Rehearsals underway for community theatre show in Oxfordshire town
Amegos Theatre will be performing Kiss Me Kate at the King Alfred's Academy Theatre in Wantage from April 10-12.
Cole Porter's legendary musical comedy has backstage shenanigans, Shakespearean sonnets and singing gangsters – not to mention a romance that's just too darn hot – and a full-scale orchestra performing the show tune classics Brush Up Your Shakespeare, Too Darn Hot, Always True To You (In my Fashion) and Tom, Dick or Harry.
READ MORE: Empty Oxford city centre shop transformed by artist
(Image: Contributed) A simple love story about two people who just can't stand each other, Kiss Me Kate is unmissable entertainment with 'great songs, hot dancing, smart gags and glorious characters'.
There will be four shows from April 10-12 at 7.30pm nightly, with a Saturday matinee at 2.30pm. The bar will be open from 6.45pm.
Parking will be available at the Portway car park and for tickets visit AmEgosTheatre.com.
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Travel + Leisure
11 hours ago
- Travel + Leisure
New York City's Most Anticipated Hotel Just Reopened—and We Were Among the First to Stay
After an eight-year closure, Waldorf Astoria New York recently reopened in Midtown Manhattan between 49th and 50th streets and Park and Lexington avenues. The room count shrank from 1,400 to 375, making each room significantly bigger. The hotel's updated restaurants include Japanese-inspired Yoshoku and Lex Yard by Gramercy Tavern's chef Michael Anthony. Waldorf Astoria is steeped in New York history—the original property was built by the Astors in the late 1800s—but the new design feels cohesive and fresh, while preserving the iconic Art Deco motif. The contents of one Manhattan city block could fuel an entire neighborhood. A small stretch between two numbered streets can house world-class museums, street vendors vying for space, and office skyscrapers abutting long-standing bodegas. All of it—inhabitants, included—add up to something greater than the sum of its parts. The Waldorf Astoria New York occupies a full block, which made the closure, spanning more than 3,000 days, two presidential elections, and one global pandemic, all the more noticeable. Now, Midtown's 1.6 million-square-foot statement piece, a 47-story limestone monolith straddling 49th and 50th streets from Park to Lexington avenues, is back with a $2 billion polish. Cole Porter's piano and the Goldsmiths clock on display in Peacock Alley. The hotel has long been synonymous with America's ambition and obsession with celebrity—a reputation that was nurtured by Conrad Hilton, who secured management and partial ownership in 1949. In 1956, Grace Kelly and Prince Rainier III of Monaco celebrated their engagement party in the Grand Ballroom; 30 years later, the first Rock and Roll Hall of Fame induction took place in the same space. Cole Porter was in residence for three decades, and was so besotted, he gifted his Steinway & Sons piano to the hotel upon his death in 1964. I've lived in Midtown for about as long as Mr. Porter did, in an Art Deco apartment complex that debuted the same month and year as the Waldorf Astoria. For me, the hotel always felt familiar—like coming home. It offered that same comfort to out-of-towners stopping in for brunch or friends meeting for after-work martinis: drinks, with a side of history. By 2017, it was ready for an overhaul. The rooms felt tired and the public spaces were mismatched—the result of disjointed renovations that pushed the hotel out of alignment. Financial backers from China (first Anbang Insurance Group, now Dajia Insurance Group) and management under Hilton promised a return to brighter days. Under architecture firm Skidmore, Owings, and Merrell and designer Pierre-Yves Rochon, the hotel feels cohesive again. The room count shrank from an untenable 1,400 to a manageable 375 (with an additional 372 plush residences by designer Jean-Louis Deniot). The landmarked part of the hotel, including the iconic Grand Ballroom, sparkles anew in green, burgundy, and moldings plated in Waldorf Bronze, a signature blend of bronze and nickel. And old stalwarts like the restaurant Bull & Bear made way for new menus from bartender Jeff Bell of PDT and chef Michael Anthony of Gramercy Tavern—names that feel less 1955, more 2025. Like any New Yorker, the Waldorf Astoria has a penchant for reinvention. The original hotel–distinct but connecting structures built in 1893 by the Astor family, including John Jacob Astor IV, who died on the Titanic —was a Gilded Age treasure. Occupying Fifth Avenue between 33rd and 34th Street, its Peacock Alley passageway was where society went to flash their jewels and satins: the original red carpet. In 1929, the original came down to make way for the Empire State Building. The new had to be just as bold, and so Schultze & Weaver Architects hired the best American tradesmen, all from New York, to puzzle the pieces together. 'The team did everything in one year,' Victor Wilson, the hotel's director of guest experience, told me as we walked through the Park Avenue lobby. 'It was the height of the Depression, and everyone wanted to work.' The hotel's Park Avenue lobby. Wilson and I flipped through a 1931 copy of Architecture magazine published by Charles Scribner's Sons while standing in the center of the hotel, which has nearly doubled in size with a 'Library Lounge' as a reception area. Here, porcelain urns, sketches, and books line recessed shelves, creating a residential, unstuffy atmosphere. Nearby, Peacock Alley Lounge—the beating heart of the hotel–now feels more like a salon, with musicians playing nightly and guests craning for a closer look at the intricate ceiling. The walls, paneled in ebony and Oregon maple, and the giant black marble pillars veined with streaks of gold, are brilliantly preserved from long before the renovation. The bar itself is brand-new, backed by a dramatic floral mural. It's all sexier, with elements like dramatic blue banquettes and black-lacquered tables, and a woodsy signature scent (301 Park Avenue, by Fueguia 1933) perfuming the air. Icelandic artist Nina Saemundsson's 'Spirit of Achievement' statue still glistens, as does Louis Rigal's 148,000-piece marble-floor mosaic, titled 'The Wheel of Life,' and the lobby's showstopping, eight-sided Goldsmiths clock, commissioned for the 1893 Chicago World's Fair by Queen Victoria. Sipping a tequila-based, 'Bullfighter' cocktail in Peacock Alley, I couldn't help but notice 20-somethings clad in head-to-toe black—no smiles!—snapping selfies in front of the Queen's clock. My 10-year-old son, who had last visited the hotel as a toddler, made a beeline for Porter's piano, named 'High Society.' It now holds court in the lobby, inviting everyone to tickle the ivories, gently . There's plenty of old—and new—to love about the reborn Waldorf Astoria New York, and here is what it is like to stay. New York City hotel rooms tend to be short on space—not so at the Waldorf Astoria. By taking down the overall count, the guest accommodations now start at a generous 570 square feet. Comfort is key: our Frette-decked bed felt light as air, and thanks to newly reinforced windows, we never heard the constant hum of Park Avenue traffic. There are 11 categories to choose from, and 190 rooms provide connectivity–a boon for multigenerational travelers. With its tight security and proximity to Grand Central, the hotel has also been a mainstay for celebrities, politicians, visiting dignitaries—and they will no doubt be staying in the Waldorf Astoria Suite, which is a whopping 5,000 square-feet. Though the hotel was still in the pre-opening phase, my family and I holed up in a one-bedroom suite. It had ample closet space for the three of us; a full-length mirror (thank you!); a black lacquer minibar, anchored by a book detailing the hotel's legacy cocktails; and a grey marble bathroom, complete with a deep soaking tub, separate shower, and Aesop amenities. The overall palette? Silver, bronze, black, and beige: a nod to the Art Deco era, which I also found in small touches like the striated gold handle on a sliding door, or the opaque glass wall sconces, emblazoned with flowers and set off by brass. Our fireplace grill was inspired by the original Starlight Roof Ballroom, where Ella Fitzgerald, Count Basie, and Louis Armstrong once played. For those who want more privacy, there is now a discreet entrance via a porte-cochère on 49th street. But entering via the Park Avenue lobby, with its walls and pilasters of Rockwood stone, still feels like a moment. The Rigal mosaic–once shockingly covered by carpet, Wilson admitted—is a work of art, the hand-cut marble tiles displaying a Greco-Roman-inspired montage of men, women, and all the Earth's bounties. One unique design flourish has nothing to do with the bones of the building–but rather the uniform of the staff. British couture designer Nicholas Oakwell, and his company, NO Uniform by Nicholas Oakwell, fashioned everything from sequin dresses to peacock-blue velvet blazers and sharply tailored winter coats. The uniforms are seasonal, smart, and fresh. 'Our vision was to design a curated wardrobe that was not the typical, institutional uniform, but something high-quality and fashion-forward—and our guests have been taking notice,' said Luigi Romaniello, the hotel's managing director. Lex Yard, the AvroKO-designed brasserie at the Waldorf Astoria New York. Have you ever tried a Waldorf salad? Have you ever tried a Waldorf salad you liked? The original recipe–a combination of celery, apples, and mayonnaise—was invented in 1893 by the legendary maitre'd Oscar Tschirky, at the 34th Street property. Over the years, and at various restaurants, it has morphed into something that didn't suit many tastebuds (including my own). But chef Michael Anthony, the executive chef of Gramercy Tavern, has delivered an impossibly fresh take at Lex Yard, his AvroKO-designed brasserie off Lexington Avenue. (The restaurant encompasses two floors, with the downstairs, pink-hued space feeling a little sleeker.) Anthony tosses gem lettuce, celery, apples, grapes, and candied walnuts into a light lemon dressing–and then adds the finest slivers of grated cheddar cheese for a garnish. Starter, main course, dessert–I'd eat it at any point during the meal and during the day. Other standouts from his menu of new American classics? The loaded lobster roll, topped with caviar; any of the pastas (an Anthony signature); the delicately salted rib eye with broccolini, tomatoes, and peppers; and the beef fat fries, with charred onion soup cream sauce. Those same fries made for a great bar snack at the Peacock Alley Lounge, where mixologist Jeff Bell, a James Beard Award winner, crafts a selection of martinis, old fashioneds, and throwbacks like his take on the Waldorf's original Commodore #2: Knob Creek bourbon, lemon, pomegranate, and Tempus Fuguit creme de cacao. For something lighter, there's sake and supremely good sushi at Yoshoku, an elegant but rather low-key collection of tables functioning as a Japanese restaurant in the Park Avenue lobby. With its soaring ceilings and that Rigal mural, just over the shoulder, the setting might feel formal, but the menu is conducive to sharing. The three of us ordered tuna, salmon, and yellowtail sashimi, halibut meunière , Wagyu striploin, and tender grilled chicken with garlic miso tare, eggplant, and Tokyo turnip—and dove right in. A 10th-floor terrace, the hotel's first outdoor dining space, will soon be open to guests. The Basildon Room. The Waldorf Astoria's dramatic, Instagram-worthy spaces—not seen in years—are poised to host some of New York City's most coveted events. With its immaculate box seats and stage to rival any Broadway theater, the Grand Ballroom is the city's only three-tiered ballroom, accommodating an astounding 1,550 guests. It is also a landmarked space: a chandelier, not original to 1931, was even removed during the restoration. Other historical spaces of note: the Basildon Room, with frescoes of Dante's Divine Comedy by 18th-century child prodigy and Swiss painter Angelica Kauffman, imported over from an English estate in financial distress. Painted a delicate shade of green, with Rigal-esque panels displaying dancing figures, the Jade Room is an homage to the former Bradley Martin ballroom on 34th Street: 'At some point, they changed the name to Jade Room–and it was the most popular room in Manhattan,' Wilson explained of the original. My favorite space of them all is the Silver Corridor, a Versailles-inspired, glass-walled fantasy with 16 ceiling murals by Edward Emmerson Simmons. They depict mythological figures, in various states of undress and repose, and represent the four seasons and 12 months of the year. But which month or season has been lost to time, explained Wilson, as he pointed out the elevators, built extra-wide to accommodate ballgowns from a bygone era. It didn't matter. When you're staring at those shiny exquisite floors and walls, and the gods and goddesses from on high, it's easy to invent a New York story all on your own. The Waldorf Astoria New York has 32 ADA guest rooms, with nine ADA lifts accessing the public spaces. Located in the heart of midtown Manhattan, the Waldorf Astoria New York is a short stroll or taxi ride away from other architectural highlights including Rockefeller Center, St. Patrick's Cathedral, and The Pool and The Grill, in the landmark Seagram Building. Green spaces such as Central Park; museums including MoMA; and grand department stores, such as Saks Fifth Avenue, are all part of the midtown fabric. For subway and train transportation, Grand Central Station is within walking distance. As a Hilton luxury brand, Waldorf Astoria New York is bookable with Hilton Honors points. It is also part of American Express Fine Hotels + Resorts, which means Platinum card holders booking on Amex Travel get a $100 property credit and complimentary daily breakfast for two. Nightly rates at Waldorf Astoria New York are from $1,500. Every T+L hotel review is written by an editor or reporter who has stayed at the property, and each hotel selected aligns with our core values.
Yahoo
3 days ago
- Yahoo
Stage Notes in shipshape for 'Anything Goes' this weekend
Jul. 22—WATERTOWN — When the classical musical comedy "Anything Goes" was updated for contemporary sensibilities three years ago, Stage Notes founder Ticia K. Aumell, and her husband and co-director Kyle Aumell, knew they had to launch it one day. "We knew it was just a matter of time before Stage Notes would add it to our list of productions," Ticia said. "We have the largest group of students we have ever had, so a big musical with lots of roles and an ensemble fits us this year." Stage Notes will present "Anything Goes" Thursday, Friday and Saturday at the Dulles State Office Building auditorium. "Anything Goes" premiered on Broadway on Nov. 21, 1934, at the Alvin Theatre, where it ran for 420 performances, becoming the fourth longest-running musical of the 1930s. The music and lyrics are by Cole Porter. The original book was by P.G. Wodehouse, Guy Bolton, Howard Lindsay & Russel Crouse. The book was revised by Timothy Crouse and John Weidman. "Anything Goes" is a musical set aboard the ocean liner S.S. American, where nightclub singer Reno Sweeney is traveling from New York to England. Her friend Billy Crocker stows away to be near his love, Hope Harcourt, who is engaged to the wealthy Lord Evelyn Oakleigh. The story unfolds with a series of romantic escapades, misunderstandings and comedic antics among the eccentric passengers, culminating in a lively and entertaining journey filled with Cole Porter's classic songs, such as "You're the Top," "It's De-Lovely," "Anything Goes" and "I Get a Kick Out of You." Stage Notes has 31 students in the production, representing eight different high schools: Alexandria Bay, General Brown, LaFargeville, Liberty University online, Lowville, Lyme, South Jefferson and Watertown. Proceeds from "Anything Goes" will support the David Simmons Scholarship Fund through the Northern New York Community Foundation. The scholarship supports students from Jefferson County who participated in the performing arts during high school. "In this way, it will help extend the support and encouragement David shared with arts and theater students during his life," Ticia said. "The first scholarships will be awarded this year, with recipients being announced soon." Simmons, known for teaching self-worth and confidence, died in September 2023 at the age of 60. The self-taught, volunteer choreographer began a 26-year, 50-show relationship with Watertown High School and its Select Choir in the fall of 1988 with a production of "Guys & Dolls." He also shared his choreography skills with Stage Notes, He's credited with raising Stage Notes to a "triple arts program" — offering training that combined the disciplines of acting, singing and dancing. 'pivotal' performances Stage Notes is a nonprofit youth theater group for exceptional theater students founded in 2009 by Ticia. Proceeds from its shows have allowed the nonprofit to donate thousands of dollars to local community groups. The organization's motto is "Performance With a Purpose," and the benefits it brings to its performers also go well beyond the stage. For example, Mia Mouaikel, who graduated in June from South Jefferson Central School, plays main character Reno Sweeney in "Anything Goes." This will be the fourth Stage Notes show for Mouaikel, daughter of Cyril and Dr. Marlene Mouaikel. "The experience has been great for my leadership skills, and I've brought in a lot of those skills to other areas of life, like the clubs I'm in and organizations that I'm a part of," Mouaikel said. "It's also taught me a lot about just being a team member. It's great to work with a large group of people from different age groups and to collaborate. It's definitely helped me with every aspect of my life throughout high school. It's been very pivotal." In the fall, Mouaikel will attend Cornell University, Ithaca, to major in biology. "I will also be pursing a theater minor," she said. Mouaikel's character, Reno, is a charismatic nightclub singer and former evangelist. Reno is clever, funny, persuasive and extremely confident. "It's very comedic," Mouaikel said of "Anything Goes." "Pretty much every scene, including the songs and dances, are full of comedy and very witty jokes." Shipbuilding The set for this year's musical is a "big build," Ticia explained. "Our team is very excited. They are building the deck of the S.S American on the stage. Each production brings its own needs. For 'Guys and Dolls' we used backdrops with set pieces to enhance the scenes. Last year, for 'The Prom,' it was the first time that we delved into the world of projections, while also having set pieces to add to the scenes. This year, we are excited to be building a static set after several years of smaller set pieces." The Stage Notes Orchestra returns for the show. It's made up of professional musicians, music educators, Stage Notes alumni and exceptional high school musicians. Andrea Wischerath, a recently retired instrumental music teacher from Watertown High School, coordinates the orchestra. Josh Marra, Stage Notes alum from 2022 (middle son to Ticia and Kyle), returns this summer as "Anything Goes" choreographer. He is studying television and film arts at Buffalo State University. Guest choreographer is Lisa Boulter. "Lisa has been teaching the students how to tap dance and helping with the big dance numbers in the show," Ticia said. "It's been a thrill to be working with her. Lisa choreographed 'Anything Goes' at Watertown High School for Russ Faunce back in 1987, with Kyle and I both in the production." A few years later, Boulter starred as Reno Sweeney in a Watertown Lyric Theater production of "Anything Goes." "I was one of her Angels (backup singers)," Ticia said. "Kyle and I couldn't do this show without Lisa involved. 'Anything Goes' and Lisa go hand in hand in our hearts. It's a thrill to have her working with our students and on our team this year." Collin Zehr, vocal music teacher at Thousand Islands Central, is new to the Stage Notes production team this year. "He brings refreshing, youthful energy and ideas to Stage Notes," Ticia said. "Just one of many examples is that he appointed three social media ambassadors to help with our marketing of the show. It's fun to watch the students engage with Mr. Zehr and to watch him support their ideas on how to make their peers interested in what we are doing." nonprofit mission Stage Notes shows are held at the Dulles State Office Building auditorium. However, increasing rental fees by the state for use of the space has hampered what Stage Notes can give back to the community. For example, in 2023, Stage Notes paid $1,641 to use the theater for rehearsals and show weekend for "Guys and Dolls." Last summer, the nonprofit paid the state $5,641 and used the building for less time than the previous year for its "The Prom" musical. "Stage Notes students are fortunate to have amazing supporters who value it, not only for the entertainment we bring to our community, but also the education in theater and philanthropy that is the cornerstone of our organization," Ticia said. She said that Stage Notes students are obligated to fundraise, as they learn the challenges of financially supporting a nonprofit organization and advocating for the arts. "The annual sponsorship campaign is our biggest fundraiser, and this year our students raised over $32,000 for our budget," Ticia said. "Stage Notes is incredibly fortunate to have a community that chooses to support our students and our mission, as we receive no other outside funding." Stage Notes budgets, on average, approximately $1,000 per student for its productions. "So our students have made it possible for us to pay for the show by opening night, ensuring that ticket sales can go back into the community, fulfilling our motto of 'Performance with a Purpose,'" Ticia said. Ticia has a self-commitment of 20 years in managing Stage Notes. "Anything Goes" marks its 17th season and its 19th production. "The freshman class this year will be our seniors in our 20th season," she said. "We're already thinking about what that will look like, and it's fun to know the students who will be celebrating that milestone with us." All aboard The cast of "Anything Goes": Reno Sweeney, played by: Mia Mouaikel Reno's Angels: Kelsee Donato, Frances Weir, Hazel Coughlin and Felicity DelGranado. Hope Harcourt: Finley Swartz. Evangeline Harcourt: Lillian Exford. Lord Evelyn Oakleigh: Rhett Beuttenmuller. Elisa Whitney: Andy Merryman. Billy Crocker: Jack Bickel. Moonface Martin: Trey Urf. Erma: Mia Kelly. Spit: Arianna Dyer. Dippy: Willow Terrell. The Captain: Camden Haynes. Purser: Ira Blauvelt. —Brady Horton plays the bartender, an FBI agent, newspaper photographer, the "young swell," a sailor and is a featured dancer. —Aiden Cain also plays the above roles, with the exception of the bartender. Rev. Henry T. Dobson: played by Leon Kelsey. Featured passengers and dancers: Natalie DiFabion and Julianne Goodenbery. Featured passenger: Michaela Adsit. Featured passenger and old lady: Isabella Davies. Passengers: Madison Bennett, Jade Coughlin, Lucy Johnson, Nevaeh Kelsey, Abigail King, Evangeline Lane, Noelle Voss and Paige Widrick. Solve the daily Crossword
Hamilton Spectator
3 days ago
- Hamilton Spectator
Beloved Stratford Festival actor Michael Blake dies at 53
Toronto actor Michael Blake, who spent 10 seasons at the Stratford Festival, has died. In a news release, the festival called Blake, 53, 'one of the most gifted actors of his generation. He played an extraordinary variety of parts and did so with an ability and ease that was rare.' Blake was well known at Stratford for his Shakespearean roles, which included Macduff in 'Macbeth,' Master Page in 'The Merry Wives of Windsor,' Don John in 'Much Ado About Nothing,' Cominius in 'Coriolanus,' the Duke of Clarence in 'Richard III,' Albany in 'King Lear' and Dumaine in 'All's Well That Ends Well.' In 2019, he played the lead in the festival's 'Othello.' In her review for the Star , Karen Fricker praised Blake's performance. 'Blake's Othello is beautifully spoken, poised and feline: in all ways attuned to the world around him,' she wrote. 'He's succeeded by contradicting in practice the low expectations that society has of him. Which is not to say he's crafty; he's savvy and principled.' Blake performed in 25 Stratford productions between 2011 and 2023, including 'Napoli Milionaria!' 'The School for Scandal,' 'All My Sons' and 'Tartuff.' The festival noted that Blake also appeared at theatres across Canada, and in film and television, including 'Due South,' 'The Expanse,' 'The Lost Symbol' and 'Murdoch Mysteries.' According to his biography, Blake was born in Toronto and graduated from the National Theatre School of Canada in Montreal. He played the adult Simba in the original Toronto run of the musical 'The Lion King'; was an inaugural member of the English acting company of the National Arts Centre in Ottawa and was a member of the first graduating class of the Soulpepper Academy in Toronto. 'Each part Michael played was powerfully realized,' artistic director Antoni Cimolino said in the news release. 'His work was true and realistic. His portrayals had an integrity that was compelling. It drew you into his reality. 'We will all remember him both for his art and his person. He was a member of our artistic family and he will be deeply missed.' Funeral details have yet to be announced. The festival said it will dedicate a production to Blake's memory in 2026. This story has been edited from an earlier version that gave an incorrect age for Michael Blake.
