart, humor and sincerity as we can to keep people surprised,” Steven Morris, one of the show’s composers, told the newspaper.

The Times also reports that anti-gay remarks from family patriarch Phil Robertson will be addressed in the show.

In an interview with GQ last year, Phil Robertson compared homosexuality to bestiality and said African-Americans were happy before the civil rights era.

Robertson later issued an apology, but has continued to make controversial remarks. In June, he claimed he was “trying to help those poor souls and turn them to Jesus” and in September said he’s as much of a homophobe as Jesus. He has also claimed that AIDS and sexually transmitted diseases are God’s “penalty” for immoral conduct.

“The Robertsons are so unusual, their story so juicy, and theater shouldn’t be limited to telling stories about people you resemble or revere,” producer Michael David, who said he was personally offended by the comments, told the Times.

Season 7 of “Duck Dynasty” premieres next week on A&E.
Arts – The Huffington Post
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Theater: Jane Austen On Stage? Bedlam Ensues!

THE SEAGULL *** out of ****
SENSE & SENSIBILITY *** 1/2 out of ****
BEDLAM AT THE SHEEN CENTER

Others — led of course by the New York Times — have acclaimed Bedlam as a theatrical company of exceptional quality. See their latest productions of Chekhov’s The Seagull and a new adaptation of Jane Austen’s Sense and Sensibility done in repertory and you’ll immediately know why. They’re a strong ensemble with versatile actors and a keen intelligence devoted to the pure theater extolled by Cheek By Jowl and others right up the recent Peter and The Starcatcher. It’s theater that exults in the marriage of their talents and your imagination to create something special that needs no elaborate sets or frippery. The Chekhov is good (no small feat). The Austen is delightful and near masterful. And I will be certain to see whatever they do next.

You know the stories. In The Seagull, a famed actress heads to the country for a rest, only to have her petulant son Konstantin throw a fit when she giggles at his “play” and her lover — a writer who, she believes, should be thrilled to have her — grows besotted with a much younger ingenue. Meanwhile, the son is the object of affection for Masha, a woman he cannot see while she in turn is stalked by an obdurately dull school teacher named Medvedenko who makes less than $ 2000 a year and has no source of conversation other than the injustice of such a thing. It does not end well.

In Sense and Sensibility, the Dashwood women are thrown onto hard times by a weak-willed half-brother and his viperish wife. The willful younger sister Marianne is admired by the sober and deeply worthy Colonel Brandon but has her head turned by the dashing and feckless John Willoughby. The reserved and appealing older sister Elinor forms a deep attachment to the modest and equally reserved Edward Ferrars. But all seems to conspire against them and they are so careful of their emotions you despair of them even beginning a courtship much less consummating one. It ends very well because of course this is Austen. Her greatness lies in making the happy ending not inevitable but real and wholly earned.

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Both plays begin and end with a dance. Ending with a dance is an Elizabethan tradition carried on by the Globe in London and it’s a delightful one. In The Seagull, it feels a bit random and beside the point, though not a bother. In Sense & Sensibility, it is integrated more wholly into the show: the cast dances around in modern dress and then slowly disrobes their outer garments to reveal period dress as their dance reverts from modern free-for-all to the more formal style of Austen’s era.

Indeed, many of the directorial flourishes in Seagull feel a little unnecessary. The Russian play features a dramatic set change from act one to act two. In act one we are watching via stadium seating as the mostly outdoor scenes are performed. In act two, we move to a semi-circular seating around the action that is much more intimate and involving. While the staging would have been trickier, you only wish the whole show had been done that way because it’s so well-suited to the work. Jarringly, the young would-be playwright Konstantin (played by the director Ken Tucker) pops up in a silly red devil costume that feels more low-brow Will Ferrell than witty.

But these are minor concerns since most of the actors are spot-on and immediately involving. Vaishnavi Sharma is wonderful as the self-involved star, making her more human and less indifferent than I’ve seen before without ever underplaying her self-regard. Jason O’Connell is equally compelling as the writer Trigorin. The scene where she opens herself to him and we see the vain actress slip away and the insecure woman of a certain age remains is very moving. Up and down the cast holds our attention, from the doctor (Nigel Gore) right down to Masha, the daughter of the estate’s manager who is forlornly in love with Konstantin. She’s played by Andrus Nichols, who was so compelling that when my guest and I wondered who might play the lead in Sense we both hoped it would be her (and had our hopes confirmed). Even the often ponderous teacher Medvedenko is played by Samantha Steinmetz with wonderfully droll comic timing worthy of Ellen Degeneres at her best.

The weak links unfortunately are Tucker as Konstantin and Laura Baranik as the aspiring actress Nina who is wooed and destroyed by the writer Trigorin. Partially, it’s casting. We accept Steinmetz as a male teacher but somehow Tucker’s size and age make it hard to see him as the son of Sharma. And Baranik isn’t quite up to the devastation of Nina. This means the final scene where Tucker and Baranik survey their shattered lives falls somewhat flat. But a solid Seagull is no mean feat and the flat comic flourishes felt like minor missteps. Both of these actors fare much better in Sense & Sensibility.

Indeed, almost everyone fares much better in Sense and Sensibility. The set design is immediately promising: it includes elaborate floor to ceiling window panels on wheels that can be moved around to create a wall or separate areas or pulled back to frame a scene and allow outsiders to peer in on the action like the busybodies that pepper Austen’s novels. Another key feature are chairs on wheels. While Tucker clearly did very good work with the actors on Seagull, his every directorial intention is superbly successful in Sense & Sensibility. The audience lines the walls on two sides with the action taking place in the middle. He’s aided at every stage by the scenic design of John McDermott, the costumes of Angela Huff, the lighting of Les Dickert and especially the choreography of Alexandra Beller.

The show begins with the dance I described. Then the actors launch into a babble of conversation, each of them addressing audience members with the currency of the times: gossip. Those simple white chairs on wheels prove wonderfully versatile. During a dinner party, the actors are arrayed around the space a large table would occupy. But when one character begins to timidly offer a tidbit of social news, others swoop in like sharks smelling blood; they herd her off into a corner, forcing every vital drop of news from her lips. At other times, when say Elinor hears distressing news, her chair is wheeled around and around across the large rectangular stage in dizzying dismay. A carriage ride is handled deftly and amusingly without straining for laughs. A scene of two young women chatting with superficial politeness is staged like a duel, with each of them at opposite ends of the stage on their little white chairs, like gunfighters facing off on the main street of a town. A dozen other moments are handled with similar ingenuity and cleverness.

The boisterous and essentially harmless if overwhelming Mrs. Jennings is an ideal fit for Tucker, who here uses his imposing size to marvelous effect without ever stopping to caricature. If anything, she’s more delightfully menacing than a figure of fun. When the Dashwood women meet her and their other relations, Tucker simply has them bark out howls to indicate the pack of dogs that follow them everywhere, a neatly disorienting effect that is hilarious and slightly unnerving at the same time as you almost look here and there for the animals that seem to have invaded the stage.

And the cast rises to the occasion of Austen’s brilliant novel and this excellent adaptation by Kate Hamill (who plays the passionate Marianne). Gore is very good as the Doctor in Seagull but he’s even better as the moving Colonel Brandon. His monologue detailing the dastardly life of John Willoughby may be the show’s emotional high point. Similarly, John Russell is fine as the prickly estate manager in Seagull but really good as both the dashing Willoughby and the spineless half-brother of our heroines. (One scene where he enthusiastically greets his sisters sans wife is a bit split personality; perhaps he should seem a tad more apologetic in his enthusiastic greeting? Otherwise, his work is impeccable.)

I can go up and down the line. Thanks to Tucker’s inventive but always emotionally motivated direction and staging, the actors shine. Steinmetz scores again in two wonderfully opposite turns as Mrs. Dashwood and the silly Anne Steele. Baranik fares much better as the villains Fanny Dashwood and Lucy Steele than she did as Nina; nastiness suits her. Andrus Nichols fulfills my expectations as the intelligent and sensible — almost too sensible — Elinor. Jason O’Connell is sweetly tentative as Edward Ferrars and his scenes with Elinor are brimming with unspoken affection. Sharma — the best thing in Seagull — is strong as the littlest Dashwood, a role that might easily have been played too broadly and for laughs.

But here the playwright modestly lets herself down. The willful Marianne is not an easy role and while Hamill shines as adaptor, she is fine but not exceptional as that impetuous young woman who must maintain our sympathy while being an utter dolt, not to mention emotionally imploding at various key moments.

One can sense director Tucker’s leanings towards broad humor leading him astray in Seagull. That tendency is in check most of the time in Sense. When an intended betrothal enrages the Ferrars, the scene where they pile on in a fit of indignation worthy of a rugby scrum works well because it’s a bit of gossip being related to a third party. The exaggeration is amusing. If it were the actual scene unfolding, the staging would be ludicrous and out of sorts with the tone of the show.

Unfortunately, that pratfall instinct overwhelms the finale. Elinor and Edward are finally meeting, finally free to declare their love. She’s just had the supreme disappointment of misunderstanding that Edward has married another. He gently, diffidently, tentatively, sweetly clears up the confusion…and she runs screaming from the room. This moment of slapstick tragically robs us of one of the great passages of understated passion in any work of art.

So this Sense and Sensibility gets the humor and certainly the gossipy, unforgiving world of high society to a “t.” Its staging is — with that glaring exception — impeccable and truly inventive. It’s worthy of a much longer run on a bigger stage and it ranks as one of the best shows of the year. But it does not move you nearly as much as the novel does and a great adaptation should. Still, it’s only a few tweaks and — my apologies to the excellent adaptor — perhaps a switch in casting away.

Already, it ranks as perhaps the greatest stage adaptation of this novel in history. That’s not as high praise as it should be since I slowly realized how very rarely Jane Austen has actually been adapted to the stage at least on Broadway and as far as I can tell the West End. Even though her novels are marvels of dialogue and character and brimming with plot, they have almost never made it onto the boards, despite an endless stream of versions on TV and at the movies. It’s certainly the first time I’ve seen a stage production of any of her work. Here and there a musical version is attempted, but even that rarely. Austen’s sightings on Broadway are rare to the point of bemusement. A stage adaptation of Pride & Prejudice ran for six months beginning in 1935 (and was turned into the marvelous 1940 film starring Laurence Olivier). In 1959, a musical spin on Pride & Prejudice ran for just over two months. And that’s it. What can possibly explain it?

It is a truth universally acknowledged that a single novel in possession of a good plot must be in want of an adaptation. Finally, Sense & Sensibility has received a theatrical one worthy of it.

THEATER OF 2014

Beautiful: The Carole King Musical ***
Rodney King ***
Hard Times ** 1/2
Rosencrantz And Guildenstern Are Dead **
I Could Say More *
The Loneliness Of The Long Distance Runner **
Machinal ***
Outside Mullingar ***
A Man’s A Man * 1/2
The Tribute Artist ** 1/2
Transport **
Prince Igor at the Met **
The Bridges Of Madison County ** 1/2
Kung Fu (at Signature) **
Stage Kiss ***
Satchmo At The Waldorf ***
Antony and Cleopatra at the Public **
All The Way ** 1/2
The Open House (Will Eno at Signature) ** 1/2
Wozzeck (at Met w Deborah Voigt and Thomas Hampson and Simon O’Neill)
Hand To God ***
Tales From Red Vienna **
Appropriate (at Signature) *
Rocky * 1/2
Aladdin ***
Mothers And Sons **
Les Miserables *** 1/2
Breathing Time * 1/2
Cirque Du Soleil’s Amaluna * 1/2
Heathers The Musical * 1/2
Red Velvet, at St. Ann’s Warehouse ***
Broadway By The Year 1940-1964 *** 1/2
A Second Chance **
Guys And Dolls *** 1/2
If/Then * 1/2
The Threepenny Opera * 1/2
A Raisin In The Sun *** 1/2
The Heir Apparent *** 1/2
The Realistic Joneses ***
Lady Day At Emerson’s Bar & Grill ***
The Library **
South Pacific ** 1/2
Violet ***
Bullets Over Broadway **
Of Mice And Men **
The World Is Round ***
Your Mother’s Copy Of The Kama Sutra **
Hedwig and the Angry Inch ***
The Cripple Of Inishmaan ***
The Great Immensity * 1/2
Casa Valentina ** 1/2
Act One **
Inventing Mary Martin **
Cabaret ***
An Octoroon *** 1/2
Forbidden Broadway Comes Out Swinging ***
Here Lies Love *** 1/2
6th Annual August Wilson Monologue Competition
Sea Marks * 1/2
A Time-Traveler’s Trip To Niagara * 1/2
Selected Shorts: Neil Gaiman ***
Too Much Sun * 1/2
Broadway By The Year 1965-1989 ***
In The Park **
The Essential Straight & Narrow ** 1/2
Much Ado About Nothing ***
When We Were Young And Unafraid
Savion Glover’s Om **
Broadway By The Year 1990-2014 ***
The Lion ***
Holler If Ya Hear Me * 1/2
The Ambassador Revue ** 1/2
Dubliners: A Quartet ***
The National High School Musical Theater Awards *** 1/2
Wayra — Fuerza Bruta * 1/2
Strictly Dishonorable *** 1/2 out of ****
Between Riverside And Crazy ***
The Wayside Motor Inn ***
Bootycandy ***
Mighty Real ***
This Is Our Youth ***
Rock Bottom * 1/2
Almost Home * 1/2
Rococo Rouge **
Love Letters ** 1/2
The Money Shot ** 1/2
The Old Man and the Old Moon *** 1/2
You Can’t Take It With You * 1/2 out of ****
Can-Can at Papermill ** 1/2
The Country House ** 1/2
Cinderella ** 1/2
Shakespeare’s Sonnets at BAM (Rufus Wainwright, Robert Wilson) ***
When January Feels Like Summer ** 1/2
It’s Only A Play ***
The Curious Incident Of The Dog In The Night-Time *** 1/2
Found **
Generations ** 1/2
On The Town **
The Belle Of Amherst **
The Fortress Of Solitude *** 1/2
When Father Comes Home From The Wars Parts 1, 2 & 3 *** 1/2
Disgraced **
The Real Thing ** 1/2
The Last Ship ***
Ghost Quartet *** 1/2
Show Boat ***
Sticks and Bones **
The Seagull by Bedlam ***
Sense and Sensibility by Bedlam *** 1/2
Saturday Night/Musicals In Mufti ***

_____________

Thanks for reading. Michael Giltz is the founder and CEO of the forthcoming website BookFilter, a book lover’s best friend. It’s a website that lets you browse for books online the way you do in a physical bookstore, provides comprehensive info on new releases every week in every category and offers passionate personal recommendations every step of the way. It’s like a fall book preview or holiday gift guide — but every week in every category. He’s also the cohost of Showbiz Sandbox, a weekly pop culture podcast that reveals the industry take on entertainment news of the day and features top journalists and opinion makers as guests. It’s available for free on iTunes. Visit Michael Giltz at his website and his daily blog. Download his podcast of celebrity interviews and his radio show, also called Popsurfing and also available for free on iTunes.

Note: Michael Giltz is provided with free tickets to shows with the understanding that he will be writing a review. All productions are in New York City unless otherwise indicated.
Entertainment – The Huffington Post
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Stage Door: Wiesenthal

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Known as the “Jewish James Bond,” Simon Wiesenthal is credited with bringing 1,100 Nazis war criminals to justice, including a role in the capture of Adolph Eichmann, the architect of The Final Solution. The survivor of numerous concentration camps was adamant in his commitment to speak for the 6 million dead Jews.

He refused to quit — even when he and his family were threatened.

As portrayed by Tom Dugan, the writer and star of the riveting one-man show Wiesenthal, off-Broadway at the Acorn Theater, Weisenthal did not fight for vengeance but justice. In addition to Jewish Holocaust victims, he also spoke for the murdered Soviets, Poles, Gypsies, homosexuals and Jehovah’s Witnesses.

The former architect was relentless in his refusal to be sidelined by bureaucratic indifference, the Cold War and ongoing anti-Semitism. His life’s work was a promise to the 6 million: “I did not forget you.”

Persistence and passion were his guiding stars. But far from a lecture on the Holocaust, Wiesenthal is a remarkable platform to present a compassionate man who understood that statistics blur horror; individual stories demand our attention.

In the guise of welcoming a group of Americans to his office on his retirement day, the 95-year begins his remembrance. With humor, an occasional joke, a hopeful note and a recount of cruelty “beyond the power of imagination,” we learn about his life, coming to respect and admire the heroic Wiesenthal.

Just after the war, he cofounded The Jewish Historical Documentation Center in Linz, Austria, to gather information and testimony for future war crimes and help refugees locate lost relatives. Per Wiesenthal, Austrians killed half of all Jewish victims, though Austria was loath to prosecute its war criminals or address its national role in the Holocaust.

He moved the center to Vienna in 1961, just down the street from members of Eichmann’s family, waiting for any nugget of information that could deliver Adolph Eichmann to justice.

Rather than track Nazis himself, Wiesenthal meticulously pieced together data and information from a vast network of friends, colleagues and sympathizers, including German war veterans, appalled by what they had witnessed.

Wiesenthal understood that though the Nazis lost the war, their ideology, like their freedom, remained. He was also instrumental in destroying the much-used argument “I was just following orders,” citing two German officers who refused to carry out death sentences. Blind obedience to authority is vicious, he reminds us. We have choices. And he chose to stay and fight.

High on Wiesenthal’s most-wanted list was Franz Stangl, the commandant of the Treblinka and Sobibor concentration camps in Poland. Located in Brazil, Stangl was sent to West Germany for imprisonment in 1967. He also aided in the capture of Franz Murer, “The Butcher of Wilno” and Erich Rajakowitsch, in charge of the death transports in Holland. Another high-priority case was Karl Silberbauer, the Gestapo officer who arrested Anne Frank. Dutch neo-Nazis were discrediting the authenticity of her diary until Wiesenthal located Silberbauer, then a police inspector in Austria, in 1963, who confessed to her capture.

Wiesenthal wrote several books on his exploits, including The Murderers Among Us and Every Day Remembrance Day.

Dugan’s 90-minute play is heartfelt, deeply moving and compelling; he makes history come alive. The 53-year-old actor nails Wiesenthal’s Austrian dialect, elderly mannerisms and mischievous charm. His extraordinary performance pays tribute to one man’s lifelong crusade for justice and tolerance. Wiesenthal should be required viewing for all.

Photo: Carol Rosegg
Arts – The Huffington Post
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Stage 2 Baby Food Banana/Beet/Blueberry (16 Count) 3.50 Ounces

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Stage Door: Uncle Vanya

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Life in Czarist Russia at the turn of the 20th century is bleak. The general malaise infects eco-forward Dr. Astrov, estate manager Vanya and his niece Sonya, while the serfs have little expectation of relief. Russia may be two decades away from the Bolshevik Revolution, but Uncle Vanya, now off-Broadway at the Pearl Theatre, offers a glimpse of a country on the verge of a nervous breakdown.

Like Ibsen, Chekhov is a key figure in the birth of modernism in the theater, albeit with a distinctly Russian sense of foreboding. The doctor, in the guise of the playwright, bemoans: “The climate is changing for the worse, every day the planet gets poorer and uglier.”

Charting the misery of his beloved Russia on the brink is Chekhov’s artistry. He is adept at heartbreak, exposing the raw yearnings of those caught between desire and obligation. Broken people, broken relationships destroyed by inertia and indifference are his specialty.

Uncle Vanya is set on an estate populated by a sterile, controlling academic, his disappointed young wife and overworked relations. While Vanya isn’t as dramatically tense as Chekhov’s Three Sisters or The Seagull, it is prescient in tone. Replete with literary giants — Dostoyevsky, Tolstoy, Pushkin and Gogol — Russia lagged behind burgeoning democratic movements worldwide. The play addresses women’s rights, power imbalances and ecological issues, though Russia has yet to be roused from its tyrannical slumber.

In Uncle Vanya, only two characters, a bloviated, dry academic (Dominic Cuskern) and his wife Yelena (Rachel Botchan), the object of desire for both Vanya and Dr. Astrov (Bradford Cover), have a scintilla of ease. In turn, Astrov has bewitched Sonya (Michelle Beck).

Vanya and Sonya run the family estate, sacrificing their own needs to send earnings to her father, the pompous professor. His arrival signals the realization of profound unhappiness; their routine subverted, their misery increases exponentially. Is it too late to repair?

Paul Schmidt’s translation is unerringly modern, the word “freak” is repeatedly used, as is the directorial style. But the strife and longing of the Russian soul is ever-present. The catch — Vanya is more depression than drama. The painting that hangs on the wall in act two is telling — a ship on rough waters threatens to capsize. Yet the need to sail on, whatever the hardships, remains.

Chekhov’s larger vision is evident in Astrov’s desire to preserve the forests for future generations, one of the more notable aspects of this ensemble production. However, not all the performers are in sync. Cover plays Astrov as a tormented whiner, circa 2014, while Botchan, usually a key part of any Pearl production, is uneven. Beck’s Sonya is respectable, and Mixon’s Vanya is a convincing wreck. The directorial balance is tricky; and the lack of action is a decided handicap. But kudos to set designer Jason Simms and Barbara A. Bell’s costumes for hitting the right note.

Uncle Vanya is a challenge to stage. Still, as a chronicle of fin de siècle family dysfunction, wasted lives and thwarted passions, Chekhov’s analytic eye sees all.

Photo by: Al Foote III
Arts – The Huffington Post
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TaylorMade RBZ Stage 2 Cadet Triton Golf Glove

TaylorMade RBZ Stage 2 Cadet Triton Golf Glove


The fit and feel of this glove is fantastic. You will love this glove. The glove fits perfectly, and the smooth palm is the way you’ll like it.The Triton glove is caberetta leather palm, thumb, and index finger. Premium synthetic backing offers shape, durability, and performance. 360 micro perforation increases airflow and ventilation. Keeping the hand dry and comfortable.TaylorMade RBZ Stage 2 Cadet Triton Golf Glove Features:Hand Orientation: Worn on Left HandTriton gloveCaberetta leather palm, thumb, and index fingerPremium synthetic backing offers shape, durability, and performance360 micro perforation increases airflow and ventilationKeeping the hand dry and comfortable
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Carter’s Girls Pink Embroidered Heart Stage 1 Shoes

Carter’s Girls Pink Embroidered Heart Stage 1 Shoes


Carter’s every step is the new baby and toddler shoe line that is all about the natual stages of kids’ development – from crawling to running. Doctors say, Barefoot is best because it allows your child to naturally feel the ground and allows the foot to develop as nature intended. Our thinner, scientifically designed lightweight shoe protects little feet while enabling a like-barefoot sensation. Our unique technology stimulates your child’s natural senses without interfering with the ground surface or directing their natural development. Carter’s every step stages allow your child to grow and move the way nature intended. Start with Stage 1 Crawl is for babies who are crawling and exploring on their hands and knees. Wonderfully easy to get on and off even the squirmiest child, Stage 1 shoes provide protection for tiny toes – plus a roomy fit that allows children’s feet to develop naturally as they start to move and contact the ground independently. Stage 2 Stand is for toddlers who are pulling up and standing on their 2 feet. The Self Adjusting Fit (SAF) allows easy on and off for the busiest of toddlers and gives you the confidence of a perfect fit. Stage 2 is a lightweight and flexible shoe, allowing natural ground contact for your little one’s feet. Stage 3 Walk is for independent stride of bigger kids as they begin to work on their own. Stage 3 shoes feature the SAF system for this active stage, so you can rest assured that your child’s shoes are the perfect fit. Our thinner lightweight sole protects and is designed for growing kids-on-the-go. Made with PU and Leather. Imported.

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Carter’s Boys Stage 2 Shoes

Carter’s Boys Stage 2 Shoes


Carter’s every step is the new baby and toddler shoe line that is all about the natual stages of kids’ development – from crawling to running. Doctors say, Barefoot is best because it allows your child to naturally feel the ground and allows the foot to develop as nature intended. Our thinner, scientifically designed lightweight shoe protects little feet while enabling a like-barefoot sensation. Our unique technology stimulates your child’s natural senses without interfering with the ground surface or directing their natural development. Carter’s every step stages allow your child to grow and move the way nature intended. Start with Stage 1 Crawl is for babies who are crawling and exploring on their hands and knees. Wonderfully easy to get on and off even the squirmiest child, Stage 1 shoes provide protection for tiny toes – plus a roomy fit that allows children’s feet to develop naturally as they start to move and contact the ground independently. Stage 2 Stand is for toddlers who are pulling up and standing on their 2 feet. The Self Adjusting Fit (SAF) allows easy on and off for the busiest of toddlers and gives you the confidence of a perfect fit. Stage 2 is a lightweight and flexible shoe, allowing natural ground contact for your little one’s feet. Stage 3 Walk is for independent stride of bigger kids as they begin to work on their own. Stage 3 shoes feature the SAF system for this active stage, so you can rest assured that your child’s shoes are the perfect fit. Our thinner lightweight sole protects and is designed for growing kids-on-the-go. Made with PU and leather. Imported.

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Stage Door: ‘Drop Dead Perfect’

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With a nod to the films Rebecca and Mildred Pierce, not to mention a sly reference to The Glass Menagerie, entertaining camp has scored again. Drop Dead Perfect by Erasmus Fenn, starring downtown actor Everett Quinton, is a clever send-up of movie queens and 1950s’ melodrama.

Now at the Theater at St. Clement’s, Drop Dead Perfect is fast-paced and funny. Set in 1952, Quinton plays Idris Seabright, an eccentric matron of a Key West estate, whose ward Vivien (a terrific Jason Edward Cook) and Cuban nephew Ricardo (Jason Cruz), double as the Lucy and Ricky of Florida.

Vivien, the victim of an overbearing Idris, has artistic ambitions, while Ricardo, a hot Latin boy with his own agenda, stirs up the household in unforeseen ways.

Idris, a rather demented grand dame, given to quoting her deceased sea captain father’s off-the-wall remarks — “I know how many beans make five!” — is forever changing her sizable will. Obsessed with stillness, she wreaks havoc on loved ones, while hiding various family scandals and secrets.

The tale, narrated by Michael Keyloun, has a wonderfully overheated quality, thanks to a strong ensemble and Joe Brancato’s lively direction. Paying homage to the outrageousness of Charles Ludlam’s Ridiculous Theatrical Company, Drop Dead Perfect parodies pop culture from the ’40s to the ’60s with a keen eye and tongue-in-cheek naughtiness.

First done at the charming Penguin Rep Theatre in Stony Point, NY, the production utilizes Quinton’s gift for oversized performances as he channels Joan Crawford, joined by a sexy Cruz, versatile Cook and even-keeled Keyloun. Sound designer William Neal’s love of Laura-themed music, coupled with a perfect set by James J. Fenton, ensures the comedy clicks.

Drop Dead Perfect is delicious summer fare.

Photo: Ed McCarthy
Arts – The Huffington Post
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Stage Door: Gertrude The Cry

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Shakespeare’s Hamlet has inspired many variations – the latest is Howard Barker’s Gertrude: The Cry, part of the Potomac Theatre Project at the off-Broadway Atlantic Theater Company.

Barker has used the backdrop of Hamlet — the affair between his mother, Queen Gertrude (Pamela J. Gray), and uncle Claudius (Robert Emmet Lunney), to explain the story’s deadly consequences. The overarching thrust is Gertrude’s carnality; the sexual desire between her and Claudius is so intense, it inevitably transforms lust into murder.

Unlike the traditional image of her tormented son Hamlet (David Barlow), this round he’s strangely unemotional about his father’s death. The playwright has turned him into a semi-humorous adolescent moralist, or in his mother’s words, “a prude.” He is repulsed by Gertrude’s cry, the ecstatic pleasure shrieks, servant Cascan (Alex Draper) explains, that will drive her to great dangers – no matter the consequences.

Such interpretations fit into the “theatre of catastrophe” theory Barker uses to describe his work, which he believes should give the audience a sense of dislocation, underscoring his larger point: Art isn’t digestible.

Here, Barker relies heavily on Gertrude’s severe sensuality (which Gray plays expertly) — and her passion consumes all of act one. However, a disjointed second act goes into overdrive — murderous plots, ruminations on sex and death and the sensual appetites of Albert, Duke of Mecklenberg (Bill Army) for the Queen. The problem is that Gertrude, despite respectable performances, is long-winded; the changes to the actual tale are a bit half-baked.

Unlike his excellent Scenes From an Execution, aided by the multitalented Jan Maxwell, Gertrude is confusing. Sex may be a powerful, primal stimulant, but it doesn’t achieve the salvation — in whatever form — that Barker seems to claim for his characters. Nor does the direction, which despite solid cast performances, appears more collegiate than compelling.

Photo: Stan Barouh
Arts – The Huffington Post
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Stage Door: Bullets Over Broadway, Violet, Lady Day at Emerson’s Bar & Grill

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Is art worth killing for?

Woody Allen’s new Broadway musical Bullets Over Broadway, an entertaining romp, thinks so. Based on his 1994 movie, with zippy direction by Susan Stroman, the musical comedy is fun. It’s not quite the over-the-top craziness, with a dash of smarts, that made the film so memorable, but it’s close.

Now at the St James, Bullets Over Broadway is splashy, rather than electric, thanks to sensational costumes and sets — save the one of Greenwich Village, which is oddly misconceived. But as traditional musicals go, it mostly works — with a proviso. Set in 1929, it’s a musical without an original score. Glen Kelly, who adapted the period music, including great numbers like “Running Wild” and “Tiger Rag,” played perfectly by the Atta-Girls, terrific singers and dancers who capture the Roaring Twenties.

The story is strictly screwball: David (Zach Branff), an earnest playwright, finally gets a shot on Broadway. The hitch is that his debut will be financed by a single backer, gangster Nick Valenti (Vincent Pastore), who brings a caveat of his own. Make his dopey girlfriend Olive (Helene Yorke) a star. That’s a tall order, especially since the show has enlisted legendary diva Helen Sinclair (Marin Mazzie) has ideas of her own.

Throw in the critically artistic eye of Cheech (Nick Cordero), the heavy assigned to keep an eye on Olive, and Bullets Over Broadway shifts into high gear. Everyone in the cast, including Betsy Wolfe as David’s girlfriend and Yorke as the goofy gun moll turned wannabe actress, hit their mark. Mazzie is convincing in her role, while Branff, making his Broadway debut, could use a few more sparks. Still, the crew’s general silliness clicks.

Cordero’s Cheech is a high point; it’s hard not to enjoy the kooky world that Stroman/Allen have created. Woody Allen, who wrote the book, economized on some of the film’s strengths, but the production still boasts good, old-fashioned showmanship.

By contrast, Violet, now at the American Airlines Theater, is a more intimate musical. The soulful country-style band sits backstage; the actors are downstage. Brian Crawley’s book, adapted from Doris Betts’ short story The Ugliest Pilgrim, is a sad tale of an adult’s quest for beauty as redemption.

Tony winner Sutton Foster stars as Violet, a young Southerner disfigured at 13. Early on, she refers to the “axe blade” that “split my face in two.” Desperate to be cured, she embarks on a bus trip from North Carolina to Oklahoma. There, she hopes to be transformed by a popular televangelist (Ben Davis), who makes outrageous healing claims.

The trip, which begins in a Nashville bus station in 1964, is meant as a journey of discovery. Stopping in Memphis, she meets two soldiers, a cocky white man named Monty (Colin Donnell) and a more sensitive black man called Flick (a moving Joshua Henry), who knows what it’s like to be judged by appearance. The trio bond, but the catch, and it’s a big one, is Violet doesn’t get her revelation.

Flick provides the reveal — that love is the only salvation — weakening the dramatic structure. Despite a genuine poignancy — Violet’s back story is told in scenes with her father (Alexander Gemignani) and a younger version of herself (a terrific Emerson Steele) — the play has moments of disconnect. Yet the raw humanity, especially in the segregated South, is touching.

The performances are strong, and Sutton Foster skillfully tackles both musical and dramatic moments. But even with Jeanine Tesori’s tender score, more exposition would add greater coherence.

Happily, Lady Day at Emerson’s Bar & Grill, a memoir turned musical at Circle in the Square, may not be more hopeful, but it strikes the right chord. Set in a Philadelphia club in 1959, a few short months before the great Billie Holiday died, it stars Audra McDonald. She brilliantly channels the legendary jazz singer — her inflections, charisma and misery. McDonald captures Holiday at the end of her life: broken but still capable of moving an audience. 2014-04-20-HuffPoLadyDaycopy.jpg

Lanie Robertson’s play is thin, but she pays respect to both the pathos and the grit of this jazz phenomenon. Stumbling and drinking, Holiday relates the traumatizing moments of her life, including being raped at 10, how her first and “worst love,” Sonny Monroe, got her hooked on heroin, and her relationship with saxophonist Lester Young, who dubbed her Lady Day, and her mother, “The Dutchess.” She recounts teaming with Artie Shaw; among the first black women to work with a white orchestra.

Numbers such as “God Bless the Child,” “What a Little Moonlight Can Do,” “Strange Fruit” and “T’ain’t Nobody’s Business If I Do” showcase Holiday’s essence — a proud artist ill-treated by abusive men and a racist America.

Smoothly directed by Lonny Price, this is a solo show, though McDonald is backed by an excellent jazz trio — Sheldon Becton on piano, George Farmer on bass and Clayton Craddock on drums. Billie Holiday’s life was tragic; yet as McDonald hypnotically illustrates, she has left us her singular artistry.

Bullets Over Broadway photo: Paul Kolnik; Lady Day photo: Evgenia Eliseeva
Arts – The Huffington Post
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On Stage Kiss Helmer Rebecca Taichman

Through the years, I have had many discussions with people about directors. A director’s work is often tricky to review on the basis of one production — in the case of a first work, it is often unclear what is a director’s idea versus what is a stage direction in the script itself. It is also hard for people to separate actors’ choices from a director’s touch. But after a period of watching a director’s work, you get it. You know how good that director is. And I think Rebecca Taichman is very good.

The first production of hers I saw was Theresa Rebeck’s The Scene at Second Stage Theatre. While the play may have fallen apart a little, the production featured great performances (particularly by a then virtually unknown Anna Camp) and perfect staging. I have since seen many productions she has helmed, including Kirsten Greenidge’s Milk Like Sugar (Playwrights Horizons), Greenidge’s Luck of the Irish (LCT3), Sarah Ruhl’s Orlando (Classic Stage Company), Dark Sisters with music by Nico Muhly and libretto by Stephen Karam (MTG/Gotham Chamber Opera at John Jay College), David Adjmi’s Marie Antoinette (Soho Rep.) and, most recently, Ruhl’s Stage Kiss (Playwrights again). Out of all of these titles, I only didn’t like her work on Marie Antionette. But, then, I don’t know why anyone thought staging a scaled down Marie Antionette was a good idea. I do not blame Taichman; I didn’t get any of it, from the script on.

Generally Taichman’s work is characterized by a unique understanding of the proper tone for a given piece. She doesn’t make her productions overly glib or cynical; she tailors her work to the material, as a director should. If you are in New York, this is the last week to catch Taichman’s impeccably breezy work on Stage Kiss. If you are in San Diego, you can see her production of J.B. Priestley’s drama Time and the Conways at the Old Globe. (The play, which Taichman described as “extraordinary,” is a staple in the UK, but is rarely done in the US.)

In a recent conversation with me, Taichman stated she enjoys directing comedy and drama equally. “One of the gifts I’ve been given, is that my work can span genres and across different tones and styles,” Taichman said. “I can do new plays, opera and Shakespeare. I find they all feed each other. I love doing a lot of different kinds of work.”

Stage Kiss, which received mostly positive reviews, marks Taichman’s fourth time staging a work by Ruhl. “I love working with Sarah,” explained Taichman. “I feel we sort of share a dream space somehow. The type of epic, surreal questions she is asking are the questions that dog me. I love her sense of theatricality. I love how she mashes up the everyday and infuses it with a mystique.”

Taichman will reunite with Ruhl this fall for the world premiere of The Oldest Boy at Lincoln Center’s Mitzi E. Newhouse Theater. Taichman said the play is about Buddhism and is more similar to the world Ruhl presented in Eurydice than it is to Stage Kiss.

Taichman is also gearing up to direct Familiar by Danai Gurira (who co-wrote and starred in In the Continuum off-Broadway and is well-known for playing Michonne on the AMC drama series The Walking Dead), scheduled to run at Yale Repertory Theatre from January 30 through February 21, 2015. From that it is onto Rehearsing Vengeance, a play she has been developing with Paula Vogel for years. Rehearsing Vengeance, based on the life of the play God of Vengeance, will premiere at La Jolla Playhouse summer 2015. I also hope one day to see GrooveLily’s Sleeping Beauty Wakes, which Taichman is working on with the band. I missed my opportunity before, but am holding out hope.

For now though, Taichman is all about seeing Time and the Conways through previews and bidding adieu to Stage Kiss. There are only eight performances left for you to go laugh at Stage Kiss.

“There is a particular delight in hearing audience laughter,” she said. “There is a particular joy in bringing laughter into people’s lives.”
Arts – The Huffington Post
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Aisle View: Sex, Live on Stage

“NOTICE: THIS PLAY CONTAINS NUDITY, SEX & BAD LANGUAGE,” says a bold-lettered, red-bordered sign in the box office lobby at Intimacy, the new offering from the New Group at New York City’s Acorn Theatre, running through March 8. The language, as it turns out, is not all that out of line by today’s standards. But bad playwriting? Yes.

Thomas Bradshaw, whose Burning was presented by this same company in this same space two winters ago, picks up where he left off — which is to say with sex slathered across the stage. In this case, there are bodily fluids spurting through the air. Yes, bodily fluids. And that’s just in the first 20 minutes. One of the teenaged girl actors uses said fluid to help control her acne. There is also a toilet bowl on stage, which gets used. You can only sit there and wonder whether there are limits to what some actors will do to get — and keep — a role.

Bradshaw sets his play in a wealthy suburb in what seems to be California. Four horny neighbors live in three houses with three horny teenagers, which provides the author with all sorts of combinations. The plot evolves when the straight-laced father of one of the families discovers photos of the neighbor’s daughter in a skin mag. (What was he doing with that magazine, anyway?) His son, who is the most over-exposed character in the play (and I only hope the actor’s mother doesn’t come see it), decides to direct a porn movie starring the girl and his father, who is suddenly not so straight-laced anymore. The girl’s parents, meanwhile, have anal sex while watching their daughter in a porn movie; it’s that kind of play. The audience, meanwhile, gets to see the anal sex on a big-screen TV, in full color. Oh, and Bradshaw makes use of Goodnight Moon in a manner that the publishers of that childhood staple would probably not be too happy about.

As for those poor actors, they do what they are told, and I hope they get enough union workweeks for health coverage. The names will be withheld, in hopes that they quickly rebound. There are at least three of them whom I would like to see more of — that is, less of — in future dramatic endeavors. We can say that Intimacy is directed by Scott Elliott, who also directed Burning and — as artistic director of the New Group — presumably picked this new play on purpose.

There was a time when we used to get plays laced with dirty words, with the authors purposely trying to shake up the audiences to allow their messages to get through; David Mamet did this, and effectively so. Bradshaw does something of the sort with sex acts, rather than cuss words, but from my seat it seems more gratuitous than purposeful. He also throws in a distinct amount of gratuitous bigotry, in a manner hinting that it is not the characters who are bigoted but maybe the author. Or perhaps he has a dramatic purpose, which in this case doesn’t reach across the footlights.

Intimacy is the sort of play that could make you nostalgic for simulated sex scenes. Supporters of hard-core porn repeatedly exclaim that if people don’t want to see this stuff, no one is forcing them to get a ticket; nobody has to see Intimacy. Expect long-suffering drama critics, that is.
Arts – The Huffington Post
ENTERTAINMENT NEWS-Visit Adults Playland today for the hottest adult entertainment online!

Cambridge Primary Mathematics Stage 6 Games Book + Cd-rom

Cambridge Primary Mathematics Stage 6 Games Book + Cd-rom


Cambridge Primary Mathematics Stage 6 Games Book + Cd-rom

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