Latest news with #DianePaulus
Gizmodo
6 days ago
- Entertainment
- Gizmodo
A Wild New Take on ‘Phantom of the Opera' Is Coming, and No One Has Any Idea What It Is
For the past few months, Phans (The Phantom of the Opera fans) have been following mysterious messages and clue drops around New York City for something called Masquerade. Talk online abounded about the roses left in Times Square or the red envelope letters signed by 'the Opera Ghost' for the faithful, as a viral campaign teased that something was coming in the realm of immersive theater. As a big Phan and immersive theater nerd, I've waited from the far wings on the West Coast with major FOMO for more news. And finally, we know who the minds are behind the teased project based on Gaston Leroux's The Phantom of the Opera. huge @Masquerade update um i have a mirror now?? #theatre #theatretiktok #theatretok #phantomoftheopera #masqueradenyc #thephantomoftheopera #andrewlloydwebber #immersivephantom ♬ original sound – selena Masquerade has officially been confirmed as a spin-off immersive experience inspired by Andrew Lloyd Webber's The Phantom of the Opera by Deadline. The trade named Tony Award winner Diane Paulus (Waitress, Real Women Have Curves) as director, with Webber on board as a producer. It has not yet been revealed if the immersive production will include musical performances or be an atmospheric walk-through much like NYC's late great Sleep No More. The Phantom himself shared a statement through Deadline: 'I have secured an address on 57th Street, a more salubrious part of town than my previous, where I have instructed the director Diane Paulus to prepare my new vision of the legend,' it read. 'I have observed that she has considerable credentials in the fields of opera and musical theater. Under my guidance she has created, along with my minion Lloyd Webber, an event like no other with my characters played by performers of exceptional ability.' Fellow Phans can RSVP for more news on the official site. Masquerade is slated to have a six-week preview run, with tickets going on sale Monday, June 30, for the show. The engagement dates have yet to be announced. Described as a production that's 'to be located on multiple floors' by Deadline, the experience 'is designed to simulate a masked ball with attendees moving from room to room and floor to floor.' If some of what TikTok has sleuthed is true, we may be walking through key moments from the musical's book. The possibilities are making my imagination run wild—there's the cemetery, the Phantom's lair, and, of course, the masquerade. We at least know the masquerade is the centerpiece of the production, as instructions mention a strict dress code including masks. On the official site you can also see pertinent details from 'O.G.,' who we can just say is a fabulous party planner with a flair for the dramatic. '1) Masquerade is a 21+ event. However, during the six-week preview period, Saturday and Sunday Matinees will be 16+ 2) The dress code is for the six-week preview period 3) Masks WILL be provided to guests free of charge if they arrive without one. The complimentary masks are designed to be worn under glasses if you require them. Limited edition couture masks will be available for purchase as well. 4) Guests can choose either the glass of champagne OR a non-alcoholic sparkling option on arrival 5) The experience is ADA-accessible' The details of having a mask on and it mostly being a 21+ production are definitely reminiscent of Sleep No More's hallmarks. So this might be Phantom in a way we've never seen. As a Universal Monsters fan, the possibility of horror tonally being involved pleases me. A celebration of his return, homaging his whole legacy, would be a dream. Now if you'll excuse me, I need to find out how to secure seats in Box Number 5. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
Forbes
10-06-2025
- Entertainment
- Forbes
From Page To Stage: New Dramatists Shapes Generations Of Playwrights
When Michaela O'Harra founded New Dramatists in 1949, her dream was to create a space where young writers could develop their work, share ideas, and grow as artists. 'She envisioned a place that would buoy talented writers by giving them encouragement, resources, experiences, and a community of peers to help them reach their full artistic potential and make lasting contributions to the American theater,' says New Dramatists executive director Christie Brown. Working with theater legends including Howard Lindsay, Richard Rodgers, Russell Crouse, Oscar Hammerstein II, John Golden, Moss Hart, Maxwell Anderson, John Wharton, Robert E. Sherwood and Elmer Rice, O'Harra fulfilled that mission and then some. 76 years later, New Dramatists remains dedicated to its mission. The organization has helped launch the careers of countless playwrights whose unique voices have transformed the theater. Since its beginnings, over 700 playwrights have been nurtured by New Dramatists. 'For our playwrights, New Dramatists is at the heart of the voice of America,' says director Diane Paulus. 'Without New Dramatists, we wouldn't have American theater.' At this year's recent New Dramatists Spring Luncheon hundreds of artists filled the Marriott Marquis Ballroom sharing why the organization is so special and necessary. 'We have nothing if we don't have plays. And they are all about fostering that. I love that we have these institutions to support the voices of tomorrow,' said Tony-nominated Dead Outlaw actor, Andrew Durand. 'This is a place that gives new writers a home to develop their work,' shared Kara Young who just won a Tony for her role in Purpose. 'It's where the writers and actors get to flourish and vibe.' Marjan Neshat, who was nominated for a Tony for her performance in English and participated in a New Dramatists reading. 'They support us in a way that is so meaningful,' she said. The luncheon, which occurs in the midst of Tony season, draws performers and creatives from nearly every show on Broadway. 'Everyone is here. It's always good to be in community,' said LaTanya Richardson Jackson who was nominated for a Tony for her role in Purpose. 'It's wonderful to celebrate artists and lift all the shows,' offered Gypsy Tony nominee Camille A. Brown. 'Any opportunity to get everyone in the same room from all these different shows is epic,' added Dead Outlaw Tony nominee Julia Knitel. "You get to see your friends.' New Dramatists honored two great artists and collaborators: playwright, lyricist and director Tina Landau (Redwood, Floyd Collins, SpongeBob SquarePants) and Idina Menzel (Redwood, Wicked, Rent). Most recently they joined forces to conceive and birth the musical Redwood, about a woman who, in the midst of grief, embarks on a journey to the Northern California redwood forests to find healing and reconnect with herself. Emily Morse, artistic director of New Dramatists described how the duo are "two galvanizing artists who have created some of the most memorable productions/performances in theater history.' Phylicia Rashad, Tarell McCraney and Tom Kitt talked about Landau's exceptional gifts. While Jonathan Groff and David Stone, spoke about Menzel's great artistry and generosity. Daphne Rubin-Vega, who starred with Menzel in Rent, read a speech from the show's director Michael Greif. Stephen Schwartz movingly sang his song 'For Good' from Wicked. And as a tribute to Menzel and Landau, Zachary Noah Piser, who starred in Redwood, performed 'Still' from the production, with the show's musical director, Julie McBride on the piano. Jonathan Groff shared how he first fell in love with Menzel after listening to the cast recordings of Rent and the Wild Party. 'But it wasn't until I saw her in her Tony-winning performance as Elphaba in Wicked that I experienced the full force of Idina's powers,' he said. 'And subsequently solidified my identity as a homosexual.' Groff can picture sitting in the mezzanine at the Gershwin theater. 'I can still remember the feeling of chills going all over my body as Idina let loose on that stage,' said Groff. "It wasn't just the high notes she was belting. There was a whole unique perspective, personality and soul in her voice. Her body, every fiber of her being—she was miraculously strong and vulnerable in the exact same moment.' Jonathan Groff Photo by Michael Hull Groff experienced those same chills after seeing Menzel in Redwood. 'I watched her grapple with grief, guilt and loss as she transcended to staggering new heights. Her singular ability to be powerful and human simultaneously was on full display as she made us laugh and cry in the same breath," said Groff. 'My jaw was on the floor when she literally scaled a tree and hung upside down while belting her face off.' Menzel expressed deep gratitude for being honored alongside Landau, who she called her 'dear friend, mentor and creative partner.' Menzel went on to say, 'This makes it more special than ever.' Both Menzel and Landau offered their complex feelings about Redwood prematurely closing after birthing its creation for so many years. Menzel said that she would head home and eventually a new idea would reveal itself. 'I'll call up Tina or perhaps one of the extraordinary writers here today and say, okay, what's next?,' said Menzel. For Landau, Redwood's closing was a reminder of what was really important. She explained that she initially learned about the New Dramatists honor in January, when Redwood was going into tech. And it seemed the perfect way to celebrate the show's opening. But in May, when she knew the play was closing prematurely, Landau, half jokingly, asked Christie Brown and Emily Morse at New Dramatists if they would prefer to honor someone whose show would still be running. 'But I knew in my heart, and as they quickly reminded me, this honor has nothing to do with the length of a run or box office receipts,' said Landau. 'It was celebrating the work itself. And even more so, the act of creating the work in the first place.' And in her email to Brown and Morse she recognized an alternate way to view what was happening. 'It's even more reason to acknowledge what we are trying to do,' said Landau. "Because it is clearly that hard.' With Redwood closing, the recognition became even more profoundly meaningful. 'I feel I know what it's really about for me today,' she shared. 'In a deeper way, it's about how hard it is to make things and how important it is to keep doing so. And how important it is to have support.' Landau went on to share how the urge to make things is primal and universal. It represents the desire to bring more life to life.'We are all makers of things: whether it's writing a play or an online post. Gardening, cooking, decorating your apartment or tying your shoelace into a bow,' she said. 'You make things. And when we make things, we say, 'yes' to life and 'no' to apathy or destruction. 'No' to our own self-doubt or despair.' Cole Escola Photo by Michael Hull
Boston Globe
05-06-2025
- Entertainment
- Boston Globe
A.R.T. announces 2025/2026 season, will premiere new musical adapted from the film ‘Black Swan'
In a telephone interview, A.R.T. artistic director Diane Paulus said that 'Wonder' is driven by 'a very fresh, contemporary sound,' with 'equal parts catchy pop tunes and emotional heart' in the music and lyrics by A Great Big World, a duo consisting of singer-songwriters Ian Axel and Chad King. The book is by playwright Sarah Ruhl. Advertisement (Disclosure: Paulus directed my son Matt's opera, 'Crossing,' in 2015, and Ruhl collaborated with him on 'Eurydice,' an opera that premiered in 2021 and was based on her play of the same name.) The A.R.T.'s production of With music and lyrics by Dave Malloy (' Advertisement According to Paulus, 'Black Swan' will 'delve into the theme of perfection, the world of ballet, and the pressures on women.' She said that 'a story told through dance and movement' is 'right up A.R.T.'s alley,' adding: 'For me, theater as a form is physical. It's visceral. It's about communication, not only through text and words and music, but the body, and movement.' Starting this fall, Paulus will direct a concert tour of 'Dear Everything,' which was commissioned and developed by the A.R.T., and premiered in concert form in 2021 under the name 'WILD: A Musical Becoming,' starring Idina Menzel. The overall picture for the A.R.T., which is based at Harvard, is clouded by the university's ongoing confrontation with President Trump, who has cut billions of dollars in federal grants and contracts to Harvard. Asked how concerned she is about the potential impact on her company, Paulus replied: 'It's a very challenging time. We are navigating changing waters on a daily basis.' 'As a theater, as a company like A.R.T., we are committed to continuing to bring people together,' she added. 'Theater is a community builder. That is our greatest role, right? Humans coming together in time and space and listening to stories that are not our own.' The A.R.T.'s season will launch Sept. 2-26 with Advertisement The season will also include Sam Kissajukian's autobiographical solo show, '300 Paintings,' scheduled to be at Harvard's Farkas Hall Oct. 1-19, 2025. Paulus said '300 Paintings' explores 'how all of the arts and mental health and creativity are in relation to one another.' Don Aucoin can be reached at
