Celebrate 100 years of the Rockettes with the 2025 Christmas Spectacular
This year, audiences will have plenty of opportunities to celebrate the Rockettes, including their turns in the Christmas Spectacular. The beloved annual tradition returns to Radio City Music Hall for its 92nd edition November 6, 2025–January 4, 2026, with all of the charm and precision choreography fans have come to expect.
The Christmas Spectacular isn't the only way to cheer on the Rockettes for their centennial. Attendees this year can check out unique activations onsite at Radio City Music Hall that celebrate the history and legacy of the dancers, as well as exclusive access to Rockettes' 100th anniversary merchandise. And the Rockettes just dropped a new video tribute to the anniversary, set to 'That's Entertainment!' and shot on the Great Stage at Radio City in costumes inspired by the troupe's beginnings in Missouri.
'As the Christmas Spectacular returns for its 92nd season during the Rockettes milestone centennial year, we continue to celebrate all that makes the Rockettes beloved icons,' MSG Entertainment Executive Vice President of Productions Jessica Tuttle said in a statement. 'The Christmas Spectacular seamlessly blends tradition with evolution—from numbers that have been performed since the show's inception, to increasingly complex and athletic choreography. The constant is the unparalleled Rockettes and the joy they bring as the stars of the show, and this Christmas will be no exception.'
Originally founded in St Louis and called the 'Missouri Rockets,' the troupe moved to New York City in 1927 and found its home at Radio City Music Hall in 1932. There, they've been dazzling audiences ever since with their unmatched synchronization, glamour, and high-kicking artistry.
Like the Rockettes themselves, the Christmas Spectacular is also always seeking new ways to maintain the same level of entertainment audiences have come to expect. The 2024 edition saw the introduction of "holographic technology" paired with the song "We Need a Little Christmas" from the musical Mame. That kind of high-tech sits comfortably beside the iconic "Parade of the Wooden Soldiers," a Radio City Music Hall staple since the very first edition in 1933.
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Time Out
3 days ago
- Time Out
Celebrate 100 years of the Rockettes with the 2025 Christmas Spectacular
The Radio City Music Hall Rockettes will turn 100 this year, and to quote a failed Rockette, the fabulously 50 Sally O'Malley, they still love to kick, stretch and kick. This year, audiences will have plenty of opportunities to celebrate the Rockettes, including their turns in the Christmas Spectacular. The beloved annual tradition returns to Radio City Music Hall for its 92nd edition November 6, 2025–January 4, 2026, with all of the charm and precision choreography fans have come to expect. The Christmas Spectacular isn't the only way to cheer on the Rockettes for their centennial. Attendees this year can check out unique activations onsite at Radio City Music Hall that celebrate the history and legacy of the dancers, as well as exclusive access to Rockettes' 100th anniversary merchandise. And the Rockettes just dropped a new video tribute to the anniversary, set to 'That's Entertainment!' and shot on the Great Stage at Radio City in costumes inspired by the troupe's beginnings in Missouri. 'As the Christmas Spectacular returns for its 92nd season during the Rockettes milestone centennial year, we continue to celebrate all that makes the Rockettes beloved icons,' MSG Entertainment Executive Vice President of Productions Jessica Tuttle said in a statement. 'The Christmas Spectacular seamlessly blends tradition with evolution—from numbers that have been performed since the show's inception, to increasingly complex and athletic choreography. The constant is the unparalleled Rockettes and the joy they bring as the stars of the show, and this Christmas will be no exception.' Originally founded in St Louis and called the 'Missouri Rockets,' the troupe moved to New York City in 1927 and found its home at Radio City Music Hall in 1932. There, they've been dazzling audiences ever since with their unmatched synchronization, glamour, and high-kicking artistry. Like the Rockettes themselves, the Christmas Spectacular is also always seeking new ways to maintain the same level of entertainment audiences have come to expect. The 2024 edition saw the introduction of "holographic technology" paired with the song "We Need a Little Christmas" from the musical Mame. That kind of high-tech sits comfortably beside the iconic "Parade of the Wooden Soldiers," a Radio City Music Hall staple since the very first edition in 1933.
Daily Mail
4 days ago
- Daily Mail
Leona Lewis announces Las Vegas residency at Voltaire following in the footsteps of Kylie Minogue, Christina Aguilera and Jason Derulo
Leona Lewis has announced a brand-new Las Vegas residency at Voltaire on Monday following in the footsteps of Kylie Minogue, Christina Aguilera and Jason Derulo. The Grammy-nominated singer, 40, will take to the stage at The Venetian Resort Las Vegas this holiday season with, A Starry Night, performing her first ever live shows in the United States. Leona will transform the glitz hotel into a winter wonderland for a set of exclusive performances running from November 1 until January 3. The X Factor winner will perform her hits Bleeding Love, Better In Time and Christmas classic One More Sleep during the Christmas spectacular at the intimate venue. The British star said it is a 'dream' come true to have her own show in Sin City, which has been 'years in the making'. She said: 'I'm elated to bring this show to Voltaire as it's been years in the making, made specially for my fans. 'Christmas has always been such a special time for me and my family and there's nothing quite like the energy of Las Vegas during the holidays. Can't wait to take the stage!' Sharing the news on Instagram, Leona added: 'A dream, years in the making. Coming to life in Vegas this November! 'I am so excited to officially announce my residency at Voltaire at @venetianvegas. Can't wait to share this new chapter with you'. A Starry Night is intended for all ages with general admission tickets starting at $75 (£56) with VIP packages also available for purchase from August 1. Over at the Colosseum at Caesars Palace this Christmas Dolly Parton will be taking to the stage for her residency with prices ranging from £1,500 to £4,000. Leona will also follow the likes of Adele, Celine Dion, Kelly Clarkson, Rod Stewart, Elton John, Cher, Janet Jackson, Bruno Mars and many more. However it was Britney Spears' Britney: Piece of Me residency in Sin City, which ran for four years from 2013 at the Axis at Planet Hollywood, that caught Leona's eye originally 11 years ago. Despite it being unknown what Leona will be paid for her 33 date residency, she admitted back in 2014 she would be very keen to have her own show due to the staggering paycheck. Over at the Colosseum at Caesars Palace this Christmas Dolly Parton will be taking to the stage for her residency with prices ranging from £1,500 to £4,000 Speaking to the Metro in 2014, she said: 'You get paid so much money to just go and do your show every single night. It would be amazing! I would love that. 'I want to go and see Britney. I am wondering how great that will be, though, as she is only performing two nights per month which I don't really understand. Two shows a month? Probably $10million per show!? 'I'm sure it will be incredible but I am intrigued to see how that would work.' Last week, Leona was made an OBE for services to music and charity in an an investiture ceremony at Windsor Castle. She looked incredible in a blush pink dress which she teamed with a matching hat as she was awarded the achievement by King Charles. The singer won the third series of The X Factor in 2006 and went on to achieve success in the music industry. Her debut studio album, Spirit, became one of the best-selling albums of the 2000s and the lead single, Bleeding Love, was the best-selling single of 2007. Leona was the first British female solo artist to reach the top five with eight singles, beating out Olivia Newton-John's record of seven. The British singer-songwriter from Islington, north London, has also been nominated for seven BRIT Awards and three Grammys and has performed on Broadway, TV and the silver screen. Outside her musical talents, Leona has thrown her support behind many charitable causes and activism. She has a particular passion for animal rights, publicly speaking out against animal testing and voicing her support for animal activism, sustainability and conservation. In December 2019, Leona and her husband, Dennis Jauch, opened a vegan cafe in Pasadena called Coffee and Plants, partnering with the National Forest Association to plant a tree for every cup they sell. They expanded to their second location in Studio City earlier this year and the cafe also works in partnership with Hopefield Animal Sanctuary, with proceeds of select items donated to the charity. Leona has campaigned for the fight against HIV/AIDS, Save The Children's initiative to stop child hunger at Christmas, to honour the NHS and to raise awareness of children's mental health. She has also worked alongside The Prince's Trust, Teenage Cancer Trust, WWF and American Red Cross as well as performing live during the pandemic to raise funds for COVID-19 initiatives. Leona is now a proud mum to daughter Carmel, three, who she shares with husband of six years, Dennis Jauch. Leona Lewis Las Vegas dates Saturday, Nov 1 Sunday, Nov. 2 Wednesday, Nov. 5 Friday, Nov. 7 Saturday, Nov. 8 Sunday, Nov. 9 Wednesday, Nov. 12 Friday, Nov. 14 Saturday, Nov. 15 Sunday, Nov. 16 Tuesday, Nov. 25 Thursday, Nov. 27 Friday, Nov. 28 Saturday, Nov. 29 Friday, Dec. 5 Saturday, Dec. 6 Sunday, Dec. 7 Wednesday, Dec. 10 Friday, Dec. 12 Saturday, Dec. 13 Sunday, Dec. 14 Wednesday, Dec. 17 Friday, Dec. 19 Saturday, Dec. 20 Sunday, Dec. 21 Wednesday, Dec. 24 Friday, Dec. 26 Saturday, Dec. 27 Sunday, Dec. 28 Tuesday, Dec. 30 Wednesday, Dec. 31 Friday, Jan. 2 Saturday, Jan. 3
The Independent
27-03-2025
- The Independent
Inside Andy Kaufman: SNL's strange genius with an unsettling dark side
Messing with reality is everything that Andy Kaufman is about,' says Bob Zmuda, early in the brilliant new documentary Thank You Very Much. Zmuda was a collaborator and confidante of Kaufman, the late comedian-cum-performance artist whose life, legacy and loose relationship with the truth is explored in Alex Braverman's film (which opens at selected cinemas and is available digitally from 28 March). Kaufman died (officially) in May 1984 but remains to this day a point of pop cultural fascination. Those who weren't around to witness his eccentric, avant-garde comedy routines may well have heard REM's musical homage to him, 'Man on the Moon', or the 1999 Jim Carrey-starring biopic of the same name. Kaufman was never happier than when he was challenging his audience's assumptions about pretty much everything. More than 40 years after his funeral, some still believe even this was part of a long con – that Kaufman had faked his own death, waiting to rise again when the punchline to his greatest prank comes due. By the time of perhaps his crowning triumph – a headline performance atNew York's fabled Carnegie Hall in April 1979 – Kaufman had achieved his dream of becoming a TV star. He was already a regular on shows like Johnny Carson's Tonight Show and Saturday Night Live, and starred as lovable mechanic Latka in the hit sitcom Taxi. That night at Carnegie Hall, he presented punters with the full-spectrum Kaufman experience, described by The Washington Post as 'the three-ring circus inside his head'. In between performances by veteran variety acts – the Rockettes dance troupe and the Mormon Tabernacle Choir – Kaufman performed his notorious anti-comedy routines and kept the capacity audience suspended in absolute and total disbelief, unsure at any time what was real and what was hoax. Was that his grandmother onstage, watching the show from 'the best seat in the house'? Nope, that's Robin Williams in makeup and drag. Did elderly actor Eleanor Cody Gould just drop dead while recreating a frenetic dance routine from Hollywood's Golden Age? Her rising again after Kaufman – sporting a Native American headdress – danced around her supposed corpse suggests not. But Kaufman's offer to take the audience out for milk and cookies following the disorienting extravaganza turned out to be true: 20-odd buses waited to take punters across town for post-show snacks, a stunt that swallowed the lion's share of the show's $40k budget. 'Andy saw himself as an entertainer, a showbiz personality, a song-and-dance man,' says Braverman. 'He once said that he'd never told a joke in his life.' Kaufman had surfaced during a golden era for US comedians, when superstar standups like Richard Pryor and George Carlin were breaking box-office records and scoring gold and platinum records with material that was challenging and political. When Kaufman joined Saturday Night Live in 1975, the NBC sketch series was known forpushing the envelope, capturing the zeitgeist and garnering equal amounts of outrage and hero worship. But, says Braverman, 'Andy was very different from other comedians of his time. His work wasn't political, he wasn't making statements about the Vietnam war. He was into Elvis, not what was happening then, his view more nostalgic than contemporary.' This difference was keenly apparent on SNL. The show's in-house troupe, the Not Ready For Prime Time Players – who included future superstars Chevy Chase and John Belushi – performed hip, edgy material dialled into their generation's attitudes towards sex, drugs and race. Kaufman's brief segments, meanwhile, were surreal, absurdist: his 'Foreign Man' persona miming along to the theme tune to Mighty Mouse, or following a series of inept celebrity impressions with a jarringly accurate Elvis Presley vamp. And while the likes of Belushi regarded the medium with cynicism – he'd told producer Lorne Michaels all TV was 'crap' and that his set at home was covered in spit – Kaufman's love for television was boundless. Born in New York in 1949, Kaufman was raised in the glow of the cathode-ray box. His parents were Jewish, middle-class Long Islanders; as a toddler, his best friend had been his grandfather, Papu Cy. When Papu died, Kaufman was told by his parents that his grandfather had gone travelling, so young Kaufman spent his days staring sadly out of the window, waiting in vain for Papu's return. Later, he lost himself inside what his girlfriend Lynn Margulies described as 'this fantasy world', believing there was a hidden camera in his bedroom wall and that he was broadcasting to the world. As a preteen, he became an entertainer at kids' birthday parties; he later said those were the only happy moments of his youth. By 16, Kaufman had run away from home and spent a year sleeping on a bench in a nearby park. 'I drank heavily, smoked marijuana every day, took DMT, LSD, Dexedrine – all kinds of things,' he later explained. When this path didn't deliver Kaufman from depression, he embraced transcendental meditation, reconciled with his family and left for Boston to study television production. His college roommate, an Iranian named Bijan Kimiachi, inspired Kaufman's 'Foreign Man', a thick-accented, gibberish-spouting character he would perform at nightclubs. ('Foreign Man' would become the basis of Latka Gravas when Kaufman was cast on Taxi in 1978.) The comedic shtick of 'Foreign Man' has, most agree, aged incredibly badly. The root of the bit, however, lies not in racism but in witnessing a performer fail – anticipating in some ways the 'cringe' comedy of the 21st century. This is why Braverman includes routines in their entirety in his documentary. 'Andy's use of time is a key element in his performance,' he explains. 'You're supposed to sit through the awkward silences, the painful interactions'. 'Foreign Man' himself was rarely the butt of the joke; Kaufman often allowed him to ultimately triumph, like with his superlative Elvis impression. But Kaufman also possessed a darker side, a self-destructive impulse that rose to power after Carnegie. Another alter ego, Tony Clifton, was a vile, obnoxious, middle-aged standup. To portray Clifton, the teetotal, vegan, non-smoking Kaufman would drink hard liquor, eat steak and smoke cigars. Braverman suspects playing Clifton – cruel in every way that Kaufman was kind – was therapeutic. 'Andy could bust out these different characters – if he wanted to be angry, he could put on the Tony Clifton costume and be angry,' says Braverman. 'Maybe that was his way of dealing with the pressure of always being himself, always being 'on'. I was never so presumptuous as to think I could find the 'real' Andy, but maybe the real Andy is the mosaic that comes from putting all these pieces together, like a composite sketch. Because all the characters and bits he's doing are a real part of him.' Being Kaufman proved such a traumatic experience that portraying him in Man on the Moon sent Jim Carrey half-insane. In the 2017 documentary Jim & Andy: The Great Beyond, about that movie's tense production and its effect on the star, Carrey revealed that he worked so hard to inhabit Kaufman's character that he felt he had been 'possessed' by Kaufman, that Kaufman was communicating with him telepathically from beyond the grave. He later said that during the making of the movie, 'No one really knew what was real or not real half the time.' Things got out of hand when Kaufman demanded Clifton appear on an episode of Taxi: Kaufman, as Clifton, arrived accompanied by a pair of sex workers and abused his castmates to the point where the show's lead, Judd Hirsch, demanded security get him 'the f*** out of here'. Another ominous routine involved Kaufman inviting women from the audience to wrestle, offering $600 to any who could defeat him. In the documentary, pro-wrestler Robin Kelly (aka The Red Snapper) reckons Kaufman was drawn to wrestling 'because it's very sexual, a super turn-on, all about control. Andy only wrestled women because he knew it would get him laid.' Margulies acknowledges Kaufman was 'a sex addict'. As time wore on, Kaufman leaned into the villainous 'heel' persona, growing more abusive and sexist in his belittling of his female opponents, telling them: 'I'm gonna send you back to the kitchen, where you belong'. In these moments, and when playing Clifton, his arrogance, his misogyny, and his spitefulness seem to anticipate the tensions of our Trump era. 'We see echoes of a lot of these characters in today's political landscape,' acknowledges Braverman. 'He's poking fun at the culture wars of that era, between feminism and traditional chauvinist points of view.' The wrestling was an extension of an earlier nightclub bit in whichKaufman would be heckled by an 'audience member' (actually his friend Laurie Anderson, later a successful performance artist in her own right) and they would end up wrestling onstage. The bit could get violent – a jeopardy that both Kaufman and Anderson relished. 'I loved that he'd subvert this idea of this 'perfect' America,' Anderson says in Thank You Very Much. 'We live in the most violent country in the world. Andy was a mirror, and people didn't like what they saw a lot of the time.' Indeed. In 1982, Taxi ended, as did Kaufman's time at SNL. 'By then, David Letterman was the only person who'd have him on,' notes Braverman. Kaufman was seemingly exiled from his happy place – the television set – and his big foray into movies (the universally panned comedy Heartbeeps) had sunk like a stone. But still, he continued to prank. 'Lynn talks about how they'd pull up at the traffic light and he'd pretend to choke her, just for the benefit of the person in one car over that didn't know that they were watching a performance,' says Braverman. 'To be kicked off a TV show was not failure for him, it's an evolution of the act. His friend Dennis Raimondi said Andy was like a jazz musician, always improvising. So he's been kicked off a TV show – what's next? Where are we taking the performance from here?' For their next trick, Kaufman and Zmuda planned on faking his death. Braverman's documentary includes audio from a phone call where Kaufman questions whether people will hate him 'once it turns out I'm really alive'; Zmuda suggests Kaufman fake his own death every few months, 'and then when you really die, nobody will believe it. You'll be immortal.' But Kaufman wasn't immortal, and before they could put the hoax into motion, he was diagnosed with aggressive lung cancer. His friends struggled to believe it, a disbelief that, for some, perpetuated beyond his death in May 1984, at the age of just 35. Carol Kane, his Taxi co-star, poked his corpse at the funeral because she didn't believe he was truly dead. Conspiracy theories surrounding Kaufman's death continue to this day, and Braverman knows it wouldn't be in the Andy spirit to pop that balloon. 'We didn't want to answer the question definitively,' he nods. 'I like the way we handled it: to show that he was working on faking his own death when he legitimately, actually got sick.' The truth, it seems, was even stranger than fiction. But, ultimately, nothing is stranger than Andy Kaufman was.
