Latest news with #PhantomoftheOpera
The Advertiser
3 hours ago
- Sport
- The Advertiser
Man of many talents hits right note for Aussie tennis
One-time national junior swimming champ, accomplished flautist who's graced Sydney's grandest stages, Phantom of the Opera star and mentored by a great sportsman, let's just say James McCabe is one multi-talented lad. And the great news for Australian tennis? This gifted musical and athletic allrounder has finally alighted on the sport as his chosen destination, with the late-starting but quickly-blooming 21-year-old virtuoso now ready to play all the right notes on his Wimbledon debut. With his every progress being backed all the way by the great dual-code rugby legend Sonny Bill Williams, McCabe gazed over the All England Club and declared: "Definitely, tennis was the right choice. "It's been my dream. When I was a kid, the first thing I did was pick up a racquet when I was two-and-a-half, and dad took me on the court and I could hit the ball, I could actually rally. "Dad thought it was a bit silly, but he's got those videos somewhere, and I had a diaper on at the time!" But McCabe, born in the Philippines to a Filipina mother and Irish father and a proud Sydneysider from the moment he moved to Australia with the family at six months old, had to wait a long time before he finally turned his attention to tennis three years ago. Er, that's because he was just a bit too busy being one of life's achievers. It was exhausting just listening to McCabe relating how during his school years in Sydney, after he got his swimming scholarship to Trinity Grammar, he would regularly get just a few hours sleep, fitting in all his early morning training in the pool with a bewildering amount of after-school musical fare. "I was a flautist in orchestras and symphonic wind bands, marching bands and musicals, and played in the biggest venues in Sydney, like Town Hall and St Andrew's Cathedral and that was a big part of my life. And now it's tennis," explained McCabe, who's a fine choral soloist, guitarist and pianist. Now he's on one of sport's greatest stages instead as the world No.181 after making huge progress over the last three years, culminating in his qualification for his maiden Wimbledon last week, which has set up his debut against Hungary's world No.58 Fabian Marozsan on Tuesday. "When you're playing music and stuff, you're basically looking to be perfect, but in tennis, you can't be perfect," he shrugged, comparing his two worlds. "You're versing someone else, and they're doing everything that you basically don't want to do, that's the game. In tennis, you've got to take the punches, but also give them back." Which brings us to Williams, the All Blacks great who's a long-time family friend and mentor to McCabe. When McCabe came through qualifying last week, Sonny Bill sent him a message voicing his congratulations. "I'm very lucky and very grateful that I have him mentoring me and giving me all of his tips and advice, maybe the greatest of all-time in his field who carries himself so humbly." Williams has got his own big sporting date lined up for next month, his boxing blockbuster in Sydney with rugby league hard man Paul Gallen. Asked for his prediction, McCabe smiled: "I guess I definitely have Sunny, he's always my number one." But could McCabe, a national junior 200m butterfly champ before he turned his back on the swimming grind, turn out to be as brilliant a sporting allrounder as his hero? "Everyone has their own path, and you gotta make the most out of what you can make of it," shrugged McCabe. "And if you believe in your dream, anything's possible." One-time national junior swimming champ, accomplished flautist who's graced Sydney's grandest stages, Phantom of the Opera star and mentored by a great sportsman, let's just say James McCabe is one multi-talented lad. And the great news for Australian tennis? This gifted musical and athletic allrounder has finally alighted on the sport as his chosen destination, with the late-starting but quickly-blooming 21-year-old virtuoso now ready to play all the right notes on his Wimbledon debut. With his every progress being backed all the way by the great dual-code rugby legend Sonny Bill Williams, McCabe gazed over the All England Club and declared: "Definitely, tennis was the right choice. "It's been my dream. When I was a kid, the first thing I did was pick up a racquet when I was two-and-a-half, and dad took me on the court and I could hit the ball, I could actually rally. "Dad thought it was a bit silly, but he's got those videos somewhere, and I had a diaper on at the time!" But McCabe, born in the Philippines to a Filipina mother and Irish father and a proud Sydneysider from the moment he moved to Australia with the family at six months old, had to wait a long time before he finally turned his attention to tennis three years ago. Er, that's because he was just a bit too busy being one of life's achievers. It was exhausting just listening to McCabe relating how during his school years in Sydney, after he got his swimming scholarship to Trinity Grammar, he would regularly get just a few hours sleep, fitting in all his early morning training in the pool with a bewildering amount of after-school musical fare. "I was a flautist in orchestras and symphonic wind bands, marching bands and musicals, and played in the biggest venues in Sydney, like Town Hall and St Andrew's Cathedral and that was a big part of my life. And now it's tennis," explained McCabe, who's a fine choral soloist, guitarist and pianist. Now he's on one of sport's greatest stages instead as the world No.181 after making huge progress over the last three years, culminating in his qualification for his maiden Wimbledon last week, which has set up his debut against Hungary's world No.58 Fabian Marozsan on Tuesday. "When you're playing music and stuff, you're basically looking to be perfect, but in tennis, you can't be perfect," he shrugged, comparing his two worlds. "You're versing someone else, and they're doing everything that you basically don't want to do, that's the game. In tennis, you've got to take the punches, but also give them back." Which brings us to Williams, the All Blacks great who's a long-time family friend and mentor to McCabe. When McCabe came through qualifying last week, Sonny Bill sent him a message voicing his congratulations. "I'm very lucky and very grateful that I have him mentoring me and giving me all of his tips and advice, maybe the greatest of all-time in his field who carries himself so humbly." Williams has got his own big sporting date lined up for next month, his boxing blockbuster in Sydney with rugby league hard man Paul Gallen. Asked for his prediction, McCabe smiled: "I guess I definitely have Sunny, he's always my number one." But could McCabe, a national junior 200m butterfly champ before he turned his back on the swimming grind, turn out to be as brilliant a sporting allrounder as his hero? "Everyone has their own path, and you gotta make the most out of what you can make of it," shrugged McCabe. "And if you believe in your dream, anything's possible." One-time national junior swimming champ, accomplished flautist who's graced Sydney's grandest stages, Phantom of the Opera star and mentored by a great sportsman, let's just say James McCabe is one multi-talented lad. And the great news for Australian tennis? This gifted musical and athletic allrounder has finally alighted on the sport as his chosen destination, with the late-starting but quickly-blooming 21-year-old virtuoso now ready to play all the right notes on his Wimbledon debut. With his every progress being backed all the way by the great dual-code rugby legend Sonny Bill Williams, McCabe gazed over the All England Club and declared: "Definitely, tennis was the right choice. "It's been my dream. When I was a kid, the first thing I did was pick up a racquet when I was two-and-a-half, and dad took me on the court and I could hit the ball, I could actually rally. "Dad thought it was a bit silly, but he's got those videos somewhere, and I had a diaper on at the time!" But McCabe, born in the Philippines to a Filipina mother and Irish father and a proud Sydneysider from the moment he moved to Australia with the family at six months old, had to wait a long time before he finally turned his attention to tennis three years ago. Er, that's because he was just a bit too busy being one of life's achievers. It was exhausting just listening to McCabe relating how during his school years in Sydney, after he got his swimming scholarship to Trinity Grammar, he would regularly get just a few hours sleep, fitting in all his early morning training in the pool with a bewildering amount of after-school musical fare. "I was a flautist in orchestras and symphonic wind bands, marching bands and musicals, and played in the biggest venues in Sydney, like Town Hall and St Andrew's Cathedral and that was a big part of my life. And now it's tennis," explained McCabe, who's a fine choral soloist, guitarist and pianist. Now he's on one of sport's greatest stages instead as the world No.181 after making huge progress over the last three years, culminating in his qualification for his maiden Wimbledon last week, which has set up his debut against Hungary's world No.58 Fabian Marozsan on Tuesday. "When you're playing music and stuff, you're basically looking to be perfect, but in tennis, you can't be perfect," he shrugged, comparing his two worlds. "You're versing someone else, and they're doing everything that you basically don't want to do, that's the game. In tennis, you've got to take the punches, but also give them back." Which brings us to Williams, the All Blacks great who's a long-time family friend and mentor to McCabe. When McCabe came through qualifying last week, Sonny Bill sent him a message voicing his congratulations. "I'm very lucky and very grateful that I have him mentoring me and giving me all of his tips and advice, maybe the greatest of all-time in his field who carries himself so humbly." Williams has got his own big sporting date lined up for next month, his boxing blockbuster in Sydney with rugby league hard man Paul Gallen. Asked for his prediction, McCabe smiled: "I guess I definitely have Sunny, he's always my number one." But could McCabe, a national junior 200m butterfly champ before he turned his back on the swimming grind, turn out to be as brilliant a sporting allrounder as his hero? "Everyone has their own path, and you gotta make the most out of what you can make of it," shrugged McCabe. "And if you believe in your dream, anything's possible." One-time national junior swimming champ, accomplished flautist who's graced Sydney's grandest stages, Phantom of the Opera star and mentored by a great sportsman, let's just say James McCabe is one multi-talented lad. And the great news for Australian tennis? This gifted musical and athletic allrounder has finally alighted on the sport as his chosen destination, with the late-starting but quickly-blooming 21-year-old virtuoso now ready to play all the right notes on his Wimbledon debut. With his every progress being backed all the way by the great dual-code rugby legend Sonny Bill Williams, McCabe gazed over the All England Club and declared: "Definitely, tennis was the right choice. "It's been my dream. When I was a kid, the first thing I did was pick up a racquet when I was two-and-a-half, and dad took me on the court and I could hit the ball, I could actually rally. "Dad thought it was a bit silly, but he's got those videos somewhere, and I had a diaper on at the time!" But McCabe, born in the Philippines to a Filipina mother and Irish father and a proud Sydneysider from the moment he moved to Australia with the family at six months old, had to wait a long time before he finally turned his attention to tennis three years ago. Er, that's because he was just a bit too busy being one of life's achievers. It was exhausting just listening to McCabe relating how during his school years in Sydney, after he got his swimming scholarship to Trinity Grammar, he would regularly get just a few hours sleep, fitting in all his early morning training in the pool with a bewildering amount of after-school musical fare. "I was a flautist in orchestras and symphonic wind bands, marching bands and musicals, and played in the biggest venues in Sydney, like Town Hall and St Andrew's Cathedral and that was a big part of my life. And now it's tennis," explained McCabe, who's a fine choral soloist, guitarist and pianist. Now he's on one of sport's greatest stages instead as the world No.181 after making huge progress over the last three years, culminating in his qualification for his maiden Wimbledon last week, which has set up his debut against Hungary's world No.58 Fabian Marozsan on Tuesday. "When you're playing music and stuff, you're basically looking to be perfect, but in tennis, you can't be perfect," he shrugged, comparing his two worlds. "You're versing someone else, and they're doing everything that you basically don't want to do, that's the game. In tennis, you've got to take the punches, but also give them back." Which brings us to Williams, the All Blacks great who's a long-time family friend and mentor to McCabe. When McCabe came through qualifying last week, Sonny Bill sent him a message voicing his congratulations. "I'm very lucky and very grateful that I have him mentoring me and giving me all of his tips and advice, maybe the greatest of all-time in his field who carries himself so humbly." Williams has got his own big sporting date lined up for next month, his boxing blockbuster in Sydney with rugby league hard man Paul Gallen. Asked for his prediction, McCabe smiled: "I guess I definitely have Sunny, he's always my number one." But could McCabe, a national junior 200m butterfly champ before he turned his back on the swimming grind, turn out to be as brilliant a sporting allrounder as his hero? "Everyone has their own path, and you gotta make the most out of what you can make of it," shrugged McCabe. "And if you believe in your dream, anything's possible."
Perth Now
5 hours ago
- Sport
- Perth Now
Man of many talents hits right note for Aussie tennis
One-time national junior swimming champ, accomplished flautist who's graced Sydney's grandest stages, Phantom of the Opera star and mentored by a great sportsman, let's just say James McCabe is one multi-talented lad. And the great news for Australian tennis? This gifted musical and athletic allrounder has finally alighted on the sport as his chosen destination, with the late-starting but quickly-blooming 21-year-old virtuoso now ready to play all the right notes on his Wimbledon debut. With his every progress being backed all the way by the great dual-code rugby legend Sonny Bill Williams, McCabe gazed over the All England Club and declared: "Definitely, tennis was the right choice. "It's been my dream. When I was a kid, the first thing I did was pick up a racquet when I was two-and-a-half, and dad took me on the court and I could hit the ball, I could actually rally. "Dad thought it was a bit silly, but he's got those videos somewhere, and I had a diaper on at the time!" But McCabe, born in the Philippines to a Filipina mother and Irish father and a proud Sydneysider from the moment he moved to Australia with the family at six months old, had to wait a long time before he finally turned his attention to tennis three years ago. Er, that's because he was just a bit too busy being one of life's achievers. It was exhausting just listening to McCabe relating how during his school years in Sydney, after he got his swimming scholarship to Trinity Grammar, he would regularly get just a few hours sleep, fitting in all his early morning training in the pool with a bewildering amount of after-school musical fare. "I was a flautist in orchestras and symphonic wind bands, marching bands and musicals, and played in the biggest venues in Sydney, like Town Hall and St Andrew's Cathedral and that was a big part of my life. And now it's tennis," explained McCabe, who's a fine choral soloist, guitarist and pianist. Now he's on one of sport's greatest stages instead as the world No.181 after making huge progress over the last three years, culminating in his qualification for his maiden Wimbledon last week, which has set up his debut against Hungary's world No.58 Fabian Marozsan on Tuesday. "When you're playing music and stuff, you're basically looking to be perfect, but in tennis, you can't be perfect," he shrugged, comparing his two worlds. "You're versing someone else, and they're doing everything that you basically don't want to do, that's the game. In tennis, you've got to take the punches, but also give them back." Which brings us to Williams, the All Blacks great who's a long-time family friend and mentor to McCabe. When McCabe came through qualifying last week, Sonny Bill sent him a message voicing his congratulations. "I'm very lucky and very grateful that I have him mentoring me and giving me all of his tips and advice, maybe the greatest of all-time in his field who carries himself so humbly." Williams has got his own big sporting date lined up for next month, his boxing blockbuster in Sydney with rugby league hard man Paul Gallen. Asked for his prediction, McCabe smiled: "I guess I definitely have Sunny, he's always my number one." But could McCabe, a national junior 200m butterfly champ before he turned his back on the swimming grind, turn out to be as brilliant a sporting allrounder as his hero? "Everyone has their own path, and you gotta make the most out of what you can make of it," shrugged McCabe. "And if you believe in your dream, anything's possible."
The Advertiser
7 days ago
- Entertainment
- The Advertiser
Todd McKenney steals show in CATS but true star is controversial: review
We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights. First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it. Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew. Read more from The Senior: His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night. Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19. The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career. Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence. Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience. But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s! Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986). And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia? And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it. Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there. And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over? But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s. I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits. His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats. And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'. Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite. Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping. And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful. And it was then my 11-year-old date tapped my arm: "This is a good song". The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance. If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines. Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half. Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand. Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton". That's one win for the '80s, and a zero for the 1700 - 1800's. CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026. Prices start from $69.90. Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE. We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights. First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it. Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew. Read more from The Senior: His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night. Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19. The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career. Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence. Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience. But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s! Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986). And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia? And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it. Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there. And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over? But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s. I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits. His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats. And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'. Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite. Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping. And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful. And it was then my 11-year-old date tapped my arm: "This is a good song". The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance. If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines. Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half. Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand. Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton". That's one win for the '80s, and a zero for the 1700 - 1800's. CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026. Prices start from $69.90. Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE. We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights. First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it. Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew. Read more from The Senior: His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night. Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19. The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career. Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence. Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience. But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s! Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986). And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia? And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it. Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there. And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over? But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s. I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits. His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats. And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'. Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite. Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping. And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful. And it was then my 11-year-old date tapped my arm: "This is a good song". The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance. If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines. Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half. Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand. Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton". That's one win for the '80s, and a zero for the 1700 - 1800's. CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026. Prices start from $69.90. Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE. We're used to seeing him in musicals like the Boy from Oz or judging C-grade celebrities on their dancing skills, but Todd McKenney's hilarious portrayal of Asparagus (Gus) the old theatre cat, thankfully, only briefly involved tights. First of all, the character just needed an old scruffy coat, and secondly, it would have been akin to seeing your uncle prance around in lycra. Sure, he looked great, but I don't need to see it. Although playing two parts, his role of Bustopher Jones, the dapper, well-fed cat was also covered up in a smart, black coat. Phew. Read more from The Senior: His comedic timing in both roles was purfect, but as Gus he truly shone. His storytelling, singing and dancing skills enlivened the audience, gaining the biggest laughs of the night. Forty years after CATS made its Sydney debut in the Theatre Royal, the musical returned to the same theatre in front of an appreciative crowd on June 19. The stellar cast also included the operatic voice of Mark Vincent who, after winning Australia's Got Talent in 2009, has had a successful recording and theatre career. Playing the cat leader Old Deuteronomy, Vincent commanded the stage, truly transfixing his audience with regal moves and his booming, baritone presence. Kudos to him for sitting on the stage, almost lifeless, during the 20 minute intermission - delighting the audience. But the true star of the show was much more controversial than all the reality stars in the constellation - the 1980s! Andrew Lloyd Webber's smash hit is truly a product of its time, debuting in London's West End in 1981 - and it shows itself as an '80s child more than his other productions, such as Phantom of the Opera (1986). And for this reason, many people detest it. But what's wrong with the '80s? Why not enjoy two hours of nostalgia? And sure, while some of the synth music felt like it belonged in an episode of Miami Vice just before Crockett and Tubbs busted another drug ring - I loved it. Prince once said to me, the reason he loves playing in Australia was "because we appreciated '80s music". Well, he said it to the audience at his concert in 2012, but I was there. And why not appreciate the time when CATS had its first life and pounced onto the stage as a fresh faced kitten, to the delight of audience-goers the world over? But I was still curious how a new generation would receive the once-contemporary musical, based on the book of poems Old Possum's Book of Practical Cats by TS Eliot, when they had no sentimental ties to the 80s. I purposefully didn't tell my 11-year-old date, Joe, anything in the lead up to the show. My nephew's family were under strict instructions not to let the cat out of the bag and tell him any details. And the soundtrack was strictly off limits. His first indication that CATS was wildly popular and maybe a bit different was when we arrived and saw old and young theatre-goers dressed as cats. And although he found the first part a bit confusing and was not quite sure what a Jellical cat was (I didn't really know, either) - he soon perked up with the arrival of the Rum Tum Tugger, with his hilariously understated 'Meow'. Expertly played by Des Flanagan, he added irreverent cheekiness and comic relief. He got all the kids in the audience on board - he was our favourite. Equally as mesmerising was Mr Mistoffelees, played by Axel Alvarez, with impressive ballet moves and accompanied by super-bright pyrotechnics and a magic trick that had the audience gasping. And although our performance saw understudy Aimee Jones replace Gabriyel Thomas in the role of Grizabella, the once glamorous cat, her rendition of the musical highlight Memory was emotional and powerful. And it was then my 11-year-old date tapped my arm: "This is a good song". The interaction of the cats going through the audience made everyone laugh, fascinated children and at times scared the crowd - especially when the bad cat Macavity made a sly appearance. If you want your grandchildren or nieces and nephews to have the full CATS experience - book aisle seats in the stalls - and they'll be face to whiskers with many felines. Just keep in mind CATS is two hours long plus a 20 minute intermission - so take them to a matinee in case they fall asleep in the slower first half. Despite its criticism that CATS is stuck in the '80s, it still stands the test of time - at least with my nephew - who is normally very quick to tell me if something isn't Sigma and is Ohio or any of the words I do not understand. Instead, in the cab ride on the way home, wearing his new yellow CATS hoodie, Joe declared "CATS is the best musical ever, better than Hamilton". That's one win for the '80s, and a zero for the 1700 - 1800's. CATS is on until September 6 at the Theatre Royal, Sydney before heading to Adelaide, Perth and Melbourne. It will be Brisbane's turn from February 2026. Prices start from $69.90. Share your thoughts in the comments below, or send a Letter to the Editor by CLICKING HERE.
Yahoo
13-06-2025
- Politics
- Yahoo
A decade after candidate Trump's escalator ride, 10 ways he has altered Kansas
Business mogul Donald Trump rides an escalator to a press event to announce his candidacy for the U.S. presidency at Trump Tower on June 16, 2015, in New York City. () It's been 10 years since Donald Trump, a real estate mogul and reality TV star, rode an escalator down to a New York City press conference announcing his entry into the presidential campaign. On that day — June 16, 2015 — Trump's candidacy seemed more like a publicity stunt and his presidency seemed like dark fantasy. Before the event that day, music from the 'Phantom of the Opera' played on repeat. The campaign paid people to attend as Trump said Mexico was sending 'rapists' across the border. 'I don't think anybody came away from that announcement thinking he was going to be the next president,' said Charlotte Alter, who attended the announcement for Time magazine. And yet, here we are. After 10 years, we are living in Trump's America, an era defined by his policies, his rhetoric and even his fashion. It's a golden anniversary, if only because of Trump's penchant for lacquering everything with the color gold. While Kansas in 2015 was distant from Trump's Big Apple glitz and power, the state has undeniably been changed by Trump's two presidencies and three candidacies. My list focuses on issues that particularly impact Kansans. There also are national changes. With that caveat, here is my list of 10 ways that life in Kansas has shifted since the president rode that Trump Tower escalator 10 years ago. When Kansas voters protected abortion rights in an August 2022 ballot measure, it signaled red-state resistance. During the Trump decade, national political attention rarely — if ever — focused on Kansas as much as that moment. While the Supreme Court — increasingly of Trump's construction — ruled that the Constitution does not guarantee abortion rights, voters in the largely conservative state of Kansas pushed back. Since then, the number of abortions in Kansas has risen, and a majority of abortions have been performed for patients from out-of-state. The Kansas ballot results showed Democrats the popularity of their position on reproductive rights. The acrimonious retreat to our partisan corners during the Trump decade contains so many anecdotes, so much data and so many consequences that it seems reductive to boil it down as a single item on this list. The United States — and Kansans — are divided. On one side, the religious devotion of the MAGA faithful. On the other, the liberal and currently impotent resistance. While many kind folks in my life describe themselves as 'moderates' or 'centrists,' you wouldn't know it by watching Fox News, logging into Truth Social or reading the comment section anywhere online. The mudslinging of politics that we bemoaned in past decades seems quaint by today's standards. Following Trump's lead, we empty entire dump trucks of vitriol on each other. The other political party? They are the enemy. Starting with his announcement 10 years ago, Trump's rhetoric has targeted immigration over the southern border with Mexico. Trump has banned travel from Muslim-majority countries, demanded that Mexico pay for a border wall and unleashed lies against immigrants, particularly those from Mexico, Central America and South America. How could this not impact Kansans? The second largest racial group in Kansas, after white, is hispanic. According to the US Census, 13% of Kansans identify as hispanic. Local activists report that agents with U.S. Immigration and Customs Enforcement have been more visible in the state during Trump's second term and they worry that organized sweeps will come to the state soon. In Kansas City, immigration attorneys report that many clients aren't attending their scheduled hearings out of fear that agents will arrest them outside their hearing and deport them. A recent study found that Kansas and Missouri farmers are reluctant to voice their opinions on climate change, regardless of their point of view. This seems part of Trump's effort to take climate change from settled science to political fulcrum. To state a few obvious things, Kansas agriculture is vital and relies on a climate that allows for productive harvests. Climate change threatens that. Kansas agriculture is weaker after twice having a president who withdrew us from key climate agreements while misrepresenting basic facts: the causes of wildfires, the paths of hurricanes and the virtues of renewable energy. Trump's cynical rhetoric started with one phrase: fake news. He used the phrase to bulldoze over any empirical resistance, whether from journalists, academics or lawyers. As he saw it, anyone who opposed him was peddling something dishonest. Fast forward 10 years. The spread of measles in Kansas during recent months is a pointed symbol of the everpresent doubts that Trump and his administration have created. As diseases like measles sprout from obscurity, we can see Trump's actions as a unique fertilizer: COVID-19 vaccine denialism, appointment of a vaccine skeptic in his cabinet and skepticism of anyone who claims expertise. Cuts to federal spending on agriculture research will likely threaten our status, as Americans and Kansans, as leaders in worldwide agriculture. Expect more stories from Kansas with headlines like these: K-State ag research projects ended after DOGE cuts off USAID funding Rural Kansas hit by federal job cuts as programs grind to a halt Kansas City USDA food program cuts could leave some without enough food Those stories touch on immediate effects. Consider the long-term effects on agriculture. Things will get more dire for Kansans. Not knowing why honeybees are dying? The threat of a 'man-eater' screwworm? Both possibilities are looming without a functioning federal agriculture response. This concern over research doesn't even address the agriculture market instability caused by Trump's tariffs. Kansas politicians have learned a new brand of conservatism from Trump: brash political bullying that ignores polite norms. 'If we can do it, we will,' seems to be their jet fuel. Trump's second-term flurry of executive orders expresses this political swagger. So what if courts knock back most of the actions? In the meantime, the executive orders will have shuttered federal agencies. In the meantime, the damage is done. Similarly, the Kansas Board of Regents in 2021 allowed campus administrators to eliminate university employees, including tenured faculty, without declaring a financial emergency. Discard precedent and don't look back. No surprise: Just like Trump's executive orders, the firing of Emporia State faculty is tied up in court. Opposing Trump has become so reflexive over the past 10 years that Democrats have often defaulted to opposition, even when it doesn't make empirical sense, let alone political sense. Let's start with COVID-19. Trump called it the Wuhan Flu, simultaneously a jingoistic swing at China and an attempt to belittle a dangerous virus. And many of his public statements (injecting bleach, anyone?) revealed his foolishness. But the Democrats' reaction was also imperfect — and likely carried more electoral consequences. Closing schools and demanding masking were both wildly unpopular while also not providing the desired protections. Similarly, Democrats have spent 10 years now opposing Trump on immigration. While Trump holds many odious views on immigration, a central plank of his platform is the prevention of illegal immigration. To many Kansans, opposing Trump's immigration policies means that liberals want to open the border. That policy seems a political folly when 45.6% of Kansans believe illegal immigrants are a 'danger to public safety.' Programs that celebrate diversity have been a hallmark of college campuses for years. Along with affirmative action — struck down by a Trump-appointed Supreme Court majority — DEI programs have vanished from Kansas education. I understand it's a bit reductionist to group racial diversity with LGBTQ+ issues, but the Trump administration seems equally obsessed with sexual orientation and issues affecting transgender people. Campus protests in Kansas have pointed to the unfairness of it all. Plus, a recent lawsuit against KU (where I work) threatens to punish the university for its response. Electoral maps from the 2024 presidential election showed Trump continuing his gains in most Kansas counties — and the Kansas Legislature remains a conservative stronghold. So it's difficult to say that Democrats are gaining. However, liberal opposition is more visible and galvanized during the Trump decade. Being the resistance party has brought underdog audacity to Democrats. Kansans have protested Trump policies on abortion, immigration and COVID-19 policies. Protests are planned for Saturday in opposition to his increasingly authoritarian policies. The opposition has even splashed back on Elon Musk and his allegiance to Trump. A Lenexa collision center for Tesla vehicles was firebombed with Molotov cocktails in April in an incident showing how this opposition can go too far. Living in Trump's America has encouraged wishful thinking about a Trump exit. On election night 2016, it was 'Maybe the exit polling is wrong.' During his first term, they thought, 'He's going to get impeached and removed from office.' After losing in 2020, many Kansans hoped, 'Now he will fade into obscurity.' Instead, with more than three years remaining on his term, it's clear that Trump's escalator ride 10 years ago will define our modern lives as Americans and Kansans. Eric Thomas teaches visual journalism and photojournalism at the William Allen White School of Journalism and Mass Communication at the University of Kansas in Lawrence. Through its opinion section, Kansas Reflector works to amplify the voices of people who are affected by public policies or excluded from public debate. Find information, including how to submit your own commentary, here.
Daily Mirror
12-06-2025
- Entertainment
- Daily Mirror
6 unhinged Donald Trump moments as he gets booed and trolled by drag queens
Among the many surprising things about Donald Trump is his apparently sincere and deep love for popular stage musicals of the 80s and 90s. He's frequently spoken of his love of the works of Andrew Lloyd Webber - citing Cats and Phantom of the Opera among his favourites. Anyone who's been to one of his speeches will be familiar with his warm-up tape. Alongside high energy radio rock hits, MAGA fans are regularly treated to often lengthy cuts from the soundtracks of the above musicals - usually soft solo ballads like Music of the Night from Phantom and Memory from Cats. Last night, Trump got a treat - a performance of his other favourite musical, Les Miserables, at the Kennedy Centre. Regular readers will be familiar with Trump's offbeat plan to recast Washington's major cultural centre to be more to his tastes - fewer drag queens and experimental theatre, more basic musicals and country rock. Well, last night was the culmination of that process - a command performance of the epic show just for him. And a half full audience. And some drag queens. Here's more on that, and some other things that happened in Trump world yesterday. "Do you hear the people sing? Singing the song of angry men?", the cast of Les Mis intone at one of the show's many emotional climaxes. Well, Trump, sitting at the front of the circle, certainly did. He also heard the people boo. As he and rarely seen First Lady Melania Trump took their seats, parts of the (roughly half capacity) crowd erupted in boos. Shortly after, cheers took over from elsewhere in the crowd, followed again by chants of "USA! USA!". Later, someone accurately shouted "felon" at the President. Among the modest crowd were a large contingent of drag queens, who sashayed past the first family. About a dozen performers from the show's cast refused to appear at the performance in protest against the administration. Asked on the red carpet whether he identifies more with unfortunate, redemption-seeking ex-convict turned politician turned revolutionary Jean Valjean or obsessive and vindictive policeman Inspector Javert, Trump said: "Oh, that's a tough one." 'You better answer that one, honey,' he said, deferring to his often absent wife. 'I don't know.' Meanwhile Defence Secretary Pete Hegseth refused to tell a Congressional committee how much it'll cost to refit the "free plane" Trump was gifted by Qatar. A contract has been awarded for reconfiguration of the plane, which it's been claimed the President could use as a temporary replacement for Air Force One while a new presidential jet is being completed by Boeing. Trump has become increasingly impatient with the slow pace of ensuring the Boeing jets are suitable for use as a flying White House. Follow our Mirror Politics account on Bluesky here. And follow our Mirror Politics team here - Lizzy Buchan, Mikey Smith, Kevin Maguire, Sophie Huskisson, Dave Burke and Ashley Cowburn. Be first to get the biggest bombshells and breaking news by joining our Politics WhatsApp group here. We also treat our community members to special offers, promotions, and adverts from us and our partners. If you want to leave our community, you can check out any time you like. If you're curious, you can read our Privacy Notice. Or sign up here to the Mirror's Politics newsletter for all the best exclusives and opinions straight to your inbox. And listen to our exciting new political podcast The Division Bell, hosted by the Mirror and the Express every Thursday. But it's been pointed out that even the free plane would have to be subject to the same rigorous programme of security checks - effectively dismantling it and rebuilding it to ensure there aren't any bugs or ancient Greeks hiding in the walls. But asked how much all this was going to cost, a not unreasonable question for the Senate Appropriations defence subcommittee - which is in charge of approving the departmental budget - Hegseth said no. "That cannot be revealed in this setting," he said. "Why can't it be revealed in this setting?" asked Senator Jack Reed, "This is the appropriations committee of the United States Senate. We appropriate the money that you will spend after it's authorised by my committee, and you cannot tell us how much the contract is for." "You will have that number, senator," Hegseth insisted. "We want it now. The contract has been signed, correct?" Reed asked - reminding him of reports that aviation firm L3Harris had been awarded the contract. But Hegseth said: "Nothing on that front, that I'm aware of, is being executed." This Saturday, tanks and other military equipment will roll through the street of Washington DC. It's totally in celebration of the 250th birthday of the US armed forces, and not for Trump's 79th birthday, which happens to also be on Saturday. Anyway, Trump is very much looking forward to it - as are we. We'll be on the ground to see the whole grotesque spectacle of military might unfold. But about 60% of Americans say the parade is "not a good use" of taxpayers' money, according to a poll published last night. The NORC Center for Public Affairs Research survey found just 4 in 10 Americans "somewhat" or "strongly" approve of the parade, while about 3 in 10 "somewhat" or "strongly" disapprove. About 3 in 10 neither approve nor disapprove. Matt Wheeler, 40, called the display "extremely wasteful" and "a bit of a performance" that "just sends a bad message" in terms of the overt military display. "The only other time I can think about this, it's been in old throwbacks to the USSR or things you see out of North Korea," said Wheeler, who works in nonprofit fundraising in Los Angeles and described himself as a lifelong Democrat. "It's a direction this administration is inclined to move in that isn't in line with what I thought our country really was." Lee Greenwood, whose patriotic anthem "God Bless the USA" has soundtracked almost every Trump speech since 2016. The song - which many people loathe, but I personally consider to be an absolute stone-cold banger - contains the line "I'm proud to be an American, where at least I know I'm free." It is Greenwood's only work of note. But he unashamedly dines out on it - and under Trump it's even been played at official naturalisation ceremonies for new citizens. Well, great news everyone. Greenwood will be singing it live at definitely not Trump's birthday party. As the military rolls through the nation's capital, a string of protests are scheduled to take place in hundreds of cities across the US. Protests are growing in response to his immigration policies. The "No Kings" protests have been called, organisers say, to protect America's democracy as Trump vows to increase his deployment of military forces inside the United States. But there aren't any planned for the capital, which is probably a good thing after Trump warned any protesters disrupting his not birthday parade would face a severe response.
