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Tag: Theatre
*NSYNC’s Joey Fatone has always been a theatre kid
The boy band star, who appeared on Broadway twice in the early aughts, now returns for the first time in 20 years to play a limited run in the musical & Juliet.
Joey’s back, alright! Wait, wrong boy band. Nonetheless, it works: Despite famously being a member of *NSYNC, Joey Fatone sings multiple Backstreet Boys songs in & Juliet on Broadway, the pop musical in which he stars through March 16.
Thirty songs from Grammy-winning songwriter/music producer Max Martin, made famous by these bands and other pop stars, score the show that imagines what would happen if Shakespeare’s Juliet didn’t die after losing Romeo. Fatone plays Lance, Juliet’s friend’s imposing father who falls into an unexpected romance of his own.
Fatone joins a mini-boy band renaissance on the New York theatre scene; for one, New Kids on the Block’s Joey McIntyre just wrapped a run in Drag: The Musical off Broadway. The crossover is natural, according to Fatone.
Theatre is “where we started,” he said. “Joey Mac has always been a theatre kid. I’ve always been a theatre kid. Crazy enough, a lot of the people I went to high school with have come out to do shows.” The alum of Orlando, Florida’s Dr. Phillips High School attended within 10 years of Wayne Brady, Aladdin‘s Michael James Scott, and Tony Award nominee Tony Yazbeck, among others.
Fatone made his own Broadway debut in Little Shop of Horrors in 2002, going on to lead Rent for a limited run in 2004. & Juliet marks his first time back since then, and despite the challenges, he said he’s been having “a blast” getting to finally return to an art he loves.
“I wasn’t really nervous-nervous. It was just a matter of getting things out and making sure I tell the story,” Fatone said. “It’s [an] amazing adrenaline rush.”
Hear more from Fatone about taking up the codpiece in & Juliet and his hopes for the future of his Broadway career below.
Get & Juliet tickets now.
How does it feel to be back on Broadway?
Crazy, after so many years. I feel old and humbled.
No, it’s good. It’s exciting to be back. It’s been a long time coming for me, and finding the time to do it is always not that easy.
I did Rent many moons ago. And it’s a great show, but it’s very mentally draining [doing] scenes that are very dark sometimes. For & Juliet, it’s so light and so much fun. I’m having a blast, and if I mess up, it happens. It’s a live show. What are you going to do?
How did you get the opportunity to do & Juliet?
I knew the show since the birth. [Producers] Tim Headington and Theresa Page are very good friends of mine that got this show pretty much up and running [in London’s] West End […] and then brought it to Broadway.
I’ve seen the show, gosh, two or three times. Many years ago, we even said, “If there’s ever a part, let us know.” And they came to us and said, “Hey, here’s Lance. Obviously, this should be right up your alley.”
Maybe I should have been like, “Darn. I should have been in the original cast!” But nevertheless, it is what it is. I’m here.
What was your first impression of the show?
“Man, I can’t do a French accent.” I’ve tried. It’s awful, but I think that’s what’s fun about this show and about this character. It does poke fun of it a little bit.
I love this script, and you’ve got to love the music. It’s all Max Martin, it’s all Britney, *NSYNC, Backstreet, Katy Perry, Bon Jovi, Celine Dion. Hit after hit after hit after hit are in this show, and you know them, and you love them, and it’s amazing to see how they actually connected the script and the show to the songs. Sometimes that’s not very easy.
What was on your mind during your first performance?
When I walked on stage and I was like, “So, Francois,” people screamed. I was like, “Okay, are they gonna stop?” I’m standing there and people are still cheering. I’m like […] “Please stop applauding because I’m not going to remember the line if you keep doing that.”
Once I started talking, I don’t remember exactly what I said, but I said all the right words. And I walked off stage, and I went, “What the hell just happened?” That was the first scene. And then once you get into it, it’s just doing it.
Was it a challenge to adapt to the demands of Broadway after being away for 20 years?
Honestly, it’s with age. Seriously, no lie. You’re not as receptive and […] quick. For me, learning stuff is happening a little slower. But once I have that repetition, then it’s smooth sailing.
A lot of celebrities sometimes go into these shows not knowing the grind — the eight shows a week, the one night off. Thank goodness my character, honestly, is not a very demanding character, which is nice, but he’s got to be present. There’s a lot of connections with his son, Francois, that [are] going on within the show.
I only had […] about 11 days of rehearsals. When you’re doing these rehearsals, you’re not with the full cast; you’re with a stage manager and a dance captain and people that have done the show, but only, like, two or three.
And that’s really what a put-in [rehearsal] is for. They even said, “Don’t worry about the lines. It’s the matter of getting your feet in the position of what you’re doing.”
They’re like, “You need to be up forward.” And I’m like, “Why?” “Because a donut’s going to start moving and something’s going to hit you in the head if you do not go downstage.” And I was like, “Okay, lesson learned.”
Did you get any advice from Paulo Szot, who originated Lance on Broadway?
Paulo, I met a few times. Handing the codpiece over was a very cute, very funny service we did. He’s great, though his take is definitely different because he’s an opera singer, classically trained. That’s amazing within itself. He is a Tony Award-winning guy. I have no Tony Awards.
My take is a little more comical. His is funny, too; mine’s just a little more cartoonish, a little more over the top. His is very deliberate, very sweet, and very sincere. I took some of that, but the great thing about doing these shows is putting a different twist on it.
What is your favorite moment in & Juliet?
Of course, mine are the best, what are you talking about? I love the bedroom scene with Angelique, [played by] Jeanette [Bayardelle]. She’s awesome. And that scene I have with Francois [where we sing] “Shape of my Heart,” which is also a beautiful ballad by Backstreet. You can’t not get choked up when you hear that song.
There’s a couple other ones, [like the song] “One More Try.” I thought it was a song that was already written, but that’s actually original in the show that Max did, which is probably one of my favorite songs.
Do you hope to do more Broadway shows in the future?
It would be fun to do a brand-new show. Whatever that show is, or whatever musical. So, people, if you’re looking and if there’s a show out there and you think I’m fit for it, (makes phone gesture) ring-a-ding.
Get & Juliet tickets now.
This interview has been condensed and edited for length and clarity.
Top image credit: Joey Fatone. (Photo by Amy and Gabe Mendoza at TwentyNine Northwest Studio)
In-article image credit: Joey Fatone in & Juliet on Broadway. (Photo by Rebecca J. Michelson)
Growing up, *NSYNC’s Joey Fatone may have been known for his impressive dance moves and vocal talents, but did you know he has always been a theatre kid at heart? From his early days performing in community theatre productions to his recent roles on Broadway, Joey has always had a passion for the stage.In fact, before joining *NSYNC, Joey was heavily involved in musical theatre, with roles in productions like “Little Shop of Horrors” and “Jesus Christ Superstar.” Even after finding success in the music industry, he continued to pursue his love for theatre, starring in shows like “Rent” and “Sweeney Todd.”
Now, Joey is back on Broadway, currently starring in the hit musical “Waitress.” His love for theatre has never wavered, and fans are thrilled to see him back where he belongs – under the bright lights of the stage.
So next time you see Joey Fatone busting a move on stage, remember that he’s not just a pop star – he’s a true theatre kid at heart.
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*NSYNC, Joey Fatone, theatre, theatre kid, Broadway, musicals, boy band, singer, actor, performer, entertainment industry, career transition, passion for theatre
#NSYNCs #Joey #Fatone #theatre #kidJack and His Giant Stalk – Adult Panto @ Crewe Lyceum Theatre | Leisure | News | Crewe Nub News
Jack and His Giant Stalk – Adult Panto is at Crewe Lyceum Theatre on Saturday 25 January.
Taking the UK by storm since 2004, the Market Theatre’s Adult Panto Company are back on tour and out to corrupt another classic fairy tale beyond recognition with their unique style of Adult Panto.
Can the fearless company of just three actors hold it all together and pull off their very own adult version of Jack and the Beanstalk using a minimum of set props and costume?
Get ready for an evening of slick, fast-moving, farcical fun and bawdy sexual innuendo for adults only.
Not suitable for under 16’s. This event starts at 7.30pm. For tickets click HERE.
Get ready for a night of laughter and entertainment as Crewe Lyceum Theatre presents “Jack and His Giant Stalk – Adult Panto”! This hilarious and risqué twist on the classic fairy tale is sure to have you in stitches from start to finish.Join Jack as he embarks on a wild adventure up the giant stalk, encountering a host of colorful characters along the way. From the sassy fairy godmother to the not-so-friendly giant, there’s never a dull moment in this adult panto.
Featuring outrageous jokes, catchy musical numbers, and plenty of audience participation, “Jack and His Giant Stalk” is the perfect way to kick off the holiday season. So grab your friends, grab a drink, and get ready for a night of pure entertainment at Crewe Lyceum Theatre.
Tickets are selling fast, so be sure to book yours now to avoid missing out on this unforgettable evening of fun and laughter. Don’t miss out on the hottest ticket in town – see you there!
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Manistee honors James Earl Jones with heartfelt celebration at Ramsdell Theatre
MANISTEE COUNTY, Mich,. (WPBN/WGTU) – – James Earl Jones would have turned 94 on Friday January 17.
The city of Manistee celebrated the late actor’s birthday Friday evening.
James Earl Jones, the voice of Darth Vader, Mufasa and Terence Mann in Field of Dreams began his acting career at the Ramsdell Theatre in Manistee in 1953.
He performed at the theatre for four years in the 1950s.
The Ramsdell Theatre held a celebration of life for the late actor on Friday night.
The event included a performance by Kit Holmes, Jones’ cousin Tery, his high school friends and Toni Trucks, an actress from Manistee. They all told stories about James Earl Jones.
They were followed by a presentation of the actor’s life.
Jones’ son Flynn says Manistee was always special to his father.
“He talked about the area very often. The last and only time I was out here was for our cousin Tery’s wedding and that was 20 years ago. I didn’t have a great sense of where everything was but this trip has been really wonderful, all things considered. Because Tery’s been able to drive us around and show us where everyone in my family grew up. I’m looking on a map on my phone, sort of dropping pins of houses where my dad helped lay the foundation,” said Flynn Earl Jones, James Earl Jones’ son.
The Vogue Theatre in Manistee also held a celebration of James Earl Jones’ life, followed by a screening of Field of Dreams.
On Saturday night, the city of Manistee came together to honor a true legend in the world of theater and film: James Earl Jones. The beloved actor, known for his iconic voice and powerful performances, was celebrated with a heartfelt tribute at the historic Ramsdell Theatre.The evening began with a special screening of some of Jones’s most memorable roles, from his iconic voice work as Darth Vader in Star Wars to his Tony Award-winning performances on Broadway. The audience was captivated by his incredible talent and presence on screen.
Following the screening, a panel of local actors and theater enthusiasts took the stage to share their own personal stories and memories of Jones. From his inspiring performances to his generosity and kindness behind the scenes, it was clear that Jones had made a lasting impact on all who had the privilege of working with him.
As the evening came to a close, the audience rose to their feet in a standing ovation, applauding not just Jones’s incredible career, but also his dedication to the arts and his contribution to the world of theater.
It was a truly special night in Manistee, as the community came together to honor a true legend. James Earl Jones may have been the guest of honor, but it was clear that the real stars of the evening were the people whose lives he had touched and inspired.
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Manistee, James Earl Jones, Ramsdell Theatre, celebration, honors, heartfelt, event, performance, actor, award, recognition, tribute
#Manistee #honors #James #Earl #Jones #heartfelt #celebration #Ramsdell #TheatreJoan Plowright was a dynamic force for change in British theatre | Joan Plowright
Joan Plowright, who has died aged 95, was not only a remarkable actor but a dynamic force for change in British theatre. In her work at the Royal Court in the 1950s she symbolised a new working-class energy, although in reality she was the daughter of a Lincolnshire newspaper editor, and through her marriage to Laurence Olivier, she helped to shape the newly founded National Theatre company in the 1960s. There’s a choice moment in the film Nothing Like a Dame when she says she has the burden of bearing two titles, dame and baroness, to which Maggie Smith sardonically replies, “Joan, darling, you’ll just have to wrestle with it.” But wrestle with it she did and she never lost the earthiness that was part of her inheritance.
Her attitude to theatre also stemmed from her training at the Old Vic theatre school, which was set up in the bomb-damaged Waterloo Road building in London in the freezing winter of 1947: at a time when many drama academies resembled superior finishing schools, this one, under the tuition of Michel Saint-Denis, instilled a rigorous Stanislavskian approach to acting. For Plowright, this bore fruit when she became a founding member of the English Stage Company at the Royal Court in 1956. She instantly made her mark in Wycherley’s The Country Wife and Ionesco’s The Chairs and The Lesson, alongside George Devine, but it was her performance as Beatie Bryant in Arnold Wesker’s Roots in 1959 that marked her out as a star. She not only understood perfectly how the daughter of Norfolk farmworkers achieved self-realisation: when she leapt on to a chair it was, as noted at the time, “the image of the working class breaking in to a new life”.
‘When Larry married Joan he also married her interest in new theatre’ … Laurence Olivier and Plowright in the 1960 film adaptation of The Entertainer. Photograph: Rex/Shutterstock Plowright’s meeting with and subsequent marriage to Olivier not only changed her own life but also had a direct impact on British theatre. Olivier represented the theatrical establishment and Plowright the new radical generation. It was Plowright who persuaded Olivier to hire Kenneth Tynan as literary manager of the National Theatre company in 1963 and it is no accident that the first directors Olivier engaged were John Dexter and William Gaskill, both graduates of the Royal Court. As Gaskill himself wrote: “When Larry married Joan he also married her interest in new theatre and her loyalties to the actors and directors with whom she had worked.”
Angela Lansbury with Plowright in A Taste of Honey on Broadway. Photograph: Alfred Eisenstaedt/Time & Life Pictures/Getty Images Plowright herself made great strides as an actor at this time. Having been the voice of new drama – and she had won a Tony for her Broadway performance in A Taste of Honey in 1960 – she now showed her mastery of the classics. At the National, she was bright-eyed and downright as Shaw’s Saint Joan, as Maggie Hobson in Hobson’s Choice and as Hilde Wangel in The Master Builder. But it was her Sonya in Chekhov’s Uncle Vanya – first at Chichester and then in the opening season of the National at the Old Vic – that she shook hands with greatness. She understood that Chekhov’s plays are about enduring unhappiness with fortitude. Her delivery of Sonya’s final speech – “When the time comes, we shall die without a murmur … we shall see a light that is bright and lovely and beautiful … we shall rest” – had a resilient optimism that left a whole audience shaken and stirred.
While thriving as an actor, Plowright also sought to galvanise the National. Irked by the lack of female dramatists, she commissioned four female novelists to write plays for an experimental season at London’s Jeannetta Cochrane theatre and directed one of them herself – Maureen Duffy’s Rites, which in 1969 transferred to the Old Vic. But, although Olivier proposed her as a possible successor to himself at the National, the board would have none of it: indeed, its chairman, Lord Chandos, once intemperately described Plowright to me as “a red”.
Even if she never became a director, Plowright enjoyed a busy career as an actor after Olivier left the National. She worked happily with her favoured directors. She played Katharina in The Taming of the Shrew for Jonathan Miller at Chichester. She was Rebecca West in Ibsen’s Rosmersholm for Robin Phillips at Greenwich. She did a West End season with Lindsay Anderson, playing Madame Arkadina in The Seagull. For one of her oldest friends, Franco Zeffirelli, she appeared in Eduardo de Filippo’s Saturday, Sunday, Monday and Filumena as well as the movie Tea With Mussolini. But it was her performance in Nuria Espert’s production of Lorca’s The House of Bernarda Alba in 1986 that showed her at her finest. As the servant to a tyrannical mistress, she combined the practicality of a household drudge with a desperate longing for life and gaiety.
A champion of the bold … Plowright and Oliver Ford Davies in Absolutely! (Perhaps) in 2003. Photograph: Tristram Kenton/the Guardian Plowright did some fine work in her later years, winning a Golden Globe for her performance in Mike Newell’s film Enchanted April, but she was forced to give up acting when she suffered macular degeneration and became blind. But the imprint of her great performances, in Wesker, Chekhov and Lorca, remains strong and she was unquestionably a force for good in her championship of the new, the bold and the innovative. Theatrical power, in her time, was mainly invested in men, but Plowright was herself an agent of change.
Joan Plowright was a dynamic force for change in British theatreJoan Plowright, the legendary British actress, was not only a talented performer but also a dynamic force for change in the world of theatre. Throughout her career, she challenged traditional gender roles and pushed boundaries in the industry, paving the way for future generations of actors and actresses.
Plowright’s career spanned over six decades, during which she starred in numerous iconic plays and films. She was known for her powerful and emotional performances, captivating audiences with her raw talent and charisma on stage.
But it was her advocacy for gender equality and diversity in theatre that truly set her apart. Plowright was a vocal supporter of women’s rights and fought tirelessly to ensure that female actors were given the same opportunities and recognition as their male counterparts.
She also worked to promote diversity in casting, pushing for more representation of minority groups on stage and screen. Plowright believed that theatre should reflect the full spectrum of human experience, and she used her platform to advocate for greater inclusivity in the industry.
In addition to her work as an actress, Plowright was a mentor and role model for aspiring performers, offering guidance and support to those looking to break into the world of theatre. She was a trailblazer in her own right, and her impact on British theatre will be felt for generations to come.
Joan Plowright may have passed away in 2021, but her legacy lives on through her groundbreaking work and her enduring influence on the world of theatre. She will be remembered as a dynamic force for change, a champion of equality and diversity, and a true icon of British theatre.
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Baa Baa Black Sheep: The True Story of the “Bad Boy” Hero of the Pacific Theatre and His Famous Black Sheep Squadron
Price: $0.99
(as of Jan 02,2025 00:52:48 UTC – Details)
Customers say
Customers find the book engaging and interesting. They appreciate the author’s honest storytelling and the detailed information on WWII history. The writing style is described as easy to read, well-written, and concise. Readers enjoy learning about the true hero of World War II through his story. Overall, it is a great historical read that covers a lot of history.
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Baa Baa Black Sheep: The True Story of the “Bad Boy” Hero of the Pacific Theatre and His Famous Black Sheep SquadronMany people have heard of the legendary Black Sheep Squadron, but few know the full story behind its charismatic leader, Major Gregory “Pappy” Boyington. Boyington was a true maverick, known for his rebellious spirit and unorthodox tactics in combat. His squadron, made up of misfits and troublemakers, earned a reputation for being the most feared and effective fighter unit in the Pacific Theatre during World War II.
Boyington’s story is one of triumph over adversity. Despite facing numerous setbacks and challenges, he never gave up on his dream of becoming a fighter pilot. His determination and courage in the face of overwhelming odds inspired his men and earned him the respect of his superiors.
The Black Sheep Squadron, officially known as VMF-214, was a force to be reckoned with. They flew their distinctive black-painted Corsair planes with skill and daring, taking on the best Japanese pilots and emerging victorious time and time again. Boyington’s leadership and tactical genius were instrumental in their success, earning him the Medal of Honor for his heroism in combat.
But Boyington’s story is not without its dark side. He struggled with alcoholism and personal demons throughout his life, leading to conflicts with his superiors and brushes with the law. Despite his flaws, he remained a hero to his men and a legend in the annals of military history.
In the end, Boyington’s legacy lives on in the hearts of those who served under him and the countless lives he saved during his time in the Pacific Theatre. His story is a testament to the power of courage, determination, and the indomitable spirit of the human soul. Baa Baa Black Sheep may have been the nickname given to him by his fellow pilots, but to those who knew him best, he was a true hero in every sense of the word.
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8K Fiber Optic HDMI 2.1 Cable 30ft, Long Active HDMI Cable, High Speed Fiber HDMI Cord, 48Gbps, 8K@60Hz 4K@120Hz, Dynamic HDR, eARC, HDCP 2.2&2.3, 3D, for HDTV Monitor Game Laptop Home Theatre
Price: $29.99
(as of Dec 30,2024 22:45:31 UTC – Details)
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48 Gbps 48 Gbps 48 Gbps 48 Gbps 48 Gbps 48 GbpsLength
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Dynamic HDR Dynamic HDR Dynamic HDR Dynamic HDR Dynamic HDR Dynamic HDRProduct Dimensions : 7.9 x 8.3 x 0.7 inches; 8.9 ounces
Item model number : RUBMUD 8K Fiber Optic HDMI 2.1 Cable
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Manufacturer : AST
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Country of Origin : China8K Fiber HDMI 2.1 Cable — Optical hdmi cable 30ft supports High-speed 48Gbps, 8K@60Hz, 4K@120Hz, 2K@240Hz, Dynamic HDR, Dolby Vision, eARC, HDCP 2.2&2.3, 3D, 32 Audio Channels, 4:4:4 RGB, ALLM, QFT, QMS, VRR, DSC etc. Backward compatible with version 2.0 / 1.4 / 1.2 / 1.1.
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Are you looking for a high-quality HDMI cable that can handle all of your 8K content? Look no further than the 8K Fiber Optic HDMI 2.1 Cable! This 30ft long active HDMI cable is perfect for connecting your HDTV, monitor, game console, laptop, or home theatre system.With a blazing fast 48Gbps speed, this fiber optic HDMI cord supports stunning 8K resolution at 60Hz and 4K resolution at 120Hz. It also features dynamic HDR for vibrant colors and eARC for crystal clear audio. Plus, it is compatible with HDCP 2.2 and 2.3, 3D content, and more.
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Mozart – La Finta Giardiniera / Richard Croft, Ann-Christine Biel, Petteri Salomaa, Stuart Kale, Britt-Marie Aruhn, Arnold Ostman, Drottningholm Theatre
Price: $21.41
(as of Dec 29,2024 08:01:39 UTC – Details)
Mozart’s charming opera tells the story of a Countess who disguises herself as a gardener in order to find and forgive her lover, who thinks he has killed her in a quarrel. The score is one of real musical delights with uncommonly rich and full orchestrat
Aspect Ratio : 1.33:1
Is Discontinued By Manufacturer : No
MPAA rating : NR (Not Rated)
Product Dimensions : 5.47 x 0.67 x 7.56 inches; 4.94 ounces
Media Format : Color, Multiple Formats, NTSC, Classical
Run time : 2 hours and 29 minutes
Release date : January 17, 2006
Actors : Richard Croft, Britt-Maria Aruhn, Stuart Kale, Eva Pilat, Arnold Östman
Dubbed: : French, Spanish
Subtitles: : English, French, German, Italian, Spanish
Studio : Arthaus
ASIN : B000CIWXT6
Number of discs : 1
Mozart’s La Finta Giardiniera is a delightful comedic opera that showcases the composer’s genius for melody and character. In this production from the Drottningholm Theatre, Richard Croft, Ann-Christine Biel, Petteri Salomaa, Stuart Kale, Britt-Marie Aruhn, and conductor Arnold Ostman bring this charming tale to life with wit and charm.Join us as we journey into the world of mistaken identities, love triangles, and hilarious misunderstandings in this enchanting opera. With a stellar cast and the expert guidance of Arnold Ostman, this production of La Finta Giardiniera is sure to delight audiences of all ages.
Don’t miss this opportunity to experience the magic of Mozart’s music in the beautiful setting of the Drottningholm Theatre. Get your tickets now and prepare to be swept away by the enchanting melodies of La Finta Giardiniera.
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BlueRigger 4K HDMI Cable 50FT (4K 30Hz, HDR10, in-Wall CL3 Rated, High Speed, HDCP2.3, eARC) – Long HDMI Cable Compatible with Home Theatre, HDTV, Gaming Consoles, Streaming Devices
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