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Crow’s Theatre Toronto Announces Their 2023.24 Season

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Crow’s Theatre in Toronto is thrilled to announce its huge 40th anniversary season for 2023.24. The 12-play season includes the Canadian premiere of Broadway hits NATASHA, PIERRE & THE GREAT COMET OF 1812 by Dave Malloy, DANA H. by Lucas Hnath, and HEROES OF THE FOURTH TURNING by Will Arbery; which frontmezzjunkies is utterly thrilled to see produced by this wonderfully gifted company. Crow’s Theatre Toronto is also presenting the world premieres of new works from Michael Healey, Cliff Cardinal, Mohammad Yaghoubi, and bahia watson; and more, with Tapestry Opera, Théâtre français de Toronto, and playwrights Natal’ya Vorozhbit and Zahida Rahemtulla.

The fabulously eclectic, 12-show season includes THE MASTER PLAN by Michael Healey, directed by Artistic Director Chris Abraham; HEROES OF THE FOURTH TURNING by Will Arbery, directed by Philip Akin in a co-production with The Howland Company; (EVERYONE I LOVE HAS) A TERRIBLE FATE (BEFALL THEM) by Cliff Cardinal, directed by Karin Randoja, a VideoCabaretproduction in association with Crow’s Theatre; a new version of ROCKING HORSE WINNER composed by Gareth Williams, libretto by Anna Chatterton, and directed by Michael Hidetoshi Mori, a Tapestry Opera production in association with Crow’s Theatre; BAD ROADS by Natal’ya Vorozhbit, directed by Andrew Kushnir; NATASHA, PIERRE & THE GREAT COMET OF 1812 by Dave Malloy, directed by Chris Abraham in a co-production with The Musical Stage Company; EARWORM written and directed by Mohammad Yaghoubi in a Nowadays Theatre production in association with Crow’s Theatre; L’AMOUR TELLE UNE CATHÉDRALE ENSEVELIE, a Théâtre français de Toronto in association with Crow’s Theatre presentation of the NOUS Théâtre production; DANA H. by Lucas Hnath, directed by Les Waters; shaniqua in abstractionwritten and performed by bahia watson, a Crow’s Theatre production in association with paul watson productions and Obsidian Theatre Company; a special one-week run of the Cunning Concepts & Creations production of HUFFby Cliff Cardinal; and THE WRONG BASHIR by Zahida Rahemtulla, directed by Paolo Santalucia.

Today, Artistic Director Chris Abraham and Executive Director Sherrie Johnson unveiled Crow’s Theatre’s 12-show 40th anniversary season, the largest and most ambitious season in the company’s history. Following the record-breaking triumph of the 2022.23 season, Crow’s 40th anniversary will be animated by world premieres and groundbreaking productions featuring the country’s greatest artists, Canadian premieres of celebrated international hits, and tours of Crow’s Theatre’s most successful shows!

2022.23 was the year we fell back in love with theatre. The season was our love letter to Toronto.

We gathered at full capacity, and we moved through each show with joy, despair, and laughter—and we did so together with the amazing Crow’s audiences who came out in record numbers, our heroic staff and volunteers who worked tirelessly to make it happen, and the brave and courageous artists and partners who filled our stages with smart, spunky, daring, and assured productions.

Feeling extremely galvanized and energized, we want our 40th anniversary to be exceptional. This season, we want to give a shout-out to all who made Crow’s what it is today—40 years on. We look forward to welcoming you to Streetcar Crowsnest and to our fabulous restaurant, Gare de l’Est, as you take in a season filled with entertainment and enlightenment, reflection, and shared humanity. If you have any young people in your life, please encourage them to join our UNDER 30 ticket program. The next 40 years depends on the voices of the next generation of arts lovers as they imagine and build their future world.”

-Executive Director Sherrie Johnson

The 2023.24 Crow’s Theatre 40th anniversary season begins with multi-award-winning playwright Michael Healey’s THE MASTER PLAN, adapted from The Globe and Mail journalist Josh O’Kane’s best-selling book Sideways: The City Google Couldn’t Buy, directed by Crow’s Theatre Artistic Director Chris Abraham. This Crow’s Theatre commission is a biting satire that lampoons the corporate drama, epic personalities, and iconic Canadian figures involved in the messy affair between Sidewalk Labs and Waterfront Toronto as they attempt, and fail, to build a smart city in Toronto.

The Howland Company returns to Crow’s Theatre with HEROES OF THE FOURTH TURNING, written by Will Arbery and directed by Philip Akin. A daring look at a country at war with itself, it was hailed as “a work of singular distinction” by The Wall Street Journal (you can find my off-Broadway review here). This haunting, multi-award-winning and Pulitzer Prize– finalist play grapples with right-wing religion, race, politics, and personal responsibility. The Howland Company and Crow’s Theatre co-production is their fifth collaboration following the breakout success of Prodigal, written and directed by Paolo Santalucia.

Crow’s Theatre invites audiences to walk down the street to VideoCabaret’s Busy Street Theatre for (EVERYONE I LOVE HAS) A TERRIBLE FATE (BEFALL THEM), written and performed by Cliff Cardinal and directed by Karin Randoja, a VideoCabaret production in association with Crow’s Theatre. Deep in the bowels of a church basement, Robert and his support group must come to terms with their mortality before the impending apocalypse. “One of the most important playwrights and performers in Canada,” says the Toronto Star. Cliff Cardinal offers his unique, haunting, and humorous portrayal of humankind on the brink of extinction.

Crow’s Theatre is honoured to produce the North American premiere of BAD ROADS by Kyiv-born playwright Natal’ya Vorozhbit, directed by Andrew Kushnir. Based on astonishing testimonies from the outset of Russia’s invasion of Ukraine in 2014, BAD ROADS explores the heartbreaking effects of conflict on intimate relationships.

A new production of the 2016 award-winning ROCKING HORSE WINNER, composed by Gareth Williams with libretto by Anna Chatterton and directed by Michael Hidetoshi Mori, rides into the Guloien Theatre for eight performances only, a Tapestry Opera production in association with Crow’s Theatre. A modern adaptation of D. H. Lawrence’s masterful short story of the same title, ROCKING HORSE WINNER is a powerful one-act opera that combines magical realism and lyrical minimalism for an intimate, psychological look at love, luck, greed, and obsession.

Crow’s Theatre and The Musical Stage Company present the long-awaited Canadian premiere of the Broadway phenomenon NATASHA, PIERRE & THE GREAT COMET OF 1812 by Dave Malloy (Ghost Quartet). Originally scheduled for 2020 but delayed due to the pandemic, this Crow’s Theatre and The Musical Stage Company co-production at the Guloien Theatre will be directed by Chris Abraham, choreographed by Ray Hogg with musical direction by Ryan deSouza. This 12-time Tony-nominated musical (you can find frontmezzjunkies Broadway review here) delivers a radically contemporary and moving take on Tolstoy’s War and Peace with its audacious storytelling and groundbreaking score that mixes indie rock, pop, folk, electronic dance, and classic Broadway music. And frontmezzjunkies CAN NOT wait for this.

Details and pricing about the Immersive Comet Experience will be announced in June. Seating will be extremely limited.

Performed in English with select performances in Farsi, EARWORM, a Nowadays Theatre production in association with Crow’s Theatre, is written and directed by Mohammad Yaghoubi, co-founder of Nowadays Theatre. Yassmin, a long-time immigrant from Iran who fled persecution by the Islamic regime, must negotiate the reality that her son is in love with a conservative Muslim woman. When Yassmin’s past catches up to her in present-day Toronto, their future happiness is threatened.

The NOUS Théâtre production of L’AMOUR TELLE UNE CATHÉDRALE ENSEVELIEis a powerful and disturbing oratorio to Haitian families lost at sea on the road to exile in Canada. In this deeply personal story, the Haitian, avant-garde, theatrical auteur Guy Régis Jr. meshes Creole songs, traditional music, and voodoo magic in a Franco-Haitian opera-theatre-concert hybrid. This Théâtre français de Toronto in association with Crow’s Theatre presentation will be performed in French and Creole with English subtitles.

Crow’s Theatre presents the Goodman Theatre/Center Theatre Group/Vineyard Theatre production of the critically acclaimed and celebrated play DANA H., following a triumphant Broadway run and subsequent tour, led by director Les Waters with the original production’s creative team (you can find frontmezzjunkies Broadway review here). This riveting, cutting-edge drama follows the harrowing true story of Dana Higginbotham, a chaplain in a psychiatric ward, who was abducted by one of the patients and held captive for five months in a series of Florida motel rooms. Her son, acclaimed playwright Lucas Hnath (A Doll’s House, Part 2), has created a powerful drama for the stage with his mother’s own voice and courageous words.

Following up on her 2022 summer hit MASHUP PON DI ROAD, bahia watson thoughtfully blends razor-sharp humour with a piercing cultural critique in her intrepidly daring one-woman show shaniqua in abstraction. After starring in Crow’s Theatre’s Someone Else and The Seagull (co-produced with The Company Theatre) and, most recently, thrilling audiences with her unforgettable turn as Sonya in Chekhov’s Uncle Vanya, bahia returns in her Crow’s Theatre playwriting debut. shaniqua in abstraction is a Crow’s Theatre production in association with paul watson productions and Obsidian Theatre Company.

Cliff Cardinal returns to Crow’s Theatre for a special one-week presentation of his critically acclaimed, award-winning solo show HUFF. Named a Canadian Cultural Icon in 2022 (The Globe and Mail), Cliff Cardinal is known for his dark humour, compassionate poeticism, and lauded solo shows Stitch, Huff, Cliff Cardinal’s CBC Special, and As You Like It, A Radical Retelling by Cliff Cardinal, which continues to tour. Crow’s Theatre presents the Cunning Concepts & Creations production of HUFF.

The season concludes with a farce: the Toronto premiere of THE WRONG BASHIR written by Zahida Rahemtulla and directed by Paolo Santalucia. Bashir Ladha, a young philosophy major leaning towards nihilism, moves back home with his parents and is unwittingly chosen to serve in a prestigious religious position by leaders from the Ismaili community. When two council representatives arrive to meet their esteemed nominee, a hilarious mistaken-identity romp ensues that sees the intergenerational family questioning their traditional way of life.

Next season will take our audience on a journey across the globe and into stories that create a snapshot of our common humanity.

This season is a journey to the centre of empires—old, new, and just being born. It is a report from behind enemy lines, a diary of our secret joys, and an exposé of our public heartbreak. It is a ride in a bumpy jeep past a bombed-out cathedral; a ringside seat at a backyard battle for the soul of America; a mother’s voice on a tape recorder; a meeting with a group of strangers who have mysteriously lost everyone they’ve ever loved and have no idea why. It is a heated and hilarious debate about self-driving cars and the future of cities as we know them. It is a group of boys on the reserve making themselves laugh just hard enough to forget what they don’t want to remember. It is a passport to our own country. It is a wild party with music and old friends that reminds us of the unfathomable mystery of love and its capacity to wake us up to what’s in front of us—because there is a giant beautiful ball of fire hurtling towards us in the night sky that will probably destroy us all by morning.

Across an astonishing series of dramas, true-life stories, fantasies, comedies, two operas, and a musical, our 40th anniversary season is a testimonial to our incredible resilience and capacity to change and adapt even in the most extreme situations.

-Artistic Director Chris Abraham

For more information, tickets, and subscriptions, visit the Crow’s Theatre website: https://www.crowstheatre.com/whats-on

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

Entertainment

New Jersey Hall of Fame Entertainment & Learning Center Opens at American Dream

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Dedicated to encouraging people to find their heroes and achieve their best, the New Jersey Hall of Fame unveiled its Entertainment and Learning Center today at American Dream before a crowd of supporters, inductees, and elected officials, including Governor Phil Murphy and First Lady Tammy Murphy opened to the public on June 28th.

“We are incredibly excited that America’s first state-focused Entertainment and Learning Center will be right here in the Garden State,” said Governor Phil Murphy. “Located at American Dream, the space will embrace our rich history and celebrate the achievements of over 230 outstanding New Jerseyans. This Center will serve as a testament to our one-of-a-kind entertainment culture and supply knowledge and inspiration for generations to come.”

The 10,000-square-foot Entertainment and Learning Center, now the permanent home for New Jersey Hall of Fame inductees, boasts state-of-the-art exhibits. These include a simulated space ride called “Fly Me to the Moon,” where visitors can experience the thrill of space travel. For music enthusiasts, there’s a karaoke stage where they can sing alongside holograms of Tommy James, Gloria Gaynor, Wyclef Jean, Frankie Valli, and other musical legends. Also, for those interested in the arts, visitors can interview holograms of Tommy James, Danny DeVito, Jason Alexander, Connie Chung, Laurie Hernandez, and other notable Jersey greats in the “Late Night Jersey” Television Studio.

“Through education and entertainment, we are inspiring people to realize their dreams by becoming their best,” added Jon F. Hanson, Chairman of the New Jersey Hall of Fame. “So, there’s no better place to be than here at American Dream!”

“The State of New Jersey boasts a rich history full of iconic moments and legendary heroes, which will now be celebrated for the world to see at American Dream,” notes Don Ghermezian, CEO of American Dream. “We are excited to inspire our guests with leading entertainers, athletes, and influential individuals from the arts, education, science, and public service sectors at this one-of-a-kind Entertainment and Learning Center.”

Added President Steve Edwards, “The soul of the New Jersey Hall of Fame mission is based on the concept of Areté, Ancient Greek wisdom that means the act of actualizing one’s highest and best sense of self, with a moral excellence of character, and for the greater good. Our inductees have indeed realized their Areté, and are heroes who inspire others to do the same.”

The New Jersey Hall of Fame (NJHOF) honors citizens who have made invaluable contributions to society, the State of New Jersey, and the world beyond. Since 2008, the NJHOF has hosted 15 ceremonies for more than 230 notable individuals and groups in recognition of their induction into the Hall of Fame. The NJHOF endeavors to present school children with significant and impactful role models to show that they can, and should, strive for excellence. The NJHOF is thankful for the support of its many sponsors, including Hackensack Meridian Health, without which none of our endeavors would be possible.

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Family

Legal Insights – Exploring the Critical Aspects of Common Law Marriage!

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There is a common understanding that 50% of marriages fail, considering the divorce rate. However, the new statistics have something better to suggest. Canada witnessed a surge in divorce cases in 1968 after passing the Divorce Act. The latter phase of the 1980s pushed the divorce rate higher as the laws made it an easy option. However, the 1990s brought a new picture to everyone, reporting a decline in this area. It could be so because aging couples generally avoid this path compared to younger couples. But it doesn’t end there. The number of divorce cases has declined even among younger generations, per the reports. How is this happening? You can attribute this to the common-law marriage. About eight of ten young people aged 20 and 24 opted to live together without marrying.

Are you also planning to walk this path? Family lawyers Toronto strongly advises couples choosing to cohabit under a common-law relationship without tying the knot to get a cohabitation agreement done. This legal document guides both parties’ rights and duties if they split. It covers crucial aspects such as property division and spousal support. So, let’s delve into the nitty-gritty of common-law marriage for a better understanding and to help you feel more secure in your decision.

  • Overview of common-law marriage

When two people live together for at least three years, this signifies a permanent relationship. Even having a child means you are a common-law couple under the legal system. Nevertheless, it gets the legal status of common law only after the couple’s relationship lasts for three years. If you don’t meet this criterion, you are not a couple in the eyes of Canadian law. How does this relationship status differ from marriage? For clarity, consider the divorce process, tax filing, spousal support, property division, and other angles.

  • Common-law marriage vs. marriage

Under common-law marriage, each partner can file their tax independently, unlike married couples. While it’s a positive side, it deprives these couples from enjoying certain tax benefits accessed by married couples. Think of the Child Tax Credit, for instance. In the event of separation, married couples naturally enjoy equal rights over assets purchased during their married life. You must establish your right to get this protection under the common law. Likewise, you can expect spousal support after divorce only if you have made special legal provisions under the common law marriage. Otherwise, you may regret not consulting family lawyers in Toronto on time and not making the cohabitation agreement. It is also a glimpse that the divorce process for common-law couples can be complicated because of the absence of legal recognition. It makes safeguarding your interest challenging.

Nevertheless, common-law marriages among young couples are on the rise in Canada. This trend may also influence you to cohabit with your partner without a formal marriage. However, as you’ve seen, this kind of relationship also has some downsides. It’s more relevant for separating couples. If you want to make your relationship more sustainable or avoid the hassles during separation, get legal advice from an expert attorney in Toronto, Ontario. They can provide the best solutions, helping you feel more informed and prepared.

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Out of Town

Inside Bucks County Playhouse World Premiere Musical Last of the Red Hot Mamas

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From serving up jokes with a side of blintzes in a Hartford Jewish deli to performing for adoring crowds at Broadway’s Palace Theater in seven short years, the unexpected rise of Sophie Tucker to the rank of comic superstar is the subject of the new world premiere musical, Last of the Red Hot Mamas, making its debut at Bucks County Playhouse, June 28 through July 27. Last of the Red Hot Mamas will begin previews on Friday, June 28 with an official press opening on Thursday, July 11 at 7:30 pm.
T2C was there at the press meet and greet.
The Playhouse’s Producing Director Alexander Fraser, Executive Producer Robyn Goodman, and Producer Joshua Fiedler announced casting and details for this new musical, which features direction and choreography by Shea Sullivan, and a book by Susan Ecker, Harrison David Rivers and Lloyd Ecker.
Last of the Red Hot Mamas is the 11th world premiere production at the New Hope theater since it reopened in 2012 and is part of Playhouse’s commitment to developing new work.
“The big surprise for me was seeing how Sophie Tucker’s wild, racy and very funny take on life changed show business forever,” says Alexander Fraser, Producing Director. “Sophie Tucker made the world accept her for who she was . . . a full-figured Jewish girl with a voice as loud as a steam whistle. We’re proud to help shed light how she paved the way for all those to follow who felt like they didn’t fit in.”
In 1973, while they were students at Ithaca College, Susan Denner (now Ecker) and Lloyd Ecker went on a first date to a Bette Midler concert. The couple quickly fell in love—with both each other and the “Divine Miss M.” Midler’s hilarious ‘Soph’ jokes piqued their curiosity about their origin — the pioneering vaudeville performer Sophie Tucker — leading the duo to publish a fictional memoir, “I Am Sophie Tucker,” and create a well-regarded documentary, “The Outrageous Sophie Tucker.”  A big new musical is the next step in the Eckers’ 50-plus year fascination with the saucy, sassy comedienne — Sophie Tucker. To bring their dream to life, they joined forces with Sullivan, and award-winning playwright, Harrison David Rivers.
“Picture a groundbreaking, occasionally arrested for sexual innuendo, jazz-singing, 25-year-old very plump ‘Taylor Swift’ of 1913. Sophie Tucker was on the front pages every day, with men craving her and women copying her hair and fashion styles. We’re confident our must-see world premiere musical is going to make Tucker an international icon… again,” says Lloyd Ecker.
“We’re equally sure the innovative and exciting Bucks County Playhouse is about to become the place to be this July,” added Susan Ecker.
Before Mae West, Bette Midler or Queen Latifah, there was Sophie Tucker. With the help of two former Harlem headliners, Tucker rose from the deli counter to become a full-fledged star in her own right. Tucker was known for performing songs, including “After You’re Gone”, “There’ll Be Some Changes Made” and “Some of These Days.” The musical will feature these songs, along with other classics of their time — delivered with lots of tap dancing, and a big dose of Sophie’s groundbreaking, sassy humor.
Ryann Redmond (Broadway’s first female Olaf in Disney’s Frozen and most recently Once Upon a One More Time) will perform the role of Sophie Tucker alongside Rheaume Crenshaw (Broadway’s Shucked, Groundhog Day, Caroline or Change) as Mollie Elkins, DeWitt Fleming Jr. (Tour of A Wonderful World, and Encore’s The Tap Dance Kid) as Bojangles Robinson and Stephanie Gibson (BCP’s The Rocky Horror Show and National Pastime and Broadway’s Charlie and the Chocolate Factory) as Nora Bayes.
The cast also includes Willie Clyde Beaton II (Walnut Street’s Beautiful: The Carole King Musical), Lincoln Belford (National Tour of Chicago), Natalie Bellamy (Playhouse debut), Kelly Bolick (Public Theater’s Southern Comfort), Jonathan Hadley (Broadway’s Jersey Boys), Jenny Kay Hoffman (National Tour: Rudolph the Red-Nosed Reindeer), Hannah Hubbard (Fulton Theater’s Something Rotten), Daniel Lopez (Into the Woods at the Hollywood Bowl), Bobby MacDonnell (currently in Boy Band Evolution), Michael Persson (National Tour: 42nd Street), Danny Rutigliano (Broadway’s I Need That and Beetlejuice) and Rachel Stern (Broadway’s Girl from North Country and Shrek).
The creative team for the production consists of Nate Bertone (Scenic Design), Jeanette Christensen (Costume Design), J. Jared Janas (Hair, Wig and Makeup Design), Kirk Bookman (Lighting Design), and Jeff Sherwood (Sound Design). Merrick A.B. Williams is production stage manager. Musical arrangements by Sam Davis with orchestrations and additional arrangements by Greg Jarrett. Casting is by Paul Hardt.
Last of the Red Hot Mamas will begin previews on Friday, June 28 with an official press opening on Thursday, July 11 at 7:30 pm. Starting with the 2024 season, the show times have changed – with performances beginning 30 minutes earlier than in 2023. All evening performances now all begin at 7:30 pm, with all matinees now performed at 1:30 pm. Last of the Red Hot Mamas will play Tuesday, Thursday, Friday and Saturday evenings at 7:30 pm with matinees on Wednesday, Thursday, Saturday and Sunday at 1:30 pm. Tickets start at $39. Special discounts are available for groups of 10 or more. Patrons are invited to a special “Pay-What-You-Can Preview Performance” on Friday, June 28 at 7:30 pm. Suggested minimum is $10. Student rush tickets are also available at all performances, based on availability.
For full details, and to purchase tickets, please visit buckscountyplayhouse.org, call 215-862-2121, or visit the box office at 70 South Main Street, New Hope, PA.
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Events

Hamptons Fashion Week Keeps Getting Hauter So Save The Date

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Hamptons Fashion Week®, is the premier fashion event in the Hamptons! On July 26th-27th, 2024, join us at the luxurious Summer Series and an unforgettable experience. With over multiple designer shows, runways, luxury brands and exhibitor spaces during Hamptons Super Saturday®, Hamptons Swim Week® with a range of exciting activations, this is the must-attend event of the year.

At Hamptons Fashion Week®, leading fashion designers, entertainment, and productions are all under one roof, creating a truly immersive and transformative experience. You’ll have the opportunity to rub shoulders with industry professionals, fashion designers, models, and more, all while experiencing the latest trends in fashion.

From panel discussions and product demonstrations to social events such as industry mixers, after parties, lifestyle events and more! Guests will have access to exclusive, on-site hospitality, unmatched insider extras, and more, making this a truly coveted invitation.

Reserve your access now to receive one of fashion’s most coveted invites and be a part of the best touring fashion hampton experience of the year. Don’t miss out on this opportunity to be a part of the transformation of the fashion industry. Join us at Hamptons Swim Week® presented by Hamptons Fashion Week® Summer Series and Experience 2024!

Hamptons Fashion Week announced that it will feature Alice & Olivia and Michelle Farmer as their award recipients at Hampton’s Fashion Week Retail Of The Year Award Show on July 26th VIP Reception. Event coverage will be brought to you by E! News!, Bella Magazine, Dans Paper, Hamptons.com, Vogue  and other major influencers! There will also be a swim Week Runway Showcase by Johnny Was

 
This year, Celebrity, Hollywood Stylist & Designer Phillip Bloch will be receiving the Style Icon of The Year Award , July 27th during the program and show 6pm-10pm
 
Shop our latest brands at theHamptons Fashion Week Online Marketplace!
 
You need tickets so click here. Security will be super tight for this event. So if you don’t have a ticket there is no entrance.

VIP Tickets $500 include:

Swag Bag-Valued at $500{One Per Person]

Seating

Access to ALL 3 Events!

July 26th, 6=10pm, Vip Launch Party-Drinks , Bites & Entertainment. The cocktail reception is from 6pm to 8:30pm 

July 27th, Drinks, Bites , Entertainment plus Hamptons Fashion Week Fashion Show Debut in Westhampton. The cocktail reception is from 6pm to 8:30p and After Party.Double check on the List below

VIP Restaurant Sponsors:

Justin Chop Shop

Rouge Kitchens

The Cottage On The Hamlet

Sobol

Centro

Mill Road Seafood

Fruit King

North Fork Chocolate Company

Honest Plate Chef Nicolas

Mary’s Pizza And Pasta

Tonino’s Pizza

Buoy One

Jerri’s Cakery & Confections

Daphne’s Westhampton Beach

Insatiable Eats

Vern Restaurant And Bar

VIP Spirit Sponsors

William Grant And Sons

Votto Vines Importing

Hamptons Wine Shoppe

Handlebar

British Ginger T

Monkey In Pardise

Elbuhl Mezcal

Twin Stills Moonshine

Blue Nextar

Penelope Bourbon

Westhampton Beach Brewing

Twin Stills Moonshine

Fort Hamilton Distillery

Kleos Mastiha Spirits

Beau Joie Rose Champange

Cantera Negra Tequila

Bay Gin

Twisted Cow Distillery

Series 19 Wheat Vodka

Series 19 Rye Vodka

Series 19 Jalapeno Vodka

Dune Drifter Agave Spirit

Spy Ring Rum Raisin

Drinksouthside

 

 

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Out of Town

Standing at the Sky’s Edge in the West End Soars Three Times Higher Than Expected

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As the dawn breaks” over the houses, a songbird’s tender melody flies this new musical forward over the three mornings, decades apart. As three households are revealed, dated and notated above as 1960, 1989, and 2015, we are welcomed most harmoniously to the brutalist iconic housing development in Sheffield, and the emotionally clever and connecting musical, Standing at the Sky’s Edge. Sitting forcibly on top of the world, with a forever fussy neon sign giving us a glimpse into some form of engagement ahead, the musical, as written by the wonderfully talented Richard Hawley (“Soldier On“), digs into the personal ramifications of the nation’s political upheavals that bubble up into the lives of these families from the 1960s through Thatcherism, immigration, Brexit, and beyond. With a strongly layered book by Chris Bush (The Changing Room), Sky’s Edge unearths deeply felt, intertwined connections in the three families of three generations over six decades. The opening feels almost Shakespearian, with subtle flavors that remind us of that opening monologue from Romeo & Juliet (a show we were seeing hours after this show), with these somewhat stereotypical family dynamics moving steadily forward in life and love. Planted inside this boxy structure of many layers, these characters find greater depth with each passing emotional moment as they move forward through a classic gentrification dynamic all within one concrete iconic housing estate.

Laura Pitt-Pulford as Poppy, Elizabeth Ayodele as Joy. and Rachael Wooding as Rose in Standing at the Sky’s Edge in the West End. Photo Credit: Brinkhoff Moegenburg

All adventures are scary,” we are told pretty straight up in this fascinating creation, and we lean into the melodic unveiling before us. The three stories of differing social situations are riveting, engaging us in ways that resemble more of a play with fantastic deliverable songs sung in a more performative fashion rather than sung from within the storytelling. Delivered like rockstars standing at their microphone stand (sometimes), and arranged and orchestrated by Tom Deering (Almeida’s Tammy Faye) with musical direction by associate music supervisor Alex Beetschen (RADA’s Spring Awakening), this midnight train is a clever layering filled with many little treasures that add energy and emotional clarity to the piece. As the characters open up their doors to us, they keep deepening their directive, revealing their dilemmas and dynamics with sharp contrast and emotional compassion.


Elizabeth Ayodele as Joy and Samuel Jordan as Jimmy in Standing at the Sky’s Edge in the West End. Photo Credit: Brinkhoff Moegenburg.

The cast is completely fantastic across the board, giving us chills in their unity of action, striking forward the distress and pain of the world they live in while struggling to hold on to the few crumbs of gratitude and humble acceptance. They find harmony in their collective, drawing us in, even as they stand together in a more choral arrangement. The leads are particularly good, with Samuel Jordan (“Sex Education“) in the pivotal role of Jimmy giving us an anchor to hold onto, with his counterpoint, Elizabeth Ayodele (NT’s Small Island) as Joy, the one who catches his eye (or is it the other way around). The circumstances that plant her here are complicated and emotionally stirring, delivered well by the family of actors that surround her, including Sharlene Hector (Barbican’s Strange Loop) as her Aunt Grace and Baker Mukasa (RSC’s The Winter’s Tale) as cousin George. Also tugging hard on our heartstrings are the young married couple who move into the flat with the view in the 1960s, played strongly by Rachael Wooding (Dominion’s We Will Rock You) as Rose and Joel Harper-Jackson (West End’s Cock) as Harry. Their heartbreaking unraveling is the key to the Sky’s Edge puzzle that slowly comes together with grace and dignity. But they are just part of the formulations.The whole is what makes this musical sing and stride forward so effectively.

The most modern entry into that flat is the compelling story of Poppy, played strong and true by Laura Pitt-Pulford (NT’s The Light Princess), and the complexities that surround Nikki, played engagingly well by Lauryn Redding (Vaudeville’s The Worst Witch). Redding delivers the song, “Open Up Your Door” with a force that knocks us off-center, mainly because we see it one way, until we are thrown a curve ball to look at it in a different framing of light. Poppy’s story is the looser connective tissue, keeping itself one knot removed, unlike the other two tales. But it somehow stays tied in, even if the grief and the sense of loss are played out in reverse. They still register, and give us a new doorway to walk through.

Lauryn Redding as Nikki, Laura Pitt-Pulford as Poppy, and the cast of Standing at the Sky’s Edge in the West End. Photo Credit: Brinkhoff Moegenburg

Tonight, the streets are hot,” and the show unpacks a wealth of interactive complications and connections in a series of tender boxes that have been dutifully crafted to keep the tumultuous rain out, laid out with style by set and costume designer Ben Stones (Leeds’ Hedwig and the Angry Inch), with sharply tuned in lighting by Mark Henderson (Chichester’s Flowers for Mrs. Harris) and a strong sound design by Bobby Aitken (West End’s Ghost). As directed with care and focus by Robert Hastie (Sheffield/Donamr’s She Loves Me), the framing embraces our curiosity continuously, and engages our attention throughout, leading us through fireworks, love, despair, and grief that touch our collective heart and soul in abundance.

This magnificently moving three-layered story, with stunningly searing songs and sharply tuned-in choreography by Lynne Page (Broadway’s American Psycho) is billed as a musical, but carries the heavy weight of a play that is unpacking modern Britain and its politics. Delivered and unpacked through the stories of the landmark Park Hill estate. this view from the sky’s edge is a powerfully performed and sung exploration of the connective tissues of community and family, and what it means to take shelter in a brutialist box that will keep out the rain.

Rachael Wooding as Rose and Joel Harper-Jackson as Harry in Standing at the Sky’s Edge in the West End. Photo Credit: Brinkhoff Moegenburg.

The musical engages, pulling us gently into a dramatic tension that surprises and enlightens. Standing at the Sky’s Edge gives us a stunning view to take in, three times stronger than anything I could have imagined, and one that we won’t easily forget. Winner of the 2023 Olivier Award for Best New Musical, UK Theatre Award for Best Musical Production, and the South Bank Sky Arts Award, Standing at the Sky’s Edge soars to the highest of heights and holds us tight. Now playing until August 3rd at the Gillian Lynne Theatre, London.

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