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Tag: Theater

  • Ed Ames, ’50s pop singer with Ames Brothers and ’60s TV star in ‘Daniel Boone,’ dies at 95

    Ed Ames, ’50s pop singer with Ames Brothers and ’60s TV star in ‘Daniel Boone,’ dies at 95

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    Ed Ames, the youngest member of the popular 1950s singing group the Ames Brothers, who later became a successful actor in television and musical theater, has died. He was 95.

    The last survivor of the four singing brothers, Ames died May 21 from Alzheimer’s disease, his wife, Jeanne Ames, said Saturday.

    “He had a wonderful life,” she said.

    On television, Ames was likely best known for his role as Mingo, the Oxford-educated Native American in the 1960s adventure series “Daniel Boone” that starred Fess Parker as the famous frontiersman. He also was the center of a bit on “The Tonight Show” that — thanks to his painfully uncanny aim with a hatchet — became one of the show’s most memorable surprise moments.

    Ames had guest roles in TV series such as “Murder, She Wrote” and “In the Heat of the Night,” and toured frequently in musicals, performing such popular songs as “Try to Remember” and the song that became his biggest hit single, “My Cup Runneth Over.”

    As part of the 1950s music scene, he and his brothers were one of numerous pop quartets that included the Four Aces, Four Lads, Gaylords, Hilltoppers, Lancers, Four Knights, Ink Spots and, still around from a previous era, the Mills Brothers. But the Ames Brothers — Ed, Joe, Gene and Vic — had a unique tone: they were basses and baritones, not tenors.

    Their recordings of “Rag Mop,” “Sentimental Me” and “Undecided” became big hits, and they launched a busy career appearing on TV variety shows, recording 40 albums and playing in night clubs and auditoriums across the country.

    By the end of the 1950s, rock ‘n’ roll had overtaken the pop charts and singing quartets were on the decline. The Ameses, meanwhile, had tired of the constant travel and absence from their growing families. The finale for Ed came when he arrived home unexpectedly and his wife called to their 3-year-old daughter: “Who is it?” The girl replied, “One of the Ames Brothers.”

    “That did it,” he told a reporter. “My brothers and I agreed that we had all had it and should go our separate ways.” The group, which was earning $20,000 a week, played its last engagement at the Sahara in Las Vegas on New Year’s 1961.

    Ed’s efforts to establish himself as a solo singer were not immediately successful and he turned to acting. He almost lost his house before he found a role in a production of Arthur Miller’s “The Crucible.”

    In the long-running musical “The Fantasticks,” he sang “Try to Remember,” which became one of his theme songs. He joined the traveling company of Gower Champion’s “Carnival” and transferred to the New York company until the show’s final performance.

    In a role that presaged his future role on “Daniel Boone,” he then won attention as the stoic Native American in the 1963 Broadway play “One Flew Over the Cuckoo’s Nest” with Kirk Douglas and Gene Wilder in the adaptation of Ken Kesey’s novel.

    Ames earned top money at Las Vegas casinos and in hotel supper clubs and toured extensively in the musicals “Man of La Mancha,” “Fiddler on the Roof,” “South Pacific” and “I Do, I Do.”

    “I Do, I Do” provided his biggest hit single, “My Cup Runneth Over,” a gold record winner in 1967. He had another hit in 1968 with “Who Will Answer?”

    It was during his run on “Daniel Boone” that he contributed to what was called the longest sustained burst of laughter in the history of “The Tonight Show.”

    For a 1965 episode he was persuaded to demonstrate the hatchet-throwing skills he learned as Mingo. The silhouette of a cowboy was painted on a piece of wood, and Ames threw a hatchet at the target. It landed on squarely on the cowboy’s crotch.

    Ames was born Edmund Dantes Urick in Malden, Massachusetts, the youngest of 11 children, four who died in childhood. Their parents were Ukrainian immigrants and their mother taught the children to read Shakespeare and to appreciate music they heard every Saturday on the Metropolitan Opera broadcasts.

    The four youngest boys began singing at local events as the Urick Brothers. Ed was still in high school when they moved to night clubs, but as a husky six-footer with a deep voice, he was able to pass for 21.

    In New York, comedy writer Abe Burrows advised a name change because Urick was hard to remember. Ames was the brothers’ choice.

    After the four brothers split up, the other brothers also continued performing and recording, but gained less notice than Ed. Vic died in 1978, Gene in 1997 and Joe in December 2007.

    Ames and his first wife, Sara Cacheiro, had three children: Sonja, Ronald and Linda. The couple divorced in 1978, and in 1998 he married Jeanne Arnold.

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    The late Associated Press writer Bob Thomas was a contributor to this report from Los Angeles.

    ___

    This version corrects the name of Ames’ first wife to Sara Cacheiro.

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  • French courtroom drama ‘Anatomy of a Fall’ wins Palme d’Or, top prize of Cannes Film Festival

    French courtroom drama ‘Anatomy of a Fall’ wins Palme d’Or, top prize of Cannes Film Festival

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    French courtroom drama ‘Anatomy of a Fall’ wins Palme d’Or, top prize of Cannes Film Festival

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  • ‘Succession’ star Jeremy Strong lands a role on Broadway in 2024 in ‘An Enemy of the People’

    ‘Succession’ star Jeremy Strong lands a role on Broadway in 2024 in ‘An Enemy of the People’

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    NEW YORK (AP) — Jeremy Strong is going from a corporate boardroom on TV to a whistleblower on Broadway.

    The actor who plays Kendall Roy in the HBO television series “Succession” has signed on to play a man who tries to expose water contamination in a Norwegian spa town in Henrik Ibsen’s 1882 play “An Enemy of the People.”

    The play — with a rewrite from Amy Herzog, whose adaptation of Ibsen’s “A Doll’s House” just won a Tony nomination — will premiere on Broadway in early 2024 at a theater to be revealed later, producers said. The rest of the cast will be announced later. Sam Gold, who won a Tony directing “Fun Home,” will helm the revival.

    It will be Strong’s second time on Broadway. He was in “A Man for All Seasons” in 2008 with Frank Langella and Patrick Page. Since then, his work on “Succession” has earned him an Emmy and a Golden Globe.

    Strong will play a public-minded doctor in a small town who discovers the water supply for the public spa is contaminated and may have made tourists — the community’s economic lifeblood — ill. But his efforts to clean up the mess pit his ethics against political cowards and the media, leaving his family suffering.

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  • It’s Pulitzer Prize day, honoring journalism’s best work

    It’s Pulitzer Prize day, honoring journalism’s best work

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    The Pulitzer Prizes will be awarded Monday to honor outstanding journalism during a violent year that included Russia’s brutal invasion of Ukraine, mass shootings that targeted an elementary school and supermarket, and floods and flames fueled by clima…

    NEW YORK — The Pulitzer Prizes will be awarded Monday to honor outstanding journalism during a violent year that included Russia’s brutal invasion of Ukraine, mass shootings that targeted an elementary school and supermarket, and communities beset with floods and flames fueled by climate change.

    The winners will be announced during a livestream beginning at 3 p.m. EDT.

    The Pulitzers honor the best stories in journalism from 2022 in 15 categories, as well as eight arts categories focused on books, music and theater.

    The public service prize winner receives a gold medal. All other winners receive $15,000.

    The prizes were established in the will of newspaper publisher Joseph Pulitzer and first awarded in 1917.

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  • ‘Some Like It Hot’ leads Tony Award nominations with 13 nods

    ‘Some Like It Hot’ leads Tony Award nominations with 13 nods

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    NEW YORK (AP) — “Some Like It Hot,” a Broadway musical adaptation of the cross-dressing movie comedy that starred Tony Curtis and Jack Lemmon, waltzed away Tuesday with a leading 13 Tony Award nominations, putting the spotlight on a show that is a sweet, full-hearted embrace of trans rights.

    With songs by Marc Shaiman and Scott Wittman and starring Christian Borle and J. Harrison Ghee, who all got nominations, the show follows two musician friends who disguise themselves as women and join an all-girl band to flee Chicago after witnessing a mob hit. Like the movie, there are men in dresses trying to pass as women. But this time, the dress awakens something in Ghee’s character, akin to a transformation from a caterpillar to a butterfly.

    “The only thing we wanted to do was to be honest and we wanted to treat these characters with dignity,” said Matthew López, who wrote the Tony-nominated book with Amber Ruffin and has a Tony already for the play “The Inheritance.” “Sometimes the best way to treat a character with dignity is to let them be flawed and scared and funny and brave and human. So one of the things that was really, really important to us is just to create human-scaled characters going through some extraordinary experiences.”

    The musical comes at a time when trans rights are under attack and its message of self-acceptance and respect for all was echoed across Broadway, from a revival of “Parade” to a Black actor-led “Death of a Salesman” to the new play “Ain’t No Mo’” and new musical “Kimberly Akimbo.”

    “I think the pandemic put a lot of things in perspective, both in terms of improvements we needed to make in the community and also just the way that everybody’s feeling about the world and about being a human,” said Ben Platt, nominated for “Parade.” “The art people are making has a real urgency and a real purpose.”

    Three shows tied with nine nominations each: “& Juliet,” which reimagines “Romeo and Juliet” and adds some of the biggest pop hits of the past few decades, “New York, New York,” which combined two generations of Broadway royalty in John Kander and Lin-Manuel Miranda, and “Shucked,” a surprise lightweight musical comedy studded with corn puns.

    Betsy Wolfe, in her eighth Broadway show, earned her first nomination in “& Juliet,” playing Anne Hathaway, Shakespeare’s wife. The actor had just dropped her daughter, almost 3, off at ballet class on Tuesday morning. “I hope she addresses me properly now when I see her,” she joked.

    In the musical, playwright David West Read took an original story using “Romeo and Juliet” as a launch pad and mixed in hits by Swedish super-producer Max Martin, including Brittney Spears’ “Oops! … I Did It Again,” Katy Perry’s “Roar” and Bon Jovi’s “It’s My Life.” The musical imagines a happier ending for Juliet after a journey of self-discovery.

    “It’s a beautiful story about second chances, which honestly is what we’re all going through right now,” said Wolfe. “We’ve all been given a second chance after this time we’ve all been through. And so to have a musical that allows us all to celebrate in each individual way that we need to celebrate is really, really special and timely.”

    The critical musical darling “Kimberly Akimbo,” with Victoria Clark playing a teen who ages four times faster than the average human, rounds out the best musical category, and earned a total of eight nominations.

    Clark, who was nominated for best lead actress in a musical, hopes to add a second Tony to her trophy case, having previously won one in 2005 for “The Light in the Piazza.” But more than that she hopes more attention will be paid to her show, which she calls a “little under the radar.”

    “It’s a special event that celebrates our collective humanity,” she said. “It doesn’t say life is perfect. The show doesn’t say there aren’t going to be strange and horrible people in your life. It doesn’t say life is going to be easy. But it does say life is worthwhile. And I think that is a message that we need to get out there. Life is worth living.”

    In the best new play category, nods were distributed to Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, and “Fat Ham,” James Ijames’ Pulitzer Prize-winning adaptation of Shakespeare’s “Hamlet” set at a Black family’s barbecue in the modern South.

    The rest of the category is made up of “Ain’t No Mo,’” the short-lived but critical applauded work by playwright and actor Jordan E. Cooper, Stephen Adly Guirgis’ Pulitzer Prize-winning play “Between Riverside and Crazy” and “Cost of Living,” parallel stories of two caretakers and their respective patients.

    “Ain’t No Mo,’” which earned six nominations, begins with the United States government emailing every Black citizen with the offer of a free plane ticket to Africa, and each scene explores how various personalities respond to the offer.

    00:00

    <p>AP correspondent Margie Szaroleta reports on Tony Nominations.</p>

    Cooper learned he’s been nominated twice — as best playwright and as lead actor — while visiting his childhood home in Texas. He and his family learned of his triumph in the living room where, as a 6-year-old, he put on his first plays.

    “It is a little bittersweet,” Cooper said. “We only got a chance to do about like 60 performances and this cast and this creative team were like some of the most talented you’ve ever seen. It was unfortunate that people don’t get a chance to experience it because we really felt like it was something special. Audiences felt like it was something special. And it’s just so beautiful to know that the work that we put in — that blood, that sweat and tears — are not in vain.”

    “Parade,” a doomed musical love story set against the real backdrop of a murder and lynching in Georgia in pre-World War I, earned six nods, including for Platt, hoping to win a second Tony after his triumph in 2017 with “Dear Evan Hansen,” and rising star and first-time nominee Micaela Diamond.

    Jessica Chastain, an Oscar-winner for “The Eyes of Tammy Faye,” got her first Tony nomination for a stripped down version of “A Doll’s House” and Wendell Pierce, who won a Tony for producing “Clybourne Park,” earned his first nomination as an actor on Broadway for a blistering revival of “Death of a Salesman.”

    When Pierce heard the news, he wept. The actor, best known for his role as Bunk on the HBO drama “The Wire,” said his emotions were “the culmination of years of work that can have an impact on people.” He added: “Getting that recognition from your colleagues, I did not know how profoundly moving it would be. And I burst into tears. But they were tears of joy.”

    Pierce will face-off against both stars of Suzan-Lori Parks’ “Topdog/Underdog” — Yahya Abdul-Mateen II and Corey Hawkins — as well as former “Will & Grace” star Sean Hayes from “Good Night, Oscar,” and Stephen McKinley Henderson, who earned his second nomination for “Between Riverside and Crazy,” having gotten one in 2019 for “Fences.”

    Jodie Comer, the three-time Emmy nominated star of “Killing Eve” earned a nomination in her Broadway debut — although her play, “Prima Facie,” did not get a best new play nod — and Audra McDonald, who has won six Tony Awards can extend her reign if she beats Comer as best leading actress in a play for “Ohio State Murders.” The last slot in the category went to Jessica Hecht, staring in the play “Summer, 1976.”

    Another show that closed quickly nevertheless picked up nominations — “KPOP,” which put Korean pop music on Broadway for the first time. “KPOP” got three — including best original score.

    Andrew Lloyd Webber’s frothy and widely panned “Bad Cinderella” earned zero nods, as did “A Beautiful Noise, The Neil Diamond Musical,” a stage biography of the singer-songwriter who has had dozens of top-40 hits. Hollywood’s Oscar Isaac and Rachel Brosnahan in “The Sign in Sidney Brustein’s Window” were left off the list of nominees, but Samuel L. Jackson earned his first Tony nod for “August Wilson’s The Piano Lesson.”

    Two well-received revivals from the late Stephen Sondheim — “Sweeney Todd” with Annaleigh Ashford and Josh Groban, and a star-studded “Into the Woods,” were recognized. “Sweeney Todd” received eight nominations including for Groban and Ashford, and “Into the Woods” earned six, including for Brian d’Arcy James and Grammy Award-winning Sara Bareilles, her third Tony nomination.

    00:00

    <p>NaTasha Yvette Williams and cast of “Some Like It Hot,” performing “What Are You Thirsty For?”</p>

    “Almost Famous,” the stage adaptation of Cameron Crowe’s autobiographical coming-of-age story, earned just one nomination — for music by Tom Kitt and lyrics by Crowe and Kitt. And choreographer Jennifer Weber had two reasons to smile Tuesday: Weber earned nominations for “& Juliet” and “KPOP,” her first Broadway shows.

    Among the haul for “Some Like It Hot” was a nomination for Ghee for best actor in a musical. Ghee and Alex Newell, who got a best supporting actor nod for “Shucked,” both became the first nonbinary actors nominated for a Tony. (Last year, composer and writer Toby Marlow became the first out nonbinary nominee, going on to win for “Six.”)

    Ariana DeBose will host the June 11 awards celebration from New York City’s United Palace theater live on CBS and on Paramount+. It is her second-straight stint as host.

    ___

    Associated Press reporter John Carucci contributed to this report.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • ‘Some Like It Hot’ leads Tony Award nominations with 13 nods

    ‘Some Like It Hot’ leads Tony Award nominations with 13 nods

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    NEW YORK — NEW YORK (AP) — “Some Like It Hot,” a Broadway musical adaptation of the cross-dressing movie comedy that starred Tony Curtis and Jack Lemmon, waltzed away Tuesday with a leading 13 Tony Award nominations, putting the spotlight on a show that is a sweet, full-hearted embrace of trans rights.

    With songs by Marc Shaiman and Scott Wittman and starring Christian Borle and J. Harrison Ghee, who all got nominations, the show follows two musician friends who disguise themselves as women and join an all-girl band to flee Chicago after witnessing a mob hit. Like the movie, there are men in dresses trying to pass as women. But this time, the dress awakens something in Ghee’s character, akin to a transformation from a caterpillar to a butterfly.

    The message of self-acceptance and respect for all was echoed across Broadway, from a revival of “Parade” to a Black actor-led “Death of a Salesman” to the new play “Ain’t No Mo.’”

    “I think the pandemic put a lot of things in perspective, both in terms of improvements we needed to make in the community and also just the way that everybody’s feeling about the world and about being a human,” said Ben Platt, nominated for “Parade.” “The art people are making has a real urgency and a real purpose.”

    Three shows tied with nine nominations each: “& Juliet,” which reimagines “Romeo and Juliet” and adds some of the biggest pop hits of the past few decades, “New York, New York,” which combined two generations of Broadway royalty in John Kander and Lin-Manuel Miranda, and “Shucked,” a surprise lightweight musical comedy studded with corn puns. The critical musical darling “Kimberly Akimbo,” with Victoria Clark playing a teen who ages four times faster than the average human, rounds out the best musical category.

    In the best new play category, nods were distributed to Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, and “Fat Ham,” James Ijames’ Pulitzer Prize-winning adaptation of Shakespeare’s “Hamlet” set at a Black family’s barbecue in the modern South.

    The rest of the category is made up of “Ain’t No Mo,’” the short-lived but critical applauded work by playwright and actor Jordan E. Cooper, Stephen Adly Guirgis’ Pulitzer Prize-winning play “Between Riverside and Crazy” and “Cost of Living,” parallel stories of two caretakers and their respective patients.

    “Ain’t No Mo,’” which earned six nominations, begins with the United States government emailing every Black citizen with the offer of a free plane ticket to Africa, and each scene explores how various personalities respond to the offer.

    Cooper learned he’s been nominated twice — as best playwright and as lead actor — while visiting his childhood home in Texas. He and his family were in the living room where as a 6-year-old, he put on his first plays.

    “It is a little bittersweet,” Cooper said. “We only got a chance to do about like 60 performances and this cast and this creative team were like some of the most talented you’ve ever seen. It was unfortunate that people don’t get a chance to experience it because we really felt like it was something special. Audiences felt like it was something special. And it’s just so beautiful to know that the work that we put in — that blood, that sweat and tears — are not in vain.”

    “Parade,” a doomed musical love story set against the real backdrop of a murder and lynching in Georgia in pre-World War I, earned six nods, including for Platt, hoping to win a second Tony after his triumph in 2017 with “Dear Evan Hansen,” and rising star and first-time nominee Micaela Diamond.

    Wendell Pierce, who has won a Tony for producing “Clybourne Park,” earned his first nomination as an actor on Broadway for a blistering revival of “Death of a Salesman” and Jessica Chastain, an Oscar-winner for “The Eyes of Tammy Faye,” got her first Tony nomination for a stripped down version of “A Doll’s House.”

    Pierce will face-off against both stars of Suzan-Lori Parks’ “Topdog/Underdog” — Yahya Abdul-Mateen II and Corey Hawkins — as well as former “Will & Grace” star Sean Hayes from “Good Night, Oscar,” and Stephen McKinley Henderson, who earned his second nomination, having gotten one in 2019 for “Fences.”

    Jodie Comer, the three-time Emmy nominated star of “Killing Eve” earned a nomination in her Broadway debut — although her play, “Prima Facie,” did get a best new play nod — and Audra McDonald, who has won six Tony Awards can extend her reign if she beats Comer as best leading actress in a play for “Ohio State Murders.” The last slot in the category went to Jessica Hecht, staring in the play “Summer, 1976.”

    Another show that closed quickly nevertheless picked up nominations — “KPOP,” which put Korean pop music on Broadway for the first time. “KPOP” got three — including best original score.

    Andrew Lloyd Webber’s frothy and widely panned “Bad Cinderella” earned zero nods, as did “A Beautiful Noise, The Neil Diamond Musical,” a stage biography of the singer-songwriter who has had dozens of top-40 hits. But Samuel L. Jackson earned his first Tony nod for “August Wilson’s The Piano Lesson.”

    Two well-received revivals from the late Stephen Sondheim — “Sweeney Todd” with Annaleigh Ashford and Josh Groban, and a star-studded “Into the Woods,” were recognized. “Sweeney Todd” received eight nominations including for Groban and Ashford, and “Into the Woods” earned six, including for Brian d’Arcy James and Grammy Award-winning Sara Bareilles, her third Tony nomination.

    “Almost Famous,” the stage adaptation of Cameron Crowe’s autobiographical coming-of-age story, earned just one nomination — for music by Tom Kitt and lyrics by Crowe and Kitt. And choreographer Jennifer Weber had two reasons to smile Tuesday: Weber earned nominations for “& Juliet” and “KPOP,” her first Broadway shows.

    Ariana DeBose will host the June 11 awards celebration from New York City’s United Palace theater live on CBS and on Paramount+. It is her second-straight stint as host.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • Hurray for the Riff Raff Announces Stage Adaptation of The Navigator

    Hurray for the Riff Raff Announces Stage Adaptation of The Navigator

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    Hurray for the Riff Raff has announced a new musical adaptation of their 2017 album, The Navigator. Bandleader Alynda Segarra developed the new work with writer, director, and actor C. Julian Jimenéz. The pair will share an in-progress presentation of The Navigator on June 9 and 10 at Joe’s Pub in New York.

    The updated iteration of The Navigator will feature the album’s original songs, newer material, and a re-worked narrative, according to a press release. Segarra shared a statement about the evolution of The Navigator:

    When I wrote The Navigator [album], it was written as a soundtrack to the story of my character Navita Milagros Negron. And when I recorded it in 2016, I had a first draft of the accompanying play in my back pocket but I had no idea how I could make the vision become a reality. Now years later, I am so proud to be partnering with C. Julian Jimenez to heighten this project.

    Hurray for the Riff Raff’s most recent record is last year’s Life on Earth. Segarra shared the new songs “Resistance Rockers” and “Let Her in the Sky” in a deluxe edition of Life on Earth released earlier this month. 

    Hurray for the Riff Raff is performing at Chicago’s Pitchfork Music Festival on Sunday, July 23. Tickets are on sale now.

    All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

    Pitchfork Music Festival 2023

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  • ‘The Phantom of the Opera’ closes on Broadway after 35 years

    ‘The Phantom of the Opera’ closes on Broadway after 35 years

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    NEW YORK — The final curtain came down Sunday on New York’s production of “The Phantom of the Opera,” ending Broadway’s longest-running show with thunderous standing ovations, champagne toasts and gold and silver confetti bursting from its famous chandelier.

    It was show No. 13,981 at the Majestic Theatre and it ended with a reprise of “The Music of the Night” performed by the current cast, previous actors in the show — including original star Sarah Brightman — and crew members in street clothes.

    Andrew Lloyd Webber took to the stage last in a black suit and black tie and dedicated the final show to his son, Nick, who died last month after a protracted battle with gastric cancer and pneumonia. He was 43.

    “When he was a little boy, he heard some of this music,” Lloyd Webber said. Brightman, holding his hand, agreed: “When Andrew was writing it, he was right there. So his son is with us. Nick, we love you very much.”

    Producer Cameron Mackintosh gave some in the crowd hope they would see the Phantom again, and perhaps sooner than they think.

    “The one question I keep getting asked again and again — will the Phantom return? Having been a producer for over 55 years, I’ve seen all the great musicals return, and ‘Phantom’ is one of the greatest,” he said. “So it’s only a matter of time.”

    The musical — a fixture on Broadway since opening on Jan. 26, 1988 — has weathered recessions, war, terrorism and cultural shifts. But the prolonged pandemic may have been the last straw: It’s a costly musical to sustain, with elaborate sets and costumes as well as a large cast and orchestra. The curtain call Sunday showed how out of step “Phantom” is with the rest of Broadway but also how glorious a big, splashy musical can be.

    “If there ever was a bang, we’re going out with a bang. It’s going to be a great night,” said John Riddle just before dashing inside to play Raoul for the final time.

    Based on a novel by Gaston Leroux, “Phantom” tells the story of a deformed composer who haunts the Paris Opera House and falls madly in love with an innocent young soprano, Christine. Webber’s lavish songs include “Masquerade,” ″Angel of Music” and ″All I Ask of You.”

    In addition to Riddle, the New York production said goodbye with Emilie Kouatchou as Christine and Laird Mackintosh stepping in for Ben Crawford as the Phantom. Crawford was unable to sing because of a bacterial infection but was cheered at the curtain call, stepping to the side of the stage. The Phantom waved him over to stand beside him, Riddle and Kouatchou.

    There was a video presentation of many of the actors who had played key roles in the show over the years, and the orchestra seats were crowded with Christines, Raouls and Phantoms. The late director Hal Prince, choreographer Gillian Lynne and set and costume designer Maria Björnson were also honored.

    Lin-Manuel Miranda attended, as did Glenn Close, who performed in two separate Broadway productions of Lloyd Webber’s “Sunset Boulevard.” Free champagne was offered at intermission and flutes of it were handed out onstage at the curtain call.

    Riddle first saw “The Phantom of the Opera” in Toronto as a 4-year-old child. “It was the first musical I ever saw. I didn’t know what a musical was,” he said. “Now, 30-some odd years later, I’m closing the show on Broadway. So it’s incredible.”

    Kouatchou, who became the first Black woman in the role in New York, didn’t think the show would ever stop. “I was like, ‘OK, I’m going to do my run, ‘Phantom’ is going to continue on and they’ll be more Christines of color,’ ” she said. “But this is it.”

    The first production opened in London in 1986 and since then the show has been seen by more than 145 million people in 183 cities and performed in 17 languages over 70,000 performances. On Broadway alone, it has grossed more than $1.3 billion.

    When “Phantom” opened in New York, “Die Hard” was in movie theaters, Adele was born, and floppy discs were at the cutting edge of technology. A postage stamp cost 25 cents, and the year’s most popular songs were “Roll With It” by Steve Winwood, “Faith” by George Michael and Rick Astley’s “Never Gonna Give You Up.”

    Critics were positive, with the New York Post calling it “a piece of impeccably crafted musical theater,” the Daily News describing it as “spectacular entertainment,” and The New York Times saying it “wants nothing more than to shower the audience with fantasy and fun.”

    Lloyd Webber’s other musicals include “Cats,” “Jesus Christ Superstar,” “Evita,” “Sunset Boulevard” and “School of Rock.” The closing of “Phantom” means the composer is left with one show on Broadway, the critically mauled “Bad Cinderella.”

    The closing of “Phantom,” originally scheduled for February, was pushed to mid-April after a flood of revived interest and ticket sales that pushed weekly grosses past $3 million. The closing means the longest-running show crown now goes to “Chicago,” which started in 1996. “The Lion King” is next, having begun performances in 1997.

    Broadway took a pounding during the pandemic, with all theaters closed for more than 18 months. Some of the most popular shows — “Hamilton,” “The Lion King” and “Wicked” — rebounded well, but other shows have struggled.

    Breaking even usually requires a steady stream of tourists, especially for “Phantom,” and visitors to the city haven’t returned to pre-pandemic levels. The pandemic also pushed up expenses for all shows, including routine COVID-19 testing and safety officers on staff. The Phantom became a poster boy for Broadway’s return — after all, he is partially masked.

    Fans can always catch the Phantom elsewhere. The flagship London production celebrated its 36th anniversary in October, and there are productions in Japan, Greece, Australia, Sweden, Italy, South Korea and the Czech Republic. One is about to open in Bucharest, and another will open in Vienna in 2024.

    Kouatchou, who walked the red carpet before the final show in a hot pink clinging gown with a sweetheart neckline and a cut out, said the bitterness was undercut by the big send-off. Most Broadway shows that close slink into the darkness uncelebrated.

    “It kind of sweetens it, right?” she said. “We get to celebrate at the end of this. We get to all come together and drink and laugh and talk about the show and all the highs and lows. It’s ending on a big note.”

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • ‘The Phantom of the Opera’ closes on Broadway after 35 years

    ‘The Phantom of the Opera’ closes on Broadway after 35 years

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    NEW YORK — The final curtain came down Sunday on New York’s production of “The Phantom of the Opera,” ending Broadway’s longest-running show with thunderous standing ovations, champagne toasts and gold confetti.

    It was show No. 13,981 at the Majestic Theatre and it ended with a reprise of “The Music of the Night” performed by the current cast, previous actors in the show — including original star Sarah Brightman — and crew members.

    Andrew Lloyd Webber took to the stage in a black suit and black tie and dedicated the final show to his son, Nick, who died last month after a protracted battle with gastric cancer and pneumonia. He was 43.

    “When he was a little boy, he heard some of this music,” Lloyd Webber said. Brightman, holding his hand, agreed: “When Andrew was writing it, he was right there. So his son is with us. Nick, we love you very much.”

    Producer Cameron Mackintosh gave some in the crowd hope they would see the Phantom again, and perhaps sooner than they think.

    “The one question I keep getting asked again and again — will the Phantom return? Having been a producer for over 55 years, I’ve seen all the great musicals return, and ‘Phantom’ is one of the greatest,” he said. “So it’s only a matter of time.”

    The musical — a fixture on Broadway since opening on Jan. 26, 1988 — has weathered recessions, war, terrorism and cultural shifts. But the prolonged pandemic may have been the last straw: It’s a costly musical to sustain, with elaborate sets and costumes as well as a large cast and orchestra. The curtain call Sunday showed how out of step “Phantom” is with the rest of Broadway but also how glorious a big, splashy musical can be.

    “If there ever was a bang, we’re going out with a bang. It’s going to be a great night,” said John Riddle just before dashing inside to play Raoul for the final time.

    Based on a novel by Gaston Leroux, “Phantom” tells the story of a deformed composer who haunts the Paris Opera House and falls madly in love with an innocent young soprano, Christine. Webber’s lavish songs include “Masquerade,” ″Angel of Music” and ″All I Ask of You.”

    In addition to Riddle, the New York production said goodbye with Emilie Kouatchou as Christine and Laird Mackintosh stepping in for Ben Crawford as the Phantom. Crawford was unable to sing because of a bacterial infection but was cheered at the curtain call, stepping to the side of the stage. The Phantom waved him over to stand beside him, Riddle and Kouatchou.

    There was a video presentation of many of the actors who had played key roles in the show over the years, and the orchestra seats were crowded with Christines, Raouls and Phantoms. Lin-Manuel Miranda attended, as did Glenn Close, who performed in two separate Broadway productions of Lloyd Webber’s “Sunset Boulevard.”

    Riddle first saw “The Phantom of the Opera” in Toronto as a 4-year-old child. “It was the first musical I ever saw. I didn’t know what a musical was,” he said. “Now, 30-some odd years later, I’m closing the show on Broadway. So it’s incredible.”

    Kouatchou, who became the first Black woman in the role in New York, didn’t think the show would ever stop. “I was like, ‘OK, I’m going to do my run, ‘Phantom’ is going to continue on and they’ll be more Christines of color,’ ” she said. “But this is it.”

    The first production opened in London in 1986 and since then the show has been seen by more than 145 million people in 183 cities and performed in 17 languages over 70,000 performances. On Broadway alone, it has grossed more than $1.3 billion.

    When “Phantom” opened in New York, “Die Hard” was in movie theaters, Adele was born, and floppy discs were at the cutting edge of technology. A postage stamp cost 25 cents, and the year’s most popular songs were “Roll With It” by Steve Winwood, “Faith” by George Michael and Rick Astley’s “Never Gonna Give You Up.”

    Critics were positive, with the New York Post calling it “a piece of impeccably crafted musical theater,” the Daily News describing it as “spectacular entertainment,” and The New York Times saying it “wants nothing more than to shower the audience with fantasy and fun.”

    Lloyd Webber’s other musicals include “Cats,” “Jesus Christ Superstar,” “Evita,” “Sunset Boulevard” and “School of Rock.” The closing of “Phantom” means the composer is left with one show on Broadway, the critically mauled “Bad Cinderella.”

    The closing of “Phantom,” originally scheduled for February, was pushed to mid-April after a flood of revived interest and ticket sales that pushed weekly grosses past $3 million. The closing means the longest-running show crown now goes to “Chicago,” which started in 1996. “The Lion King” is next, having begun performances in 1997.

    Broadway took a pounding during the pandemic, with all theaters closed for more than 18 months. Some of the most popular shows — “Hamilton,” “The Lion King” and “Wicked” — rebounded well, but other shows have struggled.

    Breaking even usually requires a steady stream of tourists, especially for “Phantom,” and visitors to the city haven’t returned to pre-pandemic levels. The pandemic also pushed up expenses for all shows, including routine COVID-19 testing and safety officers on staff.

    Fans can always catch the Phantom elsewhere. The flagship London production celebrated its 36th anniversary in October, and there are productions in Japan, Greece, Australia, Sweden, Italy, South Korea and the Czech Republic. One is about to open in Bucharest, and another will open in Vienna in 2024.

    Kouatchou, who walked the red carpet before the final show in a hot pink clinging gown with a sweetheart neckline and a cut out, said the bitterness was undercut by the big send-off. Most Broadway shows that close slink into the darkness uncelebrated.

    “It kind of sweetens it, right?” she said. “We get to celebrate at the end of this. We get to all come together and drink and laugh and talk about the show and all the highs and lows. It’s ending on a big note.”

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • Jodie Comer, Paul Mescal take acting gold at Olivier Awards

    Jodie Comer, Paul Mescal take acting gold at Olivier Awards

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    LONDON — Screen stars Paul Mescal and Jodie Comer scored prizes at London’s Olivier Awards on Sunday for their first-ever West End stage roles, while a stage adaptation of Japanese animated classic “My Neighbor Totoro” won six trophies.

    Irish actor Mescal – an Academy Award acting nominee this year for “Aftersun” – was named best actor in a play for his turn as the brutish Stanley Kowalski in “A Streetcar Named Desire” at the Almeida Theatre. Anjana Vasan won the best supporting actress award for playing Stella in Tennessee Williams’ scorching drama, which was named best revival.

    Mescal, 27, said his rapid success “doesn’t feel real.”

    “But it’s kind of happening at such a rate that there is no time to stop and think, ‘This is a phenomenal feeling,’” he said.

    Liverpool-born Comer, 30, won the best actress in a play award for the one-person show “Prima Facie,” which she is taking to Broadway later this month. Suzie Miller’s drama about a lawyer dealing with the aftermath of a sexual assault was also named best new play.

    Comer, who shot to fame as star of TV spy series “Killing Eve,” gave a shoutout “to any kids who haven’t been to drama school, who can’t afford to go to drama school, who has been rejected from drama school — don’t let anyone tell you that it isn’t possible.”

    “My Neighbor Totoro” was named best entertainment or comedy play at the Oliviers, the U.K. equivalent of Broadway’s Tony Awards. Phelim McDermott won best-director trophy for the Royal Shakespeare Company’s adaptation of Studio Ghibli’s magical coming-of-age film. It also took prizes for sound, lighting, costumes and sets.

    “Standing at the Sky’s Edge,” an urban elegy set to the music of singer-songwriter Richard Hawley, was named best new musical, while an edgy, pared-down take on Rodgers and Hammerstein’s corn-fed classic “Oklahoma!” won the prize for best musical revival.

    Arthur Darvill won the best-actor in a musical prize for playing Curly in “Oklahoma!” Katie Brayben was named best actress in a musical for playing televangelist Tammy Faye Bakker in the Almeida Theatre’s “Tammy Faye.”

    Musical Supporting performance trophies went to Beverley Knight for hiphop suffragette story “Sylvia” and Zubin Varla for “Tammy Faye.” Will Keen was named best actor in a play for playing Vladimir Putin in “Patriots,” a play about the Russian leader’s relationship with oligarch Boris Berezovsky.

    Keen called his character a “living, breathing, internationally recognized villain.”

    Veteran actor Derek Jacobi received a lifetime achievement award to celebrate his six-decade career.

    Hannah Waddingham – a West End musical star before she found TV fame as the owner of a struggling soccer team on “Ted Lasso” — hosted the ceremony at London’s Royal Albert Hall, which included performances from musical nominees including “The Band’s Visit,” “Sylvia,” “Tammy Faye,” “Oklahoma!” and “Sister Act.”

    The prizes were founded in 1976 and named for the late actor-director Laurence Olivier. Winners are chosen by voting groups of stage professionals and theatergoers.

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  • Lucas Hedges And Mike Faist To Play Cowboy Lovers In A ‘Brokeback Mountain’ Play

    Lucas Hedges And Mike Faist To Play Cowboy Lovers In A ‘Brokeback Mountain’ Play

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    Ennis Del Mar and Jack Twist’s high-altitude love story is about to gallop onto the theatrical stage this spring.

    London’s @sohoplace theater on Monday announced plans to adapt Annie Proulx’s short story “Brokeback Mountain” as a “play with music.” The story was the basis for Ang Lee’s Oscar-winning 2005 movie starring Heath Ledger and Jake Gyllenhaal.

    Lucas Hedges and Mike Faist will star as Del Mar and Twist, two rival cowboys who fall in love after being hired to herd sheep on a Wyoming mountain in the summer of 1963. Ledger and Gyllenhaal both received Academy Award nominations for their respective portrayals of Ennis and Jack in the film.

    The stage version of “Brokeback Mountain” is written by Ashley Robinson, with songs by Dan Gillespie Sells and direction by Jonathan Butterell. The romantic drama will run from May 10 to Aug. 12.

    Speaking to Variety, Robinson and producer Nica Burns stressed that the play is an adaptation of Proulx’s original story, first published by the New Yorker in 1997, as opposed to the film. The story was also the basis for a 2018 New York City Opera adaptation, which featured music by Charles Wuorinen.

    “I’m honored to be entrusted by Annie Proulx to bring new life in new form to her timeless and universal story,” Robinson said. “A story that means so much to so many, and will surely mean as much to a whole new generation.”

    Burns told Variety the production will focus “on the relationship between our two lead characters with Eddi Reader’s memorable voice adding to the heartbreak as the soundtrack of their lives. To have Mike Faist and Lucas Hedges, two outstanding young American actors playing Jack and Ennis is a real coup.”

    Jake Gyllenhaal and Heath Ledger starred in the 2005 movie version of “Brokeback Mountain,” directed by Ang Lee.

    Kevin Winter via Getty Images

    An Oscar and Golden Globe nominee, Hedges is best known for his portrayal of sardonic teen Patrick Chandler in 2016’s “Manchester by the Sea.”

    In 2018, he starred in the film version of Garrard Conley’s memoir “Boy Erased,” playing a queer teen whose parents pressure him into attending a “conversion therapy” camp in hopes of “curing” him of same-sex attraction. His other credits include “Lady Bird” and “Three Billboards Outside Ebbing, Missouri.”

    Faist got his start on Broadway in the ensemble cast of the 2012 musical “Newsies.” Five years later, he received a Tony nomination for his portrayal of Connor Murphy in “Dear Evan Hansen,” starring Ben Platt. He had his first major film role in Steven Spielberg’s “West Side Story” in 2021, playing Riff.

    Both actors are making the West End stage debuts in the production.

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  • Stephen Sondheim’s last musical finds a New York City stage

    Stephen Sondheim’s last musical finds a New York City stage

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    Stephen Sondheim’s last musical will be given an off-Broadway stage this year

    ByMARK KENNEDY AP Entertainment Writer

    NEW YORK — The late Stephen Sondheim’s last stage musical — an adaptation of two films by Spanish surrealist director Luis Buñuel — will be given an off-Broadway stage this year, offering theatergoers a chance to see a new work by musical theater’s most venerated composer.

    “Here We Are” — once known as “Square One” — will begin performances this September at The Shed’s Griffin Theater with a book by David Ives, best known for the play “Venus in Fur.” Joe Mantello, who helmed “Wicked” and Sondheim’s “Assassins,” will direct.

    The show — based on the films “The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel” — was initially workshopped in 2016 with plans for a production at The Public Theater, which did not happen.

    The two source films have a connective tissue: In “The Exterminating Angel,” a group of guests arrive for a dinner party and cannot leave, while “The Discreet Charm of the Bourgeoisie” is about guests who constantly arrive for dinner but are never able to eat.

    Ticket information and casting will be announced soon.

    Sondheim, who died in 2021, influenced several generations of songwriters, particularly with such landmark musicals as “Company,” “Follies” and “Sweeney Todd.”

    Six of Sondheim’s musicals won Tony Awards for best score, and he also received a Pulitzer Prize (“Sunday in the Park”), an Academy Award (for the song “Sooner or Later” from the film “Dick Tracy”), five Olivier Awards and the Presidential Medal of Honor. In 2008, he received a Tony Award for lifetime achievement.

    His last new musical to be produced was “Road Show,” which reunited Sondheim and writer John Weidman and spent years being worked on. This tale of the Mizner brothers, who embarked on get-rich schemes in the early part of the 20th century, finally made it to the Public Theater in 2008 with poor reviews after going through several different titles, directors and casts.

    Several Sondheim musicals have been mounted on Broadway since the master’s death, including a Tony-award winning revival of “Company” and a current revival of his “Sweeney Todd,” starring Josh Groban.

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • Ke Huy Quan wins Oscar in an inspiring Hollywood comeback

    Ke Huy Quan wins Oscar in an inspiring Hollywood comeback

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    LOS ANGELES — Ke Huy Quan had mostly disappeared from Hollywood for over two decades, dispirited by the lack of on-camera work for Asian Americans. He returned in a big way, winning the supporting actor Oscar to cap an inspiring comeback story.

    Quan accepted the trophy Sunday night for his role in “Everything Everywhere All at Once,” becoming just the second Asian winner ever in the supporting actor category, joining Haing S. Ngor for “The Killing Fields” in 1984.

    As his name was announced, Quan rose and hugged co-stars Michelle Yeoh and Jamie Lee Curtis, who won supporting actress honors after him. He clasped his hands to his mouth.

    “My mom is 84 years old and she’s at home watching,” Quan said. “Mom, I just won an Oscar!”

    An emotional Quan kissed his statue repeatedly and sniffled into the microphone on stage after receiving a standing ovation. Presenter Ariana DeBose was in tears.

    “My journey started on a boat. I spent a year in a refugee camp and somehow I ended up here on Hollywood’s biggest stage,” he said. “They say stories like this only happen in the movies. I can’t believe this is happening to me. This is the American dream.”

    As a child actor, Quan followed his manager’s advice to adopt an Americanized name, so he went by Jonathan Ke Quan.

    “When I decided to get back into acting three years ago, the very first thing I wanted to do was to go back to my birth name,” he said backstage. “To see Ariana open that envelope and say Ke Huy Quan, it was so emotional.”

    Quan rode a huge wave of momentum into the Oscars, having won every major award except the BAFTA. Quan endeared himself during acceptance speeches as much as he did in his winning performance. He used his position to encourage other struggling actors that one day they also will find success.

    Along the awards show trail, the enormously likeable Quan compiled a photo album for the ages as he posed for selfies with everyone from Tom Cruise to directors James Cameron and Steven Spielberg. It seemed anyone famous was happy to smile or make funny faces alongside Quan.

    The Vietnam-born actor whose family immigrated to California in the late 1970s first gained attention as a pre-teen in the hugely popular 1980s movies “Indiana Jones and the Temple of Doom” and “The Goonies.” He went on to roles in the TV show “Head of the Class” and the movie “Encino Man” (starring fellow Oscar nominee Brendan Fraser ) in the early 1990s before work dried up.

    Finding few on-camera opportunities, Quan turned elsewhere. He earned a film degree from the University of Southern California and worked behind the scenes as a stunt coordinator and assistant director.

    “I owe everything to the love of my life, my wife Echo,” he said, “who month after month, year after year for 20 years told me that one day, one day my time will come. Dreams are something you have to believe in. I almost gave up on mine. To all of you out there, please keep your dreams alive.”

    Inspired by the success of the 2018 movie “Crazy Rich Asians,” Quan returned to acting and landed an audition for “Everything Everywhere All at Once,” which earned a leading 11 Oscar nominations. His former “Goonies” co-star, Jeff Cohen, serves as his lawyer who drew up the contract for his Oscar-winning role.

    “Thank you to my ‘Goonies’ brother for life, Jeff Cohen,” Quan said.

    Now, people stop him to talk about a movie he made as a grown-up, “Everything Everywhere All at Once.”

    As Waymond Wang, Quan appears in three different incarnations in the critically acclaimed film. He won a Golden Globe and became the first Asian man to win an individual category at the SAG Awards.

    Quan won the Oscar over fellow nominees Brendan Gleeson and Barry Keoghan of “The Banshees of Inisherin,” Brian Tyree Henry of “Causeway” and Judd Hirsch of “The Fabelmans.”

    During a commercial break, Quan said he ran up to Spielberg, who gave Quan his first big break by casting him in “Indiana Jones and the Temple of Doom.” They hugged.

    “He said, ‘Ke, you are now an Oscar-winning actor,’” Quan said. “Hearing him say that meant the world to me and I still cannot believe it.”

    He had another reunion on stage after “Everything Everywhere All at Once” was announced as best picture by Harrison Ford, Quan’s co-star in “Indiana Jones.”

    The 51-year-old Quan is set to appear in the Marvel Cinematic Universe series “Loki” on Disney+.

    However, he’s in search of more work. Quan recalled years ago calling his agent every three and six months asking if there were any jobs for him only to be told no.

    “First thing tomorrow I’m going to call my agent,” he said. “Hopefully, he’ll give me a different answer.”

    ___

    For more coverage of this year’s Academy Awards, visit: https://apnews.com/hub/academy-awards

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  • Ke Huy Quan wins Oscar in an inspiring Hollywood comeback

    Ke Huy Quan wins Oscar in an inspiring Hollywood comeback

    [ad_1]

    LOS ANGELES — Ke Huy Quan had mostly disappeared from Hollywood for over two decades, dispirited by the lack of on-camera work for Asian Americans. He returned in a big way, winning the supporting actor Oscar to cap an inspiring comeback story.

    Quan accepted the trophy Sunday night for his role in “Everything Everywhere All at Once,” becoming just the second Asian winner ever in the supporting actor category, joining Haing S. Ngor for “The Killing Fields” in 1984.

    As his name was announced, Quan rose and hugged co-stars Michelle Yeoh and Jamie Lee Curtis, who won supporting actress honors after him. He clasped his hands to his mouth.

    “My mom is 84 years old and she’s at home watching,” Quan said. “Mom, I just won an Oscar!”

    An emotional Quan kissed his statue repeatedly and sniffled into the microphone on stage after receiving a standing ovation. Presenter Ariana DeBose was in tears.

    “My journey started on a boat. I spent a year in a refugee camp and somehow I ended up here on Hollywood’s biggest stage,” he said. “They say stories like this only happen in the movies. I can’t believe this is happening to me. This is the American dream.”

    Quan rode a huge wave of momentum into the Oscars, having won every major award except the BAFTA. Quan endeared himself during acceptance speeches as much as he did in his winning performance. He used his position to encourage other struggling actors that one day they also will find success.

    Along the awards show trail, the enormously likeable Quan compiled a photo album for the ages as he posed for selfies with everyone from Tom Cruise to directors James Cameron and Steven Spielberg. It seemed anyone famous was happy to smile or make funny faces alongside Quan.

    The Vietnam-born actor whose family immigrated to California in the late 1970s first gained attention as a pre-teen in the hugely popular 1980s movies “Indiana Jones and the Temple of Doom” and “The Goonies.” He went on to roles in the TV show “Head of the Class” and the movie “Encino Man” (starring fellow Oscar nominee Brendan Fraser ) in the early 1990s before work dried up.

    Finding few on-camera opportunities, Quan turned elsewhere. He earned a film degree from the University of Southern California and worked behind the scenes as a stunt coordinator and assistant director.

    “I owe everything to the love of my life, my wife Echo,” he said, “who month after month, year after year for 20 years told me that one day, one day my time will come. Dreams are something you have to believe in. I almost gave up on mine. To all of you out there, please keep your dreams alive.”

    Inspired by the success of the 2018 movie “Crazy Rich Asians,” Quan returned to acting and landed an audition for “Everything Everywhere All at Once,” which earned a leading 11 Oscar nominations. His former “Goonies” co-star, Jeff Cohen, serves as his lawyer who drew up the contract for his Oscar-winning role.

    “Thank you to my ‘Goonies’ brother for life, Jeff Cohen,” Quan said.

    Now, people stop him to talk about a movie he made as a grown-up, “Everything Everywhere All at Once.”

    As Waymond Wang, Quan appears in three different incarnations in the critically acclaimed film. He won a Golden Globe and became the first Asian man to win an individual category at the SAG Awards.

    The 51-year-old Quan is busy juggling new roles, including joining the Marvel Cinematic Universe series “Loki” on Disney+.

    Quan won the Oscar over fellow nominees Brendan Gleeson and Barry Keoghan of “The Banshees of Inisherin,” Brian Tyree Henry of “Causeway” and Judd Hirsch of “The Fabelmans.”

    ___

    For more coverage of this year’s Academy Awards, visit: https://apnews.com/hub/academy-awards

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  • Chaim Topol, Israeli actor known for Fiddler’s Tevye, dies

    Chaim Topol, Israeli actor known for Fiddler’s Tevye, dies

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    JERUSALEM — Chaim Topol, a leading Israeli actor who charmed generations of theatergoers and movie-watchers with his portrayal of Tevye, the long-suffering and charismatic milkman in “Fiddler on the Roof,” has died in Tel Aviv, Israeli leaders said Thursday. He was 87.

    The cause was not immediately released.

    Israeli leaders on Thursday tweeted their memories and condolences to Topol’s family.

    Israel’s ceremonial president, Isaac Herzog hailed Topol as “one of the most outstanding Israeli actors,” who “filled the movie screens with his presence and above all entered deep into our hearts.”

    Israeli Prime Minister Benjamin Netanyahu said Topol’s “contribution to Israeli culture will continue to exist for generations.” .

    Benny Gantz, Israel’s former minister of defense, praised Topol for helping Israelis connect to their roots.

    “We laughed and cried at the same time over the deepest wounds of Israeli society,” he wrote of Topol’s performance.

    Yair Lapid, head of Israel’s opposition, said Topol taught Israelis “love of culture and love of the land.”

    Topol’s charity, Jordan River Village, also announced his death, paying tribute to him as an “inspiration” whose “legacy will continue for generations to come.”

    A recipient of two Golden Globe awards and nominee for both an Academy Award and a Tony Award, Topol long has ranked among Israel’s most decorated actors. More recently in 2015, he was celebrated for his contributions to film and culture with the Israel Prize for lifetime achievement, his country’s most prestigious honor. Up until a few years ago, he remained involved in theater and said he still fielded requests to play Tevye.

    Topol got his start in acting in a theatrical troupe in the Israeli army in the 1950s, where he met his future wife Galia. His first major breakthrough was the lead role in the 1964 hit Israeli film Sallah Shabati, about the hardships of Middle Eastern immigrants to Israel. The film made history as the first Israeli film to earn an Academy Award nomination and also gave Topol his first Golden Globe Award.

    Two years later, he made his English-language film debut alongside Kirk Douglas in “Cast a Giant Shadow.” But the role of his life arrived in the long-running musical “Fiddler on the Roof,” in which he played the dairyman protagonist, Tevye, a Jewish father trying to maintain his family’s cultural traditions despite the turmoil gripping their Russian shtetl.

    With his rich voice, folkish witticisms and commanding stage presence, Topol’s Tevye, driving his horse-drawn buggy and delivering milk, butter and eggs to the rich, became a popular hero in Israel and around the world.

    After years of playing Tevye on stage in London and on Broadway, he scored the lead role in the 1971 Norman Jewison-directed film version, winning the Golden Globe award for lead actor and being nominated for a Best Actor Academy Award. He lost out to Gene Hackman in “The French Connection.”

    Topol played the part more than 3,500 times on stage, most recently in 2009. With the help of heavy makeup and costume work, he first portrayed the much older, burlier dairyman in his 30s and quite literally aged into the role.

    Topol faced tough competition securing the role in Jewison’s hit film — scores of talents have played Tevye in over a dozen languages since “Fiddler on the Roof” first appeared. Topol has said his personal experience as the descendant of Russian Jews helped him relate to Tevye and deepen his performance.

    In an interview with The Associated Press from his Tel Aviv home in 2015, on the occasion of accepting the Israel prize for lifetime achievement, Topol traced his meteoric rise from modest beginnings to worldwide fame.

    “I wasn’t brought up in Hollywood. I was brought up in a kibbutz,” he said. “Sometimes I am surprised when I come to China or when I come to Tokyo or when I come to France or when I come wherever and the clerk at the immigration says ’Topol, Topol, are you Topol?”

    Topol also starred in more than 30 other movies, including as the lead in “Galileo,” Dr. Hans Zarkov in “Flash Gordon” and James Bond’s foil-turned-ally Milos Columbo in “For Your Eyes Only” alongside Roger Moore.

    But he became synonymous with just one role — Tevye. Pouring his heart out about his impoverished Jewish community over the years, Topol made audiences laugh and cry from Broadway and West End stages.

    “How many people are known for one part? How many people in my profession are known worldwide?” he told the AP. “I’m not complaining.”

    Yet Topol said he sometimes needed to look outside of acting to find meaning in his life. He devoted much of his later years to charity as chairman of the board of Jordan River Village, a camp serving Middle Eastern children with life-threatening diseases.

    “I am interested in charities and find it more fulfilling than running from one (acting) part to another,” he said. ”When you are successful in a film and the money flows, yes, obviously, it is very nice. But to tell you that is the most important thing, I am not sure.”

    Topol is survived by his wife and three children.

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  • Chaim Topol, Israeli actor known for Fiddler’s Tevye, dies

    Chaim Topol, Israeli actor known for Fiddler’s Tevye, dies

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    JERUSALEM — Chaim Topol, a leading Israeli actor who charmed generations of theatergoers and movie-watchers with his portrayal of Tevye, the long-suffering and charismatic milkman in “Fiddler on the Roof,” has died in Tel Aviv, Israeli leaders said Thursday. He was 87.

    The cause was not immediately released.

    Israeli leaders on Thursday tweeted their memories and condolences to Topol’s family.

    Israel’s ceremonial president, Isaac Herzog hailed Topol as “one of the most outstanding Israeli actors,” who “filled the movie screens with his presence and above all entered deep into our hearts.”

    Benny Gantz, Israel’s former minister of defense, praised Topol for helping Israelis connect to their roots.

    “We laughed and cried at the same time over the deepest wounds of Israeli society,” he wrote of Topol’s performance.

    Yair Lapid, head of Israel’s opposition, said Topol taught Israelis “love of culture and love of the land.”

    Topol’s charity, Jordan River Village, also announced his death, paying tribute to him as an “inspiration” whose “legacy will continue for generations to come.”

    A recipient of two Golden Globe awards and nominee for both an Academy Award and a Tony Award, Topol long has ranked among Israel’s most decorated actors. More recently in 2015, he was celebrated for his contributions to film and culture with the Israel Prize for lifetime achievement, his country’s most prestigious honor. Up until a few years ago, he remained involved in theater and said he still fielded requests to play Tevye.

    Topol got his start in acting in a theatrical troupe in the Israeli army in the 1950s, where he met his future wife Galia. His first major breakthrough was the lead role in the 1964 hit Israeli film Sallah Shabati, about the hardships of Middle Eastern immigrants to Israel. The film made history as the first Israeli film to earn an Academy Award nomination and also gave Topol his first Golden Globe Award.

    Two years later, he made his English-language film debut alongside Kirk Douglas in “Cast a Giant Shadow.” But the role of his life arrived in the long-running musical “Fiddler on the Roof,” in which he played the dairyman protagonist, Tevye, a Jewish father trying to maintain his family’s cultural traditions despite the turmoil gripping their Russian shtetl.

    With his rich voice, folkish witticisms and commanding stage presence, Topol’s Tevye, driving his horse-drawn buggy and delivering milk, butter and eggs to the rich, became a popular hero in Israel and around the world.

    After years of playing Tevye on stage in London and on Broadway, he scored the lead role in the 1971 Norman Jewison-directed film version, winning the Golden Globe award for lead actor and being nominated for a Best Actor Academy Award. He lost out to Gene Hackman in “The French Connection.”

    Topol played the part more than 3,500 times on stage, most recently in 2009. With the help of heavy makeup and costume work, he first portrayed the much older, burlier dairyman in his 30s and quite literally aged into the role.

    Topol faced tough competition securing the role in Jewison’s hit film — scores of talents have played Tevye in over a dozen languages since “Fiddler on the Roof” first appeared. Topol has said his personal experience as the descendant of Russian Jews helped him relate to Tevye and deepen his performance.

    In an interview with The Associated Press from his Tel Aviv home in 2015, on the occasion of accepting the Israel prize for lifetime achievement, Topol traced his meteoric rise from modest beginnings to worldwide fame.

    “I wasn’t brought up in Hollywood. I was brought up in a kibbutz,” he said. “Sometimes I am surprised when I come to China or when I come to Tokyo or when I come to France or when I come wherever and the clerk at the immigration says ’Topol, Topol, are you Topol?”

    Topol also starred in more than 30 other movies, including as the lead in “Galileo,” Dr. Hans Zarkov in “Flash Gordon” and James Bond’s foil-turned-ally Milos Columbo in “For Your Eyes Only” alongside Roger Moore.

    But he became synonymous with just one role — Tevye. Pouring his heart out about his impoverished Jewish community over the years, Topol made audiences laugh and cry from Broadway and West End stages.

    “How many people are known for one part? How many people in my profession are known worldwide?” he told the AP. “I’m not complaining.”

    Yet Topol said he sometimes needed to look outside of acting to find meaning in his life. He devoted much of his later years to charity as chairman of the board of Jordan River Village, a camp serving Middle Eastern children with life-threatening diseases.

    “I am interested in charities and find it more fulfilling than running from one (acting) part to another,” he said. ”When you are successful in a film and the money flows, yes, obviously, it is very nice. But to tell you that is the most important thing, I am not sure.”

    Topol is survived by his wife and three children.

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  • ‘Creature from the Black Lagoon’ actor Ricou Browning dies

    ‘Creature from the Black Lagoon’ actor Ricou Browning dies

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    Ricou Browning, a skilled swimmer best known for his underwater role as the Gill Man in the quintessential 3D black-and-white 1950s monster movie “Creature from the Black Lagoon,” has died, his family told various media outlets. He was 93.

    Browning died Feb. 27 at his home in Southwest Ranches, Florida.

    In addition to acting roles, Browning also collaborated as a writer on the 1963 movie “Flipper,” and the popular TV series of the same name that followed.

    He told the Ocala Star Banner newspaper in 2013 that he came up with the idea after a trip to South America to capture fresh-water dolphins in the Amazon.

    “One day, when I came home, the kids were watching ‘Lassie’ on TV, and it just dawned on me, ‘Why not do a film about a boy and a dolphin?’” he told the newspaper.

    Browning directed the 1973 comedy “Salty,” about a sea lion, and the 1978 drama “Mr. No Legs,” about a mob enforcer who is a double amputee. He also did stunt work in various films, including serving as Jerry Lewis’s underwater double in the 1959 comedy “Don’t Give Up the Ship,” according to The New York Times.

    But nothing would mark Browning’s Hollywood career like swimming underwater in an elaborately grotesque suit as the Gill Man, a character that would hold its own in horror movie lore along side monsters like King Kong and Godzilla. Browning did the swimming scenes in two sequels, “Revenge of the Creature” (1955) and “The Creature Walks Among Us” (1956). Other actors played the Gill Man on land.

    Browning told the Ocala Star Banner, he could hold his breath for minutes underwater, making him especially adept for the swimming part.

    He was discovered when the film’s director visited Silver Springs, where Newt Perry, who performed as a stand-in for “Tarzan” actor Johnny Weissmuller, was promoting one of Florida’s first tourist attractions where Browning got a job as a teen swimming in water shows.

    Perry asked Browning to take the Hollywood visitors to Wakulla Springs, one of the largest and deepest freshwater springs in the world. They later recruited Browning to appear in the movie, which was partly filmed at the springs.

    Ricou Ren Browning was born on Feb. 16, 1930, in Fort Pierce, Florida. He swam on the U.S. Air Force swim team.

    Survivors include his four children, Ricou Browning Jr., Renee, Kelly and Kim; 10 grandchildren; and 11 great-grandchildren. His wife, Fran, died in March 2020. His son Ricou Jr. is a marine coordinator, actor and stuntman like his father, according to The Hollywood Reporter.

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  • ‘Creature from the Black Lagoon’ actor Ricou Browning dies

    ‘Creature from the Black Lagoon’ actor Ricou Browning dies

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    Ricou Browning, a skilled swimmer best known for his underwater role as the Gill Man in the quintessential 3D black-and-white 1950s monster movie “Creature from the Black Lagoon,” has died, his family told various media outlets. He was 93.

    Browning died Feb. 27 at his home in Southwest Ranches, Florida.

    In addition to acting roles, Browning also collaborated as a writer on the 1963 movie “Flipper,” and the popular TV series of the same name that followed.

    He told the Ocala Star Banner newspaper in 2013 that he came up with the idea after a trip to South America to capture fresh-water dolphins in the Amazon.

    “One day, when I came home, the kids were watching ‘Lassie’ on TV, and it just dawned on me, ‘Why not do a film about a boy and a dolphin?’” he told the newspaper.

    Browning directed the 1973 comedy “Salty,” about a sea lion, and the 1978 drama “Mr. No Legs,” about a mob enforcer who is a double amputee. He also did stunt work in various films, including serving as Jerry Lewis’s underwater double in the 1959 comedy “Don’t Give Up the Ship,” according to The New York Times.

    But nothing would mark Browning’s Hollywood career like swimming underwater in an elaborately grotesque suit as the Gill Man, a character that would hold its own in horror movie lore along side monsters like King Kong and Godzilla. Browning did the swimming scenes in two sequels, “Revenge of the Creature” (1955) and “The Creature Walks Among Us” (1956). Other actors played the Gill Man on land.

    Browning told the Ocala Star Banner, he could hold his breath for minutes underwater, making him especially adept for the swimming part.

    He was discovered when the film’s director visited Silver Springs, where Newt Perry, who performed as a stand-in for “Tarzan” actor Johnny Weissmuller, was promoting one of Florida’s first tourist attractions where Browning got a job as a teen swimming in water shows.

    Perry asked Browning to take the Hollywood visitors to Wakulla Springs, one of the largest and deepest freshwater springs in the world. They later recruited Browning to appear in the movie, which was partly filmed at the springs.

    Ricou Ren Browning was born on Feb. 16, 1930, in Fort Pierce, Florida. He swam on the U.S. Air Force swim team.

    Survivors include his four children, Ricou Browning Jr., Renee, Kelly and Kim; 10 grandchildren; and 11 great-grandchildren. His wife, Fran, died in March 2020. His son Ricou Jr. is a marine coordinator, actor and stuntman like his father, according to The Hollywood Reporter.

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  • ‘Cocaine Bear’ gets high with $23.1M, ‘Ant-Man’ sinks fast

    ‘Cocaine Bear’ gets high with $23.1M, ‘Ant-Man’ sinks fast

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    NEW YORK (AP) — The gonzo R-rated horror comedy “Cocaine Bear” sniffed up $23.1 million in its opening weekend, according to studio estimates Sunday, while Marvel’s “Ant-Man and the Wasp: Quantumania” shrank unusually quickly in its second weekend.

    “Quantumania” was still No. 1 with an estimated $32.2 million in ticket sales in U.S. and Canadian theaters. But the “Ant-Man” sequel, hit with some of the worst reviews and audience scores of the Marvel Cinematic Universe, dropped a steep 69.7% in its second weekend. That’s the worst decline for an MCU film, falling faster than “Black Widow” (67.8%), a pandemic release that debuted simultaneously in homes.

    Instead, Universal Pictures’ “Cocaine Bear” rampaged through multiplexes, scoring notably above expectations. Made for about $35 million and directed by Elizabeth Banks, “Cocaine Bear” stirred up plenty of buzz just from its title and its made-to-go-viral trailer.

    “Cocaine Bear,” scripted by Jimmy Warden and produced by Phil Lord and Christopher Miller (“Spider-Man: Into the Spider-verse,” “The Lego Movie”), managed to turn a bizarre true-life tale into a tongue-in-cheek box office hit. It’s based on the real story of a 175-pound (79-kilogram) black bear who died in the Georgia mountains in 1985 after eating from a duffle bag of cocaine that had fallen from a smuggler’s plane. (The smuggler, a former Kentucky narcotics investigator, parachuted to his death in Tennessee.)

    The trailer for “Cocaine Bear,” which played ahead of the Super Bowl, was watched globally by more than 90 million, Universal said, and caught fire on social media. But transferring can-you-believe-that’s-a-real-movie buzz to the box office doesn’t always work. “Snakes on a Plane,” a movie many compared to “Cocaine Bear,” opened with $13.9 million in 2006.

    “Audiences discovered this very outrageous, hysterical comedy that our director Elizabeth Banks delivered,” said Jim Orr, Universal distribution chief. “The film absolutely delivers on its preposterous premise. People wanted to come out and have a good time at the theater.”

    “Cocaine Bear” managed to overperform despite mixed reviews from critics and a “B-” CinemaScore from audiences. Ticket buyers were 59% male, and 63% were aged 18-34. It added $5.3 million overseas. “Quantumania” is more easily outpacing “Cocaine Bear” internationally, where it added $46.4 million over the weekend.

    In just about the epitome of counterprogramming to “Cocaine Bear,” Lionsgate’s “Jesus Revolution” also debuted strongly. The film, likewise inspired by a true story, stars Kelsey Grammer as a California minister and Joel Courtney as youth minister, and dramatizes the movement of Christian hippies in the late ’60s and early ’70s. It launched with $15.5 million over the weekend and in advance screenings. Produced by the Kingdom Story Company, “Jesus Revolution” proved popular with Christian audiences, and early surpassed expectations. It earned an A+ CinemaScore.

    Next week should see a new champ at the box office, with the release of Michael B. Jordan’s “Creed III.”

    Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

    1. “Ant-Man and the Wasp: Quantumania,” $32.2 million

    2. “Cocaine Bear,” $23.1 million.

    3. “Jesus Revolution,” $15.5 million.

    4. “Avatar: The Way of Water,” $4.7 million.

    5. “Puss in Boots: The Last Wish,” $4.1 million.

    6. “Magic Mike’s Last Dance,” $3 million.

    7. “Knock at the Cabin,” $1.9 million.

    8. “80 for Brady,” $1.8 million.

    9. “Missing,” $1 million.

    10. “A Man Called Otto,” $850,000.

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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  • Sondheim covers on Instagram, TikTok paved Eleri Ward’s path

    Sondheim covers on Instagram, TikTok paved Eleri Ward’s path

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    NEW YORK (AP) — It was 2019 and aspiring Broadway actor Eleri Ward had Stephen Sondheim’s “Every Day a Little Death” stuck in her head.

    “I would see friends at auditions and whatnot, and having been awake since like 4 or 5 a.m., they’d ask me how I’m doing,” she said. “And I responded with, ‘Oh, every day a little death.’ I was saying it as a stupid joke.”

    She decided to record an acoustic rendition in her New York apartment’s living room and posted the iPhone video to Instagram on a Friday afternoon that March.

    Her innovation helped fulfill her aspiration: That simple post, amassing 120 likes, would lead to a recording contract, a job as the opening act for Josh Groban on tour last summer and the release Friday of her second indie-folk CD of Sondheim covers, “Keep a Tender Distance,” on Ghostlight Records.

    “She’s completely unafraid of exploring the darkness of loneliness, as Sondheim does as well,” said two-time Tony Award winner Donna Murphy, the original Fosca in “Passion.” “She’s a fully present human in expressing both through her music and through what she shares in conversation with her audiences about what’s painful about being human.”

    After the initial Instagram post, sung in a style inspired by Sufjan Stevens, Ward’s friend pushed her to explore more from Sondheim.

    “So the very next day I came up with ‘Johanna (Reprise),’” Ward said. During the pandemic, Ward and her boyfriend put the contents of their New York apartment in storage and moved to Boston. By January 2021, she was posting her Sondheim videos to TikTok, at the suggestion of another friend.

    “People really responded to them, wanted me to release these covers on streaming services,” Ward recalled. “So I said, ‘OK, I know how to record guitar and vocals and keyboard,’ so we had a walk-in closet in this apartment in Boston and I started recording what I had already created and editing and creating new things along the way.”

    She made a TikTok asking Broadway World to write about her album, and the website subsequently ran a Q&A. Kurt Deutsch, founder of Ghostlight Records and a senior vice president of Warner Music Entertainment & Theatrical Ventures, read that story, searched online, discovered “Johanna (Reprise)” and messaged Ward on Instagram.

    “I was in my Boston apartment about to eat sushi with my boyfriend and I freaked out,” Ward said.

    “I had never really heard Sondheim done in that way,” Deutsch said. “I found her music just glorious and I said, ‘Do you have more?’”

    Ward’s debut album of acoustic Sondheim covers, “A Perfect Little Death,” was recorded in the closet of the Boston apartment and released by Ghostlight on Oct. 1, 2021.

    For her second album she was afforded 11 sessions last year at Better Company in Brooklyn and got to lay down her own backing vocals. The recording was initially issued digitally in September, and Ward made her off-Broadway debut last fall as a swing in “Only Gold.” She’s in the midst of a winter/spring solo tour with dates all over the country.

    Ward couldn’t contain her tears as she walked onstage at Manhattan’s Sony Hall for a December concert. She was overwhelmed with joy when Bobby Conte and Jennifer Simard, standouts in last season’s revival of “Company,” joined her for duets.

    “I lead with my heart when I’m performing.” Ward said. “My solo shows, this is my chance to open up my whole soul to you. It’s a very vulnerable but beautiful experience.”

    Now 28, Ward grew up in the Chicago suburb of Burr Ridge, Illinois, her mom an interior designer and real estate broker and her dad a consultant. She started piano lessons at 5 and remembers seeing “Sweeney Todd” at the suburban Drury Lane Theatre and attending a Sondheim talk with critic Frank Rich.

    After graduation from high school at Chicago Academy of the Arts, where Ward sang Amy in “Company,” she enrolled at Boston’s Berklee College of Music. Ward transferred across the street to the Boston Conservatory and earned a 2017 bachelor of fine arts degree in musical theater with an emphasis in acting and songwriting.

    She picked up a guitar in 2016 only because a friend was selling hers for $40.

    “It totally open and whole new voice for me artistically,” Ward said. “I was writing completely different music on guitar and I just sort of fell in love with it.”

    Days after her debut album’s release, Ghostlight helped arranged a concert at Rockwood Music Hall in Manhattan. Groban was in attendance, having been given a copy of her recording by Kevin Gore, Warner’s president of global catalog for recorded music.

    Sondheim died that November at age 91, bringing wider attention to Ward’s covers. In December, Groban asked Ward to criss-cross the U.S. with him for a 26-show, six-week summer tour.

    Emotion overflowed last March after Ward’s concert at New York’s 184-seat Joe’s Pub, where she sang a duet of “Loving You” with Murphy. Ward was introduced after the show to Rick Pappas, Sondheim’s lawyer and the executor of his estate.

    “Rick says, ‘I want you to know that Sondheim loved your album and loved that you were doing something he never imagined with his music and bringing it to new audiences,’” Ward said. “I’m holding onto Donna Murphy, crying, and she’s crying. It was just the most amazing moment and such validation that I just never thought I was going to get.”

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