Latest news with #InTheHeights
Yahoo
02-07-2025
- Entertainment
- Yahoo
Jacob Scipio To Star Opposite Edgar Ramírez In Onyx/Hulu Pilot; Leslie Grace Among Series Regulars
EXCLUSIVE: Jacob Scipio (Bad Boys for Life, Bad Boys: Ride or Die) is set to co-lead the as-yet-untitled real estate drama pilot ordered by the Onyx Collective for Hulu, opposite Edgar Ramirez. The series regular cast includes Leslie Grace (In The Heights), Mariana di Girolamo (Ema), Liz Caribel Sierra (Dope Thief) and Armando Rivera. Production To Start July 14 in Toronto. More from Deadline Melissa Leo, Jacob Scipio & Lou Llobell Join André Øvredal's Paramount Horror Pic Madelaine Petsch To Exec Produce, Star In Amazon MGM Rom-Com 'Maintenance Required'; Jacob Scipio Also Set Jacob Scipio To Co-Star Opposite Leslie Grace In 'Batgirl' Movie From Warner Bros And DC From Roberto Patino and Cassius Corrigan, the drama follows a cutthroat battle to dominate the Manhattan skyline, where two rival real estate developers (Ramirez and Scipio) risk everything — wealth, family and their souls — as their ambition turns into obsession, and their partnership turns into war. Scipio will play Abe Alonso, a wildly ambitious, charismatic up-and-coming real estate developer from the outer boroughs of New York City. He is willing to do whatever it takes to seize the American Dream for his growing family. Grace will play Val Alonso-Rivera, a passionate architect on a mission to create beautiful, affordable housing amid an industry driven by quick production and cost-cutting at every turn. She is Abe's wife and unwavering partner-in-crime who fiercely protects her family. Di Girolamo will play Gloria Saladín, a cunning businesswoman married to Moises Saladín (Ramírez), the heir-apparent to a multibillion-dollar real estate empire. Gloria's sights are set on taking over the business with her husband, establishing them as global power players. Sierra will play as Adela Rivera, Val's sarcastic, willful younger sister who's never seen a rule she didn't want to break, which is perhaps her strongest qualification as Abe's promising development associate. Rivera will play Diego Saladín, the unpredictable bachelor and black sheep of the Saladín family who harbors ambitions beyond real estate and has a colorful anarcho-capitalist streak. Patino, who serves as showrunner, Corrigan, Ramírez and pilot director Alonso Ruizpalacios executive produce alongside Oly Obst and Luke Maxwell of 3 Arts, Ramirez, Liz Tigelaar and Stacey Silverman of Best Day Ever, as well as real estate developer Donahue Peebles III, who will serve as technical consultant. Scipio will next star opposite Madelaine Petsch in Amazon MGM's new romantic comedy, Maintenance Required. He recently starred in Bad Boys: Ride or Die opposite Will Smith and Martin Lawrence. Other credits include Bad Boys for Life, The Expendables 4, The Unbearable Weight of Massive Talent, Pieces of Her opposite for Netflix, Without Remorse, and The Outpost. Scipio will soon star opposite Melissa Leo and Lou Llobell in André Øvredal's untitled horror movie for Paramount. He is represented by CAA, Luber Roklin, and Johnson Shapiro Slewett & Kole. Grace is a singer and actress whose 2013 debut self-titled album earned her the first of four Latin Grammy nominations and numerous other accolades in the U.S. and Latin America. She was also named one of Variety's 10 Actors To Watch and featured as one of Hollywood Reporter's Next Gen Talents in 2021 for her starring role as Nina in the 2021 film In the Heights. Grace was last seen in The Thicket, In the Summers, and recently starred in and executive produced the Apple-scripted podcast How to Win Friends and Disappear People. She is repped by CAA and 641 Meridian Entertainment Management Group. Di Girolamo is a Chilean actress best known for her lead role in Ema, directed by Pablo Larraín. She is co-starring alongside John Malkovich and Sam Rockwell in Wild Horse Nine, Martin McDonagh´s upcoming film. She is repped by UTA & IMC Management. Sierra is a Dominican American actress currently starring opposite Brian Tyree Henry and Wagner Moura in Apple TV+'s limited series Dope Thief, created by Peter Craig and directed by Ridley Scott. Last fall, she starred in Zoe Kravitz's directorial debut, Blink Twice, from MGM. She made her feature debut starring in God's Time, which premiered at the 2022 Tribeca Film Festival and earned her the Special Jury Mention for Best Performance in a U.S. Narrative Feature. She is repped by Sugar23 and Granderson Des Rochers. Rivera is an up-and-coming Mexican American actor who recently wrapped work on Any Day Now, an indie feature directed by Eric Aronson. He played Danny, the charming, deadbeat, rocker best friend. He also recently led Jesus Celaya's noir short film titled Lucha Noir as Federico, a demon who wishes to live in peace. He is repped by 11:11 Entertainment, Duvall Mac and Jackoway, Austen, Tyerman. Best of Deadline Who Is [SPOILER]? The Latest Big Marvel Reveal Explained 2025 TV Series Renewals: Photo Gallery 'Poker Face' Season 2 Guest Stars: From Katie Holmes To Simon Hellberg
Yahoo
23-06-2025
- Entertainment
- Yahoo
‘You Kind of Have to Fight for More Room': Melissa Barrera Says Diverse Casting Has Net Effect on Productions
Melissa Barrera is aware that her career has made her something of a 'genre actress' — but while she has no intention of running away from her film roots, she is always looking to expand her career horizons. After a starring role in the series 'Vida,' Barrera came to theatrical prominence in 2021's high-profile 'In the Heights' (a musical) and two 'Scream' sequels (decidedly horror) in 2022 and 2023. She then doubled-down on horror with last year's well-received 'Abigail' and the indie 'Your Monster.' 'I love horror. It's super fun. And there's so many great horror scripts,' Barrera said on 'The Seeds' podcast, praising horror directors as some of the biggest 'risk takers' in the industry. But she added that she wanted to 'stretch' as an actress. 'I also have never liked putting myself in a box of any kind, and I know that I have a lot of other skills that… I want to showcase, and I want to like play with. So, I feel like I would get bored — I do get bored easily if I'm doing the same thing or the same genre.' More from IndieWire Apple TV+ Signs First-Look Film Deal with North Road's Chernin Entertainment When Hollywood 'Went Gay All of a Sudden': TCM Highlights Films That Track Queer Evolution As a Latina actress, Barrera said she has had to work harder to get considered for certain roles throughout her career. 'You kind of have to fight for more room,' she explained. 'People [are] not necessarily looking for people that look like you for a role, but you got to kind of try and… knock on the door and be like, 'Hey, I know you're not looking for me. But like, maybe, would you mind? I'll just do it, and if you like it, maybe.'' Barrera said that there is a net effect anytime a Latino performer is added to a production's cast that benefits more than just a single actor. She used the casting of the fifth 'Scream' installment as an example. 'The big reason that I wanted to get that role so badly was because I knew that this character was going to have a family, and that if I got the role, then that meant more opportunities for other Latinos in the other roles. So that's kind of thing that you think about,' she explained. Barrera will next be seen alongside Simu Lui in the Peacock series 'The Copenhagen Test,' bringing her into a new genre: espionage action thriller. A release date has yet to be announced, though a trailer was shown at the NBCU upfronts last month. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
Yahoo
20-06-2025
- Entertainment
- Yahoo
Hamilton fans react as key cast member ‘cut out' of Tonys performance
The original Broadway cast of Hamilton took the stage at the 78th annual Tony Awards, but with one notable absence among the solo performers. Hamilton creator and star Lin-Manuel Miranda was joined by principal cast members Daveed Diggs, Renée Elise Goldsberry, Jonathan Groff, Christopher Jackson, Jasmine Cephas Jones, Leslie Odom, Jr., Okieriete Onaodowan, and Phillipa Soo. But Anthony Ramos, who played the dual roles of Philip Hamilton and John Laurens in the production, wasn't given a main part in the performance — and fans were quick to notice. 'Sooooo, did I just miss it or why didn't Anthony Ramos get a stand out moment??? Fairly certain that his dual role deserved it??' one fan wrote. 'They had Anthony Ramos as a stand in lol only person without a solo during the performance,' another said. 'Lowkey salty Anthony Ramos didn't get a solo but it was still amazing,' another wrote. 'Anthony Ramos actually showing up for the Hamilton performance just to be constantly cut out of frame and the only man with a main role without a solo… omg,' a fourth reacted. Ramos was part of the Broadway company of Hamilton from its 2015 opening until November 2016. He went on to star in the film adaptation of Miranda's other hit musical, In The Heights. Fans originally believed Ramos wasn't onstage at all during the Tonys performance. He was seen in the audience earlier in the broadcast, but because he wasn't given a moment in the spotlight like the other principal cast members, many missed his presence completely. Ramos's name was not included in a May 29 press release announcing the performance. It's not clear when he joined the reunion lineup. The original cast reunited to celebrate the hit musical's tenth anniversary on Broadway. Hamilton received a record-breaking 16 Tony nominations in 2016 and ultimately won 11 awards, including Best Musical. Rounding out the ensemble of the Hamilton company were Carleigh Bettiol, Andrew Chappelle, Ariana DeBose, Alysha Deslorieux, Sydney James Harcourt, Neil Haskell, Sasha Hutchings, Thayne Jasperson, Stephanie Klemons, Morgan Marcell, Javier Muñoz, Emmy Raver-Lampman, Jon Rua, Austin Smith, Seth Stewart, Betsy Struxness, Ephraim Sykes and Voltaire Wade-Greene. The cast performed a medley of songs from the production, including 'Non-Stop,' 'My Shot,' 'History Has Its Eyes on You,' and 'The Room Where It Happens.' Fans were thrilled with the overall performance, with many flocking to social media to share their thoughts. 'That Hamilton Medley with the ENTIRE original company just changed my life holy s***,' one fan wrote on X. 'Chills! This was incredible to watch the original cast of Hamilton perform together 10 years later!' another wrote. 'This just brought me so much joy omg just reignited my Hamilton obsession,' someone else shared. Several members of the original company appeared in other parts of the broadcast. Goldsberry, who won a Tony for her role as Angelica Schuyler in Hamilton, hosted the first part of the ceremony, The Tony Awards: Act One, on Pluto TV. Previous Tony winner Groff, nominated this year for his leading role in Just in Time, performed early on in the national broadcast, which began at 8 p.m. ET. Oscar winner DeBose presented the award for Leading Actor in a Musical, and Miranda awarded the Best Musical trophy. The full list of 2025 Tony winners can be found here.
Time Out
28-05-2025
- Entertainment
- Time Out
Justina Machado on coming full circle in Real Women Have Curves
If you ride the curves well enough, sometimes you come full circle. One of Justina Machado's first major roles as an actor was in a 1992 Chicago production of Josefina Lopez's Real Women Have Curves, in which she starred as Ana, the play's big-dreaming and full-figured teenage Latina heroine. Machado went on to become a beloved TV star on such series as Six Feet Under and the reboot of One Day at a Time; meanwhile, Lopez's play went Hollywood, too, where it was made into a 2002 indie film. Now that Real Women Have Curves has been further adapted into a warm, funny and entertaining new Broadway musical, Machado has been reunited with the material—but this time as Ana's loving but hard-headed mother, Carmen. Her performance is a master class in presence, timing and old-fashioned comic knowhow, and it has garnered her a Tony nomination for Best Featured Actress in a Musical. We chatted with Machado about her history with the show and her experience of performing it for adoring audiences today. In advance of the Tony Awards on June 8, Time Out has conducted in-depth interviews with select nominees. We'll be rolling out those interviews every day this week; the full collection to date is here. This isn't your first Broadway musical: You also did a stint in In The Heights in 2009. How is this experience different from that one? Well, in In The Heights, I was just taking over for a short period of time while Andréa Burns had her vacation. I had already seen it—my friend Carlos Gomez played the father and I went to go see it, and I said, Oh my God, I have to do this show! This is my generation's West Side Story! It just blew me away. That was an incredible dream come true. But Real Women is something that I've always wanted to do: to originate a role in a musical. That's such an important distinction, because the original casts of musicals have a profound effect on their development: The things that work for them get kept, things that don't work for them don't, and their DNA ends up getting stamped into the show—everyone who does it afterwards has to fit a role that was shaped by the original performer. How far does your involvement with this particular show go back? I did the play! I did this play when I was 20 years old—19 going on 20—at Victory Gardens in Chicago. I played Ana. Wow! I somehow didn't know that. That's wild. If you get the play by Josefina Lopez, I'm on the cover. The company that did Real Women Have Curves in Chicago in 1992 is on the cover. And now in the show I say the name Marisela Ochoa—the name of my friend who played my sister in that play, and who died of breast cancer [in 2011]. We have little things like that in the show. But Carmen is very different from who she was in the original play. And the musical is very different from the original in a whole lot of other ways, too. The essence of Ana is there, and that's the most important thing. That story is there. But everybody else has been kind of musicalized. So I do have DNA in this. I think you actually said that perfectly—everything you just said is exactly how it went. I did a 29-hour reading —not the first 29-hour reading, but maybe the second or the third—and then there was a workshop that I couldn't do because I was making a movie. But then there were the rehearsals for A.R.T. [American Repertory Theatre in Cambridge] and then doing it over there, and then now this. So yes, we worked on it together. They were very collaborative. There were things that I thought would work better or they thought would work better, and they absolutely allowed me to shape her. And then you're in front of an audience, where—especially in a musical—the response is so immediate: You can tell right away whether a musical number's working or whether a joke is working. Has the show changed much from the version at the A.R.T.? It's interesting, because when you're in it, I don't think you really know it. I went off and did a whole other project that I was involved in, and when I came back, it felt cleaner and more streamlined. I do know that people who saw it at A.R.T. and then saw this one, think that a lot has changed. I just know that it's tighter and it flows better. How much other theater have you done in your career? Because I think a lot of people know you mainly from your work on television. Well, I started a long time ago. I'm from Chicago, and when I first started I did a lot of theater and commercials and industrials and all those things. And then I moved to New York in '94 with the goal of getting on Broadway—with the goal of doing exactly what I'm doing now, thirty years later. But what ended up happening was I got a job in L.A. about six months later. I got a pilot, and I never left—I just kept working in Los Angeles. So really, not a lot of theater. That's where I started, but…you know, L.A.'s not really a theater town. But I did two shows in L.A. early in my career. And I did Mambo Kings, which was 20 years ago. That's how I met Sergio. Sergio was choreographing Mambo Kings, and that was gonna be my way into Broadway. I was like, Yes, finally, I'm realizing that dream! And then that died. We did it at the Golden Gate [Theatre in San Francisco], but never came to New York. And then In The Heights was the next thing. So that's what it's been. It's sporadic. But you did do a sitcom with a live studio audience, and you did it for years. I think people may not quite realize how theatrical that set-up is. It's sort of a holdover from a time when the culture was transitioning from live theater to television. It absolutely is. Our musical is so incredible that we get a lot of reaction from the audience. When Ana and Henry kiss, they're like, 'Woo!' Or when I fat-shame Ana, I get hisses and gasps and all that. So it reminds me a lot of the studio audience in One Day at a Time. And when you shoot in front of a studio audience, if a joke doesn't work, they will change that joke immediately. They'll come up to you, give you new lines, and you'll have to learn those lines then, and try it again. So it really is like theater. I've never not felt comfortable in front of an audience, because that's where I started. It's just not where my career led me. It feels like you have a special relationship with the audience at Real Women —you know how to ride the waves of response, which people sometimes don't. Yeah. I think that came from One Day at a Time. I swear to God! Because at One Day at a Time, that's what happens. You let them write it with a studio audience. You let them write it, you let them guide you. And I think that was probably the best training I could have had before this. I saw the show on a press night, when the audience generally is usually more responsive than on a regular night, but even so, I was struck by how vocal the crowd was—in a great way. It was great fun to be a part of that energy. But how much does that differ night to night? It can't always be that big a wave. It's not always that way, believe me. But one of the things I've learned is that just because they're not responding the way you'd like them to doesn't mean that they're not listening—it doesn't mean that they're not in it, it doesn't mean that they're not appreciating it. Sometimes I'll be like, Oh my God, that was terrible. And then my friend who was sitting in the audience will say, 'Are you kidding me? We were going crazy! Didn't you hear that?' But like any human being, you go to the bad thing right away, even when it's just one thing that throws you off. Of course, audiences vary. But I will say, honestly, probably 85% of the time they are excited and vocal. And it's really incredible. One thing people may not know about this show is how clever it is. The comedy songs are not only funny but also feel really fresh—they're singing about things we haven't heard in Broadway musicals before. Yeah. Like menopause! Like menopause, yes, or the philosophical number in the first act about being a bird. And of course the big title number, when everyone lets it all hang out. That one always gets a huge reaction. That one, probably 95% of the time, gets a standing ovation. Which is a payoff for us, because nobody wants to take their clothes off. Everybody's like, Oh God, here we go! But the audience gets it. They get the message, and the message is layered. People sob and people get up. One of the things that we always notice is that most of the time, men are the first to get up. And of course, women follow. But it's really beautiful. Not in a gross way—in an empowering, fantastic way. I think probably a lot of men agree with the sentiment of the title more than mass culture suggests. You know what, I think you're correct. We've been fed all this of what we're supposed to look like and be like. But we learn something every single day. I mean, listen, I have the most clothes on, so I'm okay. I have basically shorts that go all the way up. If I had to have little panties, that might be a different story. But thank God, it's nestled in between things, so we don't really have much time to think about it. And everybody's great. I stand on that stage every night with those incredibly brave, fierce Latina women that stand in their authenticity, that stand in their power. A lot of them are new to the business, and they're so incredible. They're going to be big stars. Are there any parts of the show that you especially look forward to performing every night? Once I get on that stage, I have to look forward to everything, because it's a roller coaster. I never really leave. I have to just enter with enthusiasm and be like, Okay! One of the numbers that I love is "I Got It Wrong." It's for many reasons—one is because it's the end of the musical, and I'm like, Yes, I've made it through! But also because it's so freaking beautiful. So I look forward to that number. But I look forward to it all. The musical is so funny and sweet, but it also deals with immigration in a way that feels very timely for the moment we're in. I know that you're from Chicago, but I wonder if you have any personal relationship to that issue. We're Puerto Rican. I'm first-generation, but we didn't immigrate, we migrated. But still we have the same experience. This is the thing. What's happening right now—if you're Latino, if you speak Spanish, it doesn't seem like you're safe, whether you're a citizen or not. Yes, we're American citizens, but just the other day, my grandfather, who's 97 years old, went to get his Real ID, and they wouldn't give it to him because he doesn't have his original birth certificate. So now he can't go to Puerto Rico. As a Puerto Rican, I never had to deal with being scared of La Migra, which is what it was before ICE. I didn't have to be scared growing up. When I did the world premiere, I didn't even know what La Migra was. I had no idea, as a 19-year-old girl in Chicago, that there were undocumented people. Maybe that's naive and ridiculous, but Chicago's such a segregated city that there are just things you don't grow up knowing. So yes, the show is timely. It's relevant. But the sad thing is, it's always been timely. It's always been relevant. It's just so in our faces right now. And when people come and see this, they feel seen, they feel heard. It's doing something. It's not just us doing it at the James Earl Jones Theatre and having an all-Latino cast. It's bigger than that. It's like this beautiful kind of movement. One of the things that makes the musical's message so effective, I think, is that is set in a different time. It's not specifically about what's happening now with ICE. So it has an oblique quality, but it still gets something that's true and has been true for most of our lifetimes. Absolutely. And they do it in such a beautiful way—the way that people like to learn, the way that people like to be seen. Nobody likes to be hit over the head with things. So you walk out and go, 'Oh, wait, whoa: It wasn't just about that, it was about this. And it wasn't just about this, it was about that. And I can relate to this part or that part.' That's why I hope it has a long life—because it deserves it.
Ottawa Citizen
12-05-2025
- Entertainment
- Ottawa Citizen
Lester B. Pearson presents a dynamic and heartfelt production of In the Heights
Article content Show # 16 Article content Article content Rasha Alli, Critic Article content Article content A story of dreams, identity, and the bonds of community: Lester B. Pearson Catholic High School's In The Heights delivered a moving and heartfelt production, filled with emotionally charged scenes and powerful performances. From the intricately designed set to the immense talents of the cast and crew, In The Heights was an impressive showcase, layered with heartfelt moments and powerful character arcs. Article content Article content Written by Lin Manuel Miranda, In The Heights revolves around the lives of residents in Washington Heights, a close-knit but financially struggling neighbourhood in New York. At the center is Usnavi, an orphaned bodega owner who looks after caring community figure Abuela Claudia and aspires to win the lottery to return to the Dominican Republic. A childhood friend of Usnavi, Nina, returns home after losing her scholarship and dropping out of Stanford — news that deeply disappoints her parents and her community. The musical explores the dreams, hardships, and strength of the community as their stories unfold. Article content Julia Dorego-Rabor, who portrayed Nina, delivered a standout performance with grace and intensity. Expressive physicality and nuanced facial expressions brought Nina's emotional journey to life. Paired with a commanding vocal ability, Dorego-Rabor crafted a character filled with vulnerability, strength, and ambition—captivating the audience with every moment on stage. Article content Article content Brandon Rizo brought electric energy to the role of Usnavi, captivating the audience with bold vocals and magnetic stage presence. Rizo's rapping was both technically sharp and emotionally engaging, and its clear enunciation made every lyric land with impact. Rizo's infectious energy elevated each scene, creating dynamic interactions and a vibrant, pulsing rhythm throughout the show. Article content Article content Another memorable performance came from Andrea Martinez-Barrera, who seamlessly balanced the demanding role of Camilla with that of a featured dancer. As Camilla, Martinez-Barrera delivered emotionally charged dialogue and passionate vocals, perfectly capturing the strength and frustration of a loving, overworked mother. As a part of the ensemble, Martinez-Barrera, along with Sara Brown and Bellange Romain, performed dynamic and eye-catching dance scenes with incredible skill, maintaining energy levels throughout. Article content Beyond the remarkable cast, the technical elements of the production played a vital role in bringing Washington Heights to life. The set design was both detailed and purposeful, enhancing the musical's themes of home and community. A standout piece was the hand-painted mural of Abuela Claudia—portrayed by Isabella Cajina—created with pastels by Abigail Jorza and Gloria Jean Verner. The mural, which took months to complete, was breathtaking in both scale and execution. Scene transitions were smoothly managed by the stage crew, maintaining seamless momentum without ever disrupting the show's flow.
