The Segerstrom Center for the Arts presents “A Bronx Tale” One Man Show with Chazz Palminteri on Saturday, April 2, 2022 at 8:00 p.m. at Renée and Henry Segerstrom Concert Hall.

In 1988, before it became a hit Broadway musical or feature film starring Robert DeNiro, Palminteri wrote and performed this A Bronx Tale, bringing 18 characters to life in a gripping tale of his difficult childhood on the streets. from the Bronx. And now Center audiences can see his classic coming-of-age story that started it all for him.

This powerful play describes his murderous youth experiences in great detail – including witnessing gang killings – and by the time it was first produced, it had been shown both in Los Angeles and in New York. An unknown theatrical product at the time, Palminteri had stubbornly refused to sell “A Bronx Tale” (offers were in the seven figures) unless he was part of the package as an actor and screenwriter. This eventually sparked the interest of Palminteri idol Robert De Niro, who was looking to make his film debut. De Niro, who saw the potential in “A Bronx Tale”, became Palminteri’s mentor, supporting him all the way, and the rest is history. The film “A Bronx Tale” (1993) received good reviews, with Palminteri as writer and actor, playing Sonny the mobster, and featuring his actress/producer/wife Gianna Palminteri. Since then, Palminteri has been an actor with more than 50 films to his credit, including “The Usual Suspects”, “Bullets Over Broadway” and “Analyze This”.Single tickets for “A Bronx Tale” One Man Show with Chazz Palminteri at the Segerstrom Center for the Arts start at $39 and are available now online at SCFTA.org, at the box office at 600 Town Center Drive in Costa Mesa or by calling (714) 556-2787. For inquiries about group ticket discounts for 10 or more people, call the Group Services office at (714) 755-0236. Born and raised in the Bronx, Chazz Palminteri was the natural choice to receive the passing of the Italian torch in film. In the tradition established in the 1970s by icons such as director Martin Scorsese and actors Robert De Niro, Al Pacino, John Cazale and Joe Pesci, Palminteri brought grit, muscle and evocative realism to the sidewalks of his neighborhood of New York, violent as they are and were. Chazz was born Calogero Lorenzo Palminteri in 1952 in the Bronx, New York, the son of Rose, a housewife, and Lorenzo Palminteri, a bus driver. He grew up in a tough neighborhood in the Bronx, giving her life lessons that would later prove invaluable to her career. He graduated from Theodore Roosevelt High School and began pursuing his craft in 1973, studying at the Actor’s Studio. He appeared off Broadway in the early 1980s, while paying his dues as a bouncer and doorman at nightclubs, among other jobs.In 1986, he headed west and found his ethnic qualifications were well-suited for getting tough guy roles. Clever lawyers, steadfast hoods and hard-nosed cops were all part of his streetwise ethnic persona on TV shows such as “Wiseguy” (1987), “Matlock” (1986) and “Hill Street Blues” (1981) . In film, he began by playing a 1930s-style gangster in Sylvester Stallone’s “Oscar” (1991). Although his roles were sharp, well-acted, and with a distinct edge, nothing about them showed he was capable of stronger lead roles. At 41, Palminteri became a star “overnight”. Other important projects quickly fell on him. He received a well-deserved Oscar nomination the following year for his portrayal of a Runyonesque hitman in Woody Allen’s hilarious jazz-era comedy “Bullets Over Broadway” (1994). He was on the right side of the law both in “The Perez Family” (1995), his first romantic role, and then in the crime classic “The Usual Suspects” (1995). He plays the unfortunate brute in “Diabolic” (1996) and writes a second screenplay, “Faithful” (1996), in which he again plays a contract killer, terrorizing both Cher and Ryan O’Neal.Although Palminteri was invariably drawn into rather tight, often violent typography, it was sure and flashy that continues to work strong into the millennium. True to form, his full-lipped growl was spotted in gritty urban environments playing a “Hell’s Kitchen” cop in “One Eyed King” (2001) with actor/producer Armand Assante; a pool hustler and mentor in “Poolhall Junkies” (2002); a mob boss in “In the Fix” (2005); a dirty cop in “Running Scared” (2006); the titular crook as “Yonkers Joe” (2008); a karaoke-loving Italian psychiatrist in “Once More with Feeling” (2009); and an abusive husband and father in “Mighty Fine” (2012). Other later films include starring appearances in “Body Armour” (2007), “The Dukes” (2007), the conman title as “Yonkers Joe” (2008), and “Once More with Feeling” (2009), as well as prime media in “A Guide to Recognizing Your Saints” (2006), “Push” (2006), “Jolene” (2008), “Once Upon a Time in Queens” (2013), “Legend” (2015) , “Vault” (2019) and “Clover” (2020). TV crime also continues to fill its time, earning series credits such as “Kojak” (2005), “Rizzoli & Isles” (2010) and “Godfather of Harlem” (2019). Once in a while, he’ll relax – like in his recurring role as Shorty on the popular sitcom “Modern Family” (2009).

When people think of the movie “Tootsie,” they remember an uncomfortable Dustin Hoffman in a sparkly red sequined dress. The film, released in theaters in 1982, was built around counterpoints: social commentary with farce, seriousness with absurdity, while making some important observations on sexism.

Flash before 40 years. Society has come a long way in its treatment of women and marginalized populations, but inequalities persist. Likewise, they’re properly roasted in the updated Broadway musical “Tootsie.”

“It’s very current,” said Jared David Michael Grant, who plays Jeff Slater, originally portrayed in Bill Murray’s film. “We were lucky to work with the original author, so even now it’s reworked.”

“Tootsie’s” director Dave Solomon worked directly with original screenwriter Robert Horn to bring the production to the stage and into the future.

“The female characters have a stronger voice in the story than in the film,” Grant said. “And in some of the scenes dealing with Michael in female outfits, we worked with that to not make fun of trans people, who are actually real women.”

The Michael Grant is referring to is main character Michael Dorsey. Dorsey, played by Drew Becker, is an actor. He is lively, handsome, talented and incapable of landing a role.

Her answer: dress in drag and audition for roles traditionally meant for women.

Grant as Jeff Slater acts as the angel on Dorsey’s shoulder, enlightening his friend (and simultaneously, the audience) on all the (and hilarious) ways it could go wrong.

“It’s always fun to hear the audience reaction,” Grant said. “I am a good friend. Very forward with my feelings and open with Michael.

The musical features an original score and lyrics by Tony award-winning composer David Yazbek. Grant, who made his theatrical debut singing in church, is said to have one of the biggest songs of the entire show.

“It’s a fun song,” Grant said. “The lyrics are really smart.”

Grant also pointed out how “Tootsie” presents a mirror of real life in a humorous way. “My parents saw what a ham I was at a young age,” he said. “I did sports, but that wasn’t it. My aunt will tell a story of how in the middle of a football game I started doing Michael Jackson moves.

Grant found his way to the stage, where he said he could be the truest version of himself.

“I feel like a lot of people sometimes pretend to be someone they’re not,” he said. “Not as much as Michael Dorsey, but we wear an invisible mask. This show is about trusting people. You don’t have to be someone you’re not.

“Tootsie” takes time to examine this theme while remaining fast, upbeat and lighthearted. After several shutdowns and restarts during the pandemic, Grant — and many who have found a home in the performing arts — have expressed their gratitude for finally returning to the stage.

“During the whole quarantine situation, it was nice to take a break to re-examine myself and why I chose to do theater: Do I still love this and all?” said Grant. “And I do. Coming back was like, Wow, I really like that.

Grant said he was especially grateful to return with a musical. “This show is a constant laugh,” he said. “Really developed characters, but also gut laughs. From your heart. From your stomach. Wear a diaper just in case. It will be a wonderful thing to see.

Texas Performing Arts presents Broadway In Austin’s “Tootsie,” the Broadway musical’s first nationwide tour, Feb. 22-27, Tuesday-Friday, 8 p.m.; Saturday at 2 p.m. and 8 p.m.; and Sundays at 1 p.m. and 7 p.m. at Bass Concert Hall, 2350 Robert Dedman Dr., Austin.

Tickets start at $35 and are available at texasperformingarts.org and BroadwayinAustin.com, by phone at (512) 477-1444, or at the Texas Performing Arts box office in Bass Concert Hall. For groups of 10 or more, call (877) 275-3804 or email Austin. groups@broadwayacrossamerica.com

As the world slowly but surely returns to some form of normalcy, cinematic releases are following suit.

Spider-Man: No Way Home brought people back to the cinema in droves, and it seemed like the days of early streaming releases were over, especially for entertainment giant Disney.

But, alas, this is not the case for a specific part of the Disney empire. Pixar’s next film, Turning Red, has been confirmed to get a Disney+ streaming release on March 11, 2022, with no plans for the film to hit theaters.

This is partly understandable given the global increase in cases of the Omicron variant. However, Disney didn’t even offer a dual movie and streaming release like it did for Black Widow. Instead, the film will only be available on the streaming service. Timing seems even less of a factor when you consider that Turning Red isn’t the first Pixar movie to skip theaters — the studio’s last two features, Soul and Luca, suffered the same fate.

The decision came as a shock to many Pixar employees, according to Insider. An anonymous staff member said, “We all thought ‘Turning Red’ would be our return to the big screen, and everyone at the studio was so excited that it was that particular movie. It was quite a blow.”

It’s even more striking when you consider that Disney gave theatrical releases to Encanto and Raya and the Last Dragon – both of which were created by Walt Disney Animation Studios, another in-house studio separate from Pixar. This begs the question: why does Disney treat Pixar films any differently than its other animated productions?

2021 has been a successful year for Disney+. The platform regularly hosted near-back-to-back Marvel shows, brought back a second season of The Mandalorian, and offered movies that weren’t otherwise accessible to people who couldn’t make it to the theaters.

But 2022 might be more of an uphill battle for Disney+. The next Marvel series won’t debut until March, and with lukewarm reception for The Book of Boba Fett and rising prices for other platforms looming on the horizon, Disney is no doubt looking for ways to entice subscribers to stay.

In a quote to Variety, Jeff Bock, media analyst at Exhibitor Relations, believes Pixar movies help keep subscribers from filming, saying, “The fact that they’ve done it with three movies in a row makes me wonder. believe it really helps.”

The same article also points out that it’s significantly more expensive for Disney to push a movie into theaters than it is to put it on the streaming service, with the studio’s average film costing around $100 million to promote.

With marketing costs so high, it’s vital that theatrical releases make their money. But, as The Washington Post points out, families with young children are less likely to go to the movies during the pandemic than adults.

Encanto only managed to pocket $200 million worldwide in theaters and then went to Disney+ after just a month. To give some perspective, previous Walt Disney Animation Studios films such as Moana and Coco managed between $500 million and $800 million before the pandemic.

Forbes notes that by sending these films to Disney+ early and making them available ‘for free’ (rather than Premier Access), the average watch time of these films increased, which could help generate and retain more viewership. subscriptions. This additional commitment to the streaming service may be worth more to Disney than the relatively meager box office returns its animated features are currently recouping.

In that case, it might not just be Pixar’s problem – Walt Disney Animation Studios’ next film, Strange World, might not make it to theaters either, especially if Turning Red succeeds on Disney+.

The icing on the cake is that Nielsen reports that Luca was the most streamed movie in the US last year – though it’s worth noting that this survey didn’t include HBO Max titles. Either way, the film still managed to beat out some stiff competition, proving there’s plenty of appetite for Pixar to stream.

Soul received similarly positive reception, with a source telling Insider, “Disney was ecstatic about the numbers,” when the film was initially released on Disney+. This release was largely out of necessity at the time, as many countries were in total lockdown and therefore cinemas were closed.

Pixar films also have the advantage of being evergreen films. It’s a safe and comfortable watch for a night curled up on the couch. They don’t need a giant IMAX screen or a revolutionary sound system to be enjoyed – they’re family fun movies for rainy days.

Plus, with the exception of the occasional sequel, they don’t require any prior knowledge of other movies to enjoy. That’s something that can’t be said for new releases from the MCU and Star Wars, two of Disney+’s other key properties.

With classics like Toy Story, Monsters Inc. and Up, it’s no wonder Pixar continues to attract the streaming service.

Streaming releases for movies have become rarer in 2022. With HBO Max now forgoing its new movie releases, Disney is one of the few services that still offers the ability to watch new movies from the comfort of home. , and this is something that can entice viewers to stay subscribed.

So what does this mean for Pixar’s future on Disney+? It depends on three things: Turning Red’s reception, the subscriber trend on the platform, and the state of theaters during COVID.

The next Pixar film on the books is Lightyear, a spin-off from the wildly popular Toy Story franchise. Currently, the release is scheduled for June 17, 2022, but the release strategy has yet to be revealed.

With Chris Evans in the lead role and an action-packed plot, this Pixar movie would lend itself to a run at the movies. However, if Disney+ finds further streaming success with Turning Red, the argument for not making this film exclusive to the platform will be a tough sell.

What I’m watching this week

Queer Eye is back for a sixth season, and if you need heartwarming TV and a good shoutout, then The Fabulous Five has you covered. Karamo, Tan, Bobby, Antoni and Jonathan travel to Austin, Texas to transform other people’s lives.

Interestingly, this season got caught up in the whirlwind of the pandemic – but the show managed to go on, even with one of the guests caught in the middle.

You can watch Queer Eye season six on Netflix – subscriptions start from £5.99/$9.99 per month.

As COVID cases and its Omicron variant rise, Saturday Night Live blames Spider-Man: No Way Home for it. SNL is back after its holiday hiatus, and their latest sketch won’t sit well with Spidey fans. It’s been a month since Tom Holland’s star hit theaters around the world. The movie broke wonderful records and became the biggest movie of the pandemic era.

It has collected around $1.5 billion at the international box office, even though the world is still suffering from the coronavirus. People have flocked to movie theaters to watch Multiversal Magic, which stars former Spideys-Andrew Garfield and Tobey Maguire.

Additionally, Spider-Man: No Way Home also took the place of Avengers: Infinity War as the fifth highest-grossing film in the United States, as it garnered around $683,074,074 at the domestic box office. While that all sounds good and good, the folks at SNL think star Tom Holland is also the reason for the surge in COVID cases.

In their latest skit, SNL features James Austin Johnson’s Joe Biden, who took to the podium to address the issue and further ask people to stop watching the Tom Holland movie. “There’s one simple thing you can do to make this whole virus go away: Stop seeing Spider-Man (No Way Home),” Johnson’s Biden said in the sketch.

“Now think about it, when did Spider-Man come out?” He asked. “December 17. When did each person get omicron? The week after December 17. Stop seeing Spider-Man. That’s really all I have to say. An excerpt of it was shared on Twitter, and netizens reacted to the opening, with many expressing their disappointment after seeing the skit.

Watch the sketch here:

And now, a message from President Joe Biden. pic.twitter.com/Q8TglFNBlF

— Saturday Night Live — SNL (@nbcsnl) January 16, 2022

“Worst cold open in years. Who wrote this ridiculous material? wrote one user. While another chimed in, “Horrible show tonight. Worst cold open in years. Are the writers sick? Another user wrote, “I hated the open…Did trying to get Trump elected…????

Spider-Man: No Way Home is still in theaters, and even though its box office numbers have dwindled over the weeks, it still shows no signs of stopping. The star of Tom Holland is missing a few million dollars to cross the 2 billion dollar mark at the global box office.

Must read: Tom Holland’s cameo as Spider-Man in Euphoria? This suggestion from the show is driving fans crazy!

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Milwaukee, Wisconsin. (January 7, 2022) – The Skylight Music Theater has announced a week-long postponement of the regional premiere of Ernest Shackleton loves me due to positive cases of COVID-19 among the fully vaccinated society. The musical will now run from Friday January 21 to Sunday February 6, 2022. The show was previously scheduled for performances from January 14 to 30.

Customers with tickets for canceled performances from January 14 to 20 will receive an email with information on how to exchange or refund the tickets.

Ernest Shackleton loves me is a highly inventive off-Broadway musical that travels across continents and time in an unlikely and enchanting love story and won the Best New Musical at the 2017 Off-Broadway Alliance Awards. This romantic and epic adventure connects a struggling modern-day bachelor / violinist; and Ernest Shackleton, an intrepid Antarctic explorer playing the banjo of the early 1900s. Digital projections of actual images from Shackleton’s expeditions are incorporated into the multimedia set design.

Ernest Shackleton loves me is written by Joe DiPietro, (winner of the Tony Award for Memphis), with lyrics by Val Vigoda and music by Brendan Milburn. Jill Anna Ponasik will lead. The musical director is Eric Svejcar. Matt Daniels as Ernest Shackleton and Janice Martin as Kat will make their Skylight debuts.

PERFORMANCE INFORMATION

Ernest Shackleton loves me takes place January 21 – February 6, 2022 at the beautiful Cabot Theater at the Broadway Theater Center, 158 N. Broadway, in Milwaukee’s Historic Third District. Skylight is Milwaukee’s professional Equity musical theater company. Safety requirements are in effect, including indoor masks and proof of vaccination or a negative Covid test.

To purchase tickets or to exchange / refund tickets for canceled performances, contact the Broadway Theater Center box office. Call (414) 291-7800, visit 158 ​​N. Broadway, Monday to Saturday, noon to 6 p.m. or send an email [email protected].

· Please advise the ticket office if accessible seating is required or if customers will have a wheelchair or walker.

· The opening hours of the ticket office are Mondays. – Sat. 12 p.m. to 6 p.m. The ticket office is also open two hours before performances.

Group discounts are available for groups of 10 or more, please contact the box office (414) 291-7800 or [email protected].

For ADA purposes, please contact the box office (414) 291-7800 or [email protected].

Skylight offers a risk-free guarantee to exchange, credit or refund tickets for any canceled performances.

SPECIAL EVENTS

Preview of the skylight. In-depth discussions with directors and special guests take place an hour before Wednesday and Sunday performances.

ASL performance. Ernest Shackleton loves me will be performed in American Sign Language on Thursday, January 27 at 7:30 p.m. To purchase tickets for this show, send an email [email protected] or call the Skylight Music Theater box office at (414) 291-7800. Mention the ASL performance for the seats in the appropriate section. ASL performance support provided by UPAF Connect.

For more information visit www.skylightmusictheater.org, send email [email protected] or call him

Ticket office at (414) 291-7800.

LUMINOUS BAR AND BISTROT

The Skylight Bar & Bistro is open two hours before show time and offers a pre-theater menu from Sabrosa. Conveniently located on the second floor of the Broadway Theater Center, reservations are available online here or at https://sabrosa.cafe or call 773-485-9975.

CAR PARK

Purchase $ 5 parking vouchers at the Broadway Theater Center box office to use in the Historic Third Ward parking garage at 212 N. Milwaukee Street (one block east and one block north). Vouchers are valid between 5:00 p.m. and 11:59 p.m. for evening performances. Matinee vouchers are valid from 12 p.m. to 5 p.m. on Saturdays and Sundays. Not valid for Wednesday mornings. The sale of vouchers ends 30 minutes before the time of the show. Advance purchase recommended so that vouchers can be mailed with tickets. No refund.

A parking meter is available in the street (free after 6 p.m. and on Sundays).

HEALTH AND SAFETY PROTOCOLS

Skylight Music Theater has joined with other performing arts organizations in Milwaukee in demanding proof of vaccination or a negative Covid test within 72 hours of performance for all members of the public aged 12 and over. Additionally, Skylight requires the public to be masked indoors at all times, regardless of immunization status. For up-to-date information, please visit www.skylightmusictheater.org/health.

ABOUT SKYLIGHT MUSIC THEATER

The Skylight Music Theater is proud to be a founding member of the United Performing Arts Fund.

Founded in 1959, Skylight is the professional musical theater company Equity of Milwaukee and the state’s largest employer of Wisconsin actors. Skylight produces the full spectrum of musical theater, from hit Broadway musicals to reimagined operas, and from thrilling world premieres to contemporary Broadway hits. Skylight’s main home is the Cabot Theater in the Broadway Theater Center, which was built by Skylight in Milwaukee’s Third Historic District in 1992. Considered one of Milwaukee’s finest theaters, the Cabot Theater is based on the design of an 18^eFrench opera house of the century. With only 350 seats, it offers the public a breathtaking view of the action on stage. Skylight Music Theater marks its 62nd season in 2021-2022.

From production issues to interstellar bounty hunters, it’s been a crazy year for film and television around Austin. But what were the news and interviews that interest you the most, our readers?

Here is our list of the 10 most read screen stories at austinchronicle.com/screens:

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1: “Fear the living dead The production leaves Austin for Georgia “, November 11

Was there more devastating news for the Austin film community than the news that AMC’s smash was moving production to Savannah, Georgia? Since moving here in 2018, the show had spent millions of dollars, employed hundreds of professionals, and helped increase the region’s reputation as a location for television and film production. He was expected to stay here for years to come, as he had rented a studio for at least one more season and was in the midst of preproduction when the announcement arrived. So what motivated the move? Increasingly, it seems the state’s decision to play favorites with the Texas Moving Image Industry Incentive Program (the Texas spending rebates on television, games, and movies) means the dead are leaving the world. ‘State.

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2: “Guilty Until Innocent” Discovery Tears Holes in Michael Morton Case, Oct 1

Michael Morton’s wrongful conviction for his wife’s murder and prosecutors’ determination to ignore any evidence to the contrary were the focus of an episode of Investigation Discovery. Detective diaries. Brant Bingamon was on hand for a special preview screening at the AFS cinema where director Dan Johnstone, attorney John Raley and Morton himself discussed the documentary and the case with Richard Linklater.

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3: “First glimpse: Snapchat Vista Lake, ” June 30th

Each social media platform seems determined to break its own format, and Snapchat is no different, having skipped throwaway messages into docusoap bubbles. Avery Wohleb gave us a first look at Vista Lake, focused on the teenage lives of Tony Austin’s suburbs.

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4: “Jordan Levin on the Future of Rooster Teeth,” July 31

Austin’s online content pioneers have come a long way from those early days in the bedroom of co-founder Burnie Burns. Now part of the WarnerMedia Empire, and with most of the original talent gone, the fan base is wondering, what is Rooster Teeth now? Managing Director Jordan Levin sat down to discuss the company’s future as it begins producing more content for HBO and Netflix.

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5: “Austin’s conspiracy culture on display in The Pizzagate massacre“, November 19

Austin has a complicated (translation: ugly and worse and worse) history when it comes to conspiracy theories. So Joe Gross didn’t hesitate to pick up on the city’s bad habit of treating dangerous extremists like eccentric eccentrics when he spoke with John Valley about his new razor-sharp satire. The Pizzagate massacre, and Valley was there with the receipts.

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6: “Living with death Our friend“, January 20

Matthew Teague’s star-studded adaptation of Gabriela Cowperthwaite Squire The article, titled “The Friend: Love Isn’t a Big Enough Word,” may not have ignited the box office, but the portrayal of what it means to live with a dying person has touched on the hearts of those who have seen it. The director spoke about her moral and emotional obligations to the real people whose lives she told.

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7: “After the pandemic at the Alamo Drafthouse”, July 2

Rumors of the cinema’s death have been vastly exaggerated, although it turned out to be a bit harsh there. Alamo Drafthouse Founder and Executive Chairman Tim League and new CEO Shelli Taylor reviewed the many issues the local channel has faced in trying to survive the pandemic, answered some tough questions about the layoffs and described what they saw as the future of the business.

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8: “Robert Rodriguez opens Boba Fett’s book“, December 24.

Christmas meant that Robert Rodriguez got to play with the best toys: a full set of Boba Fett armor, with a real Boba Fett! He is executive producer of the latest Disney + Star wars series, Boba Fett’s book, and he spoke with the the Chronicle about his long-standing love for the mysterious bounty hunter, his relationship with George Lucas and how series creator Jan Favreau asked him to bring this Alita: the angel of battle magic at the show.

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9: “Sundown for the El Rey Network, January 5”

Robert Rodriguez’s television station ceased operations at the start of the year, no doubt the victim of company mergers and the exit of Univision as a partner. However, the lack of an antenna is not the same as shutting down the business, as the existing library moved to Roku and the business turned to developing new projects.

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10: “The persecution of the Juggalos in United States of Madness“, October 26

Woop Woop! Insane Clown Posse may be the butt of a lot of jokes, but Tom Putnam’s documentary about law enforcement’s harassment campaign against the group and their fans proves that the attacks on the First Amendment aren’t all that funny.

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Wondering which movies have our readers excited over the past year? Don’t miss our hit list of the 10 Most Read Movie Reviews of 2021.

Plus, our critics were able to write about surprising lows and unexpected highs of the year in movies, so don’t miss our accusations of the worst films of 2021, as well as our celebration of the Wildcards of TV and cinema.

‘HADESTOWN’, winner of eight Tony Awards 2019^® including Best New Musical and the 2020 Grammy^® Award for Best Album in Musical Theater, debuted in Austin as part of Texas Performing Arts’ 2021-22 Broadway season in Austin. “HADESTOWN” will play Bass Concert Hall January 11-16, 2022.

“HADESTOWN” is the most honored show of the 2018-19 season on Broadway. In addition to the show’s eight Tony Awards^®, he received four Drama Desk Awards, six Outer Critics Circle Awards, including Outstanding New Broadway Musical, and the Drama League Award for Outstanding Production of a Musical.

The acclaimed new musical is from acclaimed singer-songwriter and Tony Award^® winner Anais mitchell and developed with an innovative director and Tony Award^® winner Rachel Chavkin. “HADESTOWN” marks the first time in more than a decade that a woman has been the solo writer of a musical: writing the music, the lyrics and the book, and it’s the fourth time in history of Broadway that a woman accomplishes this creative feat.

ON:

Producers Mara isaacs, Dale franzen, Hunter Arnold, and Tom kirdahy jointly said, “Throughout its development, ‘HADESTOWN’ has been deeply influenced by audiences around the world. We are delighted and honored to now share this beautiful story of hope, faith and rebirth – written and performed by two incredibly talented women and hosted by a diverse company of performers – with audiences across North America.

The show originated Mitchell’s independent theater project which toured Vermont, which she then turned into an acclaimed album. With his artistic collaborator Chavkin, “HADESTOWN” was transformed into a new genre-defying musical that mixes modern American folk music with New Orleans-inspired jazz to reinvent an ancient tale.

The North American Touring Production of “HADESTOWN” Drama Desk Award stars^® candidate Nicolas barasch like Orpheus, Morgan Siobhan Green as Eurydice, Tony Award^® winner Levi Kreis like Hermès, Kimberly marable as Perséphone, and Olivier Award^® candidate Kevin Morrow like Hades.

The Fates are played by Belén Moyano, Bex Odorisio, and Shea Rennes. Characteristics of the workers’ choir Lindsey Hailes, Chibueze Ihuoma, Will mann, Sydney Parra, and Jamari johnson williams. Swings for touring production include Kimberly Emmanuel, Alex lugo, Eddie Noel Rodriguez, and Nathan Salstone.

After two intertwined love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone – “HADESTOWN” invites the public on a hellish journey into the underworld and vice versa. Mitchell’s haunting melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a dynamic ensemble of actors, dancers and singers, “HADESTOWN” offers a deeply resonant and hopeful theatrical experience.

The Grammy^® winner “HADESTOWN” The original Broadway Cast recording is now available on Hadestown.com/music. The album is produced by David Lai, Sickafoose and Mitchell on Sing It Again Records.

TICKETS:

Starting at $ 35. Tickets are available on texasperformingarts.org and BroadwayinAustin.com, by phone at (512) 477-1444, or at the Texas Performing Arts box office at Bass Concert Hall. For groups of 10 or more, call (877) 275-3804 or email Austin.groups@broadwayacrossamerica.com

BIOGRAPHIES:

ANAÏS MITCHELL (Music, lyrics and book) is a Tony and Grammy Award-winning singer-songwriter whose recordings include the original studio album by Hadestown (2010), Young man in america (2012), Bonny Cavalier Light (2019, as Bonny Light Horseman) and Anais mitchell (2022). She was named to the TIME100 list of the world’s most influential people in 2020 and her first book Working on a song – Hadestown lyrics was published by Plume / Penguin the same year. She is featured on shows around the world and her music is regularly featured on “Best-Of” lists, including NPR, The Guardian and The Wall Street Journal. Hadestown is Anaïs’s first musical.

RACHEL CHAVKIN (Director) is a Tony Award-winning director, screenwriter and artistic director of the Brooklyn-based TEAM collective. Hadestown (NYTW, National Theater, London) was one of his greatest joys. Tony and Lortel nominations and Drama Desk Award for Dave Malloy Natasha, Pierre and the great comet of 1812 (Broadway, Ars Nova, ART). London: Mission drift (National Theater), American clock (Old Vic). Select New York and regional: Marco Ramirez’s The royal (LCT; Obie Award, Drama Desk and Lortel nominations), Malloy’s Preludes (LCT3), Bess Wohl’s Small mouth sounds (Ars Nova and national tour), those of Carson Kreitzer and Matt Gould Lempicka (Williamstown Theater Festival), The Royal family (Guthrie Theater) and multiple collaborations with Taylor Mac. His first movie, Call me back, was an official selection of the Venice and Beverly Hills Festivals. 2017 Smithsonian Award for Ingenuity. Proud NYTW Usual suspect and SDC member.

DAVID NEUMANN (Choreographer). Movie: I’m a legend, Marriage story (Noé Baumbach). Choreography: an octoron and Futurity (Representative of Soho); Antipodes (Signature Theater); Underground railroad game (Ars Nova); Hagoromo and Homepage (BAM); The Antipodes (Signature Theater). Collaborator and performer: Laurie Anderson, Big Dance Theater, Mikhail Baryshnikov, Doug Elkins. Director: The lesson of things (NYTW, BAM). Artistic Director, Advanced Beginner Group (PS122, NY Live Arts, The Kitchen, Symphony Space, Abrons Art Center, The Chocolate Factory, The Whitney, Walker Art Center, MASS MoCA). Recipient of the Obie Award 2020, the Chita Rivera Award 2019, three Bessie Awards for dance / performance, Tony nominated for Hadestown, nominated for the Lucille Lortel and Helen Hayes Prize.

HEALTH AND SECURITY:

Texas Performing Arts prioritizes the health and safety of its guests, performers and staff. Changes have been made to sites and protocols developed by University of Texas medical experts in accordance with state laws for public organizations implemented. Health and security plans include improved air circulation and filtration, increased lobby space, contactless ticketing and transactions, increased cleaning and hand sanitizing stations at all sites. Masks are strongly recommended indoors regardless of vaccination status.

Texas Performing Arts is the Performing Arts Presentation Program at the University of Texas at Austin and operates campus venues including the Bass Concert Hall and the McCullough Theater. It is home to the Broadway in Austin series, a curated performing arts program and a host of comedy events and concerts. In calendar year 2019, Bass Concert Hall had the most tickets sold of any theater in Austin, was No. 2 in the state of Texas and No. 22 in the world, according to the publication of the Pollstar industry. Following a nationwide search, Tony Award-winning producer Bob Bursey was named executive director in January 2020.

Broadway Across America (BAA) is part of the John Gore Organization family of companies, which includes Broadway.com, The Broadway Channel, BroadwayBox.com and Group Sales Box Office. Led by 15-time Tony-winner theater producer John Gore (owner and CEO), BAA is the leading presenter of first-class touring productions in North America, operating in 45 markets with over 400,000 subscribers. Presentations include Disney’s The Lion King, Bad, The Book of Mormon, The Phantom of the Opera and Hamilton. Current and past productions include Is not too proud, Beautiful Cats, Chicago, Dear Evan Hansen, Bad girls, Red Mill! and Kill a mockingbird. For more information, please visit BroadwayAcrossAmerica.com and Broadway.com. Broadway Across America provides production services for Texas Performing Arts. Sales tax exempt in accordance with Section 151.3101 (a) (3) of the Texas Tax Code.

LEARN MORE:

www.hadestown.com/tour

www.facebook.com/hadestownofficial

www.twitter.com/hadestown

www.instagram.com/hadestown

Steve Litman introduces comedian Tom Papa onstage Friday, January 28, 2022 at Sheldon Concert Hall. Show time is at 8 p.m. Tickets are $35, $40 and $50 and are on sale now at Metrotix.com, by calling MetroTix at 314-534-1111 or one hour before showtime at the Sheldon box office.

Tom Papa’s first book, Your Dad Stole My Rake and Other Family Dilemmas, examines families in all their weirdness, from crazy aunts with mustaches to shouting-communicating grandparents to uncles who use marijuana as a condiment. It is for anyone who has a family, grew up in a family, or spent time with another human being. It’s the universality of Papa’s humor. We know the people he is talking about.

Dad is the head writer and regular cast member of “Live from Here”, the new incarnation of the legendary radio show, A Prairie Home Companion. He is featured in his own segment, “Out in America with Tom Papa”. The comedian is a regular on The Late Show with Stephen Colbert, The Conan O’Brien Show and his third hour-long special, Human Mule, is available for purchase or streaming. Papa’s first two specials, directed by Rob Zombie, were Tom Papa: Freaked Out and Tom Papa Live in New York to critical acclaim.

Dad is the host of the hit podcast and SiriusXM show, Come to Papa, a weekly hour-long show in which he explores the fun side of life. His guests have included Mel Brooks, Ray Romano, Carl Reiner and Jerry Seinfeld. Several times a year, in New York and Los Angeles, Papa hosts a scripted radio play Come to Papa which is recorded live for the podcast and radio show. He has residencies at the Largo in Los Angeles and the Village Underground in New York where he writes the script for each show and hires the best actors and comedians to act or perform in stand-up, all backed by a live band. Artists who have participated include Matt Damon, Sarah Silverman, Joel McHale, Jim Gaffigan, Kevin Nealon and Kevin Pollock.

In 2013, Dad was seen alongside Michael Douglas and Matt Damon in the HBO film, Behind the Candelabra, directed by Stephen Soderbergh and won 11 Emmy Awards. He was also seen on the hit Comedy Central series, Inside Amy Schumer. His films include The Informant with Matt Damon, The Haunted World of El Superbeast, directed by Rob Zombie and Analyze This with Robert DeNiro. On television, Dad was cast by Jerry Seinfeld to host the NBC series, The Marriage Ref, which ran for two seasons. He had a recurring role on the Julia Louis-Dreyfus series, The New Adventures of Old Christine and has his own NBC series, Come to Papa.

Anyone 12 years of age or older attending a ticketed event at The Sheldon will be required to present proof of full vaccination OR a negative COVID-19 test taken no later than 48 hours prior to event entry time. Guests must be prepared to show their vaccination card, or proof of negative COVID test, or photo of their vaccination card or test results on their mobile devices before entering The Sheldon. Self-administered tests will not be accepted. The Sheldon will also maintain a flexible ticket exchange policy throughout the season to address any health and safety concerns.

Located at 3648 Washington Boulevard, in the heart of the Grand Center Arts District, Sheldon Concert Hall offers a wide range of musical, visual arts and educational programs of the highest quality, diversity and educational impact, hosting more than 350 events each year . For more information, visit www.thesheldon.org or www.stevelitmanpresents.com.

Kevin nash triumphantly entered the film industry in the 1990s playing Super Shredder in Teenage Mutant Ninja Turtles: Secret of the Ooze. His work has grown over the decades from his origins in WCW and WWE – including everything from a Marvel franchise to video game adaptations, original horror, comedies and thoughts on the personal angst of being a male stripper.

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He even has an appearance in Keanu Reeves’ ultra-popular action-noir vehicle. John wick, which is not noted here (due to its brief appearance). Through his many roles, Nash has shown that a wrestler does not need to be limited to a specific genre or be categorized. Would it be shocking for Nash to win an Oscar before Dwayne Johnson? Probably. Here are Nash’s ten highest-rated films by audiences from Rotten tomatoes.

ten River of Darkness (2011) 9%

Kurt Angle in a lead role with Sid Eudy, plus Kevin Nash playing river zombies and a supernatural henchman covered in mud, with vibes from John Carpenter’s “The Fog” River of Darkness is a budget-friendly, cheesy, dark, small-town Americana affair. Angle is the sheriff on the case, uncovering the truth and the city’s long-hidden past.

Nash plays Jayden Jacobs and barely utters a word in the film, with Eudy in tow as part of a trio of ax-dropping villains. This was done when Angle and Nash were both in TNA. WCW’s Glacier even appears too. The film never really goes out of gear. Deservedly the worst movie on the list. In the end, Angle himself had a significant film career.

9 Monster Fight (2011) 16%

Eight legendary monsters are summoned to the ring to fight in a graveyard in this horror comedy. Think WCW Halloween havoc on steroids. Nash plays “Zombie Man” manager, “Colonel Crookshanks”. Although not Yetaaaa! (Schiavonism) unfortunately there is a mummy and a commentary by Art Hindle with Mortal combat voiceover moments.

Jimmy Hart is also in the cast, and he is narrated by the legendary Lance Henrikson. Each match is introduced by an interesting backstory. The budget was only C $ 200,000, but the movie looks fantastic. As pure “wrestling comedy entertainment” and an alternative to an empty PPV weekend, you could actually do a lot worse.

8 Chick Fight (2020) 19%

Chick fight has Malin Akerman and Bella Thorne, looking like a feminine mix of Cobra Kai and Neo from The Matrix as the main antagonist. Next, Dulce Sloan as Comedic Relief and Alec Baldwin as Aging Coach, among others. This female-focused MMA comedy looks promising in the initial trailer, as the ladies enter their own personal “fight club.”

Nash plays Akerman’s single dad for a comedic effect that sporadically shows up to give advice and advance internal family intrigues and the laughs arrive. Surprisingly, he doesn’t get very involved in the “Ladies Octagon”. It only grossed $ 77,000 at the box office, possibly due to the pandemic. It’s a bit underrated, because he’s got a heart, mixed with some empowerment of women.

seven Most recent engagement (2012) 38%

It was a comedy straight to DVD after a limited theatrical release to no avail for “Animal House” then “American Pie” crossed with “Three Men and a Baby”. Nash isn’t even in the main trailer but on the poster. It chronicles the Omega Brotherhood and their wild ways, with the addition of a new infantile pledge for hysterics.

Nash plays Merkhaus’ father and it was hard enough to find him to watch him across the Atlantic. If you’re lucky enough to be in the United States, it’s on Amazon Prime. Hijinks ensue with the young college recruit who was left at their doorstep bleeding the fraternity’s finances, and the mystery of her parentage fills the gripping conclusion.

6 DOA Dead or Alive (2006) 38%

It’s easily one of the best video game adaptations out there in terms of capturing the “dead-on” game aesthetic in all of its glorified cheesy. The film primarily stars three female fighters, including Australian Holly Valance, and ever-reliable villain Eric Roberts, in a near-best-career performance as tournament organizer Victor Donovan, along with many other characters from the games. Team Ninja.

Nash plays Bass Armstrong, the overprotective father of Tina (Jamie Pressley) and the oddly familiar famous professional wrestler. The film was shot on location in Gulin and Hong Kong with many kinetic fight scenes. Only a box office of $ 7.7 million against a budget of $ 30 million, meant it was a bomb. It was more of a guilty pleasure on DVD.

5 The Manor (2018) 40%

Another horror foray for Nash and the front-cover star, as this recent creepy psychological flick takes place with Christiana Robinson and Rachel True then directed by Jonathan Schemerhorn. Not to be confused with 2021 Blumhouse movie, it all revolves around a return to “The Manor” title and disturbing family secrets with Nash as Reverend Thomas.

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Channeling some of his old wrestling gadgets like Oz Diesel, Diamond Stud is all in one with a bit of The Boogeyman, Papa Shango, and the Dungeon of Doom mixed in.

4 Magic Mike XXL (2015) 55%

Nash returned for the Magic mike sequel that delves into the world of male striptease. It’s a slower affair, more introspective and a bit more of an ensemble film. Nash plays Tarzan, an aging artist and one of Tatum’s band members. Probably not as pleasant as the first one, as it’s like a winding road trip gone wrong.

Nash kicks off the film with a bang with a phone call that moves the story forward, with a few key scenes and more development for his character. He made $ 122 million against a budget of $ 15 million, so it was pretty successful for the studio.

3 Magic Mike (2012) 60%

It was one of Nash’s more serious acting roles despite the concept, in the Steven Soderbergh-directed film starring Channing Tatum, Joe Manganiello, Alex Pettyfer, Matthew McConaughey, Cody Horn and Olivia Munn. It was actually loosely based on Tatum’s youth, but the story is constructed in a fictional way.

The film was a huge critical success earning $ 167 million from just a budget of $ 7 million. Nash really got to mingle with high caliber actors to hone his craft and work with a great director. The film is more of a love story between Tatum’s character and his girlfriend, with the industry as a backdrop. The film might surprise you.

2 Longest yard (2005) 62%

Nash was involved in this mid-2000s jail sports comedy and “Adam Sandler’s Vehicle”. It’s a remake of The longest yard from the 1970s. The cast included is excellent, with everyone from James Cromwell to Courtney Cox, Chris Rock, Burt Reynolds and William Fichtner making appearances.

Many other familiar faces closer to home were involved, from Bill Goldberg to NJPW and MMA star Bob Sapp. Steve Austin was a prison warden with Nash as Englehart. The Grand Khali also makes an appearance. The film grossed a total of $ 158 million at the box office against a hefty budget of $ 90 million.

1 The Punisher (2004) 63%

This was the second adaptation of the punisher franchise, after the Dolph Lundgren vehicle of the late 1980s. Starring Thomas Jane as the anti-hero vigilante, it’s a hidden gem that has gotten better with age. The film arrived before Marvel Cinematic Universe began, with an adult approach, with John Travolta adding another memorable villain to his collection.

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Nash’s role was that of “Russian” and the filmmakers needed a tall actor to pull off this look. He finds himself entangled with Jane’s character, Frank Castle, in a stunning fight streak. The film performed well with a total of $ 54 million against a budget of $ 33 million, and there were rumors of a sequel before it was rebooted as the Punisher: War Zone.

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About five years ago, the Clarence Brown Theater at the University of Tennessee in Knoxville embarked on an effort to scale up its community engagement activities with underserved communities and families, including veterans, youth, the deaf and hard of hearing, the homeless and individuals on the autism spectrum.

“Theater is about community,” said Tom Cervone, CEO of CBT. “Throughout our history, community has been our driving force and we continue to expand our thoughtful engagement with the greater Knoxville area each year. “

A recent performance of A Christmas Carol included Deaf Night at the Theater, a barrier-free experience for members of the hard of hearing and deaf community. The CBT offers an experience for select performances throughout the season, with performers at the box office, concession stand and opening positions, and up to four performers signing on during the show.

“We had 55 children and families present,” said Cervone. “It was a tremendous success.”

On December 18, it will provide a text display captioned with the words and sounds of the performance. Three years ago, the CBT became the first professional theater in Tennessee to offer in-house open captioning.

“A $ 10,000 grant from the Alliance of Women Philanthropists allowed us to buy the equipment and pay for the training to use it,” Cervone said, “so we could create the captioning. internally. Our goal is to break down barriers and make theater more accessible to everyone.

CBT initiatives flow naturally from its tradition of innovative thinking and design, discovery, problem solving, mentoring, collaboration and community development.

“It was the spirit of volunteerism that Clarence Brown (1910) brought to his career as a Hollywood director and ensured that it was instilled in the theater that bears his name,” said Cervone. “Mr. Brown wanted UT theater students to learn from the professionals who come to work and perform at CBT. Additionally, students learn valuable lessons by connecting with different parts of the community and even showcasing their craft. to middle and high school students.

The theater’s awareness initiatives are varied:

Military and veteran discount

As a member of Blue Star Theaters, the CBT welcomes U.S. military personnel and veterans, spouses and children with discounted tickets to all productions.

“Pay what you can” preview Wednesday

To help make theater accessible to everyone, at all income levels, CBT offers an evening for each production where people can attend for whatever price they choose.

Penny4Arts

In partnership with the Arts and Culture Alliance, CBT participates in the Penny4Arts program, providing every child in County Knox with a ticket to select shows for a dime when accompanied by an adult. The adult ticket is offered at a 10 percent discount. These performances help promote the creativity and artistic enrichment of children in the local community.

Night of faith, hope and love

During pre-pandemic periods of A Christmas Carol, the CBT partnered with the Helen Ross McNabb Center, the Boys and Girls Clubs of the Valley of Tennessee, Agape Outreach Home and the Autism Society of East Tennessee to provide a free night of theater, complete with cookies and hot chocolate .

Family party

In an initiative currently awaiting a pandemic, the CBT has partnered with the Centro Hispano, the Knoxville Area Urban League and the YWCA to offer families the option to reunite for dinner before a dedicated CBT performance. “The idea was to bring back that feeling of a family meal,” said Amanda Middleton, CBT’s external relations and community development manager.

A $ 10 ticket included a buffet dinner and a few words from a designer or production staff member. “It was available to everyone who attended as a family unit, regardless of their definition family unit“, noted Cervone.

School and youth programs

The CBT offers reduced rates to school groups attending morning performances of age-appropriate plays, including A Christmas Carol. In spring 2022 The curious incident of the dog during the night, about an autistic boy, will be offered to high school students, and She kills monsters, about a woman who lost her parents and younger sister in a car crash, will be available to senior high school and middle school students.

As part of their student outreach, Middleton and CBT Director of Grants and Outreach Hana Sherman attends career fairs at local schools including Austin-East Magnet High School, Karns Middle School, Sarah Moore Greene Elementary and Vine Middle Magnet School. “We show the career paths you can take in theater,” Middleton said.

In a long-standing summer tradition, CBT offers high school students two weeks of intensive musical theater training from faculty and graduate students under the direction of distinguished musical theater lecturer Terry Alford.

Another summer program, Shakespeare in Shades, held at the Vine Middle Magnet School in partnership with Community Schools and Knox County Schools, was launched in 2016 and has been offered every year, with the exception of a pandemic break in 2020.

Undergraduate and MFA theater students serve as teachers in the program, which is designed to ease the transition to college by building confidence and increasing reading skills. Students mix theater games with adapted Shakespearean texts as they prepare and stage a performance. In 2020, participants interpreted shortened versions of The Storm, Twelfth Night, and A Midsummer Night’s dream.

“By engaging and exposing young people to live theater,” said Middleton, “we hope to inspire and build the next generation of theatergoers, patrons and actors.”

Support for local school and community programs
CBT also supports local theater companies and performing arts programs in area schools. Led by Professor Kenton Yeager, director of the Department of Theater’s undergraduate program and its Masters of Fine Arts program in theater lighting, the lighting and set design students put their expertise to work to tackle business challenges. complex lighting.

They helped the dance department at Austin-East Magnet High School, the theater department at Bearden High School, the River & Rail Theater Company, the Flying Anvil Theater, the North Carolina Stage Company in Asheville, the Oak Ridge Playhouse, Pellissippi State Community College, and West High School.

A high school theater called and asked for effects they could use in Annie takes your gun“Yeager said,” and we helped him. Sometimes that includes accessing and upgrading outdated lighting systems.

The CBT also donates used sets to high school theater departments and local theater troupes. All of the Candid, which had many complex elements, was 90 percent recycled.

“Diversity and inclusion in all its forms is part of our mission statement,” said Sherman. “Whether we’re presenting performances to those who are often excluded, introducing children and youth to theater, or supporting local performing arts programs, the Clarence Brown Theater strives to bring theater to life. the widest possible community.“

CONTACT:

Brooks Clark (nclark5@utk.edu, 865-974-5471)