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broadwaydivastournament · 6 days

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Bebe Neuwirth in Caricature

I didn't plan it like this, but Bebe's caricature showcase just so happens to coincide on my schedule with Cabaret's opening night. So while she's glamming it up on the red carpet and readying for her soon-to-be-Tony-nominated performance, allow me to present beloved Diva Bebe Neuwirth in Caricature.

"Bebe Neuwirth," Sweet Charity, Published June 20, 1986 - Al Hirschfeld

"Cheers," Published December 11, 1990 - Al Hirschfeld

CHEERS: TED DANSON, KIRSTIE ALLEY, NICK COLASANTO, RHEA PERLMAN, GEORGE WENDT, JOHN RATZENBERGER, WOODY HARRELSON, BEBE NEUWIRTH, KELSEY GRAMMER, SHELLY LONG, AND ROGER REES, 1990

"Damn Yankees", Published February 27, 1994 - Al Hirschfeld

Pictured: Bebe Neuwirth with Victor Garber, Jerrod Emick, and George Abbott.

"Chicago," Published November 24, 1996 - Al Hirschfeld

Pictured: Joel Grey, Ann Reinking, Bebe Neuwirth, James Naughton

"Toasts Of The Town," Published June 1, 1997 - Al Hirschfeld

Pictured: Frank Langella, Julie Harris, Christopher Plummer, Brian Bradford, Michael Hayden, Bebe Neuwirth, Rebecca Luker, Fiona Shaw, Lillias White, David Morse, Angie Phillips, Donal McCann, Michael Gambon, David Rasche, Lia Williams, Janet McTeer, Anthony Sher, etc.

By 1986, Bebe had a Tony Award and a solo Hirschfeld drawing to her name, and by 1997, she had another Tony and three more Hirschfelds from both stage and screen work. Hirschfeld had a sprawling collection of art not limited just to Broadway. And of course, the feature Hirschfeld most prominently exaggerated (though not by much) were her award-winning gams.

Bebe Neuwirth for Sardis, 1997 | Unrelated: Bebe Neuwirth and Donna Murphy for the 2010 Drama League Nominations

Bebe's Sardis portrait is, of course, her in character as Velma Kelly in Chicago. The style of her caricature seemed to bridge the change between the old-school exaggeration and comic features that made the drawings so distinctive, and the blander, homogenous styles of today. Bebe's portrait came a few years before the true shift began, and frankly, she's better off for it.

"Bebe Neuwirth," The Lights of Broadway, Autumn 2017 - Squigs

I've neglected to mention it so far, but each Squigs trading card comes equipped with a little "fun fact" section on the back. Most cards include a few biographical points, show credits, and a special "did you know?" With Bebe's return to Broadway this season, we can only hope we'll get another Squigs illustration to add to the list.

#bebe neuwirth #al hirschfeld #sardis #squigs #caricature

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denimbex1986 · 1 month

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'I almost knock into Andrew Scott before I see him. He’s just dashed out of the Tate Modern, frantic and slightly late: “There’s just so many entrances!” he exclaims. His patrician forehead crinkles, and the brown eyes charmingly plead: Forgive me! He was just inside, picking up his membership card. Surely he can get in for free? “Excuse me,” he huffs, “I’m a fully paid-up member.” Then he flashes the broad grin that seduced a legion of Fleabag viewers, and we’re off.

The plan today is to meander in a loop along the Thames. On a midafternoon Friday in London, this involves much ducking and diving through crowds, which suits Scott just fine. The weather is one of those bright, springlike days that convinces you that winter is over—except the rain-swollen river is now sloshing ominously onto the pavement. We slow down to regard an underwater section of our route. “I don’t think we’re gonna get through there,” he says. “I’ve probably got a hole in my trainers.”

We head for the road instead, words pouring out of the 47-year-old actor in that mellifluous Irish lilt, peppered with “you knows” and interrupted frequently by his laugh. It’s no surprise that his colleagues quickly become friends: “It was clear from the moment that I met and worked with Andrew that he was an exceptionally gifted actor,” says Julianne Moore, who starred alongside Scott on Broadway in 2006’s The Vertical Hour. It was both actors’ Broadway debuts, though Scott has juggled screen and theater from the start. “I’ve always done both,” he says, though he acknowledges modestly: “I used to do maybe a few plays a year and one television show. Now maybe it’s kind of the opposite.” That’s somewhat underselling his dramatic accomplishments. Scott has won two Olivier Awards, for the experimental A Girl in a Car With a Man in 2005 and Noël Coward’s Present Laughter in 2020. He has performed in productions of Eugene O’Neill, Oscar Wilde—he’s played Hamlet, too, and was nominated for an Olivier for that as well. “Scott gives carefully controlled, thrillingly virtuoso physical performances,” wrote The Guardian last year, when he performed eight roles from Uncle Vanya by himself, in a much-lauded West End solo adaptation of the Chekhov play. (A New York transfer could not be confirmed when this piece went to press, but seems highly likely.) “He wore his talent so lightly and modestly,” Moore says. “He was joyful and fun and an amazing partner to have onstage and off.”

Scott was born in Dublin, sandwiched between two sisters; his mother is a teacher and an artist, and his father works at an employment agency. As a child, he was brought to art galleries and theaters. A performance by the great Irish actor Donal McCann in Sean O’Casey’s Juno and the Paycock when he was 11 or 12 made a lasting impression: “There was just something about the power in his stillness—people think that, in theater, it’s all about the grand gesture, but stillness onstage is absolutely mesmerizing.”

An eerie stillness characterizes all of Scott’s performances as well. As Moriarty in Sherlock, the BBC One show that catapulted him to fame in Britain in the 2010s, he requested fewer lines to play up the villain’s spookiness. And then there is that agonizing stretch of silence in Phoebe Waller-Bridge’s Fleabag right after its titular protagonist confesses her love. Has the line “It’ll pass” ever been delivered with so much pathos? Scott’s acting is all submerged passion; when he does speak, his words have depth. “Andrew has an intensity and a precision in his work,” Moore tells me. “I love his vulnerability, the way his eyes glitter onscreen.”

As a child, Scott was sent to drama classes to get over his shyness. He still remembers his first role, as the Tin Man in a production of The Wizard of Oz. “I felt completely free,” he says, seemingly transported to the moment he launched into “If I Only Had a Heart” onstage. “I felt joy—that’s the word. Not only did I feel it, but I felt that other people felt it when they were looking at me…. Some intuition told me as an 11-year-old: ‘You have to be this expressive, that’s what theater is!’ Nobody taught me that. I just felt it.” Then he swerves to avoid a clutch of tourists on Tower Bridge, and the reverie is lost.

These days, walking around London is something of an ongoing pastime for Scott. During the press rollout for Andrew Haigh’s Golden Globe–nominated romance All of Us Strangers, he and costar Paul Mescal went to their PR engagements on foot. One day, two boys on bikes clocked the pair and started chasing after them in an alarming fashion: “We escaped them—it was quite fun, actually!” Does he ever feel slightly protective of Mescal, two decades his junior? “Not any more than I would with any of my other people in my life. Because he’s got his head screwed on, you know? I absolutely adore Paul,” Scott adds, though he wants to make one thing clear: “Bromance is not the word that we associate with it, because neither of us are very bro-ey.”

Waller-Bridge, who has known Scott for 15 years, describes him as “an absolute pixie of mischief.” When asked to elaborate, she continues: “I could write a novel. But I love how naughty he is. He has the magical ability to make you feel instantly present—no matter what’s going on in your life, you’re suddenly there in the moment and feeling joyful. I think that’s what it’s like to watch him as an actor too…like he can stop time with his honesty.”

Between 2020 and 2021, Scott also traversed the lengths of the Thames, pondering the script from Ripley, his upcoming eight-episode project for Netflix, in which he plays the titular protagonist. “Quite unusually, I got sent all eight scripts at the same time,” he remembers. Steven Zaillian, the screenwriter behind Schindler’s List and Gangs of New York and the director and writer behind All the King’s Men, had written all eight at the outset.

Tom Ripley is crime novelist Patricia Highsmith’s slipperiest literary creation; a pathological liar and murderer with whom she felt a strange kinship—she sometimes signed letters with some variation of “Pat H., alias Ripley.” It is not so much a spoiler as an ongoing feature of the books that Ripley, despite splurging on Venetian palazzi and Gucci suitcases, never gets caught. If anybody comes close, there is always a conveniently located oar or glass paperweight nearby. Ripley, in other words, is the hero of the tale. “That’s why he fascinates so many,” says Scott. “There’s been so many iterations of him. I think it’s because people root for him.” Actors like Alain Delon and Dennis Hopper have tried the role; Matt Damon played him as an obsequious, lower-class naïf; John Malkovich, as a slimy, camp killer. Scott’s Ripley is different; a watchful loner escaping rodent-infested poverty, more at home among art than he is around people. Musician and actor Johnny Flynn plays his first victim—the monied Dickie Greenleaf—and Dakota Fanning is Dickie’s suspicious ex-girlfriend. “I find Tom quite vulnerable,” Scott tells me. “I don’t think he’s necessarily lonely, but I certainly think he’s solitary…. He seems to me by his nature that he just can’t fit in. He’s trying to survive.”

In Ripley, Zaillian extracts maximum Hitchcockian dread from every creaky footstep. But most sinister of all is Scott’s face, which exhibits a sharklike steeliness throughout. It’s a performance that exudes queasy force. Is Ripley a scammer, a psychopath, or both? “There’s so many things lurking beneath him that I’ve been very reluctant to diagnose him with anything. I never thought of him as a sociopath or murderous,” Scott declares. “It’s up to everybody else to characterize him or call him whatever they want.”

As we weave through tourists near the Tower of London, barely anybody notices Scott, save for a faint glimmer of recognition among mainly young women. He seems to draw reassurance from it. “I don’t like to think about it too much, if I’m honest,” he muses of fame. “I find it a little bit, er, frightening.” He is known but not blockbuster-recognizable, although he is in the upcoming Back in Action with Cameron Diaz and Jamie Foxx. What stunts did he do? “I can’t give that away, I’m afraid, or somebody from Netflix will come and shoot me in the head.”

What’s been on Scott’s mind the most hasn’t been acting at all, in fact, but art. As a 17-year-old, he was offered his first movie role on the same day he was given a scholarship to study painting. He chose acting, but has recently been thinking about Oliver Burkeman’s philosophical self-help tract from 2021, Four Thousand Weeks, which makes the case for focusing on the five things you truly want to accomplish. “For me at the moment, it’s like, What do you want to do? What do you want to say?”

He scrolls through his phone to show me his work. There’s a watercolor of a couple arguing in a restaurant in rich reds and greens, line drawings of friends and people on the beach, and two self-portraits. “It’s a bit weird,” he acknowledges of his depiction of himself, all bulbous forehead and Pan-like tufts of hair. His brisk, nervy lines are reminiscent of Egon Schiele or Francis Bacon, who turns out to be one of his favorite painters. “Well, God, I’ll take that,” he mutters at the comparison. He would like someday to go to art school. “I don’t ever regret it,” he says of acting. “But I suppose you just get to a stage where you think, What else? That’s one of the big painful things in life for me, where you can’t quite live all the lives.” As he gets older, he feels the tug toward revisiting old working relationships, including with Waller-Bridge: “We’ve definitely got things cooking,” he smiles. “I’d love to work with her again. She’s just a singular, wonderful person.” For her part, Waller-Bridge says: “I’d love to see him do a fully unhinged slapstick comedy character. Someone who is outraged at everything, all of the time.”

As we round the pavement and the Tate Modern looms back into sight, he recalls a poster he received in 2017—a monstrously large graphic that detailed every week in a human life span. “It’s your entire life if you live to 80—you have to fill in all the bits that you’ve already lived,” he remembers in awe, “a visually terrifying gift.” What did he do with it? “I didn’t hold on to it for too long.” Easy come, easy go: We finally finish our loop around the Thames and, as Scott disappears back into the throng, anonymous just the way he likes it, it occurs to me that the actor has many lives to live yet.'

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brokehorrorfan · 1 year

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Rawhead Rex will be released on 4K Ultra HD + Blu-ray on February 21 via Kino Lorber. Sean Phillips designed the cover art for the 1986 monster movie; the original poster is on the reverse side.

Based on the short story by Clive Barker (Hellraiser, Candyman), George Pavlou directs from a script by Barker. David Dukes, Kelly Piper, Niall Tóibín, Cora Venus Lunny, Ronan Wilmot, Donal McCann, and Heinrich von Bünau star.

Rawhead Rex was restored in 4K from the original camera negative in 2017 and features new Dolby Vision HDR with 5.1 surround and lossless 2.0 audio. Special features are listed below.

Disc 1 - 4K UHD:

Audio commentary with director George Pavlou, moderated by author Stephen Thrower

Disc 2 - Blu-ray:

Audio commentary with director George Pavlou, moderated by author Stephen Thrower

Interview with Rawhead Rex actor Heinrich von Bünau

Interview with actors Hugh O'Conor and Cora Venus Lunny

Interview with actor Ronan Wilmot

Interviews with crew members Gerry Johnston, Peter Mackenzie Litten, John Schoonraad, Rosie Blackmore, and Sean Corcoran

Interview with artist Stephen R. Bissette

Behind-the-scenes and original art image gallery

Theatrical trailer

Rawhead Rex is a demon, alive for millennia, trapped in the depths of hell, and waiting for release. He is held by an ancient seal, imprisoned for centuries in a barren field near the hamlet of Rathmore, Ireland. In time, this gruesome legacy has been forgotten, dismissed as an odd pre-Christian myth until Tom Garron (Donal McCann) decides to plow the field his ancestors knew better than to disturb. The seal is broken and an unspeakable evil is unleashed - on a rampage of blood and lust. Howard Hallenbeck (David Dukes), an American historian on a working vacation with his family, discovers on the stained glass windows of a local church a series of scenes illustrating the reign of terror of Rawhead Rex, but the one piece of glass depicting the defeat of the monster is missing. Rawhead Rex is on the loose, and he is insatiable as Howard desperately races against time for a way to stop the vicious monster

Pre-order Rawhead Rex.

#rawhead rex #clive barker #horror #80s horror #1980s horror #kino lorber #dvd #gift #sean phillips #george pavlou #80s movies #1980s movies #hellraiser #candyman #monster movies

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maryversusthemovies · 4 months

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John Huston's final film is a surprisingly warm adaptation of James Joyce's short story about a Twelfth Night Christmas party that shows the cracks in a marriage, opening up questions about love, identity, and how well we can truly know one another.

Starring Anjelica Huston, Donal McCann, Helena Carroll, Cathleen Delany, Dan O'Herlihy, Donal Donnelly, Séan McClory, and Colm Meaney. Directed by John Huston and written by Tony Huston.

Episode 125 - The Dead

https://sites.libsyn.com/398906/episode-125-the-dead-1987

#movies #podcast #maryvsmovies #1980s #john huston #anjelica huston #james joyce #dubliners

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latestinbollywood · 1 year

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Deirdre Purcell Wiki, Bio, Age, Career, Education, Death, Net Worth, Nationality And More

Deirdre Purcell Wiki:- Irish author, actress, and journalist Deirdre Purcell was well-known. She was from Dublin. In the stage rendition of The Ginger Man, the Abbey Theatre actress played Miss Frost, and in The Playboy of the Western World, she portrayed Pegeen Mike. The well-known novelist and broadcaster passed away on Monday, February 13, 2023, according to the official announcement. Age 77 applied to Deirdre.

Deirdre Purcell Wiki

Purcell, a former Abbey Theatre actress, has performed in plays such as The Playboy of the Western World, Miss Frost, and Drama at Inish. She has acted opposite Donal McCann in Drama at Inish and as Christine in The Ginger Man on stage. Previously, Purcell worked as a journalist for the media and television. She received the Cross and Benson & Hedges journalistic honours.

Deirdre Purcell Wiki

Education

Deirdre Purcell was born in Dublin in 1945, where she also received her upbringing. She join Gortnor Abbey in County Mayo for her graduation. She was an Abbey Theatre performer who portrayed Christine in Drama at Inish alongside Donal McCann, Miss Frost in The Ginger Man: The Musical, and Pegeen Mike in The Playboy of the Western World. The press and television both employed Purcell as a journalist.

Deirdre Purcell Education

Career

Twelve of Purcell's works, including "Pearl and the Winter Gathering," were bestsellers in Ireland and received high praise from critics. She was a member of the Central Bank of Ireland's board when the Irish banking system failed in 2008, having been appointed in 2003. She began hosting All About the Music on RTÉ Lyric FM in October 2009. She also hosted "It Says in the Papers" on RTÉ Radio 1's Morning Ireland. The Benson & Hedges and Cross awards for journalism were given to Purcell.

Deirdre Purcell Career

Relationship

Kevin Healy is her spouse. The couple has been dating for years. Adrian and Simon Weckler, the couple's two boys, are proudly raised by Deirdre Purcell and her husband Kevin. In West Cork's Beara Peninsula, the family resides together.

Death

Age 77, Deirdre passed away in February 2023. Famous celebrities from the entertainment industry haven't stopped praising the Irish novelist since she passed away. On social media, John Creedon posted: "So sorry to learn of the passing of the extraordinary Deirdre Purcell. Deirdre was a wonderful writer, performer, and journalist who was also incredibly compassionate. She frequently gave me advice when I was the new kid at the radio station RTE, saying things like, "Think of Kevin and all of her loved ones." She was also given recognition by Michael D. Higgins, the president of Ireland. In a statement, President Michael D. Higgins said: Sabina and I learned with grief of Deirdre Purcell's departure. Her life's work spanned a broad range of the arts and media.

Net Worth

The estimated $1 million net worth of Deirdre Purcell. She amassed fortune through her work as a journalist, author, and actress.

Nationality

Irish INSTAGRAM FAQ ABOUT DEIRDE PURCELL Q.1 Who is Deirde Purcell? Ans. Deirde Purcell is Irish author, actor and journalist. Q.2 What is the net worth of Deirde? Ans. $1million. Q.3 What is the cause of Deirde death? Ans. Not available Read Also: Tarri Marathi Movie Cast Read the full article

#DeirdrePurcellAge #DeirdrePurcellBio #DeirdrePurcellCareer #DeirdrePurcellDeath #DeirdrePurcellEducation #DeirdrePurcellNationality #DeirdrePurcellNetWorth #DeirdrePurcellWiki

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