Latest news with #JohnProctorIstheVillain
3 days ago
- Entertainment
Monica Barbaro and Andrew Garfield share moment at Wimbledon in matching white
Actors Andrew Garfield and Monica Barbaro enjoyed some of the finest play tennis has to offer over the weekend. The pair were spotted together attending day seven of the Wimbledon Championships in London on Sunday, sharing a sweet moment of affection at the event. Garfield and Barbaro were photographed arriving at the event holding hands and wearing matching whites at the All England Lawn Tennis & Croquet Club, where the tournament is held. Garfield wore a white button-up shirt and a white sweater tied around his shoulders along with matching white slacks and brown shoes. Barbaro matched the occasion with a white dress and heels. Inside the premises, the pair were photographed smiling, laughing, cheering and even sharing a sweet moment when Garfield leaned over to kiss Barbaro on the cheek. Barbaro and Garfield have been spotted together at a several events and recently posed together, along with Eddie Redmayne and Lynn Hirschberg, at W Magazine's Annual Best Performances Party in January. In May, the two were also seen posing with the cast of the hit Broadway show "John Proctor Is the Villain." The show shared the photos on Instagram, writing, "new students at helen county high: thanks for joining us andrew garfield, monica barbaro, and bonnie milligan!!" The two actors both starred in noteworthy movies last year, with Garfield starring in "We Live in Time" alongside Florence Pugh, and Barbaro starring as Joan Baez alongside Timothée Chalamet as Bob Dylan in "A Complete Unknown," a role for which she was nominated for an Academy Award for best supporting actress.
Elle
23-06-2025
- Entertainment
- Elle
Lorde's ‘Green Light' Is the Soundtrack of Youth
John Proctor Is the Villain, one of the most talked-about new plays on Broadway, follows a small-town high school class studying The Crucible at the beginning of the #MeToo movement. One of its most memorable—and cathartic—moments is set to the song 'Green Light,' Lorde's lead single on her acclaimed 2017 record, Melodrama . As we kick off a weeklong celebration of the singer in anticipation of her upcoming album release , Kimberly Belflower, the playwright behind John Proctor , reflects on the significance of 'Green Light' and why it serves as a quintessential coming-of-age anthem — especially for young women. When the pre-chorus of 'Green Light' hits, the world changes. At first, Lorde's transcendent single from her sophomore album details the pain of a relationship ending in all its jagged edges. She uses a minor key and rebels against traditional rhyme structure to prioritize emotional truth over expectation or order: 'I know about what you did, and I wanna scream the truth / She thinks you love the beach, you're such a damn liar.' When you're in the middle of pain, there is no order to it. There is no reason. The first time my heart was broken, it felt like my life changed color. The wreckage seemed to have no end. Familiar places felt foreign. I didn't recognize the landscape of my own heart. Somehow, though, time passes. Slowly, strangely, but it passes. The pain doesn't leave, at least not entirely. But pain is a path, and it leads somewhere new. It crystallizes into different shapes. And then: the pre-chorus. The shift from minor to major. 'But I hear sounds in my mind / brand new sounds in my mind.' In this single moment of 'Green Light,' Lorde captures the feeling of transformation. Within the first 48 seconds of the song, she takes us on a journey from the lows of an ending to the highs of creation, moving into a beat that makes even the most hardened heart soar. The creation I speak of is that of being an artist, but also that of being a person. As an artist, I know the particular feeling of moving through pain and arriving at the moment of hearing 'brand new sounds.' There were pains inflicted long ago that I carry still, that I'll carry forever; pains that will always be tender to the touch. ('Honey, I'll be seein' you 'ever I go.') But that pain gave me new tools, new experiences, new modes of expression that I channel into my work. I wouldn't be the artist I am without the pain I've survived. I wouldn't be able to hear or harness those 'brand new sounds.' In a single sonic moment, Lorde gave voice to an alchemy I've never been able to put into words. View full post on Youtube But you don't have to think of yourself as an artist to be a creator. We all create our identities, our directions through life. We all know that 'brand new sounds' feeling. At a certain point, we each cross the bridge of a specific pain into new territory. And it usually happens for the first time, as so many things do, when we're teenagers. 'In a single sonic moment, Lorde gave voice to an alchemy I've never been able to put into words.' 'Green Light' was released when Lorde was 20 years old and is the first song on her masterpiece Melodrama . In the last song of the same album, she sings, 'I'm 19, and I'm on fire.' It's no coincidence that 'brand new sounds' came from a teenage brain. Everything is brand-new in those years. Everything feels extreme. Sometimes there are multiple opposing extremes in a single moment. As Lorde herself described 'Green Light' in a 2017 interview with Zane Lowe : 'It sounds so happy, and then the lyrics are so intense, obviously. And I realized, I was like, 'How come this thing is coming out so joyous sounding?' And I realized this is that drunk girl at the party, dancing around crying about her ex-boyfriend who everyone thinks is a mess. That's her tonight, and tomorrow she starts to rebuild.' What If Lorde Was One of Us The reason I was asked to write this piece is because I wrote a play called John Proctor Is the Villain , now on Broadway through August 31. The play centers around a high school English class in rural Georgia studying Arthur Miller's The Crucible in the wake of the early #MeToo movement. The play also (spoiler alert!) ends with two teenage girls performing a choreographed dance to 'Green Light.' Julieta Cervantes Sadie Sink and Amalia Yoo dancing to 'Green Light' in John Proctor Is the Villain I knew from the start that the play should end with a dance sequence that doubles as an act of rebellion. This calls back to the girls in The Crucible dancing and casting spells in the woods, but it's also a way for the girls in my play to reclaim their own bodies, process their trauma, and cultivate joy in the face of a world that has never valued them and doesn't take care of them. It's sleepover dances in your best friend's basement meets ancient witchcraft meets demonic possession. I never had to think about what the soundtrack of the play's ending should be. It was always 'Green Light.' These girls have walked the path of their pain, and it led them here: harnessing their hurt and turning it into magic, into art. 'Teenage girls, in all their big feelings and extremes, are terrifying to people who aren't teenage girls.' There's a stage direction in the play's final sequence that reads, 'It starts to look less like a dance and more like an exorcism,' which I wrote from what I feel watching Lorde perform. In the 'Green Light' music video, and in her many live performances of the song, she thrashes. She shakes. She jumps. She's wild, and a little scary. She's not dancing for other people's (namely: men's) consumption of her body; she's dancing as a mode of pure self-expression. Dance as bodily autonomy. Dance as sacred ritual. Dance as spell. Neil Lupin // Getty Images Lorde during her Melodrama World Tour. Right before 'brand new sounds,' Lorde asks: 'Did it frighten you? / How we kissed when we danced on the light-up floor?' And the answer is almost definitely 'yes.' Yes, whatever kinds of kissing and dancing that happened with Lorde on the light-up floor absolutely frightened this unnamed person. Teenage girls, in all their big feelings and extremes, are terrifying to people who aren't teenage girls. Throughout 'Green Light,' Lorde invokes that ferocity in her imagery: teeth that bite and screaming truths. I've been 'that drunk girl at the party dancing around crying about her ex-boyfriend,' trying to untangle and scream my own truths. I did rebuild. And let me tell you: I needed to dance that dance to know how.
Elle
11-06-2025
- Entertainment
- Elle
Olivia Rodrigo Just Confirmed This Is Summer's Chicest Bag Trend
Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy. Olivia Rodrigo kept it low-key this week. The 'Vampire' singer was spotted in attendance of the hit broadway musical John Proctor Is the Villain, starring Stranger Things actress Sadie Sink. Rodrigo was all smiles sporting a cream linen babydoll dress and her brand-new Kate Spade Liv shoulder bag in a leopard print. The purse was a perfect complement to the easy and minimal dress and proves that mini shoulder bags aren't going anywhere anytime soon. The red strap and studded sides added a chic edgy element, balancing girly with grunge—the perfect formula for any outfit, especially for a hot summer night at a Broadway play. After the show, Rodrigo posed onstage with Sink and the pop star's longtime best friend Conan Gray. Over the weekend, Sink attended the Tony Awards, where she was nominated for Best Actress in a Play for her work in John Proctor. It was the first such nomination for the actress, marking a major moment in her career on the eve of the final season of Stranger Things. Ultimately, Sarah Snook took home the award for her incredible one-woman performance, playing 26 characters, in The Picture of Dorian Gray. Rodrigo is also fresh off of her 2025 Governors Ball performance from over the weekend, where she brought out a surprise guest performer, the legendary David Byrne, for a duet of 'Burning Down the House.' After a playful rendition and dance performance, the singer then closed her set with a four-song encore that included her hits 'Brutal,' 'Good 4 U,' 'All-American Bitch,' and 'Get Him Back!'
Cosmopolitan
09-06-2025
- Entertainment
- Cosmopolitan
Fina Strazza's 2025 Tony Awards Getting Ready Diary With Cosmo
At just 19 years old, Fina Strazza is having the kind of moment most actors only dream about. Currently captivating audiences eight times a week in John Proctor Is the Villain, Fina's searing performance as Beth Powell landed her a Tony nomination for Best Featured Actress in a Play, cementing her status as one of Broadway's brightest new stars. But theater insiders have had their eyes on her for a while. The provocative, modern coming-of-age play has racked up praise across the board—earning seven Tony nominations, along with nods from the Drama Desk, Outer Critics Circle, and Drama League Awards. And not that we're keeping count (we are), but Fina also picked up a Dorian Theater Award win for Outstanding Featured Performance in a Broadway Play. Broadway is buzzing about Fina, but so is the silver screen. Most recently, she made waves as Tiffany Falconer in Fear Street: Prom Queen, a chilling addition to the cult-favorite horror franchise on Netflix. She also led Amazon Prime's time-traveling teen saga Paper Girls as KJ Brandman, instantly becoming a fan favorite. If it seems like she was born to be on stage, it's because she practically was. Fina made her Broadway debut at the age of 8, stepping into the iconic title role in Matilda the Musical. Whether she's battling monsters, time-hopping through alternate realities, or tearing up the stage with raw, emotional firepower, one thing is clear: Fina Strazza isn't just one to watch—she's one to remember. We caught up with the actor as she got ready at the Mandarin Oriental for her first-ever Tony Awards. It's a lot. But before I answer that, though, I'd like to first confirm with everyone in this room that I have indeed remained grounded. *laughs* I was just having this conversation with my mom the other day. How I feel like I'm in this dream world right now where I'm not in charge of what's happening to me and everything is so much bigger than me. It's almost like I can't possibly even claim these fortunes in a way. You know? I am, I am. *laughs* I mean, it's not like I don't think I deserve them or something. It just feels like I've been given these gifts, and I don't take that for granted. Everything I'm getting to do is so fun. It's like being on a playground. If you're on a playground, you don't act highfalutin and better than everyone else. I'm just playing! All the time. And I love it. Well, it was a little delayed, because I was trying to watch the broadcast, but something was going on with my WiFi. And my computer kept stalling. My category hadn't even come up on my screen yet, but my phone just started blowing up. I got a ton of calls all at once. I picked up my mom's call and she yelled that I was nominated. It immediately felt like the world rushed past me. All in one second. I just kept repeating, 'Oh my god, oh my god, oh my god.' Nothing else was coming to mind and nothing else would come out of my mouth. That's just kind of where I was for the rest of the day. None! I haven't had the time. Well, Eureka Day and English closed before my show opened so I didn't get to see either of those. I know that Purpose has a Sunday evening show, which I've been meaning to catch. But I've been able to get to know some of my fellow nominees a little bit through all the Tonys press, and everyone is so grounded and welcoming. Tala and Sanaz invited me over to teach me how to do a proper curly hair routine and get chicken and rice bowls uptown. I saw Oh, Mary! and I am obsessed. Loved it. So funny, so fun. And I saw Maybe Happy Ending when it was in a workshop years ago. I'm cheering them on. Not that I have favorites or anything, but I have friends in that show and I'd love to see them win something. I first read this play when I was 17 for a workshop of it with Sadie [Sink] and the director Donna Taymor and the playwright Kimberly Belflower. I remember walking out of that presentation and feeling such electricity leaving the room. The performance was still vibrating in my body. The way Kimberly writes is so authentic and real, and it sets this blazing fire throughout the whole show that just doesn't go out until the blackout at the end. I felt how special it was in my bones. It was a feeling that stuck with me for two years, because I didn't hear anything after doing the reading. So for two years, I thought about that show. Every single day. I would ask my team for constant updates. 'Is there anything new with John Proctor? Anything happening with John Proctor?' And the thing is, I've done tons of readings before so have kind of learned to not get attached to them. Especially as a child, because I'd grow out of the role before it got to production. But there was something about this show where I couldn't see a world in which I wasn't in it. I had to be in it. I can't explain it. Because I don't think Beth and I are super similar, but I do feel a kinship with her. There's a certain energy, you know? We understand each other. No, no, no. *laughs* Tiffany and I are not connected. She was like playing my opposite, which was fun in a different way. I felt very free with Tiffany because I was able to be as absurd as I wanted. She's a whole different beast. I feel like so often when you watch shows or any kind of media with teenagers, specifically high schoolers, whoever is the smartest one is usually the most unlikable. And it's like, why are these intelligent girls always these unlikable human beings? That's not the case in real life. At least I don't think so. I love that about this show. Beth is the person in the room with all the answers, but she also has the most questions. She's often the smartest person in the room, but she is so open to new ideas. She doesn't ever feel like she is done learning. She's intelligent but also very tenderhearted. I think that's very admirable. Yes. We were just talking about this last night! We had this kind of pre Tony Awards seance and stayed in the theater very late last night to share our gratitude with one another and talk about the show. Our entire cast, including our understudies, consists of 15 people. Do you know how rare it is to find a group of 15 people where nobody is an issue and no one has a problem with anyone else? We joke that it's pretty boring sometimes because there's no one to gossip about, but it's really just a very supportive, loving environment where we all have a lot of respect for each other's tracks, which is so important in a show with such emotional weight. It can be very easy to walk off stage and keep yourself in that headspace. If we didn't have someone to lean on, it would be really hard. But luckily that's not the case. We have each other. And the second I walk off stage, I know there's someone there who I can laugh with. We'll be crying on stage one minute and then giggling about someone in the audience who had a weird laugh the next. I feel very lucky that we all enjoy one another. And the head of our social media, Austin Spero, is so great at capturing that. He's also open to any ideas we have. I love that he collaborates with us. I still feel like I'm waiting for it to feel like I'm actually in the show. It all still feels so unreal in a way. I'm kind of waiting for it to kick in, which has me worried that I'm gonna leave the show still in this dream world. I want to make sure I lock in before it's over and feel truly grounded. Because we really have such a cool job. My costar Amalia Yoo reminded me of that the other night. She was washing her face and turned to me with her makeup still smudged on her face and was like, 'Our job is really, really cool.' And I was like, 'Yeah. It really is.' I'm wearing Michael Fausto. He's a New York designer, which I love because I'm a born and raised New Yorker. I told my stylist, Sarah Slutsky, that I've always wanted to wear a ballgown. Tonight felt like the one night where I could get away with it without anyone thinking, Who does she think she is? I told Sarah I wanted to try and nod to the show in some way as well. So there is this slight Puritan aspect to the look where it feels like it could potentially be something in the realm of 1666. There's something a little bit vintage about it. It feels like an elevated version of what the girls wear at the end of the show. I wanted the glam to be like this [Fina feigns an innocent doe-eyed expression caught between surprise and delight] *laughs* I don't know how to put that into words. But my hairstylist Corey Tuttle and makeup artist Amanda Thesen have figured it out. We have the entire family in the room. My boyfriend and my mom and my dad and my sister are all coming. My mom is my official plus-one. Everyone else bought tickets. I haven't seen what my mom is wearing yet, but no one is coordinating. My boyfriend looks like a penguin though! I'm excited to see Jonathan Groff again. I've really enjoyed talking to him through the season at all of our different events. I think Lizzy McAlpine might be at some parties later tonight, and I'm excited to see her again. I've known Sadie for a long time because I was in Matilda with her brother when I was younger. She and her brother both have this incredible nonchalance about them, which helps me find my center. She's very like, 'Whatever happens, happens.' Fated. It all feels like fate. The Tony went to Kara Young for 'Purpose' in what ultimately felt like a wide-open category. Congratulations to Kara, Fina, and all the nominees!
Yahoo
09-06-2025
- Entertainment
- Yahoo
Inside the ‘Witchy Circle' of the ‘John Proctor Is the Villain' Cast
It comes as no surprise that the women of 'John Proctor Is the Villain' have an especially epic group text. The Broadway hit, which heads into this weekend's Tony Awards with seven nominations including Best Play, is set in a rural Southern high school classroom and follows a set of mostly young female students who have been classmates their whole lives, so bonding off set was crucial when it came to selling the story. More from WWD Sarah Hyland Doubles Down on Tonal Dressing in Patrizia Pepe Set With Chocolate Brown Pumps at 2025 Drama Desk Awards Amal Clooney Recycles Archival Gold Barely-there Gianvito Rossi Plexi Pumps for Broadway Date Night with George Clooney How Actress Samantha Williams Harnesses the Headstrong Heroine In Tony-nominated 'Pirates! The Penzance Musical' 'Danya [Taymor, the show's director] was so good about that because I think especially for these students in a small town, you're in the same class with the same people your entire life, and that chemistry is really important,' says star Sadie Sink, over Zoom from her dressing room. 'And that was never lost on Danya at all. So she would really incorporate a lot of team-building exercises into rehearsal that would maybe seem silly at first, but over time just really added up and became super meaningful and important into establishing that kind of connection.' The real bonding — which is evident from chatting with Sink and costars Molly Griggs and Fina Strazza, each from their respective dressing rooms — has come since the show officially opened, be it from picnics in the park between shows or the 'witchy circle' of 'giggling and being dumb' they form before each show. 'After you're out of rehearsals and previews and you get out of your own actor brain where you're thinking you're doing everything wrong, then you get closer with your cast and there's room to breathe,' Sink says. 'We have a lot of weird downtime together and that's when the friendships really get deep,' Griggs adds. 'And we have a group chat that is powerful.' 'John Proctor Is the Villain' is one of this season's biggest hits, with Tony nominations for best play, best actor for Sink, best featured actress for Strazza and best direction, among others. The production, written by Kimberly Belflower, is set in a high school in small town Georgia amid a class reading 'The Crucible.' 'The show is such a special story about young women taking up space,' Strazza says of what drew her in. 'Being a young woman myself, I loved how much Kimberly captured the accuracy of being a teenage girl and what it really feels like to be misunderstood by your community and wanting to make real change when you're often looked down upon and silenced.' Griggs meanwhile immediately related to the authenticity of the Southerness in the characters, being from the South herself. 'They really do sound and feel like Southern people and the rhythm of their speech, and in the sense of humor too, that just feels so cozy to me,' Griggs says. 'I know that feels like a surface thing, but it's actually really deep for me. It is about home and it's about a place and it's about sensibility.' Sink grew up in Texas, and recalls trying to shake her Southern accent when she first moved to New York City. 'So I was really charmed by how this play depicted not only teenage girls, but teenage girls from the South too, and how it really just embraced that culture and the parts that felt resonant to me, but also in the flaws as well. It was just this perfect cocktail of a love letter to girlhood and also the South, which I was really drawn to.' The show is drawing a wide audience, but in particular many teenage girls, who often come to the stage door to meet the cast at the end of the night. 'We've had a lot of young people in the stage door line say that this is their first Broadway show,' Griggs says. 'And that is so cool to me that not only did they have a really wonderful experience with our play in particular, but it may open the door for them to be theater people and to be people who want to come and see plays every season.' They're also meeting high schoolers who have been in productions of the show themselves: the rights to the play were released to students before it arrived on Broadway. 'I love when people at the stage door have already done the play themselves in their communities, and so they already have this really deep connection with it, and they're so excited to see it done on stage,' Strazza says. The show references the Lorde song 'Green Light' several times throughout, and while the pop star has yet to make it to a show, the cast knows that she's well aware of her song's role in the show. 'We know she wants to come, but it's busy being Lorde,' Sink says. 'But we're dying to get her here.' 'We do the show for her every night,' Strazza adds. 'It'll happen whenever it happens,' Sink says. 'We'll have to summon her in our circle one day.' 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