Latest news with #SarahSnook
Yahoo
5 hours ago
- Entertainment
- Yahoo
‘The Picture Of Dorian Gray' Starring Sarah Snook Officially Recoups Its Broadway Investment
The Picture of Dorian Gray has officially recouped its investment, producers announced. The play starring Succession's Sarah Snook in a solo performance was reportedly capitalized at more than $8 million. Producers have not confirmed the capitalization amount. More from Deadline 'Glengarry Glen Ross', 'Dorian Gray', 'Dead Outlaw', 'Real Women Have Curves' & 'Stephen Sondheim's Old Friends' Go Out With A Bang - Broadway Box Office Karl E. Held Dies: A Producer Of Broadway-Bound 'Kowalski' Was 63 'Phantom' Spin-Off 'Masquerade' Sells Out Six Weeks Of Previews In Three Hours; Additional Dates To Be Announced The recoupment announcement comes days after the production's June 29 final performance. The high-tech production reported a record-breaking final-week gross of $2,092,069, the highest weekly take for the production and the first time it surpassed $2 million in a single week. The $2M figure marks the second-highest weekly gross for any show, play or musical, in the history of the Music Box Theatre, topped only by Dear Evan Hansen during the week ending December 31, 2017. Throughout its extended run, Kip Williams' adaptation of the Oscar Wilde novel repeatedly topped its own box office records and holds the distinction of being the only non-musical play to gross more than $1 million in a week at the 104-year-old venue. Previews for the limited engagement began on March 10, with the official opening on March 27. The production arrived on Broadway following a sold-out run in London's West End. Dorian Gray was nominated for two Tony Awards, with Snook, who played all 26 characters, winning in the Leading Actress/Play category (the other win was for Marg Horwell's costume design). The play originated in 2020 at Sydney Theatre Company. The Broadway production was produced by Michael Cassel, Adam Kenwright, Len Blavatnik and Danny Cohen, Daryl Roth, Amanda Lipitz and Henry Tisch. Aaron Lustbader was Executive Producer and Michael Cassel Group the worldwide Executive of Deadline 2025 TV Series Renewals: Photo Gallery Who Is [SPOILER]? The Latest Big Marvel Reveal Explained 'Poker Face' Season 2 Guest Stars: From Katie Holmes To Simon Hellberg
New York Times
24-06-2025
- Entertainment
- New York Times
Broadway's Season of Screens
Sarah Snook screen-sharing selfies from a face-filtering phone app. Nicole Scherzinger getting her close-up via movie cameras. George Clooney making onstage television. Robert Downey Jr. superseded by a digital puppet. High-tech storytelling is surging on Broadway. Over the last year, stages have been brimming with large-scale and high-resolution videos, deployed not simply for scenery but also as an integrated narrative tool. It is all made possible by the growing availability, affordability and stability of the cameras, computers, projectors and surfaces that are utilized as part of today's stage sets. The phenomenon, which is presumably here to stay, also reflects the ubiquity of digital devices in contemporary life. In an era when we are rarely separated from our smartphones or smartwatches, and video greets us in our cars and supermarkets, the latest technology is transforming stagecraft and storytelling. 'The majority of Americans' waking, conscious moments are looking at screens,' said the designer Jake Barton, who last fall worked on 'McNeal,' a play that starred Downey as a novelist whose entanglement with generative artificial intelligence is woven into the scenic design. 'On one level,' Barton said, 'this is just theater naturally evolving.' Just two weeks ago, the Tony Awards gave the coveted best musical prize to 'Maybe Happy Ending,' in which actors playing robots share a stage at times with massive videos depicting their digital memories. The best musical revival Tony went to 'Sunset Boulevard,' where performers holding camera rigs film part of the action for transmission to a giant screen that swivels into the audience's view. And the best play revival honor went to 'Eureka Day,' which featured a reliably gut-busting scene in which chat comments posted during a school board meeting were projected above the cast. Want all of The Times? Subscribe.
UPI
21-06-2025
- Entertainment
- UPI
'Dead Outlaw' musical to close on Broadway June 29
Andrew Durand, nominated for Best Performance by an Actor in a Leading Role in a Musical for his role in "Dead Outlaw," poses on the Tony Nominees' red carpet on May 8. The show is closing on June 29. File Photo by Angelina Katsanis/UPI | License Photo June 21 (UPI) -- The New York stage musical, Dead Outlaw, has announced it will play its final performance on June 29. The show -- which has music and lyrics by David Yazbek and Erik Della Penna -- opened at Broadway's Longacre Theatre on April 27. David Cromer directed the production and Itamar Moses wrote the book. "Elmer McCurdy was an ambitious, turn-of-the-20th-century outlaw whose death at the hands of a Western posse ended a life of failed crime and alcoholism and began a brilliant career as a mummified side-show attraction that traveled the USA for decades," a synopsis said. Even legends get laid to rest. Join us at the Longacre before #DeadOutlawMusical plays its final performance on Broadway June 29. DEAD OUTLAW on Broadway (@deadoutlawmuscl) June 20, 2025 "By the time this journey ended, his name had been forgotten and his desiccated body was hanging in a house-of-horrors ride at an amusement park in Southern California, spray-painted a day-glo orange. Then one day, a grip for the Six-Million Dollar Man TV show jostled what he thought was 'just a dummy' and an arm fell off, revealing a human bone and beginning a hunt for the origins of this enigma." At the 2025 Tony Awards, the show was nominated for Best Musical, while cast members Andrew Durand, Jeb Brown and Julia Knitel were mentioned in the acting categories. Dead Outlaw was shut out, however, winning none of the races it competed in. A version of the show will be released as an Audible Original in October. Sarah Snook, Nicole Scherzinger win big at Tony Awards Sarah Snook poses with the Best Performance by an Actress in a Leading Role in a Play award for "The Picture of Dorian Gray" backstage at the 78th annual Tony Awards at Radio City Music Hall in New York City on June 8, 2025. Photo by John Angelillo/UPI | License Photo
Washington Post
16-06-2025
- Entertainment
- Washington Post
Diddy trial live updates: Witnesses continue testimony in Sean Combs's sex-trafficking case
NEW YORK — On a spring trip to Manhattan, Yoshi Obayashi spent his days and nights watching celebrities. The Los Angeles comedian saw George Clooney in 'Good Night, and Good Luck' on Broadway and Sarah Snook in 'The Picture of Dorian Gray.' He also caught Sean 'Diddy' Combs as the defendant in the United States of America v. Sean Combs at the federal courthouse in Lower Manhattan. Ye, the controversial rapper formerly known as Kanye West, arrived at Sean Combs's sex-trafficking trial Friday with the defendant's son Christian 'King' Combs. The rapper, dressed in white, was reportedly directed to the courtroom's overflow room. Ye has publicly advocated for Combs's release from prison. He has also been in regular contact with Combs's family and is reportedly collaborating with Christian on an upcoming album.
The Guardian
13-06-2025
- Entertainment
- The Guardian
Call Me Izzy review – Jean Smart is better than her one-woman show
We seem to be in the midst of a solo show boomlet on Broadway, with established screen actors testing their mettle via the downright athletic feat of carrying a production alone. On Sunday, the Succession actor Sarah Snook won the Tony for best actress in a play for her 26 roles in The Picture of Dorian Gray; two years earlier, Jodie Comer won for her equally kinetic solo performance in Prima Facie and just this week, John Krasinski's (mostly) solo show Angry Alan opened off-Broadway. The appeal is clear: the one-man show is a flex, a feat of performance under a significant amount of pressure. It takes a village, always, but it all comes down to the person on stage. Luckily for Call Me Izzy, writer and journalist Jamie Wax's debut play on Broadway, that person is Jean Smart. The 73-year-old actor, most famous, at least at the moment, for her starring turn on the Max comedy Hacks, possesses the kind of seasoned verve and magnetic presence that is never less than fun to watch, even if the material can't match her. Like her Emmy-winning Hacks character Deborah Vance, Smart is making the most of a late-career renaissance, surfing a wave of goodwill to the bright lights at Studio 54 for her first Broadway role in a quarter century, where she plays a woman with starkly different means – though no less resilience. Those means are strikingly – one might say a little too strikingly – sparse. We first meet Isabelle Scutley, neé Fontenot, in the fall of 1989, cleaning the toilet in her trailer's bathroom – her home's one source of privacy and the stage's one consistent set (stocked with period-specific cleaning supplies by scenic designer Mikiko Suzuki MacAdams). Her vocabulary and bank of literary references, recited from memory in reveries shaded, in this staging by Sarna Lapine, by elegiac blue light (lighting design Donald Holder) are expansive; her words, in Smart's convivial, conspiratorial delivery, are truncated, as is her life in the small town of Mansfield, Louisiana, where she was born and where she has always remained. Once a promising student with a preternatural gift for language, Izzy was whisked to the trailer park by a marriage at 17 – such was 'the natural order of things', she tells us – and has been beaten down ever since. Her husband Ferd, which in Izzy's thick Louisiana drawl mutates to Irv, Erd or Thurd with each mention, is an alcoholic pipe fitter with a vicious mean streak. (Smart, who grew up in Seattle, worked with a dialect coach; as a midwesterner, I am simply unfit to judge the accuracy of the results.) He hates when she reads, spits on her dreams, rages when she has a personality and refuses to call her by her desired name, Izzy. Smart plays him, via Izzy's inner monologue, with a skin-crawling sneer. For an unspecified number of years, Izzy has turned inward, writing poems on toilet paper in the bathroom with her eyebrow pencil and hiding them in her Tampax box – the one place Ferd would never look – the Tampax box then concealed by a piece of fabric, as they are too poor even for cabinets. (In the way of Hollywood these days, Smart's character is a vague age somewhere between 40 and her own.) Stalled out in survival mode, an escape hatch emerges via a new friend named Rosalie and a library card, her 'secret ticket to anywhere'. Reading gives way to a romance with Shakespeare's sonnets (and more recitation), to validation, recognition, acclaim and a collision course with Ferd's willingness to physically beat any self-worth out of her. There's an inherent charge to seeing Izzy, as imbued with Smart's natural charisma, break free; the script is peppered with wizened, self-deprecating cracks that Smart relishes: 'I can fake an orgasm but I can't fake a hug worth shit,' she quips. But there's also an inescapable discomfort to milking such abject need, to hearing such graphic descriptions of physical abuse, for the sympathy of Broadway audiences at hundreds of dollars a pop. Smart is, obviously, a gifted comic actor and extremely compelling storyteller, but her gravity cannot overcome the nagging sense that this story – an indisputably genius writer overcomes indisputably dire circumstances via grit and the power of education – is the theatrical equivalent of the poverty porn that has baited Oscar voters for years. Smart, as ever, imbues her characters with rough edges and idiosyncrasies, world-weariness coupled with an endearing naivety; her plaintive, rueful delivery of a brief description of reconciliation after a beating, how his regret provoked a feeling of closeness akin to a drug, hints at a more complicated version of the woman than on the page. It's easy to cheer for Smart, and as evidenced by rounds of pitying applause at Studio 54, a little too easy for this show.
