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Paper Mill Playhouse (Mark S. Hoebee-Producing Artistic Director), recipient of the Regional Theatre Tony Award in 2016, will open its 2018-2019 season with the hit musical, The Color Purple (September 26-October 21), the unforgettable and moving Tony Award-winning musical based on the Pulitzer Prize–winning novel and Academy Award–nominated film features a soul-raising, Grammy-winning score infused with jazz, gospel, ragtime, and blues. The Color Purple, with a book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray, is a stirring family chronicle about the power of love and life. Next, a family musical just in time for the season, Irving Berlin’s Holiday Inn (November 21-December 30), comes to Paper Mill Playhouse, based on the beloved Bing Crosby/Fred Astaire film. This heartwarming, toe-tapping production features more than 20 classic songs from the Berlin catalog, including “Easter Parade,” “Cheek to Cheek,” “Steppin’ Out with My Baby,” and “White Christmas.” Next winter, Paper Mill Playhouse presents the world-premiere musical My Very Own British Invasion (January 31-March 3), directed and choreographed by Jerry Mitchell. The 1960s British music scene comes to life with songs from Herman’s Hermits, The Beatles, The Rolling Stones, Petula Clark, The Moody Blues, and other legendary bands of the era. The spring brings the East Coast premiere of Benny & Joon (April 4-May 5). Based on the 1993 film which starred Johnny Depp and Mary Stuart Masterson, this new musical is a smart, funny, tender-hearted celebration of love: between children and parents; romantic partners; friends; and, most of all, siblings. The final production of the season, Disney’s Beauty and the Beast (May 29-June 30), an international sensation that has played to more than 35 million people in 13 countries. Based on the Academy Award-winning animated feature, the stage production includes all of the original songs from the movie by Alan Menken and Howard Ashman, plus additional gems by Menken and Tim Rice.

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email: suzanna@t2conline.com

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.

For more go to frontmezzjunkies.com
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Events

Billy Joel and Roger Sichel Quiet Brunch Turned Newsworthy Thanks to Justin Timberlake

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The night before Justin Timberlake was busy drinking and talking with his friends. Timberlake was stopped by police just after midnight on Tuesday. Billy Joel and artist Roger Sichel the next morning were having brunch at their usual hang out at the American Hotel, next to each other. Joel and Sichel were bombarded by photographs due to the late breaking news. What was scheduled to be a  quite afternoon turned out to be what has taken over the news.


Timberlake who is in the middle of a world tour that includes upcoming Madison Square Garden told the officers he had just “one martini.” According to sources he was inhibited on them and refused to take the sobriety test.

Billy Joel is busy working and lives within walking distance of the hotel.

Sichel just finished an art show in Beverly Hills and will be opening in Sag Harbor Kramois’s art gallery two doors down from the American Hotel next week.

Seems that the American Hotel is the place to hang this summer, well it always was.

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Out of Town

Jamie Lloyd’s “Romeo & Juliet” in the West End Finds Unparalleled Amplification in its Microphoned Words and Limited Movements

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Behind a large industrial gate, Verona stands hard and dominant in the stark white light. It’s 1597, as projected, but the energy is utterly contemporary and fascinatingly modern. Designed to shock and startle from the get-go, this Romeo, as directed with a sharp focus by Jamie Lloyd (Broadway/West End’s Betrayal), strides in through the backstage hallways in dynamic fashion, destined to illicit a guttural response. “See where he comes,” we are told, and as movie star Tom Holland (West End’s  Billy Elliot the Musical) makes his way confidently forward, we must come to amplified terms with Lloyd’s very distinct version of this famed tale, one that will either excite or disappoint, but it will never be a bore.

Maybe because I came into West End’s Duke of York’s Theatre just days after seeing a more traditional (and somewhat lackluster) Romeo and Juliet at the Stratford Festival in Canada, I was game for some changing of the rules, and inside the editing of the iconic text, fascinatingly created in layers by Nima Taleghani (“Heartstopper“), this radical reappraisal by the Jamie Lloyd Company unpacks more emotional layers while barely moving a muscle than many a traditional staging does. Delivered with clarity and an extreme understanding of what’s at stake in the storyline, it simmers with taunt muscular sexuality, anchored in their tight formulations and delivery, and held together by the star-powered force that is Holland and company.

Francesca Amewudah-Rivers and Tom Holland, starring in Romeo & Juliet, a Jamie Lloyd Company production at West End’s Duke of York’s Theatre. Photo by Marc Brenner.

More importantly, Francesca Amewudah-Rivers (“Bad Education“), as his ill-fated Juliet, unmasks layers of unapologetic strength and passion giving the delivery and the play’s text its captifying edge. She is a hopeless romantic, but more of a determined woman than a cowering child. The power dynamics are reframed and realigned with this more stripped-away staging, giving Amewudah-Rivers’ Juliet more room to engage with that overpowering chemistry that exists between her and Holland’s Romeo, even when she almost ridicules the young man when he attempts to swear by the moon. That isn’t going to fly with this engaging creation.

This Juliet is a powerfully profound unpacking, supported most brilliantly by Freema Agyeman (Trafalgar Studieo’s Apologia) as her confidently embodied confidant; the multilayered Nurse. Her in-tune performance adds weight, connection, and energy, humorously stroking Holland’s impressive biceps, while proclaiming Juliet “will be a joyful woman.” But she also masterfully delivers despair and angst, possibly because the sharp edit has cut down the external paternal voices to only one per household. Juliet’s mother is nonexistent, giving all matters to her father, Capulet, masterfully maneuvered by Tomiwa Edun (NT’s Macbeth). This sliced-down rendering elevates the positioning that the maternal Nurse must take. The actor must balance both the emotional engagement and the hierarchy at play within the household. The mother-subtraction ultimately adds a jolt of energy into the whole, especially the pivotal scene between Juliet, her father, and the maternal Nurse, when the marriage to Paris, played engagingly by fresh-faced newcomer, Daniel Quinn-Toye, making his professional debut, is being forced upon the young already married daughter. It’s a captivating unraveling that lives and breathes inside a construct that completely makes sense.

The same is true for Romeo’s parental force. His mother, already barely a presence in the text of the play, especially at the end, has been given full command and sole ownership of the Montague household. Played well and true by Mia Jerome (Punchdruck’s Lost Leading Library), she delivers the required emotional force but leaves a special space for the paternal Friar, normally portrayed by Michael Balogun (Gillian Lynne’s The Lehman Trilogy), but was delivered with intensity by Phillip Olagoke (Old Vic’s A Number), to step in and engage with Romeo as if he is the son he never had. It’s a spectacularly astute repackaging that really shows its full worth when two scenes of the young married lovers’ angst are played on top of each other with the four: Nurse, Romeo, Juliet, and the Friar, lined up intersecting their lines straight into microphones on the stand.

Tom Holland (center) and cast in Romeo & Juliet, a Jamie Lloyd Company production at West End’s Duke of York’s Theatre. Photo by Marc Brenner.

When I tried to explain this to someone, their reaction was, with all those microphones and cameras on stage, projecting images that overlay one another, that it must feel stalled and somewhat boring. But in many ways, Lloyd’s creative engagement in stillness and striped-away engagement elevates the dynamic, creating a telling of this tale that is sexy, intense, and completely haunting. It’s filled with suspense and understanding, played true and confident by a cast that is completely engaged with the text. The electricity lives and breaths within these assured performances, and I was enraptured from beginning to end.

The editing pen also solidly pulls out all the excess in the play’s denouement, leaving the two to deliver their hopelessness without a soul in sight to get in the way and muddy the water. Played out on that bare cavernous stage, crafted with intent by set and costume designer Soutra Gilmour (West End/Broadway’s A Doll’s House), with meticulous lighting by Jon Clark (West End/Broadway’s The Lehman Trilogy), a solid sound design by Ben & Max Ringham (West End’s An Enemy of the People), composition by Michael ‘Mikey J’ Asante (NT/The Shed’s The Effect), and assisted by the tender and captivating video design and cinematography by Nathan Amzi & Joe Ransom (Savoy’s Sunset Boulevard), this unpacking is as dark and engaging as one could possibly hope for. There is no Paris to do battle with, and the Friar doesn’t run in and out attempting to, and failing, to save the two from their breaking hearts. It’s just the two broken souls, overcome with grief, unable to move forward without their other.

Casting stares into the audience, the two leads deliver the goods in spectacular fashion, given that violence and hate are hovering behind them in the smokey darkness. The force is as exacting as the expert mashing and cutting of truth, side by side. There is more authentic emotion than many other pairings (and foursomes) that I have seen over the years, giving this tragic love story the undeniable edge and intensity that electrifies Shakespeare’s Romeo & Juliet. Even when it flies sometimes a bit too far from the stage, Lloyd’s distinctive directorial style lands hard and true.

Francesca Amewudah-Rivers, Tom Holland (center), and the cast of Romeo & Juliet, a Jamie Lloyd Company production at West End’s Duke of York’s Theatre. Photo by Marc Brenner.

For more go to frontmezzjunkies.com

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