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Tag: Cheyenne Jackson

  • Cheyenne Jackson Brings Signs of Life to Houston’s Hobby Center

    Cheyenne Jackson Brings Signs of Life to Houston’s Hobby Center

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    Saying he wanted to branch out beyond concerts and cabaret work, performer Cheyenne Jackson (American Horror Story, Glee) explained how he came to write “a riskier” act that not only showcases his singing talents but allows his audiences to know so much more about him.

    “I felt much more exposed, I felt much more connected with the audience,” he says. “The idea for the show was really based on something my dad taught me very early on  and that is to look for the signs. The signs of life, the signs from God or the universe or nature. Signs that you are where you’re supposed to be and you’re doing what you are supposed to be doing. That’s the kind of skeleton if it but then I fill it with all kinds of crazy stuff.

    Jackson is coming to the Hobby Center’s Zilkha Hall as part of the Beyond Broadway series for one night only with his show Cheyenne Jackson: Signs of Life. With credits that include  Call Me Kat as well as the Saved By The Bell revival, American Horror Story: Apocalypse and Disney’s Descendants 3, is known as a versatile performer

    Part of the Beyond Broadway series lineup, the show was written by Jackson as a long form cabaret. He says the reception has been so good that he plans to continue with this program.

    “I think people maybe didn’t expect it to be so personal and didn’t expect it to be so open. And I believe that in order to really maintain a connection you have to go first as a performer. So right off the top of the show I take the wind out of myself. And this really shows them that we’re going to be in this thing together and the reaction’s been great.”

    I talk about my kids. My kids are hysterical and they’re going to be 8 next week. My husband and I have twins, a boy and a girl. Father hood adventures. I also talk about moving to New York and what that was like. I talk about my late great friend Leslie Jordan who passed a couple of years ago. It seems a little scattery, but it’s not. There’s a method to my madness.

    Asked why he had children with such a busy life as a performer, Jackson says: “All I ever wanted was to have kids. I just needed to find the right person. I met my husband 12 years ago at 39. So we met and about a year and a half later we were married and had kids on the way. It’s incredible.”

    “I play this character Hades in Disney movie The Descendants so that carries a lot of weight with 8 and 9 year olds. As for the other things I’ve done, not impressed.”

    During the show he does a little bit of everything. It’s me telling stores and singing some of my favorite songs and talking about like and lessons I’ve learned and telling a bunch of jokes. There’s elements of stand up comedy in it as well. I was not professionally trained as a singer. I was trained by just listening to all types of music always. And I think because of that it really gave me this edge up to kind of sing anything.”

    Asked for his favorite songs he says it’s a range. “I do a version of Lady Gaga’s “Edge of Glory.” I do a song by Sam  Smith. I sing a song from the Broadway musical The Full Monty which I really love, has a lot of personal meaning. I sing a song that I wrote, that also seems to be an emotional highlight of the show from people who talk to me afterwards. It’s a song I wrote about my dad. I sing some classic stuff. I sing “Besame Mucho.” So there’s kind of something for everybody.”

    He calls the song about his father a very simple song, a song thait’s combined with a story about the coach wanting me to go out ofor the football team and it was definitely something I did not want to do. , It’s about a conversation between me and my dad. It just has become this moment that most people come up and talk to me afterwards. It’s called ‘OK.’”

    His audiences range in age, he says, from those who know him through The Descendants to a gay following to an older demographic. “People that love a throwback. It’s been written about me that I was born perhaps in the wrong era and I definitely have an old fashioned kind of vibe in how I sound and how I look,

    “But I look out there and I see people of all different everything “

    Cheyenne Jackson’s performance is scheduled for October 26 at 7:30 p.m. in Zilka Hall at the Hobby Center, 800 Bagby. For more information, call 713-315-7625 or visit hobbycenter.org. $44-$247.

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    Margaret Downing

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  • Harris makes a pre-taped appearance on ‘RuPaul’s Drag Race All Stars’ to urge Americans to vote

    Harris makes a pre-taped appearance on ‘RuPaul’s Drag Race All Stars’ to urge Americans to vote

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    WASHINGTON (AP) — Vice President Kamala Harris crashed the season finale of “RuPaul’s Drag Race All Stars,” urging Americans to vote in an appearance that was taped before President Joe Biden dropped his reelection bid.

    The episode caps the series’ ninth season and is streaming Friday on Paramount+. It opens with an announcer saying that programing is being interrupted for an “extra special ‘Drag Race’ viewing party.”

    The scene cuts to the Democratic vice president smiling broadly and saying into the camera, “Hi, everyone. It’s Kamala Harris. Each day, we’re seeing our rights and freedoms under attack, including the right of everyone to be who they are, love who they love — openly and with pride.”

    Clad in a purple suit that nicely complements the hot-pink couch where she’s seated with actor Cheyenne Jackson and surrounded by other celebrities and stars from the show, Harris continues: “So, as we fight back against these attacks, no one is alone.”

    “We are all in this together, and your vote is your power, so please make sure your voice is heard this November and register to vote,” the vice president concludes.

    That prompts Jackson to proclaim, “Can I get an amen?” and Harris and others happily cry, “Amen!” The vice president, like many on the set, holds up her hands in a gesture of praise before adding, “Now on with the show.”

    Harris and others then clap to RuPaul’s song “A Little Bit of Love,” as some of the assembled hoist placards promoting the website vote.gov. Harris laughs along as one sign is mistakenly held upside down. RuPaul, the show’s host, does not appear in the clip.

    Harris, a former U.S. senator from California, is not the first Democratic politician to appear on the show, which is based in Los Angeles. New York Rep. Alexandria Ocasio-Cortez was a guest judge in 2020.

    Biden announced he was leaving the presidential race and endorsing Harris last weekend. The vice president has since stepped up her campaign and travel schedule.

    ___

    Follow the AP’s coverage of the 2024 election at https://apnews.com/hub/election-2024.

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  • Review: Don’t Sleep on Splendiferous Sutton Foster in ‘Once Upon a Mattress’

    Review: Don’t Sleep on Splendiferous Sutton Foster in ‘Once Upon a Mattress’

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    Sutton Foster in Once Upon a Mattress. Joan Marcus

    Once Upon a Mattress | 2hrs 15mins. One intermission. | New York City Center | 131 West 55th Street | 212-581-1212

    After suffering through Once Upon a One More Time last summer, I concluded that musicals about princesses had become a royal bore; no more singing and dancing tiaras for me, please. And yet Sutton Foster’s full-body comic onslaught as Winnifred the Woebegone in Once Upon a Mattress has restored my fealty to throne. Playing her first stage princess since the ogre-besotted Fiona in 2008’s Shrek, Foster musters every talented inch of her limber frame, rubber face, and iron lungs to generate waves of zany ecstasy in this delightful concert version for City Center Encores!

    An urbane riff on Hans Christian Andersen’s “The Princess and the Pea,” Mattress was an early pioneer of the musical fractured fairytale in 1959, decades before composer Mary Rodgers’ lifelong buddy Stephen Sondheim had a go at the Grimms with Into the Woods. Not so coincidentally, the production is helmed by Encores! artistic director Lear de Bessonet, who staged the luminous revival of Woods that transferred to a hot-ticket Broadway run. It’s unclear if the same trajectory awaits Mattress, a lightweight goof with an old-fashioned score that nevertheless has a role any comic diva would die for.

    Sutton Foster and Michael Urie (center) in Once Upon a Mattress. Joan Marcus

    Or dive for: Winnifred throws herself into a moat and swims to the castle in search of her prince, sight unseen. When Foster is pulled up onto the stage, she is a dripping vision in algae: an eel down her dress, an enraged beaver tangled in her bun. The sort of gal folks used to call a tomboy, Winnifred is exuberantly uncultured and has boundary issues: in her intro tune, “Shy,” she bellow the title word, bowling everyone over. It’s right there in her name; half of her is soft and feminine: Winnie. The other half is, well, Fred. She can lift weights, sing like a nightingale and chug gallons of ale. Even with today’s hypersensitivities, the material’s flipping of gender stereotypes comes across as cute, not cringe. Mary Rodgers’ music doesn’t reinvent the swooning, jazz-inflected style she inherited from her father, Richard, but combined with Marshall Barer’s slyly camp lyrics, the score carries a gently subversive charge.

    Part of the freshness is due to strategic book rewrites by Amy Sherman-Palladino (The Marvelous Mrs. Maisel), who sharpens the feminist jabs and underscores the vanity and thickness of the men. One of the thickest is Sir Harry (Cheyenne Jackson), a clueless knight whose union with the pregnant Lady Larken (Nikki Renée Daniels) is held up by ridiculous trials devised by the scheming Queen Aggravain (Harriet Harris) to delay marriage for her coddled son, Prince Dauntless (Michael Urie). When Winnifred enters the picture, the wicked monarch devises an impossible test: she plants a pea under 20 downy mattresses and will deny Winnifred’s royal status if she fails to detect the intruding legume.

    Harriet Harris and Francis Jue in Once Upon a Mattress. Joan Marcus

    As she did with Into the Woods, De Bessonet maintains a charming balance between earnestness and ironic sauciness in this no-frills but still attractive staging (economical and colorful sets by David Zinn and mock-medieval frocks by Andrea Hood). Her ensemble (a well-oiled machine after only ten days of rehearsal) is an embarrassment of riches: Daniels and Jackson’s voices blend lusciously on their romantic duets; as a petulant man-boy and embittered dragon lady, respectively, Urie and Harris mug with flamboyant glee; J. Harrison Ghee’s narrating Jester in glitter lipstick and fuscia garb lends a genderfluid vibe; and, as the kindly, mute King, David Patrick Kelly expresses much with his powerful, compact frame. 

    So Foster isn’t alone up there, but it is hard to notice anyone else when Winnifred is warbling tenderly about “The Swamps of Home” or struggling to find a comfy spot on her mountain of bedding through an increasingly agitated series of contortions. A star since she Charlestoned into Broadway lovers’ hearts some 22 years ago in Thoroughly Modern Millie, Foster is the perfect physical comedian and singer to revivify the role that made Carol Burnett famous. Foster doesn’t need the career boost; if Mattress does extend in a bigger venue, she already has her next gig: baking people into meat pies over at Sweeney Todd

    Buy Tickets Here 

    Review: Don’t Sleep on Splendiferous Sutton Foster in ‘Once Upon a Mattress’



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    David Cote

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