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Yahoo
03-07-2025
- Entertainment
- Yahoo
‘Back to the Future' at 40: All the ways the Robert Zemeckis classic was snubbed by the Oscars
Great Scott! Back to the Future has hit the big 4-0, roughly half the speed required to send Doc Brown's DeLorean back and forth in time. But the Robert Zemeckis-directed movie doesn't feel like ancient history, even if it first zipped into theaters in the distant past of the 1980s. Fueled by pedal to the metal pacing, ingeniously-designed set-pieces and the dynamic duo Michael J. Fox and Christopher Lloyd, Back to the Future, released on July 3, 1985, remains an eternally youthful summer blockbuster even while other studio films of that era are rattling around with broken parts. Genius isn't always recognized in its time, though, which is why the movie's relatively poor showing at the 58th Academy Awards — held on March 24, 1986 — hangs extra-heavy four decades later. Back to the Future received four nominations and took home a single statue as Sydney Pollack's Out of Africa emerged as the evening's big winner. Here's a look back at which Oscars the movie was up for... and which categories it should have been contending in. More from Gold Derby The 'Jurassic' rebirth that never happened: How an Oscar-nominated screenwriter almost took the franchise in a wild new direction 'Jurassic World Rebirth' set to take a bite out of July 4 weekend box office Best Original Screenplay Zemeckis and collaborator Bob Gale were rightly recognized by voters for their expertly crafted script, which took five years to develop into the finished product. That calibration wasn't just about getting the action right — it was also always keeping the McFly clan front and center. "It's a movie about family," Gale remarked in one interview about why the film endures. "Movies about families always resonate." The other nominees: Brazil, The Official Story, The Purple Rose of Cairo, Witness (winner) Best Original Song Did you hear the news? Huey Lewis came thisclose to winning an Oscar for "The Power of Love," only to see the statue go to another '80s legend — Lionel Richie for "Say You, Say Me." No shade on Richie, but we say that the Lewis peppy tune has more staying power. The other nominees: The Color Purple, White Nights (2 nominations, 1 win), A Chorus Line Best Sound You win some, you lose some. In this case, Back to the Future lost one of the two Sound statues it was up for — back when the Academy Awards still had two Sound categories — but got the one it really deserved. The other nominees: A Chorus Line, Ladyhawke, Out of Africa (winner), Silverado Best Sound Effects Editing Back to the Future's lone win at least acknowledged its skillfully edited audio effects, from the screeching tires of the DeLorean to lightning striking the Hill Valley clock tower. Don't call it a consolation prize — consider it well-rewarded expertise. The other nominees: Ladyhawke, Rambo: First Blood Part II Best Picture The push-pull between art and commerce has long been a source of tension when it comes to the Oscars — remember Steven Spielberg's Jaws snub? But Back to the Future is a prime example of great artistry in service of lucrative commercial entertainment. Sometimes the movie that tops the annual box office isn't the best of Best Pictures (looking at you Batman Forever), but in 1985 it was. The actual nominees: The Color Purple, Kiss of the Spider Woman, Out of Africa (winner), Prizzi's Honor, Witness Best Director Back to the Future catches Zemeckis as he closes out the wunderkind phase of his career and enters Phase 2 — established hitmaker. He would go on to helm more sophisticated and technically complex movies, several of which also should have merited nominations. (His absence from the Best Director category for the still-remarkable Who Framed Roger Rabbit? smarts.) But this one has all of the effects sizzle along with plenty of emotional stakes. The actual nominees: Héctor Babenco (Kiss of the Spider Woman), John Huston (Prizzi's Honor), Akira Kurosawa (Ran), Sydney Pollack (Out of Africa, winner), Peter Weir (Witness) Best Actor Michael J. Fox famously replaced Eric Stoltz midway through production, and hit the ground running as the quintessential '80s everyteen-turned-time traveler. It's not a showy star turn, but if he slows down for even a minute, the movie dies. Maybe instead of an Oscar, they could have awarded him an Olympics-style gold medal. The actual nominees: Harrison Ford (Witness), James Garner (Murphy's Romance), William Hurt (Kiss of the Spider Woman, winner), Jack Nicolson (Prizzi's Honor), Jon Voight (Runaway Train) Best Supporting Actor Christopher Lloyd brought the mad scientist trope out of the '50s and into the '80s — but really, Doc Brown is a timeless character. While the Taxi star isn't shy about playing the buffoon, he always grounds his portrayal in the good doctor's emotional connection to Marty. "Michael came on [set] and the electricity was there from the get-go and it never went away," Lloyd once said of his co-star. "It's still there when we get together today." The actual nominees: Don Ameche (Cocoon, winner), Klaus Maria Brandauer (Out of Africa), William Hickey (Prizzi's Honor), Robert Loggia (Jagged Edge), Eric Roberts (Runaway Train) Best Visual Effects There's a reason why almost everyone believes that DeLoreans really can travel through time. The wizards at Industrial Light & Magic created a sound-and-light show accompanying each era-jump that seems like a natural add-on to an already-futuristic looking car. ILM can also boast to creating the largest lightning bolt in history for the climactic sequence, which seems like an Oscar-worthy achievement on its own. The actual nominees: Cocoon (winner), Return to Oz, Young Sherlock Holmes Best Original Score Be honest — who among us hasn't cranked up Alan Silvestri's Back to the Future theme when our odometer approaches 88 MPH on an open stretch of highway? That soaring piece of music is as instantly recognizable as any '80s Oscar-winning score, from Chariots of Fire to The Little Mermaid. Its snub was and still is completely tone deaf. The actual nominees: Agnes of God, The Color Purple, Out of Africa (winner), Silverado, Witness Best of Gold Derby Everything to know about 'The Batman 2': Returning cast, script finalized Tom Cruise movies: 17 greatest films ranked worst to best 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') Click here to read the full article.
Time Out
23-06-2025
- Entertainment
- Time Out
Photograph: Supplied/Daniel Boud
In musical theatre circles, Cats is the show that everyone loves to hate, dismissing it as 'weird' and 'uncool'. So let me begin this review by stating that I love Cats. I listened to the cast recording over and over as a child, I met my best friend on a Cats mailing list (remember those?) when I was sixteen, and there's probably still some old Cats fanfiction floating around out there that I wrote in my teens. This much maligned show doesn't deserve the hate it gets. When Cats was first performed in the early 1980s, it was hailed as groundbreaking, bridging the gap between concept musicals and mega musicals in a way no show had done before. It won both Olivier and Tony awards for best musical, and ran for decades on the West End and Broadway. These days, it's viewed more as a 'guilty pleasure' – the show you secretly enjoy but are supposed to pretend you don't, lest you be seen as uncultured. But why? Concept musicals based around a theme rather than a traditional narrative have existed since the 1950s, with notable examples including Cabaret, Hair and Company. Dance-heavy musicals are also not a unique concept. Cats isn't even the only show to combine these two elements. But while shows like A Chorus Line and Pippin are hailed as iconic, Cats – which is essentially A Chorus Line with tails – is not shown the same love. Cats may not be too heavy on the plot, but it's a show for people who love the little details Much of the criticism surrounding Cats comes from wanting it to be something it isn't, instead of appreciating it for what it is; a visually spectacular, dance-heavy, surreal concept musical. And on that front, Australia's new 40th anniversary production well and truly delivers. Andrew Lloyd Webber is known to mess around with his shows, and thus, Cats has undergone some changes through the years – including the questionable hip-hop styled 'street cat' version of Rum Tum Tugger, who has thankfully been returned to his original Mick Jagger-esque rockstar form in this production (played with hip-swivelling panache by Des Flanagan). But much of the show remains true to its 1980s roots. This production, which celebrates the show's 40th Australian anniversary at Sydney's Theatre Royal (the very same venue where Cats made its Down Under debut all those years ago), retains the original set and makeup designs by John Napier, direction by Trevor Nunn (brought to life here by associate director and choreographer Chrissie Cartwright) and, most crucially, the choreography of Gillian Lynne. The choreo for this show is truly iconic, and as a lifelong Cats fan it was a joy to see it executed to such a high standard. In particular, Claudia Hastings (The Phantom of the Opera) as Victoria and French ballet dancer Axel Alvarez as Mr Mistoffelees (a role he has played in various international productions) expertly handle their challenging solo dances, garnering spontaneous cheers from the audience throughout the show on opening night. Other standouts are Jake O'Brien (West Side Story, & Juliet) and Savannah Lind (Hairspray, Chicago) as Mungojerrie and Rumpleteazer, performing their number with mischievous joy and impressive vocal control. Particularly impressive is Lind's ability to sing while cartwheeling. Playing Grizabella, Gabriyel Thomas (Sister Act the Musical, Hairspray) has the unenviable task of bringing something new to an iconic song that must be one of the most overdone in all of musical theatre canon. Her connection to the role shines through in her performance and her rendition of 'Memory' is deeply heartfelt and authentic. At its core, Cats is a true ensemble show which provides every performer a moment to shine. As a fan, much of the joy comes from the smaller moments that might not be noticed by more casual pundits. I loved looking out for Tantomile (Sarah Bourke) and Coricopat (Joshua Gordon) moving in unison, and watching the way Munkustrap (Jarrod Draper) protects the other cats and directs their performances during 'Pekes and the Pollicles'. I found myself delighted by the close relationship between Demeter (Olivia Carniato) and Bombalurina (Mia Dabkowski-Chandler), and the slightly antagonistic behaviour from Rum Tum Tugger (Flanagan) towards Munkustrap. Cat s may not be too heavy on the plot, but it's a show for people who love the little details. Every single moment tells us something new about the characters, and you could truly just choose one cat to watch for the entire performance and you'll be entertained the entire time. If you've never seen Cats before – or worse, if your only exposure was the disastrous 2019 film – let this production be your formal invitation to join the Jellicle Ball. The Australian 40th anniversary production of Cats is playing at the Sydney Theatre Royal until September 6, 2025, before embarking on a national tour. Find out more and book your tickets at
Axios
17-06-2025
- Entertainment
- Axios
Summer Lyric Theatre returns for 2025 season
Tulane University's Summer Lyric Theatre is back onstage for its 58th season. The latest: This summer's production includes "A Chorus Line," "Company" and "Carousel." What they're saying: "All three of the shows, in their own way, are classics and beloved," said artistic director Leonard Raybon. If you go: The season opens with "A Chorus Line," which runs June 19 to 22. It's followed by "Company" from July 10-13, and the season concludes with "Carousel" from July 31 to Aug. 3. Get tickets. The intrigue: Raybon has helmed the summer theater series for the past three years as interim artistic director, but he took over the title permanently this year. In the interim years, he says, his focus was to hold the program steady before handing off to whoever was officially tapped for the position. But now, he's hoping to shake things up a little bit. "I am thinking about the future, how to get us to be the most financially healthy we can be so we can ... let's say, do something more experimental for a wider, more diverse audience and not always rely on the big name shows that are more likely to sell the tickets," he says.
Glasgow Times
13-05-2025
- Entertainment
- Glasgow Times
Legally Blonde: The Musical coming to Glasgow
Producers ROYO and Curve have announced that a brand-new Made at Curve production of Legally Blonde: The Musical will have its Scottish premiere at the King's Theatre in Glasgow. The show will run from April 6 to 11, 2026. READ NEXT: 'So so exciting': Signage appears for new pub and diner in Glasgow (Image: Image: Newsquest) Based on the novel of the same name by Amanda Browning and the iconic 2001 film of the same name starring Reese Witherspoon and Jennifer Coolidge, the musical features a book by Heather Hach and original music and lyrics by Laurence O'Keefe and Nell Benjamin. The musical , which will be directed by Curve's Artistic Director Nikolai Foster (Kinky Boots, The Wizard of Oz, A Chorus Line) follows Elle Woods on her transformation from 'It Girl' fashionista to legal ace at Harvard Law School, all in the name of love. Elle must prove she is more than blonde ambition, swap the changing rooms for the courtroom and learn that 'being true to yourself never goes out of style. READ NEXT: Stars of The Sopranos to headline 'must-see' show in Glasgow Curve's Chief Executive Chris Stafford and Artistic Director Nikolai Foster said: 'Legally Blonde is firmly established in the musical theatre repertoire as a contemporary classic and it's a pleasure to be reunited with 'Little Miss Woods' in the 2020s. "Laurence O'Keefe, Nell Benjamin and Heather Hach's electrifying musical about empowerment, equality and the folly of judging a book by its cover remains pitch perfect and as relevant as ever. "We can't wait to share the show with audiences across the UK and Europe after Elle takes over Curve early 2026." Casting and further creatives involved in the production are yet to be announced.
Toronto Star
02-05-2025
- Entertainment
- Toronto Star
‘A Strange Loop' is the greatest American musical of the decade. But does it translate for Canadian audiences at Soulpepper?
Every decade or so, the American theatre is graced with a musical that revolutionizes the art form. Works like 'Oklahoma!' (1943), 'A Chorus Line' (1975), 'Rent' (1996) and 'Hamilton' (2015), all seminal pieces of art that forced us to reconsider what a musical could be.
